Message Board

There is a belief among some that the low frequencies are the most important. I've heard live sound engineers at some decent local venues say this. Also there is a typical low end speaker setup that runs mono low frequencies to subs that are on opposite sides of the stage, creating bad constructive ...

For me it's an extension of the writing process, because when I have the chords down for a song, I experiment with different ways to play them (inversions, arpeggios, voicings, etc.). When it comes time to add to an arrangement, I will often take some of the other ideas that I didn't use for the mai...

Often what I will do is set up performers in the room with the drummer, but either have them record through DIs (using something like a Pod for guitarists), or have their amps isolated in a different room. This way gives the best of both worlds. If the take is magical, then you can always re-amp th...

In case you still are looking for anything like a number, after I use my ears and get it to sound like I like (again, just for my own music and my bandmates), it's usually between -12 to -6 dBFS RMS, which is fairly hot, it seems. I've also figured out something that's probably old news to almost ev...

You can also always use the headphone output for recording. I've done it before, and had it work out fine. I've had some success with this, and I've noticed that a lot of synth apps can overdrive the built-in DAC on the iPad 2, so if I'm stuck with the headphone outs, I find the master volume in th...

If you're using in the box virtual instruments or you use a virtual amplifier plug-in then you might want to imitate a mic preamp after that. You could use it to change the sound in different ways, or to boost something you recorded too quietly. I seem to recall the main guitar part for Led Zeppelin...

I see mixing as an artistic process so to me every process has validity, no matter how crazy it might seem. It's easier to talk a little more objectively about dynamic range, frequency response, THD, etc., but none of those can really tell us about what we think sounds just downright good . There's ...

Maybe I'm a terrible engineer who can't hear things very well, but for some reason I haven't noticed a problem with close mics mixed with overheads and room mics. To me the big challenge with close miking (or any miking) is auditioning what the mic hears. I've used in-ears in a pinch to get me some ...

If it comes with a beautiful wooden box and a signed certificate of authenticity including serial number printed on high-quality paper, it has to sound great.

Jim Williams wrote:More practice, less strumming?

If I were teaching anything related to electronics and/or music I would want to have one or more. As a musician (even one who is fascinated with electronics), all I can think is that $330 is almost a CP-251, or half of a DSI Tetra or Moog Slim Phatty, or 1/3 of a Sub Phatty, so I'd rather leave that...

Anything with USB MIDI paired with a camera connection kit and a USB hub. You will need a powered USB hub. Otherwise, I've plugged in all kinds of things. Or, you could go with an IK Multimedia iRig MIDI and use DIN connectors, but the iRig itself is $99. Actually, if you don't already have a way to...

After thinking about this for a few minutes I realized that I hate almost any connector that's not Neutrik XLR or SpeakOn. Computer connectors of all kinds, EIC and NEMA power connectors, all kinds of fiber/optical, definitely RCA, bannana plugs, binding posts, RJ-XX modular connectors - I hate them...

Yeah, I'm out in Sterling. I'm running late right now but I'll PM you later and maybe we can hang next weekend or something.

@GooberNumber9 the tactile thing is big for me and i think for the artists that i work with. i want that same thing you get with a hammond. you sit down, flip through some presets, grab the drawbards and push and pull till you land on something that feels good. i know that people can get good sound...