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OK, I looked it up myself: The MD8 does indeed have 8 analog outs for the tracks, so basically (as mentioned) use an 8-channel USB interface (or get creative and use a 2-channel one, doing 2 tracks at a time and finding a way to sync them in the PC.) Learned something new... C

(Quote) "I think what you want to do is transfer all 8 channels to your PC. For that you need a unit that has 8-channel input and a USB port. Then you just take the eight channels from your MD8 into your unit, and then connect your unit to the USB or audio in of your computer" (End Quote)...

The 788 was my first digital recorder. It's a great idea to convert it to SD, for reliability and quietness of operation, and to extend the machine's life of operation as regular laptop drives get phased out. The one thing I remember from the 788 is the persistent reading noises from the drive...

Sure. I can do one on guitar and one on voice if I feel like recording "live" like that. It's plain fun to experiment with, even for scratch tracks. The LA2As also have an insert connection in the back (1/4-inch plug) and when you connect the two of them together, one can 'follow; the other for...

Since the thread is alive (again), my two cents about opto-compressors: I play acoustic music with vocals, mainly, and I use two LA2A-clone opto comps. Three reasons why I bought them, and love them: 1. They are delightful for acoustic music, in that their very design (the photo cell sensor...

Yellowtec is one of the industry-standard brands for arms and holders; they are high quality and they cost accordingly. We have a number of them at work. https://shop.yellowtec.com/pages/mika In a lot of radio-style setups, these things are mounted flat onto the table surface, not up against a...

You seem, by the descriptions, to be piling tools on top of the recordings to "fix" what shouldn't be there to begin with. Forget EQ, gates and all that for now. Room Acoustics. Distance. Angle to Mic. Delivery. That's 99% of your sound. Limit reflections and deaden what you can, both highs and...

Aeron by Henry Miller, all the way...it is still the best chair out there. You get what you pay for. Plenty available refurbished. I sit a lot at work (TV production); the current facility wanted input on new chairs and when I recommended the Aerons, they just laughed at me...now we have the...

"Conference mic"? Do you mean "condenser"? Given that you have tried everything else, it sounds like a defective mic. Send it back, get a replacement and let us know how it works out. C.

A ribbon mic is good for taming the spiky highs of things like shakers and tambourines. I have found those spikes to be some of the most intrusive sounds when mixing. C.

I am assuming this is the hilarious U87 ripoff you are referring to (this is from the US-side of Alibaba)...

To add to the OP's list, I would put in an acoustic-electric (Yamaha/Taylor/Martin) for the country/folk stuff, unless you just want to "Brian Setzer" your way through every softer number with the jazz box :-)

Well, it was uncomfortable. The roundness and the space-age materials seemed like cool things until you actually tried it. The main thing was that it wouldn't "sit" like a regular guitar; it just rotated and wanted to lie on its back when you were in a chair on on a stool with it and you spent...

Ovation...although I have never been a pro player, among the five guitars I have ever owned, that was the only one I literally wanted to throw out. It was the regular deep-bowl acoustic with pickup, and once I got past how nice it was to have "an electric", I started hating using it. As...

AKG 240 have been a studio standard for ages. They're flat in response, and great for tracking. They won't flatter your sounds, nor should they. C.

The thing I have been guilty of over the years, particularly in the beginning, is settling in to a groove and an arrangement and key, and sticking to it all the way without much change. That will wear out even the nicest melody quite fast. The subtleties in arrangements are what I hear as being...

1. Analyze what you play and how, get the gear you really need...and then know when to stop buying. 2. Practice, practice, practice. I find the more I practice, the less I re-record (funny how that goes...) 3. Let go of criticisms and just 'try things'...no one will be hurt if it doesn't work...

Thought I'd bring this one back, as it is a good discussion on "good enough", and also on the Law of Diminishing Returns. My first external pre was the DBX-286 in 2001, my second a four-pack of Syteks (excellent pres). I now have a four-pack of Millennia HV-3Ds that I got used for a couple...

DAW is a Tascam DP24SD, used only for tracking and simple mixing, and bypassing as much as possible the built-in pres (line level in.) It being my third Tascam, from the 788 through the 2488, I am well familiar with their units by now. I'll throw things into Audacity for polishing; my stuff...

C.