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For a similar price, I'd check out the Groove Tubes GT55. I got one on ebay really cheap and it's been really good to me for many applications.

I have had good luck with the Shure SM7 paired up with a direct line. The bass tone is very important too. Often mics will pick up a lot less "bass" than what you're hearing in the room unless you spend a lot of time tweeking the amp and placement.

Every piece does matter, right down to the guitar pick. Have a GREAT song, player, instrument, amp, mic, placement, cable, preamp, recording medium and mixing engineer and you'll have a GREAT sound. Every element has a different weight in the sound potential-- ie: a less than average player...

Check out the TL Audio 4 channel tube preamp. I think it's the 5001 model. I have one and it's great for drums, especially if you push the tube element a little bit. It's not 8 channels, but a nice sounding 4.

I've had good luck using a TL Audio or HHB tube preamp running pretty hot to get a good dirty vocal sound. The HHB Radius 20 EQ goes for about $300 and it's good for manipulating/tracking just about anything that needs a soft tube sound.

See if your recording equipment and amp are plugged into the same circuit. Sometimes just moving to a plug on the other side of the room can help. Or, if you have lights with dimmers installed, see if adjusting them makes a difference. It might not be the amp at all.

I just noticed this rep points section of the site because of this thread. Interesting... It's human nature not to enjoy the company of everyone we meet. No matter where you go, there's going to be someone who isn't acting the way you'd want them to. What can ya do? I'm mixing a record right...

You could record digitally then mix down to cassette tape but I'm not sure you'd get the desired effect. You could try it though. I know even cassette tape does wonders for cymbol sounds that digital recording seems to butcher. Mic and preamp types as well as the actual sound of the instruments...

Yeah, they're pretty solid monitors. I did some research on them a while back and found some information about the company and how they make and test the speakers. It was definitely interesting information.

How can an album be at -6db AND be extremely dynamic? CDs still only go to 0db, right? I don't mean to be an ass, but by definition you can't really have both. I like listening to loud music but anything louder than -10.5db (for really really hot songs at their loudest parts) usually sounds...

I always suggest that people mix their album without any EQ, compression, gates, etc first. Just volume levels and panning. Then, sit down with a notebook and make notes based on what you hear when you listen to the album like that. It takes patience to not touch any knobs the first time around...

I'm waiting for a band to remix their album for mastering right now. It was smashed all to hell with an L2 to the point where I'd really prefer not to work with it. So, I guess my answer is to use whatever you need to, but as long as you know exactly what you're doing with it.

www.cd-rep.com www.indiepool.com

I'll throw my hat in the ring here. Check out the website in my sig.

The formula I've been using over the past few years is to set volume and panning then burn a copy of the disc. Listen to the disc and make notes about what needs work, using your ears instead of your eyes. Limit yourself to the use of only 2-3 compressors or EQs, as though you only have a...

I'm always confused when people reach for a compressor to get "more punch". By definition, the effect of compression is "less punch"... to limit the difference between peak and average level. Mix bus compression more than 1db is going to just kill the mix and less than 1db is used mostly just...

Congrats. Hopefully this pushes things in a direction you're comfortable with. Press like that certainly can't hurt.

The room sounded really good for such minimal construction. The walls were modified to have a bit of a zigzag pattern, with triangles about a foot deep coming out from the walls. It's got pretty high ceilings and a lot of acoustic tiles on the walls. Not the new foam stuff, but old school...

Email me at ryan.mills@littleking.ca . I have an idea.