HD24...some last questions before I buy

[funkdrmr]

Hey everyone. I've thrown more studio setups in & out of my head over the last 6 months than I can remember. I think I'm finally deciding on the HD24 as my next purchase. I want to go ahead & describe my thoughts and ask a few last questions before I buy the unit. If I'm out to lunch with what I've come up with, please let me know!

I plan on having an all-out (converting a barn) studio space sometime within the next year. To start getting some mixing practice, I'm recording live bands on location (Fostex VF160ex), bringing the tracks back and mixing using Sonar 5. I only have 8 tracks using this method, so I'm definitely looking for more tracks for both my live and future studio setups.

The HD24 has appealed to me because it can satisfy both worlds. Here's a couple of questions:

1. For live recording out here, most of the house board direct outs are post-fader. I've noticed a couple of times out on the Fostex that I'll be pegging my meters with my gain turned down nearly all the way. With the HD24, will I still have this problem? If so, how do I get around it. I'm thinking maybe a few 8 channel pres (digimaxLT, 800R, Octopre, etc..) might be the answer. If they ARE the answer, am I limited to go 1/4" out of the pres into the HD24, or will the HD24 take lightpipe inputs from them?

2. In the studio setting, my understanding is that I can use the HD24 for just the a/d conversion, and recording into my computer. Is this the way to go? I'm assuming I would be using lightpipe from the HD24 into my computer in this scenario. What card in my computer would be recommended?

3. In this studio scenario, monitoring would a concern. I don't think I could monitor back through the HD24, so would I be monitoring through the sound card referred to in question #2?

Thanks for any input, suggestions or help!

 

[Gilliland]

1. For live recording out here, most of the house board direct outs are post-fader. I've noticed a couple of times out on the Fostex that I'll be pegging my meters with my gain turned down nearly all the way. With the HD24, will I still have this problem? If so, how do I get around it. I'm thinking maybe a few 8 channel pres (digimaxLT, 800R, Octopre, etc..) might be the answer. If they ARE the answer, am I limited to go 1/4" out of the pres into the HD24, or will the HD24 take lightpipe inputs from them?

2. In the studio setting, my understanding is that I can use the HD24 for just the a/d conversion, and recording into my computer. Is this the way to go? I'm assuming I would be using lightpipe from the HD24 into my computer in this scenario. What card in my computer would be recommended?

3. In this studio scenario, monitoring would a concern. I don't think I could monitor back through the HD24, so would I be monitoring through the sound card referred to in question #2?

1) With any configuration, you still have to learn to do proper gain staging. In general, you don't want to take the feeds from the house mixer, especially not post fader. You want a separate set of feeds to the recorder, probably created by splitting the mics and feeding a dedicated set of mic pres. The mic pres can feed the HD24 via analog or digital (lightpipe).

2) If you're getting mic pres that have digital outputs, those can feed your computer directly. If they are analog only, then you can use the HD24 as an AD converter and feed the computer from there.

3) The way I solve this problem is with a digital mixer. That provides my mic pres, my AD conversion, and my monitor mixes. In other words, that addresses all three of your needs.

 

[funkdrmr]

1) With any configuration, you still have to learn to do proper gain staging. In general, you don't want to take the feeds from the house mixer, especially not post fader. You want a separate set of feeds to the recorder, probably created by splitting the mics and feeding a dedicated set of mic pres. The mic pres can feed the HD24 via analog or digital (lightpipe).

Awesome. Thanks for clarifying that for me. I've never seen the mic signals split like that before. Is there some sort of "Y" cable I would use to accomplish this?

2) If you're getting mic pres that have digital outputs, those can feed your computer directly. If they are analog only, then you can use the HD24 as an AD converter and feed the computer from there.

Cool. I'm on the right page, then. For the live situation, will digital outputs work to go into the HD24, or do I need to focus on pres with only analog outs?

If I only go with analog out pres (go with me here), and use the HD24 as my AD converter for the computer, is my sound card very important? It kind of seems like all I'd need is something that will accept enough ADAT lightpipe channels to accomodate the HD24...is this correct?

3) The way I solve this problem is with a digital mixer. That provides my mic pres, my AD conversion, and my monitor mixes. In other words, that addresses all three of your needs.

Well, I already have Sonar 5 and just bought the Tascam US2400....hmmm....Is monitoring from my sound card the route I need to take if I don't go with a digital mixer? (btw, which one do you use? )

 

[chris-from-ky]

I'm going to jump in here and say some things if you don't mind.

1) Maybe you could see if the house will let you run the signals through your pre's and recorder FIRST then use the analog outs on the hd24 to feed the house mixer. This way you use the pres you want at the level you want and if your pre's are good, they may make the house mix all the better for it. Plus - you won't have to worry at all about splitting signals. FYI - adat lightpipe is adat lightpipe. 8 channels of digital audio traveling through a fiberoptic cable. If a unit says it can send/receive it then the HD24 is compatible.

2) In studio, you can record to the HD24, transfer tracks to PC via the fireport, then it's up to you whether you mix in the box or edit the tracks then send them back to the HD24 via fireport and use a digital or analog desk for mixdown. Personally, I like faders in my hands so, mixing with a mouse is out for me. In the very least you want something like the Yamaha 01v96. It doesn't have automation but it does have scene recall so entire setups can be stored for recall. If total automation is your thing, then the 02R96 would be the desk I'd get (since I don't have 85K for an SSL). If you prefer to mix and monitor from the PC, a high quality sound card is a must. RME is a respected name in the area of soundcards. There are others I'm sure but, the key is to research ALOT before you buy. Also, if you use your computer to draw, do taxes, design webpages, etc. you may want to consider getting a dedicated PC for audio only. THe question to ask is how will you be most productive/creative, with a mouse in your hand or a fader or both?

 

[Gilliland]

Awesome. Thanks for clarifying that for me. I've never seen the mic signals split like that before. Is there some sort of "Y" cable I would use to accomplish this?

Cool. I'm on the right page, then. For the live situation, will digital outputs work to go into the HD24, or do I need to focus on pres with only analog outs?

If I only go with analog out pres (go with me here), and use the HD24 as my AD converter for the computer, is my sound card very important? It kind of seems like all I'd need is something that will accept enough ADAT lightpipe channels to accomodate the HD24...is this correct?

Well, I already have Sonar 5 and just bought the Tascam US2400....hmmm....Is monitoring from my sound card the route I need to take if I don't go with a digital mixer? (btw, which one do you use? )

For splitting signals, you usually want to use a snake that offers transformer isolated splits. It's an expensive proposition, though, if the venue isn't already equipped with one. You can use non-isolated splits, but then there is a risk of interaction of various sorts between the two systems. Sometimes Y-cords can work. In fact, often Y-cords can work, but there's always some risk.

As Chris pointed out, the HD24 has standard ADAT Lightpipe digital inputs. Any 8 channel pre that offers lightpipe outputs will work with the HD24.

As for analog vs digital outs on your mic pres, I use both at one time or another. My Spirit328 mixer has excellent mic pres, and 16 channels of ADAT Lightpipe out. My SP828 mic pres are all analog, and I have them in a rack with my HD24. The SP828s 1) sound pretty good 2) cost remarkably little 3) offer a rudimentary mix capability so I can monitor what I'm recording without having to bring an extra mixer to a remote site.

I use an RME card with 24 channels of Lightpipe in and out in my PC. I'm not familiar with Sonar or the other device that you mentioned, so I won't comment on those.

When I'm recording at home (which is rare), I connect the Spirit mixer directly to the RME card and record on the PC. The Spirit mixer creates my monitor mixes, so I don't have to worry about latency. I use the HD24 only when I'm on location (in other words, all the time! <g>).

 

[Gilliland]

1) Maybe you could see if the house will let you run the signals through your pre's and recorder FIRST then use the analog outs on the hd24 to feed the house mixer. This way you use the pres you want at the level you want and if your pre's are good, they may make the house mix all the better for it. Plus - you won't have to worry at all about splitting signals. FYI - adat lightpipe is adat lightpipe. 8 channels of digital audio traveling through a fiberoptic cable. If a unit says it can send/receive it then the HD24 is compatible.

2) In studio, you can record to the HD24, transfer tracks to PC via the fireport, then it's up to you whether you mix in the box or edit the tracks then send them back to the HD24 via fireport and use a digital or analog desk for mixdown. Personally, I like faders in my hands so, mixing with a mouse is out for me. In the very least you want something like the Yamaha 01v96. It doesn't have automation but it does have scene recall so entire setups can be stored for recall. If total automation is your thing, then the 02R96 would be the desk I'd get (since I don't have 85K for an SSL). If you prefer to mix and monitor from the PC, a high quality sound card is a must. RME is a respected name in the area of soundcards. There are others I'm sure but, the key is to research ALOT before you buy. Also, if you use your computer to draw, do taxes, design webpages, etc. you may want to consider getting a dedicated PC for audio only. THe question to ask is how will you be most productive/creative, with a mouse in your hand or a fader or both?

Chris makes some good points. I prefer mixing with a mouse, but many people do prefer a mixer. A friend just bought an 01V96 and loves it. He described it to me yesterday, and it sounds like it would be a nearly perfect match to the HD24 if you added a 16 channel ADAT I/O card to it. (It has 8 channels of ADAT I/O built in, so you'd have a total of 24 with the expansion card.) It is also a perfect match for an RME Digi9652 board in a PC (which is the latest version of the board that I use).

Chris's point about feeding the house system from your pres is worth investigating. I find that most venues won't like this suggestion. They don't want the house sound to be dependent on your equipment - which they have no control over. By the same token, you don't want to be dependent on their equipment - which YOU have no control over. So a split configuration is the best way to avoid problems. But there's no reason not to explore the option.

 

[chris-from-ky]

Chris's point about feeding the house system from your pres is worth investigating. I find that most venues won't like this suggestion. They don't want the house sound to be dependent on your equipment - which they have no control over. By the same token, you don't want to be dependent on their equipment - which YOU have no control over. So a split configuration is the best way to avoid problems. But there's no reason not to explore the option.

Right! It depends on the venue. AND it depends on your gear. If you rack up some solid stuff, I don't see why a venue would not let you be the "leader". If you are at a venue with a Midas and you're using a bunch of budget pre's, I can see why they would prefer to keep themselves as the leader. There are really a ton of options to consider. Such as if the house has a monitor mixer, would they let you go in front of it rather than the FOH desk. If they don't have a monitor mixer, would they let you hook up an analog desk to get your feeds from as well as feed the FOH and monitor mixes. The problem with finding your solution is that all venues will work differently. Here's an idea. speak to several venue sound managers and see what they all prefer and what they'll let you get away with then based on that feedback, make your setup to accomodate the majority. Good luck!

 

[Fishmed]

Other Ideas

1. For live recording out here, most of the house board direct outs are post-fader. I've noticed a couple of times out on the Fostex that I'll be pegging my meters with my gain turned down nearly all the way. With the HD24, will I still have this problem? If so, how do I get around it. I'm thinking maybe a few 8 channel pres (digimaxLT, 800R, Octopre, etc..) might be the answer. If they ARE the answer, am I limited to go 1/4" out of the pres into the HD24, or will the HD24 take lightpipe inputs from them?

First I would like to say that the previous posts offer great advice.

I have done my share of live recording, and something that you might be able to do if you cannot get a split-snake is to take the track signal from the channel inserts from the board. The are two ways of doing this:

1) Use and regular unbalanced 1/4" cable and insert it into your HD24 ins and the other end into the insert, but only to the first click of the insert. If you go to the second click you will interupt the signal on the baord and you will not get a signal to your recorder. This method works well if the person doing the live mixing does not use the inserts for compression (they may put the compression on the subgroups instaed).

2) Use unbalanced insert cables. The single side the has TRS will go all the way into the insert of each channel. the otherside will have to unbalnced conectors. One will go into the IN of the HD24 and the other one will connect to the OUT. Basically the signal will pass through the HD24 then back to the board. If you use this method, coordinate your actions with the person doing the lives sound because if the HD24 is not set up right, the board might not get the signal back and the sound guy might get a bit upset.

With both methods, have the sound guy get the right trim for each channel, then after that he can mix using the fadders on the board without affecting the signal going to the recorded. DO NOT touch the trim once you have it set or you will have level issues on the recording.

 

[Fishmed]

2. In the studio setting, my understanding is that I can use the HD24 for just the a/d conversion, and recording into my computer. Is this the way to go? I'm assuming I would be using lightpipe from the HD24 into my computer in this scenario. What card in my computer would be recommended?

Seeing your basic gear list: HD24, Tascam US2400, and Sonar 5 ... you are still lacking Mic Pre's. If you are wanting to take advantage of the HD24 in the studio, I would invest in a 24 Ch. mixer. This is the easiest way to really monitor your other tracks while recording new ones. Once you are done recording, you can transfer the tracks to your PC using the Fireport and mix it down in Sonar using your Tascam US2400... just like your live shows. Since you are not mixing down on your analog board there is no need to buy any out board gear. Personally I like recording to the HD24 because its OS is MUCH more stable than Windows.

If you don't want to get an analog mixer, you still need to get some sort of Mic pre, at this point it would be less expensive to just get a unit that goes straigt into the PC and just bypass the HD24 completely.

I know that once you start using the HD24, you will want to use it as much as you can.

 

[Gilliland]

Use unbalanced insert cables. The single side the has TRS will go all the way into the insert of each channel. the otherside will have to unbalnced conectors. One will go into the IN of the HD24 and the other one will connect to the OUT. Basically the signal will pass through the HD24 then back to the board. If you use this method, coordinate your actions with the person doing the lives sound because if the HD24 is not set up right, the board might not get the signal back and the sound guy might get a bit upset.

With both methods, have the sound guy get the right trim for each channel, then after that he can mix using the fadders on the board without affecting the signal going to the recorded. DO NOT touch the trim once you have it set or you will have level issues on the recording.

This may turn out to be quite workable, and yet in a sense it is the worst of both worlds. With this configuration, you are BOTH dependent upon each other not to mess things up.

The guy at the mixer can't touch his trim pots without affecting the levels coming to you. In fact, his trim pots are the ONLY thing that can adjust the levels that reach you, so not only must they be untouched, but also they must be set correctly for the HD24's levels. Fortunately, a setting that works well for you will probably be very good for him as well.

At the same time, the house mixer is now dependent on you providing the return signal. That means if you accidentally make the wrong choice on the HD24, you could cause the house some real problems.

If nothing else, it really forces the two of you to collaborate and coordinate your activities! But this shows quite clearly why I recommend splitting the mics and working independently. I've seen firsthand how easily things can go wrong with this kind of configuration. But I've also seen it done successfully.

 

[Fishmed]

If nothing else, it really forces the two of you to collaborate and coordinate your activities! But this shows quite clearly why I recommend splitting the mics and working independently. I've seen firsthand how easily things can go wrong with this kind of configuration. But I've also seen it done successfully.

The key to making this work would be to have good relations with the sound person. Most sound people I have seen are pretty tense to begin with (me included), working out all the issues going on the stage. Seeing someone they don't know wanting to hook up to their board is about the last thing they want. A lot of trust and pre-planning is needed.

I would say getting a splitter would be the better thing, then you would need a Mic Pre's prior going to the HD24, but that could be the same mixer you could use in the studio.

 

[treymonfauntre]

Seeing your basic gear list: HD24, Tascam US2400, and Sonar 5 ... you are still lacking Mic Pre's. If you are wanting to take advantage of the HD24 in the studio, I would invest in a 24 Ch. mixer. This is the easiest way to really monitor your other tracks while recording new ones. Once you are done recording, you can transfer the tracks to your PC using the Fireport and mix it down in Sonar using your Tascam US2400... just like your live shows. Since you are not mixing down on your analog board there is no need to buy any out board gear. Personally I like recording to the HD24 because its OS is MUCH more stable than Windows.

If you don't want to get an analog mixer, you still need to get some sort of Mic pre, at this point it would be less expensive to just get a unit that goes straigt into the PC and just bypass the HD24 completely.

I know that once you start using the HD24, you will want to use it as much as you can.

perhaps you missed this?

"I'm thinking maybe a few 8 channel pres (digimaxLT, 800R, Octopre, etc..) might be the answer."

 

[Fishmed]

perhaps you missed this?

"I'm thinking maybe a few 8 channel pres (digimaxLT, 800R, Octopre, etc..) might be the answer."

I guess I got all caught up reading the other post that I lost focus on the orginal one.

 

[funkdrmr]

WOW. Thanks to everybody for all of the great information. I did some reading on the splitter snakes, but they seem VERY expensive so I'm kind of holding off on that proposition.

I've recorded at 2 venues so far. One has an A&H console, the other a mackie 24x8(I think). From reading here before, I had to take my signal from the inserts on the Mackie. I just put my 1/4" cable in to 1 click & bingo! I don't like it, but I'm comfortable with it if it has to be done. On the A&H, I've been taking direct outs. Those are probably 2 of the nicer systems I'll be dealing with out here. I know of one venue that has a small 12 channel Berry mixer, so that kind of gives you an idea of what I'll be working with.

I have a good relationship with the 2 sound guys I've worked with so far. I'll be working with the A&H console tonight recording a band, so I'll ask the FOH engineer what he thinks about all of these options.

I've gotta say, I'm hard pressed here with all of the options. I need to build a dedicated recording PC, and can build a good one for about $1K or even less. I'm thinking now, why not just get some 8 channel pres, adat them into my pc, and make that my mobile rig? I know it might not be as rugged as the HD24 over the long term, but I'm a computer guy, so fixing a PC is really easy for me. Making sure it's stable to record might be the only problem, but I feel confident that it can be done.

I guess that's the real question here....looking under $3K, should I stick with the HD24, or go ahead & go the "all around" route with the mobile PC rig and pres that I can later use in the studio?

Keep in mind this is all on a pretty small scale. On location I'll probably use 24 channels AT THE MOST, all recording done pretty much sitting next to the FOH guy. I'm really the only guy out here doing this right now, and I have a fairly limited budget.

Maybe going around to all the venues and taking an inventory of the gear I'll be working with would be a good idea. It might help me to start making relations with the sound guys too.

Keep the input coming....this is really helping me a lot!

 

[Gilliland]

I'm pretty good with PCs, too (they've been a big part of my day job for more than 20 years). I've built many of my own, and I know how to maximize reliabilty. But I still wouldn't trust a Windows PC to be rock solid enough to drag it around with me to remote recording sites. Too many things that can go wrong. Instead, I take my SP828s, my HD24XR, and a UPS. Knowing how to fix a PC isn't going to help you when something crashes an hour into a two hour concert.

Fortunately, most of the venues that I work with already have a snake split ready for my use. But when necessary, I take my own splitter snake. I was lucky - I bought one second hand about 15 years ago when I was just starting out.

 

[funkdrmr]

Thanks, Gilliland. I've gone back & forth so much, it's really hard for me to make a decision with the knowledge that I've found. So many options, not wanting to sacrifice quality for sound, yet still being on a budget.

Everyone here has helped a lot. I'm about 99% sure the HD24(possibly XR) will be the way I go. I think I just need to pick the pres for it, and figure out this snake issue.

 

[jmorris]

FUNKDMR
I have and use in my mobile setup what you are looking at. (1) HD24. Along with that I use a Whirlwind splitter snake,one fan 100', the other 150'. Order the snake with at least 1 fan very long to get your self away from the stage. The noise will get you after a while. 'cousre I'm old I use (3) focusrite Octopre's for 24 channels of good mic pre's. and a few odds and ends of compressors. Mind you that the comp/limiters that are in the Octopre's work pretty well. I try to compress as little as possible 'cause you can't go back. I then bring the hard drive back to my studio where I pop it in my "main" HD24 and dump the track via lightpipe through a Motu2408MKIII into computer. It's a nice and simple setup and has worked very well for me. I'd be happy to email you samples of some tunes. I have done small Jazz band to full partty band with horn sections.
Jim

 

[Gilliland]

I use a Whirlwind splitter snake,one fan 100', the other 150'. Order the snake with at least 1 fan very long to get your self away from the stage. The noise will get you after a while. 'cousre I'm old I use (3) focusrite Octopre's for 24 channels of good mic pre's. and a few odds and ends of compressors. Mind you that the comp/limiters that are in the Octopre's work pretty well. I try to compress as little as possible 'cause you can't go back. I then bring the hard drive back to my studio where I pop it in my "main" HD24 and dump the track via lightpipe through a Motu2408MKIII into computer. It's a nice and simple setup and has worked very well for me.

And my configuration is very similar. The only differences:

1) I don't compress at all while tracking. I use the SP828s instead of the Octopres because I need their mix bus so I can monitor what I'm capturing. JMorris didn't describe what he's using to monitor, but I assume that he brings a separate mixer. Somehow you need to be able to hear what you're capturing.

2) It would kill me to drag a snake that big around with me - mostly because I'm old, too <g>. Instead, I work fairly close to the stage, but I use isolating headphones to avoid dealing with the noise levels there. Whenever possible, I use the venue's split and tail. When necessary, I bring my own splitter snake - 100 feet on one tail, 20 feet on the other. The 20 foot side goes into the venue's normal stage box, the 100 foot side goes to wherever I'm working. Believe me, dragging that one around is bad enough! <g>

3) The Fireport is probably the best way to get tracks from the HD24's drive into your computer. JMorris's method works fine, but it has two drawbacks - no error correction, and you have to be there to press "stop" on the computer when the track has finished playing. Basically what he's doing is playing it back on the HD24 while recording it into the computer.

I transfer my tracks via ethernet instead. That way I avoid his two drawbacks, and introduce a new one - it takes FOREVER. Ethernet on the HD24 is painfully slow. So I start the transfer at night and it's usually finished when I get up in the morning.

The best way to do it is via the Fireport. With the Fireport, you can just access your HD24 drives directly from Windows or the Mac. However, I don't own one (yet), so I can't tell you anything more about it.

Here's a track that was recorded live on stage using this configuration:

 

[jmorris]

And my configuration is very similar. The only differences:

1) I don't compress at all while tracking. I use the SP828s instead of the Octopres because I need their mix bus so I can monitor what I'm capturing. JMorris didn't describe what he's using to monitor, but I assume that he brings a separate mixer. Somehow you need to be able to hear what you're capturing.

2) It would kill me to drag a snake that big around with me - mostly because I'm old, too <g>. Instead, I work fairly close to the stage, but I use isolating headphones to avoid dealing with the noise levels there. Whenever possible, I use the venue's split and tail. When necessary, I bring my own splitter snake - 100 feet on one tail, 20 feet on the other. The 20 foot side goes into the venue's normal stage box, the 100 foot side goes to wherever I'm working. Believe me, dragging that one around is bad enough! <g>

3) The Fireport is probably the best way to get tracks from the HD24's drive into your computer. JMorris's method works fine, but it has two drawbacks - no error correction, and you have to be there to press "stop" on the computer when the track has finished playing. Basically what he's doing is playing it back on the HD24 while recording it into the computer.

I transfer my tracks via ethernet instead. That way I avoid his two drawbacks, and introduce a new one - it takes FOREVER. Ethernet on the HD24 is painfully slow. So I start the transfer at night and it's usually finished when I get up in the morning.

The best way to do it is via the Fireport. With the Fireport, you can just access your HD24 drives directly from Windows or the Mac. However, I don't own one (yet), so I can't tell you anything more about it.

Here's a track that was recorded live on stage using this configuration:

I do not use anything to monitor. I figure I have done enough micing of instruments over the years I know where to place them. I dont mean that big- headed either, its just to me you kind of know after the years what will and will not work. Plus, I could never really isolate the sound even in headphones to my ears. Still end up hearing the band.I just ride the levels so all is cool. I too have a fireport. Yes, it is a great tool. I do however like to "realtime" it into sonar with my Motu2408 as I at the same time dump the tarcks through my console into my Masterlink for a ruff mix for the band on CD. They, then can choose which songs to work on mixing. Kill two birds with one stone. My clients like this as they don't pay twice for transfer and a ruff mix of their show. Oh, Gililand, I dont understand about the drawback to my method about "error protection"?

 

[Gilliland]

I do not use anything to monitor. I figure I have done enough micing of instruments over the years I know where to place them. I dont mean that big- headed either, its just to me you kind of know after the years what will and will not work. Plus, I could never really isolate the sound even in headphones to my ears. Still end up hearing the band.I just ride the levels so all is cool. I too have a fireport. Yes, it is a great tool. I do however like to "realtime" it into sonar with my Motu2408 as I at the same time dump the tarcks through my console into my Masterlink for a ruff mix for the band on CD. They, then can choose which songs to work on mixing. Kill two birds with one stone. My clients like this as they don't pay twice for transfer and a ruff mix of their show. Oh, Gililand, I dont understand about the drawback to my method about "error protection"?

That's no big deal. When you transfer via lightpipe, if a data error occurs, it goes undetected. I doubt that they are common, but if one does occur, there's no way to correct it. Probably not worth worrying about.

Transferring via lightpipe in real time is a perfectly reasonable way to do it, and it wasn't my intention to imply otherwise. And if you're doing a rough mix for a client, that's a pretty good reason to take that route. In my situation, if I need a rough mix, I need it at the time the recording is made. So I have to make it live. By the time I get my raw tracks home, the musicians are already on to another city.

If you have headphones that really block the outside sound (by 24 to 30 db), then you can do some monitoring even in noisy environments. There are a number of companies that make headphones with that degree of isolation. But I'm sure your approach works fine for you. I like to hear what I'm recording. Again, no big deal - just different ways of working.