Weeelllllll, lemme see.

A former bandmate's current 3-piece group is about to start work on their second album out at my place. Some updated pics are all originals bunch and their music is probably best described as acoustic folk rock. The guitarist primarily plays a Godin nylon string acoustic electric which has proven quite challenging to get a good sound from during tracking. He's exclusively a finger picker and the sound of his fingernails contacting the nylon strings has been driving me nuts. To me, it detracts somewhat from his otherwise excellent playing. Not sure how we're gonna deal with that just yet.

Initial tracking will be done through a combination of outboard preamps - ISA428, VMP2, VTB-1's - and the pre's on my Ghost. This will all get shoved onto a Roland VS1880 for now. I'm investigating dedicated HD recorders but the budget won't permit purchasing one till after the first of the year. Also about to receive an ART Pro VLA as my first tube compressor so that should be a nice alternative to my RNC's. Always nice to have different crayons to color with. Like Dave, though, I prefer to spend time with mic placement versus EQ'ing/compressing on the way in. Depends on who and what's in front of the mic, sometimes a little compression on vox is necessary.

Working with these guys is always a pleasure as they're all solid musicians and very laid back. No egos or BS to deal with. About the only other project of note to mention is my ongoing exploration into ambient/chill music. This is a solo thing I've been pursuing for awhile using a combination of AcidPro and live instruments - a sample is [[url=http://[/URL]="http://home.velocit…"]here.[/]="http://home.velocit…"]here.[/] A real departure from my old hard rock days, but lots of fun.

Myself, I was in a band called "89 Pistons" here in Detroit. The pressure placed on us from a few different labels in NY and LA made us take a serious look at what were doing. The singer was looking in a more "pop" direction and I, a more "rock" direction. So we split ties.

I'm working on two projects currently. One is making very musical, hip-hop instrumentals. It contains both samples and live instrumentation from yours truly. Some of which is made for this crew [="http://www.universoul.org/"]UniverSOUL Productions[/]="http://www.universo…"]UniverSOUL Productions[/] The other project is a solo rock album. Rather than name it after me, it's called "Moments from Now". It's centered around guitar and vocals are sparse.

These projects are going to be recorded at home primarily. My bedroom/basement studio consists of:
PC-based Digi001 rig
Behringer MX9000 console
Ampex 351, 601, and MX-10 pre's
Oktava MKL2500, ML52, MC012, MK 219
Rode NT1, 421-U5, and 4 Shure SM99 podium mics
Gibson Les Paul Standard Plus and ES-135
An assortment of tube amps and cabs

Drum recording and mixing are likely to take place at the post studio I do voice-over and session-playing for. [[url=http://="http://www.rmsprod…"]RMS Productions[/]="http://www.rmsprod…"]RMS Productions[/]

Wish me luck.

[ November 18, 2003, 07:28 PM: Message edited by: MikoKensington ]

Thanx guys....is this ALL there is? Theres only three projects going on right now in all the thousands of registered membership??!! Mmmm...kay......

How about all you moderators? Mastering guys....Sound specialists.....someone .....anyone.....

Step up to the plate all you "perfeshionells"...even if yer polishing turds....everyone wants to know....

Dont make me e-mail all of you with thousands of little smiley faces........BELIEVE me I will.

DaveDog
Hey !

I'm working on the 3rd overhaul of this one particular song, which I'm getting a little tired of now but I'm learning a ton.

I've got a minimal setup with Cakewalk, VTB-1 preamp, RNC Compressor, Edirol UA-5 soundcard. Guitars through an old solid state Marshall mic'ed with the SM57. Vocals through the SM57 and an MXL V67. Oh, and a drum machine and Fender (OK Squier) Bass.
Now getting close to finishing all the vocals. Its fun doing backups with like 8 tracks of ME. Kinda trippy. Intonation with doubling, tripling is a challenge. Just me in my apartment with a homemade isolation box for the guitar amp and a isolation booth for vocals.(OK its a funkified padded tall tool shed)

Looking forward to mixing again. On Yorkville monitors. I have a ton of new things to try. In a couple days I'll get there. I work on this stuff nights and weekend days. I am enjoying it. Planning to take it to a pro facility for mastering, then making a CD of the 10-12 songs, then for fun putting it up on some indy sales sites and giving to friends/family. With the dual purpose of using the CD to help me get some guys to play out with around town. (Like a really expensive time consuming demo tape)

mmm kay ya twisted my arm with the threat of smileys.. although, that threat would probably work more leverage with AudioGaff.

As a lot of you know, aside from my comparisons and evaluations (and in some cases in conjunction with), I am currently doing an "originals" project for a Jimmy Buffet tribute band "The Cheeseburgers".

The band consists of drums, various percussion, electric bass, keys, 2 guitars, male lead vocals and two female and one male backup singers and perhaps a sax player if we can find one.

We are recording to Cubase VST 5.1, through 2 - Alesis AI3's and a Frontier Dakota soundcard, using a JLM TMP8 (on loan for review), a Sebatron vmp 4000e, 2 Neve Amek 9098s, a Great River MP2NV (on loan for review), Millennia STT-1 (on loan for review), UREI 1178 and Blackface LA4s for front end. I am using a Mackie SR24 to monitor the no latency AISO inputs, seding the aux mixes for phones to 2 Rane HP 6 headphone amps and Sony phones, tracking and mixing "in the box" while using the aforementioned compressors and eq's, Lexicon PCM 60, 70 & 80, an Eventide HD3000 S/E , MXR 1500 DDL, Alesis Quadraverb, Yamaha SPX 90, Peavey Valveverb and an Antares ATR1.
I am recording the mixes to a Fostex CR200 CDr recorder via the s/pdif outs from the Dakota card.

For mics we have;
Neumann U87,
2 - ATM 4033s
6 Pro 35's
Studio Projects B1, (on loan for review)
C3 (on loan for review)
2 - C4s, (on loan for review)
AKG C12a,
3 - C451L's,
C451LB,
2 - C460B's,
3 - D112's,
3 Sennheiser 421's,
2 Beyer ND201's
6 Shure SM57's
Audix D6. (on loan for review)

For monitors we currently have Yamaha NS10's, Auratones, Tannoy System 12 DMTs powered by 2 Haffler 3000's and Yamaha MSP10's (on loan for review).

Things have been moving along a good clip. We have done 7 sessions most about 4 to 6 hours and we are almost halfway finished with the CD..

Alright, I'm the newbie, so I'll go next.

Links below are for my daughter's band [="http://www.aroarah.com"]Aroarah[/]="http://www.aroarah…"]Aroarah[/] who is recording a demo for a label in Los Angeles.

The sessions started at 08:00 Saturday morning, and went until 01:00 Sunday morning. The location was Japan Auto Care, the autoshop business owned by the father of two of the girls in the band. We pushed cars out of the way to make room for the equipment. The acoustics were tempered somewhat by the genuine Babe calendars on the walls over the guys' tool boxes.

Console is a Ramsa 20-channel WR-T20 (or something like that). Nine mics on the drums and accessories. ATM25 on the kick and toms, SM57 on the rest, and a pair of 30 year old Radio Shack electret condensors as overheads. SM57 on the amps, Countryman Type 85 for the bass. The board was feeding an Alesis ADAT brought by the engineer from the label.

The pictures are all blurry because it was SO DAMN LOUD in there.

:D

The tracks were mixed back in LA and presented to management down there. It was good enough to get the girls a 3-day invite for more recording time in LA. We are hoping to get them on the Warp Tour 2004 next summer.

[[url=http://="http://www.aroarah…"]The Recording Area[/]="http://www.aroarah…"]The Recording Area[/]

[="http://www.aroarah.com/photos/2003-11-08/aroarah-2003-11-08-JAC-26.jpg"]The Recording Engineer[/]="http://www.aroarah…"]The Recording Engineer[/]

[[url=http://="http://www.aroarah…"]Kenzey on Drums[/]="http://www.aroarah…"]Kenzey on Drums[/]

[[url=http://[/URL]="http://www.aroarah…"]Yours Truly Goind Deaf[/]="http://www.aroarah…"]Yours Truly Goind Deaf[/]

Dont make me e-mail all of you with thousands of little smiley faces........BELIEVE me I will.

Ok, Ok, Ok, Ok...... Dam Dog!

I've got a few things going on at the same time.

One is an vocal recording and mix to an Elvis Karaoke being done in Cubase VST all in the box so that the client can can tweak it after if he wants. The mic will be the AT4060 through an API 512C mic pre and Manley Mono Vari-Mu compressor.

Second is a vocal recording and mix with the music already recorded by someone else on 16-track ADAT (poorly done via Mackie into ADAT) that I will have to turd polish and re-record the vocals.

Third is on-going project where old 24-track Otari tapes I recorded from the 1980's are shedding and falling apart that are being dumped and transfered into digital for me to re-mix. Converters are through multi Apogee AD-8000's into both protools and then into ADAT-XT20 as the band owner of the Otari tapes owns ADAT's. No edits are planned so I may just mix from the ADAT's as slow and cumbersome as it may be. But I have the option to xfer ADAT optical into Cubase-VST DAW via two 16-Channel Sonorus PCI cards.

Current mixing setup that is wired and ready to go.

Alesis X2 24x8x2 Recording Console (48-inputs, v1.1 w/ADAT Sync & MIDI Mute Automation)
Alesis BRC ADAT Master Remote Control (v2.04)
HHB CDR-850 2-CH CD Recorder w/Remote (8CM/12CM CD-DA/CD-R/CD-RW)
Corporate Systems Center CD DUPE-IT! CD Duplicator (w/ SCSI External Interface)
Tascam DA-30 2-Trk DAT w/ RC-30D Remote
Tascam 122 MKIII 2-Trk Cassette w/ RC-134 Remote
Tascam 22-2 2-Channel 1/2-Track Analog Reel-to-Reel Tape Recorder(7-1/4ips & 15 ips)
Genelec 1031APM Near Field 2-Way Biamped Active Studio Monitor Speakers
JBL 4406 Near Field 2-Way Studio Monitor Speakers (w/ HF level)

(2) AMEK/Neve CIB Single Channel Class-A Mic Preamp/Compressor/Limiter/Eq
Focusrite RED-7 Single Channel Class-A Mic Preamp/Compressor/Limiter/De-sser/Exciter
JoeMeek VC1Qcs Single Studio Channel Mic Preamp/Compressor/Limiter/De-sser/Exciter/Eq
(2) Altec 436C Single Channel Tube Compressor
Groove Tubes CL1s Dual Channel Tube Optical Compressor/Limiter
Focusrite Red-3 Dual Channel Compressor/Limiter
(3) Manley Labs Vari-Mu Single Channel Tube Compressor/Limiter
Summit Audio TLA-100A Single Channel Tube Optical Leveling Limiter
Tube-Tech CL2A Dual Channel Tube Optical Compressor/Limiter
Universal Audio/Teletronix LA-2A Single Channel Tube Optical Lmiter
(2) API 525 Single Channel VCA Compressor/Limiter
Ashly SC-50 Single Channel VCA Compressor/Limiter
Dbx 160S Dual Channel VCA Compressor/Limiter
Dbx 160SL Dual Channel VCA Compressor/Limiter
MXR Dual Channel VCA Compressor/Limiter
T.C. Electronic DBmax-II Multiband Digital Dynamic Maximizer (v2.90)
(2) API 550 4-band Parametric
BBE 822A Dual Channel Sonic Maximizer
EXR EX-IV Dual Channel Aural Exciter
Manley Labs Massive-Passive Dual Channel Tube Passive Eq. (Limited Edition Gold/Chrome)
Eventide DSP4500 Digital Multi-Effects Processors (v2.3 w/ Ultra Shifter & max size sampler options)
Eventide DSP7000 Digital Multi-Effects Processors (v3.02)
Lexicon M300 Digital Effects Processor (v3.5)
Lexicon PCM42 Digial Delay Processor w/ MEO
Lexicon PCM70 Digial Effects Processor (v.3.0)
Lexicon PCM91 Digital Reverb Processor (v1.0)
Sony MUR-201 Digital Effects Processor (w/ MU-RM1A Remote)
TC Electronic M5000 Digital Multi-Effects Processor (v3.53, 2X ADA-1 cards, 2X DSP-1+ cards w/ 2X 24MB samplers)
Yamaha SPX-900 Digial Multi-Effects w/ RCX1 remote
Roland RE-150 Space Echo Analog Tape Delay Processor

Damn Gaff!
Got outboard? I'm envious!
See Dog, I told you the smiley threat would work hee hee hee

Gaff will be usin' some gear. But...

:) :) :) :) :)

Someone had to act upon a threat around here.

OK...I'll bite...

Got several things in the works in different stages of development...

1) High-School punk band hell

My son fronts a punk rock/ska band that is doing a mix of covers and originals. We have been recording "projects" of theirs to work out ideas, and are just about ready to sit down and start work on the final product...

2) More high-school punk band hell

I just finished a project for another high-school punk band. We completed a 5-song all-original demo that just about ruined me! This band is much less talented then my son's band, and had zero studio experience (understandable), so they were very difficult to work with. Lots of takes, mistakes, punch-ins...Argggggg!!!

The drummer thinks that "Time" is a magazine, but yet refused to play to a click track...Sheer *hell* I tell you!!! :)

3) Just iced a deal for a more mature punk rock/ska band (they are just crawling out of the woodwork for some reason...*help*!!!) for a 5-song original demo.

I am going to take a more iron-handed approach with these guys, and will be producing as well as engineering this one.

4) I tracked a 5 song demo for a Texas-based act almost a year ago that I am trying to finish between other work. Bascially, I got lead vocals and rhythm guitar tracked to drum loops, and I am supplying everything else. I have already brought in a great bass player and tracked the bass guitar parts, and I have laid down most of the guitar parts (lead and have replaced the rhythm parts that were not so "tight"...I'm being polite here... ;) ). I also tracked the keyboard parts and BG vox, but I will probably be bringing in a real keyboardist on at least one of the songs that requires some real piano skill that I don't have.

This is a really fun project that I have full artistic control over, but the original song ideas are from the Texas contingent. I have added some bridges, hooks, fills, etc., so I do have some ownership here, but cannot take credit as the songwriter.

5)I am also working with a contemporary Christian rock band for a CD project. This is also a really cool project that will be getting started in earnest in January. We have been laying the groundwork for a while on this one getting all the parts together, etc.

Interesting post. I think everyone here is doing good things.

I just finished recording a 3 song ep for a group of guys I've known for a while. Good progressive rock stuff.

It's however a sad testiment to the poor recording standards these days though. The recordings I did with:

Samson mics
Behringer mixer
Edirol DA2496 Interface
Sonar 2.2

Still beat the hell out of all the recording studios within 200 miles. Then again I do live in Middle/Northern Ontario, and there are only about 10 studios within that range... but doesn't matter. My $5000 worth of equipment beat out the sound from a much larger studio which I will not mention.

I will chalk it up to what I have learned at RO and perhaps I know what sound I like and know how to get it with software.

Currently I am moving into a loft and will be setting up shop down there, to record a few more tunes for the same band, and a couple more bands. And of course myself... all acoustic album? you bet. 1 track done, sounds like heavan. Far cry from my distorted drop d, couple steps down pounding.

So thanks to all here.

I will resist the temptation to include my usual "Cool" smiley face.....

My main project started last Thursday tracking an album for my own band "Monsoon". A proper rock album, you know real songs, no shredding or widdly guitars!

Lineup is...
Drums
Elec. Bass
Elec Guitar & B acking Vox (me)
Lead Vocal.

some guitar (elec & acoustic) overdubs will be done as will a grand piano on some tracks.

We hired a pretty good live room for me to set my gear with a separate little room for monitoring etc.. All was looking good 'til we got bumped for another band who were prepared to pay more for the room and we were forced at the last minute to record in what is little more than an outhouse in the middle of a field in SW England.

Still every cloud etc... as the saying goes. This room sounds amazing! Loosely followed Recorderman's overhead micing technique and due to the generous people on this forum that shared their views on the Audix D6. I took delivery of one the day before. (Pure luck as it was really hard for me to source here in the UK for some reason).

Complete set up of system, mics, baffles and correct recording levels was reasonably quick and the first day was spent with test takes to perfect mic positions etc and this left 3 more days to track drums.

My drummer got 13 songs down in those 3 days and they all have the magic I was intending them to have. A job well done.

I am also able to get into a fantastic little studio full of proper gear (50's, 60's, 70's) pultecs, fairchilds, 1176s etc and a Neve console. Loads of vintage guitar amps and mics (telefunken, Neuman etc...)

3 more drum tracks to be finished by Saturday 22nd Nov and then bass finished by 27th.

Then tracking guitars, piano & vocals at that studio!!!

I'm getting a bit too excited as this whole project is coming together better than I could have dreamed. Also got some pretty excited people Stateside itching to hear the tracks.

My gear, which is set up for mobile use is as follows.

Digidesign 001,
Apple Mac G4 867Mhz.
CLM Dynamics 8 channel mic pre with ADAT lightpipe.
SPL Goldmike dual tube mic pre.
TLA IvoryII 5051 4 channel tube pre.
Empirical Labs Fatso.
TF Pro P5 box full of Optical compressors.
Alesis AI3 D/A A/D converter.
Samson S-phone h-phone mixer amp.

mics:
Audix D6
4 x TF Pro TF27 sd condensers.
Red5 Audio RV-10, LD multi pattern condenser.
Red5 Audio RV-15 Valve LD condenser.
Yoga Drum mic set (4 dynamic with mounting clips, really cheap, but I can't believe how good they sound on toms!)

SM57.

An amazing drummer, a solid bassist, a great vocalist and myself along with a few extremely talented, helpful friends and very well written songs. In short a great functioning team (more important than all the gear actually!)

Hope this is of interest to some of you.

Damn! I wanna hang out at Gaff's house. That's a yummy pile of outboard.

Damn! I wanna hang out at Gaff's house. That's a yummy pile of outboard.

Skeetch, don't forget your money!

Toga party @ Gaffs!

Kurt, That is just outright obscene, nasty and mean! You can come over, but you have stay outside with the dogs!

I've got three projects all in the works for quick production and release before Christmas.

1. We do an annual holiday choral CD with my high school choirs that we distribute to parents and friends as a fundraiser. Last year because of timeline issues we did this in a ridiculous amount of time. We had all the copyright and print material done ahead of time because we knew what we were going to record in advance and could do it at the school. We started rolling tape (G4 with 001 & PT LE) on Thursday and after a number of sessions each day, students had finished products in their hands with stick-on labels on Monday after school!!! I was here 20+ hrs/day. These are virtually live recordings with the option for mulitple takes, but the performances are always good or it doesn't make the cut. This year we're ready to go now, but I foolishly upgraded to OSX for a new OO2R and had the power harness issue so we're waiting again.
For these recordings I fly Crown PZM's into a sytek pre , a couple 414's on the piano and get out of the way. Even things out with a little compression and reverb and everybody has a Merry Christmas. We made (net) 15K on it last year! Because we do everything in house we made about $8/unit on a $10 cd. It paid for a festival w/ Chanticleer in San Francisco.

2. I'm working on some vocal jazz arrangements to be used as a background for a solo singer who wanted a Manhattan Transfer-type sound. His budget will determine if I do the singing and hire other pros or if I give it to my high school singers (who are really good) for the experience. Not sure if the recording will take place at my place or the studio where he's doing the project.

3. A jazz trumpet player friend of mine wants to record some Christmas songs with me on voice and piano and him blowing over the changes. Another quick turnaround- just trying to capture a live vibe. We may add a bass for a little more groove.

4. The only other thing I'm working on is my self-produced Cd that I've been working on for years with no release date in sight. It was supposed to be done when I turned 30, but it just keeps changing and I'm afraid to pull the trigger, even though 30 was 10 yrs ago.

AG....sorry fer da threat but it hadda be done.....Oh BTW....nice junk ya got...My favorites of the AG line up would have to be the Genelecs....got 1029's with sub myself....I'm like White Swan on the Alesis X2...how do you keep it going,or have you been lucky and got a Wednesday unit...!

pmolsonmus:re....solo album.....spell p-r-o-d-u-c-e-r....ya know, the guy that can tell ya to 'shutup.. its perfect.. next song pleeze.'

I'm like White Swan on the Alesis X2...how do you keep it going,or have you been lucky and got a Wednesday unit...!

If you like the 1029's you would just love the 1031's. Worlds of difference. Every time I play music that I know of and have heard many times, I hear things that I didn't hear before on any other speaker. They are such a joy to listen to.

I've had real good luck with my X2, and I knew the original owner fairly well so that helped me knowing what I was getting. The secret is to not use the preamps or switching the 48V on/off. I almost always just use the tape in's and the line in's. The eq is very useable and those extra 24 channels with the mini faders sure come in handy. At least I can proudly say I'm not using a Mackie!

I guess you didn't hear, White Swan got kicked out or rather banned without being given any notice as to why? She said she just couldn't no longer login? Too bad as she was one of the more intelligent and well spoken posters around here. I'm kinda of pissed off about myself. Politics I guess?

Originally posted by AudioGaff:

Skeetch, don't forget your money!

I can't afford to buy any of it. I just wanna bask in all of its aura. I bet it smells cool too.

Skeetch, None of it's for sale. (well, the right offer makes anything for sale) You just got pay to see it, play it, or even smell it. Just like the dog face boy at the circus...

Okay I almost didn't post this, cause I'm just a reserved kinda guy, but here it goes....

Editing live Jimmy Buffet footage for a Margaritaville location in Las Vegas. (I'm not fan) There is also a live performance (on stage)which requires some special video/sound effects. The performance includes a small scale volcano that erupts (power going on/off ect..) spewing out margarita that runs down the mountain and into large blenders, a small skit about sacrificing a young virgin from the audience with cheeseburger in hand and jumping into the top of the volcano, to calm the "volcano god", which after successful eatin, slowly grunts/burps, she is tossed out of the volcano and appearently has turned into a mermaid, she slides down the mountain into the margarita filled blender, and a sailor comes by and fishes her out. There will be alot of very cheesy sound effects for alot of these things. But because I've a much darker sense of humour, my sounds were a little to dramatic (too "LOTR" i guess) so they're using someone else's - which I'm fine with. The videos I'm working on will be played on all televisions as well as a huge boat sail, and I'm sure the audio will be blasting though I'm not involved in the on-site stuff. Very cheesy.

I'm about to start editing/mixing/mastering (though, ideally not mastering) many old unreleased recordings from jazz and blues artists like Dr. Ross, Banjo Workshop, Eddie Burns, Geoff and Maria Muldaur, Jesse Fuller, Jim Kweskin, Joni Mitchell, Little Sonny, Mike Seager, Richie Havens, Sippie Wallace, Washboard Wille, Wille Blackwell and other various artists. There's probably several hours worth of stuff to go through and I imagine it will be a huge amount of work - but all my pleasure.

Apart from that stuff, I’ve recently recorded/mixed several demo's of some local bands and the band I'm in is recording an album to be released first quarter or 2004. It’s progressive rock music…

And of course the odd jobs like wedding music recordings (acoustic guitars and singing), side projects with other people, writing music for my own personal damn self, ect...

I'm always doing the same thing. Jingles. I work out of my house, so it's actually a great way for me to make a living. I do around 150 + of them a year. It's a nightmare, but it beats not working. You start with a blank page every morning and by 2:00 you've got something produced/tracked/mixed and out the door. The next day, you do it again. Very much like Groundhog Day. I've been doing this for several years and literally have very little hair left.
I'm also working on a Xmas CD for one of my clients who want to give this to their clients as a gift. They asked me to arrange/produce 10 Xmas songs (public domain only) in a smooth jazz style. I just got the gig a few weeks ago and along with all the jingles I have to do, I'm slammed. It's a busy time of year for me. Mike F. over in the mastering forum is going to master it for me week after next.
My set up is very basic. A d8b, neve 1272's, Manley ELOP,Lucid converters, other outboard gear and mics. My best mic is a SPA U87. I use DP and Peak.

Hey Kurt! That reminds of a girl I used to date in college! Ahhh...the good ol days!

:)

My latest project was recorded in a converted garage my clent put together. We borrowed a slew of mics and a pair of LA4As. I brought my LA3As.

Kick was d112, snare was 57 top and bottom, Sm81 on the hat. The Toms were miced with akg c1000s and the over heads were AT4050s.The room mics were Sennheiser shotgun models. The bass was DIed with a countryman and the amp miced with a 421. The Gtr was miced with a Rode NT3? We also used it on cello. Leslie was miced with it as well plus a pair of 57s.

The board was a Soundcraft 600. We also utilized eight channels of presonus mic pre/ converters.

Vocals were recorded on the mix session at Quad Recording's Studio 3. We used a Neuman M49 into the SSLJ9080 mic pre with a blackface 1176 on the insert followed by an API 550 EQ. Certain tracks were patched from the 888's into military transformers and on to the console's line inputs. A Pultec EQH2 was inserted on kick, an API 550EQ on snare. Bass used an lA3A on the insert. For vocals I used an lA2A, another on acoustic gtr.

Outboard gear was as follows:
Lexicon 480L, 224XL, and PCM70
AMS DMX100, RMX reverb unit
1/4" otari for tape delay
Other outboard included: dbx120, PCM42's, PCM41, Dimension D, 1176, Dolby SR Rack

Some notes were fixed vocally using the graphic mode of Antares version 3.

WE mixed on a Studer A80 1/2" with Quantegy 456 at +3/185 db, 1/4 over bias

I'll add my two bits (canadian, that's about 38 cents US)...

I'm involved in three band projects right now. We're in the process of generating demos for all of them. Bands one and two consist of female singer, guitar bass and drums. Band three consists of three female singers, keys, bass, drums plus sequenced horns, keys and a limited amount of percussion. The first two bands are also starting to generate originals for recording.

My setup consists of an IBM clone PC, Aardvark Q10 interface, SONAR XL, the WAVES renaissance package and various other Dxplug-ins

Near field monitors are Event 20/20bas, far-field monitors are vintage JBL 4311b's. I try to listen to stuff on my KEF 104ab's and also Vifa Filigran's for variety of references. The JBLs are powered by an ART SLA1 amp. The Kef's are powered by a Bryston 4B.

Mic's are :

1 AKG Solidtube
1 SHURE KSM32
1 AKG C3000b
2 AKG 451b (matched pair)
2 AKG C1000s (which I probably won't use now!)
3 Sennheiser 421
1 EV RE20
2 SM57
1 AKG D112
1 Audio Technica 3040(?)

Outboard stuff:

Joe Meek VC1Q
HHB Radius 40
Two RNCs in a FunkLogic rack
Focusrite Trackmaster (I hope Kurt's not listening!)
Yamaha REV500 echo unit
dbx 166a dual compressor

We tend to try to do most stuff "off the floor" and have throw-away tracks where bleeding is a problem. My cement basement (20x26'?) serves as the studio, control room, practice room, home gym, laundry facilities and furnace room. Walls are treated with wood frames filled with fibreglass (green) batting and then covered with burlap. One wall (behind drums) is covered with egg-carton style foam. Carpet on the floor.

It's a lot of fun. What a great hobby!

I've resisted jumping in on this one, but here goes.

Big project at the moment is, well, a polka band. This is the third album I've done for this group, and they're saying that this REALLY is their final one. I hope they make good on their threat. But, being that this is their last, supposedly, I'm doing everything I can to make these 19 songs the best they've ever done. Tracking wrapped last week, and I'm now cleaning up tracks and about to start mixing. 19 songs, each song roughly consisting of drums, bass, piano, 2 accordions, various combinations of 1 trombone and 2 saxes, and vocals, lead and background. Basics were recorded through an 01V into a digi001. All accordions and overdubs were tracked through an RNP, with a pair of RNC's inserted on each channel. All other tracks were pre'd (there's a new word) with the 01V. Mic's were a Blue Baby Bottle, a Groove Tubes GT66, a pair of Superlux CM-H8B's, a pair of C451's, a pair of MC-012's, a Beta 52, and a handful of 57's. Monitoring was on Event 20/20's, powered by a Hafler TA1100. Headphone amp, well, there was a headphone amp pushing several pairs of Sony MDR-V600's. This was all done in the band leader's comfy garage. The rough mixes sound good everywhere except in my truck, where they sound, well, like a garage. Still have some tweaking to do.

This project stepped on the toes of a 3 piece prog rock band that I started recording this past summer. We laid final drums and scratches for bass, guitar, and vox for 9 songs, from which they've since decided on 4 definites, of which we'll keep the drums, and begin working on bass next as soon as the polka project wraps completely. It'll be a nice change, I'm sure, moving on from accordions and saxophones. I think this band (the prog rock band) is considering adding another handful of acoustic songs and other random ideas to the 4 full on songs that they've settled on to fill out an album's worth of material. They're very happy with the sounds we've gotten so far, preferring this recording over one they did in one of the handful of big, reputable studios here in town. I disagree with them, but they're happy, and that's all that matters, right?

On a side note, I also recorded a solo album for this band's bass player, and he just got the discs for it last week. While I'm pleased with what I did, he had it mastered by a bedroom mastering guy, and I'm a little disappointed with the results of that. Regardless, I'm proud to have my name on it, as he's an incredible player. There aren't many people that can successfully pull off a solo bass album, but he does so comfortably and effectively.

After that project wraps, I've got several things lined up indefinitely. A female acoustic singer/songwriter, another rock band, a Spanish/western band, a hardcore metal band. Things look to be busy for a while. It IS a great hobby. This is all part time stuff, outside of running the audio end of things with an A/V production house, which is my 8-5 gig. I love this stuff. And I thank all of you for the things I've learned by hanging out here.

Bump.....Just giving everyone a chance at this....really...inquiring minds want to know!