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Jitters wrote: ↑

Thu Sep 01, 2022 10:41 am

I like that drum sound a lot, and the music is great! Is this one of yours?

That's me circa 2008. I sound older and uglier now.

Try everything and then decide (as per Nick's instructions). If you do go M/S out front remember that the center line of the kit is not through the middle of the kick. It's from the edge of the kick on the floor tom side through towards the inside edge of the kick on the snare side, centered on the ...

+1 on everything Nick has said above. The only thing I'd add is that once you've got the mics up and patched, record a bit audio and then listen back to each mic, one at a time against the OH. Listen in mono (on one speaker if possible) while hitting the polarity/phase button. This will help you qui...

I have a very old RCA Varicoustic that I love but it could really use some love and a refurb. It's makes a killer overhead and I love it on horns and acoustic. Sometime vocals with the right singer. I have an Apex 205(? I think?). The smaller bodied one. I pulled the extra mesh out of it and it's OK...

I feel like I could get by with two mics for most applications. I love ribbons and use them all the time but I could cover all bases and be happy if I didn't have one. For me a good dynamic and a multi-patern LDC will do just about all the jobs. If I had to be specific I'd say an RE20 and a 414 but ...

I'll second everything said above. If you've got an Apollo you can print vocals through a plug in comp while recording.
Spend your money on some good, versatile mics.

I think I'm going to try to see if a Shure SM7B will work (they have much better rejection than a condenser) and maybe that will get me a slightly better track. This will help a lot. I do vocals without headphones quite a bit (live with the band and as overdubs) and honestly if you put some effort ...

I always wondered what would happen if you did a vocal take with no headphones, then recorded a second pass with the microphone in the exact same position and the monitors at the exact same volume, but no vocals. Then flip the polarity of the second take and see what bleed might get cancelled out. ...

I always wondered what would happen if you did a vocal take with no headphones, then recorded a second pass with the microphone in the exact same position and the monitors at the exact same volume, but no vocals. Then flip the polarity of the second take and see what bleed might get cancelled out. ...

If the sequencer takes midi you're all set. You can set up pro tools for midi machine control. That means when you hit play on pro tools the sequencer starts. I did a record a few years ago for an artist who writes everything on a keyboard work station. We used midi machine control to trigger the wo...

Does the sequencer have a midi in? Pro tools can be send midi time code

There are always people who chime in to the cassette multi-track threads and suggest not using a a cassette multitrack. I get it but they miss the point and it's really not helpful to the questions at hand. Anyway.... I can't really comment one way or the other on the machines in question. Most of m...

I generally like to have my overheads give me the main drum picture. So decent amounts of snare in the overhead is A-OK by me. There's one drummer I've recorded a bunch with an old, old Ludwig snare. It sounds amazing in the OHs but so terrible in any kind of close mic. All that said, I fully agree ...

Hey... Voice of TOMB past here. Remember the Alesis Modfx Smashup? Heck, you might even have one knocking around somewheres... Those last two modes on the bottom? From memory, those will occasionally toss you a rope when you are painted into that "WWTBD?..." corner. I'll second that and add the Ale...

Once you know that sound you hear it on everything from the early to mid 70's. Alan Toussaint, Genesis, John Lennon, Deep Purple, Frank Zappa.....and on and on.