ok i am tracking some acoustic drums and have all of my pre's taken by the overheads, kick and top and bottom snare. i run with a MOTU 2408 mkIII and it has a built in mixer (great feature) and i decided to use it. i am using the Sennheiser e604's for my toms. i dont have a lot of money to spend on new cables so i bought some adapters to convert my XLR to a unbalanced 1/4 to fit my motu. i have heard a lot of talk from others that balanced cables on mics reduce noise, but i could not find any XLR to TRS connectors. does this really make that much of a difference?
thanks.
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nihility0000 wrote: ok i am tracking some acoustic drums and ha
nihility0000 wrote:
ok i am tracking some acoustic drums and have all of my pre's taken by the overheads, kick and top and bottom snare. i run with a motu 2408 mkIII and it has a built in mixer (great feature) and i decided to use it. i am using the sennheiser e604's for my toms. i dont have alot of money to spend on new cables so i bought some adapters to convert my xlr to a unbalanced 1/4 to fit my motu. i have heard alot of talk from others that balanced cables on mics reduce noise, but i could not find any xlr to trs connectors. does this really make that much of a difference?
thanks.AND
ok, i understand that my method for tracking these drums was not completely correct, but all recording atrocities aside.
do balanced cables make that much difference?(by the way the toms actually sounded pretty good)
AND
thanks,
the all knowing salesman at my local radioshack stated that xlr to trs do not in fact exsist.
First Point
Never trust what anybody at Radio Shack says. Buy stuff there, especially small, cheap electronic components (but never PA or recording equipment), but never trust what the waterhead behind the counter says. XLR-to-TRS cables are common and often used. But not in your case.
Second Point
If everybody in the world doesn't just STOP asking if balanced cables really make a difference I'm going to climb a tower with a sniper rifle and just start taking people out randomly. Yes it makes a fucking difference. If it didn't, companies wouldn't spend the extra time and money to build shit that way. Do a Google search and learn what "balanced" means for crying out loud. Still haven't solved your problem though.
Third Point
Had you read Shotgun's Truisms vol. III (even the paperback version) you would have read this: Don't pay attention to what the hole looks like, pay attention to what comes out of it. That probably fits here. You have no idea about signal level do you? Honestly, how do people ever push the red button the first time without knowing some of this stuff? You're trying to plug a dynamic mic into a line level input. That you got any signal out of it at all owes a lot to the fact that it's a dynamic mic (rather than a condensor) and the fact that it's in front of a high-SPL source. The fact that you think it sounds "pretty good" probably indicates that your gain structure is for shit with your other mics and the reduction in level the line input affected let you hear the difference.
Buy a fuckin preamp or two, seriously. Even if you buy a cheap little Behringer mixer you can get 4 in and 4 out for about the price you'd pay making 4 XLR-to-TRS cables.
Love Always,
Shotgun
ok in response to point one..... it was a joke. i dont trust any
ok in response to point one..... it was a joke. i dont trust anyone at radio shack. i only went to radio shack because it was closer than the nearest music store.
second point...... i am sorry that you are tired of everyone asking the pro and cons of balanced cables. if it makes you so upset then dont reply.
i am rather new to recording so give me a break. everybody has to start somewhere. at least i am trying to learn.
third point...... i do have extra pres laying around. the drums were just me playing around, not serious tracking. i loaned out my onyx board to someone and had to use what i had available to me. let me reiterate, this was not serious tracking, just me haveing some fun experimenting.
it sounds like you know what you are talking about and that you are more experienced than i am. i accept this fact, but that does not give you the right to down talk me. once again i am learning. so give me a break.
TheRealShotgun wrote: If everybody in the world doesn't just ST
TheRealShotgun wrote:
If everybody in the world doesn't just STOP asking if balanced cables really make a difference I'm going to climb a tower with a sniper rifle and just start taking people out randomly. Yes it makes a fucking difference. If it didn't, companies wouldn't spend the extra time and money to build shit that way. Do a Google search and learn what "balanced" means for crying out loud. Still haven't solved your problem though.
Someone needs to shoot the shotgun (and definately any book that contains incomplete statements such as the above stated).
Balanced cables matter SOMETIMES, but not always, and not really at all if you're running cable under 20 feet, or if the sources aren't balanced.
I guess if he had've followed his own advice and googled the subject instead of falling prey to the marketing hype he would have found the following articles, all from reputable, professional sources:
With balanced cables, you can travel longer distances without picking up hum or noise...
Note: It is the signal that is unbalanced or not. Using a balanced cable does not make an unbalanced signal balanced. However, if you use an unbalanced cable on balanced signal, the signal will become unbalanced. Keep in mind that both the source and destination gear must both be balanced and you must use balanced cables to maintain the balanced connection.
There is another concurrance at: "http://www.sweetwat…"
Dear Inability: Shotgun can sure be cruel, eh? He's also CORRECT
Dear Inability: Shotgun can sure be cruel, eh? He's also CORRECT in that the inputs (balanced, unbalanced, or panned hard to the right) on the MOTU are friggin' line level, not mic level. And if you're "just playing around", do it someplace else and stop wasting our time.
Those of you who can't see the forest for the trees and are debating the merits of balanced vs. unbalanced....first things first. How DID you get to hit the big red button?
covenant66 wrote: With balanced cables, you can travel longer d
covenant66 wrote:
With balanced cables, you can travel longer distances without picking up hum or noise...Note: It is the signal that is unbalanced or not. Using a balanced cable does not make an unbalanced signal balanced. However, if you use an unbalanced cable on balanced signal, the signal will become unbalanced. Keep in mind that both the source and destination gear must both be balanced and you must use balanced cables to maintain the balanced connection.
Not only did I already know that, but if you search this very forum long enough you can find several posts in the recent past where I'm espousing that very idea. Furthermore, I know, even without reading your little links, that a signal is gonna be UNBALANCED as soon as it gets past whatever input transformer (if any) a piece of gear has. However, I would consider being able to run cables without picking up noise important. If you don't, that's fine. I purposely glossed over the balanced/unbalanced BS because, as my good friend moonbaby correctly reiterates, the important concept here is SIGNAL LEVEL not BALANCED/UNBALANCED.
Loveyoumeanit,
Shotgun
moonbaby wrote: Dear Inability: Shotgun can sure be cruel, eh? H
moonbaby wrote: Dear Inability: Shotgun can sure be cruel, eh? He's also CORRECT in that the inputs (balanced, unbalanced, or panned hard to the right) on the MOTU are friggin' line level, not mic level. And if you're "just playing around", do it someplace else and stop wasting our time.
Those of you who can't see the forest for the trees and are debating the merits of balanced vs. unbalanced....first things first. How DID you get to hit the big red button?
i asked one simple question and yet some how i get slamed with a barrage of insults of what little knowledge i have. i do understand that the inputs to the motu are line level. i do understand how balanced cables work. i do understand that this one method of tracking the toms was completely wrong. all that i asked was a simple question, one of which the answer could be summerized into two words: yes or no. all i wanted to know is, can you actually hear the noise useing a xlr to ts adapter. because i could not.
recording is an art and as an art it can be compared to painting. you can go to all of these great schools and read lots of books to teach you how to hold the brush, what the paints are made of, and color hues. knowing all of these things DOES NOT make you a good painter. how do you get to be a great painter? by experimenting. that is all i was doing. experimenting to futher increase my ability to record better. know i understand that you do have to have some sort of knowledge beforehand and that is why i joined this forum and up till this point it has been great. but getting slamed for experimenting (especialy when its not even a main part of the post) is rediculous. its like teaching your child to walk but everytime he falls you hit him in the gut. probably not the best way of teaching.
please do not get me wrong, i thank all who gave advice but jesus christ do you have to deliver it so harshly?
nihility0000 wrote: probably not the best way of teaching. pleas
nihility0000 wrote: probably not the best way of teaching.
please do not get me wrong, i thank all who gave advice but jesus christ do you have to deliver it so harshly?
Listen you crybaby, you ain't SEEN harsh. And I didn't even get CLOSE to insulting you. All I said is that you don't understand signal level (which you don't) and that I was amazed that there are so many little whippersnappers in the world today buying all this expensive gear (e.g., Onyx mixers) who don't understand the very basics of signal flow and what the difference between what comes out of a mic is versus what comes out of a preamp.
And frankly, my way of teaching ain't the best? Ya get what ya pay for pal. If you ain't diggin your education, switch schools.
And I don't care if you call it "experimenting" or not, plugging a mic into a line input is daft. You can make up all the romantic stories about skilled, talented, "artistic" engineers tripping over the next great technique while being "wacky" with the gear you want, but buddy...that ain't what you're doin.
I'll leave you with another of Shotgun's Truisms. From Vol. II p. 86:
The truth only hurts if it's supposed to.
Love ya,
~S
for the record, i am not a cry baby as you so delicately put it.
for the record, i am not a cry baby as you so delicately put it. i just felt as if i was being attacked and insulted. just trying to defend my meger knowledge. look you are right, i dont completely understand signal level although i know enough to get around..... true it was a pretty dumbass move on my part to plug a balanced mic into a line level input. i know at least that much. but i had never done so. what is the hurt in trying it out? experimentation. the sound i got was very subpar, i screwed up and learned from it. could you ask for anything more?
just know that i am not completely with out a clue.
as far as the art statement. i said this because it seems.... that is seems.... that alot of you just spit out alot of technical BS and dont really hang too heavily on the art side. i could be wrong.... god i hope im wrong.
i didnt mean to piss you off as it looks like i have done.
and honestly i should have just stoped posting a long time ago, because fighting online is like participating in a special olympics event. even if you win youre still retarded.
oh and by the way i bought the onyx board only after researching it fully. i bought it for the pres and the eq, not because i thought it looked cool.
i have rather enjoyed this thread. quite amusing on both parts.
nihility0000 wrote: i didnt mean to piss you off as it looks lik
nihility0000 wrote: i didnt mean to piss you off as it looks like i have done.
nihility0000, believe me, you haven't really pissed shotgun off... You haven't ever heard of "The Shit Brigade" have you?
ShotGun and quite a few other very respected recordists, mixers and engineers, who have been doing this professionally for quite awhile, keep seeing people getting into this industry making sooooo many gafaw's because they don't RTFM or take an hour or two to do minmal research to learn the basics. After awhile, the whole whiney thing get's on your nerves... from the "Pro's" perspective, that you dish out a little reality.
If you think that what a little bit of a slam was "harsh"... take a trip over to [[url=http://[/URL]="http://marsh.prosou…"]Marsh[/]="http://marsh.prosou…"]Marsh[/]
Max
nihility0000 - all I can say is that you didn't deserve the barr
nihility0000 - all I can say is that you didn't deserve the barrage you got,
I'm with Hansam on the fact that it worked, so no worries.
Admittedly, yes it is normally a no no putting a mic into a line level input. a Line level input is usually designed to take around a 75 ohm signal, rather than the 150-600 ohm mic impedance.The other big difference tends to be in signal level. (1v RMS or thereabouts for linelevel, in the millivolt range for a mic usually).
BUT........The thing going for you though is that Toms tend to be a pretty hot signal, and in a normal situation, the mic pre would probably be padded, and the gain pretty low down, getting strangely close to a line level signal......... sure it will be a bit quiet, and you'll loose a bit of top end, but it will work.
Yea, if you stick to the rules, don't do it. but I prefer to know the theory behind the rules, and use that knowledge to solve the problem in front of me.
I often find myself in situations live where there is only 2 options, use a line in for a mic, or don't mic it. It's easier to plug it up, have it there if I need it, and can turn it off if it doesn't work, rather than to do the proper thing and not have tom's or whatever in the mix. yea, it's not ideal, but it at least works
It's called ingenuity, working with what you have in front of you to get the job done.
I admire you for doing that.
(btw, not a major but by using balanced cables, you would have got 3dB more signal.)
I am sure I'll get shot for this post.
Al 8-)
althegatman, thankyou for being open to my screw ups. i have lea
althegatman, thankyou for being open to my screw ups. i have learned alot from this whole thing. it forced me to do some research and get deeper into what i didnt know.
maybe next time i will be smart and not post lots of details on my post, especially if it does not directly relate to the topic at hand.
OK, I'll put my ridiculous two cents worth in. With the MOTU, y
OK, I'll put my ridiculous two cents worth in.
With the MOTU, you can boost level, from within the mixer. If you get a lousy Radio Shaft XLR to 1/4" mono connector step-up matching transformer, it can plug into your MOTU line input and plugged directly in, no need for balance circuitry on the 1/4" Mono secondary side of the transformer, as the microphone cable leading to the matching step up transformer will be balanced enough and can still be hundreds of feet long. You do not need to utilize the balanced 1/4" inputs as balanced on the 2408 mkIII, even if they accept that. As long as you keep your 1/4" Mono connector plugged directly into the 2408, there should be no problem.
Personally, I feel that if you're recording drums utilizing an SM57 tight miked, you will get usable recording level as the matching step up transformer will give you a free gain of approximately 10 decibels! A passive preamp so to speak.
So to everybody else here.
Nah na na na nah!
Ms. Remy Ann David
that will always answer a stupid question because no question is stupid. You guys.....
If I have to start taking blood pressure medicine, I'm going to
If I have to start taking blood pressure medicine, I'm going to send you fuckers the bill.
Seriously, when did the infestation of bleeding hearts arrive from the planet Fallopiantube?
Butters...you just shut it and get back on your station, you're a troublemaker.
Now, MadMax was exactly right. You weren't even close to pissing me off. You're annoying me a little NOW, but earlier it was just mild perturbation. And in no way did I insult or demean you, seriously. If you're that fucking sensitive, you need to work on that. Because I guarantee you this isn't going to be the last time you don't know something, and the quicker you get defensive when someone points out that you're doing something wrong the slower you will be to learn new things. And, the slower you will be to advance your skill in what you call an art, but is really more of a science.
Now let's talk about that art thing. Is recording really an art? No, not really. You can certainly do artistic things AS a recordist, but the actual art happens on the other side of the glass. Do you have to be creative and artistic to be a good recordist? No. Do you have to be creative and artistic to be a GREAT recordist? Yes.
And yes, I know that "art" is whatever you want it to be. And I know that plenty of things the recordist does elicits an emotional response from the listener (an often-used definition of art). You see, I'm not arguing that recordists can't BE artisitc, I'm telling you they don't HAVE to be.
What happens with young recordists (and quite frankly, many other beginners in many other areas related and unrelated) is that they get entirely too caught up in this art BS and use it as a crutch for sucking. Now, did that sound harsh? If it did, then you have a problem with the truth.
Note that I'm not saying you suck as a recordist, I have no idea if you do or not because I haven't heard anything you've done. I'm speaking generally now, so don't go getting your feelings hurt again.
So what happens is that somebody gets interested in recording (or being a musician, or writing poetry) and they say to themselves, "Man, there sure are a lot of rules in this art...but, there ain't sposta be rules in art, are there?" Then they read a book or hear someone say that Picasso broke all the rules and he's great. Or, Albini broke all the rules and he's awesome! So the neophyte goes, "Hell, I don't need no stinkin rules! I'll do stuff MY way!"
The problem with that is that all those guys (possible exception: Albini) FOLLOWED the rules FIRST. THEN broke them.
I can't tell you how many times I've heard a young band play their demo and it just absolutely sucks donkey ass. No time, singer can't hold pitch, songs sound like they were written by chimpanzees, no hook, no melody, no tension/release. And the little fuckers have the gall to say that they're "artists" and they're "breaking the rules" and "not being followers". Well, yeah...they're doin all that, sure. And they're sucking at it. Same with poets. Teenagers always wanna write poetry, and it almost always sucks, and they think they're breakin the rules and forging new ground. Jesus Christ.
AltheGatman actually made a good point, even though he's from the planet Fallopiantube. He said, "Yea, if you stick to the rules, don't do it. but I prefer to know the theory behind the rules, and use that knowledge to solve the problem in front of me."
EXACTLY WHAT I'M TRYIN TO SAY!
The original post asked the question do balanced cables really make a difference. The simple answer is, yes they do. Or, more correctly, using balanced signals make a difference, especially in long cable runs. However, the original post (and NhillyWilly himself) was making the assumption that the only difference between the microphone output and the cable being used was that one was balanced and one was not. And THAT is not even CLOSE to the issue at hand. The issue was that he was sending a mic level signal into a line level input. It was an impedance mismatch and a level mismatch. And, as I and several others pointed out, the saving graces were that it was a dynamic mic and a high-SPL source generating near-max voltage at the mic output so it could drive that high impedance input.
Now, is that "being wacky, experimenting and forging ahead into new territory" or is that just fucking around? It's just fucking around. It's not being a Picasso or a Joe Meek.
Now, had you, NhillyWilly, said that "Well, I know that I have a mic level signal, but I've read that some preamp designs utilize an intentional impedance mismatch at the input to alter or color the mic's sound, so I figured I'd use some transformers to go straight into a line input and rely on the increased signal from a loud source to get an interesting sound," THAT would've been experimentation in the sense that you folks are suggesting it is. What you did was just got lucky you even got a sound. Try plugging a lower output mic, say a ribbon mic, into that line input and sticking it near, say, a softer acoustic guitar. I bet you get hardly any signal at all, if you get any. However, if you do that NOW, you'll know WHY. Had you done it before my explanation, you'd have been clueless.
Here's the summation: NhillyWilly...99% of what you do as a recordist, especially in a tracking sense, is NOT art, it's SCIENCE. When you get to the mixdown, one could argue there's a larger percentage of creativity involved, and potentially a greater percentage of art. However, do not fool yourself. You are still not the ARTIST, you are the person working FOR the artist. And if, at any time, your visions of artistic grandeur get out of line from the actual artist's you're in trouble. Be careful. But in the tracking arena what you're doing is accurately recording what the artist does. Yes, you choose mics, pres, media, and techniques that to some degree enhance (hopefully, or detract from) the art being created, but you are not the artist, still. The major problem with beginning recordists today is relying on the "art" crutch to circumvent learing boring old techniques and engineering theory. If you climb down off your "don't hurt my feelings" horse for a little while and pay attention to some of this stuff that you think is the useless technical, non-artistic crap, you'll go alot farther in this business.
If, on the other hand, you really aren't interested in anything technical and all you really want to do is make music, that's fine too, just understand that your recording is only for archival purposes and your real focus is songwriting, or instrument playing or whatever.
Now, let's examine what's truly scary about this thread.
First of all NhillyWilly goes and asks RemyRad on a date. Holy smokes. Jeezuz. Dude, did ya really just do that?
To continue, I must reveal that NhillyWilly also lives in the same fuckin town I do...which is scary item number two.
But dude, DC is like a 16...maybe 20 hour drive from here. You're gonna have to leave NOW to pick her up TOMORROW.
In either case, you two please DO let us know how the date goes. And here's to hopin that NhillyWilly doesn't take the same "artistic" approach to dating rules that he does recording ones. One or both of you might end up in traction.
Love Always,
Shotgun
shotgun, i would like to think i am not relaxing on the art side
shotgun,
i would like to think i am not relaxing on the art side. i have spent many many many hours upon hours reading manuals and articles online. i am not too clear on my posts because i have difficulty getting out all of my ideas by typing. i am not saying that i am an artist but i do think recording is an art but also has a very huge technical side. i did what i did with the dynamic mic because i knew that it would half way work. i had to use what i had at my disposal. i would never have had pluged a condenser or ribbon mic into that input. i know that i would never have even gotten a sound.
look the trueth is that i am very very serious about recording. more than you could ever know. i am just starting out tho.
just from reading your posts on this thread and whole website i realize that you probably are very very good. i respect you to the fullest.
now that i know you are in memphis i am extrememly excited. you know as well as me that there are not very many people who know what they are doing when it comes to recording in memphis.
i am extremely interested in recording, more than you will ever know.
look please please please can i learn from you. i will pay or what ever you would like me to do. i will sweep floors i will wipe your ass whatever you wish.... just please teach me. please?
all egos set aside..... please.
nihility0000 wrote: shotgun, i would like to think i am not rela
nihility0000 wrote: shotgun,
i would like to think i am not relaxing on the art side. i have spent many many many hours upon hours reading manuals and articles online. i am not too clear on my posts because i have difficulty getting out all of my ideas by typing. i am not saying that i am an artist but i do think recording is an art but also has a very huge technical side. i did what i did with the dynamic mic because i knew that it would half way work. i had to use what i had at my disposal. i would never have had pluged a condenser or ribbon mic into that input. i know that i would never have even gotten a sound.
look the trueth is that i am very very serious about recording. more than you could ever know. i am just starting out tho.
just from reading your posts on this thread and whole website i realize that you probably are very very good. i respect you to the fullest.
now that i know you are in memphis i am extrememly excited. you know as well as me that there are not very many people who know what they are doing when it comes to recording in memphis.
i am extremely interested in recording, more than you will ever know.
look please please please can i learn from you. i will pay or what ever you would like me to do. i will sweep floors i will wipe your ass whatever you wish.... just please teach me. please?
all egos set aside..... please.
See, kinda the point of this whole thread and me spending so much time on it was that you should have already learned something from me. If, as Butters thinks, all I wanted to do was razz somebody, I woulda used one of my usual targets over at the Marsh.
But, that being said, I've been wiping my own ass for five or six years now, and I'm kind of used to doing it that way. And I work freelance (not at one particular studio or shop) so I rarely do the "assistant" thing, but I'll certainly keep that in mind. And, if you come upon a job that you feel like you need paid help with, feel free to drop me a note and we'll see what makes sense.
And for crissakes man, get off yer knees. What'll RemyRad think?
~S
Ahhhh.......Mongo like Sherriff Bart...Sherriff Bart first man e
Ahhhh.......Mongo like Sherriff Bart...Sherriff Bart first man ever to get best of Mongo....
Gawd I feel SO ALIVE!
Mr. Not Really Nihilistic, dont think for a moment that The Shotgun is worth a tinkers damn....He's really a hack.( :lol: ) But he gives great teach. If you shut up long enough and keep yer FEELINGS to yourself you'll know something MORE than you knew a minute ago. Gawd when I think about all the FEELINGS crap that people keep trying to interject into this business of capturing noise on chunks of plastic it makes me wanna hurl.
I'm with ya Shotgun on the 'Art Crappola' being spewed around liberally by those that dont learn the basics first.
Anyone here think Picasso didnt go to ART SCHOOL?
Anyone here think Sir George Martin DID NOT do an APPRENTICESHIP?
Anyone???
Anyone here able to hang with these guys?
I'm feeling a bit uppity cause my HAWKS are going to the BIG GAME in two weeks. So take that!
ANYhoo.......Theres a LOT of help to be had on these pages....Its not always going to come in pretty little boxes and its not always going to smell quite right. Hopefully it'll be accurate help.
Lets get one thing straight.....Cables are 'configured'....Signals are balanced/unbalanced....Gain staging (when done properly) makes MORE difference in the quality of a recording than the gear itself.
I hope you paid attention to this last statement. Its sorta important.
Trust me on this one children....If the Shotgun ever does get really beligerant, I'll thank him....you really have to do something bad to make this happen and at that point, as yer mOdeRatR, I'd say you probably deserve it.
Davedog wrote: I'm feeling a bit uppity cause my HAWKS are go
Davedog wrote:
I'm feeling a bit uppity cause my HAWKS are going to the BIG GAME in two weeks. So take that!
Ah, ya bastard! They beat my Panthers to GET there! Shouldn't'a happened that way. Lots of misalignments in the universe right now.
Davedawg wrote:
Gain staging (when done properly) makes MORE difference in the quality of a recording than the gear itself.I hope you paid attention to this last statement. Its sorta important.
Amen brother.
~S
I'm feeling a bit uppity cause my HAWKS are going to the BIG GAM
I'm feeling a bit uppity cause my HAWKS are going to the BIG GAME in two weeks. So take that!
First Dawg, they wouldn't have made it without a former Packer quarterback and former Packer coach. I guess the bright lights and big city of Seattle(????) were too big a draw. At least we led the league in interceptions this year! Touche!
Second, for a real spectator sport instead of football, I would love to see the Shotgun take care of that mess that was running rampant through the mastering forum.
In this corner we have Shotgun, to his left... Bill, to his right... themaster
across the ring JP22. A no holds barred cage match to the finish.
See it on pay per view.
pmolsonmus wrote: I'm feeling a bit uppity cause my HAWKS are go
pmolsonmus wrote:
I'm feeling a bit uppity cause my HAWKS are going to the BIG GAME in two weeks. So take that!First Dawg, they wouldn't have made it without a former Packer quarterback and former Packer coach. I guess the bright lights and big city of Seattle(????) were too big a draw. At least we led the league in interceptions this year! Touche!
Second, for a real spectator sport instead of football, I would love to see the Shotgun take care of that mess that was running rampant through the mastering forum.
In this corner we have Shotgun, to his left... Bill, to his right... themaster
across the ring JP22. A no holds barred cage match to the finish.See it on pay per view.
It was all Holmgren, IMHO. John Fox got out-coached. Which is odd, really, because normally he's pretty good at not letting that happen. "Any given Sunday" I guess.
Mastering, to me, is Spanish Castle Magic and anybody who does it well is in the same league with Gandalf, Merlin and Michael Jordan. I steer a wide berth around those guys lest they turn me into a toad or something.
~S
Quote[Mastering, to me, is Spanish Castle Magic and anybody who
Quote[Mastering, to me, is Spanish Castle Magic and anybody who does it well is in the same league with Gandalf, Merlin and Michael Jordan. I steer a wide berth around those guys lest they turn me into a toad or something. ]
That WOULD go a long ways to explaining the pointy hats and the weird haircuts......
>>>>>>> Football Moment
Okay....I'll agree that Big Mike had a LOT to do with this last victory. He also had a lot to do with ALL of em this year and getting the players to buy into the formula.....How many SuperBowl teams has there been that STARTED two rookies at linebacker? All year long BTW. I also gotta give props to the General Manager for getting rid of the devisive elements in the locker room (last years collapse) and keeping the guys that could spell T-E-A-M.
And dont ya think Matt is becoming a GREAT QB?
And yes...sad but true...I really think Favre is finally done.....
OKAY back to recording stuff and things...
HM... The MOTU does'nt have MIC pres.. now does it?
HM... The MOTU does'nt have MIC pres.. now does it?