You will find that most stringed instruments are like this. Much of what we recognize as the sound of the instrument happens an octave or two above the note being played.
You can get a usable sound or an unusable sound out of either.
Also, the audience doesn't care, only the player would.
I've done a bunch of albums with Sims. They turned out well. No one knows the difference.
The good thing about Sims is the consistency. Something that can be tough with tube...
I used to use IEMs as a drummer, because some things were on tracks. They are basically ear plugs with small speakers in them, and you can get the volume down to a comfortable level.
I did it two ways:
1. Take a feed from the board with a monitor mix of everyone and the click and backing tracks...
Instead of using the adhesive, use a staple gun. It's also a good idea to mount the foam on something else and hang that on the wall.
Gluing them directly to the wall will ruin the wall, if you ever need to take them down, it's a big mess to try to turn it back into a good looking wall.
If you are going to mic the Amp, it doesn't matter.
Having a bunch of 100 watt full stacks to play a stadium hasn't been a thing for 30 years or more. Most of the wall of cabinets is for show. There is usually one cabinet or speaker in an isolation box under the stage with a microphone...
Instantiated is a fancy way of saying "an instance" of a plugin. When you add a plugin to a bus, you instantiate it.
A null test is when you take two different files of the same thing, invert the phase of one and add them together to see if they are the same. If they are the same, you will hear...
If you need more than 8 channels, get a different interface that has the IO you need.
Going out and buying analog to light pipe and analog to spdif converters will probably cost more than just getting the interface you need.
You've never heard of sending multiple channels to a single reverb bus?
Anyway, the thing the OP forgot to do was run the tracks to a single reverb the same way twice and perform the null test. It will probably fail that too. Reverb is one of the types of effect that have enough randomness and...
I'm with Keith. Cut the tracks and adjust them at the clip (event, whatever your DAW calls it) to get things in the general ballpark of even. Then make smaller adjustments as needed. Putting a compressor on each track could ride the volume, but it will change the tone and density when things...
Neither a preamp or Channel strip will help with the breath problem. That has to do with mic technique.
Depending on what you mean by "avoiding breath", it can be as easy as simply moving the mic out of the way of the breath blast to stop P and B pops. If the problem is that your inhales are...
The plugins report the latency to the DAW. The DAW does the calculations of all the latencies on all the tracks. It find the track with the highest latency and delays the rest of the tracks enough to line them all up. Each track can have a different latency compensation delay.
Plugin latency was an issue 20 years ago, but all days that I know of compensate for it so the playback is always in sync.
The daw figures out the plugin latency of each track, then adds the proper delay to each track to keep them in sync.
I'm 6'4, but since I played metal I was able to get away with pointy guitars. My main one was a gibson explorer. Another one was an ibanez iceman. The Dean ML is another big one...
Amp Sims can be good, depending on what you are trying to do and which ones you choose.
If you are just trying to disort a vocal, does it really matter if you run it through a fender twin or a mesa boogie dual rectifier? About any Amp Sim would mess up the vocal to an acceptable degree.
With...