I was The Funk

SM57 would work in a pinch. But what you REALLY want is an SM7b. Also, get your oktava modded immediately. You might want to pick up a pair of small diaphram condensers at some point, and maybe a ribbon depending on what else you're recording. But with all of that and a treated space, you should be just fine for a while.

This is why I tend to record at 96khz and have the mastering engineer with sonic solutions (look how THAT scores on the site) dither it down. I want to get as much info as I can (as well as avoid any dodgy low pass filtering on my converters), and then let the guy with the good gear translate it.

I tend to use 96k 24 bit for anything releasable. The reason however is to sort of bypass the low pass filters in the converter circuitry. Well, not to bypass, but to push them up beyond the audible spectrum so that when it gets mastered, it can be brought down to 44.1 16 bit through better converters.

Good stuff. It usually takes me 3 or 4 to warm up, then I can hit it consistantly until my voice gives out, which is after about 20 and it's all downhill from there. The one I can't stand is the "ANYTHING GOES". It's too hard to advise how to make the performance better since it keeps changing. I just shake my head, and hit record like a monkey. Rarely does anything good come of it, because I lack the patience. I often work with a bass player that was like that. But I found that his vision for the par was often clearer than mine (not in terms of notes but in terms of flow). Since he had a small setup at home with a decent preamp, I just give him bass-less comps and he takes them home and comes back a week later with the whole record perfect. Way less frustrating then being there for the whole thing (especially since he likes to augment and play around with his mistakes), and I can concentrate on recording the other parts knowing I'll get perfect bass overdubs soon.

Not nearly as good as oktava mk-012's. C1's used to be all the rage and have since sort of fallen out of favor. Don't know why. Never used one. Used a B1 once, and that was really cool for $80.

nails?

my studio is so torn apart right now that it just looks like a construction mess. I just got a hold of 4 racketball courts and the observation deck from an old ymca. To build your studio in? thats AWESOME!!!!! You could record a symphony orchestra in there!

Off the Wagon Dead, Dylan and Neil Young covers primarily There was an Off the Wagon in Rochester NY in the mid 90's. I think they might have put out a record. some of those guys later played in a funk band called "Rover"

Waves Crashing on Face. Seriously....

Use an omni front end and a Delta66. Works pretty good. very user friendly, and much more stable and plug and play then most other interfaces i've used. (Emu and firebox)

I think a used AT4040 is useful on many things. A GT33 or GT44 also useful. You'll have to find them used or take a chance on the "sterling" versions.

I know realize that finding the one mic that good for all is impossible And that specially for recording voice it become very tricky witch mean that a lot of different mic are needed

So I had sort of a breakthrough type thing last night when I was recording a JET song to test my ability at recording. I had a 57 a couple inches away form the speaker while he was recording his guitar part: Orville SG through a Musicman 50w 1x12". It sounded great in the room, and sounded like crap when coming out of my headphones and speakers. I was wondering what the deal was, since most articles I've read about miking amps said to stick the mic a couple inches away from the cone and it should be fine. Well, it just sounded fart and full of mid range and distortion. I had him play the part again, and recorded the sound while I moved the microphone around in various positions. I played back what we had recorded, and 99% of it was crap. For a split second though, I had the mic positioned so that it sounded great: crisp and clear, with plenty of brightness and the same overdrive I was hearing in the room. Is this how it is most of the time when miking stuff? Do mics need to be positioned so carefully in order to get amazing sounds? It seemed as though the slightest angle changed everything. Also, is this the same situation with drums? I've been trying to get a nice snare sound with the 57, but it just ends up being dull and decaying awfully fast. Overheads as well? Any help is appreciated Do mics need to positioned carefully? Well, yes. If they didn't there wouldn't be much skill to it, would there? Also, mic choice makes a difference. And different mics might need to be positioned differently. With drums the positioning is more complicated because you are dealing with multiple mics that all need to be positioned correctly not only to capture what they are recording, but also to avoid phase issues with the other microphones. Most of your drum sound should actually come from the overheads. The secret to drums in order of importance is: 1. Great drummer 2. Great kit, well tuned 3. Great room 4. Great mics, well positioned.

Hey man.... Mastering IS easy. All you need is a great room, a great compressor, a great EQ and some great speakers! and of course, GREAT EARS and SKILLS! After that, its EASY!!!!!

Hey thanks for the help. I'll update the drivers. Also, what I meant by "no monitors" is that Sonar XL has a db monitor right on the track, whereas with Sonar 4 I had to go to a different view. I just didn't like doing that, so I finally uninstalled Sonar 4 and went back to XL. Dude, Sonar 4 has all the monitoring options you could want, configurable to versicle or horizontal. There are buttons on the bottom of the track window which allow you to toggle between different views. Sonar 4 is WAY nicer then sonar 1 xl.

If there is a problem with the sound of the mix bus, its called a bad mix. Fix it in your tracks. Final EQ adjustment (which should be minor and only for adjusting each song to make a cohesive whole) and dynamics should be left to the master. Your mixes should sound EXACTLY like you want them before the mix bus. I will however, on rough mixes, throw in an L2 on the "Hi Rez CD Master" so when my clients throw the CD in their car, the music doesn't disappear., but that never goes on the bus for real.

Nope. On a pedestal, high in the air, so you don't get those nasty ground reflections. Oh, and only your ears should be allowed near the mixing area. Your body will totally ruin the acoustics. And the speakers need to float in the air as well less they lose their clarity through mechanical vibrations.