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I tried out the DVC at NAMM. Fed a guitar through it and my god what a killer tone. When I get the $$ I'm gonna get it.

PREC does make very high end broadcast gear. I believe their HQ is still in San Diego. Yes, their compressors are cool, especailly the multiband models... How about the UREI 1178? I used to use that on buss compression and found it OK but not killer. I tried the DBX 162 and found it better on drum b...

Yup, I think Apple is making a bold statement with these fireburners. Up to 8gig RAM???! Wow, I'm impressed. Bring 'em on. I need a G5 yesterday!!!

This is a debate we've covered quite a bit. From my own personal experience, I remember upgrading from a Tascam 1" MS16 to a 3M 2" M56 machine, with everything else being equal. I was immediately blown away by the tone of the 3M. It was like a curtain was lifted. My speakers were pushing air. My mic...

probably some older model. I remember having an older early 80s Panasonic that had a built-in mic, manual recording level, and even a VU meter! They made 'em pretty cool back in the day...

I think I'd trust Mike Rivers & get the 200B. Are you paying shipping on that? If so, there's $50. Next I'd get a pair of Tannoy Reveal Monitors ($325). That's $875, leaving you $275. Not enough for an 8ch soundcard. But in a month or two you can get one...

The M15 line spans from 1/4" 2-track to full-blown 2" 32 track. These are very smooth sounding machines with discrete electronics and are quite rare here in the states. Gotham used to distribute these models. I passed on a 24-track M15 about 8 years ago for $10K, but the thing sounded so incredible ...

A lot of us folks record onto digital, mix to analog, and return to the digital arena for mastering. It does make a difference, but how much I don't know. Tape speed plays a big part of it. I like a lot of low end so I mix to 15ips analog (from ADATS). Makes things bigger. Now...I believe that nothi...

Some things to consider: The pro 1" machines have better front-end electronics with much better sound potential than the Tascam and Fostex models. A neglected or miscalibrated 1" deck may sound inferior to a properly calibrated 1/2" machine. Key point: maintainance is crucial Costs: 1" 8-tracks are ...

Should you ever record voice-over talent for a living then you can't go wrong with the SM7. I use one almost daily in a video post environment. Nice big sound. Tried it on kcik drum a few times with success - close to a 421 in that regard.

Recently my right ear was clogging up on me periodically - mostly at night. I thought it was kinda cool becuase I could sleep on one side and not hear anything (and I live in a party town). Then the other ear clogged up. Having two ears closed was the worst. I was going absolutely insane. Got my ear...

I used to have that exact setup. Really clean and warm analog sound for what it was - 1/2" 12-track. Tape is getting hard to find. If you live near LA there's a place called VST in Pasadena (area code 626) & they're the authority on these machines. As of two years ago, they were still selling blank ...

I use 2 blacface ADATS on a regular basis, and I actually prefer the sound and the 1/4" connects to the newer XT machines with RCAs. Yes, your front end does matter when recording to this medium. But that doesn't mean you need to spend some $2K on a mic pre to compensate.

I can't think of any * small * 1/2" 2-track decks. Most have big footprints. But don't underestimate 1/4" 2-track. Studer B67, Otari MX5050 mkIII, Tascam 42/52. Hell, I mix to an ancient 1976 Teac 25-2 @ 15ips and it beefs up my ADAT recordings...

Awesome job. Just wanted to say that I'm here!