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so how do you explain the gerbils?

10-4 on the source. It's pretty hard to fix a sorry source. Skills are only as important as the piece that's being played. Some musicians are more talented in their knowledge of what NOT to play (because of their limitations). Some instruments are more forgiving that others. A relatively...

Well, I see you've made a few new friends here, TJ. You can learn to make VERY good recordings at home. What you will find out, however, is that you can also make shitty recordings in a pro-studio if you don't know what the fuck you're doing. When I was in audio school, we made a ton of fucked...

I suck, but the compressor makes me suck less. If you can't sound really good... it helps not to sound really bad. :)

Other than bleedover, you might record it live... and overdub the vocal tracks. Some young bands have a hard time dealing with their songs with no vocals... they get lost.

This is an interesting topic, indeed.

It's not too shabby in the video dept, either. Does a few tricks that I'm still trying to find a way to do in Premiere...

who says newbies don't know anything!

Oh, then I would kick his ass.:D (gotta go with Jake on that)

Yes, but proper drum placement for the best micing is a habit they should get into. Live sound reinforcement in a venue bigger than a dive requires micing the drums... and the sooner the drummer learns to deal with that... the better. Personally, I would get another mic.

If I remember correctly, a de-esser looks to compress a problem frequency when that frequency reaches a certain threshold... but does not reduce or compress those frequencies below the threshold. By simply finding the problem frequency and attenuating it... you aren't really de-essing. You are...

Mmm... I hate to break it to you, but David Crosby is not Bing's son. His father was a cinematographer by the name of Floyd Crosby. An Academy Award winning cinematographer, by the way.

I like Dylan's stuff, too. Especially when someone covers it! I'll throw a curveball with the BeeGees. Most people know how great they were with their music... but fail to realize how many other artists did songs those guys wrote for them. Carole King might be another to add to the list.

Just a quick observation: There are instances where I've used the phantom power on the NTK... for a reason. I don't have any outboard pres, and my Mackie mixer supplies phantom power to all, or none, of the mic channels. If I want to use other condensor mics... the phantom power must be on...

BTW, if you don't have a flight case for your NTK, you might try those aluminum cases from Lowe's Home Improvement. I have one that I took out the "pick and pluck" foam, and inserted the dividers into. It holds the power supply, proprietary cable, microphone, and shockmount very nicely. Best...

If I remember correctly, it doesn't matter if your phantom power is on. It should not affect anything in any way... at least that's my recollection of the NTK.

Well, I used the NTK tonight for the sax, and it sounded very good. The sax was the only instrument piped through the PA, and the NTK was a good match for the job. I recorded the event with a pair of LOMO heads on the MC012 capsules... and it sounded better in the cans than it did when I took...

Anyone remember the "Pig Nose"? You wore it around your neck....

How about the NTK on a sax? I might be going to record a live gig with a killer sax player tonight. I'm thinking about bringing the NTK for use on stage, and use my MC012's with LOMO heads as a stereo pair for recording in the audience.

I picked up an NTK a month and a half ago, but unfortunately, I haven't had the chance to let a singer bark into it, yet. I have also heard that an hour to warm up is normal... it is, after all, a tube. If I get half the results others have said about it, I am sure I'll be happy with it.:D