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So what happens when the band isn't happy with the mixes? After trying to redo things and change the mix over and over. The tracks are what they are right? How can you make a band understand that? You can polish a turd, but then all you get a shiny turd... I think that depends on the band's (and yo...

what's their return policy like - cash back or credit?

I'm trying to avoid buying and reselling, as I have no intention of keeping it beyond a month or so, but I don't expect I'll be get a hold of one otherwise.

No harm in asking, though. Somebody might be out of commission for a while, dunno.

If my mixes start sounding like the Lords Seaweed, I don't know if I'll be happy (yay! I can steal work!) or very very sad (augh, now it sounds like the Lords Seaweed!) Seriously, though - I've mixed on an SSL with Korg Digital Delays, Harmonizers, an EMT plate, Pultecs EQs, 1178s, and Apogee conver...

yep, sorry it is on.

used be Rock over London, Rock on Chicago, wasn't it?

I whupped batman's ass.

lol "CD quality" yeah, can't wait for THAT.... :shock: I think it's nice record, m'self. Listened on Thursday, didn't pay a dime because if someone gives me something for free, I don't argue. Some good songs, some good recordmaking, no crazy ground being broken, but personally I feel like that's rea...

btw mevv (vvv), love reading your not-distorted typing in these parts. You're far easier to process this way

Now bek ta yer regulerlee skedooled programin on d' Planit.

er..yah. Every thing I touch turns into precious metal. :) mmm.....metal. What I was goin for there is that I "go for" the same palette of sounds no matter what I'm working with - if that means replacing a drum or reamping a guitar, whatever, I need to get it to that point. If it sounds like I mixed...

I'm wondering if bounce to disk works that way at all - i.e., if external sends work like that? I always thought it was just an internal number crunching exercise, done inside the brain of the computer.

As much as I feel like people want the low end "thud" of a djembe, I never felt like that was so much a part of the real sound of the instrument. It's something the player is more conscious of by virtue of being coupled to the instrument and being closest to it, but those listening only hear that pa...

+1 on Joe Ferla love. That guy is awesome, and he sold me my monitors. I think Oliver Nelson's The Blues and the Abstract Truth sounds pretty great. I love most things Dan Kopelson does, the records he did with Craig Street are really deep. And Danny is just a good guy. I don't know if it's jazz or ...

I do enjoy mixing other people's stuff, I agree with Chris; I tend to be a little more cavalier with it. Interestingly though (perhaps not surprising) it all ends up sounding like I tracked it, no matter what combination of crap I go through. I guess that's a good thing? I don't have "clients" anymo...

well gnr was mainstream....

but yeah, you're right.

actually, not during tracking, but the point is the same - I don't want to have to use up another track/voice to get it done, I want to use busses.

This worked great, thanks again.

my memory isn't so poor - in the "lull" right before Nirvana I was happily listening to: Jane's Addiction the Cure Rollins Band Soundgarden Firehose Ministry RHCP Nine Inch Nails Plus, in this lull, I remember.... many people waiting until midnight to buy Use Your Illusion... the average age at the ...