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I do have a 414 B-ULS. Maybe I will try that with the pad.

Of the mics listed here, I have an EV RE20 and a Cascade ribbon mic. I definitely need to add a 421 or 441 to my collection.

I'll be recording an alto sax solo on an upbeat, funky song this weekend. Last time I recorded sax was 15 years ago when I had nothing but SM57s. Now I have a decent mic locker but still no experience recording woodwinds or horns. Can anyone help with some general guidance?

I have the same Direct Sound ISOs and I use them for drum tracking, also sometimes for vocals if the singer wants the volume loud in the cans. I always tell the artist "now these aren't the best SOUNDING headphones, but"... because I don't want them to think that's what their mix will sound like LOL.

So I recently had the displeasure of auditioning all the cans I have laying around the studio, and most of them sound so bad I would be embarrassed to put them on an artist. Tinny, crappy sound. Here's the models that I DID like for mixing and tracking: Sony MDRV900, beyerdynamic DT 770, AKG K240M (...

Thanks guys I appreciate all the advice. I went with a coated Ambassador on the snare and clear Emperors on the toms.

I am about to put new heads on the Pearl Session Series kit in my studio. Using Evans EMAD system on the kick. This kit will be used for rock, country, etc. I'm not a drummer. What's the "best" batter head to buy for snare and toms? Single ply or double ply? Coated or non? Thank you.

I've tried it, but normally stick to 44.1 due to smaller file sizes and the old adage that "It has to go down to 44 at some point anyway." Somebody convince me that I'm wrong and I'll throw the switch. While we're at it, what about 88? https://www.soundonsound.com/sound-advice/q-why-882khz-best-samp...

I recently let go an A Designs REDDI tube DI. Everyone says how amazing they are for bass but it just didn't do it for me. It was just OK. I prefer my Radial active DI.

This session actually got rescheduled for tomorrow, so now I'm back to choosing mics. I think I've narrowed it down to a basic ol' dynamic like a '57 or RE20... although I have this AEA KU5A I've been wanting to try. Thanks everyone for their input, it's very helpful.

I have a fair amount of engineering experience but have never recorded a harmonica. Got an overdub session this weekend. Any tips on mics, placement, etc? Also it seems like quite a dynamic instrument that may need compression. Am I off base?

A local engineer who I know just a little bit asked to rent some of my mics to record a large ensemble. He seems like a cool guy and is knowledgeable about gear, I have no doubt he will treat them well. But before I do this, I would like some feedback. #1: Is this just a bad idea? and #2: What shoul...

I have a non matched pair of AKG C 414 B-ULS mics, bought used. One is significantly louder than the other - like 10db louder. I've also noticed that the louder mic seems to sound better, although this could just be my perception. Is this "normal," or could there be an issue with the quieter mic?

Hey thanks everybody for weighing in on this. There's a lot to digest in these replies, and I learned a lot. I did end up going back to the original ME and he cheerfully and quickly provided a revision, which is much more to my (and the artist's) liking. Thanks for steering me in this direction, bec...

Not sure if this is the appropriate place to ask, but I need to find a good mastering engineer for a rock/Americana record. Already had it mastered but I'm realizing (a bit too late) that I'm not happy with the outcome. It took me a while to figure this out, which is kind of embarrassing in front of...