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IIRC, that unit doesn't do dubbing, but it does do 'serial play' - you can insert two tapes and one will play when the other ends.

Find the closet furthest from where you'll be working. Hide the calibrated nut/bolt rounding tool (pliers) there until you're done. Use some nutdrivers or deep well sockets instead. Go ahead and get some Deoxit for cleaning controls. There's a version made for faders with plastic internals...

I just got an outrageously good deal on an MXL R80. So far I've only tried it on a Dobro and a resonator uke, but it really has a really pleasant sound on those sometimes harsh sources. It (or perhaps an eventual upgrade to a better one) will definitely going to be a go-to for resonators...

If you're going for a true ol' school punk sound (like 1980's punk), I think that's possible with a single mic on the kit and the gear you have. However, I'd definitely go with the 57 over the LDC. If the 57 has one thing going for it (and it has much more), it's that it is the sound of rock...

What kind of mixer is it? On the ones I've used that have auxes, you assign individual channels to an aux to create a separate mix. The effects insert will break the signal if you plug a cable all the way into it. It's designed to be both an output and an input in one jack.

1. Yes. Send sub mixes to the aux buss(es), i.e., drums, so you can control the volume of a group of tracks once you get them balanced. 2. Yes. Insert your plug until it just clicks once. Then the tip will be contacting the ring (send) of the jack without interrupting the signal flow. 3. Yes...

There is a pice of software called Room EQ Wizard that is fantastic. It's free and is orders of magnitude better than the expensive stuff we used for years for setting up rooms professionally. It, coupled with an inexpensive calibration mic will give you all the data you'll ever need and more.

I have an old Superlux drum mic kit, and pretty much only use the tom and snare mics - on guitar cabs. They seem to take some of the fizziness out of heavily distorted downtuned stuff. Kind of like a 57, but with a different midrange emphasis.

The eject problem is most likely a slipping belt or idler that doesn't have enough grip to retract the heads. First place to look for low output would be the heads and tape path, make sure they're clean with no built up oxide. Some old tapes have been known to shed oxide badly.

I'd recommend a pair of overheads, a kick and a snare mic for the drum kit.

Honestly? It sounds like an SM58 though a Shure Vocal Master PA with a spring reverb and a set of Vocal Master column speakers. All my high school gigs back in the 70s had that sound. :D

Possibly a bad filter cap. I'd try bridging the output of the PS with a known good cap.

OK, to make a short story long... I currently use a pair of MOTU 2408 MKII, giving me an I/O count of 16. These have been great interfaces, and I will continue to use them. However... My poor PC is at it's limit. It's old and tired. I have a new PC, but my old PCI card is incompatible with...

I don't know the Digimax very well, but I don't think it will do what you want. IIRC, you need something with an ADAT or Lightpipe input to be able to use that unit. Basically, you want to add tracks, right? Be able to record the additional XLR inputs on their own rather than do a submix?

Now if you could incorporate an extremely high quality microphone into a case with very little bulk, you'd be onto something...

He needs to practice with a metronome.

Can't help you there. I haven't played any of the reissues through one of my rigs, so I'm not really sure what the differences are. If you play with a pick, one trick that works for me is using a hard felt pick. The attack is closer to playing with fingers, and angling the pick differently...

I was going to suggest that very bass. I have a '63, and have been using it on a lot of sessions and gigs lately. I was doing a bass track a couple of weeks ago, looking for a very specific vibe. Sort of like I picture what you're describing: a nice, round, vintage sound with just enough bottom...

"Is there enough click in your headphones?" Generally said to a drummer or bassist when their timing is so bad you're ready to walk in the other room and jam a metronome up their ass.

Is it possible that the pins inside the XLR cable itself could have shorted? Depending on the type of mixer, it could have a 'crowbar' type of circuit to protect the PS during shorts. I've had to repair a number of poorly made (not necessarily inexpensive) mic cables where the wiring was...