I've got about $3500 to use to set up a recording system for the music department at our local (small) high school. There are so many choices that I'm totally confused. I want to record live performances, usually either vocalist with piano or rehearsals of the choirs and bands, and save them on CD's that can be played on any standard audio CD player.

Kind of a funny question...

I need to do vocal recordings (country & pop lead/backup) with an AKG-414C/BULS. I've got every piece of the chain save a decent preamp. I would prefer not to spend more than $400 on one (1/2 channel, preferrably 2).

was in guitar center today. drooling
they had delta 44, 1010, 410. the 44 comes with a breakout box with mic preamp's (not going to Micing much) for 400 clams.
just wondering if anyone likes, heard, or knows much about them. i think 400 is my limit for a soundcard (not much but workable).
or is there something else to look at?

Hey Everyone, This is my first post here. :confused: I heard about it @ musicplayer.com I like what I see.

i thought i'd take a minute to post a couple of quick things since i haven't had a chance to be around much the past few days.

Just wanted to let everyone know that http://www.waves.com has released their new Mastering Bundle with the L2 plugin . You can download a free demo. Let me know what you think of it.
Thanks.
Allen :w:

Recording an acoustic gtr (Takamine) w/capo that has a healthy string buzz and pick noise. The player wants stereo image and an intimate, close-mic sound. I'm having trouble finding a spot that's not accentuating pick noise or string buzz. I tried every mic set up I could think of. I'm using a pair of MK102 but I tried SR77's and a Brauner Valvet/Dragonfly combo as well with no luck.

I've been trying to figure out what PC (Mac or Intel) to get. Initially I will be recording
- a cappella
- 1 to 3 tracks at a time
- will easily get up to 24 tracks so I would like like the capacity to have at least 48
- not sure how many plugins I will want on each track (due to my inexperience with all of this)

As a composer for a major video games company, i'd like to exchange views and experiences with other musicians who have been exposed to the flat fee system vs royalties/rights system.
What is your experience, what's the rule, how do you manage that, with which results : is the "no rights with the highest fee" the most common final deal?
Thanx for sharing your experiences.

I have a custom built mastering desk with the normal stuff on it plus a few extra gadgets on it like separate sum and differance controls with inserts on those also so if a mix does not have enough vox or kick or center itself I can Sum those to mono also with the sides. But I still have a 1/4inch gold patchbay. And I want to switch over to a relay patching matrix.