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I also, liked the old E-100, and I wondered why they discontinued them...haven't heard the re-issues.

The Focusrite it is, then. :)

Well, budget is flexible, but I guess a grand or less would be great....basically, what are some other choices in Octopre's class, and who likes what?

I need another 8 ins to my FW1884, and there are quite few choices...wondering what you guys have to say on the subject.

1884 with Logic. Love it.

This is an interesting question, actually, in terms of perception of depth of field and stereo placement. For instance, the guy I learned from took perverse pleasure in mixing drums from the drummer's perspective, rather than placing things in the field as if the listener was standing in front...

I'd go with a ribbon mic for a really loud screamer. And, I'd give him an SM-58 to use as a handheld mic, if he's used to that. A cool trick I read in a recording magazine years ago was how Tony Visconti recorded Bowie's vocals for "Heroes" because of the wide range of dynamics in the...

I like a hyper-cardioid overhead aimed at the snare but angled slightly forward to catch some cymbals, an LDC off to the floor tom side over the ride cymbal, aimed across the kit, and usually something out front and center, with dynamic mics on kick and snare bottom. No hat mic, it gets into...

This may be a stupid question, but does it behave any differently if the 1884 is powered up before you boot up rather than booting up and then switching it on?

I paid almost $400 for 2 Royer shock mounts for my pair of 121's recently, because I thought I had no choice. That sucked. But I was on Mercenary's site recently, and there were mounts for 121's for $72. Wha' happened??? Did they introduce a cheaper mount because not enough people were as...

Sort of...it sounds like a very clean electric guitar. Basically what you are doing is recording exactly what your amplifier would be "amplifying". So if you send that track into the input of a guitar amp, it would, all things being equal, sound the same as if you were plugged in and...

Yeah. If you notice, they come in 10, 20, and 30 dB reduction. I'd start with the 20. With most mics a 10 db pad is enough, but maybe not in your situation, and 30 seems like a lot. If you have to turn the preamp up too high to get a good level, you end up running out of headroom and are right...

It depends on the room, and the sound desired. In the '70's and '80's it was "the deader the better", everything was closemiked, gated all to hell, and treated with digital reverb...in the '90's there was a trend toward liver rooms and ambient miking, which continues now. But a live room has to...

You are right both times. It's just a stompbox from a high end boutique pedal maker, Zachary Vex. He makes a bunch of cool, weird pedals,which are handpainted, signed and dated etc. The most "boring" thing he makes is the Super Hard On, which means it's probably the most useful. So, yeah. It...

There are simple pads available that you plug in between mic and cable, one is called the KickPad thhat I've seen in a catalog once, but i have never had that problem, at least not one that wasn't solved by the pads on mics or pres. I don't know, man. Got any ribbon mics?

If you are talking distorted rythym guitars using master-volume amps with a lot of pre-amp gain, I've found the way to a bigger sound is less gain than you would think...it also allows the EQ section of the amp to be more useful to get your brighter tone. (New strings help a lot, too.) Ever...

Well, I can't provide you with a scientific justification for this, but I leave it in stereo and pan it all the way left while getting levels and moving mics around, you know, moving faders back and forth against each other checking for phase cancellation(a thinning or even complete...

Well, i don't remember how it was when I first called them...but now, I call this one dude, or email him any questions. Easy. I mean, I know the guy's kids' names, y'know?

Sweetwater. If they carry it, I buy it there, even if it's a few bucks more than somewhere else. They take care of their customers, in my experience. Just one stupid example, even though it isn't studio gear: I wanted a Vox AC15 re-issue about 5 years ago, but it seemed that so many of those...

Try one down low, in front of the kick as far back as you can get it and still get some whomp, angled slightly upward, and one overhead the snare, above and behind the cymbals, angled slightly forward to catch some toms. Just get used to monitoring in one speaker when tracking anything with more...