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Not to be negative, but shouldn't a dynamic like a 57 be BETTER than a condensor for extremely close micing due to the slower transient response? A didgeridoo is a fairly tonally complex instrument isn't it? A good condensor might be nice to have anyways, so if you get one, you might try...

I can attest to the fact that it does. So now you get to think about what keyboard you want to get? Thought about it at all yet? Things to consider: - Weighted, semi-weighted, or non-weighted? - range(number) of keys - dumb controller or synthesizer keyboard? - Interface: USB or MIDI -...

Not familiar with BM15s. I don't think I'd want to get Precision 8s for myself though. Event's precision series is marketed at the same crowd as the Tuned References I'm trying to leave behind, so I don't think it'd be much better for me. I also don't imagine using a speaker with an 8" woofer...

I apologize in advance if this is in the wrong forum. I've been using a pair of Event Tuned Reference 5 near fields for my home recording for about 8 months now, and I recently had an experience that I felt was sort of eye-opening. I recently did a mix at home of one of my personal...

True that...though I've never been able to get Giga to work right personally, and most people I know who use it admit that it's a pain the ass. ...actually, I find EastWest's plugin libraries more realistic-sounding than most GIGs, except maybe Vienna.

Quite honestly, I gave up on it. I tried for weeks! I had issues with setting the bitrate to anything other than 16-bit (garbley noise, mostly). I had issues with my softsynths dropping out even from a slow bounce. I had issues with older projects using twice the CPU power as before. etc...

It depends on function. Let me ask a few questions: - Do you HAVE to play these sounds live, or is this for recording only? - Do you have a relatively modern computer with a decent sequencer? If you answered no to the first and yes to the second, then I'd advise you to look into the world...

Is that REALLY a good idea? I've always heard it's not good to deaden a booth completely, but that recording vocals in a room with a little natural decay is better. I'm relatively new to the whole recording thing, so I'd be interested in hearing your (and other people's) thoughts on this.

For sure, good mastering is what's called for! From the sound of it, you haven't done any mastering other than simply setting a volume in order to get no digital overs. The process of mastering actually refers to anything you do to the track as a whole! Traditional mastering generally...

I have a demo of drumagog. Can the demo do this? I'd really like to try it out, but I can't seem to figure it out. I check the "MIDI Out" option, but the only options it gives me are "MIDI port" (under which the only option is "internal port") and then channel and note. Nothing about...

I'd say it depends on how much mixing's done. If I listen to a stereo master at 44.1 and then the same at 48, I can tell maybe a miniscule difference...little enough that it might even be my imagination. However, I can tell a more noticeable difference if I recorded a song in 48 to begin with...

Tube can be neat sometimes, but I find it useless most of the time. For $200 or less you can nab a 2-channel presonus blue-tube pre-amp off of Ebay, and if that tube warmth is what you're looking for, it's much nicer to use that to record from the start. That's not to say there's no use for...

If good realistic drums are what you're looking for, anything by Boss will probably please. I've always found machines by Roland and its daughter companies (Edirol and Boss) to be fairly easy to use with pleasing sound. But don't give up on natural recorded sound either. One trick I've always...

You're selling? Do you have a buyer lined up? I might be interested in taking some of that off your hands otherwise.

Thanks to everyone for all the advice. After looking around and thinking about it, I think PCM-based machines are what I'm looking for, and what will sound closest to the demo I posted above. I think CloneboyStudio's suggestion of a Roland R-8 seems the closest to what I'm looking for. I...

You can raise the volume output in Cubase without affecting the recorded signal if you need to send more volume out. If you need even more than the software will give naturally, you can cheat and add any plug-in with gain compensation (like most EQs and compressors), and use that to up the...

Been years since I tried Cubase. These days I use Sonar and Pro Tools. In Sonar at least, you have a post level setting, and an input trim. So I suppose you COULD adjust input trim instead if Cubase has such a setting, but I wouldn't recommend it. For one thing, it won't help if the clipping...

If you can get a good mixing board, those tend to have the best pre-amps, but most of us don't have the money. I've been blessed enough to have employment at a commercial studio in town, and enjoy classic warm pre-amps on a 16-bus AMR console. If I were running a commercial studio, I wouldn't...

Also, no one's asked yet what KIND of vocal he's compressing. Metal? Jazz? Pop? These settings will actually produce a fairly gentle compression (despite the seemingly low threshold and the hard knee). For a vocal, 3:1 ratio is...well, it's not too gentle, but I've certainly seen harder...

Name's Justus, and I write music for video games. Here's the deal: I've been using a Roland Soundcanvas (mixed with a few live instruments) for my tracks, but I've finally come into a little money, and have begun to expand things. I've got some great software synths now, like EastWest...