[Drew B]

Thanks, Paul & Dana.

I’ll start by saying – WOW – what amazingly insightful responses!

The micing tips will certainly come in handy in the future.

In this case, it seems like both of you have hit on the issue around if it’s pre-recorded and there’s nothing there to boost…which as I listen back on my tracks seems to be the case.

Ironically, I had tried a couple of subsynth generator options (like bx_subsynth and a similar Waves plugin), but both gave a bit of an EDM feel to a bluegrass tune 🤣. Because of the sine wave tone of the sub more so than the level itself.

So, I’m very keen to try the doubling & octave down treatment. Very similar to the subsynth concept but almost simpler in a way. Will try that in combination with some of Dana’s EQ tricks and report back!

Thanks!

[Drew B]

Wow! Thank you so much @-PT & @dana for the detailed responses.

I at least feel that I’ve been on the right track after reading some of the tips 😎

You both mentioned EQing the reverb. Ironically, I’ve been experimenting with the Ocean Way (and Sound City) plugin from UAD for my room reverb. While I have used the microphone high-pass settings, I haven’t EQ’d much beyond that. So I will give standalone EQ & high-passing a try.

@dana – the “Start at 100%” is super helpful so far. I found myself being okay with a much longer pre-delay when I started with 100% vs 0%. Not sure the psychology behind it, but I’m leaning towards longer settings now that have a bit more “space” to it and help open things up.

A couple of short follow-ups now that I’m down this path!

1) Do you pan the reverb send towards the pan of the instrument? For example ‘Follow Main Pan’ in Pro Tools or something like that?

2) Do you generally send the same levels of the instruments to the room reverb?

Will try to post a few before / after samples once I arrive at something I’m liking.

Many thanks!
Drew