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I'd have to say that a great mic pre is the best early purchase I made. When I got better monitors, I was even more happy with what I had purchased... A great pre will be a piece of gear that you will not want to get rid of, and will keep surprising you with how cool it makes even cheap mics sound.....

classic.

well at least now you have some new troubleshooting skillzzzzz

It depends on the program. Some of the Native Instrument stuff will need to reauthorize... Make sure that you de-authorize from the computer you're migrating from on things like iTunes and Ableton Live... those i know about for sure. Ableton is allowed to exist on two systems. iTunes songs are allow...

I've never experienced that problem with prefs trashing... so I won't make any guarantees about not bringing the beach ball. This is a little freeware that I just learned about from a friend of mine that can simplify the troubleshooting a bit... http://web.mac.com/jcdeshaies/iWeb/DeleteProToolsPrefs...

I've had this unit for about a year and a half now. It sounds amazing. In fact, I have two of them.. so I'm selling one. This unit has the X-HD card installed also which allows it to connect directly to Pro Tools without a 192, has no fans to make your control room noisy... and it's really solid. $ ...

I've found that if the computer goes to sleep while DAE is engaged, then pro tools simply crashes... this sounds more like a problem with rewire... Also, have you tried using instrument tracks? I don't know what version of pro tools you're running, so clarification there would help in troubleshootin...

When I do two compressors in series like that, I like the first one to be the "tone" compressor that's slower but fattens things up, usually an LA2A and then the second compressor will grab the fast transients that might slip through after it (usually a distressor) in order to prevent peaking.

I will usually get a mix to a point where it sounds pretty decent. I don't aim for perfect, I just go for a rough draft. Meaning, get the eq's more or less where they need to be. Compress what needs compressing, get reverb levels in the ball park. Add any weird effects. General automation such as mu...

Joe Chiccarelli turned me on to the Yamaha P2200 / 2201 last year. They are affordable and I've found they match the NS10's pretty well... I got a pair of them... the real key to NS10's is to just overpower the shit out of them. 500 watts or more really helps. Just dont' turn them up loud with a liv...

I'm assuming you trashed your preferences, repaired disk permissions and trashed all digidesign databases? Also trash the midi plist... or whatever it's called apple.audiomidi.plist? not sure the name... all the prefs are found in user>library>preferences don't know if that will help, but it can fix...

sweating makes music sound better

It seems as though the large tracking room studio business is about in the same boat as the large record label business. They both fill a need in the marketplace, but the economics of it all means that there will be fewer of them.I think the recording business is headed in the direction of producer ...

that piece of protection is also diffusing the way air and sound waves hit the mic. You'd be surprised how much the capsule and its resonance can affect the tone...

If it's small and has a curvature to it, then it is doing something to the sound...

great mic for the money, by the way...

Thinking it's unlikely (usually) = making it unlikely. However, you may think you'd be saving yourself some money in getting a space of your own, but once you add up the cost of materials, construction loans, legal fees, Electrical, HVAC, Liability insurance, new tax considerations (could be better,...

If you love engineering, you might be better served just finding a partnership with an established studio nearby and setting up an arrangement where you leave some gear there in exchange for a favorable day rate. Building a space is a huge undertaking / commitment and chances are that there are plac...