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The one thing I'm going to add, that I think you always need to consider is longevity and ability to repair them. The Audio Technica headphones like the M50x's are so popular among audio guys because they have replaceable cables and pads, and the parts are easy as hell to acquire. I mean it...

Nice and tidy. But... pro tip, HS80Ms are not designed to be on their sides. You actually muck with your stereo field and your ideal sitting position when you do that.

Just as a further note. From a purely theoretical perspective, if your mastering Limiter is good enough, the only value you ever really want to set it to is -0.3dBFS. Why that value you ask? Well... 0.3dB is the smallest increment it's possible for a human ear to perceive a difference...

Yea, after many years of experience I've found that unlike Electric guitar, the gains you get from Double tracking Acoustic guitar are negligible. Good microphone choice and technique are far more useful without any hassles. The biggest variable is the position of the player to the...

:scratch: Anyone still on Pro Tools 10 would be using RTAS, not VST... Pro Tools in no way supports VST unless it's through a wrapper like FXpansion's one, or Bluecat Patchwork. Pro Tools 11 and 12 are both 64-bit and using AAX, with the same "no VST" host. Honestly the only people I...

My live and studio kits have about 10 each of them :lol:

Over many years I've decided that I like the following for getting the most easily mixable sound: - Shure Beta 91A Kick In - AKG D112 Out (Neumann U47 Fet if it's Rock and I can get one) - Beta 57 (NOT a 57A, the original Beta 57) or an SM57 on the Snare top - KM184 or similar smooth...

First thing that I noticed is you said "I've tried aggressively high passing the leads and boosting even more mids and highs" what that says to me is that you're not carving room in your mix, especially in the elements that take up a lot of sound. My thoughts would be: 1 - Tighten up...

No more sustain. You want the reverb to have the body of your snare, while the crack of the transient comes from the track itself. As has been suggested, around the 150Hz area is a good place to start. Find the stuff you don't want in the tone and just remove that. The low growl stuff is all...

I've honestly broken it down to the tools I use and what they're used for, and what best suits that. For tracking I'll either track through a rough AxeFX preset, or use BIAS, not because of tone quality, but because of speed in dialing in what I call a "workable" tone. A workable tone is...

My first thought is just that it's the classic "too many magnetic fields in the room" problem.

Pretty much everything Waves does from a tool perspective is done better by someone else these days. From a colour perspective they're pretty behind too.

I have tracked quite a bit with Schecter Blackjack ATX C7 version. I've found that if you back off on the tone knob a little and the volume knob a little as well, and compensate on your input gain, the problems you're talking about tend to be solved. But that can't solve the scale length...

Mix is a little muffled in the high end, so it's not super exciting. Guitar tone is nice. But the reverbs on them have really long tails that are a bit obnoxious at times. They also lack excitement when they're by themselves in either ear. Like they lack high end and brightness. Drums...

First things I noticed were: - Snare reverb is really present. If you want that big cracking snare try a transient designer before the reverb. - A little too much high mids in the guitars for my taste, with not enough low mid growl. - Low mids are muddy as all hell. They need some more...

The Sabine analysis for RT60 is SUPER simple. It's literally just a process of: - Something like THIS explains the concept and mathematics very well. - Work out what all the surface types in your room are. - Use a chart like THIS to get your Sabine Absorption Coefficients. - Do your...

Before you do ANY treatment, do the following: 1 - Look at the ITU recommendations (ITU-R BS1116-2 I think is the standard broadcast audio room). They'll just give you an idea of what the dimensions of a room with minimal problems would be. 2 - Do your measurements, work out your room...

Normally I'd imagine a separate Audio device would be recording the output from the DAW.

In other news: Water is wet! :cool: No but seriously. Sounding pretty meat. Now try getting your bass tone bigger and watch people uncontrollably .... themselves.

My question is this: Why do you need a hardware compressor? Are you using it to print audio into your DAW, or passing it back out and back in, and if so, what are you gaining from it? I do a lot of work through analog gear, and the only reason you do so is because you get a sound you...