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The problem is actually the other way round. In the old days you would have a button labelled pad to allow the preamp to handle higher output mics. Even the budget Studiomaster that Dave and I are discussing in the other thread has a 20dB pad button. Nowadays manufacturers are so pushed to make...

There are a couple of circuit diagrams for the Mixdown on the net. One shows a couple of 2SA970 transistors feeding half a TL072 while a newer one for the Classic 8 has a pair of 2SA1137s feeding a 4560 op amp. Mine probably has the older version - it certainly uses TL072s in there - and I have...

My Studiomaster Mixdown desk was designed over 35 years ago and the preamps in there are very quiet and sound as accurate as any designed since. I was amazed at the time that a fairly budget desk could be so good - and if Studiomaster could do it back then, I see no reason why other...

I'm sure I've seen the whole album documented in a book that one of our studio partners had - he was very into getting to know The Beatle's recording methods. I don't think it was the book that Rich mentioned as the one I'm thinking of concentrated on Sgt Pepper.

In one studio we used some secondary glazing kits that we bought from a DIY store. Fortunately the outer windows were double glazed and there was a one foot gap between the outer windows and the secondary glazing so it was very effective. The kit also allowed the windows to open when we weren't...

If you want a great starter keyboard then I'd suggest looking for a used Yamaha PSR-E4x3 (where the x can be replaced by any number between 0 and 7). My lad has the PSR-E403 while one of our band members has the PSR-E463. The whole range work in a similar way with just a few features added...

Interesting conversation - and of course (as someone who does quite a bit of mastering) I'd disagree with much of what has been said in the last few posts. Mastering in the old days was exactly as Serendipity Records says, you were adjusting the producer's idea of what the mix should sound like...

I think the second generation Saffires like the Pro 40 and the Pro 56 require you to connect to them via Firewire in order to set up the stand-alone routing. Once you've set that up and saved it, you shouldn't need to connect to it again. The older Saffire Pro26io (not the plain 26) has a couple...

The Presonus Eris speakers are gaining a good reputation - even the 3.5" ones are usable apparently. Personally I'd go for something used. If you want a guarantee then you may find a local music shop or whatever the equivalent of CEX is where you are with something suitable. I've just fixed up...

For production you certainly want to use 24 bits but CD standard 44.1kHz/16bit mastered files are fine for most digital distribution. However, most services will now accept higher resolution files and some will even flag them as HD or something similar so, if the flag is important to you, it...

I think you are using a formula that you've read about rather than using your ears. Strip back your signal chain and use the processes that your ears tell you are needed rather than the things you've read about.

Computer soundcards can be very variable in quality - and the ones sporting the big audio names can be worse than those with no such endorsement. The Behringer is a known quantity and unlikely to be worse than the computer's own soundcard but it won't necessarily be that much better.

I would say that -9LUFS is a fairly high level to aim for and that it is probably too high for your material. Try easing back by a couple of dB. Have you tried parallel compression? That is a good technique to use if you want to retain transients but bring the level up. It may also be worth...

I've just checked and Audacity does have an interpolate function - although it calls it Repair. https://manual.audacityteam.org/man/repair.html This is probably the cheapest way of fixing things provided the click is less than 128 samples long. Other software can fix longer clicks.

That's why I suggested the Yamaha StagePAS. In my experience it sounds reasonably decent and is simple to set up. There are many alternative ways of doing this but it is probably best to start simple for now. You don't need another audio interface if you have the H6 - it will work as an audio...

You can get Reaper for the Mac. It is free to try and the demo doesn't run out - although the price to buy it is very reasonable too. I'm an audio person so I find it much easier to use Reaper for video than Resolve because it treats video in a very similar way to how it treats audio. However...

I've been using my Zoom U-44 feeding a mobile phone in a similar way to the way that I suggested and it works well. The mics sound pretty good and you can actually reduce the sound of loud instruments by pointing it away from the instruments that are too prominent. If the H6 uses the same mic...

Are the clicks always in the same place? If so, they are probably on the recording. You could remove them using an interpolate tool in something like Izotope RX, Adobe Audition or Acon Acoustica (maybe even Audacity although I've not checked). I also have a method for removing them in Reaper by...

There's a very handy guide to using audio interfaces with Android at https://www.extreamsd.com/index.php/technology/usb-audio-driver They have a few handy tips for Zoom devices (like my U-44 only works in 24 or 32 bit mode).

I would record the video and audio separately and then sync them up later (though I would record a rough sound on the camera to make syncing easier later). Use the mics on the H6 to pick up the drums and any other loud sounds in the room. You can then plug an output from the piano into one of...