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They cut a lot of corners in the master section on the LX7 and I believe you only get 16 direct outs. Can't comment on the other boards mentioned.

does she have her own FOH and monitor engineers that she travels with? Does she get full-on, comprehensive soundcheck at every show? Unless the answer to both of those questions is "yes", then I'd stick with an sm58 or a beta58. Most house engineers will be familiar with 58s and most house systems ...

You really can't beat a 58 on a loud stage. Yes, you absolutely can, with an Audix OM7 or OM6, EV 967, Sennheiser 935, Beyer M88, and a few more. All are better for both tone and gain-before-feedback. -a Fair enough. Of those I've only used the Audix's and the Sennheiser and you're right (about the...

You really can't beat a 58 on a loud stage. A KMS 105 is definitely more delicate and airy (it is a condenser after all), and I've heard them sound dramatically better than 58's IF the stage volume isn't too outta hand (creating a need for lots of GBF). Doesn't sound like she's got a wall of Marshal...

j_howell wrote:And thanks, as always, for the excellent magazine, Larry. You rule!

+1

I'd love to read that if you do. Good excuse to put in an appearance with the 'rents. (not that you need one. It's freakin' beautiful out there.)

Would anyone else be interested in an interview with the man behind the sounds on Tom Waits's Mule Variations, Alice, and Blood Money...many gems from John Hammond Jr., and Bill Laswell among the more (in)famous highlights of a long career. Bill mentioned him as a major influence in the Dr. Dog piec...

given decent monitoring, a good mix engineer can do more with a fairly basic plugins than a novice could with a vintage neve or SSL with Michael Brauer's racks in the room. +1 By far the most important pieces of gear in the room are attached to the engineers head. I would add time to that equation ...

It looks like it might be a great tool. But let's not lose sight of the fact that "creative" is what the original musician played. If we were at the creation end of things we'd just go back and play it right/play it different. That's true. That's why I cut records live to wax cylinder. All that oth...

GLORY_MORRIS wrote:
That one killed me.

Me too. Hilarious. Thanks for sharing. And I thought I had to know something about music and recording. Turns out I just need $500...Boy have I been wasting my time...

Does it say more about the people who post here, or about the state of recording that so few of our favorites are from the current century? Beatles - Revolver Springsteen - Live '75-'85 box set (I know its a live recording but still...), Nebraska Notorious B.I.G. - Ready to Die Dylan - John Wesley H...

I just relocated to Seattle and I'm going to be making the rounds looking for house sound gigs. What clubs are cool? Some things that I think are cool: 1. Getting paid on time 2. Ownership/management giving a fuck about the quality of the shows I know you can't be too picky in the world of club soun...

Most of the time (if it's a sort enough gap) I extend the beginning of the second region forward to the end of the first region and the cross fade if need be. You're just brining back the decay of the first note. thats what i usually do, or , an even easier solution, try and find that same section ...

My tracks seem to suddenly sound better...Is it possible I'm imagining this. The HF artifacts were screaming at me a week ago on http://www.myspace.com/subundergroundproductions and on the reverbnation player on http://www.myspace.com/danthenarc . Is it possible myspace was fucking with my reverbnat...

Opposite of "colored", "punchy": ??????? RED LIGHT DO NOT PASS GO opposite of colored (i.e. Neve, API, Mbox) = transparent (i.e. Millennia, Grace, SSL, Lavry) Sure, nothing is actually 100% transparent, but colored is a very useful adjective to describe how much input resembles output. Do you reall...

"a little prison made of bread" makes me think of any job in the straight world.

Calling it a beat keeps you focused on what's important to that audience. i.e. not harmonic and melodic development.