There are two old sayings in the recording industry: The first is, "You Can't Polish A Turd". The second aying goes along with the first, "You CAN Polish A Turd, But All You End Up With Is A Shiny Turd". That's happened here a number of times, and why it happened might help some of you out.

So...we haven't touched on this...and perhaps it's more for the 'Bar & Grille', but I don't really care.

Does anyone else here think that was just another case of "gee, you hung around this long, let's give you an award" crap?

I dunno...I thought both 'Radiohead' and 'Beck' had far more interesting entries...maybe I'm wrong.

What do you think? And why?

What is it? Is it fat sounding cool in anyway. Fletcher I'm sure you know if it sucks or not.

Words To Live By In The Studio

The Dreaded Mixdown

This is my first post in this forum. (This place is really starting to take shape :cool: ) I would like to talk about the future of the "native" DAW. Specifically how this new crop of DSP cards will impact and improve the native experience. As you know, a whirlwind of manufacturers are soon to release their own DSP cards (i.e.

Next week I'll be recording a female acoustic folk duet. One musician is a vocalist/ fiddle player, and occasional guitarist, the other a guitar accompanist.The venue is a small dinner club. There will be sound reinforcement.

Does anybody have insight in the file exchange format AES-31?
Where is it at now?
Do you think that'll become a practical reality? Will the manufacturers embrace this format fully?
As far as I know Sadie is the first system to announce support for this file format.
Have I missed something?

Please enlighten me!

Best regards,
Fredrik Lidin

Micing Acoustic Guitar

Many people have a difficult time Micing an acoustic guitar to where it will sit well in the final mix. Usually, it's too boomy or too tinny, or too many finger squeeks, etc. Here's a little trick I use to record a mono rhythm guitar when I need it. I use an omni, but a cardioid should work almost as well.

Hi there,