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Sibilance has more to do with how well the microphone couples with the singer's voice than the singer itself... there are many very "bright" microphones on the market these days... because "bright" sounds louder and the loudest thing you hear wins when you're doing "stand alone" demos in a...

When you're hired to do this kind of work the label will send you a copy of the masters... the vocal will be on its own track and it will be easy. If you're not in the situation where the label is sending you remix work... hire a singer to re-sing the parts.

First - as it would seem rather obvious - lose the compression you were doing... its obviously not the right tool for the job. As you're probably using a DAW you can go through the song [word by word if necessary] and automate the level of the vocal so its correct for the presentation...

I happened to be around back then... and heard what you guys are hearing not. It ain't "air" - its an upper-midrange forwardness that sounds harder than a coffin nail... and it was caused by the "bleeding edge digital technology" of the day. While I consider George a dear friend [and we've...

Before you invest in either you owe it to yourself to go out to a "Hi-Fi" shop and look at consumer "bookshelf" speakers. Some aren't that bad and with their larger distribution [like via Best Buy - etc.] their "economy of scale" in the manufacturing process will give you a lot more speaker...

What you were hearing was phase distortion as the two tracks were not occurring at the same time in space... if you add a plug-in compressor [never a good idea] that plug in will come with at least 1 sample of latency [imperceptible to the naked ear... complete clusterf&^k when added to an...

Getting a "large" guitar sound starts with the sound of the guitar in the room. The first thing you should do [if you're "close mic'ing"] is get the speaker cabinet off the floor... put it on a road case, barstool, whatever ya got... but get it off the floor [the cabinet will couple with the...

It sounded doubled to me as well - and while I don't know for sure, it seems like I was hearing the classic AMS 1580S vocal setting - 12ms delay with 1.007 harmonizer setting [could be off on the settings a bit, but it definitely sounded like there was some AMS involved along with the doubling...

Just get a bunch of your non-musical friends together to sing on the track. Have some beer, some wine and cheese available as refreshments... but generally "non musical" people will do the "out of tune" / "out of time" just as well [and in many cases better] than drunk people. I've done...

There are hundreds of them... the question is - what's your budget? I know guys that will be happy to do it for you... they're $5000 / song... others that will knock it out for $300 and $50 / "touchup" and every shade of gray in between. The guys who get $5k a song generally have what's called...

No - I'm suggesting that when you double the amount of energy [as in having the same sound on both the left and right channels - which is what occurs when you pan something up the middle] you add 3db of signal. If you have a 100w guitar amp it will be 3db louder than a 50w guitar amp because...

Due respect mate - this isn't [or at least shouldn't be] a race to "get things done". It is quite common [at least in my world] when we're working on an album to spend a good 6 - 8 hours getting a rhythm guitar part tracked, and a good 4 - 6 hours getting the "double" of that track finished...

I generally pan drums from an audience perspective as I generally like to set up the "soundfield" as a band appears on stage... which also [generally] means that drum panning isn't too radical - rarely is there anything panned "hard" to one side as that gives the "soundstage" a rather unnatural...

Actually - that's not quite true. When the bass is on one side instead of two sides you can end up with 3db less information than if it was on two sides... the solution of course is to turn the bass up 3db and put it on one side and you'll be fine. The reason to put low frequency information...

Again - due respect mate -22ms is about right [maybe try to time it into some kind of musical increment - whatever]... the point where phase becomes a "non issue" is 19ms [stated in the "Haas Effect" - which is primarily an acoustic phenomenon but translates to the electronic as well]. Haas...

Right -and what you have is the same part - which is not a double, its the same part from the same player doing the same thing. Humans - with very few exceptions - will never do the same thing twice which is what gives you the "size" in a double track situation - the rest is just subtle EQ /...

Nothing to see here...

If you don't want it to sound like a chorus effect - either add different notes [so they're not the same as the first track] or use a different performer. The nature of "double tracking" [using the same performer who performs the same performance a second time] will be that "chorus" effect due...

Due respect mate - if you change the rig you're making the sound "wider" - if you change the player you're adding a second part rather than achieving a "double"... much like doing the same part in an 'open tuning' isn't a double, but another part that is VERY different from the first. There are...

I generally leave the main rhythm section [kik, sn, bass] panned up the center, and then everything is up for grabs... like MM - I will usually try to get the drum kit to feel like a drum kit in a room - with electronic drums / samples you can do all kind of unconventional stuff depending on the...