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Then the problem is with the instrument, the amp/speaker, or the room. Usually, it's the room, at least in live-performance situations. MANY rooms have dead spots and wolf tones at certain frequencies. So, in order: Try a different room. Try a different amp or speaker. Try a different bass...

What you DIDN'T say - or I missed it - is whether these "wolf tones" occur in the room or only on the recording. Seems to me that piece of information is crucial to addressing the problem!

I've been playing upright for over 30 years, and I often roll off the low frequencies when mixing. I agree with notCardio: I don't want it to sound like a steroidally-enhanced big band in a movie, because that's not how upright bass reallly sounds.

People have all kinds of methods for upright bass. And all basses are not created equal, along with bassists, strings, etc.. I like to keep it simple: One mic, cardioid, or figure-of-eight, about two feet off the upper bout. Adjust to taste. The 421 would probably be a good choice. I...

There's no effect you can buy that will give you what you want. I'm going to suggest that you're wanting something that's not worthwhile. For years I tried to sing "rough." I have the tapes to prove that it sucked. Once I began simply singing naturally, it didn't suck anymore. In fact, I'm...

To me, the benefit of the big boom stands is that it makes things easier. Positioning drum overheads is a piece of cake; I don't have to worry about the stand tipping over if I get the boom high and/or extended. But they do take up a lot of room.

I'm with track rat - my AEA R44 does a great job all by itself. If you want stereo, a single X/Y or Blumlein pair is the ticket - but tell the talent not to move!

I should have added that piezo-type pickups invariably need a buffering preamp. Whoever makes/sells the pickup should have information about this.

Yes, of course you can use your bass-guitar amp. As to whether you will get a good sound, it's really up to you, the strings, the pickup, the room, and your EQ settings, as well as the amp and speaker!

I can think of two examples right off: 1. Louie, Louie (as a matter of fact, the whole LP album on which Louie, Louie appears) by the Kingsmen. 2. The original B.B. King recording of Sweet Sixteen. But what a great record it is.

Not if the tuners suck.

This question has been asked several times here, and people still don't seem to get that there is a distinction between styles, and that your approach to recording them will be completely different. Plain old blues harp is recorded as you would record a vocalist or horn player. Amplified blues...

I've done it both ways. Sometimes I make demo recordings for choral music, and I have to read sheet music. In that case, I'll take it section by section 'cause I'm not a perfect sight reader. Most of the time, though, I'll record the whole song. If fixes are needed, we'll redo sections.

Even when you're playing live? That's really a crowd-pleaser... Seriously, if your guitar won't stay in tune, you need new tuners.

The keys to "warm-sounding vocals" are: 1. Singing softly 2. Singing close to the microphone

Guitars don't rock; people do.

Well, I think it's possible to find good deals on mastering. I'd venture to say that there a lot of guys who can do a good job for not much money, but they aren't advertising. And I certainly don't mean to disparage any of the guys on this board who do a good job and charge market prices. My...

Not if you're not feeding back. I did this a few years back with my LP and my Strat. Both guitars yielded several seconds but don't remember exact details.

Well, this post sure brings up the need to express what we mean by vintage! What vintage? What style? What studio? What drummer? What drums? You will find examples of "live-sounding" drums, "dead-sounding" drums, and everything in between in just about any vintage. Ringo's drum sound doesn't...

Start her on a ukulele!