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Lol! I remember centuries ago as a teenager my high school used to get bands in for special dances. Invariably the only thing in the PA were the vocals with guitars and/or keyboards into their own amps and drums fending for themselves. Monitor wedges were unheard of. Know what? My memories...

Just to mention...I have seen a few guitar amps that have actual mic inputs (albeit on quarter inch jack). If Allan has one of those rare beasts then the simple adapter cable would do.

A couple of things: First, as Farview says, 85dB of pink noise is going to sound a lot louder than the music you're mixing. Pink noise would be giving you a continuous 85dB while, on music, (unless you're a mercenary in the loudness war) you'll only get occasional peaks at 85dB with most of it...

I can't think of anyone who would sell them--might be worth watching eBay for a used Sennheiser or Sony electret lavalier then dismantling it.

As others have said, the Antelope range is pretty high end and aimed at pro studios. However, even so, I suspect any improvement in sound quality would be relatively subtle compared to other things in your studio, notably acoustic treatment, choice of microphones and quality of monitoring...

Welcome to the club for people who have discovered that the best way to solve recording problems is during the actual recording, not with fancy or time consuming fixes when you mix!

One time consuming thing you can try: if you DAW has spectral editing (particularly with some form of spot healing brush tool) it can be very useful for this sort of thing. You draw around each breath and the DAW fills the space with sound from the adjacent area. I've used it a few times for...

I'll throw in another thing to play with--when using the SM57 up close to the guitar cabinet, have a play with the mic positioning and aiming. Moving the mic from the centre of the speaker to the edge (with stops in the middle) can significantly change what sound you're getting. Similarly, a...

Darn! I want one! Count me as another request to see what happens when you load up the system.

You've been given some great advice so far but a couple of things... First, yes you can mix on headphones but it takes longer to "learn the sound" that it does with monitor speakers in an acoustically treated environment. The tricks are to, first, get headphones that sound neutral rather than...

A genuine problem in lots of venues and rental companies--at the end of a gig mics are just put away as fast as possible without any attention. Frankly the only way to be really sure is to carry your own mic(s). Two 58s for a couple of hundred dollars is a small price to pay to avoid years of...

By all means try without the fethead but my suspicion is that the SM57 simply may not provide the type of sound you're after. While it's a good, versatile microphone, as a dynamic it'll never have the same sort of crisp detail you'd get with most condensers. Some people love the sound on...

Diverting this topic, I'm curious how you use the Haas effect as part of a recording/mix? I should say that I use it all the time for live work when I'm doing theatre stuff. If I delay the front of house speakers so the sound from them arrives at the audience a small fraction of a second after...

Regarding your list, I'd probably put the Blue Yeti Pro as number one because, as it has built in monitoring, it avoids a lot of those problems which can be frustrating. I'd probably put the Rode NT above their podcaster. However, unless you have a really good reason to go USB, I'd put a very...

As gecko zzed says, that number represents the sample rate used in the mics analogue to digital converter. Some people claim to get better results with the higher sample rate but science says that anything above 44.1kHz won't make a difference. Whichever you believe, the mic itself will make a...

I've replied to the OP in a thread over at the Audition user forums. Still to be confirmed but the problem may be a mix of a compressor in the record chain and a mate with the TV on in the next room.

Compression can be a real pain because the various controls are far from intuitive. However, a bit of understanding will really allow you to adjust the correct setting to get the results you want. One of the best resources to get the basics is one of the Rane Notes. Obviously they're talking...

I have a mixture. My home studio has a built in cupboard with shelves (meant to be a wardrobe since it was a bedroom) an large mics like LDCs go on a shelf in there. Smaller mics that I sometimes use for live work live in a foam lined carry case (which has it's own shelf in the cupboard. The...

In our case the cable duct was, as I said, used the sand bags (loosely packed so they would shape themselves around the cables) shoved in at either end. In our case is was the double wall/floating floor design for great isolation. The ends of the pipe weren't sealed in themselves. Instead, the...

Watching some pro acoustic people (Sandy Brown Associates in London) needing to fill a cable access hole, they used a bunch of fabric bags loosely filled with sand. They'd wedge them in nice and tight. The advantage to this was that, if we ever needed to run another cable or repair an existing...