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Compressing audio going from cassette to CD is just stupid and nothing else. Since CD has wider dynamic range, there's no need to compress. All you do it push up the hiss. If you wanna control volume, turn the input knob on recorder, or get one that has a knob.

I rack them up by type, EQ's-Comps-preamps-sound modules-FX etc, and also I always put the EQ's on top, so when I adjust them, I'll still be within the sweetspot of my monitors, a thing that's not as important when adjusting sound modules and such. Then, some things are very deep in the rack...

For rock vocals, the SM7 is hard to beat.

Avoid rubber. It will miscolour anything it touches, if given enough time.

Didn't you know, guitarists always run the band.

A LDC aimed at 12th fret from some distance is my starting point, if there has to be one. But as always, it depends on instrument/how dominant it should be in final mix/what sound you want to achieve. I'm not afraid using dynamics either (like the SM7), for a more vintage sound. I personally...

Just hipass it all out. Music with those frequencies suck anyway.

Zeppelin used 6 mics. 2x Kick (beater+front), 2x overhead and 2x ambience (ambience mics not often seen on the photos). Most often being MD421, RE20, 2x C414 and 2x C12 in that order, with the ambience mics being quite some distance away, requiring a big room to do it in.

Great compared to what? What have you used before? Freeware plugins/highquality plugins/outboard?

I cannot even begin to explain how much I disagree. Highquality reel-to-reel machines is very reliable, and those who believes different are the ones who never used it, or believed the ads when digital came to this world. Before I switched to digital (cause of tape costs), I recorded for over 20...

I disagree totally. A good tape machine needs a lookup now and then, but compare that to the endless hassle with digital, where you need to update OS, your drives crash, you need to update software drivers which removes one bug and installs the next, you need to solve compability problems etc...

If it sound bad with those mics, you should turn your attention to the tuning of the set, and placement of the mics.

While speaking of Mr.Page, although I consider him a skilled master in the studio, his guitar sound on the first two albums were crap. Yes he used cheezy stuff, but remember that doesn't make him cool, since it sounded cheezy too. Listen to his "solo" or whatever it's supposed to be in "Whole...

For EQ, Alesis isn't top notch... or even middle of the road. For cheap but usable EQ, look at Dbx, Symetrix or Speck.

The HD24 has a ethernet jack, just use a standard network cable between PC and HD24, and you will se the drives of the HD24 as folders in your PC, with the HD24 tracks as .wav and .aiff files in the folders. To transfer back and forth, just click and drag between folders like any file. It's...

If it smokes, you better let someone take a look at it. ;)

A guy in Sweden did this: http://web.comhem.se/~u51018947/rack_1.jpg http://web.comhem.se/~u51018947/podiax_front.jpg http://web.comhem.se/~u51018947/podiax_back.jpg http://web.comhem.se/~u51018947/podiax_close.jpg

Personally I would be happy with a 3-band parametric, if the bands overlapped well enough and it sounded amazing at a decent price. It doesn't have to be 4-band to be good. I have 4 and 5 band parametrics in the studio, but I almost never use more than 2 bands of them on a single source. In...

On the other hand, if you can't hear the differance between a 3035 and a 103, you might be better off spending your money on monitors or the ear doctor.

The difference is SM7, SM7a and SM7b lies in the bracket, which has seen some modifications. For all practical purposes (the sound) it's the same mic.