Collective questions for Mr. Sneap -thread

one thing that came to mind the other day andy was how do you get subdrops to have the weight and still be pronnounced without them messing up when going through the master buss comp etc? ive found that on occasion, depending on the mix, i struggle to get them to poke through
 
Re beat detective, I group the kit on normal beats, on fast double kick stuff I usually group kicks and the top of the kit separately so you are not chopping cymbals up into 16th etc and you can get snare and kicks tight.

What about the snare and toms bleeds into the OH's, if you group the top of the kit separatelly?
Do you use the snare as the key and you group for example, snare and Oh's after the first editing part?
 
I've not used it recently as its now on the computer in the B room but I found it useful for matching gtrs where I couldn't reamp. Live stuff where fixes had to be done etc.
 
one thing that came to mind the other day andy was how do you get subdrops to have the weight and still be pronnounced without them messing up when going through the master buss comp etc? ive found that on occasion, depending on the mix, i struggle to get them to poke through

+1
I'd really like to get your opinion on this, I can do an alright job with 808's but i can never really get the subs to explode like I've heard others do. And that seems to be what all the bands I record want these days.
 
I can't really think of any specific technical questions for ya Andy, and I've been trying. Seems most of that would be kind of useless since this is a reactive art. It depends entirely on the material and situation usually. But here are a few more random ones.

You obviously get a lot of material that was tracked elsewhere with another engineer recording/producing. What would you say are the most common mistakes (in your opinion) with the engineering of material you've seen coming from some more inexperienced engineers and musicians?

I'm also assuming you get a lot of 'rough mixes' along with projects as an idea of direction the band and producer were going for during the recording process. What are some of the more common "gah!" instances you hear in some of the mixes done by other engineers and musicians?

Thanks again for taking the time to answer questions for all of us. Very nice of you.
 
who is SYL?

and a question for andy:
1.I´m going to record a peavey XXX. Do you have any tips for settings,cabs and mics.

I tried one of these and it sounded very nasal for my taste?

I also wanna blend the amp with an engl or a rectifier.

2. When you have 2 guitar players to record (double tracked)
Do you use 2 different amps (one for each player AND his double takes)

Or do you use the 2 amps for both players, like one for the first and second for the double, and for the other player the same?

cheers
 
who is SYL?

SYL was Devin Townsend, Gene Hoglan, Byron Stroud and Jed Simon. The band was disbanded in 2007. It is also known as Strapping Young Lad


edit: On the guitar tone, check the first post for the recording style (single SM57 in the center of the cone of a cab with V30) and Andys 5150 settings from the FAQ. Also remember that it doesn't matter how it sounds alone, but how it sounds with the rest of the band. Record the drums and bass, they mask a lot of the tone.

 
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