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Greg is absolutely right about the ribbon collecting bad sounds on the backside. Try underheads; set the ribbons up under the cymbals. Just Google underhead mic placement, you'll see. The null at the side of the mics picks up very little direct from the drums and when done right sounds amazing.

I find that a big room with a low ceiling can work if you place an omni or figure 8 mic at the right spot between 2 parallel walls. I use in ear monitors and shooters muffs while the drummer is bashing away. It takes a lot of playing around but you can find a sweet spot that represents a good...

The MXL R144 is a perfectly serviceable ribbon mic. I replace the transformers with on made by Cinemag from Geistnote. I also install a new ribbon as most I have found stretched from the factory. Also, the 2nd layer headbasket mod opens it up quite a bit. I leave the mesh on the ribbon motor for...

The RE20 is not magic: it sounds quite good on most sources in most circumstamces. It tales a ton of gain though so a cloudlifter or fethead might be necessary. Also, for voiceover, post processing is key.

It's not latency as I checked another mic on the same chain in Cubase. It is a delay of about 15-25ms, just enough to say hey, something sounds weird. It is so close it almost sounds a bit phasey but it is definitely a slap back. My guess is that while attempting to "clean" some dust off the...

I have a dual diaphragm condenser with a C-12 style capsule that has a distinct slap-back sound in the signal. It is a Feilo F-3000 factory prototype which I believe is the starting point for a Charter Oak e-700 (with C-12) and the SE Gemini (non tube). I did just recently try to gently clean...

Why not just print the delay to a separate track, chop it up and use only the portions you want? Then you can automate the delay tails to sound exactly like you want at every instance. Real time ducking is for broadcast or live applications.

This mic has a mod that really helps with the brittle top end. There is a 470pF ceramic cap under the capsule; change it out to a 1000 or 1500pF polystyrene film cap and the top end becomes really smooth (higher values roll off more HF). There is plenty of room just make sure to use heat sinks...

Perhaps the most ignorantly Republicunt thing ever said. Bravo!

Doing nothing offers tacit approval of the message this person is putting out into the world. Think of the priests and bishops who moved kiddie fiddling priests around to avoid justice. Or maybe the German citizens that lived just outside of Auschwitz that just kept their mouth shut because it...

If those are used for instruments in a studio setting leave the foam out. Mark the mic as "no vox".

I'm in Minneapolis. Maybe we all have a difference of opinion on what it means when a player keeps proper time. My point was really that, by and large, melody instrument players tend to vastly overestimate their skills in regards to timekeeping and love to blame the drummer when they can't seem...

Oh I wish it were that simple. I have played with and recorded with some of the best local talent. Even the best can struggle with keeping even time. My point really was that it is nearly universal, in my opinion, that people who play melody instruments like to think that it is the sole...

I wonder what the acoustic transparency is on those bonnets?

Has anyone mentioned how difficult it is to keep time when the bass player is wanking away with "feel" and the guitarist is playing ahead of the beat and then bitching about the song speeding up? Maybe all of you stringed instrument players should set up a metronome and check yoself b4 you wreck...

Shure SM7B.

Like Dan Fogelberg and Ry Cooder. In fact, most everything released in the 70's and 80's under "dudes name here". I have boxes of lp's that are exceptionally well recorded garbage. It was never as good as you remember.

When I am recording rock or new country I don't find anything wrong with using the tracked, unadulterated overheads with kick and snare (and sample augmentation) and replacing the toms with samples of my own drums. Being able to clean out 3 or 4 tracks that are just collecting noise really makes...

I sample the kit drum by drum and replace with those samples. It clears up the drum mix so much and you don't have to try to gate everything out of those toms. I think the real issue is the use of impossible sounding samples. Of course, metal has always had a problem with reality in my opinion.