Back in the '70s we used to float amps with an isolation transformer to kill noises like that. I spent the '80s working with Quicksilver and the tan Bassman we used for recording didn't hum except with one strat and my iso transformer didn't help. Finally we tried a funky first generation Nady ...

Absolutely!

There's also "New York quiet air conditioning" where the record relay turns on the "recording" sign and kills the air.

Too bad Slow Tools hasn't got a record relay...

One of my pet peeves in high-end studios is horrible HVAC.


The thing to understand about any reasonably sound proof room is that it's exactly the same construction as an industrial furnace. Getting it hot or cold is less of a problem than an ordinary room while simply moving enough air in and ...

Certainly the whole idea of mixing is to make everything sound as good as possible to the person buying the CD. I've been known to cheer when one of my mastering clients' mixes is going across flat. That's a home run in my book.

What hurts is when we need to push the level in order to compete in ...

Mastering is about the presentation of the MIX

Mixing is about the presentation of the music, the artist and the recording.

The only reason we do additional signal processing in mastering is to catch any unintended sonic issues that could make a bad first-impression on an important listener ...

They were the standard bass guitar and bass drum microphone in the 1960s and 1970s. ... That's a little scary to read!

Many of us bought a D-12 in the late '60s after seeing it pictured in some English recording sessions. Like you, I didn't "get" the D-12 and stuck with the SM-56, the 421, the ...