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From my slight knowledge of Florida weather, I suspect that sitting turned off in the heat shouldn't be problematic so long as things have cooled down before you use them. However, I suspect your bigger hazard is humidity and it might be worth investing in a de-humidifier.

^^^^^'This. We had limiters on outgoing circuits and satellite uplinks, adjusted for the spec that was needed on each. Most of the monitoring was purely to keep our audio signals as clean and consistent as possible. This included lots of incoming satellites and landlines every day, feeds from...

Lol...if the function of your process is to "dirty up" the sound then all best are off. My job was to keep the sound as clean as possible and have the Loudness meet specific ITU/EBU standards.

There's a large element of truth in what ecc83 says about VU meters. They really are virtually useless. Also as per ecc83, the problem with even the best VU meter is ballistics. The way the needle works simply can't keep up with short term peaks in the audio. You're fine if you're aligning a...

I've got to say that we never worried about equal LENGTHS of earthing--but we were OCD careful about all earths going to a single point. Buried deep in our mains distro area was a long copper bar and every earth from a remote point was clamped to this, with a single cable to the actual earth...

., A mixture. Each edit suite or control room had a local breaker box with appropriately rated breakers--and power supplies for racks and desks were via fuses distribution units (usually at the top or bottom of each rack) with each fuse supplying a single IEC socket.

Probably neither affordable or worth it for a home studio, but just for interest sake... When we were designing a mains system for video/audio studios professionally, we did completely separate wiring for all technical gear, going back to its own breaker (and, in a building big enough to...

The SM7B is certainly a popular mic for a lot of voiceovers. It'll deliver what I can the "American Radio" sound. I personally have a slight preference for the RE20 for V/O work but that preference is razor thin and depends a lot on your voice anyway. With the acoustic treatment, the wall...

The thing about Line Level (whether -10dBV or +4dBu) is that these are reference levels only and programme material can vary greatly. Put another way, when I worked in broadcasting, before a satellite feed, the send end would send zero (+4dBu) tone and we'd adjust our receiving gear so that was...

Okay. A couple of points: Besides distortion of the stereo image, there are also differing psychoacoustic effects of having the sound source plastered right up against the ear or even inside it with earbuds. That's the other big reason people advocate mixing on speakers not headphones. That...

A few thoughts... First, for your voice over work, be prepared for different clients to want a different sound from you. Some will like the warm, smooth sound of a large dynamic but others will want you to have something a bit brighter and more detailed--like your AKG212 or one of the other...

The EV635A was the workhorse of the news industry as far back as the late 1960s or early 70s. It's an omni pattern dynamic with relatively good sensitivity for a dynamic. It's frequency response is pretty flat with only a very subtle rise in the upper mids. It's big reputation though is for...

It's not a far fetched as you think--for some people. More of my work is recording sound effects for theatre or videos than doing music (which is more fun when I get the chance). For these sound effects, my most used mics are SDCs--usually AKG 451 EBs or AKG 391 Blue Lines rather than...

Regarding line inputs to the x32, the mixer has six line level Aux inputs. If you need more, the preamps on the XLR inputs have enough range that, turned down, they'll handle Line level happily. FYI, when you get closer to pro grade equipment, it's not uncommon to find all inputs on XLR. My...

I never used one but the Mackie 24-8 had a pretty good reputation in it's day. The faults don't sound too disastrous and, if you're good with a screw driver you might be able to fix at least some of them. The crackling (I assume that't what you mean by creak) could likely be fixed with a...

Actually I have something like that in a room I use occasionally as a studio--except mine is around 7 feet tall and more solid--it's in a fancy pattern so it's hard to be accurate but I'd say it's about half wood and half "holes". Like you I put soft material over it--an old mover's blanket...

Just had a look at the spec for your sound card and it mentions that it supports both MME and ASIO drivers. If you're using the MME option, that would allow other programmes to change the sample rate. I'd try changing to ASiO.

I used the original version with the perforated metal back--but there are multiple layers of different absorbent materials between the backing and the mic and experienced no metallic effect. However, as I said in my original post, positioning of the mic is critical--and I'm talking about to...

What are you using as a sound card/interface and what drivers? FYI 48kHz is the standard sample rate for most video and my guess is that, if you're using Windows drivers, they're simply switching to 48 for you video playback and Cubase (expecting you to have manually set specs like that)...

Completely agree with "lose the faders" for mixing...but, for tracking, if I have multiple sources, I prefer faders. On top of that though, if you ever want to set up multiple headphone monitor feeds while you record, you NEED pre fade auxes. My opinion is probably coloured by the fact that I...