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...but chrome won't get you home... just ask any of the morons that spend way more on chrome for their scooters than engine work. On or off with the grill cloth is a cosmetic decision... if you like the way it looks with it off, take it off... if you like the way it looks with it on, leave it...

I was Jimmy Miller's engineer for a bit over 3 years during the 80's... needless to say we talked quite a bit about those recordings. They were all different... Beggar's is different from Let It Bleed, which is different from Sticky Fingers which is different from Exile and Goat's Head Soup...

While some guys seem to think it's the best thing since sliced bread I've never gotten an 'undersnare' mic to work for me for love nor money. I've found that mic'ing the shell of the snare drum [like 6" off to the side aimed at the shell of the drum between the top and bottom rim] gives me both...

I taped a "PZM" mic to a drummer's shirt once so that as he moved around the kit the mic would follow him. It was a fairly cool texture... and it made it so the annoying bastard couldn't come into the control room without untangling a bunch of wires [an added bonus!!]. The brick on the sustain...

I use dissimilar overhead mics all the time... I often find that it will add a nice measure of "depth" to the sound of the kit. I've even mixed 'types' of mics with a lg. diaphragm valve condenser mic [Horch RM-2J] on the ride side and a ribbon mic [Crowley and Tripp "Soundstage"] on the High...

I'm going to my friend's birthday party tonight... he's the soundman for a band and the party is going to be during soundcheck... should I wear blue jeans and sneakers or black jeans and boots? How about a sweat shirt? Should I wear my "Thursday" hoodie or the "Mighty, Mighty Bosstones"...

Two different mics are fine. I use dissimilar mics all the time... but a pair of the mics I use... with the pre's, etc., etc., etc. could buy you a fairly nice Mazda. With all due respect, you're not going to get results with those two mics/pre's that are "professional" in nature. It...

First you have to have a problem before you can fix the problem... so, how do you determine if you have a problem? Walking around the room clapping your hands and "hooting" like an idiot has usually worked for me pretty well... maybe it'll work for you too. What you're listening for is a bunch...

It kinda sounds like you're going for a "rock and roll" piano sound? I'm going to guess with a grand piano and not an upright? I'm also going to guess that you have the piano in a furnished room with like 8' ceilings? [Lemme know if and/or when I'm wrong] I'm guessing the room is somewhat...

"Best possible" is at best relative. The idea is to first try to understand what the band [artist] is about, where the producer wants to take the project [or where the band wants to take the project should there not be a producer involved] and then do your level best to accomplish the artist's...

Unimportant information All that matters. You might also want to look into either pulling a couple of output tubes to drop it to like 50w or adding something like a "Hotplate" or "Motherload" to bring down the output volume and control the overall sound of the amp. The 'Hotplate' is an...

The bad news is that you will require the services of a professional to get professional results. The good news is that you can twiddle a demo to your hearts content in the privacy of your own home and "author" your own CD masters with the current level of product on the market. The second...

Put the speaker cabinet on a stool or a road case or whatever you have to get it off the floor and closer to 'ear height'. Tweeze the sound in the room so it sounds excellent to you [and hopefully in some form of context to the music]. Take the 57 and put it in front of the cabinet in a place...

What you want to do with the sounds on an esthetic plane is your business... the best way I've found to have individual control over voice and guitar [when played at the same time] is to use two microphones with the Figure-8 pattern. Aim one mic at the singer's mouth with the "null" of the...

What kind of engineer? Structural engineer? To insure that the building doesn't fall down. Mechanical engineer? To insure that the machine works. Recording engineer? To take variations in air pressure and store them in a manner conducive with the client's esthetic. Mix engineer...

If you wanna post the page from the manual on inserts then I might be able to give you a hand with it. If you're using two regular "TS" 1/4" connectors then there would have to be a "send" jack and a separate "return" jack. If they are indeed separate you might want try making a cable that...

Sandy Pearlman. The "Space Team Electra" album he did a couple of years ago is one of the most mind blowing pieces of production/engineering I have heard in decades!!!!

Before his passing I had done quite a bit of work on a [still unreleased] Ben Orr solo project. We talked quite a bit about his work with Mr. Lange ["Mutt" did the CARS record 'Heartbeat City']. The way Ben told it they did like 100 backing vocal tracks. Neat idea, but who the hell has that...

In terms of getting the "60's sound" you'll need a hell of a lot more than just a big room. The room at Chess wasn't all that big, the room at Sun wasn't all that big... but they were running through very high headroom, exceptionally well built equipment either direct to disk or direct to 1/4"...

From your description it seems like the "inserts" are on a single TRS [Tip/Ring/Sleeve] connector... probably with "Tip" being the "send" and "Ring" being the "return". I guessed this because you got nothing with the plug "one notch" in; but you got signal with the plug all the way in... but...