Message Board

I like Audiograbber with the LAME encoder. It's freeware, too. I used Audiograbber for a while, it was kinda unstable on my machine. It would have been nice if it worked every time, but I like the way CDEX handles the file names, and headers and what not.. Maybe I just never got that far into audio...

I've often thought a DIY HPF project wouldn't be that hard... Would it? Anyone have any ideas?

You guys are drinking the wrong stuff.. I always like the effect I get with a pair of TapeOp Cardioid Tequila shots in XY with a lime.

I generally don't get phase issues between snare top and bottom, they're practically 2 different instruments. I use different compression types which probably helps too. The top is generally pretty close to the head - focusing on attack while still trying not to get too much proximity effect, the bo...

I use CDEX, it was free, it's fast, and it sounds as good as any MP3's I've heard (just keep the sample rate up).

Here's the most crutial thing you should do, IMHO, use one TapeOp ribbon under the snare. It sounds so natural on the snare, and you'll also get some good natural sounding kick beater. So here's what I'd do: Kick: Radio Shack PZM SnareT: SM57 SnareB: TapeOp Ribbon Mic Overheads L&R: AT4050's in ORTF...

A rainbow in the dark... Hmmm, I think that's code talk for GAY ORGY.. Hahaha, no, really, it is one of those songs that just has something about it..

I've had problems with sibilance on vocals with every mic I own until I got my AKG C414 XLII's. Apparently the innerds are basically a U87, I haven't used a U87 so I can't tell you first hand. I'll tell you that the C414 XLII id the smoothest mics I've ever used, it makes a joke of every other LDC I...

I own a balanced behringer and a balanced neutric. The neutric doesn't like some patch cables (of corse it's OK with neutric connectors) and the behringer crackles like rice crispies if i bump against any of the cables..

i just want to get her something that you can make louder w/ out feeding back. Not to be a broken record, but OM6 will give you that, the feedback rejection is amazing. My other recommendation to go along with that mic would be a DBX160. Those compressors are great for vocals in live situations. Yo...

Throw on some isolated headphones, have someone smack some drums, and put it where you like it most... If that's not possible try a few configurations, record a few tracks and see which you like best. I'd probably continue to use you SDC's as overheads and try the LDC as a room mic.. I dunno, just a...

any opinions on the OM7? Haven't used the OM7, but I'd love to try one. Don't let the higher model numbers and bigger price tags fool you though. It would take a miracle to lead me to loose my faith in the OM5 and OM6. I've used them onstage back to back against a good variety of other mics, includ...

Of corse, my avatar, the 2-1176 and my pair of DBX 160's.. Not a session goes by without them. They're completely different pieces of gear not to be compared, but it's funny how in many situations I actually prefer my cheapo 160's over the 2-1176. I find my 160's are pretty much useless for electric...

HANDS DOWN, Audix OM6!!!!!!!!! There is no better live vocal mic I've ever worked with. I generally favor the OM5 for men and the OM6 for women. The OM6 will seem more open on the top, the OM5 has more of an upper mid range presence. You'll also find you can crank it significantly hotter than a 58 b...

...Another technique that brings out the body and the ringing of the snare is the hammer the hell out of a compressor with the room signal. Slightly slower attack to emphasize the transients. You get a hamonic distorion that, depending on your compressor, gives you that fuzzy little feeling in your ...