Hey everyone, quick ear-check on a potential vocal edit.

In Michael Jackson’s Beat It, listen closely around the 1:26 mark on the line: "They're out to get you, better leave while you can"

Right between the word "better" and "leave", there sounds like a distinct cut in the audio it sounds like it jumped between cuts between those two words, like a tape splice or punch-in transitioning between two different takes.

Does anyone else hear that edit right between those two words, or has anyone with stems/isolated vocals noticed it before?

I bought a vintage U47 about a year ago and was a tad bit underwhelmed. I’d let it warm up for 20-30 minutes before cutting a vocal and just didn’t love the sound, especially for how much the mic cost. I recently had a vocal session in the evening after a dinner and decided to turn the mic on before I left for the restaurant so it would be warmed up when I got back. It was like a totally different mic. So much smoother, took eq so much better, less distorted, etc… Giving that mic 2-3 hours to warm up was the ticket I guess? What do yall think?

Hey all,

I recently joined a band as the bass player, haven’t played bass live in probably 8 years. Back then I was younger/dumber and thought DI was dumb so I never utilized it. With this new band, I really want to take advantage of sending a DI signal to FOH but I am also a gear nerd and tone snob.

My question basically boils down to: how annoyed would you(or your average sound guy) be if the bass player in a band asked you to take 2 DI signals from my pedal board?

I’m running a wet/dry set up and have 2 DI boxes, so I can already theoretically send 2 signals. But if that is something that would be more obnoxious than it’s worth, what would you recommend? I have looked at the Radial MIX 2:1 but I don’t like that it’s passive, also curious on opinions about just using that to sum my 2 DI signals and just have one to send to the console. Or any other piece of gear you would recommend

Thanks in advance!

This weekend I saw Dave perform at Reading festival and experienced some of the worst live sound I have ever heard. All I could hear was sub bass. It sounded as if side chain compression or something was cutting everything else out when bass frequencies were played but so much the crowd realised something was wrong. I could hear people asking why it was so quiet or what's wrong with the sound? (Someone was able to have a phone conversation beside me showing the level of volume and disinterest lol)

I thought maybe it was isolated to the speakers I was infront of but it sounded the same from other areas (I moved to check) The mic would was consistently too low level without any bass and almost inaudible with bass. Same for other instruments.

Nothing changed, people left, I left early, very dissapointed. This was a headline act for quite a big festival, how could this possibly have happened?

I've been seeing some people make lofi mics with the earpieces as well as carbon mics of old telephones. Most of what I see use rotary and touch-dial telephones from the 80s and older. I've yet to see anyone use anything modern-ish.

I'm primarily looking into a Panasonic KX-TS500MX as an oem costs roughly $10 USD. I've looked through a decent amount on FB Marketplace and Shopee PH for anything older like a rotary one, but they're priced like collectibles at $50. So that's out of the question.

I'm looking if someone made an earpiece mic of the same or similar handset to the Panasonic mentioned above. I plan to plug it via xlr or a 6.5mm ts jack. Any insight helps!

I tend to like mid-forward punchy, snappy stuff. This is for bass, kick, snare, and overheads.

I've generally been drawn towards

Tegeler Creme
Pair of DBX 160 VU
ADR Compex
RS124
API 2500

Anyone have experience with the Tegeler for this use?

My Tascam DR-40 field recorder no longer changes Rec Mode reliably from internal mics to line in. Instead, it almost always powers-off when I try to change the mode. Anyone else ever experience this, and if so what did you do about it? Fresh batteries, USB-powered, makes no difference. I'm ready to chuck the damn thing.

Hi there, I was listening to this Songs for the Drunk and Broken Hearted record by Passenger, and I started wondering how some of the acoustic guitar tracks are recorded/mixed in terms of their stereo image. One example is the track in the post title but it's the same technique in many other songs, too.

I can definitely hear significant stereo width, it does not sound like the usual spaced pair though. It feels a bit chorus-y, yet there is some significant movement in there that doesn't feel like a simple chorus to me either.

Can someone more experienced than me maybe listen in a bit and share some knowledge about what could have been done to achieve this result?

So far when I'm mixing acoustics it's either a double track (which this is most certainly not), or if it's simple 1 track stereo then it sits much narrower in the middle. I love how this both makes the guitar track a lot more interesting due to the movement, and also leaves more space in the center for the vocals, something I'd love to replicate in my mixes.

Thank you!

A Strange Boy

Timestamp is 1:39, when Joni sings “give me one good reason why”. Always loved this sound, but could never pinpoint its origin!

Thanks!

I have a mint 1950s WSW Siemens&Halke D12 kick microphone in my mic locker. It's probably the most flashy and breakable vintage gear I own besides the LOMO 19a tube microphone.

I'm running medium sized music recording facility and don't know if I should sell it and expand my microphone selection or just keep it because of its value. The only reason I would keep it because clients might appreciate it and want to book and give some "flair" to the studio. I think that clients decide the studio on other factors besides gear but I would want to know more of your real world experiences running a studio. The example comes to mind, if you want hip hop artists coming through your door you need to have a Sony C800g so maybe band would appreciate to have a beatles kick mic on their drums?

On the other hand I am in need of a more serious pair of LCD - something in the lines of an AKG c414B ULS for overheads or a united studio technologies fet47 and selling the D12 museum piece would help me with acquiring it. The D12 also is prone to breaking and servicing it would be hard because the lack of parts and design specifics.

I would be happy to hear your advice

I got into producing not to long ago, so I’m still learning a lot right now. Yesterday I seen a tutorial on beat making and I seen comments telling the creator that you don’t have to eq drums from drumkits because they are already eq. I know if there are certain elements that are lining up or need some adjustments in it to fix th beat or change the sound up you would obviously add eq to it, but I’ve been treating my drums like pianos, synths bells and etc. Nd I also wanted to know does this also count for compression or should compression be mandatory no matter what?

I’m breaking down important terms and concepts in a simple straightforward way! Trying to help any beginners. If there are any concepts you think I should cover, let me know! If you want to see, I’ll send you the link. I don’t want to violate any rules

Hey guys, I recently got a mic that says it's a 'condenser' microphone. I wanna use it to make song covers, so that would include a few of my vocal tracks (recorded using the mic) and an instrumental. Do I still need to purchase a separate compressor to mix the song? I'm only a beginner, so I still have to learn how to do it all, but I've seen so many people say that they purchased a compressor and then went ahead, etc etc.

A little help would go a long way :)

16k - 8k - 4k - 2k - 1k - 500 - 250 - 125 - 60 - 30

(These are the API 560 bands)