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Rodgre wrote:Let this be another reminder of owners of older Ashly gear .... Clean out the decomposed foam!

How old? I've got a graphic Ashly EQ that I've never opened up...

??????? nicely covered most of it, but I just wanted to add a little about monitor placement for live usage of hypercardioid microphones. Because hypercardiod mics don't have a null at 180 degrees, you don't want to stick a single monitor directly opposite the singer as you would do with a cardioid ...

bounce the shortened tracks to wav files, start a new project, import the new wave files.

The only reason to fill the gap is if you care about bleed between the rooms. Leaving the gap there will let a (tiny) bit of low frequency energy out of the room and should help dampen your room modes a very small amount.

Blockfish does 24bits, I don't know about higher sampling rates. Perhaps you had the "complex" button engaged in Tracktion but not Sonar? That makes a substantial difference in the sound.

getreel wrote:Blockfish seems to sound less than stellar in Sonar but sounds fine like I always remember it in Tracktion.

I frequently use Blockfish in Sonar v4 and have never had problem.

You could send a M5 checksum value along with each of your wave files. I don't know how many mastering engineers would know what to do with a checksum value. However, I'm not even sure it would be worthwhile as you can't make them verify the checksum and the data can always become corrupted after th...

There is a nice description of dithering on wikipedia along with a little information about different dithering methods and how to pick between them.

First of all, the device is designed to reduce work at 2 tunable frequencies. So if it work perfectly you could kill your two lowest room modes, but not the higher harmonics. Secondly, even their test data isn't that wonderful looking, and I always would expect stuff to perform a bit worse than the ...

I used to have a Tascam US-122 (the older version, not "L"). It was pretty great for the price. The only problem I ever had with it was slightly weak phantom power. When I used a Rode NT1A with it, loud signals would sometimes get a bit squared off. But my other condensors (AT4033, SM81, MC012) neve...

I have a pair of Sennheiser HD 495s, which cost me $100 and sound good, but they were discontinued several years ago. I think the HD 555 is the closest current model. I haven't tried them, but I've seen some glowing reviews. With some looking you should be able to find them for around $130.

A price point would be helpful. I love my Sennheiser PMX 100s -- they sound amazingly great for $50. If you are willing to spend a bunch of money, the Sennheiser HD 595/600/650 are all great. I've never used any of the Grado products, but they have a rabid following and make several non-isolating mo...

If the microphone requires phantom power, then it will not work with the setup you described. If the microphone does not require phantom power, then the setup you described will "work" however the audio quality may not be great and you may have a small signal. You certainly will not break anything b...

I paid $100 for these two years ago: superfi-3 and they sound great. Current price is a steal. I've had them for a while too. They sound great, while you have a good seal. Unfortunately I can't seem to keep a good seal on them for longer than 15 minutes. I was also hoping for a bit more isolation t...

If possible let's try to include some "best of the cheap" stuff in this thread. I don't want to label Konig and Meyer (K&M) stands as "cheap". But if you are looking for the most bang for your buck in the $50 range, these as the way to go for a nice tripod-boom stand. I used to work for a live soun...