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well that seems to be a huge thing these days....everyone wants more and more bass. I'd agree with MM and fix it in the mix. A mastering engineer dosnt diserve the burden of trying to raise things in a stereo mix cause that's not entirely his job. However, understand the affects of raising...

I'd agree with this one the most and the simple reason why: Depending on the style of music, you're gonna need more out of certain parts of drum. Rock dosn't have the same balance and sounds as jazz would. So if it's rock, try the toms/snare configuration. If it's jazz or something like it...

well noah, I heard the material. The mixes aren't bad. Just minor things. Vocals could use a little tigthen up and lowering, the guitars could use some more character (resonance, tone shaping, body, etc), some consistency between mixes. The only real advice I could give you, dispite the...

well unfortunately, If you're picky with the quality you want, you might have to find a studio equipped with some selection of mics and preamps so you can experiment. That's if this project is that serious. If not, try different mic placement and different setups in the room. Avoid...

It was probably answered already, but here's my advice: Do an excersise and pick out your favorite rock albums. Listen to them and on a piece of paper, write out the song name, the parts of the song and how the panning was used on each section of guitar. For example, a common technique for...

well this is the deal, Setting the right levels is a situational thing, it depends on the gear and how you calibrate it. The usual approach is to get the incoming signal as close as you can to 0db, or just before clipping. It sounds absurd, but that'll give you your best signal to noise ratio...

The songs should be left unaltered before mastering; that includes any normalizing, dynamic effects, EQ or any effects for that matter.

well the fact is this, surround mixing is in it's infancy, but it's a technology that is growing slowly but surely. This is especially true for DVD audio. Some predict DVD audio to be the standard within the next 5 years. This brings a lot of potential for the growth of surround technology...

Well see, the real trick is the proper use of compression and EQ. Commercial vocals are usually really compressed, which in turn gives it more presence and "feeling". I wouldn't turn on that low cut switch, just for the simple fact that you may need those frequencies later. Unless the room...

You know I found that the real trick to a good drum sound really wasn't mostly focused on EQ. Like was mentioned, you do what you can to get the best sound straight from the source. Make sure all heads are tuned properly, get a good punchy sound out of the snare (avoid piccolos whenever you...

Just Use Your Ears! :cool:

You can get away without having subs. You can use a good set of Pro head phones to monitor your low end. Something that is usually more beneficial in a room without any low end treatments. Most people will probably listen on a medium range system, which usually won't register the extreme low...

Yeah, unless you can come up with a way of shielding that room and wiring there's not a whole other lot that you can do.

Well on a thing like this you'd have to be careful. You could go for the noise gate approach, but that's like trying to cut your kids' hair with a weed wacker. If you have the software for it, you can find plug-ins that work on noise reduction, crackle, pops, hiss...just about any nuisance you...

A shitty mic and shitloads of compression

In addition: You find horra tones used more for mono referencing. NS-10s where popular nearfield monitors probably through out the 90s, but clearly these days there are more options to choose from.

Well aside from the previous answers, here's my input: You don't really need compression while tracking and is probably better to avoid using it during that time. That's my personal stance on that. However, you generally use compression during tracking when you want to control the intruments...

I would say the best thing is to record the whole thing. Especially if you're not too sure about that language barrier. The question is: do you have enough memory for that? You could use that as leverage for higher pay (I'm not satanic I swear). Also remember things like the dangers of pluging...

If the "theory" hasn't been proved wrong in 114 posts, then I don't suppose I should even bother posting, but I'll humor you: Recording at 96k isn't nessesary, and at many times it's over kill. You're probably thinking "crisp" sound, but it's definitly not a rule. Read up on the Nyquist...

When I'm talking specific, I mean specific. For my purposes, graphic EQs are too broad. So my wording is just fine. I personally never use a graphic EQ. Those are reserved mostly for tuning a studio sound system or a live sound system. Using a graphic EQ is a gradual step into parametric...