Brinnbacka

I think this is also a big part why guitar sounds like it does, and why every chord position has it's own sound, even if exactly same notes are played somewhere else on the neck. A guitar that is totally in tune sounds actually pretty boring. We have synths for that.

a friend emailed me a couple off .mogg-files.. apparently they are a multitrack version of ogg vorbis? any ideas how to open them in logic? Audacity can open the multitrack, and Quicktime does the downmix automatically..

try Fuzzmeasure for OS X...

Read again... Of course there are a lot of things that have effect on any speakers frequency, phase and power response. Cancellation is one of them, diffraction from the corners is another etc. And naturally the eq's _work_, electrically or mathematically speaking, but in this case they do not remove but enhance the cancellation effect if same freq's are boosted for compensation. Here's another simple graph: http://www.customaudiodesigns.co.uk/articles/frstand.htm Keep discussing! This issue (and acoustics in general) is unfortunately very much overlooked in most studios around the world.

The dips in your frequency spectrum should never be compensated with eq as they occur because of reflecting sound cancelling out with the original source. If you boost those freq's you end up with even more cancelling stuff. There's a lot to read about speaker placement and other stuff in here:http://www.genelec.com/learning-center/technology-tutorials/placingloudspeakers/

The JBL's have only one filter common to all the speakers in the system, and only operating under 700Hz. If you want to hear speakers that can actually do something significant I'd recommend K+H O410 or Genelec's DSP series. Also it's very easy to save a lot of money just by reading manufacturer's specs and making decisions on that basis. Or visit your delaer and borrow them home for a while. But do not make decisions based on listening experiences in an unknown situation. And treat the room correctly! Lots of info at www.johnlsayers.com forums...

The reason to keep the monitors upright is that when you move your head the delay from both tweeter & bass driver will remain the same. If your monitors are horizontally the delay will be different and thus there'll always be comb filtering (phase issues). What type and how much will change every time you mover your head into a different spot. Treating the room for a better bass response is a whole different issue. There's plenty of good stuff on www.johnlsayers.com forum to read. Treating a room is not necessarily expensive if you know what you are doing, and have some kind of measurement tools available. Ears won't be much help on low frequencies.

Yeah, pre's, eq, phase flipping, possible outboard inserts.. whatever is needed. Plus I can create the headphone cues from the console without worrying about latency! I wouldn't go direct into Motu's, Deadringers or any of that stuff for pre's and neither would you if you heard the Harrison pre's Plus there's 40 of them so I can sum stuff however I please before taking it into the computer. As far as recording levels go, stay half a dB under 0 dBFS and you're fine.

Yeah, the pans and volume balance will of course remain in your drum group. Why not have them play all live, track only drums and bass, and then guitars and the rest on top individually? That way you could have at least some of the drums on individual tracks.

Here's my 2 cents.. I originally started early 90's, so the only way back then was basically do everything on tape. This was good to learn, as now I can use whatever is best for the project at hand. The studio I usually faff around in has a recapped 1983 Harrison Raven, so there really is no need for any pre's or eq's. I use outboard comps though. Plus the master bus sounds very good, and also very rawk'n'roll if you push it loud enough. I tend not to do much in the box, besides volume automation, grouping, possible track moving (like phase sorting in drums etc.) and stuff like that. So.. learn how tape works, but if something needs something you can only do in the box, do it. Everything works if it works

From the menu above your Global Tracks click "View" and there "Configure Track Header"

I used a 828mkII with a MacBook Pro with no problems. Just download the motu driver thing and you're set.

05 Compressor Tools > Analog Tape Compression

Well, I'm mostly using the analog tape compression but it surely is far from natural, if your natural is same is mine.. transparent. But I dig the sound of that tape compression for drums. Just try out the presets, see which one does what you like and go from there.

However you can route its output into Logic or any other recording thang with Soundflower, which can be pretty cool.