In this members only thread we dug deep to figure out if there was any real purpose to recording at 24-bit vs 16-bit.
Here's a quick n dirty article I wrote to help out those who are new to the world of MIDI sequencing.
Long before I had written Killer Home Recording: Setting Up I put together a fair comprehensive article on the gear needed to record music at home.
Paul999 has been one of the most respected members here at RecordingReview for some time. He put together a handful of analog equalizers to see if they could do anything a cheap Mackie couldn't do.
For the Killer Home Recording Interrogator Sessions I had acquired quite a few toys. I figured it would be fun to see if a tube condenser from probably the world's most respected audio company would knock the socks off a budget Karma K58.
I had been told for years that recording multiple amps was the absolute key to getting huge guitar tones. I even had a client bad mouthing me in town over me using just a single amp. In this test I have various combinations of my Rivera Knucklehead and 5150 blended together to see if the tone just explodes anywhere.
One myth out there was that the legendary La3a compressor was the secret weapon to high gain rock and metal guitar sounds. Is it? I compared my La3a compressor to the stock compressor in Cubase. The results may surprise you.
I flapped my jaw on a voiceover test using the following microphones: Shure SM57, Royer R121, Soundelux U99, AKG 414, MD 421, Audio Technica AT 4033, MXL V63M, Sennheiser PL-20, Shure SM7, Behringer ECM 8000, Audio Technica AT 4050, and Oktava MK012.
As guitar emulator plugins and hardware like the Axe FX and Kemper have taken over, one complaint from some is they don't mimic the sound of an overloaded speaker properly. The Celestion Vintage 30 is generally considered THE metal speaker. I pushed the living crap out of my Mesa Boogie Dual Rectifier cabinet with my 5150 to see if I could find any magic. Let's see.
I was told that the Emperical Labs Lil Freq was one of the best equalizers in the world. Alright. People don't talk about the Ashly PQX-571 much. If fact, I got mine for $108. Let's see how they compare.
What's a high end converter going to do for you? Here's a very quick-n-dirty test to compare the high end Mytek AD96 with the budget Presonus Firestudio.
Some say that George Massenburg is the kind of audio engineering. He's certainly be an influential dude. He's done many big time records. He owns his own company that makes high end gear. He invented the parametric EQ. I got to meet him and hang out in his room for a bit way back in 2006.
Mercenary Audio once said the Martech MSS-10 is the "Ferrari" of mic preamps. I HAD to hear a Ferrari. A few years passed and I bought a preamp for $51. I compared the $51 preamp to the "Ferrari" here.
If you've ever been in a band you know they aren't very smart people. In this short guide I do my best to help crank that IQ up for bands that are headed to the recording studio.
No, this is not where a Civil War battle occurred. This is the gadget I made out of a crapload of Roxul and it let me crank my amps to 10 without getting the cops called on me.
Karma K10s were selling for around $100 for the pair. Gefell M930s sold at the time or $2,000. Now they are much more expensive. Let's hear they compare on drum overheads we recorded in a buddy's garage.
For those having trouble with MIDI, here's a few tips I put together to help ease fix those MIDI woes.