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Yes - I would :thumbs up:

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☝︎ What he said.

To get the truth - every home loudspeaker is different - mix on one which is heavy in the bass and your recordings will be bass-light (for example). You want your recordings to translate to as many systems as possible, which is why you want monitors to tell you what is *really* happening.

As many as you need. The number of mics will depend on what and how you are recording. Monitors, only one pair of decent monitors to start with.

You can build a simple home studio at a reasonable cost and still have good gear. You can have a copmputer, a reasonable interface and couple that with a really good mic. and professional monitors. A good mic. and good monitors will last many many years and will not need upgrading - the...

In Germany ME-Geithain are the industry standard broadcast monitors. BBC World Service in Bush House used the small RL906 monitors (about LS3/5A size, but fully active) and their big Music OB truck has the large RL901K. The BBC did "standardise" on Dynaudio in New Broadcasting House, but they...

But ..... Many amateurs I know have better equipment than a lot of professionals - and take better care of it as well. I know many amateurs that think nothing of spending thousands on microphones, let alone monitors. A friend of mine spent £12,000 or so on a pair of professional monitors for...

The Equator D5 and D8 are inexpensive monitors that punch well above the price - I think they are in the middle of being redesigned - the AE22 was also good (but now discontinued). Passive - the Harbeth Monitor 20 are excellent. My top 5 manufacturers are (alphabetically):- ATC, Harbeth...

Good advice, but I would forget the reflection filter - use duvets that you would already have around the house and this will give you an extra $100 for the mic.

☝︎ Good advice. Forget the non-existent "sound cancelling foam" foam completely - use the duvet from your bed - strategic use of this will help tame the acoustics to give you a reasonable sound.

Probably a good pair of small doaphragm condenser cardioid mics in ORTF would cover most classical performances - providing the room is good. A Gefell M300 stereo set would be a good start - high quality and not too expensive. The Neumann KM184 are also OK and the Sennheiser MKH8040 are akso...

Not at all - I am very aware of the real world and I'm certainly not "elitist". From the very beginning, using a stereo tape recorder at home, I was researching microphones, polar-patterns and different mic. techniques. In another forum someone was asking about using Beyer M201 as an X/Y...

I only use XLR for line inputs - phono is consumer and jack is for cheap semi-pro. No, but I would certainly *not* assume cardioids at 90˚ Really? Nobody I know assumes 90˚ cardioids when X/Y is mentioned.

Thanks - although if someone says XLR, I would not assume a mic. input because they are equally used for line input as well; though I probably would assume he meant a 3-pin XLR rather than the 4 or 5 pin variety. ;) I wouldn't - I would assess the situation and choose the correct pattern and...

But there is no "default".

Yup - I agree with all this - well said. :thumbs up:

"Line in" is a line level signal from a pre-amplifier or similar device. This would be the output from an analogue mixer, mic. pre-amplifier, output from a recorder, or any devise that outputs "line level". "Mic. in" is the low level output from any analogue microphone - so, the cable from the...

If someone said X/Y to me, I would normally assume he probably meant cardioids - but I would certainly *not* think 90˚, as the angle would depend on the room and the distance. M/S with a cardioid mid actually approximates to an X/Y pair of hyper-cardioids - so X/Y with hypers is just as valid...

I have *never* thought of X/Y as cardioids at 90˚ - X/Y is just a way of saying coincident microphones. You can use other angles than 90˚, and other polar-patterns - in fact hyper-cardioids at 110˚ can be quite useful. X/Y is just a generic term. Just because you see it at cardioids at 90˚...