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Am I missing something? How is that possible? Are you changing something in the new session? Are you having the .wav mastered before you ad vocals? If not, it should sound identical as it does in the original session.

In general, Reverb is driven or activated the most by volume peaks in the recorded track. The louder the volume peak, the louder and longer the reverberation tail, (or ringing,) that will follow each peak. Compression serves to reduce high volume peaks, (depending on threshold,) to level out...

The debate about using headphones for mixing will probably go on forever. I feel that the answer to that will always be subjective based on content, skill level, and expected results. Many headphones do tend to give us a false sense of separation, depth, level of effects, and sometimes even...

It is possible that you are ending up with a boomy sounding bass because of this knob. When the control is turned toward the HF position, gain reduction is increased on the high frequencies as they pass by. When set to the flat position, gain reduction is applied equally to all frequencies...

Are you familiar with the R37 control? Are you running it flat with your Bass? (Just curious)

That's my point. I feel that it is nearly impossible to give general advice on EQ or compression settings. I approach EQ and compression only as tools to correct problems. How can you tell a guy what to correct without first having heard his problems? That's like telling a rookie dentist to just...

I can't believe you guys are actually giving this guy advice on compression without ever hearing his tracks. Every track is different. How do you know that his tracks even need compression or EQ at all? ...much less two of them. To the OP...you really should learn to properly use a compressor...

I've used many popular mid-priced brands including Radial, Whirlwind, and Countryman. This little box sounds every bit as good for less than half the price. EWI LDB-101 They also have other versions such as 2 channel active, passive, and rack unit.

Apparently my headphones sound more natural than the OP's because I rather like my "headphone voice". I find it easy to stay on pitch with them on. But then, I don't do any processing on-the-way-in either. Maybe that has something to do with it. Anyway, it still comes down to simple...

I don't understand the need to take one ear off. Can't you hear your own voice in the headphone mix? Why would you want to hear your voice unprocessed if it is going to be heard processed on the raw recorded track? Maybe I'm missing something.

"In phase" with what? ...itself? ...the source? ...another mic? How would it know that? My thoughts follow the same logic as on/off labeling found on other gear such as, EQ-in/out or Pad-in/out. But again, who knows? I'm just guessing.

I could make a logical guess and assume that IN means the phase is reversed and OUT means that phase is left unchanged, but it would be nearly impossible for us to know without knowing what preamp you have. Perhaps the preamp manual could give you some insight as to which setting is "normal"...

LOL. I hear ya. From now on using more than one mic should be known as, "The RawDepth Method".

Wait! What's the matter with headphone bleed? Isn't it the same music that will go with the vocal track anyway? As long as there is not click track bleeding through, leave it there and don't worry about it. It will never be heard. Otherwise, have you tried professional in-ear-monitors? They...

It really depends on the sound that you seek. If the recording calls for a thin, airy, one-mic sound, then yes, it is possible to get a good drum sound with one mic. If you are recording a band like Disturbed or Metallica, I seriously doubt this method will deliver results that will make the...

What if you have Mixed feelings about Mastering? :confused:

I rather dislike the sound of doubled or multiple layered lead vocals. To me, it sounds so smeared or blurred. (Not talking about harmony backups here, just lead vox.) I see it as a cop-out from doing a better job with a single vocal track. Of course, if I have a client requesting it, I'll do...

I believe the SM58 is an over-priced antique that should be put to rest. There are lots of more modern hand-held dynamics that can run circles around the 58 any day of the week. For example, check out the EV - N/D767a or perhaps Heil - PR22. Go do some A/B testing with vocals. You'll never go back.

If I had a dollar for every time a music store salesman recommended shitty gear, I'd be able to buy some pretty good gear with it.

When I made that statement about studio recording, I had vocals in mind. But now that you mention it, the Co9 would indeed do well on a snare or something like that. My Co7 is every bit as rich and natural sounding as a 57 or 58. It just has a slightly different character or flavor to it. The...