x

is 24/96 worth the sacrifice in speed/space?

took-the-red-pill 28 June 2005

So I did an A/B through my cans of 24/96 and then 16/44.1. The difference made me wish we weren't still using that 20 year old standard on our CD players. Yoiks! I had no idea.

The question is, do we actually get a better recording by inputting it at 24/96 and then dithering down, or are we fooling ourselves and we should just record it on 16/44.1.

Creating space for VOCALS recorded in booth?

anonymous 21 February 2005

Trying to get a good process down for my current environment. Vocals are good, signal wise, ambience limited to conditions. My booth is my laundry room adjacent to the garage for seperation which is fine. The booth is lined with a comdination of foam, blankets and homemade baffles. Basically a DEAD booth. I've played with mic placements and such and have a very good core vocal.

Enos the space-chimp

Sebatron 7 September 2004

Enos was purchased from the Miami Rare Bird Farm in April of 1960. He completed more than 1250 hours of training for his mission at the University of Kentucky and Holloman Air Force Base. His training was more intense than Ham's because he would be exposed to weightlessness and high g-forces for longer periods of time. His training included psychomotor training and aircraft flights.

Compression using spaced pair technique - channel insert?

anonymous 9 August 2004

If I am recording using a spaced pair Micing setup and I want light compression on both mics, would the serious studio engineer use two seperate compressors as inserts on two seperate channels on the mixing desk or are there compressors out there capable of dealing with two inputs and which have two outputs?

x

User login