Recent content by Chill

Thanks for the tips, gang. I agree, the mids are not the sole objective in mixing, what I was thinking about was how to use EQ as a tool to focus in on a common problem area, and to figure out where that area is. And the scoop and severe compress comment was intended as a joke in response to...

But I was trying to scoop those and then severely compress and limit the mix, but it's a nondescript mess with no dynamics. :shrug: ;) Seriously though, what bandwidth approximately?

I recall reading several posts/ sources which said essentially "sort out the mids and you will have your mix"...seems like that often comes up in discussions of monitor speakers without much low end like the NS10. I considered sticking an EQ on the master out to hear mostly the mids to which...

Yes you may! (a) he's poor, just bought a new shellpack, does not want to mess with the stock head, and does not have $$$ for new heads; (b) it's a 24" x 18" mahogany kick which has more beater rebound with no hole; (c) he's trying something different. I'm not trying to get into a discussion...

I think he's not going to want to put a hole in the reso head or remove it, and I've heard reso heads with no hole are tougher to mic, and I'm guessing some of you have done this before. :) The "shell tone spot" are you talking about a mic outside the drum aimed at the shell rather than the head?

My drummer recently picked up a new bass drum and has a resonant head on it with no port. When you mic a kick without a port, what mic and placement do you use?

Thanks for the info!

How so? (please ignore these extra characters to get more than 10 in the post)

Do you like small diaphragm condensers or large diaphragm condensers for drum overheads? -why? Or if you like both, what situations do you like them for and why? (and maybe you like dynamics for overheads...you guessed it: why?)

Cakewalk HS 2004. Seems like I tried it in the past and either get only the recorded tracks (which is somewhat functional with loud guitar amps in the next room) or get time delays and echoes.

...so I can hear both the existing tracks and the track I'm recording at the same time.

OK, next question (which maybe should have been first :) ), can I use them with a firepod to record a track at a time while monitoring both the existing tracks and the recording track?

Are there any decent full duplex sound cards for under $100? Most commercial cards do not list full duplex as a feature and I assume that means that they do not have it. The m-audio delta's start around $150, compusa has a startech.com sound card for $10, but I have my doubts about it's sound...

Give them a listen at your local store and listen to as many others as you can. If you can find them, you should also listen to the Yamaha 50 and 80, the Tapco S5 and S8, the Behringer 2030A and 2031A, the Fostex PM's, and the Yorkville YSM1P.

Live in a basement with things blaring at about drumset volume levels. An assortment of dynamic mics. Guitars and bass close mic'd, drums with one on the kick and one on either side aimed in at the toms and snare, vocal mics with the gain turned down as much as possible to reduce the bleed...