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As part of the basic question was the use of delay instead of reverb, the option of panning the delay to the same position of the source should be explanied....I'm to lazy to go into details.... I leave it to Tex/Light.

Actually light it's more complicated. Also Volume by itself is reletively uninformative. Your ability to locate sound is based on distance and arrival angle. Distance can be broken into 1. Loudness 2. Ratio of direct to the refelcted sound 3. Freq response 4. Time delay Angle can be broken...

Size isnt the only issue. You can create size with other things like a delay. But yes, Your thinking right. Depending on how many rhythm tracks you have. If you have say 2 guitar rhythm parts or - even more dense also a keyboard part....recording them all in Stereo and trying to place them...

Rock/pop music use a lot of mono tracks panned to their so called "place/position" in combination with stereo tracks. You have to make a decision as to how you want to hear your track in the mix. How important it is as a part. What size you want it in the mix. How important is "realisim" of...

For sure it's under the role of the musician. What I was saying is that if the musician works out the arrangment properly and like in this case were he is in the band and he is also the mixer, his job is half done. There is only so much a engineer can do to fix a song badly arranged...

First of all Jake gave you solid advice. I would add to the basics, the "musical arrangment" of your song. If the arrangment sits your more then half way there. Making sure the guitars play in the right register at the right time and so on will make it all fall into place and leave you with less...

Off axis mic on a amp tends to "crystalize" the sound on a clean (no distortion) sound (ala funky) while still containing sharpness and attack. Better done with a condenser then a dynamic.. Now u know ;)

Sometimes you'll want a more controlled and bigger signal, as well as tighter but not over compressed. Think in layers. You get an alive uncompressed dynamic signal with healthier freq content together with a layer of - big - controlled- tight.

This is some what of a concept issue. How do you preceive your OH's. Are they the main source of your sound? or a filler?. The common eq to oh's sits in basicly 5 components. 1. If you have punch from the kick and snare then you can cut the oh's from 150Hz. 2. If you close miced the snare and...

I wouldnt go so high on the EQ. Look around 3k for the smack of the beater and boost the hit. Also look around 170-400kHz to reduce some of the boom and make it sound tighter. Then you might want to gate it to reduce the ahhhh after the attack and you can also compress it after that. It will...

It will spread the image as long as the delay time isn't to long. To long and it will cause a seperation berween the two. Just remember the basic principal - If the delay is panned aside, you will spread the image to the width. If the delay is placed at the same position then you will create...

Aaron, It's quite the opposite. The localization of the sound will pull towards the source and not the delayed side. See if you can read up on the "Haas effect". If you would like a detailed explnation I'll write it out here.

[/b] Before I pick at that statement :D perhaps you can explain more by what you mean - "that the stereo panning of that instrument to whatever side the cloned track is on" ? Are you saying that due to the delay the ear will conceive the sound comming more from the cloned (delayed track? )

Becuase a clone doesnt have: * small pitch shifts * random changes * different attack times.

On any amp... Pointing the mic at the center of the amp will provide you with a more high freq edge while pointing away at the outer edge of the cone (away from the center) will provide a warmer, smoother sound with less edge. Thats a basic phenomen. You are probably preceiving the fatter...

You can use a bit of EQ to attenuate some of the dominant part of leekage. Take a look at the article "mixing the drum kit" at http://www.slackmaster2000.com/info.php I also used 8 mics there. You can hear the use of the gate as well as EQ to help leakage (audio samples).

It is a neat trick to pan it hard left and send a short delay hard right. This opens the center for the kick.

It is a joke. It's to fill out empty space on the rack. And to impress clients. And most important....to give the know it all producer something to twiddle so he won't annoy you.

I strongly agree and since I remember Ed saying in a thread that he thought that the 001 was pretty decent sounding I insist he says so or I dig up that thread :p The 001 doesnt fall from any 16 bit Adat when it runs at 16 bits itself. At 24 it sounds better. The 002 sounds even better then...

I don't know the Rader well enough to comment nor the Fairlight. During 1986-1990 I used the Synclavier which was the fairlights competition. Everybody should work on what he is comfortable with. There can be nothing better then competition to PT for the market. We all gain by it, Home...