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i wouldn't worry about it with the distances involved.

you can get these like drummer earplugs that are designed for musicians ( about $15) they sell them in specialist drum centres. i had a scare a few months ago when Public enemy played, ears fucked next day!

then you also get to boycott studio spares. fuckin clowns. my mate was wiring a 32 channel analogue board to a patch bay and rang them to order 20 10 packs of jacks. the guy at s s was like what? you do know thats 200 jacks?!? why would you want that many? ok (in sarcastic tone).. and the cost...

if you want a cheapo all tube compressor look at the bellari rp583. they get slated here all the time, but i love it so much it has been my main compressor for the last two years! the first half of the unit is high voltage (275 v) tube. on one of the schematics sites i've read a guy saying that...

414s are great for overheads, i don't think i've used anything i'd use in preference.

i'm certainly not qualifyed to mod your art but if you pass me the schematics i can tell you how its different to an LA 2. i've just finnished building an LA 2 clone ( just needs the transformers and the elemnt- i'll post pics when its done ). from my some what ameturish opinion it probally...

Excuse me, Toby, but he did say pop, gospel, and jazz. i assumed the tracks this guy was doing were synth/sample based seing has only one mic. And the tracking has nothing to do with whether a given signal sits in a projected mix or not. i was refering to most of the sound sources are...

certainly ignore blue bear. everybody seems to be ignoreing the fact that you are recording hip hop and only really need one channel of high end mic pre and a decent mic. the remark to you having loads of synth and not enough outboard processing is a just because the production process in hip...

ignore these guys, you've got a really cools setup, the problem being that you have to spend the same again on getting decent premesis sorted (unless you already have) . i'd go with the label thing. as far as mastering goes don't be afraid to pay somebody else to do it! if you really are...

ignore these guys, you've got a really cools setup, the problem being that you have to spend the same again on getting decent premesis sorted (unless you already have) . i'd go with the label thing. as far as mastering goes don't be afraid to pay somebody else to do it! if you really are...

ignore these guys, you've got a really cools setup, the problem being that you have to spend the same again on getting decent premesis sorted (unless you already have) . i'd go with the label thing. as far as mastering goes don't be afraid to pay somebody else to do it! if you really are...

i know you'll want to keep it!! i rarely use the de-esser any way. the best way i can describe its sound is expensive. just a nice amount of coulor to remind you its not digital. i think the 2 channel has pots for the attack and stuff whereas the 4 channel has two switched values.

how much for? i've got the 4 channel one (can't remember model) and i love it. i'd buy it.

cheers for the response. borrowed a proteus with a mo phatt board from a mate and about half the patches were really cool, the other half completely pointless!

i would use them to get one working unit as a last resort really. the cost of parts should be pretty low. look in the back of sos, there are loads of ads for companies specialising in the repair of vintage and high end equiptment. ring them for a quote, are you in london? i think thats were they...

http://nanaimo.ark.com/~pat/record.htm this guy has some isa stuff schematics, which i assume use the same power supplys - he's selling the though. don't know how much he wants.

have you got a copy of the circuit diagram and how good are you with electronics! how much are the for sale for? they are worth alot in working condition as i recall. the definatly sound fixable from my understanding of such faults. if you find the schematic they should be quite cheap to fix.

i have those active reveals. the only major problem i have with them that somtimes mixs on them don't translate that well to home stereos. try a set of computer speakers or hi fi speakers before you go spending big money.

you'll notice all the big pro studios that you've seen using the have a set of big dady mainfields behind them. if you get a chance just try switching between ns10s and decent mainfields. you'll see why people don't like working with them. of course they are useful in that situation, as being...

thinking of getting new sound module, whats everybody using/your opinions on tritons, xv-5080,etc