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That's the best way to learn... make mistakes and then figure out how to get yourself out of the pickle you got yourself into. New ideas spring up when you're tracking, new techniques are discovered when you're overdubbing and mixing, etc. Recording is the most important thing in my life right...

That depends... if you're making writing demos for songs that will be recorded for real later on they can be a rather useful tool... if you're trying to make a recording that "sounds like a record" then no, they're a worthless piece of shit that has no business being anywhere near the product...

I've done stereo percussion sections where we had two percussionist set up with a ring of stuff to hit and bang around them... mic'ed the "percussion area" in stereo and just let them go to town. Sometimes they'd move more to the middle for some sounds, more to one side for others, switch...

The EQ is indeed awesome... but more for tracking and mixing than for 2 buss work... you can get a pair of Speck Electronics ASC-T EQ's for just a few bucks more than the ATC-2 and that will work wonderfully well as a 2 buss equalizer. Best of luck with your search!!

I've had one for years... they're absolutely brilliant!! On mine there is a "summing mod" [factory] where I can use the pre's as individual mic amps or combine the two signals with a master out. I will often use this for close and distant mics on guitars or if I use two mics on a snare drum...

I use one of the Kevlar 6" speakers from a KRK monitor... it works great as a second kik drum "mic" [which seems to be about the only thing I've found that anything "KRK" does well].

Every studio was different back then... most studios built their own consoles until around the beginning of the 70's when "console manufacturers" started to spring up... Neve, API, Sphere, Helios, APSI, Angus, and a whole host of other regional desk manufacturers began to appear. Most of the...

Unfotunately Ampex is out of business so they no longer issue "gold reel" awards... which were 1/2" reels on a black platic background with a plaque. If you really want one I'll be happy to sell you one of mine. The only 3" tape machine was made by MCI. It was a 3" 32 track machine that I...

Tuning is absolutely the key to success [which is a beautiful thing in my world as I get hired as a drum tech every now and again!!!]... then mic'ing is the next step. I usually use a Sennheiser MD-421 on the top and a Josephson e22S on the bottom which run into an API 3124MB+ and are mixed in...

Set up two mics in the room and take a mix out of the console... record it onto 4 tracks [which damn near any laptop can do these days]. Balance them/sync them to picture and it should work... hopefully she's not trying to do more than a few seconds of band to picture because if its not the...

Find the breathing in the track and manually lower the volume level by about 2-3 db more than the gain reduction on the compressor... that way the breathing should sound about normal in the track... or not, just a thought, not necessarily a good one. Peace.

The board in my studio is an old Yamaha PM-2000 which was built as a live console... but its "Class A/discrete" and sounds absolutely huge... cost me about $4,000 USD when all was said and done... but it sounds about as good as any $125,000 USD API desk I've worked on so I would say it was a...

The "getting the signal close to peaking" thing is a hold over from the days when 16 bit digital recorders ruled the planet... when you're using 24 bit digital recording the need to get things as high on the scale as possible is not that important. The "word length" associated with 16 bit...

Why a condenser mic? The majority of the hip hop vocals we've cut at our studio have been done with a Shure SM-7b and have come out great... far better than they could have ever come out with a cheap condenser mic. As for the rest of the chain... if you have a USB input on your laptop then an...

We run into this a lot [like every session] at our studio so I talked to Jonathan Little at Littlelabs and we created the "STD" [Signal Transmission Device] so you can have no loss transmission of up to about 100ft. I've found that using long [like 50 ft.] guitar cables messes with the high...

Unity gain means you have the same level going out as you have coming in... its all part of "gain staging" [also known as "gain scaling"]. I'm sure there is some "audio dictionary" thing somewhere on the web that can explain the concept better than I can. Peace.

If you're just using the mixer for monitoring then don't worry about how you have the gain setup on the mixer and concentrate on the signal chain. My advice would be to set your input gain on the mixer at the same level straight across the desk, set the faders to a set level across the desk [-5...

I thought it was pretty cool... but I really want to hear a finished version in my control room instead of a prototype on a show floor... but what I heard from the prototype on the show floor seemed pretty cool.

First off you're running through an A/D conversion to get into P-T, then a D/A to get onto the MTR-90 [which can make level management a bit tough unless you run through something like a console which adds even more amplifiers to the signal path] then when you come off the MTR-90 you're going to...

Good player, good instrument, new strings, small diaphragm condenser mic, smooth sounding mic pre and a little dab of compression usually does the trick... but it all starts with the player so if you don't have a good one of those that is the first thing you need to find. Peace.