One way to go, if you can, is to record in analog, go to digital for visual digital editing, and then back to analog for mixing. Which, inevitably brings us back to 16 bit 44.1 KHz
Ok, this is a really strange problem that I'm having a really hard time understanding. Here's my setup:
-Acer laptop with AMD Sempron 3000+ processor
-512 MB DDR
-80 GB HDD in 2 partitions (one for operating system, other only for audio)
-250 GB USB 2.0 HDD
-Lacie PCMCIA Firewire/USB 2.0...
Is this a demo version that you have the option of trying or how does that work?! You wouldn't want to install a cracked, stolen or borrowed copy now would you?
Carlos
Guys, cables are NOT balanced or unbalanced, the signal traveling through the cable can be balanced or ubalanced. A TRS (Tip, Ring, Sleeve) cable can transmit a balanced or an unbalanced signal.
Depending on what kind of signal you need to carry, hence the cable you should go and buy.
Carlos
Han, you maybe misunderstood what I meant by the reference to Quincy Jones. I know that Bruce Swedien engineered the Thriller Album but Quincy was the producer, and I think he is amazing at that.
Carlos
It's always nice to have it. The other day I tracked a HH with an AKG 451, completely on top of it, pointing right on to the top Hat at around 3 inches and it sounded amazing.... after some panning and a little eq, it just brought the song to life. With that said I guess my response to the...
Thriller. Even if it's not my fav kind of music, I just love Quincy Jones. And I would say that Songs in the Key of Life is one of the best recorded albums in every aspect.
Carlos
Well, I dont want to sound redundant but here's a pretty cheap and efficient way to go about recording drums with 4 mics:
SM 57 on the snare
52 on the kick
ECM 8000's as OH mics, as they are very linear SDC's, place them low and at the same distance from the center of the snare using a low cut...
IMO, autotune is cool for effects and maybe for tuning a guide track BUT, I would seldom use it for the "real" track. It's just obvious and takes the life out of a vocal track.
Carlos
Evh
Well, for what it might be worth here's a little story:
In 1997 I enrolled at Musicians Institute; I studied rock guitar. I learned lots of stuff there and was lucky enough to have many great teachers. The recurrent question to all of these teachers was along the lines of:
"Who is the...
Behringer... really?!
I guess I'm going to get flamed for what I'm about to write, but here it goes nonetheless. I have used the Behringer ECM 8000 as overheads and they work very well. Harvey Gerst recomended them, and since they're dirt cheap I picked up a pair; and boy was he right...
how are you connecting the microphone?! The mic has an XLR connection and the G5 doesn't have an XLR input, so what is the signal path?! I hope it's not a XLR - 1/4" cable!
Carlos
I have used the 4 mic configuration a few times and it has worked great. Harvey Gerst suggested in the Mic forum the Behringer ECM 8000 as overhead microphones and you know what? They WORK!!! Not the best sounding microphone out there, but it is extremely linear and it gets the job done well...
I'm going to have to disagree. In my opinion, the 5051 Ivory sounded good. I haven't had much experience with it as I have not been exposed to the unit for long periods of time; however I've found it to be very easy to use and found it to sound quite good... although it could be a matter of...
I use the Shure Beta 52 for kick drum and it works fine. It responds well to the main two focal freq. points I pay attention to in recording kick (70-150 Hz and 4 - 5 kHz). It also responds very well with the high pressure levels of the kick. Price quality is great with this mic.
Carlos