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The bigger the better.

Why do you refuse to mic the neck like everyone is suggesting? You will actually get more pick and definition there. I like micing up around the 3rd to 7th fret. If you need more body a mic up by the players head pointed down can get more low end. If the room sounds good a mic a few feet...

The interns I've worked with seem to know about as much as somebody who had been on the job for a month or two. Definately not 10 years.

Sounds nice. I'd leave it alone.

Your midi just needs a tube interface to make the drums sound better.

I'm going to vote for just hiring the other engineer to run things. This project has CLUSTERFUCK written all over it.

It is if you're looking for that really high impedance. :D

The compressor on the main channel is turning up the first part without backing vocals and turning it all down when the backup vocals start in. Take the compressor off the master buss and just compress the backups by themself.

http://www.guitarcenter.com/DJ---Lighting.gc

I would hope so. But the other night I witnessed a deaf girl singing karaoke so anything is possible :D

Mixsit, if his numbers are correct it would seem the problem is that he is smashing the shit out of everything. I would want at least a 6db peak to rms range but that's me.

Oh, nevermind :o

It might work but it would still be bullshit. Just get a Furman heaphone system. The HD6 system works great.

If you can afford a Yamaha S90 they have some great pianos.

Not quite the same thing because you could still be overdriving the sub group input.

Thanks dude, I had no idea what mastering was about. :rolleyes: The way I see it if a guy has given the final touches to an amazing sounding album then he probably isn't going to fuck mine up and he just may know a trick or two to help it sound a little better. But what do I know, I've only...

If you still have too much dynamic range then just mix in a bunch of white noise to fill the gaps. :p

That's because it's not a good idea. A drummer needs to at least hear the OH's so he can balance the relative volume of his kit. That is if he's good enough to be able to adjust his playing. The best Headphone setup I've used so far is HD280's and a Furmann headphone amp.

That's not really the recorder man setup. That's just a spaced pair. The recorder man method has the first OH directly above the snare and the other an equal distance from the snare and kick as the first mic. I prefer the Glyn Johns variation with one OH above the snare and the other a foot...

The only way it would have a chance of working is if both recorders weren't recording the same source. If it was drums on one recorder and direct bass or guitar on the other then it could be made to work. Both recorders on one drum kit is going to sound pretty weird.