Hi there and thanks.

I am mixing in Cubase 5 and my rule of thumb was to never take the individual or group tracks above 0 even though the channel faders go to 6. The master fader I'd always have down at -5 to -10.

I see mic sensitivity ratings that look like:

Sensitivity: 14.1mV/Pa -37 ± 1.5dB

First, some information about myself. I play guitar/keyboard and recently have been getting into singing/songwriting too. While visiting a friend I was able to record a track in his room - he has a pretty decent set-up of equipment he's accumulated over the years - and liked how it sounded.

i would like the option to record a DI guitar and an amp at the same time using an A2D and a Digi002.
so what is the best way?

Hey everyone,

Usually I have recorded my electric guitars usings mics, but I had to sell my amp and my guitar to fund my new Korg SV-1 :D

With PT9, Pro Tools is now available as a software-only DAW. So now software to software comparisons of the major DAWs can be made without all of those hardware demons lurking in the back of our minds. I'd like to encourage those of you with extensive experience on multiple DAWs to chime in with comparisons of (1) workflow (2) features and (3) technical specs.

Hey guys. I've got a question about musical production, arrangements in terms of making a song more marketable. It should be simple, like not making a song sound like it's a versus-chorus-versus-chorus- end, but it's a vastly different project than the others I'm supposed to work with.

I know I should have asked the question here first, however, I was sold these mics as being the best I could get in a £400 (roughly) budget. It was made clear to the seller that I Ineeded them primarily for drum overheads, obviously if they came in handy for other instruments/vox that would be a bonus.

I hear that double tracking is a nice way to get a full acoustic sound. I also understand that it is typically done with two mono tracks, but I am wondering if it can be done effectively with two stereo tracks, done in XY configuration, or is this overburdening the recording?

This technique is a quote from Fletcher I read recently. It specifically was in reference to a Neumann SM26 but could be utilized with any pair of mic's one could place in a coincident array.