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Let me give you some unsolicited, but hopefully helpful, advice, realestninja. 1. Compressors, like all gear, can usually do lots of different things depending on how you set them up and what you pass through them. It really is ultimately up to you how you want something to sound. If you gave...

I'd say the RNC, because, like others have said, it will retain some value. If you end up not liking it in 2-3 years, you can resell it at probably close to what you bought it for. It will also help you learn how a compressor works much better - and the RNC sounds better than virtually any...

Thanks for the input, everyone. I've thought about upgrading the interface and/or Sonar, but I'm always a little afraid of messing up what is, for now, a solid system. The new Sonar version does look tempting, though. I actually just sold a 57...maybe I've just been around them long enough to...

...if you had a thousand bucks to spend? I hope threads like this aren't too repetitive for everyone, but I'll be spending about that much money this fall and am interested in people's thoughts, so thanks ahead of time for your input. I record acoustic and rock stuff mostly, and will have a...

I just got one of these, modded w/ Burr Browns. I'm eager to do some more modding to it, but even now it is a very nice piece that I know I'll use often.

I'm a big fan of the beta57 - just somehow works with my voice in a way that a regular 57 doesn't.

For really quiet music, I've even liked the Audix d2 - definitely not a kick mic but ends up sounding like the kick from Neil Young's Harvest.

In terms of non-starved plate, there is also the Peavey TMP-1, a piece that was not on the market long. It utilized a 12ax7 and a 12at7 at full voltage. They can be noisy when cranked and slightly brittle on the top end, but for some applications they are really quite nice. Peavey stupidly...

Nothing fishy about it - it's got its own sound, and that might work for you or it might not. Personally, I like it very much.

Another vote for the VTB-1. Swap out the tube, and you've got yourself something respectable that can be either clean or not so clean. I use them as a DI all the time for my p-bass.

I'm not too surprised...there is also digital distortion on the first song on the Radiohead album Hail to the Thief. It's on a long reverb tail from a Yorke vocal, and clearly distorts. Why people let that slip by is beyond me.

Joel is in the house... making me wish for the return of the tape op board even moreso now.

I've had both, and they are drastically different mics. The 3035 can be very hazy sounding, while the nt1000 picks up tons of detail and, like a lot of Rode mics, is somewhat hyped in the high end (though not harsh like other mics). I liked the nt1000 very much on acoustic guitar and clean...

Bonnie Prince Billy's Master and Everyone Neil Young's Harvest Earlimart's Treble and Tremble Elliot Smith's x/o Hum's album that's blue (forget the name) Dinosaur jr's album w/ Start Choppin' on it Phish's Farmhouse Pearl Jam's Yield Those come to mind right off as being really well tracked...

I don't have the link, but when I've done 2 or 3 mic drums, I usually end up moving the mics around so that they pick up where the drummer is playing - i.e., if there's no low tom in the song, I might use one of the overheads near other drums (rack toms, for instance). As long as the drummer...

I like to use those small ADK condensers in x/y to pick up the cymbals, and they go really cheap. I use those along with a mono overhead (v67, at4050, at4033...kinda depends) and get a mid-side thing going on.

I'm liking the Beyer m69 lately. I don't touch a 57 for guitar anymore.

http://www.danalexanderaudio.com/glynjohns.htm Not the best diagram, but it gets the point across.

I've used mismatched mics in a Glyn Johns setup and it came out sounding fine.

Amen, well said.