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RMS does factor much higher than peak level when determining loudness, but it is still not enough to get the job done. EQ alone will throw in a monkey wrench. Really the only way to do it is by ear.

For starters, get your vocalist out of that corner. Get out in the room. Even untreated, it will be better. The corner of an untreated room is like standing wave central. You don't want to be there.

If it is not 1 take 2 tracks, there will be no phase relationship to speak of. So yes, that is the scenario I was talking about.

If the room is rectangular, set up your mix location in the center of one of the short walls. Go for maximum left/right symmetry in the room with regard to the mix position. Keep a couple of feet free on all sides of the speakers including behind. Put large bookshelves in the corners full of...

That is the entire point of reamping! The only reason to ever reamp is to change the sound. Why not just edit the timing and then don't reamp?

Normalizing will make it so the highest peak in each file is the same volume as the highest peak in every other file. This will do nothing towards making them play back at equal volumes. Human hearing conjures up what we recognize as loudness from many different factors. Peak loudness does...

I'm noticing 2 main things: You've got a bad case of Karaoke Effect going on there. The vocals and "everything else" seem to be two independent entities. You need way more contrast (aside from the vocal/instrument contrast which you have too much of). The mix feels timid, like you went at...

Get yourself some piezo buzzers from radio shack and fasten 'em to your drum shells. Bam! Real skins with accurate triggering for like $5 a pop. I've done that many times with great results.

I still don't see what that has to do with reamping. That sounds like a "copy/paste" or "nudge to a grid" type of thing.

I usually use one or the other (and most often that is the mic), but let me paraphrase a bit I read from Mixerman: A mix of the two signals can be very useful when creating the relationship with the bass drum. Early on you decide if the bass drum or bass guitar gets the bottom. Due to phase...

Alright, numbers might be useless. But let's not sugar coat this. It will take on the order of years to hit your stride. Personally, I'd rather know that going in than spend money and wonder why I still suck 16 months later. It's not a case of "Stay away, foolish mortal! This entry barrier...

This is coming from a vet. Yet I am none the less a home rec'er, so take it with a grain of salt. Use speakers to mix. Use headphones for picky edits. You're producing something that will be played back on a variety of equipment in a variety of listening spaces. Headphones alter your entire...

Let's stop right here and make sure we are actually talking about reamping: Reamping is recording the sound (usually) directly off of the guitar, at a later time sending the dry recorded guitar off of the recorder into a guitar amp, micing that sound, and recording it. What does that have to...

Let me sum this whole thing up so it doesn't get lost in a long post. The musicality is missing because you are processing too hard at mix time. That is most likely because you are not selecting the proper sounds and arrangements at recording time. Many of your problems sound like the result...

I can't imagine how extreme that filter would have to be. It would certainly never arise in "normal" mixing. I mean, some bass guitars already have overtones more powerful than the fundamental right out of the cabinet. Our brains are amazingly good at hearing the fundamental, even when it is...

*Takes a deep breath* Aside from a sin wave...No. The overtones will clue you in on the note even if the fundamental is totally missing. How is your monitoring situation? Good room and speakers? Be sure to take at least a few days off between tracking and mixing as well. This sounds much...

A high pass filter MUST attenuate the low frequencies into oblivion. If I put a high pass at 100 Hz, there will be no signal at 30 Hz. A shelf could just knock it down a few DB. I could put a shelf at 200 Hz and still have plenty of signal down at 20 Hz, just quieter than it was before. You...

In '91 and '07 they put out a CD that included all of "Energy" along with most everything else they recorded. They called that one "Operation Ivy". I was speaking of the '91 release. Never heard the '07 release.

Take note of this one, homerecordists: Southside, Greg, Miro, and myself rarely ever come down on the same side of a question. I don't cut crap unless I hear a problem that needs to be cut.

That might not be as big of a problem as you think! For one, if you can afford it and it is an upgrade on your equipment...score! If not, sell it off. That kinda' stuff can bring in money. I have another CD for the list: Buena Vista Social Club- It's a clinic on playing up the room...