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I think you guys suffer from the same issues that most new metal bands have. You are trying to make too much happen at once. There is also no low end and very little high end. The mids are also missing. I'm not sure how you accomplished that.

I like the HDR and analog mixer setup for tracking full bands at once. It's still the easiest way to setup a complex monitor mix and HDR's are usually much cheaper when it comes to cost per channel compared with computer interfaces. I also like the way you can work on them the same way as...

Try sending all your rhythm guitars to a buss with some heavy limiting on it. That can help them find the right spot in the mix. Make sure your bass track is mixed well because that can have a big effect on the guitars.

Fucking audio hooligans.

Running an extra printed fx track should be less intensive on your DAW then processing a track live so you at least save some CPU cycles that way. Most people use outboard gear because they want the sound of that unit. If your plugins sound better then just print tracks from those fx. If this...

Why are you converting the raw tracks to MP3? Just use the .wav files.

Is soundproofing necessary? If not I would just put a bunch of rigid fiberglass in the gaps and staple over some flame retardent fabric.

Chances are the studio wasn't properly permitted or something like that. If the extra square footage doesn't show up on the county records that is usually the case.

Each design will have their own set of issues. I would probably go with an open A frame and acoustically treat the peak. As a general rule the more air volume you have the better.

Nor do you see any furniture padding which proves the point that no treatment is better then the wrong treatment. They have a lot of shit around the room which helps with diffusion and the open floorplan with high angled ceilings also helps.

Stick to writing, preferably about things other then audio engineering.

Just remember in Australia you have to install them counter-clockwise.

Your input peak level should be irrelevant to the final output level. If the ME is paying attention he just needs to bring up the input level or output gain. If an ME can't figure out that the most basic practice of mastering then he's in the wrong business.

When I double mic two acoustics I like to pan the bridge mics closer to center and the neck mics to the outside. For instance guitar 1 Bridge 20% L and neck 100% R. Pan the other guitar opposite of that. It gives you a nice fat sound with a lot of stereo effect.

You might pick it up well with a cardoid or fig 8 mic next to the source aimed at the toy mic.

We just used a Beta 58 on most of the vocals of our last album and I often use 57's. They give you a nice midrange sound without too much room or sibilance issues. I would try some light compression to take a little off the top and then slam it into a limiter. If it still sounds thin you can...

That looks like a pretty standard mix but you may want to center the toms more. Put the center tom in the center and the others to each side. You have a good starting point and just do whatever sounds good from there. Listen to albums you like and see what they are doing. Sometimes it's...

I can't imagine there is anything you could do to the mixes to make things better if you are going with a good mastering facility. If there is something wrong just blame the mixing engineer and have him fix it.

I've never been able to get anywhere close to a big sound without having a nice room to work with. A heavily limited room mic in a lively room is like having a "huge" knob for the drum mix. Panning a guitar's room mic to one side and having the close mic on the other can widen things up...

In that area you can cut a lot of the guitar unless it's vital for the sound or genre. Filtering the low end on the guitar anywhere from 80hz-300hz is pretty common. Make sure your kick isn't taking up too much low end. Sometimes a roll off or filtering at around 50-80z can help. Heavy bass...