Anyone ever buy an audio interface off ebay? Is there anything one should be careful about? does a Buyer have any kind of protection against buying something and it not working?

Without going off the deep end about how expensive all the equipment is, I'm interested to learn about how one starts up a small commercial studio. Some things are obvious: you need acoustically-treated rooms for recording and control, for instance. But do you need to incorporate? What sort of business plan would you need? Ideas?

i've been wondering if anyone out there knows what the best hz setting to have your monitor at. spending hours a day on it can be fatiguing at times.

chris perra

a) Hey, what about a live chat so we can all talk together about specific subjects?

b) whenever we receive reply emails, what about making it take us to the last page? we always have to click on the last page.

Thanks
Nice week

There's been some discussion on the alt.sekd board about impulse responses and convolution. Brock Stapper (also a member here) passed on a link to ["http://www.noisevault.com"]NoiseVault[/], which has a lot of user made IR's aswell as links to other IR sites.

Does anybody know how to construct a corner bass trap? :confused: Any design ideas would be great thanks...

Hi!
Do yiou guys keep all your studio stuff connected 24 hours?
What about MTBF? Aren't we reducing parts lifetime?
I know that it is very stressing for electronic devices if you keep powering it on/off, lots of start-up current transients and so.
I turn off everything if I plan to travel or stay good part of the day out.
wanna hear it from ya.

Let us start a thread on here of what would you consider the essential gear for a nice small project studio, limited to a $20k budget.

I start with:

i have a uad 1 card which has the LA-2A and 1176 as plugins on it. i've been mucking around using them as limiters trying emulate the real deal.

i get hotter, clean signals for sure. but i'm curious to see if any one would choose one of these if they had the real unit. or if they are not really for mastering.

i'm curious as to what i can do to make my recordings not sound like crap when they go through the radio's compressors and limiters and whatnot. i want to keep my mixes dynamic, but what can i do to the whole thing to make it not sound like crap when it runs through those compressors? should i fight compression with compression? and if so how?