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Well all of that is basically true. Yes, you'd be recording with a lower resolution than what you played back at, thus losing dynamic information. Here's what I was thinking: Your ultimate goal is a CD with audio captured in 44.1KHz, 16-bit. In my mind, the (completely unrealistic) ideal way...

That UA looks inviting. But probably still just a bit too rich for my blood at the moment...but someday soon maybe. The Apogee mini-me looks a bit more my speed for right now. It looks like there's a USB option for it, so maybe that'll work. Thanks for your responses. I might figure this...

Glen: If I'm reading your response correctly, you're saying that on some converters, it's possible that a lower sample rate could yield a higher fidelity signal. I hadn't considered that. I can think of a number of scientific reasons that would be possible, but I don't necessarily want to...

Sure, of course. However, I get it about bitrate. I'm talking sample rate now. Also, I'm going to use my outboard gear for mastering, so there WILL be one D to A, and one A to D involved. That is going to remain true whether I'm changing sample rates or not. In fact, right now I am NOT...

Glen: Yes, that makes a lot of sense. The dithering is really not that bad and dithering algorithms are getting better all the time. In fact, I'm relatively certain that the noise from dithering is far less audible than the noise the signal picks up going through my analog componants (which...

Yes, I've seen this a lot, getting 44.1 KHz, 24-bit files. If given 16-bit files, upsampling to 24-bit makes sense to me. But after the analog signal path, doesn't recording the final digital print at 16-bit eliminate the need for dither altogether? Or are you saying I should still print to...

You think that's bad? Years ago, when I was still just beginning, I bought a mixer to use at home that claimed to have "24 inputs", thinking I was going to get 24 usable mic inputs with pre-amps. It ended up only having 8 (yes EIGHT) mic pre's, 4 stereo input channels with one fader apiece...

Seriously, no takers? Or is it just that obvious an idea?

This is a two-part question. I often read conflicting viewpoints about digital resolution, and I've seen the pages upon pages of argument for both sides. On the one hand, some people say that if you're recording to a CD, then it's not worth recording or processing at any resolution higher than...

Choosing an appropriate type of reverb for the situation (convolution, digital, analog, natural room reflections) is important. However, a dimension to reverb that I think many people overlook is how it is mixed! A reverb return should be treated with as much care as any actual instrument...

So I've often heard that the best guitar recordings come from practice amps, and honestly, my own personal experience backs that up. I've never even once had any band actually come into my studio with one. They always bring their half-stack or whatever. However, when I record my own stuff, I...

Thanks for responding. That wasn't what I was asking though. Let me clarify: I don't need advice about what plug-ins to put where, but rather how to literally change them! I mean, I know exactly WHERE I want to put all of them. For instance, I'd like all of my compressors in the "dynamics"...

Particularly for Pro Tools. My list has gotten out of hand! Some of them I uninstalled a long time ago, but they're still in the list. Others categorize themselves obnoxiously. Besides all the EQs and reverbs that have chosen to put themselves in the "other" category even. I have this one...

It's not usually a control you want to use if you want something to sound natural. Don't forget, imitating real instruments is not the only purpose of a synthesizer. The resonance control, when coupled with the cutoff control, makes up what we call "subtractive synthesis". The whole idea...

Interesting point. Once the speakers come in, we'll see. That being said, would you recommend any particular said resonators, or a vender through which to purchase such?

Not even for near-fields? I mean...they're NEAR fields, right?

OK, that makes some sense. But if I wanted to produce an album with edge, wouldn't I want monitors WITHOUT edge, forcing me to put it into the mix? Or is it a matter of "the speakers demonstrate the edge you want accurately and clearly so that you know when you've achieved it"? You seem to be...

If you're talking about the "resonance" control that you often find coupled with "cutoff frequency" on a MIDI device, then it's a control that makes cutoff sweeps more obvious by raising the frequencies around the cutoff. If you're not, then I don't know WHAT you're talking about.

That's interesting. So you're supposed to place studio monitors differently from home theatre mains? I've always read that you place the front speakers in home theatre facing straight (NOT directed at the listening area), and spaced so that the cones hit the listening area from a 30 degree...

Thank you. I'll keep that in mind for my next monitor purchase (too late for this one). Out of curiosity, how do you think the JBLs compare to Genelecs (let's say 1032A) in terms of accuracy? As far as large monitors go, I'm fairly sold on those. Yeah, I was kind of shocked about the price...