snip

Obviously no one here has problems using a fairlight system! Or are henchman, bill and me the only fairlight users in this forum? Well, as we know that there is no DAW easier to use, better sounding or more effective, maybe this forum should be closed? We can amuse ourselves by looking at the Pro Tools-and-stuff user forums, and relax with a beer ;) ?

What is everyone using for Mic/Preamp/Converters into Pro Tools that gives more of that warm analog feeling to the recording? I have a RODE NTK, Avalon 737, and using the Digi001 converters at this time. I've looked at converters by Lucid, Apogee, RME, Waves L2 Ultramaximizer, CRane Song.

What is everyone using for Mic/Preamp/Converters into Pro Tools that gives more of that warm analog feeling to the recording? I have a RODE NTK, Avalon 737, and using the Digi001 converters at this time. I've looked at converters by Lucid, Apogee, RME, Waves L2 Ultramaximizer, CRane Song.

...That nobody has mentioned so far the availability of V3.5 released (at no extra cost) yesterday for R.ed, SSHDR1 and Mixtreme with new E.Q, new x-fade tool (R.ed only) plus Pro Tools import/export capability?
O.K happy to be the first!
George Pentzikis

There seems to be a bit of confusion over whether anything has changed with mix bus and if it will sound better. I've gone over the docs in quite a bit of detail and here is what I've garnered:

Anyone have any sort of luck? I've read Julian's posts on other boards about the distressed mic outside the door. How big is your room and is it really dead? Is a somewhat triangular shaped room really bad? I'm just trying to get some sort of ideas, I'm sick of just having one big room for everything.

I'm looking to capture that honking 50's/60's/Motown Bari Sax sound in an upcoming session. My instinct is to try a Royer R-121 near the bell, and have a Lawson L47 2-3 feet back to capture the sound of the whole horn.

Most of my experience with bari saxes has been in more of a jazz context. I'm open to suggestions!

With the arrival of pro tools HD, I'm wondering in what ways this will change the links between mixing & mastering. Do I send CD-rs of dithered down 16bit 44.1K?, A data CD of the bounce to disk of a 96K session?, my GP9 with it's infinite bit resolution?, a cassette?, etc...

The other thread was getting so bloated, I thought I'd start a new one.

I've been reading with interest all the tributes to Recorderman's 2 drumstick overhead configuration, but have been kind of set in my ways about drum recording for a while. Finally, on a session today I thought I'd take the plunge and revamp everything I ordinarily do.