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Got around to putting Ferox through its paces yesterday, I was very pleasantly surprised, it does nice things to transients.

So the same thing could have been accomplished by moving the fader up on the single mono track up 3db? Just did a quick Google, seems like the pan law compensation in PT is 2.5dB, but yeah, it would've been the same just raising the level of the single mono track. Bummer on getting the organ line c...

For standard equal power pan laws (3dB down in the centre, 3dB compensated), if all three tracks have the same channel gain, the twin hard panned tracks will be 3dB louder. You're doubling the signal, regardless of where it's being panned, so it's going to be twice as loud (3dB). Absolutely no diffe...

For an upright, I use a stereo pair hard L-R on the back, with the LDC in the middle, with the same expander/limiter trick applied to varying degrees to ONLY that mic. I love the sound of that mic the most. The stereo pair is mostly because I feel bad for loving that mono expander/limiter mic... ;)...

Room nodes and standing waves have to be taken into consideration as well.

I've heard that running signals through a Dolby noise reduction encoder circuit (for example the A301) and playing them back undecoded can sound very nice, and recently stumbled upon a research paper showing that it's possible to replicate the process digitally. I also came across a tool that allows...

I digressed a little! Very much in engineering mode last night. In short, there's no level change when switching between mono and stereo - the overall signal output stays the same, no matter where you pan your tracks. There's a good (and much more eloquent) explanation here: http://www.harmony-centr...

On most systems anything panned wide increases up to 3.5 db in level. When those signals are brought to center, their level decreases that same amount. If this is the case, why (other than to check for phase-problems) bother mixing in mono for mono-compatibility if you're going to have to deal with...

Yup, patchbay is the way to go, minimum signal path.

Definitely viable if you have a good drummer, we did it recently on a folky project, essentially recording the drums last. If anything it improved the songs, as the drummer listened to what was already going on in the song and played some wonderfully textured parts to complement the other elements o...

Are you recording to hard disk or tape? I'm in a similar situation (currently mixing first full-blown project), after a fair bit of looking around, at MEs both in the UK and the US, we decided we're going to go with Carl Saff in Chicago, who's well within that price range and very well regarded by m...

Mixed a track that I recorded for a project a while back, acoustic guitar, vocals and loads of ebowed fretless guitar. Soft sounds for a soft song, but there was a bee-sting-ish quality to the guitar I hadn't noticed during tracking that took a little bit of jiggerypokery to sort out.

One more thing with the Jazzmaster - if it has the original design Jazzmaster bridge, replace it with a Mustang bridge. The strings will pop out of the older design bridge frequently enough to incite blind, white-hot rage.

Most guitars can exhibit a change of pitch if you push down hard enough while fretting a note - what you describe sounds more like an intonation and/or bridge height problem, which can be adjusted with a bit of patience. I own a Jazzmaster myself, they're one of the more tricky guitars to find the s...

The Boss RV-3 has reverb and delay (and combined) settings, and can be found cheap as chips if you look around. Sounds really good.