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Yeah, don't crush your song with a limiter! Let it catch just an odd transient or 2 throughout the entire song for full transparancy like I keep saying. If the limiter engages once or twice for a nano second you can hardly call that (squashing the song) lol.

I didn't really look at your picture, but I have now. You are definitely a girl from what I can see ha ha. Good luck with raising up your track, after a while it is not something you will think too much about. There are multiple ways, I prefer to use a limiter, it seems some others on here...

I forget what it was like to come from nothing, I remember struggling away with EZdrummer and not knowing how to get it to work in my DAW of choice which was FLstudio at the time. So I apologise if my post assumed you knew a bit about it. Best way I can describe it is that your DAW (Reaper)...

Make it a priority of yours to get your drum sampler working inside of Reaper. Before you do anything else. Do that. Lots of tutorials on youtube I am sure but as others have said, You copy/paste the .dll file into your VST folder, then restart Reaper > Scan, and when it pops up you are then...

^ Yes but I was trying to keep it simple. Just to turn up the song as loud as possible with zero side effect or mix alteration, what I said above would keep full transparancy much like normalisation would. Ideally there would be no further compression apart from the odd stray rogue transient...

You can normalise it but this is more work because you need to bounce the song down, re-import go into editor and normalise. And then you are left with a project with the bounced down normalised version + original mix. Or you can go to your Stereo Out, put the (Limiter) plugin as the last...

Good lad, I am over £1000.00 a month better off now I am single. Only need to work half as many hours and have time to enjoy my life. I would never again go back to my old life either. Seems to me like an awful lot of guys have the same attitude nowadays, and I can't blame them.

Sing multiple takes of vocals and comp them, if the kids scream over the same part twice then that's just gonna suck. Record more than 2 takes, it's quite normal to work this way, you then take the best bits from each take to make 1 great vocal. It is worth doing anyway even if you don't have...

Yeah my ribbon need a lot of distance from the source, the proximity effect on that thing is crazy. Lots of proximity effect at 1ft back, still some at 1 metre I think. I was specifically talking about that 57 for close miking, I feel like it's built for it, with that low end rolloff and 5k...

I get the heaviest guitar tone I want out of my 1watt laney. If I want to crank it (there isn't really much need) I switch over to 15watt. You want massive and wide, double track, hard pan, 57 right up to the grill I don't care when people say not to do this I have seen enough people make...

That sounds like a very useable and good guitar tone to me. Leagues ahead of what I heard in the past.

eh? I don't care how much you pan, couldn't care less. I'm out of here, I think you need to just carry on doing things your way and learn the hard way.

I was talking about if you have a vocal panned left and you delayed it to the right to create that room that was mentioned above, this is a stupid choice to make for a vocal when you have so many other options, you create space in the middle, this is specifically the reason why it's done, but...

Not for a vocal! You don't want that hole in the middle, center image, intimacy, power, up front comes down the center. Pan hard for backings or rhythms.... why? So your vocal has more room in the center. Careful stereo widening/panning/washing out backing instruments with fx brings more...

As long as you have a strong center then you're good to go. Stereo FX can add interest in the L/R but that strong center is very important. Dual miking/double taking a vocal and panning hard L and R seems like a terrible idea to me. You got any references of any good sounding songs which do this?

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Ahh, my bad, I thought you close mic with the XY for the driest sound possible and have other mics set up for the ambience. Thank you for explaining how you do it. I'm a little cautious miking at too far a distance because in the mix it can be difficult to bring an instrument forward if the...

It doesn't really sound like it does in my own ears, but it was a lovely balanced guitar sound that needed little to no EQ work. The Lavalier mic technique is actually used very often, and seems to be praised by a lot of people, it was certainly easier to record, I felt like I could forget I was...

what distance do you typically XY an acoustic guitar in a church? I read in a SOS article where I think Joe Baressi (I could be wrong) mics up using XY 4 to 8, but typically more often 4 inches away from 12th fret, I have not had much luck doing this as all I get is low end and high end. It...