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These recordings were made at Teldex Studios Berlin. They have a really nice collection of mics. Guess where MOST of them are made..... They also have complete control over any idiosyncrasies of sound in that big hall. I suppose they could mic things with an old Sony electret and it would...

I never said a stereo pair on the violin. I agreed with Boz on why a single and you are correct on what happens. For what it's worth....I have found that recording a single violin and a piano in a recital situation gets better violin with an LDC. In a group such as a quartet of strings an SDC...

Exactly why I chose one of the 414's. They don't lose a lot at the edges of their pattern so the swaying of the fiddle won't be as obvious! That being said, the Lawson is an awesome mic... 47ish with some nice smooth top end. So you could get that thing down in the low end and just peak the...

Are you recording both instruments live off the floor? If so I would look at The Lawson mic and the Avantone CK12 as the piano mics. Both have multiple patterns which can be handy under the hood of a Steinway. It's pretty amazing what rotating the axis in figure of 8 can do to piano tone while...

Don't you just love that every Yamaha product from this era featured cord keepers

Nice old MCI. And for what it's worth , those Cal Perkins EQ Mackies didn't sound bad at all.

Truer words were never spoken. The only thing you're missing understanding at this point is that the channel faders/EQ have no effect on the signal coming from the AUX1 and AUX 2 channel feeds unless you ASSIGN it with the PRE/POST switches. PRE= no effect from anything on the channel OTHER...

What I'm saying is your PA board, the Midas is actually THREE separate mixers. Different types of functions per channel but separate from each other. The mains are not affected by the aux settings nor are the aux settings afeected by the mains and the channels.Unless you assign them to that duty...

What are the auxes feeding? I still dont know. Is it something you need both of them for? I didnt think you'd have to unplug your PA at all

You WANT to monitor the INPUT to be in time with any tracks you want to go in on a take. You do this through the monitor section of the board and either use the main outs or the monitor out or both if you have two different sets of speakers.

No. You would move you monitors to the "MONITOR" jacks right above the AUXES. It looks like then that the "Local" knob would be its power(volume) knob.

AND nothing will have to be kranked to get a small amount of gain. I see you are using the AUX outs already. WHAT ARE THEY GOING TO? I asked an hour ago.

If you follow what I gave you you will be able to optimize your setup without any odd balancing acts between the live segment of your board and the recording segment. The point is to get a volume controlled signal into your recorders inputs. The EQ and all that is in the recorder. Use it there...

Not really

Okay. Great. Now here's the other "way" which frees up your mixer to control only the PA room volume with it's main sliders and also allows you to mix and record at whatever volume you'd like without these being affected. You can do this with a pair of guitar cables. The OUTPUT to the...

Of course I'm kidding but in a good way.....Pink Floyd's EMI in case anyone asks

The Bare Minimum for a Studio is this!

I played in a band with a keyboardist who had one of those as his multi-key mixer apparatus. He had all Yamaha keys too. Musta bought em all from the same dealer .LOL

Excellent!

Okay. So I gots ta go. I'll check in later. Here's what you could do and retain your PA function as well as capture what you play and you could get it on ONE TRACK if you so desire. There are two mono busses on the midas. The green knobs on every track. There is a mixer in the frontend of the...