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In a lot of cases it's easier to blame the gear for poor sounding results than it is to blame yourself and so go questing for the magic bullet that will turn you into an international hit maker overnight. Once you get to a certain level of gear the results that theoretically can be achieved is...

I have read some mix books where they suggest this HPF technique since your speakers are unlikely to be able to produce the sounds below 45hz-60hz anyway and even if they could your room will probably not be treated adequately to cope with the very low end.And you can't mix what you can't hear...

Well it looks like with Cubase you can drag the corner frequency until you can see in the EQ graph that roll off starts at 35hZ. With the nature of an HPF being an EQ curve though if you do this, even with a steep roll off filter, you'll be getting virtually no noticeable reduction of the signal...

Also bear in mind that HPF filters do not just cut off at that frequency. Even a steep filter like 18dB per octave isn't going to eliminate all sound below it. I have a 12 dB per octave filter on my desk channels cornered at 100hz and at 35 hz it's reducing about 17 dB. And consider that really...

By what objective, quantifiable measurement are you going to define better? without that it's just opinion and emotion

That's a good quote for if he can back it up with a list of #1 hits he's had where he used just a Tascam and a Fostex :)

Now that really would be breaking a rule of thumb! I hear they break your thumbs for doing that!

It's 100% both :) Part of the experience piece is understanding that the *RIGHT* tools matter An 1176 is a brilliant, expensive super fast compressor but not the right tool at all when you need a slower sound and the vibe of a *Cheap a$$* ART Pro VLA. Even if you know that no amount of...

It's both Good gear without experience = nothing much Experience without good gear = a little bettter Experience and good gear = winner Also, most pro engineers didn't start out at home on cheap gear, they started out as interns, helpers, tape ops etc in million dollar studios and learned on...

No matter what mic you end up with, unless the mic is broken in some way, you will always end up sounding like you. A change in mic is not going to make the difference between the recording sounding world class and awful. Mic choice is nuance. If you have a great performer in a great room...

My last CD cost $0.19 to make All the gear was purchased for 3 CDs ago project and guitars amps and pedals I would have anyway for playing out and practicing, so if I look at it that way then the most recent one and the two before that had no capital expenditure involved except to buy 100 blank...

I use a combination of the expander on the SSL 4000 channel strip and mute automation. I can't be bothered with cutting up recorded tracks,

Yes I have used the original sE one for location recordings where the room is completely untreated. since the mic is at the front of the filter and you sing or play straight into the setup, some of the direct sound energy is absorbed before it gets to the first reflection point which means there...

Many cell phones have a single mono speaker, and if you ever plug into one of those god awful popup speakers now available to make the non earphone volume louder you'l be listening in mono and kids when they share earbuds so they listen to one each are hearing a mono signal. Most often music in...

Me too :)

This is one of those things that will vary greatly depending on the experience and expertise of the person in front of the mic. With a really great vocalist you may just need a little compression, more for character,and then fader rides. When it's an idiot like me up in front of the mic it...

No, most pro audio gear is calibrated that 1.228 volts = +4 dBu (line level) where you reach the point of maximum S/N performance with minimum THD and reads as 0VU on the meters. As you push into the headroom you may get added THD depending on the circuit If your converter is calibrated that...

I usually shoot for around -15dBFS RMS since that is line level on my converters (RME fireface) and the peaks end up where they may

I do use pitch correction but not in my final mixes of my own stuff When writing a song and working on the arrangement, I'll record a vocal and then pitch correct the f@ck out of it until it's perfectly on key, every individual note. I then use this as a guide track for my melody. I may want to...

Not really, no. it would be nice if that were possible, but if you think about how every voice is different and every song is different in so many ways, the idea that someone creating an all encompassing plugin that will know what you want the end result to sound like and how much compression...