Kickass

If you use the control room outs, a apposed to the main outs, you should be able solo channels, pre fade by using the PFL button on each channel. This will also show the level of that/those channels on the meters. The phones probably does this too, reverting to the main out when no PFL is engaged..

Did sound with a friend and his new PA in a village hall up the Tweed Valley. Interesting options for bass amplification. Two nice vintage drum kits but only got pics of one.

I set up a gig for my band in the local village hall 15 or more years ago. Gave a support slot to a band I had helped record a demo with and had djs playing after us, the main act. A friend asked if her son could play a few tunes so I squeezed him in first. This was Liam Fender's first gig. He was disappointed his younger brother was not at the gig and had just stayed in the house. His brother is Sam Fender. Earlier this year I was in the village pub and Sam was in with family and friends. He bought me a pint!

Paul Simon in Gracelands sings: "She comes back to tell me she's gone As if I didn't know that As if I didn't know my own bed As if I'd never noticed The way she brushed her hair from her forehead" I hear the last line as: "The way she brushed her hair and farted" Check for yourselves.

Whizzy sold me a P Body recently and has been a joy to deal with, price, info, communications, PnP. Should have asked about the other bits I need. Thanks again. D

I worked in a pro studio in the 80s and 90s, going from 2", 16 track to 3 or 4 Adats and never saw a chewed Adat tape. New high quality TDK or HHB tapes for every job. The old MCI/Sony 2" machine would jump into fast rewind and loose the remote. You had to be quick getting to the monster of a machine and hit stop before it got to the end and produced a cloud of brown confetti. We ran the Adats at 16 bit ( 18 or 20 bit on the newer machines) and 44kHz. ... anyway, studio etiquette.. Musicians set up instruments and drums before mics put in place, DI the bass even if an amp is miced, guitar/bass amps in their own space. Tune frequently. Cases and unused instruments tidied away. No smoking, eating in the studio or control room. Tune again. Make sure the engineer is not on coffee making duty and send band members to do any food shopping. Tune again. Don't sit singing, chatting or messing with instruments in the back of the control room. Don't bring alcohol unless this has been confirmed before. Tune again. Ask before unplugging or switching instruments or amps off. Singers remember how close to the mic they were singing and try to keep that consistent. Bring lyric sheets. Try to have only essential members in for the mix, too many cooks... Acoustic stringed instruments should be muted when not being played or may resonate and be distracting or worse esp in the control room. Don't ask the engineer to do a final mix after spending 10 hours recording. Modern times has brought other things into focus: phones off or in another room. There will be more I've forgotten. D (edit to add a biggie: Don't P off the engineer!)

Maybe you could post a recording of his sound, or maybe a video with him making that noise and saying what it is that is so important. Some of the guitar players here might be able to suggest how to make that noise with less volume. Or should that be "fewer" volume? Would be good if we knew the guitar type, the signal path and the amp/cab to help define "that" sound. D

You might find one of these: my Washburn Force42. Neck through, ebony fretboard, passive. It's heavy for a headless. More pics here: http://www.sixpennyjack.co.uk/Guitars/Force42/

Might your drummer prefer headphones? They can be over ear or allow more ambient sound and can be moved part way off the ear to control how much "room" gets through. I have seen drummers in the studio become much more controlled with one ear on technique.

The Mixwizard has LR master out and 4 group outs, these are normally controlled by the faders. and use the XLR outs. It also has 6 Aux outs, normally on TRS and controlled by nobs (Aux1-6). These two output and control methods can be swapped so the faders and XLRs can be used for Aux outs, and the nobs control the LR and Gps through the TRS. The desk also has mono out on XLR for subs or engineers wedge as well as LR monitor out on TRS. It also has 2 matrix outputs Stereo out on TRS which normally carry the LR mix. That is 16 outputs. I had to read the manual when this machine was included in this thread... Dane Further looking at the Mixwizard shows it has 10 direct outs from the mic channels... more outs than ins!

Joni Mitchell, Dog Eat Dog or The Untouchables, Wild Child But more likely a mix tape with dub reggae from earlier years.

I used to work in a pro studio doing adds, AV and other commercial recording in the middle of Edinburgh. Although the studio was in a stone chapel, with top end designed and built floating studio and control room inside the ground floor of the building, we got bleed from the city hum, transport rumble and occasional city linked sounds (drunk banging on the back door). The bottom end part of multi band compression would enhance this background chaos. With very good mics and speakers top end compression would enhance the saliva sounds, paper sizzle and other unwanted artefacts. I wouldn't use Multiband. Cut the top end and the bottom end with HPF and LPF and use a good, single band comp sim with between 2:1 and 3:1 ratio. I think the real difference in a treated room is you can distance the mic and crank the gain without getting ROOM! (and exterior ambience). With good voice artists we could use a condenser mic 2ft from the mouth and a foot higher pointing a foot, or so, to the side of the mouth, and the voice would be focussed a foot below and to the side of the mic, crossing the mic's focus. This is a huge generalisation but given to give you an idea of how we captured good voice work. Close micing a voice for intimacy or to catch character/mood would often need fine control of the voice artist and more retakes, and splicing of 1/4" tape. Our adds used to bang the PPM and jump out of peoples radios... I used to make the cart and 1/4" copies for distribution to local radio stations, every copy was played and checked before packing. I could hear one add over 100 times in one day! Mistakes in the recording got tedious/annoying quicker than the banal adverts.

I was there! Don't remember the bass but do remember being horrified at Rick bouncing a guitar down his steps. It didn't do what he wanted so he did it a second time!