While I'm hesitant to jump on "they don't make 'em like they used to" trains, I think I know what ya mean. It's similar to what goes on now with mics, where they add gobs of weird sounding high end so people think "wow, that's detailed", and/or inflated bottoms because, well, I g...

There's an article out there... I wish I had the URL because the author has more experience than I do and makes a detailed and eloquent case for checking in mono. But one suggestion he makes is to check in mono from the beginning. It makes it easier and faster to get the general balance of the part...

Conceptually, yeah, it sounds great to say "I did a metal tune, then a folk tune, then a jazz tune, I'm just not bound by labels". Sounds exactly like that person in question is bound by labels :lol: well played, sir. :twisted: "I'm really artistic and stuff man, I blend genres"...

Interesting conversation. My take on a lot of this has changed (evolved?) over the years. I used to be a "it doesn't matter about genre, just make music" type. But then I started making records, and I realized that you could take that too far. People wanted to smash together very disparate...

Sometimes he hardest part of doing an LCR mix is convincing the artist/client that it's the way to go. If I am mixing the project, I often say from the second we set up the first mic "this is how these will be panned/etc etc", to get us ready, get that mindset stuck in there. I hate the &q...

In these cases, I usually pop open Drumagog and use samples. But 95% of the time, I am not replacing sounds - just "enhancing" them. ie, find a sample/gog that gets what I want in there, and blend it back in without losing the general feel of the recorded drums. Reality is, if they aren't ...

So, I'm conflicted. If someone hears really well, then hears "voices" - how do we know the voices aren't real and we just can't hear them?!?
Those who dance are seen as crazy by those who can't hear the music.
I'm fuhreekin out, mannnn!

Yeah, giving an absolute answer here is real tough. Largely because there isn't one. For me, I have never had a lot of luck 'gritting up' a direct signal. While I do not shy away from grit on a bass, if I want grit, I make it come out of the cabinet. Maybe a stomp box is involved, the amp plays a pr...

I hadn't heard of that either, actually, but to be honest, I am not up on a lot of consumer video formats. I figured it was just one of those early digital formats that had a limited time frame, and just zoomed over my head/passed me by. Was it not popular? .... anyone ever have a player for those?

Who cares which one sounds better. Dynamic range this, bandwidth that, blah blah.
What I need to know is: which one looks cooler under an electron microscope?
https://www.youtube.com/watch?v=GuCdsyCWmt8

(once again, I vote vinyl)

Well, not sure how qualified I am to say because where I am, there has NEVER really been a business, hah. But no question, even here, you can tell that things have slowed. There's a couple top level places that have managed to stay afloat, and I've been lucky enough to stay busy the last 5 years. (l...

Exactly. The general guide for me is, the less I think about the pre, the better it is. Similar to tape (when I used to use it ...) When I get bored and try most "tape emulator" plug ins, I'm perplexed as to what comes out. It's like they think it's a guitar amp or something. (except Slate...

I hear that they are compressing the hell out of these tracks to squeeze a few more dollars out of this record. I know, cynical - but I just am tired of remastering/remixing/etc old records. Why do it. Oh yeah, I think I said it above there. (I do agree, if yer gonna squeeze the last drops from this...