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What I haven't seen here yet is this question: What sound do you want? There are many different upright bass sounds. Do you want it to sound like old big-band records? Early country? Bluegrass? Modern jazz growly? What strings are on the bass make a huge difference. The setup makes a big difference....

h7, in bluegrass the whole band is a rhythm section. One key is a good room, or, if you can't find a good room, a good front porch out in the country on a windless day. Use your NT5 pair, with good shockmounts. Have the band assemble in somewhat of a semicircle around the pair. Soloists step forward...

I can only tell you about the one I have, the OM-5. It's designed for live vocal use, hypercardiod, neodymium, blah blah. It's designed and built well. It's heavy and has virtually NO handling noise. I got it for my girl singers who have a bad habit of singing too close and not on axis, because the ...

It depends on the capacitance of the cable, but 18 feet is the commonly-accepted limit on length of a high-impedance guitar cord. More than that and the high-frequency loss can be noticed. Sorry, dude.

Well. The major difference between the SM58 and Beta 58 is the output - the Beta has a higher output due to the neodymium magnet. Based on the kind of music you're doing, the 58 should do fine for vocals. I wouldn't expect great things from it for solo acoustic guitar, where you want a big, detailed...

I have the Aardvark 2496 and the Direct Pro Q10 on the same PC. They are wonderful. Great sound, great features, and you don't need a separate hardware mixer.

Hmm. I tend to have the opposite problem. Have you considered it might be a problem with the drums themselves, or with their tuning? My drums, in my studio, are a set of Tama Rockstar. The toms are very strong - I need to use the dampening rings on them. I record with a X-Y stereo pair (MC012s or Ro...

comfortstarr, you didn't say what styles, venues, and volumes you'll have to be ready for. I'd say if you're playing metal or hard rock, a combo amp won't get the job done, unless it'll just be used as a stage monitor and your bass signal will be part of the FOH mix. The reasons for using a combo am...

Well, I love old music too. But I don't really love crappy recordings. Imagine, if you will, Jimmie Rogers or Robert Johnson recorded on good modern gear. They were awesome no matter what the gear, but how much more listenable those recordings would be. That said, the pinnacle of monaural studio sou...

Hmm. "Blown out, thick, heavy bass sound." "Heavily muted". I'm thinking that any of the amps you have would prolly be okay, and that perhaps the guitar itself deserves more attention. Can you try a Gibson, or something with humbucking pickups? Nothing like a Gibson for blown-out and thick. And what...

Electro-voice 635A. The radio/TV reporter's microphone. Omnidirectional, great sound on guitar cabs, sturdy as you want. Around $50 used.

Or the Aardvark Direct Pro 24/96. Four discrete preamps for mic/line, phantom power, 6 outs, EQ, compression. Mix in software. A little under $500.

Astrud Gilberto & Stan Getz - Brazilian sambas.

Sennheiser MD441
Sennheiser MD421
ElectroVoice RE20
ElectroVoice RE55

SoftSupply has it nailed. The Marshall cabs are more efficient (aka sensitive).

Ohms and watts have far less to do with loudness than does speaker efficiency.

The Ampeg drivers were made by CTS, by the way.

And: deadair, if you need more than your Marshall, you're playing WAY TOO LOUD.