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Well, it might be a function of the template that you choose. Seems like I always start with the 16 tracks of audio template. If you don't find it doing this, you can save your own template. Just open a blank project and set it up like you want and save it as a template. The "parallel...

Parallel compression isn't really a "secret technique" anymore. When I open up a new project in Sonar X1, it automatically sets up a parallel compression bus. And, like any other technique, it can be overused. I still tend to use it for drums or, sometimes, drums and bass. Don't like it for...

Thanks! You too!

The answer is.............................................................. 42.

You should also post questions about mics in the microphones section of the forum.

The Zoom also has (condenser) mics built in, IIRC. And multitracking capabilities. Maybe you just need to figure out how to use what you have. And, yes, the SM57 and SM58 are the exact same mic. The only difference is the ball windscreen on the SM58.

A really nice SDC for acoustic guitar (and it works great on drums and percussion too) is the Audio-Technica ATM450. Can be had for less that $200 each if you shop around. If you do much recording of acoustic guitar, you really need to have one or two of these.

Well, I personally consider the SM58 to be only a marginally acceptable choice for male vocalists, and a flat out BAD choice for a female vocalist. I would recommend one of the Electrovoice ND series. They have one that is specifically tailored for female vocalists (the 267 or 367, I think), but...

The last two posts pretty much nailed it. Drawmer makes very nice compressors. Another compressor is ALWAYS nice to have around. The Quadraverb is very, very old tech, and sounds pretty cheesy. Nevertheless, since it's free, the price is right. You could use it for the monitor feed or for live...

Getting back to the topic at hand, for me it was ear training that really made the difference. Back in the 1980s, I met the guy who became my mentor for all things audio. His name was Jeff Gordon, although he is not (to my knowledge) related to the famous race car driver of the same name...

Yes, that's a nice technique. It actually works on a lot of instruments. A little distortion can really beef up a snare drum, for example.

I, too, recommend recording both the cab and direct - as a general rule - whenever recording bass. I never can tell until mixdown which one (or both) works best in the song. Agreed. As far as I'm concerned, this is BY FAR the best way to get distortion on a bass track, record the bass clean...

I agree that the whole AT40__ line and the whole KSM__ line are both excellent choices and you can't really go wrong with ANY of the mics in those series by either brand. There are even some similarities in the sound of those two lines. Several times I've heard recording engineers comment on how...

BTW, if you need to cut the price range of your LDC a bit, the new Blue Spark mic has highs that sound a whole lot like the KSM27/KSM44, although it doesn't sound much like them in the lows. The highs are very smooth (like the Shures), but the bass is a lot woolier. The KSM's are smooth...

And the ATM450's might run you SLIGHTLY over budget. I think I found the last one I got for $179 (new, with no shipping), but I had to wait around for it. I might have paid about $189 for the other one. Ebay is definitely cheaper on those than going to MF or places like that. I haven't tried...

The multiple mics for $1000 is definitely the way to go, given your limited mic locker at the moment. The choices you have are good. I would suggest: an Shure SM7, a Shure KSM27 (recently relabeled the SM27) and a couple of Audio-Technica ATM450's for your SDC's.

I think you'll be happy with the Spark. I bought one recently and have been impressed with it. Still haven't had time to really put it through it's paces though. I should get a chance to try it out on some vocals this weekend.

^^^^^ I second the above. ^^^^^

It is far better to use a mic that has the correct sound to begin with, rather than just try to EQ the mic to sound the way you want it to sound. All equalization (even "linear phase EQ") induces phase artifacts that you don't want to have in your mix. The guy who taught me about recording...

Well, having a variety of different sounding mics is critical to have the flexibility to record anything that comes along. In fact, I would say that mics with a "darker" tonal color probably come in more handy than mics that are bright. Helps make digital recordings sound more natural...