Search results

Where are you located?

Yep. Monitors make all the difference, f'real. As for your volume, set your monitors at 0. Neither loud, nor soft. Or if there isn't a 0 point, put them at like 50-80%, depending on what your interface is and how much juice you can push out. I use a Tascam US1800 and I have the volume of my...

^ see, THIS is what I'm talking about! You two are like the Laurel & Hardy of HR.com.

Will you ship to North America? I looked at your ebay page and it says "United Kingdom" but doesn't mention anywhere else. :(

So did I! Don't mind me, I'm just following the Steen & Moresound show around the forum to see what jokes get dropped. Also, this post I just made in the Microphones sub-forum is relevant to this topic.

I'm very surprised at the brightness of the Beyer M500 cardioid ribbon and at the clarity of the Beta 57. The 421 didn't do a bad job, either. I've never tried the EV 650, but if I were to record an acoustic with a dynamic mic, I'd probably go with that one.

Recording Acoustic Guitar—Comparisons of Dynamic, Condenser, and Ribbon Mics on Acoustic From The Hal Leonard Recording Method: Microphones & Mixers, 2nd Edition, this is an amazing grouping of microphones, all on the same guitar with the same musical part. The sonic differences between the...

please, do tell!

It boils down to what suits your workflow best and since you're new to the game, you'll have to pay around a while to even figure out what you workflow is like.give them both a try for a while. You'll soon find that one feels more intuitive to you than the other.

Where in Ontario are you? I might be interested in coming to check it out. Shoot me a PM.

Thanks, Moresound! :)

This, in a nutshell, is me. Trying to re-create the feeling of that live moment is always a PITA. I try my best to capture the performance as well as I can, so I add compression to the bass, certain parts of the drumkit and sometimes other instruments or vocals on the way in. What it sounds like...

Having thought about it a little more, in future I think I will back off a little when miking things onstage and allow for some more bleed between mics and maybe hang my 635a above the band just to see if that helps sort of glue the room and the stage together. The ceilings are something like...

I work out of a venue, in which we track bands to a 24 channel digital board. Because we close mic everything on stage, I will often set up my H4n out somewhere in/above the crowd to capture some of the room ambience and I'll blend that into my mix. On a recent recording, I did my usual setup...

Yeah, I usually only upload photos of guitars that I'm making either for other people or builds that I'm messing about with and looking for input. This tele was a project that I had put on hold for a while and I just finished it up a few days ago, though I think I'm going to swap out the pups...

For anybody that would like to try using something like the Waves Vocal Rider but can't afford to buy it, I've found this freeware VST called "Steady". It was developed by a REAPER user named Terry West but as it's a VST, I'm sure it would work for anybody that's using a windows machine. Check...

When treble is decreased on a track in a mix, it often has the effect of making things sound farther back, in contrast with brighter-sounding tracks. Try using a dynamic to record the BG vox and a condenser on the leads; Then you'll have less work to do at the mixing stage.

I mostly do live-off-the-floor recordings and the core of my mobile setup is a Tascam US1800 and an ART Digital MPA. I'll use the DMPA either for room mics, OH or DI, depending on the situation and run all the other mics directly thru the US1800. One good thing about this setup is that I've got...

...and hilarity ensues.

FT: ART Digital MPA Gold I'm thinking about letting my DMPA Gold go but I need a preamp, so it can't leave unless there's a trade or unless I find something else to replace it with immediately. I still have the original box, styrofoam packaging, paperwork, etc. So yeah, I'll accept trade...