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Faulty mic, faulty cable or (on my mixer) the attenuation switch to change between mic an line levels in the wrong position. As I said, the type of connector doesn't guarantee the level but the vast majority of domestic stuff is unbalanced -10 while anything more professional will almost...

It's not a guarantee but it IS an indication. Domestic gear with RCA/Phono jacks on the back will have to be unbalanced and virtually always be -10 as the standard level. Similarly, a quarter inch TRS will usually be balanced and operating at the "professional" +4 level. The one hiccup on...

It's worth noting that most of the people on that Gearslutz thread are more interested in removing room tone/echo than electronic reverb deliberately applied. That's also been what I was up to when I said I'd tried some software and found the artefacts worse than the room tone. I'm sitting...

Haven't tried the Izotope one but I've had several of the freebies recommended and none of them worked--indeed, the artefacts they added to the audio were worse than the reverb.

There's a saying in the audio business...you can spend $3000 on a wireless system that will be almost...but not quite...as good as a $20 cable. Seriously, think long and hard about the idea of building a wireless transmitter into your bass. You'll have to leave access to the TX pack to change...

Not the cheapest but we used to use a bunch of THESE. You can get a range of accessories for either end so you can clamp one end to a solid surface and there are adaptors to mount lights, cameras or mics at the other end.

Doesn't sound like the best manual ever written does it? Although it's not a hard and fast rule, the -10 level is used by domestic gear--like 'TVs, computers, home theatre" stuff that have unbalanced connectors on RCA/Phono or sometimes 1/8th inch jacks. The +4 set up is pretty well always pro...

If we're talking condenser mics, I'd definitely check out the sE1X or (if you budget will stretch) the sE2200A C. However, for pure voice work a lot of artists prefer the sound of a large dynamic like an RE20 or SM5. You probably won't get a new one of these within budget but they pop up...

FYI, Adobe stopped doing upgrades for CS6 over a year ago (and 1.5 sometime prehistoric). The installer would be for the week's trial of the current CC 2017 version. A couple of thoughts: First, it COULD be driver related. Assuming you're using ASIO drivers, Audition (and I assume most other...

As others have said, speakers aren't designed to operate at 0dB(FS) because they operate on a signal that has been converted to analogue and run through an analogue amplifier. Most decent amps/speakers CAN handle a brief signal at 0dB(FS)/+18 dBu but, just as with the headroom when recording...

Even if powerful enough, I'm not sure I'd use Neumann monitors in a live sound situation. As I say frequently, monitor speakers are designed to sound ACCURATE, warts and all, so you can judge your mix. PA speakers (or home HiFi for that matter) want to make things sound good. To add an extra...

My bad. I've never heard of the ESI card before but a quick look at the spec sounds okay. An external interface might still yield some operational advantages (like real knobs to control levels) but quality is not the issue I thought it was. "Is that I just want the professional standard...

Most of your ideas are either incorrect or, at best, half right. Turning down the volume in a digital mode does NOT affect the dynamic range. Even at 16 bit, your noise floor is far enough below peaks not to matter and at 24 bit (or 32 bit Floating Point which many DAWs use internally) you...

Besides drivers, consider whether the 2i2 method of direct monitoring will be suitable for you or if you need a knob that can set a customised mix between you recorded sound and the mic you're recording. As an example, that would be a deal breaker for me.

Ah! The MixWizard is a classic. Between the nice sounding pres and the very useful EQ I used to really enjoy them.

I never worked for the BBC other than as a contractor but in my limited experience this doesn't sound correct. The OB vans have an interface panel on the outside for audio and cameras and, as far as I know, the Phantom is switched on and off at the mixer just like any fixed studio or live job...

I have 10+ small diaphragm condensers that are at least 26 years old and have been used in a mix of studio and live applications. Apart from a few chips on the paint, they're all working perfectly. I've never had a problem from turning on the phantom once the mics are set up. My LDCs are all...

The KMS105 can be a lovely sounding mic but it suits certain voices more than other. It's great on a lot of female vocals giving them a lovely silky quality. It's still good on other applications but for speech or male vocals I'm not sure it's worth the extra money. One other thing: for your...

I've mixed on a variety of KEF speakers and they've all be good and accurate. I've never mixed on the Chorals but suspect they'd be pretty good. Indeed, I count selling my 104ab models as one of my many lifetime mistakes.

I leave the guitar amp to the guitarist (except for frequently yelling "turn it down" with some of them! PA amps and speakers are a different kettle of fish from domestic stuff (where I'd agree about being more careful with matching the specs). My "double the power" advice is for PA work only...