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If everyone is doing it, you have no choice. Buy it. It is certainly no worse than a dozen mics I can think of.

I always found TASCAM mixing boards to sound thin reguardless of model. But I ditched all of mine 25 years ago. I think of them more as collectors items than useable consoles. But YMMV Certainly.

You can easily cause a dynamic or condensor mic to distort by "bottoming out" the diaphram. Backing off a loud source will stop this. Distorted guitars through a loud amp can bottom out the diaphram and sorting out the distortion made by the amp and distortion made by the mic can sometimes be...

I get heavy breathing just reading your post. Hint: The period (.) exists for a reason. Compression raises the noise floor and other nasty things.

In this economy it is best to forget about group buys and strut down to the local store to buy any equipment. You get the chance to return and full warrantee. I bought a few mics through this group buy and one ribbon is unuseable. It was fun but I did not go overboard. I looked past all the hype...

I love the loudness. I am working on a 10 in-line compression technique that will squash the mix into a DC signal. Shit, pure DC is my thing. I named my band "DC" I don't like AC/DC because they have an AC component to them that rubs me the wrong way. Long Live DC!!!!!!!!!;)

Track three takes of vocals. Pan one center, one at two o"clock to the right and one at 10 o'clock to the left. Lower the panned ones so the center track is loudest. Adjust so the other two panned tracks fill out the lead center vocal and add reverb to the center vocal only. Bonus points...

These videos are super. He goes over all material in the finest detail. Very well done and informative. A must see.

.....And if said fix involves a Jenson transformer, the cost will be as much as the unit went for. In the end, it is likely that we will learn why a good pre-amp costs $1000+. This will probably be a good thing as first hand experience tends to go a long way.

Abbey Road is a real commercial professional studio. It generates a ton of buisiness and will in the future. All others are posers. Abbey Road is the only professional recording studio in the world.:D

I guess the definition of a "real studio" as understood by the general layman is one that has enough equipment, recording rooms and have a good enough reputation on the commercial level to warrant them business. Beyond that, it is up to you and your engineer/producer to get the final product...

Turn it up in the red and listen. You could be just too low.

It sure does if I bring in my own engineer and producer. There are plenty of well equipped studios that rent the facility by the day. Almost all big productions are done this way. Glynn Johns and the like just rent the whole facility and get to work. Pretty common.

Notice he never touched a switch after the tank ran over it.

I had this exact problem. Mine was a bad solder joint on the input connectors to the circuit board. When the unit heated up, the solder joint expanded and bridged the circuit. Resoldering fixed it and it has been working fine for the last 20 years or so.

Aim the mic at the 12th fret about 3-5" away angled towards the headstock. Also, the NT-1A ia a cardioid pattern mic, so aim the "logo" towards the headstock. Good Luck

I'll just give you an example of what happened last week. We recorded a song, 15 tracks and in the mixing, the acoustic guitar (which was a great sounding track BTW) would not fit into the mix. On its own, it was a perfect sounding track. Noithing at all wrong with it. In the mix, it needed like...

The "big room sound" is usually derived from rooms that are acoustucally treated correctly. The "small room sound" is usually derived from a room (usually small) that has tons of standing waves, bass problems, phase problems and all that. Recording in a big room allows all the reflected waves to...

It's really not whacky at all. Done all the time. I have a good friend in New York who runs a mix shop (does many big name records) and he has the constant job of doing major EQ work to tracks just to fit them right into the mix. RUSH recorded one of their last albums so many times they were...

Jon Lord and Ritchie Blackmore knew Jim Marshall and had access to his factory and Jim personally. All their amps were one-offs and totally customized well beyond the stock product. I am not sure I would put a B3 through a stock Marshall stack as the B3 puts out a ton of energy even at low volumes.