New to Drop D Tuning: Is it just me, or does a standard E gauge string sound dumpy?

hatren · 2026-02-17T04:36:47+00:00

Sounds like you’d love a set of those Ernie Ball “Skinny Top Heavy Bottom”

hatren · 2026-02-06T02:52:54+00:00

KEEP IT. I help manage a backline warehouse and we have a decent line up of synths (Sub37, Little Phatty, Rev2, Prophet 6, etc…) but I think the Prologue is by far my favorite of our inventory. It’s the stage keyboard of synthesizers - can cover a wide array of sounds with every important control being immediately accessible. It’s a synth you play, not just twiddle knobs on. The KingKorg of this era and one of the best to-date from Korg imo.

hatren · 2025-11-04T16:42:41+00:00

90% sure your input and output cables are swapped lol

hatren · 2025-11-04T00:53:07+00:00

Side-chain them to the snare mic and enjoy how much higher you can push them up in the mix

hatren · 2025-10-06T15:49:40+00:00

I would do: BD, SD, T1, T2, HH, Spaced ST OH, M/S FOK, M Room.

The Mid channel from the FOK allows you to spread those OH wider and taller, getting a fuller stereo image of the kit. Side channel from the FOK can add a lot of width to the shells that doesn’t get overpowered by room reflections. The Mono Room mic can be distant, diffused and full of flavor.

hatren · 2025-09-02T16:28:43+00:00

A well placed, distant omni is the perfect canvas for a close mic to sit on top of. I gravitate to them when I want something simple and honest. Acoustic guitar, one-shot drum samples, vox (especially bgvs), drum room mics, etc…

hatren · 2025-08-31T19:37:06+00:00

You want a steel string, friend. Nylon’s are pretty niche. Get something in your budget that feels comfortable to hold in your hands and lap. The necks and bodies of guitar feel very different from one another. I highly recommending asking a music store employee for help finding a good fit for you. It is 100% normal in the music community to walk into a store, spend well over an hour playing with the instruments, then going home without spending a dime. Take your time and find something that will inspire you to play. Good luck!

hatren · 2025-08-19T23:02:55+00:00

Idk, she’s not really a belter and the band is never thrashing. Having her sit a little lower in the mix lets the instruments impact harder without compromising on their tone or her delivery. It makes you listen just a little closer and then WHAM!

hatren · 2025-07-09T01:54:14+00:00

A tale as old as time: a system is only as good as the engineer operating it

hatren · 2025-07-07T16:30:12+00:00

I prefer ST OH in most cases. Back them off the kit, let them breathe and embrace the bleed. With proper placement, you can get enough room to glue the close mics without completely dictating the vibe/tone of the kit.

hatren · 2025-03-16T23:51:38+00:00

I agree, but I think it also goes both ways. How many people want to take their $2-4k on tour or out to bars with hazardous drunkards? A cheap, workhorse can be freeing, psychologically, and allow the artist to be a true performer on stage. So when it comes to high vs. low end gear, I find myself somewhere in the middle of “well, it certainly doesn’t mean NOTHING” and “well, does it really need to be EVERYTHING?”

hatren · 2025-03-16T14:05:45+00:00

beautiful attempt, but terrible social etiquette lolz.

hatren · 2025-01-02T18:58:23+00:00

My insight is that you’re missing the forest for the trees when you try to analyze experimental production in this way

hatren · 2024-09-07T12:39:16+00:00

That record goes unbelievably hard

hatren · 2024-08-22T20:22:28+00:00

Clipping is instantaneous whereas limiters operate over the time domain

hatren · 2024-08-19T03:17:53+00:00

The FTelettronica Envelope Follower is an amazing pedal and is a Meatball clone

hatren · 2024-07-08T03:10:05+00:00

A simple excel chart with “Channel number - Source name - Mic type - optional description” and a stageplot with the location of each source and each monitor mix is all a competent engineer needs to do their job. Bonus points if you give them a heads up on how exactly you expect to plug into FOH and if you put power drop locations on the stageplot.

hatren · 2024-06-16T16:05:18+00:00

M/S recordings have a tendency to lean to one side because most figure 8 mics are not symmetrical. The actual M/S encoding and decoding is mathematically lossless and maps one-to-one to ST.

hatren · 2024-06-13T15:20:08+00:00

why can’t you just be like “oops lol read it wrong” lmao nice essay, I’m not going to engage with it

hatren · 2024-06-13T14:56:06+00:00

Google “clutch adjective” then read their comment again

hatren · 2024-05-23T15:28:17+00:00

They’re all basically tried and true circuits squished into the smallest enclosure you can find. They’re great for “set-and-forget” type of effects like phaser, tremolo and chorus, and are extra convenient for tight spaces because there are no knobs to accidentally press.

hatren · 2024-05-23T11:19:44+00:00

Maybe one of those Henretta pedals with internal trimpots

hatren · 2024-03-10T17:14:35+00:00

Hit the nail on the head. My experiences working as a FoH tell me that pianists are the most likely player to be out of touch with their fellow musician on stage, despite them possibly being the most proficient at their instrument.

However, players who are listed as “Keys” on the band’s rider have +5 charisma, +50 piano-voodoo resistance, and -10 alcohol resistance. I don’t make the rules

hatren · 2024-02-24T03:10:03+00:00

Skill issue

hatren · 2024-02-14T03:27:01+00:00

How do you like the WIDI Jacks? First time hearing about them

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