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Yes, and the new Drum Bus' output goes into your "submix" instead of the individual drums and crush bus doing so separately

Okay, maybe. However, Pro Tools tends to be based on analog architecture, for instance an Aux can be a bus, an instrument, a return, a send pretty much anything that does not record to it's own "track". A "track" in PT is the same as one on a tape deck, a mono or stereo pair that records audio...

My preferred method is to make two stereo aux tracks: first a Drum Bus stereo aux, then a "crush" bus. The output of all drums and the crush bus go to the input of the Drum bus by choosing an open bus stereo pair of inputs in the input drop down menu of the Drum Bus aux. Right click and rename...

If I am watching tv while noodling on guitar or whatever, I have occasionally used the recorder on my phone to get a quick record of a cool riff or chord progression. I have a new laptop since last year though and it stays in the living room with a 2i2 that has a 57 always plugged into interface...

Ground point for metal shell (through the screw). It is inserted from that side to keep it from being pulled toward the inner shell and causing a short. I don't think that even if it backed out slightly that it could possibly touch something on the outside that might short or otherwise cause...

Right. If you have a sound already in mind or that you are going for, whatever it takes to get there. If you can do it with outboard and print it then you can save time, although as a safety it's always nice to have a DI back up

I tend to prefer to mix DI and mic'd up cabs but I usually only compress the DI on the way in. I use a FET LDC about 3.5-4.5 ft from the speaker to allow the sound to bloom and let the air space help to level the mic signal. However, it's as I said, genre dependant.

If I am in a hurry I will plug in straight to interface. Preference is through a DI box with a transformer through a DBX into interface. It doesn't matter too much either way, but the second way get's me closer without too much plugin fuss. As for your question? I would say people using a...

Lot's of TRS to XLR cables available. I have a bunch for patching loose outboard into my 1/4" TRS patch bay.

I need to get better friends!

A real rework station with heater, vacuum and iron with temp controls is the kit. My little brother has several of them but he does industrial electronics repairs. I have a modest rework station that I bought last year and just got out of the box as I just finished a work area upstairs for doing...

I wouldn't think a transformer would be necessary , but easiest thing to do is try without and see what results(or hear rather).

I have versions from Waves, Gem/Overloud and Digidesign plus a couple that are not direct emulations but are based on the same type of circuit. Yes , they are all different- the overloud version has three different versions emulated in one plug in so it has the most variety but the PuigChild...

I haven't but I did watch a Warren Huart vid that compared modeling mics with the actual models. IMHO it pays to get a good mic and not worry about what it "models". It just has to get the sound you want.

Unless it is not feasible for noise reasons you could always build a "catflap" or similar device which would allow the pressure differential to be transferred in and out.Maybe something like a 6 x6 inch piece of 1/4 thick neoprene with and "x" or a star cut placed in double sided wooden frame...

Perhaps if you are serious about getting a great master spending a bit and take one songs multi tracks along with your mix to a pro studio and see if you can watch them do a version (for pay of course). Still, IMHO one the best things you can do is listen to your mix alongside a mixed and...

I have a tuner that does the low B but I never remember which one it is so I usually tune the B at the fifth fret and let it go at that.

I have not used a pre amp on bass very often but I usually go straight from a DI into a DBX and straight from there into my interface. Compression before or after really depends on what you are trying for, so I would record it both ways and you will learn what you like best and what is useful...

Well I would kind of have to know more to help more but just off the top of me head I would suggest parallel processing with a bit of saturation and compression that favors a slow attack and quick release to accent the initial transient a bit and mix in to taste.

duplicate the track. Cut every thing but the line you need to tune on the dup. Apply processing