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Regrading the "lifeless" bass, try slowing the attack and upping the ratio a bit. Could be you're attacking too fast, and compressing the attack of the bass itself. That can make it sound really artificial.

You said you've got a chorus and reverb available, try them instead of the delay. You also might be squashing all the dynamics with the compressor, try backing off the attack and slowing the release a bit. Or lowering the ratio. Finally, try not to position the singer near a reflective...

One such pro release was the Elvis Coltello/Burt Bachrach tour album. According to Mix Magazine's VS1680 review 7 songs on that were done entirely in a 1680. If you can get good sounding mixes on ADAT, you'll do at least as well on the 1680 after you learn it (and learn to trust it). I really...

CMiller, I'm a pro wannabe, retiring from my day job in April, and I'm working out of my own wallet to build up my inventory (mainly a variety of good/great mics). I've got quite a bit of dough tied up, so I can't afford to let a client walk out. Word of mouth is how I'm getting my clients now...

It's odd, but SM58s were $85 in NYC back then. CHeck em out today...$85!!!???? But in the 70s they did have a cord.

Damn, wish I'd thunk a that.

No single mic is right for every instrument/performer either. I have a Shure B52 for kick mix, and it's good sometimes, great others and flat out stinks sometimes. It's just like vocal mics, some mics work well with some drum tunings, heads, techniques. Others work well with others. I've built...

Could you elaborate on the demos? Will they be choir or sermons? My advice would vary depending on your goals. If choir, I'd say to svae up and get a pair of small diaphragm condensors, for spoken word, a large diaphragm condenser would be the first choice. A lot also depends on budget, what...

Had a Shure PE545s a long time and many lives ago. I believe it's a Hi-Z cardioid dynamic mic. Could be OK on snare or hi-hat. I think I paid $50-60 in 1972. The Neuman is prolly worth a ton of money. It's a small diaphragm condenser first made in the mid 60's according to the Neumann site...

I own a vs1680, and can't help except to point you to the VSPLANET bbs at WWW.VSPLANET.COM There is a dedicated VS840 forum over there that's pretty active. NB: I'm not affiliated in any official capacity with the VSPLANET and don't receive any compensation from them.

<If I split my posts up like this I'll be a fuill member sooner> I agree w/Recording Eng. too. Mastering is an art unto itself. You wouldn't compress the snot out of a piano recital, or orchestra, but might give up dynamics for loud for some headbanging album. There's also the client who wants...

S8N, I try not to compress at all when tracking. In reality, though I wind up having to apply come LIGHT compression on more that 90% of the vocalists I've worked with, just because of how they work the mic (moving around, plosives, etc). I usually only use noise gates when tracking drums, and...

Absolutely true. Plug in till the first click is felt. The advantage to direct outs is that you can insert a compressor or other device, return it to the headphone mix and still have a direct out without resorting to a Y cord.

Have a look at phrase split (added in v2.xxx). It can be after the fact to gate out signals below a threshold. Takes some experimenting, but I have used it when my external gates weren't set up right to save a track.

<Blush> Thanks. Tchara, I can elaborate more if you'd like more info. De-Essing and Ducking are other useful areas. I tried not to overwhelm you with a PhD thesis level of info.

Hi, good info on compressors at www.dbxpro.com/white.htm but here's a quick overview. It is useful to think of a compressor as a sort of automatic volume control. When the signal being compressed exceeds a target level (the threshold), the volume is reduced by some proportion (the ratio). There...

The volume of a track can suggest distance from the listner (as described in "The Art of Mixing"). So yes, get them approx. the same apparrent volume first, then balance them to your satisfaction, play around with the spread and repeat. I like the book BTW, and am reading it again right now.

Check out the RNC from FMR audio. About 200 bucks and considered a steal by the guys over on 3daudio.com's bbs and the VS-Planet. I got a PreSonus ACP88 (8 linkable channels) with noise gates and key input and sidechain input on all channels for under 800. It's great as far as I'm concerned.

I'm interested in the answer to. I can probably build one, but in the grand scheme of things, I'd rather be recording than soldering.

Well, I usually start by panning things out and getting a good stereo spread. Then I start listening for eq crowding (too many parts in the same freq. band) I try cutting to create holes for each instrument and the vocals. Then I sleep on it. Next day I go back over the eq, and add effects. Cut...