Hey,

I run a small live recording company where I bring a Mackie HDR24/96 on site, bring a Mackie 1604 or use the house system, record with insert adapters or splitters, bring it back to the home studio, and mix it.

I would like some general information on

In a couple of months, I will begin tracking for a follow-up album that I have been hired to produce/engineer for an independent label. I am a Pro Tools guy (yes), and own a modest studio, with several decent mic preamps, good A/D conversion, etc. These days, I've been mixing inside PT, and it is working well for me.

I own a PreSonus ACP-88 compressor which consists of eight compressor/gates. I use it exclusively for drums. I am having problems getting the gate to work well to eliminate mic bleed without the threshold set too high and decreasing the sensitivity of the drum, that is having to hit the drum extremely hard.

can anyone recommend a mastering engineer that specializes in giving digital recordings analog depth. The big mastering facility in my area is trying to recommend me not to have my recording mastered to tape as it will just add hiss, so basically i said forget this guy cause he obviously doesn't understand what i'm going for. any recommendations?

Ok, another question.

At present, I am considering a P4-based DAW with an Echo Layla and Nuendo. Someone recommended I go with an RME card, preferrably with an ADAT converter.

I am curious to know what that is/does, and, if the Layla is lacking in some way, what other cards could/should I consider.

I would use a multi-channel compressor, preferably 6, 8, or 10 channels. This is a hobby, so price is a factor-- less than a grand please! :)

Size is also a factor, as is knobbage. I need a good balance between smallish size and immediate control. One knob per basic function per channel is optimal.

Our ancient HHB CDR-800 is slowly bitting the dust. Any recommendations for it's replacement. I wouldn't mind upgrading if possible.
Thanks for any responses.
Marc McManeus
marc@soundpostaudio.com

Hi, I'm ready to recable my studio now and have some money saved up for it. I'm looking to buy preterminated cable in standard (non-custom) lengths.

I'd like something good that I won't outgrow; cable that's top quality which won't be the weak point in the path.

OK, here goes...

This summer I'm going to start recording small acoustic ensembles (mostly chamber music) in recital halls and small auditoriums. My 'reference room,' or the one I think sounds best and prefer to use, looks like this: