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A good DI is probably the easiest, "no fuss" way to go. My go-to for acoustic guitar is the JDI from Radial. DI is best for isolation, and control of stage bleed and phasing from vocal mic's, if not for sound quality. However, if you have the bread and you REALLY want a mic (in addition to the DI, c...

HOFA make a nice free loudness meter. It comes with their free 4U bundle of plug-ins, many of which are handy (especially ProjectTime): https://hofa-plugins.de/en/plugins/4u/ If you need the DDP making and/or master disc funtionality, I highly recommend their CD Burn DDP-Master. You have to pay for ...

I'm guessing it's Classical repertoire? If that's the case, you may wanna ditch the close lav, unless environmental noise is a real concern. Record with a stereo pair - something near-coincident like ORTF or a small AB pair of omni's. Get creative with placement if you must - boom over from the side...

I record a lot of classical music, and so I do a lot of stereo-array recording. Omni's, figure-8's, and wide cardioids are often employed. But even in spot mic'ing duties, I often employ an omni or a figure-8. Of course, I use cardioids and super/hypercards too. Others have mentioned how good most f...

I do a lot of live recording. Finding Dante in just about every venue I encounter. I have a couple of minor gripes which are dependent on my specific circumstances and have nothing to do with Dante itself; namely: the stage boxes all tend to be Yamaha RIO's, which are OK, but not super high-end as f...

Sennheiser HD25: Rarely any surprises when I put the mix on speakers. Cable sucks. Still my desert island ref cans. Beyer DT770 (250-ohm version - this matters): Love to listen on these. Great to hear detail and really deep bass. Things sound pretty - if producer needs to hear on cans, these are the...

M88 and RE20 are my two for "unhyped"

I've not used the 504, but have used the e604.

That said, in general, I've preferred the e904 to the e604 on toms.

This is breaking my heart for some reason.

Haven't really used my Sytek in a long time, but it was my first real gear purchase, and I made a lot of really nice recordings with it.

Good luck to Mike.

I've done some surround work, and worked a lot of big live music productions over the years for HDTV and such where surround is very much a thing. I even get called to assist on some of NHK's 22.2 surround productions for 8k video. That's actually a thing, and it will start reaching the consumer fai...

A friend of mine once said "bass is a monster", and it's true in so many ways. Most of what I record is in a live situation, so I often mic the cabinet in addition to having a DI. Sometimes it's useful, sometimes not, but having a good clean DI is gold. I use the Radial JDI - anytime I've been force...

Studiolive is quite good for what it is.

Excellent bang-for-the-buck. Sounds pretty good as long as you don't push the mic amps too hard - keep your peaks at -6 and it will do just fine.

Better mic's will make a far bigger difference than higher sample rates in most cases.

IMHO and YMMV

VO, audience mic's, boom work, some field recording - I've got a 418S M/S shotgum which is essentially a 416 shortgun on mid and a fig-8 for the side.

Gives some interesting possibilities.

working a festival recently, all going live to air.

6 sets, figure 10-12 songs per hour long set, so that's about 60 or 70 songs.

I'm not saying they were GOOD mixes...

FWIW, I don't see many ribbons in most of the Columbia session photos (post-Sinatra)

usually just tube Neumanns.