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I remember some interview in Rhythm magazine with Bobby Elliott of the Hollies, where he had massive trouble convincing the engineer that a second mic on the kick would improve the sound infinitely. The guy wouldn't budge, so I think Bobby got him drunk or something and bang, the kick was miked...

I remember some interview in Rhythm magazine with Bobby Elliott of the Hollies, where he had massive trouble convincing the engineer that a second mic on the kick would improve the sound infinitely. The guy wouldn't budge, so I think Bobby got him drunk or something and bang, the kick was miked...

I remember a bass player I was in a band with and he wrote all his basslines with some complex computer program, and he always turned up at practise with a lever-arch of sheets. Any time we started on something new or changed the chords, he was like "dude, I can't play this yet, I need to run...

I don't think rounding down a song by a max of 4 BPM will make a song "too slow" ;)

Aside from moving the hi-hat high and wide, not putting any compression on the snare channel helps minimise alot of the hat bleed.

You barely want to use the close mics for sure and only use them to reinforce the room sound. One thing worth investigating is how they recorded drums back in the 60s, there are some fantastic roomy sounds to be found.

I'm not a fan of it, I prefer getting a good room sound. If I do use it, it's just to augment the room sound if something doesn't sound quite as roomy as I would like.

When you've figured out the BPM, it might be more sensible to round the number down, rather than up. I use a click and diligently got all my bands to rehearse and do demos with one, but more often than not, when listening back months later, the songs ended up being just that little bit too fast.

Well there's the thing, sometimes you do actually need a rough and ready room to achieve a sound/atmosphere that's right for the song. I think there's a song on the latest Interpol album where Sam ended up recording the drums in the bottom of a lift shaft.

Obviously, but some are flatter than others.

Did you record an acoustic kit, with overheads/rooms? You'll run into syncing issues if you start moving kick and snare hits around.

Have you thought about using some flat-response monitors? They can really help with getting a better perception of how the kick sounds, and the whole kit in general.

That's not too bad, but I think if you were to tighten up your snare it would have more of a high-end crack (!!) which would project better. It could do with a little more rattle too, have you not used a mic on the bottom?

Get in and just have fun, press all the buttons and figure out how everything works. You'll have other opportunities to produce recordings!

1k is the "shit" frequency.

Hmmm, I don't think you'll get rid of the audience noise with the uber-compression that most camcorders subject their recorded sound to.

Hmmm, I'm not sure about charging by the hour, though it depends if your goal is just to record and mix bands for fun, or if you want to build a CV. Even in the "rehearsal room" studios I've recorded in, they've charged by the day, the same as the ones higher up the ladder. Charging by the hour...

Have a look round your local unis/colleges, there'll be students advertising their services for free so they can get some experience.

I'd say he is the most timeless songwriter ever, his classics just haven't lost their relevance.

Alot of bands I like still play solos, but they seem to be worked into beatdowns, or they're played more like riffs. Whacking a solo on after the second chorus does seem a bit lazy in 2011 though. People's attention spans are dwindling as we speak.