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Nick chiming in with all the right questions! 1. Who is competing for space with the mandolin? EQ out some of their frequencies to make room in the mix for the mandolin. No one per se, but I had done a lot of treatment to the fiddle while waiting on the mandolin tracks. Peeling all of that away help...

I should probably catch up on his catalogue, my mind drew a blank after Copperhead Road...

Gracias, Nick! I will follow these lines of inquiry and chase down the voodoo as soon as time permits.

I think the ribbon was the right call, but I still can’t get the damned thing to sit in the mix like I want it to.

No, unfortunately I’m usually late to the party and paying inflated rates by the time I hear about something.

Nice video, Mario! I’ll keep my eyes peeled for a good deal on one of these.

I ended up using just the m160 and I had it dialed in by the end of the day. I've yet to feel the need to pull up an eq (I'm sure I will), but I'm still struggling to get the compression set right. That little devil just goes from too loud to too quiet way too often.

I used a DBX something or other flavored plugin a couple of days ago and certainly has the bass line behaving.

Not slipping or drooping would be nice, but for that kind of scratch I would also need for it to comp my vocal takes, eq, compress them, and get them seated in the mix.

I have access to a DBX 160XT. Why do you ask?

what's the vibe? Modern country? Vintage? Pure bluegrass? . I guess it’s best described as a rock band with mandolin and fiddle instead of electric guitars. I finally got around to some tests, mind you this was my mandolin with ancient strings and me playing all the wrong chords, but the m160 point...

I might end up leveraging my pair for something else, who knows? I haven’t really used them on much. Also, I might end up overdubbing some crash hits here and there. How weird is that? If anyone is looking for a mono overhead technique that will leave leave crashes out of the capture the Jitters met...

Well, I suppose I can always roll of some treble. I read some string comparisons and the bit about the old style E string being clunky with poor intonation scared me off. The Dunlop’s sounded like the best of both worlds at the time.

That’s a definite advantage with this project! Best case scenario - I raise the faders and smile. Hey, it could happen!

I'd do that in the mixing stage... especially since this is going to be inside a mix with other instruments. Funny enough, I have found that the stock Pro Tools plugins or Nuendo stock plug ins work well with taming crazy transient levels. The trick is to have a digital limiter which can be fast en...