Would you consider a digital desk?? If this soundcard provides you with going digital I/O, there are several desks to choose from. And those older 44.1 and 48 desks are dropping in price.

na, ill stick with analog golli :)
i have neva liked digital stuff.

I just want to hear this behringer in action... or anything in the same price range that is

That mixer is a big piece of dooo dooo. Even a Wackie would be better. The "B" (we don't even like to write the word here because it creates web links) is very flimsey and their stuff usually self destructs within a year.. do yourself a favor and look around for a used 8 bus Wackie. (I never thought I'd hear myself say that!) Actually I hate all that stuff, but if you insist on this path, the Wackie will stand up much better...

Allen&Heath!!!! ;)

Used Yamaha....used Ramsa.....used 200/500/600 series Soundcraft.....there is no comparison between the sound of things like this and the B(b-word).....do yerself a favor and skip the cheap road....save yer cash...since you already have a working arrangement with the computer,bide yer time and search diligently.Do NOt quick buy because you think it will facillitate something you are simply not liking,in favor of limited sound quality.The boards you are thinking about sound a lot worse than your mixing in the box could ever sound....They will NOT provide you with any 'warmth'simply because they are analog.Golli was suggesting a digital mixer....probably Tascam,Panasonic,Yamaha,etc....Dont be too sure these arent what you're looking for..They all have an analog 'sheen' to them...this may be because they arent at the level of the highend SOnys and such....Again...stay away from the cheap end if you want quality mixes.

A Panasonic DA7 with a good clock be a great way to build a nice recording foundation in a small studio.Especially with a good room.

If you don´t want to spend a huge amount of money on a Ramsa or a Yamaha. You could check out a brand called Seck. I have their 1882 mixer and I think its a great 8 bus mixer.
Of course if you have a larger wallet I don´t think you could go wrong with Yamaha, in my experiens they build great quality products.

thanks for the replys ppl.

Ok so it sounds like a bad idea. I think I might just save up for a really good mixer. *sigh*

I have Shure 57s,58s,81s and a Beta52A. Are these good enuf for a 'nice analog type recording'?

I've said it before and I'll say it again....Cheap gear is just that, Cheap!
Save your money Until you have enough for something good. It's better to save and buy the right piece of gear as opposed to accumulating a bunch of sub-standard junk!
You will be much happier in the long run.
As for your mic's....you need better. Get just 1 great condenser and it will make all the difference.

Remember....great gear + great ear = great sounds!

Mike

ok... i use those mics for live performances anyway. so ill need to buy more.

What would u suggest? Just remember im still on a budget. Would those Shures be sutible for drum micing?

thanks :)

I think that you could come a long way with the Shures you have, allthough their all dynamic and there for mabye not optimal for voice/acusticinstrument-recording in a studio environment.
You might need a condencer-microphone for that. If your on a budget I would suggest that you check out ADK 51. Its quite inexpensive and has a great sound.
You could also check out Röde, they a bit more expensive but still quite affortable, but I would go for ADK 51, its definetly the best value for money.

I KNOW THEY WILL ALL JUMP ON ME,BUT,I USE A BEHRINGER EURORACK MX 2004A,AND LOVE IT....BEHRINGERS ARE NOT ALL THE SAME...IF YOU WOULD LIKE A CD OF WORK I DID WITH THIS ,YOU WILL NEED TO EMAIL ME YOUR ADDRESS.....THE RODE NT1 IS SOME OF THE BEST MONEY YOU WILL EVER SPEND.....THE SHURE 57S & 58S ARE A+...

I have to agree with that.

I found this board very anti-Behringer. Just because one person had a negative experience with one Behringer product does not mean that we should spread bad publicity about the whole company. What Behringer does is to bring us German engineering at a price that the averave Joe can afford. That should be encouraged and respected, instead of complaining all the time.

My personal experience with Behringer so far has been very positive and I have nothing to complain about.

SANO, Where in Cape Town do you live? I know the city prety well even though I don't live there any more(from Simonstown way up to to Parrow and from Somerset West to Green point).

Check out some of my studio pics:

[[url=http://[/URL]="http://f1.pg.photos…"]web page[/]="http://f1.pg.photos…"]web page[/]

Originally posted by BUZAIN:
I have to agree with that.

I found this board very anti-Behringer. Just because one person had a negative experience with one Behringer product does not mean that we should spread bad publicity about the whole company. What Behringer does is to bring us German engineering at a price that the averave Joe can afford. That should be encouraged and respected, instead of complaining all the time.

My personal experience with Behringer so far has been very positive and I have nothing to complain about.

SANO, Where in Cape Town do you live? I know the city prety well even though I don't live there any more(from Simonstown way up to to Parrow and from Somerset West to Green point).

Check out some of my studio pics:

[[url=http://[/URL]="http://f1.pg.photos…"]web page[/]="http://f1.pg.photos…"]web page[/]

It's junk I say and it's built in China with questionable labor ... Last anyone who thinks any of this stuff sounds good, hasn't ever heard good gear or must be deaf, one or the other. I don't encourage folks to purchase crappy gear that blows up or falls apart in a year.

Well, You could by the real product or the Behringer product which in almost ALL cases is a stolen, copied, cheaper made, stripped down, lower quality version of the same thing that causes you to suffer with pain and regret once you figure out that you've been ripped off and are stuck with a worthless piece of shit!

But no, I don't hate Behringer...

Originally posted by AudioGaff:
Well, You could by the real product or the Behringer product which in almost ALL cases is a stolen, copied, cheaper made, stripped down, lower quality version of the same thing that causes you to suffer with pain and regret once you figure out that you've been ripped off and are stuck with a worthless piece of shit!

But no, I don't hate Behringer...

You forgot to mention that usually Behringer is copieing a cheapo pice / design in the first place, then they cut corners and get it assembled using slave labor from China .. and yes, I do hate that stuff.

It's junk I say and it's built in China with questionable labor

Well, Studio Projects have their microphones made in China. Should we now not buy them just because they are made in China?

I agree that it would be great if everyone could wait to buy "real" gear. However, if I would have taken that route, I would not have been able to grow into the fairly nice studio I have today. My first setup was a Behringer 2642 and 2 blackface ADATs. I recorded 2 CDs on this, both of which made a profit and allowed me to move up to better gear. I bought the 2642 used and had it for almost 2 years (even did a couple of remote gigs) and sold it to a hobbiest friend 3 years ago who is still using it. It hasn't blown up or had any other problems and its been heavily used for 6 years now. I think most of the Behringer criticism is justifed but in Kurt's case he often sounds like someone with post tramatic stress disorder (someone who's been psychologically traumatized by events like war or a brutal attack) and his comments regarding this issue are so charged and over the top that I have started to become skeptical of his comments in general (I doubt he's been traumatized by "B" but it sounds like it). Please know that this is not meant as a personal attack on Kurt. I'm just attempting to balance out what I see as an unfairly skewed view of some of the lower end gear because my main concern is that this might influence some newbee artists to give up simply because they can't afford the so called real stuff. This would be a sad thing in my view.

Peace,

drbam

QUOTE............"Well, Studio Projects have their microphones made in China. Should we now not buy them just because they are made in China"

There is a radical difference in the philosophies between Behringer and Studio Projects so that really isn't a fair comparison. You should also add that MXL and most ADK mics are also made in Asia, not to mention the plethora of lesser known brand names. Rode had almost all their capsules made at the same factory that make Studio Projects, although rumour has it that they are eventually moving all manufacturing to their new factory in Oz.

When buying Behringer gear, you have to accept that their gear is not made with quality components and the QC is usually woeful. Consequently, even though some people get good use from their Behri gear, there are a lot who have the opposite experience.

You would be far better served by finding a used Mackie 8 bus, or even better a Soundcraft Spirit Studio 8 bus or an Allen and Heath.

:cool:

Originally posted by drbam:
I agree that it would be great if everyone could wait to buy "real" gear. However, if I would have taken that route, I would not have been able to grow into the fairly nice studio I have today.

Precisely!! The only "B" gear I've owned were DI boxes and I never had any problems with them. However, I view the "cheap stuff" (regardless of who manufactures it) as stepping stones on the way to "better" more capable gear. You start learning the craft on the lower priced gear and gradually acquire better tools - though in some cases the budget gear is pretty good.

Something I've always found irritating is the tendency of some of the "pros" to lump all the home reccer's into one group that thinks their home rigs can produce recordings that sound like they were done at a top dollar room. Fact is, many of us don't sport that attitude but still want to learn the craft and work towards making the best recordings we can. Some of us even side with audio elite in believing that much of today's music is just plain sonically awful and want to do whatever we can to correct that.

I think many of old schoolers tend to forget that they didn't start out buying the top dollar gear either. They had opportunities to hone their chops in someone else's room and gradually work their way up the ladder. Those rooms likely had great gear to begin with and learning on it has likely biased the opinions of many of those leveling the harshest criticisms against "the cheap stuff." Those kinds of opportunities are either in short supply these days, or simply don't exist for many of us.

I'm not saying anyone just starting out should run right out and buy a bunch of "B" gear. I have a number of problems with the way that particular company does business. However, just as not all "bottom feeders" are created the same, neither are all "budget audio gear" companies created the same. IMO, starting out with budget gear can be a valid way of learning the basics of this craft. Learn to make the best recordings you can with what you have and, if you want to continue to improve, make strategic gear upgrades as you can afford to. A humble attitude and a desire to learn (and never stop learning) are, IMO, key ingredients to making great sounding recordings.

I think you have to understand that Kurt is an evangelist with a strong emotional commitment to buying the best possible gear one can afford. He does take it personally when he feels that certain companies exist mainly to rip-off the buying public as well as the true innovative designers of quality gear. So yes, he does over-react at times, just as many of us do on other similar issues such as piracy of intellectual property.

All that aside, I can still agree with the sentiments of those who defend the role of cheap/starter gear, as I have also used it to gradually build a workable recording situation. When I first started out I had a lot of stuff in my racks that may well have been cheap crap, but it worked well enough to get me started. The dbx 2xx series is a good example- that was my first compressor and parametric eq. My first reverbs were a coupoe of Alesis Miniverbs and one of those low-budget Lexicons. And I was much better off owning them than not owning any compressor or eq or reverb at all. (This was pre-DAW days, I should point out.)

Are any of them still in my rack? No! But that doesn't mean they were a waste of money - I used them until I could do better. Would I have rather had an LA2A and a Massive Passive? Duh! But the cost of those would have come close to exceeding the total outlay of my original rig.

Those of us eating filet mignon have to remember that none of us are all that far removed from Burger King.

whooa.. lil arguement going on here i c.
even though the discussion is a bit of topic, thanks for replying. :)

i think ill buy a good condensor and stick with my current shures for now. and about the mixer... i think ill do a bit more research. behringer isnt sounded too hot

-I would suggest that you check out ADK 51- blogg1
ill check it out.. ta

-SANO, Where in Cape Town do you live?- BUZAIN
hey ex south african. i live in the beautiful southern suburbs (rondebosch to be more specific) heehee but im moving to Oranjezight at the end of the year.

My evangelistic take==> Yes...in agreement that the newbie must wax on wax off in order to grow into shoes that allow for a trip to somewhere. NO....To the belief that it must come in the form of cheaply built,questionable quality gear.
There are thousands of pieces of gear on the used market, that for much the same price, can afford a new recordists a better quality sound and therefore much more contentment and happiness at their labors.

A lot of the used market will consist of (in the case of a mixer) a board that the owner has outgrown,either in sonic quality,or in versitility...ie #of sends,aux's,channels,subs,patches,etc etc.

A newly born recordist should NOT be concerned with a lot of effects sends,or aux's,or subs...

K.I.S.S. this is the watchword...sonic quality will ALWAYS outperform lots of reverbs and compressors etc etc...ALWAYS.

A clear well recorded piece will draw a listener faster than any gobbed up overproduced mess will anytime..........amen

Originally posted by BUZAIN:

It's junk I say and it's built in China with questionable labor

Well, Studio Projects have their microphones made in China. Should we now not buy them just because they are made in China? Good question. The answer is no for a couple of reasons. First I asked Alan Hyatt about his labor source in China (I have been on this soapbox for a while ). He told me all his stuff is done at 797 and they do not use prison labor. Second, SP develops their own designs, in fact SP has been victim to Behringers unethical product cloning. Third, unlike Behringer, Studio Projects gear, for the most part, has a very good build quality and actually sounds pretty darn good for what it costs.

drbam posted, “.... my main concern is that this might influence some newbee artists to give up simply because they can't afford the so called real stuff. This would be a sad thing in my view.”

I simply do not subscribe to this idea. If someone is that easily deterred, then so be it, perhaps it is “meant to be”. The ones with passion will continue, no matter what the obstacles. If some fall by the wayside because it is too hard, then (IMO) so be it. Perhaps this would be a good thing. I am a firm believer in “where there is a will, there is a way”.

Skeetch posted, “I think many of old schoolers tend to forget that they didn't start out buying the top dollar gear either. They had opportunities to hone their chops in someone else's room and gradually work their way up the ladder. Those rooms likely had great gear to begin with and learning on it has likely biased the opinions of many of those leveling the harshest criticisms against "the cheap stuff." Those kinds of opportunities are either in short supply these days, or simply don't exist for many of us.”

I think you and I have had this discussion before Skeetch. One of the reasons “these ... opportunities are in short supply or don’t exist for many of us” is because the “home recording studio” market has driven many of these smaller studios out of business. Instead of spending $1000 in a small studio for two or three days cutting some sides, they go out and buy a “Crapinger” mixer, a couple of cheap Chinese mics, some “UNEVENTFUL” monitors, and some crappy recording software and have at it. Then instead of having a seasoned pro or “old schooler” to guide them through the process, they come to places like this on the web and ask these same “old schoolars” who have nothing better to do, other than hang on the web (because they can’t find a job due to the “home recording phenomenon) how to record something and get “that sound” using a piece of turd. IMO this is a lose, lose situation. Jobs are lost, business are shut down, the audio suffers. Uri Behringer meanwhile is doin’ ok exploiting prison labor ... I don’t see how anyone can defend this and sleep at night. And I’m the bad guy? That’s pretty fu#ked up sh*t!

Originally posted by Kurt Foster:

I think you and I have had this discussion before Skeetch. One of the reasons “these ... opportunities are in short supply or don’t exist for many of us” is because the “home recording studio” market has driven many of these smaller studios out of business. Instead of spending $1000 in a small studio for two or three days cutting some sides, they go out and buy a “Crapinger” mixer, a couple of cheap Chinese mics, some “UNEVENTFUL” monitors, and some crappy recording software and have at it. Then instead of having a seasoned pro or “old schooler” to guide them through the process, they come to places like this on the web and ask these same “old schoolars” who have nothing better to do, other than hang on the web (because they can’t find a job due to the “home recording phenomenon) how to record something and get “that sound” using a piece of turd. IMO this is a lose, lose situation. Jobs are lost, business are shut down, the audio suffers. Uri Behringer meanwhile is doin’ ok exploiting prison labor ... I don’t see how anyone can defend this and sleep at night. And I’m the bad guy? That’s pretty fu#ked up sh*t! [/QB]

OK. Let's be clear on something as I don't want this to turn into yet another tedious misunderstanding and pissing match.

First off, as a number of my past postings will show, I tend to agree with you on much of this particular issue. Secondly, nowhere in the post you quoted from me did I mention your name specifically. I was making a generalization based on things I've read at numerous audio boards around the web. Third, nowhere on this or any other board will find me defending Mr. Behringer or his company's practices. Period. I have, in the past, posted my experiences with the limited type and number of B* gear I've owned. I've posted my honest thoughts and experiences about it and nothing more.

I'm just as bummed as you about smaller rooms going under and I completely agree with you that audio has indeed suffered. But you know what? Not everyone lives in one of the major recording industry cities. In my area (literally within 300-500 miles) there never really were small demo studios. We have a handful of "pro" studios, some with fairly nice gear. A band I was in several years ago DID record a full length album in one of them. Spent nearly 11 thousand clams doing it. Sounded like ass. I vowed I would never again spend my hard earned coin letting some trust fund kid with a bunch of nice gear and no ears ruin my art. I also vowed that I would learn the craft and make better recordings than any of the so called "pro" studios in this area. I'm not there yet, but I will get there - and, no, it won't be with B* or even Mackie gear. Believe me, if there were an honest to goodness decent pro room to record in where I live, I'd record in it any day of the week. But you can't get there from here, as the saying goes. And the same holds true for a whole boatload of home reccers as well. What would you have us do? Not record at all?? Don't know about you, but if I can't do something musical on a regular basis, I WILL go insane.

I don't think you're the bad guy for believing passionately in good audio. Nor do I believe that I, and other "bottom feeders," are the cause of the demise of smaller rooms exclusively. There are market forces at work here that neither you, I, or anyone else have any control over whatsoever.

Skeetch,
Cool! I didn’t mean to aim that or this whole rant at just you, in spite of that it is/was addressed to you. I am with you on the trust fund baby studio. That is some foul crap also. There are a bunch of those types on the web also, looking down their noses at others who don't have all the cool toys. This is not where I am coming from and I am sorry if I sound that way sometimes.

And I have no problem with people who want to learn how to make good recordings on their own. But there is a point where the inexpensive gear on the market does more damage to the industry than good and unfortunately we crossed that threshold years ago.

I am in the same boat as everyone else. I am not a trust fund kid and I am as "financially challenged" as anyone. I owned a 2000 foot studio in the Bay Area. It got to the point where I just didn't have the funds to keep my big console and tape machines maintained. The rent on a space that was big enough to house them was killing me also. The nut to keep the doors open was out of hand. I had to do $2500 worth of business each month, before I started to earn anything for me ... When I first opened the doors, this wasn't difficult but as the computer DAW, cheap gear thing took hold, it got harder and harder to meet the bills. So yeah, I am a bit bitter about the whole deal. But the up side is I can have a killer recording system on a computer for less than $3K!

So I look at it like this, cheap out on the digital gear, because it rapidly turns into door stops, but use only the best mics and front end gear you can get your hands on. This stuff will last forever if you take care of it and hold its value too! If you’re lucky, you might even get something that appreciates in value. Vintage gear is considered as an investing tool my many investors who know nothing about audio. Try to get a good deal on some stuff. I am always happy to tell people where they can find decent gear at good prices if they ask. One of the best sources I have ever found is a tabloid publication out of the San Jose CA area, "Pro Audio Marketplace". There is a ton of pro used gear there and a new issue is released every month. They are on the web too. A sub is about $25 a year.

The first time I got my mitts on a pro console and dialed up some drums at the top of a tracking session, a light bulb went on above my head and I said to myself, "Now I get it!" I realized I had been wasting my time and effort on crap gear. It just is not possible to get a real pro sound with cheap sh*t. Can't get there from here. I know it's not the answer people want to hear but it's the truth. It's much better to get one piece of good gear and work up from there a piece at a time. The manufactures of "rack crap" profit by taking advantage of the ignorance of those who simply don't know any better. They make promises that can't be kept, use catch phrases like "punch", "transparent", "pristine", ad nausium. Behringer is the worst offender of this and to boot the word is they employ Chinese forced prison labor in their manufacturing. So yeah, I have a strong bias against this company. For a number of reasons. BTW, no pissing match ... and thanks for the polite reply.. Kurt

Originally posted by Kurt Foster:
It's much better to get one piece of good gear and work up from there a piece at a time.

Dude, I hear ya. That's the path I'm trying to go. One step at a time. Just got a 24 channel Ghost and I'm loving it. Next I gotta diversify my mic cabinet and get some better comps. If someone else would just pay my damn mortgage for about a year, I'd be there. :D

SEE....I KNEW IT WOULD GET THINGS STARTED..WHY DO PEOPLE JUMP ON BEHRINGER ,FOR MAKING SOME OF THE BEST SOUNDING STUFF FOR 1/2 THE PRICE????????? I FIRST GOT A BEHRINGER ERRORACK MX802A,TO CHECK IT OUT....THE SOUND WAS SOOOOO GOOD I MOVED UP TO A BEHRINGER MX2004A,AND GOT A BEHRINGER 4 CHANEL COMPRESOR...I WOULD LIKE A SOUNDCRAFT,BUT CAN NOT FIND A USED ONE FOR $250.00...CAN SOME ONE HELP ME WITH THIS????? I NEED A GOOD USED 16 CHANEL OR BETTER SOUNDCRAFT FOR ABOUT $300.00 OR $400.00 OR $500.00 TOP END ,TO GO WITH MY JH16.... ALL MY BEHRINGER STUFF WORKS LIKE A CHAMP,AND I PUT IT THROUGH HELL ALL THE TIME...

Originally posted by Dr.Blackwell:
SEE....I KNEW IT WOULD GET THINGS STARTED..WHY DO PEOPLE JUMP ON BEHRINGER ,FOR MAKING SOME OF THE BEST SOUNDING STUFF FOR 1/2 THE PRICE????????? I FIRST GOT A BEHRINGER ERRORACK MX802A,TO CHECK IT OUT....THE SOUND WAS SOOOOO GOOD I MOVED UP TO A BEHRINGER MX2004A,AND GOT A BEHRINGER 4 CHANEL COMPRESOR...I WOULD LIKE A SOUNDCRAFT,BUT CAN NOT FIND A USED ONE FOR $250.00...CAN SOME ONE HELP ME WITH THIS????? I NEED A GOOD USED 16 CHANEL OR BETTER SOUNDCRAFT FOR ABOUT $300.00 OR $400.00 OR $500.00 TOP END ,TO GO WITH MY JH16.... ALL MY BEHRINGER STUFF WORKS LIKE A CHAMP,AND I PUT IT THROUGH HELL ALL THE TIME...

Yer kiddin' , right??? I looked at your website. You have some nice gear there but I didn't see any Behringer gear.

If you're interested, I have a 16 track MCI headstack I'm trying to sell ...

Yo Doc Blackwell,

It appears to me that your doing research using audio, and NOT audio or music production. Big, BIG difference. If you were making your living on audio and music production for commercial release and the general public consumption you would have a much different perspective and opinion.

Originally posted by Dr.Blackwell:
I FIRST GOT A BEHRINGER ERRORACK MX802A,TO CHECK IT OUT....

freudian typo? :p

HEY DOC!YA WANNA STOP SHOUTING!!??

As was said,I dont think what yer using yer 'golden sounding Behringers' for is exactly what the recordists here are thinking about when they're asking about em.

This is not some psychoacoustic research but the reproduction of MUSIC...Whereas there might be music involved in yer research,like the effect of early Wayne Newton on the reproduction of ferns,this is NOT someone trying to record their original music for distribution and sale and looking for the best signal path to do so.

SO STOP SHOUTING AND LISTEN.

I HAVE NEVER SEEN ANYTHING LIKE THE WAY PEOPLE HATE BEHRINGER...THEY ALWAYS JUMP ON MY SPELLING...WHAT CAN THEY DO TO DISCREDIT ME????? I CAN NOT SPELL,BUT I DO HAVE EARS....ALSO - THANK YOU ,BUT I JUST PUT NEW HEADS ON THE JH16...NOW I NEED TO RECAP THE THING...I PRODUCE RECORDS FOR A LIVING,AND LIKE TO TIPE IN CAPS,BUT ALL MY BEHRINGER GEAR WORKS WELL FOR YEARS NOW...

aint you the lucky one...dont believe i saw anyone trying to personally discredit you in any way.I believe they were all just expressing their opinions about a particular type of gear.I remember when behringer WAS a german company.they made some awesome DIs and stuff like that.then they became the pirates of the gear business.there is not one original circuit design in anything they build.it is all pirated and built in countries that have no qualms about theft of ideas.why are they cheaper?because the labor is so damn cheap and the components are on the lowest order.this doesnt mean they dont work, only that the fail rate will be high as well as the crosstalk,the distortion figures, and the tone controls will be adding their own unique brand of fuzz and fizz to the mix.one channel at a time may not be enough to notice it but a full-blown complicated mix of many different kinds of sonics and instruments will show their true colors every time.but hey, since yer a record producer i'm sure you've mixed your clients' songs and materials on high quality equipment.so you should understand completely, what i'm talking about..and what the others are also saying...those detractors that you seem to want to take so personally.....now quit yelling when you post on here.....really.

I still don't see any "Crapingher" mixers on that site. :confused: This has got to be a gag! 1/2" four track, 1" 8 track, 2" 16 track vintage Altec... and "Turdingher"? It just doesn't make sense. Either it's a jerk off or someone knows enough to purchase some really nice old gear but can't hear well enough to realize what a "Blowsingher" mixer is doing to thier mixes. BTW, no one is jumping on you about yer spellin' but we all do wish you would turn off the CAPS KEY (its the one above the left shift key) ...using all capitals is equated to yelling on the net. Bad ettiqute.

you did not catch the 1/2" 2 track...all at 30ips...i just got back from nashville where i picked up the studio gear they recored hank w. on....all as it was ,all ampex all tube...seems they shut both studios down ,when bob m. died ,and they sat pretty much untouched for 30 years...this is off track where should i post this?????????

Doc,
I love that stuff. What is that large format console on it's back on the dolly?

neotek

I saw Doc's website too. Am I the only one around here who has a sense of humor? The site is a joke, guys, as is Doc!

Pretty hilarious as a matter of fact...

Originally posted by white swan:
I saw Doc's website too. Am I the only one around here who has a sense of humor? The site is a joke, guys, as is Doc!

Pretty hilarious as a matter of fact...

That's what I said! :D

I didn't even bother to look any further once I saw the research topics on the front page. I knew right then that is was highly unlikely that the guy could have any real clue about music production. Insert your favorite dumb ass icon face here...