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How about constructing a percussion loop for the song then track the rhythm section to that percussion loop. Unless your drummer is really good it's tough to get a good feel when doing drum overdubs even to a guitar that was played to a click track. It's usually a good idea when doing a band...

The RNP is a pre-amp, the RNC is the compressor so your comment about not using them on close mics so you can gate later is a bit irrelevant. I think you'll find the RNP to be a rather clear sounding pre-amp. I quite like them for overheads, as well as Snare and Tom stuff. I usually prefer...

Some of these might be a start... this subject has been widely covered over the years [and I don't personally feel like covering it again... but these books do an admirable job of it]. http://www.amazon.com/gp/product/0600557847/104-5767908-5848734?v=glance&n=283155...

How close is Nebraska City to Lincoln? The Mogis brothers will know an excellent drummer or two that can probably be had for like $50-$100/song or something like that. Life's to short to suffer through shitty drummers!! I'm probably going to be forced to record my daughter's band sometime...

No, there really isn't a rule of thumb. I start with the room and fit everything else into place with the room sound I have recorded... but I don't believe that's the standard way of working. Then again 90+% of the "live" recordings I hear sound like bad studio demos with reverb so maybe it's...

Both of those will work. I would recommend you put the B-1 somewhere around the front of the stage aiming out and the 58 about 15 or so from the stage or in front of the mix position. Record them on separate tracks if possible and balance to taste later. I would also recommend that when you...

I roll at 24/96 on my RADAR V for the most part. For straight on 'rock and roll' projects I will roll at 24/44.1 because the bottom sounds a bit tougher and I'm not quite as worried about the resolution of the cymbals and air on the vocals. For instrumental recordings, jazz recordings...

Stop looking at the pretty pictures. Most waveforms, especially vocals are asymmetric. Listen to the sound... if it sounds good, it is good. If it doesn't sound good looking at the pretty pictures ain't gonna help.

I have so many stories like that from the last 30 years they could probably fill a really boring book. What I have learned is that you need to accomplish your trouble shooting in a logical order. I have found that this order is usually best when you start with the console [or device that is...

As you use equalizers during the tracking phase of the project be sure that you don't do anything seriously radical. If you require more than a db or two at any given frequency/range of frequencies then it's time to consider a different mic, pre, both, etc. Equalizers are often exceptional...

I've heard a couple of people getting excited about 'digital distortion' on things like snare drum hits... the unfortunate fact of the matter is that the sound gets very tiresome very quickly and actually distracts from the emotional impact of the overall presentation. The one thing I've found...

You have a few things going on... first, it seems that you're buying the concept that you can get a great guitar sound without speakers. You can get good ones, but not great ones. I'm in the middle of doing a live recording with Johnny A where we're recording all the guitars "direct"...

I've done this several times but as the guy with the studio where we create a drum track for someone else. Usually what happens is the person who is getting the drum track sends me a copy of the song without drums... I figure out what will work for the song, call the appropriate drummer to get...

Like RAMI said... there is no reason to think you MUST run everything through a compressor... especially when going to 24 bit digital... especially if you have questionable compressors [which I don't know if you do or not because you didn't say... but I'm guessing that if you're asking the...

If you have access to a ribbon mic that operates in the Figure 8 pattern try putting it between the two drums... usually works like a charm [I'm a big Royer SF-1 fan for that particular application]. Best of luck with it.

I've never heard one that sounds like that in person either... however, with a few noise gates and some artificial "reverb in a box" and a ton of hours getting reverb balances to gate settings... and yeah, a measure of mix EQ... you're going to get the over the top, Coke fueled explosions that...

I looked at the name of this thread and thought "eq'ing Tom's what?". Toms shouldn't need any EQ... if they do change the tuning, change the drummer, change the room, change the mic, change the arrangement of the song. There is no more a generic EQ than there is a perfect bottle of wine...

Thinking? Who the fuck said anything about thinking? I don't "think" when I work... I just over-react.

You should expect 100% perfect results each and every time you set foot in a room... you should expect to be as good as Ed Cherney every minute you're sitting in the chair. You should push yourself to do the best work you are humanly capable of doing... while you're learning at every turn. It...

Those are "G Series" commands [if you had done play join mix from here it would have been an "E Series" command]. I know those desks inside and out [can even make them do some stuff they don't mention in the manual!!]... it's the "j" and "k" series computer where I refuse to take the time to...