seaneldon

here's a video of my studio. I'M THE STAR!!!!!!!!!!!!!

it was mentioned before, and i'll say it again. get your amp off of your floor. a chair will work. a roadcase. couple cases of beer. whatever. anything is better than nothing. next, don't set your amp to "flat. stage volume", but instead set it to how you want it to sound before you even put a microphone up. what happens when you get it sounding almost decent with the flat setting and then say "okay, time to get MY TONE"? i'll tell you...as soon as you touch a single equalizer knob on your amp your time spent placing that microphone was a waste. a lot can be said about "recording volume" and how loud you actually "should" have the amplifier and how hard you should hit the tape. if we're talking about "rock guitar", then we're opening a whole can of worms. all i'll say (and i'm gonna be REALLY basic) is that i typically like to get some speaker movement. this happens sooner (quieter volumes) with small speakers. your cabinet has TWO DIFFERENT MODEL speakers. sit in front of the thing and figure out which one actually sounds better for the song you're doing. put the mic in front of that one. spend some time sweeping the speaker, angling the mic to enhance or diminish high-freq fizz. i don't know. i can go on for a long time but another guy already did that.

i like it for light to light-medium overdrive with the HP switched in for the extra "oomph" in the midrange. records really nicely with a wide variety of guitars and amps.

i spit out a pretty excellent review when i first got mine more than a year ago, but it was on the old forum and i don't think the post exists anymore. the only pedal i'll use for recording guitar. replaced like 2-3 former favorites that i don't even bring in a carry-on bag "just in case".

the dude that started this thread is the smartest man to ever live.

Epiphone Valve Junior 5W tube head. Used for 3-4 hours in the studio for guitar solo overdubs in like, October 2006. Haven't turned it on since. Perfect condition. Sounds excellent. $70 coldhardcash for HC folk. NY pickup only. Will not ship. I'm on Long Island in Nassau County. Hit me up.

talk about REALLY missing the mark there. the question was how much i work in a MONTH. my answer was 100+. before that, i stated that thursday was the only day i was off that week. doesn't mean i worked 100 hours in a week. not that i haven't done that in the past.

Originally posted by Ronan Murphy I hate doing business by the hour so I never do it, but I usually try and take one or two days off a month. i'm with you. i book by the day, but they average out to be 8-12 hours so i still end up counting hourly. i really shoot for getting mondays off. i hate mondays.

today's the only day this week that i'm not at the studio. 100+

also selling: BLUE Kiwi with BLUE shockmount and pop filter. 9 patterns. excellent condition. I've been using it a lot for kick drum heads, mono drum overhead, room mic, distant mic for horns, backup vocals in figure 8, bass amps in omni. Comes with handsome cherrywood box lined with crushed velvet. Need money for Tonelux. $1500 for everything. This mic sells for $2000. The shockmount is $200+ at stores, the pop filter is about $200 as well. Save some money. This can be shipped if you split the shipping with me, or alternatively it can be tested and picked up at our studio. $1500!

don't play more than three notes in a chord? stay out of the bass register? dude, i'm sorry, but what the {censored} are you listening to? if guitars weren't meant to be played all the way across, why even put 6 strings and 21-24 frets? why not just make it 12 frets with 3 strings? if you heard a recording where an open E chord on a guitar "clashed" with the bass guitar and "didn't belong", whoever recorded that album REALLY {censored}ed up.

selling a presonus digimax 96k. 8ch mic pre with analog and digital outs (optical, s/pdif). digital outs capable of up to 24/96khz. limiters, -20dB pad, eq "enhance" function on every channel. first two channels have di inputs and polarity reversal. excellent condition, works perfectly. outboard power supply also in great working/looking condition. we were using it for spare mic pres if we ever ran out of great ones (nope, doesn't happen), but mainly as a converter for our headphone/cue system. we've decided to go totally digital with the hearback system, so i'm selling this. would be great for any studio/home recordist who needs plenty of mic pres and converters on a serious budget. retails for $1699, sells at stores/dealers for $1329. Buy this one for $850. can be picked up at the studio in NYC (tested too, if you're paranoid) which is close to E/V/G/N/W/7 subways, or can be shipped to anyone who wants it (split shipping with me).

Hey. Moving to Hollywood to do audio for a TV show which I will reveal at a later date. Selling one of my guitar rigs. Rickenbacker 360/6. Mapleglo. Early 90s. Trussrod cover is black. Pickguard replaced with a really awesome looking shiny one. Plays great. Sounds great. OHSC with polish cloth and key to lock case. Also, vintage Fender Bassman 70 head. Master volume. Great for guitar, bass, synths, and harmonica. Upgraded, grounded power cord. ORIGINAL tubes still have plenty of life in them. Comes with ATA approved flight case with storage compartment. Great condition. I want $1050 for the Rick, $400 for the Bassman and the case. I have to charge shipping and handling. Sorry. Local pickup at the studio is fine! PM me.

Someone who isn't using a tape machine for the business of a studio will absolutely not spend thousands of dollars a year on the actual media. sorry. it won't happen. dude's not gonna record an album every week. THAT would mean thousands of dollars a year. The only tape that's STUPID expensive is 2". he can get a good 1" 16 track like a tascam. 1" is still not that expensive, and you'd have to have a LOT of songs to fill up a thousand dollars worth. you can buy preowned reels also. A lot of them have never been used. Also...caring for a tape machine isn't as difficult as people make it out to be. He'd spend just as much time mastering "the art" of software that will not be in studios 10 years from now, whereas analog machines will probably ALWAYS be in studios. It's not like taking apart a car, which is something plenty of "not so smart" people manage to do. And why do you "still" need a computer? dude's already got one for forums and other internet kaka, obviously. Editing? Edit the freakin' tape, or just record over what sucks. It's not that hard. I've done enough records that are 100% analog to where I couldn't count them on the hands of 5 people. They all sound great and I didn't have a heart attack trying to finish them. And the bands certainly didn't mind there was no computer in the room. At least there were none turned on.

this is a really awkward point for computers and software, as i'm sure you know. you'd spend $2500 on a good machine which is hardly setup for recording (you'd spend thousands more on software). why not spend your $3000 on a analog recorder and some reels of tape? not exactly portable, but easy to maintain if you buy a quality machine that hasn't been abused. much easier than keeping a computer "up-to-date".

as far as who i would like to take after in the studio, i'd probably take the candid answer of "steve albini". not because i make records that sound like steve albini records. more because i like to focus on capturing the band's preformance to the absolute best of my ability, no matter who they are or what they pay me. i like organic sounds. guitar, amp, mic, preamp. i like the room to play in as a large factor. i also admire his heavy do-it-yourself ethic in all forms of music. i've recorded my own stuff, put out my own stuff, and booked my own tours for many years, and will continue to do so. for this reason, my business/studio tends to attract a lot of likeminded bands, and these bands are usually my favorites, which is why i even bother to like my job.

i was never too big a fan of anyone wearing the "producer" hat, and i prefer to have the band be in charge of their songs and their art. if it sucks, that's their fault. they should have worked harder on it. i've got no business telling people they need an acoustic guitar or a cowbell to gel the song. if there's something like a really wrong chord, though, i'll address it. maybe i'm just hardcore into the whole "recordist" or "engineer" thing and those are kind of the exact opposites of what people consider a "producer". as far as engineers, i've always been a fan of steve albini, chad clark, don zientara, the pelliccis, al sutton, roger bechirian, and some of j. robbins' work (mainly the last dismemberment plan record, but not really a majority of his resum

i'm on a megaphone kick. make them do the vocals over through megaphones. i'll fly out and bring one if you've got some of that good california wine for me. i'm paying the absolute stupidest prices ever for a decent bottle in new york right now.

i like to catch the problem at the source. have the singer get his/her teeth filed. simple.

i always wanted to call a studio "Muddy Recording"

Originally posted by Phil O'Keefe I'd love to have an E47. I may just break down and buy one eventually - great mics! you might remember i bought the elux 251 over the e47 about 6 months ago. the e47 was actually my least favorite out of the bunch that i tried that day (ELUX 251, E47, E49, U99). well, we've got one at the studio now and i can say that it has grown on me more than any other microphone has for a while, and it happened really fast. the thing that makes the E47 so great for me is that it works on a lot of stuff that just doesn't sound right with anything else. i tried every freakin' mic i had for a harmonica during a session with a country singer-songwriter guy. it was the last mic i thought to try because before then my only experience with it was "eh". so i tried it just out of pure frustration and...well {censored} it was absolutely perfect. incredibly detailed and real, and didn't print any of the honk that some harps tend to have. i've also used it on other oddball/less common instruments like an oud and some other ancient foreign stuff. plus, i've found it to be a killer male rock vocal mic, it's just a different sound than the 251-type-tone i was used to and kind of developed an obsession with. good room mic, good on upright bass, good pretty much anywhere, but GREAT on all the stuff you would never get to sound right any other way.

fletcher, have you put that Naked Eye mic through it's paces yet? i'm uber interested in that microphone.

i think sonar is a good piece of software. i haven't used version 5 but it's always gotten somewhat better with each release so it's probably just as great as 4 was. the producer edition will give you more than enough of your basic plugins to get started, compressors, reverbs, gates, equalizers, etc. remember you'll need ins and outs for your computer. depending on how many you need, and whether you go firewire, usb, or pci, the price will vary. you can start by typing "interface" and "price" in the forum's search function and get a plethora of options.

short answer: VOLCANO VACUUM!

i'm not sure what you're looking to get with an interface. is this mainly a hobby you just want to screw around with? is this a hobby you want to do right? i'd probably vote nay on the tascam, due to it being USB and from what i've heard, driver and compatibility issues. seek out a presonus firebox or a used yamaha i88x (LOTS more i/o for future upgrading with the yamaha), which both sound considerably better, and operate on firewire (less latency)