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When I start a mix, that's the first thing I do. I go in and make sure that the OH mics are aligned with each other so they're in phase, and I also tend to do the same with the snare and sometimes kick. Finally, I invert the toms one by one to see which phase gives me more body. All done in mono...

Alright guys, thanks for all your help with this. So I'm getting that a mono delay 'behind' the vocals is a common way to go about this. But I'm still wondering about one thing. I often want to use the delay not as an effect but more to give a sense of space to the vocal, much like a reverb...

ah ok, so pretty narrow then. I started to think about this because I don't usually hear delays echo (like when all the music stops for a second and the vocal delay tails off) in the edges of a mix, but usually more toward the center. Thanks!

When using a stereo delay plug on the vox, and that plug has the option to pan both sides of the delay, do you go full 100% to both sides, or someplace in the middle? If I pan them out wide, which I tend to do, the "walls" of my space feel a bit odd, and I feel that the delay can never be turned...

Out of all the kit, the toms are always giving me a hard time. I can make them sound nice and full with some stick attack when the drums are soloed, but within the rest of the mix they tend to disappear some and lose power that I thought they had. I notice in pro records that the toms are often...

Bahaha! I just laughed so damn hard. I'm not sure what was so funny, but I needed that tonight. As a side not, I can't remember the last time I even thought about a VCR

Hey Roger, you need a USB or Firewire audio interface. You can get a 2 channel interface for $100 or less brand new. Cheaper if you look on craigslist or something similar. They will have XLR mic inputs, and ofter have line level instrument inputs to record a guitar without using an amp for...

Even when they're not right... Well, just stfu :cool: For me though, I just found something I really like doing, and wanted to get educated about that too. I've done far more with my music than I have with my degree, so screw it.

I know the feeling. I spent 5 years in college to get a BA in Communication, which I'm happy to say I am using somewhat (Recently moved to Japan to teach some Engrish. Studied Japanese for a couple years in school too, hence what I posted). But for the last 2 years of that time, my GF would tell...

No joke! 全然分からなかった! Hehe, had to. If you think it's Chinese, go back to school!

Yeah, It's a real pain in the a$$ isn't it?! Besides a limiter from time to time, if the comp won't allow me to adjust the output I just quit using it. Mostly because it's impossible to A/B which I do constantly with compressors. I'm still figuring them out to be honest.

For the first piece, yes, that's the idea. You could try to get all the tracks near 0, but it's a risky business of not going into the red. Mix at low levels and limit the mix later for the volume you're after (which is more complicated than that, but it's the jist) For your second part, I...

Yeah, that can be hard to catch onto I think... I'll do my best to explain, but I'm no expert on the subject! How I understand it is this... In the digital world, 0 means 0! This is to say that if you cross 0dB on a channel (any channel), you will be in the realm of digital clipping, which is...

Hey there. You have a lot of questions, and most of them I'm not qualified to answer but others will come along and help out I'm sure. However, in terms of workload for your machine, you should be able to record as many tracks as you'd like at once (as long as you have the proper equipment of...

For a demo it's not bad. I can hear everything so that's a plus. The biggest sore point for me is the drum room. Sounds like you tracked in a garage but the guitars don't have that same space around them.

I found that it can really add cohesion to sounds.. I often struggle using a reverb on a drum bus, and then a delay on vocals and making them sound like they should be the same room. I thought to take my vocal delay and feed it into the drum verb so i could get them together better. I'm still...

I don't wanna stomp on your new skills, but NOOOOOOO!!! lol :eek: The thing about commercial tracks is they have been mastered. One of the main things that mastering does is increase the volume of your tracks. You will never get a good sounding mix at the same volume as a radio ready track with...

try plugging the RCA to 1/8 inch into an ipod or something. If you get sound, it's all in the computer someplace. My guess is you'll hear the ipod just fine. Another test is to plug headphones into the interface itself. No sound there? Again, it's gotta be somewhere between the interface...

I built 2 rectangle frames. Probably something like 7.5' tall x 5.5' wide.

I did exactly what bobbsy recommended and it worked frickin wonderfully! Recorded in a full wooden livingroom (walls, floor, ceiling, all wood and reflective as an SOB!) and you could never tell. It sounded nearly as good as a real treated booth I had the chance to use in another session. I put...