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Unless you are willing to spend $1000 per channel don't worry about hardware compressors. The RNC hardware stuff is pretty cool for cheap but you can get great results using software limiters and compressors. One of my favorites on vocals for use in Reaper is the Horizon+ limiter from Stilwell...

I usually get the mix about 90% there before adding any limiters to the master buss. Make sure you have plenty of headroom on the master meters. If you start overdriving the buss inputs no amount of limiting on the master buss will help you. Once you have everything pretty close on the mix...

You are probably overdriving the effects. Try turning down the effects input and/or output.

You use a DI to convert an instrument output into a mic level to plug into a mic preamp. You use a mic preamp to amp a mic signal up to line level. If your RP500 has line level outputs you don't need a DI.

I've tried that on some projects and always ended up moving everything back to their original times. It can be an interesting effect but it completely ruins any sense of space in the drum mix. You need those differences in time for the brain to really get a sense for the size of the room.

Not sure of any Audition specific plugs but you could just copy the side track, invert the polarity and hard pan both side tracks.

I've never liked the sound of a single 57 on the snare. To me it always sounds muffled and pingy. I usually put another dynamic or condensor underneath (with the polarity reversed) to get a bit more snap. But the most important thing apart from the tuning is the room. Most of the smack will...

Use stereo compression when you need to preserve the stereo image of a stereo track. If you compress the sides separately you end up with weird panning effects as the volumes are separately adjusted by the compressors. IMO some heavy limiting can sound great on individual drum tracks and...

Google Sketchup is great.

That's gonna be a funky studio with a lot of small, dead sounding rooms. Big rooms sound better then small rooms. You can separate musicians in a big room with baffles and proper mic placement.

Get an engineer to design the building. In the end you will probably find that the sand is too heavy for realistic use.

You might also try some heavy limiting on the overhead mics. That can really help the cymbal/drum balance. The Glynn Johns technique is great but you will always need a kick and snare mic if you want any type of modern sound.

Not really. Some interesting recordings have been made on casette with great music but few would call them quality recordings. The software is important in terms of how you can edit and route things in a mix but has very little to do with the sound or vibe of a recording. We recorded our...

Our singer uses the Shure E3 (I think, maybe E2) wired up for rehearsals and he loves them but we just go with the house monitors for shows.

Frames make it much easier to wrap the panel with fabric and hang it.

You need to have speaker cable wired up through the in-wall patchbays.

I noticed it sounds more mono if you squint your eyes just right. Maybe you could put some instructions on the liner notes?

You just have to call some insurance companies and see what they will cover. Most have limits on electronic stuff but since your value is so low you might be okay on a typical policy. If you want your gear insured while going to gigs and stuff you will need to get what is called an "inland...

The Behringer's don't get loud enough and the sound quality is noticeably worse then better amps. The Furman stuff is the best. I haven't tried the Presonus though.

If you like 80's reverb then get an old Lexicon, Eventide or SPX 90. Those were the main reverbs used at the time.