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Ah yes, I thought of that before, but I figured that it would mute the signal going into the recording program too, but actually it makes sense to me now. Thanks a lot

I don't think that will work because the sound coming to the speakers is exactly what would go to the headphones. I've tried a bunch of stuff including panning things left and right and using one side of the headphones and such, but that causes different problems. I think I may just be SOL.

When I have something pluged into the line in of my soundcard, that sound automatically comes out of the computer speakers. This causes a problem because when I am tracking guitar I don't monitor it on the program, but it still comes through and sometimes it overpowers the drums that I have...

I see a lot of posts about cheap condensers to use as drum overheads, and the consensus usually seems to be Behringer or MXL I believe. I bought 2 Samson C01's at about $50 each new off ebay (probably around $60 with shipping). While I have no idea how these mics compare against the others...

Their producer used various techniques for all songs. He also doesn't remember what mics he used, although he did say he wouldn't tell even if he did know. I know the hallway recording was When The Levee Breaks specifically. I know he changed it up, but generally had a few room mics and miced...

I've been using my Yamaha MX 12/6 mixer to record my band and it sounds pretty good, but I am using all 8 XLR inputs on the mixer. I still have two stereo tracks that I want to use left, but they are either RCA inputs, or 1/4" phone jacks. Whenever I use an unbalanced cable which is XLR->1/4"...

Alright, when I use my overhead mic on my drums (a samson c01) I put the fader level for that input at 0 (about 2/3 of the way up). It picks up so much signal that my gain needs to be turned all the way down or else I will get clipping. The question is, should I have my gain higher and put the...