Recent content by lansingxcore

I'm selling five Penny & Giles faders salvaged from an unwanted board. like new. I figured maybe somebody here might be interested since they don't seem to pop up much on the second-hand market. you should be able to follow this link: http://search.ebay.com/_W0QQsassZbirdy4doa hopefully this...

my friend ordered one of these mics before christmas, and still hasn't recieved it. he's pretty bummed, he wanted it for a specific recording project which has long since come and gone.. i think they owe him a partial refund, and of course the mic...

i want to know what good sp/dif out pre's there are too. i have heard of the dbx, but i don't think it's very cool.. i like the ART digital MPA, it has alot of nice features.. anything else in that price range?

oh man. i had settled on oktavas from the sound room, and now i have another option to look in to. who sells peluso mics in the states? where's cheapest?

do you guys who are cautioning people to use pop filters between ribbons and cabs actually have experience blowing mics that way? i regularly use a beyer m500 and the nady rsm-2's right up on the grill of loud cabs.. sounds great, and i've never had a problem. they're tougher than some people...

ok, so i'm really close to buying an ART digital mpa. here's why: i like a colored sound, i like the sound of my tube mp (it's got a j/j tube.. i think it came like that), i have ribbon mics and i really like the idea of variable input impedence, and i need sp/dif output. so before i do that...

to any of you who own this unit: does the fireport interface stand up to the hype? as in, does it work flawlessly, under all conditions? i was burned by alesis' adat connect bullshit, and though i like the idea of the hd24, i need a unit that will interface flawlessly with my DAW. thanks

i bought their rackmount crossover, and when it arrived it simply didn't work. i sent it back and got my money back. i have some carvin mics, but in reality they're nady mics, if you take them apart they say nady on the inside. so no, carvin recording gear is not legit.

although i haven't put them head to head, i have experience with both the nady rsm-2 and the beyerdynamic m500. their output is about the same. they both sound sweet on electric guitar cabs. and my two rsm-2's sound very similiar to each other, and are closely matched in output.

is that to say that it's being made in a different factory then the original? i would think there might be quality variations between the two factories.. i'm just glad that i have two and they sound great and closely matched.

if you play in a metal band, you better be wearing earplugs. if you can't hear the high end difference between a dynamic and a condenser, your hearing may be effed. seriously.

i have the 1212m. everything about it has performed flawlessly, no problems with the drivers. patchmix was confusing at first, but it's a snap now.. and it sounds great.

the sm-86 and sm87 would both be better for recording and live use. i speak from experience, because i've used all three. actually the 87 i used was a beta 87. but anyway, they are condensers, and thus much more sensitive. the 87 is hypercardiod as well, which can contribute to higher gain...

i record direct through a bass pod. i'm a bassist, and it sounds good to me. if i had more energy, i'd combine that with a mic on the cab (ONLY if it's a nice setup.. too many bassists just clip the fuck out of their amps).. but i'd use a large diaphargm condenser, not any dynamic. although the...

that's exactly the response i got on the other board. and of course, you're right. look, i just wanted to get a general consensus going about this mic. i have no way to calibrate the chain we used, it's not even my setup, it's my friend's. it's not scientific, i called it 'semi-scientific'...