I used to use HD650s but found they were a little 'tight' on my head. For long sessions, I'm also after comfort. These days I use Beyer DT880s, which I find very comfortable, suitably neutral - well let me explain - they have a bit of a HF lift - but that helps my ageing ears. I have the HD650 and ...

I gave it a wide 3dB boost at 700Hz (on the mixbus) and this produced a better overall balance. When boosting it, did you notice any particular parts that really came up and improved that balance? I guess in those instruments you could try to fix an overall 3dB increase. Perhaps by EQing or just ra...

yet there's a real interest in re-introducing all of the stuff that engineers in the "good old days" worked so hard to overcome and avoid. Yes, but they worked in an era that is defined by that sound. I had the luxury of moving from analogue to digital. I too noticed that a super clean di...

One other thing that took me a while to figure out: noise. When recording with outboard gear you also record a lot of noise. I initially thought this is unwanted, so the more digital, the less I had to deal with it. I found noise has a glue-like effect on multitrack recordings, mostly noticeable in ...

For what it's worth, I did use to re-route through (cassette) tapes to make sound more pleasing. In the early days I started out with Tascam and Marantz multitrack cassette recorders. There I noticed that slightly overdriving the input signal evened out the dynamics and had a very pleasing 'drive', ...

Thanks for all the suggestions and feedback everyone. To the question why it was working live...not entirely sure. I think you are more forgiving when listening to a non-repeatable live song and I suspect the PA has something to do with it. Also live the guitar drowns a little in the mix and is turn...

awjoe wrote: ↑Tue Sep 21, 2021 5:51 pm What is it about recording that produces masking when the live situation doesn't produce masking?

That is a valid question here and for which I must owe you a reply until I have done some more listening. I'll get back about this one.

I wish they did. Some big band guitar players are not so sensitive to the needs of the ensemble! Grant Green, however, used to play with an almost acoustic sound where the string noise was a big part of his sound and it had very little body. Yes, but Grant Green's sound was particularly bright and ...

Thanks for all the comments. It's mostly been a job of choosing where to compromise yesterday. Cut a bit off from the Rhodes without making it noticeably skinnier than on the other tracks, bass a little more subby (strange how scooping out the 300hz range often works so well with bass). Guitar EQ-ed...

I'd probably start with some automated EQ on all the competing instruments, ...*knip* ... should also give you a bit of space without being too obvious. That is a very good advice, thanks. In general I didn't have much editing to do on these tracks, the musicians play very well and had their sounds...

Thanks, the comments are much appreciated. Sounds like the arrangement really needs reworking to accommodate the instrumentation more effectively, and then a new recording done. That, or greater compromise in the tonality of keys, bass and guitar. oh the struggles, if I would change the tonality of ...

I'm mixing recordings of a friend's band, but in one of the tunes I'm really struggling with getting the guitar to fit in the mix. It's a jazzy tune, where he is playing a semi-acoustic jazz guitar lead with a lot of octaves, similar to the sound of Wes Montgomery/George Benson style of playing. The...