memphisindie

http://www.memphisindie.com/Rates.html

It's a mix. I usually start with micing through pre's and board pres into the HD, then when we feel like we've done as much good work as can be done at a high velocity, because you can move fast with that set-up, then we move into PT if necessary. Some times people want to stay out of the box, sometimes they want to mix in the box, sometimes we overdub through the box. If it's outside I use my outboard stuff and if it's inside I use a LOT of automation to make things do exactly what I want. That's when I know I'll be needing some rather cleverly done delays and such. Sometimes I bring it in the box and print the changes and put it back in the machine and mix through the board.

Sure there is, having the best gain staging possible and pristine audio quality on a track that sounds "tired".

I have four in use.

I use them if I need them on playback only, or mixing, not going to original tracks.

Vox, mic placement, get your gain staging right, try a flattering mic that sounds like it is not hooked up to a slight phasing effect, a good clear flattering signal, the high end should not be too loud yet it should be clear and un muddied by too much low end swamping the preamp. You can accomplish that without EQ if you have decent gear, or you can subtract a little lows in the right area if they are swamping. Cheap mics can sound tinny so you might have to lose a little high end to accomplish it if you have one of those. If the dynamics are too wide for the preamp causing unflattering distortion(as opposed to flattering distortion), compress starting at a low 2:1 ratio or lower. Two passes through slight compression is better than one hard compression ratio in most cases with vocals and less noticeable. Once you have that clear track in place, you might decide on what kind of reverb you want, natural sounding which encompasses certain parameters, or an un-natural sound which you would either need to be able to describe or not and just experiment. If you are looking for a natural sound, predelay (which determines the "perceived" room size) is between 0 and 31 ms max and reverb of 0.3 sec to any length with high end roll of set to 5 khz. Tighter times being more like ambience, longer times being like halls rooms, or theaters. Any cheapo reverb unit can accomplish this so don't frag your old unit till you start using it like this. you can roll off the low end below 300 hz of the reverb unit return too to clear it up too.

When I used to write I got very clear early on that: 1. I wasn't THAT good at it and 2. Only show stuff to "industry" people you can work with who have permission to be BRUTALLY honest. You never have to look at a friend sideways,,or an EX wife.

I've been using that for 20 years prior to it being written here! Well done and very understandable.

Dang near all of the above. G%/PT setup and My spirit hd24 setup for tracking, plenty of mics, di's outboard, etc. Full blown.

I have NS-10's and BX-5's and I want a set of SLS monitors 1266's, sweeeet!I have NS-10's and BX-5's and I want a set of SLS monitors 1266's, sweeeet! The powered JBLs with the automatic room EQ adjust are probably next though.

Soundcraft Spirit 24x8x2 6 aux, 2 monitor outs, direct outs, inserts, separate tape path (inline recording desk). Sort of a large small. sounds great does everything i ever need except polarity switch which I can do with a plug or a box.

http://www.claudestein.com/findex.htm

http://www.katieagresta.com/vocal_coaching_library.html

Singing while passing a lot of air over your chords will cause "nodes" on the chords with or without smoke. It also causes you to lose your voice. Most people don't have proper voice box placement and also tear it up that way. The voice is another instrument and it works perfectly "a certain way" which must be learned. There are some who have good placement naturally, but, not most people. Katie Agresta had the best vocal coaching technique I've ever seen and Claude Stein, who taught the "Natural Singer Workshop" was the best coach of this technique among other things he teaches re: performance. Those two taught the best in the business. Their coaching did not effect your "style" of singing. It just turned you into a "class A" singer instead of a hack. After working with these two you could sing all day at full belt, extend your non-falsetto range beyond your falsetto range and extend your low range with perfect control and about 100 times louder than before consistently. Coaching, from a great coach. Ya just can't beat it.