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I prefer seperate outs (at least for kick & snare) when using drum machines. It's listed in the manual how to do this. +1. I've worked with a band who use drum machines for a couple of years. the early recordings were done as stereo outs, the later ones have the sounds split into separate outs. Mix...

it's probably not that "hi-fi", but the first velocity girl album for sub pop is one of the worst mixed records i've ever heard. i adored it so much when it came out, but after pulling it out the other day i couldn't sit through it.

Hannett = Helios, no?

in the last 12 months i've finished two albums (with a third - the only thing of my own i've been working on - on the go), and about half a dozen EP / demo type things, with another two EP projects starting in the next month or so.

i'm hoping next year is busier.. but not too much busier.

drum replacement has come a long way in recent times - both the quality of the replacement software and the samples themselves. drumagog + steven slate samples make me wonder why i bother taking the time to record drums properly at all (note: not actually true, but it's an impressive combination non...

for RTAS, it's hard to go past the massey CT4 compressor.

and +1 on UAD plugs. the Neve EQs are in a class of their own.

I like spitfish a lot - after not getting good enough results from the digi or waves renaissance deessers i gave spitfish a go for the hell of it and was very impressed.

Another option worth considering is the Beyerdynamic Opus 62, it's a clip-on dynamic (and its condensor equivalent the Opus 82) http://asia-pacific.beyerdynamic.com/cms/Wind_instruments.78.0.html?&L=1&tx_sbproductdatabase_pi1[showUid][showUID]=71&tx_sbproductdatabase_pi1[showUid][backPID]=78&cHash=1...

i have a keeley boss blues driver that does a good job of this. it's like 'massey tape head' in a pedal

that really well recorded tracks are an absolute dream to mix, particularly vs. trying to fix poorly or lazily recorded tracks.

(very recently driven home by a remix i did where the tracks had been recorded by a quite famous producer. hearing how good the raw vocal sounded was a total eye opener)

i use time adjuster for any plug in delays on drum tracks and medium-to-large delays on anything else. for UAD plugs, i use the included delaycomp plug in.

how about a sort of parametric multi-delay? I'd love to be able to dial in a different clocked, maybe even rhythmic delays at different frequency ranges, with effect expression... sort of like a fixed filter bank with seperate out for each range, and a light version of an echo pro fixed at the end....

i have the 8-channel one, i've driven up to 6 channels at once with no issues. it does the job and hasn't broken on me yet. 9 times out of ten any problems i have with headphones are down to dodgy headphone extension leads.

i love ac15s.. best guitar tones i've ever recorded were a tele into an ac15 into a u67.. mmmmm

I've used these:

Ozone
L1, L2, L3
Massey (briefly)
Wave Arts
UAD Precision

The UAD is far and away my favourite. I liked my brief demo of the Massey but I've never really put it through its paces.