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The phase issue likely isn't related to the ping. And the ping can still be the string above the nut. Try dampening that to see if the ping stops. The phase problem is mic position related.

1) Yes, some weird phasiness going on here. 2) Cotton or felt under the strings above the nut. That sounds like your high E string vibrating between the nut and the tuning peg. Happens if you're (for example) using 10's or 11's when the nut was cut for 12's.

The Ultimate Demonstration Disc, Volume 2 (Chesky, of course) on SACD (also plays on a normal CD player). That's the "test" disc. Any new equipment, converters, power supplies, even cables (I know, but still). Every track is there for a specific reason, no two sound similar (if they do, you...

Well, you're using a UA Apollo and Cubase and a Roland (???) that's connected via USB. Knowing what that is might help. There almost has to be a way to change the clock source...

The sample rates should (1) be the same and (2) be clocked from the same source. Even two clocks running at the same rate are going to be out of sync to some extent. At least enough to cause some "micro-crackling" with signal...

I've used a box or two (and more than a couple mics) that would exhibit a certain amount of noise with phantom engaged. Easy enough to figure out - Turn on phantom and see if there's noise.

I was (live) mixing a (rockabilly?) band with 3 vocalists using 55's and (in my typical fashion) said "Are these props...? or can I talk you into 58's...?" or something like that and they said "No, these are fine - You'll love 'em." And I did. Here they were, singing 3-part into these...

I can't even imagine not having a SM7b. There's one 3 feet to my right (and this is a mastering facility that barely ever records anything - but when a vocal take needs to be tweaked at the last minute or a bunch of VO's need to be cranked out, it's handy to have). Not what I'd put several...

The mood of the listener at the time.

Maybe I missed it, but do you have a compressor on the bass that *isn't* fed by a different input...? You may need one to control the overall level of the instrument (or use volume automation) and another to control the balance between the two.

Just buy a Shure SM7b and stop worrying. :thumbs up:

I used to use 160's on the drum buss a lot... Electric bass, pretty much the 1176 crowd. Wouldn't be my go-to on most acoustic stuff. That said, if you like what it's doing, go for it. As far as mid-side goes, gentle as hell is usually best. But experiment hard.

"That side" is literally the definition of the word. That said, certainly, it's a good idea to just get it out of your head for a week or two and try listening to it with fresh ears. THAT said, it's a good idea when mixing also.

At risk of sounding ambiguous, you do what the mix tells you to do. Theoretically, you did that already while mixing. That said - Line 'em up in a project so you can bounce around between tracks and do what they're telling you to do. You'll probably find EQ tweaks from track to track that...

These posts do weird things to my brain.

WHEN YOU'RE RECORDING - that insert jack will work with the active input. If you want to compress a signal *on the way in* (which in most cases probably isn't a good idea, but we'll put that aside), that's where you connect your insert cable to the compressor. Tip to input, ring to output, and...

That's the basics right there. A final QC check. Maybe looking for anomalies, pops, clicks, etc.; sort of gently (typically) "massaging" them in a common direction (even mixes done in straight-through sessions can sound like they were done by different engineers in different spaces) to bring...

I know a lot of people using the Rode Procaster. Covers the whole shebang including phone inputs, multi-tracking to USB *and* to onboard Micro SD, SFX pads, mix-minus for phone inputs (including BT input), basic EQ curves, auto-ducking on input 1, 4 adjustable headphone outs plus engineer out...

I'm sure it's been posted somewhere before, but: Multitracks - TELEFUNKEN Elektroakustik Some months back, I had to put together a "mixing boot camp" for a crew of theatre technicians. Stumbled across this source of raw tracks. As someone who has worked on several recordings done at...

Typically, most on-board audio interfaces (whether "business grade" or otherwise) - well, suck by professional standards. They're typically listenable though. If you're not monitoring through your 2i2 and using your on-board output to feed your monitoring chain, you're still probably in decent...