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It is good to point out that the goal is to make the mix work on a variety of systems, not to make it sound the same on a variety of systems.

It's all about translation. I had a set of big speakers and near fields that I found is I could go back and forth between them without the mix changing, it would translate well. By "the mix changing" I mean that that nothing jumps out or disappears on one speaker or the other. All the...

You won't need to spend thousands on prism or anything like that, but you will need to get out if the bottom basement category. For a long time now, the converters themselves haven't been the issue, it is the cheap analog circuitry leading to and away from the converters that makes the...

If it is a wireless lav, you could have the gain on the transmitter or receiver too high. Then you would be distorting that, before you even got to the computer interface.

I did have a setup where I could mix through the board. I purposely got 32 channels of I/O for that purpose once I made the jump from tape to the computer. The number of times I mixed on the board got less and less pretty quickly because of having a commercial studio and having to jump back and...

I think the next obvious step to get more tracks without the computer would be a stand alone digital recorder if some sort. They have a similar work flow to the cassette 4 track, but with 16 or 24 tracks. You can hook it up to a computer, if you want to, but you don't have to. I've had some...

How do you synch the DAW to the portastudio, so the slate is in the same place on both machines?

You understand perfectly. Unfortunately, if you are trying to get off the DAW, you are going to need to use more than a cassette portastudio. But once you get into bigger analog setups, the complexity goes up, which might have the same affect on you creativity that the DAW poses. Without...

You wouldn't be able to play along to the tracks in the daw when recording to cassette. So you need to bounce a premix to play to. But it would make more sense to just track to the daw and mix to cassette to get the sound of the cassette. Doing it the other way is time consuming and full of...

Wavelab essentials would be fine. The only thing that wavelab does that a lot of DAWs don't do is sequence and burn a CD. If you are just looking to process the files to get them to sound like they belong together, everything you need is in your DAW.

Bouncing to the daw to mix tracks together will work fine as long as you never have to go backwards. 1. Fill up 4 tracks and bounce them to the daw. 2. Mix those tracks to bounce back to the cassette. 3. Add more tracks. 4. Repeat. 5 Do final mix on cassette That will work fine. However, if...

To test the drift of the cassette: 1. record a 5 minute click track to the tape deck 2. Record from cassette to the daw. 3. Record back to the cassette. 4. Record that back to the daw. 5. Try to line both tracks up in the daw and play them together. Chances are if you line up the first beat...

That thing was used on everything in the 80s. I'm not sure about it being compared to a modeler, since it isn't.

You need to keep your peaks below 0dbfs. If you need the master level turned up, you should put a limiter on the master fader and get the volume from that. The rest you need to adjust by ear. An rms meter will react differently than your ears do. Unfortunately, there isn't a lot of specific...

Compression and limiting is your friend. If you don't want to do that, then you would need to find the quietest song, and turn the others down to match it.

If every song you have is a different volume, the mastering process takes care of that. But if they are similar material and wildly different volumes, you may want to revisit the mixes. When mastering an album, it isn't necessary to make everything the exact same volume, you just want it to...

The 58 will be fine if you just need definition. The speaker would just need to be as full range as possible. How happy you are with the results will depend a lot on the genre and your expectations of the final product.

Have the drummer hit the kick harder. Give micing the kick and running it through the vocal speaker a shot. You might not need much kick in there to make it more apparent in the mix. It might not be volume you are lacking, just definition. Getting a bit if slap out of the speaker might make it...

You could try changing the placement of the h5. When I used to record rehearsals with a stereo mic into a cassette deck, I would place it about 6 inches in front of the kick drum, about snare height. I ended up with a pretty good mix of the drums, guitars, bass and the vocals that were coming...

I'm not sure I agree with the premise that recording is about capturing everything exactly as it sounds. If that were the case, we would all be micing everything up with earthworks mics or binaural heads. We choose equipment for recording that creates the sound we want, to fit into the mix...