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Or you could do the old Tommy Tedesco thing and tune all the odd stringed instruments like a guitar and play them. His trick though was to be able to play them like they are supposed to sound.

I actually like some of the convolution reverbs. I'm a big fan of the Valhalla plug too. Convolution verbs are hard to grasp the concept of unless you've actually been in spaces that they are emulating and then they make sense. Chances are the newbie or bedroom recordist hasn't researched this...

Yes. Old tricks are sometimes the only tricks.

In my 30+ years of recording I have found only ONE truth to getting "BIG SOUNDING" anything is to record a big sounding source. Of course one ears' "big" is another ears' mud. Really truly BIG guitars need really truly space and volume.... Since it sounds like you don't have that you will...

There's a lot of people these days that know the editing process front and back. A LOT of people out there grew up with computers (I did not.....I'm old) and this is always going to be an advantage with being able to use the machinery to it's maximum. However. assembling a song is not like...

10 minutes of raw material with multiple takes to choose from for edits will require several "listens" to determine what is good and what is not. Cut and paste will require more minutes. Listening to the edits in context is another listen. Adding a grid will require some time to get it all in...

There's a ton of ways to get where you want it to go. If I'm doing a serious project, then all tracks get their individual control tweaked to the point of it not banging a play-back master too hard. Then I break everything up into aux masters ....subs....stems...whatever you want to call it...

Yes sir. That is an apt description of the process. If your capture device is the DAW then you must also understand just what those little ladder lights are telling you. They are all "look ahead" to some extent and here is where your ears become an important part of the equation. You want to...

At the capture, for snare, concentrate on the gain-staging. Use the compressor as a limiter for the 'overs'. Tune the snare to sound like you want it to sound on the track. Over-thinking or adding so many things to the signal chain at the initial capture only makes it harder to mix. Mic...

Three words. Room. Room. Room.

I use ancient SM57's (Shure Brothers from the late 60's) and a Royer R-101 ribbon mic. Any compression added on the front end is simply to shave off loud transients. Both mics on the grill... the placement depends on how much low end or treble I want in the sound. Center of speaker cone=more...

Yes. So it would seem. I think my mindset is to get as much control I can of the mix and then let it breathe again.

That mic and the chain you're using sound really good. Very Pro. I have a producer friend who has built quite a few of the microphone-parts kits. Several different ones. They've all been pretty stellar.

Over the years I have found that a lot of people tend to want to over use reverbs and other time based effects to try and make things "bigger" without regard for the "time" part of it. Deep verbs of different times and repeats layered into various instuments and voices in a mix is bringing mud...

Do you live in an area with some decent studios? If so, then go to their sites and look at their gear lists. MOST will have a U87 of some sort and SOME will have an Avalon. Call and tell em what you need to do. They'll take your money for an hour usually an off hours slot they need to fill. That...

In the "pro world" of studios and film works, You cannot make a living as an independent without ProTools. It will be in the rider for any major client be it film, voice, music, post, etc etc. Not many other formats is a requirement. As far as tracking I don't think they really care but in mix...

I have a suggestion. Make a copy. Keep what you have now. On the copy take everything and I do mean EVERYTHING off of all the tracks. Now using only the volume controls and the pan, place everything in the mix where it sounds like it should be. It sounds to me like you have spent a LOT of...

When you "purify" the tracks you allow the brilliance and beauty of what was captured to come through. I don't record "bad" tracks. It's not worth the time. But there's a huge jump from what I like to call a 'local' level recording as opposed to a 'national'...or greater .. The editors that are...

I'm aware of standards being met in manufacturing. My point being that (and this is quite a few years of experience) that after extended use and all the abuse that comes from moving gear from place to place, that amps can begin to exhibit noise and interference from hinky solder joints that they...

It's always part of any budget I quote. I can do it. I'm slow and I don't want to. The editors I use are extremely good, they get credited, and they have no problem with me hanging around and "producing"....