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I'd pick Tascam DR-680 if you don't need timecode.

There's a hack for Zoom H-2 to convert it into a 4 channel recorder. It's a pretty good price for a 4 channel recorder, at least.

I tried them at some point but found the EQ balance so wonky I found them impossible to work with. My mate says when mixing with them there's enough bass when it tickles the back of your neck. I just use Fostex T20RPs. They sound like the dog's dinner but at least the balance is pretty good. Really...

It's not really a studio setting but my colleague uses Beyerdynamic DT770s for all location shoots. They seem to be surviving fine except the faux-leather earcups fused together at some point and ripped. Now he keeps a piece of paper between the cups when he sticks them in their carrying pouch. I tr...

Maybe I'm taking the wrong approach but out of that selection of mics I'd pick the AKG C 451. I'd place them in X/Y configuration a third from the front of the hall facing the back. Compensate for delay / polarity as needed.

I'd buy Svetlana or Sovtek 6L6GC from Watford here in UK. Expect it to cost about 30 quid. I don't know about the situation in the US though.

That sounds like a pretty good ratio, trmchenry. Did you try to get the news of the release on reddit or similar sites? Those can generate a lot of hits if you get it right (though not necessarily more revenue due to the nature of the user base).

I think the reasons why that particular download album failed to generate revenue using a donation model lie elsewhere than the failings of the donation model itself. The "Free to download but give us some money if you like" it has been proven to work in the software context. Even with zero marketin...

I've fixed the re-direct. Would be good to still get some references from other sources in the article.

Edit: Actually, what is the real name of the magazine? Is it TapeOp or Tape Op?

I occasionally work for free if it's for a non-profit organisation doing something good on a zero budget. I like to think it's donating my time and effort to charity.

Still needs references to reliable sources. I'd do some digging if I didn't have a bus to catch in five minutes. Basically anything written by other magazines, books, credible websites are good.

I do TV recordings and we regularly take up entire rows with our lighting and camera equipment. No one's ever batted an eyelid. But it's probably because we do have so much gear that they don't even think of complaining. So is it a case where your mic pole is two metres tall in the middle of the fir...

What he means is that the Motu 828MKII (and many similar Firewire audio interfaces), in addition to analog inputs, also has some digital inputs. These inputs on the box are S/PDIF, which is basically a consumer grade digital stereo, and ADAT Lightpipe, which is an 8 channel optical (Toslink) interfa...

Imo the biggest issue with using the live console mixdown in a recording is that it's been balanced and EQ'd to suit the PA speakers. Even making a separate mix in a sub channel is problematic because monitoring in the room is next to impossible. I've had to do this in a pinch and it rarely works ve...

I think if moving the microphone doesn't help you should try moving the instrument. Or try a figure of 8 mic to reject room height modes. Anyway, I've had limited luck with Oktava MK012 but Rode NT5s have always worked as I expect. And I wouldn't really call them harsh but perhaps sharp. You can't r...

I work for a small TV station and I do live-to-tape every day. Today I did a location recording of a 12 piece male choir, three acoustic guitars and two accordions. Pretty much as expected the accordions dominated the sound. To be fair, going back to it in post wouldn't really help the balance but I...