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Phase is also frequency dependent. So you could have two mics that are in phase at 1K Hz and out of phase at 60 Hz. The easiest way to ensure phase is to have both mics in roughly the same place, but pointing in different directions, aka "The Coincident Pair." Often, however, that is not...

If he's paying, it's your job to make him happy. You can offer alternatives, but if he's gonna be stubborn... I have had to gradually convince the guys in my band that the tone that sounds killer in the bedroom is almost universally problematic in the studio. They starting to learn that the...

Your budget?

Sound proofing and acoustics are separate and barely related disciplines. All materials, including styrofoam, have acoustic properties. I doubt the styrofoam is contributing anything positive to the acoustic character of the OP's room. Plus, styrofoam is a horrific fire hazard.

Radiohead - OK Computer Los Lobos - Collosal Head Peter Gabriel - So Modest Mouse - We Were Dead Before the Ship Even sank Hole - Celebrity Skin XTC - Skylarking Hard for me to separate production from great playing/arrangements...

Get the tone you like from the amp, then back off on the distortion. What sounds good in the room often sounds buzzy and shrill in a mix. Less distortion than what your gut is telling you will sound huger.

Play it perfect is always preferred. However, I find that's often elusive. I do get a bit weary of my bandmates expecting me to work miracles in post-production. I'll bet for every hour they spend tracking, I spend 8 hours comping, splicing and fixing.

The brands I mentioned in post above are all boutiquey high end units starting at $2200 for 8 channels and going up from there. If price isn't an issue, then stay away from that prosumer crap like Maudio, Prosonus, MOTU (which I have) and buy the nice stuff.

But the OP really wants to avoid mistriggering. If he gets "false positives" (adjacent drums setting off the triggers), he'll spend a lot of time deleting those MIDI events. If he gets "false negative" (drums not triggering when they should), there'll be no way to get that note event short or...

Cranesong Lavry Mytek Apogee Lynx Seriously dude, what are you willing to spend? and how many silmutaneous channels of analog do you want to record?

Certainly, some so-called "indie production" is simply a rationalized glorification of severe musical and production limitations. But there's plenty of stuff that seeks a more raw and direct approach to communicating musical ideas as compared to the often hackneyed production aesthetic of a...

I sure hope sound isolation from floor above is not a big issue. I had a horrific time keeping basement studio sound from travelling elsewhere via HVAC ductwork. My solution was to move and build a detached studio.

You probably need a long term plan, then figure out a short term plan for the interim. A stereo interface is fine for now, but if you're going to borrow mics to record drums and/or whole band, that interface will quickly become your bottleneck. There's no single solution that's best and beware...

Depends on what you're trying to do. How many tracks are you wanting to simultaneously record? What kind of mics do you have? What are the specs on your PC? What kind of room are you recording in? What kind of end product are you trying to create? What's your budget? What is your monitoring...

In that case, I would record the audio of the two drums that are causing the most triggering problems (kick drum is usually one of those and it's most important). The rest of the tracks should be recorded as MIDI events, which can then be committed as BFD audio tracks after the fact.

I won't quibble, since you and I are generally of the same mindset. I get many folks pushing me toward amp sims, which I've historically rejected. Why? because I have gear good enough to allow me to do great live amp recordings. That said, it's a lot harder to mic amps well than to scroll and...

Any one of those programs can get great audio. There is some alleged snobbery about "digital summing" that programs use to algorithmically aggregate multiple tracks into mixes, but even that is far beyond most of us hobby recordists.

If you really want to be safe, trigger drums after the fact (although that'll require lots of inputs on your interface). It's hard to get the sensitivity adjusted on those Alesis units, and often the drummer will play differently when you're adjusting sensitivity than when you're recording for...

poorly miced amp < amp simulator < well miced amp

With improper gain staging, any mixer can hiss. Behringers are pretty hissy, in my experience, although proper gain staging can minimize hiss.