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How is your mic technique? Do you move a lot? (Film yourself!) Keep more distance to the mic to begin with, small movements matter more the closer to the mic you are.

Sell everything except the kik mic and buy one great all-purpose LDC for OH and everything else.

...which is, in fact, just open position C two frets higher...

Hello everyone, as I am in the process of rehearsing with a singer for a gala date, I really have to vent some stuff, and I think I can do it in a way that some of you guys and gals might benefit from, be it singers in a duo, band or for studio dates. I am a guitarist and thus sideman...

Plus doing time shifts after the fact is hit and miss. Can sound great, can sound, uhm, not great.

Quoted for emphasis. You can record a lot of stuff with just a M88, RE20, SM7 or 441, which are all top notch dynamics. Those will give you terrific results for comparably little money. I haven't tried for drum overheads, but I could make good sounding records with M88 for everything else. Huge...

Hi guys and gals, just got my carbon copy, and it is so much fun! I already spent a whole hour making weird noises and new age-y ambiences... Awesome! Just needed to share my happiness over a thoroughly inspiring piece of gear. :guitar: The metallic green paint job is nearly reason enough to...

You might consider a used Neumann KSM 104, or an AKG C535EB. That would have the additional charme that you could use them on stage as well. If it does not necessarily have to be a condensor you might check out an beyerdynamic M88, sounds excellent on many female voices.

Should have thought about that. That is kinda mandatory. Turn off the monitors while tracking and make sure every other mic in the room is dead!

I hear a normal smallish but lively room in the background. To get less ambience in your recordings you might get closer to the mic or try some dampening/traps behind you, at the 'hot' end of the mic. But there's someome very weird ringing on the s-es. Can you lend yourself gear to troubleshoot...

John, I totally hate flutter echoes, and angled walls are a neat way to get rid of most of the flutter without too much diffusion or trapping, from what I understand and from my limited experience. And for a tracking room or a glorified iso-cab I'd go for a rather asymmetrical room, than making...

I would seriously reconsider that one. You won't be able to evaluate the tones you get properly if you have considerable spill. I recently got me a Grossmann SG Iso-Cab, and I will have to get it out of my room because the box in he corner of my room humming and honking messes with my perception...

An used Guild Pilot could fit your budget as well. Great basses.

No. I would agree that it is most important to think about whether a room mic can yield something great in a bedroom. Put the amp anywhere in the room, slap a mic in front, record, listen. Rinse and repeat until you have something useful.

In theory. Sadly every real existing instrument shows your "total unconditional love" the middle finger.:facepalm: Just grow up, man. The Phytagoreans are extinct for, like, 2500 years, and rightfully so. Oh, and PS: An octave is an octave, no matter whether you start at 440 or 432...

Give a Squier Matt Freeman Precision bass a test drive, if you can put your hands om it. You might like it.

Uhm, moving away in which direction? Off axis, or straight back? Basically, the rode you have should already be a shotgun, and well suited to your needs, so I'm not quite sure, why you have problems. Just to ask a completely stupid question, you do address it from the end that is on the left in...

What is your problem with 440? Especially, when the bed tracks are 440?

I gave it a second listening. Tune your...oh, I already wrote that. Good sustained large lead guitar sounds are all about high volume in a big room to me. Close micing with bedroom levels only will bring you so far. So, what you basically need is feedback to help you with sustain, and an...

...and tune your guitar, for heck's sake!