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PAT and OOMPH! Those are the sounds you're looking for. The trick is tuning and playing. start with a single ply head. Two ply heads only deliver "PAT" (and durability) but not enough "oomph". Detune the head till it flops right out. Now while pressing down in the center (not too hard) with...

hey recording engineer, if you're reading this, remember the thread about the faulty mc012 level? well i tried what you said and ran all mics into my mackie vlz pro...well you were right about the guitar centre thing. it was a faulty mic. the two mics are identical (for overheads), but the gain...

mixing with headphones? I find that mixing with headphones is a sucker's bet. headphones tend to sound really bright when you turn them up indicating a non-linear response(what does that mean?) could it be our headphone amplifier? We use a Rolls. But i see no reason to do away with the monitor...

WHOA! I just listened back to a take we tracked a couple of days ago. I remember throwing up a couple of busses for vocals and snare reverb. Does anybody know what the illusion is at the time of pre-mixxing that causes your mixes to sound over reverberated after a good night's rest...or did I...

That is the perfect set-up for a reggae session. No front head and a cranked batter with lots of padding. I found if you play heel-up/power style, a low tuning with a soft but heafty pillow is good. It all depends on the session and the foot. HITMAN.

next room mixxing is something i've breifly experimented with and it seems to to work pretty good. it's almost like using a pair of alternate reference monitors. especially with reggae. I'm glad somebody else has tried it.

our studio runs a g4 mac with protools, a digidesign 1622 i/o and a motu midi time piece. this thing has a mind...or two of its own. we've followed the manuals set-up guide, but this thing just does what the hell it wants. any body familiar with the MOTU midi time piece? HITMAN.

how many passes does it take for you to achieve a final mix after tracking is complete. and does anybody record and mix on the same session, or do you like to empty the mind first? HITMAN.

ditto i've been studying the art of mastering for the last little while and i agree with bruce. most D.A.W.s have onboard mastering tools but it usually just a once page plug-in equipped with eq, compression,limiting etc. but the process is much more complex, involving very high end equippment...

turning tricks? I always thought turning tricks was playing in a top 40 band five nights a week.

I just briefly skimmed over the massive four page thread about favorite drummers. But since we are a community of recording artists, let me recommend some studio drummers for y'all. 1. John J.R. Robinson. you know you've heard him if you have a radio. He's is absolutely the top call session cat...

oh boy oh boy! that's alot of drumset guy! Just like mine but each drum is two inches bigger than mine in diameter. I will risk assuming your your 12" tom is in front of your snare...right? okay start by removing all the other toms from the mounts, so you're left with just a four piece...

you got my attention okay wumpsey, first thing to do before you can use a torque wrench is learn to use a key..or two. check out the reply post i gave to ffmada's"my drums suck" thread...start from there and see how it goes...then check back if you need help. HITMAN.

thanx John sayers actually ithink i've tried every possible way of getting sounds out of a drumset. but you're absolutely right about the detuning one lug...just not necessarily the closest lug to the snare. all drums are diferent especially drums made of all wood shells. i don't think a...

see 5 threads down check out the encyclopedia i just sent to ffmada...its about four or five threads down on this catagory page. hitman.

consistent phantom power I mean using the same phantom power source for all the mics; that is all the mics are powered from the mackie's phantom power, as opposed to the mc012's being powered seperately from the VS...do you follow? but i wiil try plugging every thing into the Mackie first and...

does anyone know the general technique for achieving the famous transistor radio mix in vocals. you know the squashed distorted sound put mainly on vocals for creative equalization. e.g. Soundgarden's "Spoonman" when he sings "all my friends are brown and red". HITMAN.

I'm still learning what to call these jacks. i meant XLR as opposed to 1/4" jacks. Here's my setup. You may have to print this. Octava mc012's into ch's 1+2 of the vs direct. AKG D112 into mackie ch3 direct out to vs ch3 SM57 to mackie ch4 direct out to ch4 vs 4 x AKG C418 (four toms...wrong...

i think you gottit yes thats idea, but won't that cause pumping? you know like on radio voice overs? will that give me a consistent mix. Shouldn't i boost/cut different frequencies? Hit.

try the sm57 on your hi hats and use the nt's as a pair of room mics so you can get some imaging. use the brighter sounding nt closer to your drummers cymbals and the darker sounding one on his crash side. remember to keep them pointing in diferent directions so you get "STEREO". hitman.