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I saw an update on a local news channel this morning regarding the shooting and death of a studio owner in Ferndale, MI. It was infact a "local rapper" who shot and killed the owner over a dispute about payment. Supposedly, the client thought he was being charged too much.

Slider wrote:how about "cracked cubase with a delta 1010 on my moms computer studios."

Sweet!

kronosonic wrote: I don't have any mics with the right sampling rates for bass.

I can't wait to use this on someone.

Maybe the engineer wasnt comfortable using some of the vintage gear for your particular sound. Who knows. If you admit the album sucked, i dont see why what gear the engineer chose to use really matters. I know you already know this but using vintage gear wouldnt have made the album sound any better...

Hello everyone, I'm in need of a little direction in my next mic purchase. Here's what I have: Sennheiser MD-421 Shure SM-58 Shure SM-57 Shure SM-57 AKG D112 Audio Technica PRO37 AKG C414 XLII AKG C414 XLII Here are my pre's: Hamptone 2ch. tube Sytek (w/BB on 3&4) Seventh Circle Audio 2ch. A12 (on ...

versuviusx wrote:does anyone have one and if so what do you think and how much do they cost?

Is this the big gold LDC and is supposed to be similar to a U47?

MichaelAlan wrote:Well, I have alot of low end problems with mixing lately. I have a sub in my car and when I put my mixes in the car they are all bass. I guess it could just be my listening space. I mix on event 20/20's.

Mike

What are you recording onto/into? That might be effecting the D112 sound.

computer = mellotron

I've told this story before. I did this one project with a pretty big name engineer (I was a musician on this particular record). This guy was really good, but when we suggested trying some different techniques, he got really pissed and said "look, I've been micing stuff this way for 20 years!! It ...

I honestly don't buy that 16-bit 44100 is an impediment fidelity-wise. I can see it being a problem sometimes in mastering, but shit, that's CD-quality. I don't see how that's lo-fi. Maybe I don't know enough, though. Familiar with Nyquist Theorem? No, but please explain why this is a burn worthy o...

This is going to come out garbled i'm sure, but my understanding is that you record at the highest rate possible to achieve the best possible quality on each track and convert down at the last point possible. This is what they taught us at school and it makes sense to me. very very true. espeically...

I've told this story before. I did this one project with a pretty big name engineer (I was a musician on this particular record). This guy was really good, but when we suggested trying some different techniques, he got really pissed and said "look, I've been micing stuff this way for 20 years!! It ...

I've found that doubling causes a degree of frequency build up and loss of clarity, especially with distorted guitars. anyone else get this? It can sometimes. As well as cause some phase-y issues if a guitar is slightly out of tune from the others. But then it can also sound bigger. Maybe double up...

jeddypoo wrote:I honestly don't buy that 16-bit 44100 is an impediment fidelity-wise. I can see it being a problem sometimes in mastering, but shit, that's CD-quality. I don't see how that's lo-fi.

Maybe I don't know enough, though.

Familiar with Nyquist Theorem?

boost all frequency's around 50 Hz, +10dB kidding While 16bit will have some effect because it can only get so good with that bit rate, it may very well be micing techniques, mic choice, pre-amps. What frequencies are you cutting anyway? And are you cutting to help the mix or cutting because you've ...