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As previously mentioned... I just got the Epiphone 5w "Valve Junior" and have been loving it... other amps in the collection are a '68 SVT, a MusicMan HD-130 that was customized for Aerosmith in the 70's, a THD "UniValve" and a THD "Flexi-50", a Madison "Divinity", a Groove Tubes "combo" amp...

The resolution of even 24 bit digital can not match the resolution of analog... so by sending the digital signal through an extra set of conversion processes you're not really sending "the sound" to the machine... you're sending something that resembles the original sound to the machine. While...

You will negate a lot of the possitive attributes of tape by recording to digital first and then using analog like a processing device... especially if you're using 'semi-pro' quality converters [like MOTU or RME stuff]. With that said... "analog tape" itself is not any kind of magic bullet...

Evan... there are no shortcuts to "practice"... if you can get to sit down with a pro from time to time and watch them work... watch the flow of the way they work and adopt what works for you from that observation then you're in a good place... but the bottom line is to just keep slamming into...

OK... +22.5 is still pretty damn healthy when you're talking about most project studio hardware... the desk in my room only does +24 and it's class A discrete running on bi-polar 24 volt rails [with a 15 amp PSU]... As for playing "mix and match" with +4 and -10 gear... you really shouldn't do...

Well Otto... you do have a point on the integration of "-10" and "+4" stuff... though the operating headroom of an analog unit doesn't really come into play here as we're talking about "0"... but you're right, there is -10 "semi-pro" stuff all over the place and it can be a bitch to interface...

Its a game of inches... and as far as I'm concerned the Mackie stuff is a good couple feet from the goal line... but I reckon its all relative to your personal experience/preference as to what is and what ain't good. FWIW, I'm running an old 32 input Yamaha PM-2000 from the 80's... I bought the...

Where? I would love to land on one that cheap!!

OK Right. In a recorder, on a console, the output meter on a mic-pre, compressor, etc. is all calibrated to a standard... so yes, the meter is a "relative measurement" but the standard for the claibration of that meter is not "relative" Uhhhh... no. 0VU is indeed a standard voltage...

Self recording musicians who hit red before the lyrics are finished are very often doing "writing demos" in which case the whole point of the exercise is to put down ideas and diddle with them... everything from arrangements to parts, yada, yada, yada... and there are lots of very successful...

There are many pre-amps that can be pushed far beyond +18, there are many that can't be pushed beyond +12 without serious distortion. It depends on the design of the pre-amp. You forgot "zilch" :D FWIW... in the analog domain, again, depending upon the machine and the tape forumulation, you...

Most converters could care less what level signal you feed them so long as it does not exceed 0dbfs... how much headroom you define under 0dbfs is your business [matter of preference, zero standard].

Not necessarily... it can also equal -12, -14, -16, -20 or -24... there is no standard. 0VU should equal +4dbu which can be set to any reference level for the digital domain you would like. One thing to remember is that a "VU" meter is an average of the signal, their ballistics are not set...

Try calling Clayton at "Capron Lighting and Sound" or Gary King at "Scorpio Sound"... if you need something in the city there is Boston Light and Sound down in Brighton. Best of luck with your search.

There is no way to ever be able to echo how much relevance this statement has... it should be tattooed on both arms of anyone with a DAW system... yes, I have edited every drum hit [in the analog domain]... wanted to shoot the producer but it was his call to have me do that and my job to do as...

Hmmmm... the Pendulum Audio "OCL-2" is an optical attenuator based compressor that you can easily use over every track in your song without a struggle... so while the LA-2A "reissue" may be a bit "wooly" for that kind of a task, it can be done. Decisions like this are always going to be a...

If its any help, I have access to both the Radial and the Littlelabs... I have found the "Redeye" to sound considerably fatter than the Radial stuff... but as always, YMMV.

It loaded just fine for me... I thought the bass track lacked some energy but other than that it seemed pretty good.

The "over the shoulder" thing works really well with drums and can work with a variety of other instruments except that you can end up with a bit more of "the room" in the mic that you may want. What is happening when you put a mic 'over the shoulder' is that the mic is hearing pretty much what...

I think you're getting a little too "waka waka" about the technical stuff... the bottom line is that if it sounds good then it is good... impedance matches or mismatches be damned. Most modern microphones, especially condenser microphones don't really care all that much about the input...