scud133

shocking. dude tried to sell one of the guitars for $250. outrageous.

they got a nice little assortment. i'd be happy with that broadcaster and the ric

An actual old J45. I thought those things were supposed to be all over the place??

what's the third switch-looking thing on the left side of the amp? there's the mains/standby switches, but also an extra thing... what's that about?

whats this? fake?

where is the variac? don't see it in the pics

Neck and middle pickups got this real buttery sound to em. i love that the artist remembered to put a blob of butter on there

when you say you're "working on time" what exactly are you doing? how do you think you can practice playing better rhythm or playing in time better?

gday gday young band (15-16 at the time), recorded in a concrete garage with a couple of 58's. multi-tracked, mixed in audacity and soundforge. we're planning on re-recording this song and two other originals, tips are needed/appreciated haha. bass is direct, guitars are a special edition telecaster (SD PG+ and 59) into a JCM2000. vocals are fairly dry, aswell as drums. drums were two overheads and one kick mic. cheers! so ... where do we go to listen??

While this makes achieving pinch harmonics easier, I feel that this adds unnecessary complexity to the technique which distracts from and makes more difficult the process. I stopped using it many years ago. The 'glancing thumb' works with fewer complexities but just requires more practice to 'perfect'. As I wrote in another thread, glancing the thumb is more a matter of slight changes in picking attack than concentrating on getting the thumb to glance the string (as the slight changes naturally do that for you). In most ways I hate to say it: you'll know it when you 'see' it - then you'll be able to use it almost unrestricted. this is true, it's defnitely more work to flip the pick sideways in your hand, but once it is sideways, you will hit the pinch harmonics infinitely more easily than if the pick is held the normal way. at the very least, it's helpful to practice "sideways" until you get the hang of how it's supposed to work, then you can focus on learning to do it with the pick the normal way

try turning the pick sideways in your hand so that you actually hit the string with the side/shoulder of the pick. it makes it a lot easier to do the glancing thumb thing (that's the way Billy G does it)

oh man, also i would STRONGLY urge you to stay away from those JBLs. We had those exact monitors in a smaller studio at my college (we're talking a fully treated room) and they sounded TERRIBLE. anything you recorded or mixed in there would have to be completely changed when you took it to the main studio. didn't translate well AT ALL. the engineer said he was going to get rid of them because everyone was complaining about them... maybe we were doing it wrong??

i went with the Adam A5s to save money from the A7s and because my room isn't too large. in my room they make it down to ~60hz and then the bottom drops out. that being said, i've never experienced such fantastic sound from my music collection. and my own mixes translate better than ever before. count me as a fan! :thu:

I think that sounds pretty damn grat man! Especially the guitars and drum. Like the voice too! And those sweet harmonies add alot to it. I'd turn them down behind your voice a slight tad. And at some points it almost sounds like your mixer is being overdriven, or it's driving whatever you're running it into. And the solo is ace Short and sweet to convey the feeling. I'm sure after you've gone through it a few times, you'll be ready to record it straightforward and it will be phenomenal! i've got a tape sim plugin on the master fader that was getting driven a bit, that's prob what you're hearing. i'll kick it down a tad and hear how that changes things. thanks!

"Bluebonnet Road" recorded this afternoon. i'm a crappy singer and no good at programming drums so if you can get beyond that i think it sounds pretty good http://soundclick.com/share?songid=8360105

so maybe the signal goes straight from the bridge pickup into the volume pot, and straight out to the cable? and nothing else is even connected?

according to that MF article, malcom uses approx 40 picks PER NIGHT. what the fucccckkk??

also james, here's an example of why the basics are so important. Shapes and Distance drum demo it is taken from this thread. that sound was achieved by finding the best room in the house, setting up the kit in there and tuning it properly, and then moving the mic all over the room until it sounded best. oh yes, *the* mic. that drum sound is one shure sm57 in a room. incidentally i think that recording with that one cheapo mic sounds a lot more natural than the one you posted. the good news is, you can learn a lot and there's plenty of room for improvement

Hey guys, So Sidrak and Bokkus is a new band out of Burlington, VT. So far we've self produced one album called "White Noise on Black Paper," and we're getting to the final stages of releasing it. Before we do, however, I need a little help. Mainly, the low end mix is a little muddy IMO. On some of the songs, I think it's ok, but in some of the others it seems a tad bit distracting. I don't know if it's my system, but take a listen and let me know what you think. Also, would not be opposed to song critiques as well, they always help We recorded the raw tracks at a local studio, then transferred the files into the bass players Pro Tools system, and we mixed it from there. http://www.reverbnation.com/sidrakandbokkus the bass does have a weird thing going on. on "Lucky #13" it sounds like the bass is throbbing or something. if that's an intentional effect i guess that's kinda cool but it sounds weird to me. the bass definitely is way loud and taking up the most sonic space out of everything. i probably wouldn't have been happy with that bass sound at the start... but if you have to live with it, you can start by turning it down, and then carving away some of its sound with EQ. it jumps out in front of everything else, drawing your ear to it throughout the whole song, which i suspect is not the goal for this genre. also i dont hear the kick drum at all. on the plus side, the vocals sound really good.

Hey, I'm mixing a cover for a fan forum. I'm using Reaper. all we've done so far are the drums, butwhat do you think? http://www.mediafire.com/download.php?5tnnooyidrm wav is enormous! 61mb, warning. i agree with the above post. cymbals sound really bad. and all the drums sound like they've got a sucking hollowness. probably the aforementioned phase cancellation. get back to basics. and always use your ears. does anything about that kit sound like a commercial recording to you? if it doesn't sound right, move the mics around. take some mics out, put new ones on. try having a goal or perfect sound in mind, and always remember to compare what you've got against that goal. drums are the hardest thing to record well --- you've got to put in the time to set the drums up properly, put the kit in the best spot in the room, and get the mic(s) set up to sound the best they can, all before you ever hit record.

Just finished this little acoustic number. This is probably the first song I've done focused on acoustic. Anyway, let me know what you think of the mix. Seems I'm always struggling with the top end. I always find myself turning up the volume when compared to 'professional mixes'. Not to turn up the loudness, but to turn up the clarity if that makes sense. Just wondering if it needs more punch in the mids or highs. I may work on more clarity on the bass too. Thanks http://soundclick.com/share?songid=7991398 Umm the title is a work in progress. Recorded in Sonar 7. Baden acoustic recorded with a Pearlman TM2 into a FMR RNP into a Lynx L22. Vocals done the same. Bass, drums and keys are all from Reason. Electric guitar: Egnater Rebel 20 into a Deadroom II with a Sennheiser 906 Thats about my entire studio in a nutshell. Thanks Elec gtr sounds GREAT. I like acoustic too. Vocals sound GREAT. I'm not hearing any problem on top or anything that you're mentioning. What I'm having trouble with is the low end. Bass is getting lost a bit, maybe try giving it distortion so it punches through higher up. Kick drum, in particular, really doesn't seem to fit. The kick has a dull "thwwwump" sound which is no good for this style IMO; try to find a sample that's less Bonham and more pop-ish and see if that works. Drums are so hard to get right, and it seems like that's what's suffering here. You did a great job recording the "real" instruments --- maybe what you need is someone to play real drums and bass, lol.

Funny you mention that. I've been wrestling with the acoustic back and forth and I know what you mean about it sticking out too much on the verses. I'll check that out...Thanks It's a bit unusual because I think the ac. gtr cuts *too* well. I've never had that problem so I dunno what to tell you ---- maybe you could try to EQ it to reduce its clarity or something? I dunno

Hey guys Here's a song I'm finishing up. I'm taking a break from it over the weekend and am putting it to rest Monday. http://www.reverbnation.com/tunepak/1768534 That sounds really good -- the only thing that rubs me the wrong way is the acoustic guitar. I just don't think it fits in its current position in the stereo spread... I think I would like it better panned to the right side (which sounds pretty empty during the verses) or else doubled or something. I'm hearing a lot on the left side during the verse and I think it's that acoustic guitar is overwhelming over there Or maybe hit it with more reverb so it fades more into the background. it just jumps out too much (for my taste)

my analogy was not ill conceived, thank you very much. you actually just proved my point: going with the analogy as you advanced it: -outside environment is your guitar signal -inside is your guitar signal's destination (i.e., your amp) the window keeps the rain/weather outside. the wind/rain are the transients of the signal. but it still lets light through, the light being the desired part of the signal. so even though it doesn't have any appreciable affect on the desired guitar signal, it still is blocking the rain/weather (transients) when it passes the outside environment to your inside environment. see how complicated you made this?? haha. short version: even though windows don't look like they're doing anything, they still are doing something you want (read: even though you might not hear the "transparent" compression doing something, it is still doing something you want)

Why do you have windows? If they just sit there, and don't change the character of what you see outside, why have them at all? Answer: because they're still functional, even if you see through them