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I'm pretty sure that back to back cardioid mics, with one inverted, will produce a good figure-8 pattern. That's essentially what a dual diaphragm condenser does.

Aren't those the ones with the pots that would seize up?

I don't think sound propagating through the air produces much bone conduction.

Even one ear gets some directional cues. There's something called pinna effect where the earlobe imparts a spectral "fingerprint" on sounds that varies based on the angle of arrival. It's part of how we can detect longitudinal and vertical placement in addition to the horizontal.

In the earliest days of stereo there was a debate over whether it should have two or three channels. It was easier to sell the more affordable two channel systems, so they won out. When the idea of more channels came back around, stereo was associated with two channels, so terms like...

What are the odds the amp is still pointing at his calves? (I was already writing this when that last post showed up.)

The two channels of a stereo recording will often have much in common, like general frequency content, but the specifics will be different. For a spaced pair, the differences will include arrival times of certain sounds. Even with a coincident pair, if the sounds coming from different directions...

I find it useful to have a standardized listening level. That gives me the option of setting my volume by ear. I usually look at the limiter at the same time. If I see crazy amounts of reduction before it gets to a "normal" volume, I can take another look at the mix, accept a lot of limiting or...

If a platform does apply its own processing, what it does will depend on how dynamic your mix is. If it's more dynamic than the platform's target, an algorithm decides how to limit it down to spec. If it's less dynamic, it just applies attenuation. If my mixes are going to get limited down, I...

In headphones, you will tend to mix center panned elements (above ~300 Hz) a bit hotter (relative to elements panned to the sides) than you would on properly set up speakers. Whether that's bad is a matter of opinion.

I don't have access to Pro Tools at home and I haven't used it in about a year, but I think selecting the right waveform view might have something to do with it. [Edit] ...and/or I had to use the clip gain bar rather than the little popout fader. But my memory is hazy and I don't have the...

By the law of supply and demand, songs are now worthless.

I believe many devices designed for 9VAC input could take 12VDC. Don't go the other way, though.

That mixer really isn't designed for 8-track recording, but you could do one or two at a time fairly easily. Route the recorder outputs to mixer channels 1-8 line inputs, route group outputs to the recorder (which is where a patch bay would be handy). Use the top two XLR inputs through the group...

Aim the speaker at your face. If it's not pointing right at your head, you aren't hearing the actual tone coming from the speaker.

Maybe tilt the amp up so you're hearing the speaker on axis. The highs drop off rapidly as the angle increases. What the mic hears on axis might be quite different from what you're hearing at 45⁰.

I've had an SM57 on the grill cloth of an amp that was painfully loud from 20' out. I think the mic will be fine.* If this has already been said, it bears repeating. The amount of distortion that sounds right in the room can be too much in the recording. My default mic position is about a...

I'd put as big and thick of an absorption panel above the mix position as I could fit.

That's not what I'm saying. I'm suggesting that you see how it measures and sounds at different positions in order to narrow down likely causes. If it sounds and measures different in different places, it's most likely a room issue. Eq isn't a great solution to that problem.

Try measuring at a variety of locations. Also, play some commercially produced music and listen from different positions.