Dr ZEE said:
hmmmm,
I've said the
road is the same... then looked at the picture one more time, and... and I just have to add, that during the
digital time the road gets
slippery 
Agreed
The "saturation" of drums onto tape is what I miss most, and I've only recorded drums onto either so far, because that is the logical starting point...get the drums right and then I'll move on to bass, guitar, vocals, and finally dulcimer. Just kidding about the last one, but I did watch Cyndi Lauper in concert on cable and her dulcimer sounds pretty cool. Not something you see everyday.
In contrast, the HD24 sounds pretty much exactly like what is coming out of the DM Pro. Hopefully the board adds a little analog something, but no "saturated" sound, which the DM Pro being digital really needs. Gonna to try and add a little "salt and sand" via Joemeek units I have. They did wonders when I tracked "Wild-Eyed Jim's" on the 488MKII. Snare needs a little compression out of the box and toms as well. Cymbal samples, at least the crash, is already compressed quite a bit, and this is inherent in the samples. Just remembered too, a good A/B is that I already have a post of the MSR srums on my site, so when I post the HD drums next to it, I can open them up and do a good A/B, even though the MSR drums were not a great example because of the hum and hot levels, still the character is there to compare.
Digital Only thread, LOL.
Thanks but no thanks. I think Dave (ARP) said it best last year when he went in to a local store to mess around with one of the tabletop studios in a box. He said it was a pain flipping though pages and screens just to move a pan slightly more to the left or a hi frequency down a hair. Most of this is based on time anyway for me. Not impulsively, well maybe so, but it loses its freshness in my ears after a couple of seconds of what I want to do. Same with outboard gear. Maybe I just suck enough of a player at my instruments that I am constantly making corrections and tweaks at mixdown and can rarely just set everything to their point and not feel the need to adjust along the way. Like when I come back in on vocals for a new verse and I was standing a little further back from the mic or a little more left of the mic or lost a little of the "ooomph" in my voice delivery I had the verse before and have to adjust. Oh yeah, and the "cut, copy, and paste" features I don't think will ever be used either. I would rather record the part "live" and if it doesn't sound just like the line before it, the better.
Quick question on cords. I've read up a bit, but with no real definitive answer and maybe there isn't one. First time in my equipment that I have balanced ins and outs on the recorder and the ins/outs on the Mackie are balanced as well. I plan to run 10' length of cables, so not excessively long, but should I absolutely use balanced cables or will unbalanced cables thus converting the connections from balanced to unbalanced affect anything? I am running balanced right now but they are "temporary" cables. That part of the return policy I will take advantage of, but just bought them because that is what GC had in stock and I needed to test run this thing. I've heard that balanced connections help reduce hum in the chain, but that hum usually only occurs on long cable runs. Any experience or advice you could offer?
I'll put the drum samples up a little later today, dry without any outboard effects on them, so maybe you guys could give a listen and possibly some recommendations.
to be more acurate)... keep soft and hard disc drives and lasers warm all the time... LOL (BUT! my digital tape machine is stone cold for years now 
... it's a museum item 
