I am using a Korg D16 to do my tracking and then I export the .wavs and edit/assemble via Wavelab. This seems to work quite well, but I'm looking for a way to up the speed of the export process. If it weren't for that, I could probably become a halfway decent basement studio and charge by the hour.....til that day, I'll do the freelance/set rate thingy.

Mike
MMM....tasty "Studios"
What's Up Jaws? Records

:D

I've begun using a pair of Shure KSM32 condensers to stereo mic the Yamaha CF-III 9-ft concert grand piano for live, on-air music performances, and I'm totally happy with the sound I'm getting.

For several years I had been comfortable using a pair of AKG C414B condensers, but recently substituted the KSM32's on a whim and found the Shures to be much warmer down low and richer in the midrange than the AKGs.

Between camera angles and motors/fans of the noisy studio lights, I'm more or less forced to keep the piano lid closed, so I've been suspending the mics on little "hammocks" of gaffers tape stretched across the sound board. Works great! :D

I have been producing an album for a 3 piece rock band these past few weeks. We were having trouble getting a nice tight kick drum sound. The kick itself sounded great, but for whatever reason, the mics and pres that I 'usually' use were giving me too much muddy flab, no matter where I placed them. Pondering on the word 'tight,' I then came up with the word 'small.' So I reached for the Oktava mc012 condenser, almost as a joke. Stuck it just a little ways in the sound hole (with cardiod and 10db pad screwed on)and ran it through one of my pres (either the 1272 or API 3124). Then through a fatso and into PT. Wow. That little $200 mic has paid for itself over and over again. It has remained inside the kick drum for the duration of the project. I bought one of the old ones, though. Not sure about the newer ones.

CS

This little box called the "MOFX" by Electrix. Been setting up a 57 overhead on drums as close to the players head and possible.and busing it to the MOFX , It has a wonderful cheesy distortion and 3 way eq killerAll the effects are " playable " with these momentary switches on each effect block. this box was geared to dj's at first but I think maybe didn't hit to well, was priced at about 450.00 and GC blew them out for 99 bucks. Great lo-fi box.
Loving the control 24 as opposed to track ball only (using about half and half) but a little underwhelmed by the mic pre's.
My favorite piece is a vintage Simmons sds V brain that we use to enhance kick and snare. Booty shakin with a little white noise to taste...ultra fast trigger and I LOVE those knobs.

I like to go to a studio with a nice console to track and mix. Lately, in order to get the most of our studio time, I have been taking a 001 rig and a firewire drive with me and putting it in an iso booth so that an assistant can do our editing and overdubs there. Sometimes I connect the computers via ethernet or firewire. Usually, we just swap the drive back and fourth. This means that our overdubing time is cut considerably and we can start mixing before the overdubs are done. Also, if I want to retrack or add a part, I can continue mixing while they go work on it.

Things that are working for me are the Baby Bottle on guitar amps and the JH-24. I've also been using more omni mics recently. Usually on guitar amps and as room mics. Once I get the vocal booth fixed up I'm going to try them there, the main room is too live for an omni on vocals. I don't have any cool editing or hard drive swapping stories to tell.

For me it's the dimmers for the lights.Every musician that records at my studio grabs them with an iron grip.And for the restless young romantics...........the nudie bar across the street. ;)

My huge The Sharper Image ionizer works well.. It keeps the control room air 'zinging' and fresh. :)

When we do guitars we use the US transformer for it on something else.... after a while we all start to get depressed and start punching each other so we have to plug it back in again!

Originally posted by Charles Di Pinto:
I'm trying something new in working on my ongoing projects while away from home. I'm on a much needed vacation in Toronto, and I have clients who are right in the middle of editing.

Now wait a minute here. You're on vacation but you're still working? You know for years I used to do that and finally realised life is too short. Take a holiday when you have a holiday...even if it's shorter. It took a lot for me to do it (my girlfriend threatened to upgrade etc. etc.)If you can do that then that helps the very thing that should be working the best in your studio - yerself.
(Sorry - I've been looking after a young bower bird that crash landed on my balconey during a storm and have been experiencing wild impulsive moments when I come over all tender and caring!)

Hey Jules,
I ordered my ADAMs today. Did you get yours yet?
I also was suprised to try out my new Lawson L47.
Sounds great and stood right up there with my Manley Gold ref (a different animal but still a beautiful beast) It also sounds a bit more natural and warmer than my M149 (maybe not as big) so at that price point I'd say get a dozen.
The other thing is the combination of the Royer 121 with the VIPRE. All sorts of options (try flipping the phase and turning the mic around)
JC

Shhh, don't tell anyone about this one, just keep it among us guys.

Pair a TLM-103 with the oft rebuffed ART tube studio pre, run it with the +20db button in, turn on OPL and push the ouput level to 5db or so over your input and you come up with a classic tubey sound that works.

I've got a locker full of the big boys and this combo kicks some of their butts. The sound is big and round, easy to set up and works well on a lot of voices. All this and cheap to keep.