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BTW, have you had any luck with anything here?

I've done fairl limited fretwork myself (and learned on my favorite strat, after I wasn't happy with the crowning on a refret job but for various reasons didn't want to push about having it redone). I'll confess I was surprised it required far fewer sacrifices of small barnyard animals than it...

I suspect I know the answer, but is well done VST work an option? Mastering engineer I've worked with in the past has also done a lot of programming/arrngement work with virtual strings, I'd be happy to refer you. I expect this to go over about as well as someone offering me a virtual guitar...

It always comes down to gain staging, eh? I do think with respect to DIs, there's no real upside in recording any hotter than unity... but, beyond that, I think it's just a matter of being sure you're feeding any VST the sort of signal it's expecting. If the OP ever resurfaces, I would be...

Well, that's why I recorded both thru AND DI versions - if by 4th and 5th, you mean 0:55 and 1:13, then that's the same performance, the first was recorded through the amp while I was playing it, and the second was sending the DI back to the amp after it had been recorded, volume matched with...

That is exactly my opinion as well. Thanks. :)

No resistor, the second. For me, it allows me to get a better clean sound out of my gain channel, by rolling back my volume. No impact at all with the volume full up.

Ok, but if Ok, but if you go back to your original post, you're talking about this from the standpoint of a recording studio, and wondering why Neve and API don't sell audiophile listening gear so you can "listen to it the way it's intended." Bringing mastering into the equation actually helps...

Thanks - sort of intentional here, I'm more a Satriani/Timmons/Nick Johnston sort of guy left to my own devises, but since the DI/VST/reamp world is so, well, modern metal and djent focused, I figured doing a video demo where I was using something with more of a heavy blues-rock vibe for...

Yeah - just to be clear, the first clip is a treble bleed AND resistor, the second is the treble bleed alone. I don't have a comparison of treble bleed/no treble bleed I'm afraid, but the resistor kind of pulls you back in that direction. If you like to work your volume control a bit to vary...

Ages ago, I did an A/B comparison in my Strat, if it helps: This isn't with and without a bleed... but with and without a resistor on the bleed that makes it a LOT more subtle with the resistor in line, and much closer to not having the bleed. I really like having a treble bleed in line...

No, not really... My point is that in a studio, your choice of preamps, EQs, compressors, what have you... the point there is to change the sound, to shape it, to make it fit together in different ways, but overall to make creative changes. When playing it back, while maybe perfect...

Eh, I'm a "guitar into a real amp" guy myself, and this is hands down my preference too.... ...but VSTs really have gotten awfully good. I've switched to using DI tracks and amp VSTs while writing, and (partly because I have a newborn now and a lot of my recording is going to be late at night)...

Just curious, if you look at the DI tracks alone, without the amp sim on them... where are your waveforms peaking? what do they look like? I know some of the earlier Scarlett iterations had some trouble with clipping on input, especially with hot humbuckers, and while I don't have a good...

Fun trivia fact - the Ibanez JS Satriani series is wired like this, a push pull treble bleed on the volume, and coil tap for both humbuckers on the tone. I had a guitar wired up like this for a little while, before I decided I pretty much never wanted it bypassed.

Since this threat got bumped anyway - I've always made a point of periodically checking a mix in mono (I think most DAWs give you the option to collapse your master bus to mono - this is certainly the case in Reaper) but I've never really thought much about actually going ahead and doing EQ...

Well, they probably claim they do. :LOL: There's a lot of that world that doesn't make much sense to me. But, on the recording side, there's absolutely a time for transparency and getting a sound from source to disc with as little coloration as humanly possible... but more often than not, the...

I think that's probably genre dependent. If you're recording an orchestra, or maybe even an intimate jazz quartet, then sure, I could see a mix engineer philosophically seeing their job as a documentarian, there simply to capture and preserve the magic in the room as transparently as possible...

Very late to this party... But I think this gets to the difference between what an audiophile is looking for and what an engineer is. Audiophiles prioritize transparency and perfect reproduction. Engineers like Neve preamps because they're NOT perfectly transparent and clean, and because...

There really isn't one one-size-fits-all approach here, so I'm not going to say "oh, here's my usual vocal process!" or anything like that - hell, mostly I record instrumentals. But, based on what you're describing, here are some approaches I'd be thinking about. Roughly in order of importance...