Search results

When I had an HD24, I set all songs to 24 tracks. If you don't use them all, you haven't lost any available recording time. If you don't already have one, the manual can be found here: https://homerecording.com/bbs/threads/question-about-alesis-hd24.419378/. There is also a support group...

If you are lucky, it's moisture on the capsule. Place the mic over a low watt incandescent lightbulb, power it up and leave it there for 12 or more hours. Then check to see if the problem diminishes or goes away completely.

Because Tom Dowd, Atlantic Records' head engineer, leaned hard on the company to mix everything in mono & stereo, they were the only pop label that was ready for stereo lp's. They were also the 1st to place the bass & kick drum up the center so as to have consistently playable stereo discs.

I never liked that kind of placement either.

I've a number of "odd ball" mics not usually discussed for recording. Among them, EV RE55 omnis that get used for kick drums when I want lots of "smack" without proximity effect & RE15's when multiple amps are in the room and good isolation is needed.

I'd suggest upsampling the 44.1 track to match the others.

Yes, I've tried it and it yields nothing I'd want to use. Just because a signal can be heard doesn't mean the signal is any good.

Without a matching transformer, a low z mic's signal would be lower than the noise from all that gain.

The 57 & 58 are electronically the same. The 58 has an internal foam shield inside the ball end to make it less susceptible to plosives.

You need a device like this with any low impedance mic if you intend to use it with your guitar amp.

Any signal obtained that way would be so anemic that it would be useless.

They look like this.

You need a matching transformer to convert the loZ output of the mic to hiZ @ the input.

Who says, "it's obvious?"

Popper stopper and mic placement. Often not having the mic aimed directly at the singer is the way to go.

But it would sound different, even if only a little. It's a different strokes thing. Not being interested in getting the loudest results, I tend not to compress my mixes.

One could manually reduce peaks instead of limiting. I've done it a number of times when seeking more level without introducing the character compression &/or limiting imparts.

Most studios I hung out at used paper leader because plastic types were more difficult to work with and could make static electricity pops/clicks going past the playhead during mastering.

I was taught how to edit tape by a man named John Horton who was the engineer who assembled "American Top 40" for Watermark Productions. They owned the show before Casey Kasem bought it.

It's definitely an edit but I contend there isn't anything wrong with it.