the problem with that thesis is that left handed air drummers would prefer it the other way.
I don't care about that

It's always audience perspective

so what?

it's still audience perspective.

Both of those suggestions you have received sound reasonable to me, and, unlike those Americans, I actually speak English.

I think it’s crucially important to argues about whether Yang will end up with 2% of the total Primary vote or just 1%.

Have fun.

A multi party system works in a system where the winner needs to form a governing coalition (or at least ‘works’ more often)

In America’s winner take all Presidential system it’s a terrible idea.

nice to see Aardy back

the problem with that point of view is, in my opinion, that it veers dangerously close to a "both sides are the same so it doesn't matter' argument

which is demonstrably bullshit

Trump is proving how desperately it matters

I might add that we didn't see Warren "against" Harris on the same stage.
Once we do, things could look quite different between them in the race.

I think the pandering to the centre, and especially to imaginary convinceable Trump voters, is starting to fall apart; as the failed strategy that it always was. Warren clearly won night one. Harris clearly won night two. Castro and Booker had reasonably strong showings. the rest can go away now. Ex...

People are always looking for reasons why it “won’t work”

It works

You adjust what you need to adjust; including asking the player to play appropriately and sometimes to slightly move some items if it doesn’t throw her off.

They could record Keith Moon with 3 mics.
You can do it too.

Me too

She talks about actual policies, has actual plans that she’s talking about now instead of vague references to ‘later’, and she doesn’t sugarcoat what she really thinks the country needs

Me too

She talks about actual policies, has actual plans that she’s talking about now instead of vague references to ‘later’, and she doesn’t sugarcoat what she really thinks the country needs

“To tell Black voters to look beyond identity politics is silly because that's telling that voter that you are ignoring how their lives are being shaped through no fault of their own by racism, classism, sexism, ableism, and more. The people who don't like to focus on identity politics are usually t...

I’m not aware of Zappa at RPS NY. But Cyndi accused me of using “her” drum sounds on the Clarence Clemons record I was making at the same time as her first record. In truth, I didn’t share much in the concepts between how I approached the two, but they’re both my taste and in the same room so there ...

I don't agree that their stance on some major issues were "the same", just as Biden isn't where Warren is on some issues that are major for me

but still, whoever wins the primary gets my vote.

it's definitely more difficult to ounce between two similar bands, and still give each their due, than between two wildly divergent projects.

Only the Belgians put mayonnaise on frites and drums.

Looking at it another way:

Is it a major label release?
Will they have millions of disappointed fans if this record is screwed ip?

Let them have their clashing reverb or whatever they want.
And they will either like it or they’ll think it sounds bad and you can explain WHY

Well unless their music is based around a Rickenbacker 12 string they’re not going to sound much like The Byrds.

Originally everyone had a single overhead (and probably a bass drum mic) What differed was what was added next as inputs (and maybe tracks) became more available and rock music dictated closer more immediate sounds. Some people added a snare mic to those two, and some people (me included) only added...

I hate when people call it “Glyn Johns” because with some variations it’s pretty much how EVERYONE was doing it. Glyn’s thing, such as it is, started (as did we all) with a single overhead straight up over the centre of the kit and looking down. Then at one point he added a mic on the low Tom side a...

...

here's another session where you can see the distance a bit better.
Although this sort of thing varies, of course, with the room and the drums and the desired outcome.
in this rare instance I'm actually using a high hat mic... crazy!

yes, I just call them Drums Left and Right. (because that's where they usually end up) your setup looks similar, as long as the polar pattern of those little mics is fairly wide. you seem more aimed at the snare, whereas I have them looking in at the toms and sort of through the toms at the snare. b...

Bob Olhsson wrote: ↑February 15th, 2019, 4:03 am You cant win! :-(

exactly

they don't make A&R weasels like they used to!

remember, i don't really use 'overheads"

you can see in the Hause photo that the gefells are in front or on the side.

it's actually been my experience that the artiste can be happy but then the A&R weasels will ring and ask why this record isn't as loud as ____

Pro Tools just had a BYPASS button for every plug in so I always use that ANYWAY, not the one built in to the individual manufactruer’s interface.

It used to be that you wanted to be louder than other people in the A&R meeting or the programming meeting, or (to a much lesser extent, with all the compression anyway) on the radio. Now that everything is going to be shoehorned to the same levels anyway, those reasons are really gone. But ther...

for room mics; I like the smoothness. where I'm really looking for ambience, not definition Relish was the exception, where the vast majority of the sound was the 'distant' 4038s... but the idea there was to really 'hear the house' as much as possible. I also had some closer Gefells that I sometimes...