Dad3353

Not much to add or contradict what BRX has clearly written; the mic connected to the Warm Pre-amp, into the Compressor, into the Interface, will work. For the 3rd Dimension, you can connect the o/p from the compressor, but will need either an interface with two i/p's, or a mini-mixer, equally with at least two i/p's. There are small mixers for this, with stereo USB o/p, at around £70 or so, so might be worth a shot... Xenyx Q1202USB, Amazon UK ... Hope this helps.

At the time, the 'fashion' was for skinny strings; the Bison got set up with a set of '7's. These are roughly equivalent to stringing up with cobwebs. Added to that my innate tendency to not be a very good player, and having learnt what little I knew from Mickey Baker's Jazz Guitar method, it would be unfair to give any review of the guitar's potential. It may suffice to say that this potential was not realised under my hands. Upon acquisition it was a pastel green shade; I sprayed it bright canary yellow (and made not too bad a job of it, either...). The neck on the President is rather more on the 'chunky' side; the Bison boasted one of the skinniest necks of its time. Three pick-ups, but through my modest Watkins Westminster, not a lot of tonal difference. I didn't keep it long (what on Earth was I thinking of when I even considered such a guitar..?). I traded it for a Vox organ (for my then g/f to play; didn't spark her enthusiasm either...), and took up drums, myself. There, for once, I made the right choice.

You are The Grinch and I claim my £5 ..!

Hasn't kicked in yet, but I now have sore fingers and strange looks.

You may regret having written this in the future..!

My first electric guitar, late '60s, a Thinline Hofner President, Florentine cutaway, just like this one... . Sold to buy a Burns Bison (madness..!), which didn't stay long. I've other (fine...) Hofners, but a Thinline President like the above I'd buy again instantly. A joy to play (which I didn't realise at the time, daft stupido that I was...), but, alas, rather a rare beast, so difficult to replace. Anyone got one going spare, by any chance..?

Ah, DW. Jolly Good Stuff. My kit, bought in the very early '70s, is a Camco; they were bought by DW, and have the same round lugs, and the same superb sound. Good choice, and well played. As for the cymbals: as I wrote, it may be best to get the opinion of someone else, but it's better to be a touch too cautious, as they can become aggressive and wearing quite quickly. To judge from the overall drum sound, I'd say that the distance is pretty well spot on; a little EQ tweaking would bring out the 'shine', or a drum bus mastering preset if the whole kit is in a group on the desk. Less Is More, however; there's no flagrant problem. Carry on as before and you'll not be far wrong.

Not much 'error' here, lad. That's excellent execution, tight enough arrangement for the genre, well sung (again, in keeping...) and well mixed. I've heard many studio sessions much, much worse that that. How to improve it..? Maybe a spot of post-prod Fx for the vocals, doubling the voice would be good (can be done 'live', now, with 'trickster' voice pedals. BV's would add, if there are others willing to step up to the hot plate. No need to be Caruso, just reasonably in tune. BV's add a lot to this sort of rock. Excellent drum sound, so kudos for whoever tuned the kit. I can't hear much in the way of cymbals, but that's probably my advancing age and retreating hearing, so no worries. Best check with others to be sure, though. All together a very efficient 'visiting card, so well done all involved.

PM sent...

They were asked for a piccolo bass, but mis-heard and made a Picasso.

Good morning, Stubs, and ... Plenty to read and amuse you here, and lots to learn and share.

What, like a Precision bass..?

Good evening, Andy, and ... Plenty to read and amuse you here still, and lots to learn and share.

Keep it simple, for now, and add bells and whistles little by little, as the mastery develops. I'd start by using two overheads, snare and bass drum, and leave the tom mic's alone for now. If they're recorded, that's fine, but get the overheads to do the 'heavy lifting' (including stereo separation...), and only add tiny touches of toms once the drum mix is done, to see how they can affect the whole. They're not essential; many studio engineers don't use 'em at all, even if they're 'on the desk'. Keep it simple; Less Is More..!

For inspiration, listen to Lenny's. ... ... Then do the opposite. ...

Not much use for spears, I fear, either. Not for me; I'm Out.

Night'n'day, lad; night'n'day..! That's a very credible mix..! No more of the old jollop for this evening, then, but keep the recipe that you used here, plus the other stuff talked about, and you're on the right track. If you're not doing this stuff in 'studio' conditions (appropriatly-sounding room, high-end monitors, top-notch 'cans'...), don't worry about fine details. Go for the 'low hanging fruit', using tried and tested simple techniques, and trust your ears..! Give it another listen tomorrow, then listen to the video track, and you'll hear for yourself the difference. Good Stuff, well done.

Which one would Michael be, I wonder..? ...

OK, then everyone would be playing ahead of the beat. So..? A metronome would show the difference, but without that...

Empathy. Playing 'behind' or 'before' doesn't involved any change of tempo, merely the placing of the beat, not its speed. Take a very extreme example in a reggae 'one-drop', where there's no 'One' beat played at all. The 'One' is there, but not stated as such. Playing around the beat is similar; the 'One' is there, but not explicitely.

Unknown to me, and not my usual 'cup of tea', but kudos for the splendid performance and uber-clean recording. Good Stuff; thanks for sharing. An extra 'Clap-clap' for the drums; very tight.