Showing posts with label home recording. Show all posts
Showing posts with label home recording. Show all posts

RODE NT1A Cardioid Condenser Microphone Review

RODE NT1A Cardioid Condenser Microphone
Average Reviews:

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If you are in to producing/engineering and want a super mean condensor mic without spending alot of cash, this is one to get; very cheap with an extremely expensive sound. It does not have any polar switches or any built in eq's, but most all DAW's do have eq's and phase reverse abilities. Plus, its better to cut freq's that are there, then to try and boost freq's that aren't there; the latter is impossible actually. I'm telling you, don't let the price tag throw you off; this baby makes everything sound good. I've used it on vocals, acoustic guitars, drums as an overhead/ride mic as well as a room mic for ambience. I also have a matched pair of NT 5's that are also absolutely amazing. Rode is a great Australian company that makes amazing mics with a 10 year warranty; yep...10 years. Get one, you won't be dissapointed. Remember though, bad acoustics = bad recording sound.

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The original NT1 was voted "Best Microphone at Any Price" by the editors of Electronic Musician magazine. The NT1A delivers performance usually associated with higher priced microphones. Features: large capsule (1") with gold-plated membrane; cardioid polar pattern; ultra low noise, transformerless circuitry; state of the art surface mount electronics; heavy-duty satin-nickel finish; internal shock mounting system; gold plated output connectors; true condenser (externally biased); full frequency response. The NT1A will blow you away! Ultra low-noise, transformerless circuitry.Cardioid polar pattern.Large capsule (1") with gold-plated membrane.Surface mount electronics.Heavy-duty satin-nickel finish.Internal shock mounting system.Gold plated output connectors.True condenser design (externally biased). WARRANTYAll RODE products are warrantied for 1 year from the date of purchase. Your purchase may be registered ?on-line? or by mailing the warranty card. The RODE Warranty covers parts and labour that may be required to repair the microphone during the warranty period.The Warranty excludes defects caused by normal wear, modification, shipping damage or failure to use the microphone as per RODE's Instruction Guide.

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MXL V69MEDT Large Diaphram Condenser Tube Microphone Review

MXL V69MEDT Large Diaphram  Condenser Tube Microphone
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I bought this after reading a review that compared it favorably to some very expensive ($10K+) mics. I don't have a $10K+ mic to compare it to, but it is a definite step up from several very good $400 mics that I use for recording guitar, mandolin and vocals. It is a terrific value and a very very good mic.

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The MXL V69 Mogami Edition is a large diaphragm Tube Condenser Microphone. Its classic sound enhances vocal and instrument performances in professional and home studio environments. The wide dynamic range and warm sonic characteristics make the V69 a perfect complement to all analog and digital recording devices. The V69 is internally wired with World-renowned Mogami Cable for sonic integrity and comes with deluxe flight case, high-isolation shock mount, dedicated power supply, Mogami 7-pin and XLR microphone cables and wind screen.

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M-Audio Solaris Multipattern Condenser Microphone Review

M-Audio Solaris Multipattern Condenser Microphone
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Happy with product, only took about a week. It actually came with a shock mount which that wasn't list to come with it. Thanks

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The Solaris is a large-capsule condenser microphone that sounds as good as it looks. Beneath the stylish exterior lies the best-sounding solid-state electronics available at any price. Vintage design principles merge with incredibly tight manufacturing standards to yield no more than +/-1dB of deviation across the entire 20Hz-20kHz frequency range. The industry-thinnest evaporated gold diaphragm also delivers incredible sensitivity. Multi-pattern architecture provides flexibility that makes it ideal for just about any miking situation--included capturing vocals, guitar, piano, drums and live events. It's like having three mics in one.

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Rode Podcaster USB Dynamic Microphone Review

Rode Podcaster USB Dynamic Microphone
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For recording my voice (baritone), it does a great job. For extra warmth that means close-miking, which in turn means not popping your p's, etc. If you hold it close to your mouth but don't directly face it end-on, that's easily done (or get a pop filter). [...].
The microphone electronics are extremely quiet - the audio is sampled at 18 bits.
It comes with a warranty which is easily extended to 10 years for free.
The real-time headphone monitoring is a great idea and works well.
It's a bit heavy (part of being built like a tank), and you need to think a little about how you're going to mount it, since some cheap desktop stands can barely manage it.
Some things to keep in mind are:
1) It likes close-miking (at least for male voices)
2) It is USB-only
3) It is a on the bit large and heavy side.
If those don't bother you, and the price is in your range, then you will probably like it a lot.

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The Rode Podcaster is the easiest way to record high quality vocals or audio on your computer and upload them to the world.Seamless integration was the idea, and it was obtained by creating a studio dynamic microphone with unparalleled A/D converters, so that the microphone can be plugged into any computer with no in/out boxes, no expensive computer pre-amps, just a USB cable.The Podcaster offers an end-address configuration, the clarity of RØDE's tailored-for-voice frequency response, an ON L.E.D, a direct headphone amp, and of course very low self noise.The Podcaster opens up possibilities for anyone who records audio from podcasters, journalists and students to business people adding audio files to websites and multimedia presentations.

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Shure SM7B Dynamic Vocal Microphone Review

Shure SM7B Dynamic Vocal Microphone
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If you are looking for a microphone for voice-overs or broadcast use, THIS IS WHAT YOU NEED TO BUY.
The Shure SM-5 and SM-7 microphones are the best voice mics ever made. The large SM-5 is no longer made, so you can only find it used, but the SM-7 is just as good.Either one, you have the best.
Don't let the price fool you. I have brought this in to studios that have $3000 Neuman condenser mics and they laughed when I said I wanted to use my $300 Shure mic instead.I told them to put up both mics and do an A/B test while I spoke into each of them. The three other audio engineers in the studio had to agree, the Shure was better and it was a night and day difference, not hard at all to decide it was best.
This mic has a warmth and rich sound no other mic can give you.
Even industry publications like MIX MAGAZINE and RadioWorld have done reviews where they did the same tests and said the same things about this mic in comparison to the expensive condenser mics...
--------------------------------------------
from MIX MAGAZINE, March 1998, page 53:
Eric Paul has made a career out of recording country giants like Willie Nelson, Waylon Jennings, Johnny Cash and many others: "My favorite overall microphone for voices is the Shure SM-5. If they can't get a Shure SM-5, they can still get Shure SM-7s, which are still available. If you've tried out three very expensive tube mics and you aren't happy with any of them, then the next step should immediately be a Shure SM-7. I will almost always guarentee you that if the expensive mic doesn't work, an SM-7 will. For some reason, people sound better on them."----------------------------------------------
from RADIO WORLD, February 18 1998, page 62:
Joe Stack, director of engineering for ABC radio said: "When I worked at WATH in Athens, Ohio, I had someone call and offer me ten RE-20s for the three SM-5s we had. I turned him down." ------------------------------------------
from EQ MAGAZINE, July 2006 issue:
The SM7 is perhaps most famous for being used as the vocal microphone on Michael Jackson's Thriller engineered by Bruce Swedien. -----------------------------------------------
Some interesting facts about the SM-7..."When we were doing "Off The Wall", "Thriller" and "Bad" I ended up with 6 Shure SM7's. That is a fantastic mike." - Bruce Swedien
The Red Hot Chili Peppers have used the SM 7 on vocals on every album they have done.
You can see James Hetfield from Metallica singing into a Shure SM 7 on the "Some Kind Of Monster" DVD.
----------------------------------------
Another thing I have noticed in the studio, is that some of my other mics require gating and downward expanders on the mics to get rid of room noise, but the SM-7 doesn't need it. It is quiet all by itself.
And to save many hours trying to edit out mouth noises, clicks and smacks from voice-over talent that use expensive CONDENSER microphones, just have them use the SM-7 next time, and no more wasted time editing out mouth noises anymore.Throughout the years on the Howard Stern Show, they have replaced and tried all sorts of microphones, from the Electrovoice RE-20 to Neuman mics. But if you notice, the Co-host, Robin Quivers, STILL uses the Shure SM-7 and refuses to change to any of the other mics. You can see throughout the years on the TV show that although the mics are always changing for everyone else, Robin ALWAYS has the SM-7 to this day.
Since the Howard Stern Show has moved to Sirrius Sattelite, the show had to buy new microphones, (couldn't take them with from CBS) and everyone seems to be using the same mics they did before. Robin has another SM-7 so she really likes this mic! It looks different now, because she has the larger windscreen that now comes with the SM-7.


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The Shure SM7B Dynamic Vocal Microphone is a cardioid studio mic with a smooth, flat, wide-range frequency response appropriate for music and speech in all professional audio applications.The SM7B features excellent shielding against electromagnetic hum generated by computer monitors, neon lights, and other electrical devices. The SM7B has been updated from earlier models with an improved bracket design that offers greater stability. In addition to its standard windscreen, it also includes the A7WS windscreen for close-talk applications. The SM7B Includes a foam winscreen, close-talk windscreen, and a locking yoke mount.Shure SM7B Features:Flat, wide-range frequency response for exceptionally clean and natural reproduction of both music and speechBass rolloff and mid-range emphasis (presence boost) controls with graphic display of response settingImproved rejection of electromagnetic hum, optimized for shielding against broadband interference emitted by computer monitorsInternalair suspensionshock isolation virtually eliminates mechanical noise transmissionHighly effective pop filter eliminates need for any add-on protection against explosive breath sounds, even for close-up vocals or narrationNow shipping with the A7WS detachable windscreen, designed to reduce plosive sounds and gives a warmer tone for close-talk vocalsYoke mounting with captive stand nut for easy mounting and dismounting provides precise control of microphone positionClassic cardioid polar pattern, uniform with frequency and symmetrical about axis, to provide maximum rejection and minimum coloration of off-axis soundRugged construction and excellent cartridge protection for outstanding reliabilityReplacement cartridge:RPM106

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MXL USB 009 24BIT/96KHZ USB Condenser Mic Review

MXL USB 009 24BIT/96KHZ  USB Condenser Mic
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For years I've been working with traditional XLR cardioid condenser mics (love my Neumann TLM) but I've had to travel a lot lately, and humping the XLR cables, pre-amp, and heavy mics through airports and hotels has gotten to be a real bother, so I started The Hunt for a Great USB Mic.
Now, there are good USB mics out there for under $100, and Blue's Snowball is adequate. At ~$70 you get what you pay for. It is ok for podcasting, if you aren't too picky about sound quality. I had one shipped to me, didn't like that background hum, sent it back thinking it was a problem with the mic, and got another one that sounded exactly the same. (And yes, I read all the instructions and advice and made all the adjustments. I even tried it on Mac, Laptop, and PC--so spare me the "oh did you try this, and you're an idiot because you didn't try that" Snowball fanboy snarkiness ;).
So, when I returned the Snowball, I considered getting Blue's Yeti, but it's sheer size disqualified it -- the mic is way too big and heavy to be considered remotely portable, and since I like to record standing-up instead of sitting down, I worried that it would be too heavy for my boom.
Having eliminated Blue's mics, I tried the Samson G Track at ~$120 and the AudioTechnica AT2020 at ~$110. I like that the Samson has the headphone output and the gain controls (which the AT does not) and better recording quality versus the AT2020 at 48kHz versus 44.1kHz. However, the Sampson weighs a half-pound more. For both mics the sound quality is great for podcasting, and while vastly superior to the Blue Snowball, and certainly adequate for most vocals that will be supported with background music, neither mic produces recordings clean enough and of high enough quality (limited to 16bit) for pure narration (IMHO).
So I upped my price-point again. And found THE perfect USB mic for voice-overs at ~$275. The MXL USB.009. It records at 24Bit/96kHz -- a huge improvement over the 16Bit/44.1kHz of all the other mics. It has the benefits of a mic jack and knobs for gain control like the Samson G Track, and is Plug and Play. I don't have to tweak anything on my Mac or my PC. It is lightweight, so I'm not worried about my boom tipping, and there is no background hum. I like the steel carrying case -- it weighs about 6 pounds with the mic and USB cable -- and makes it easy to carry through airport security.
Yes, the MXL USB.009 is 4x the cost of the Blue Snowball and 2.5x the cost of the Samson G Track and the AT2020, but for me, it is worth it. I not only do podcasting, but I do professional voice-over work, and I need something that will give me the convenience of direct USB recording with near-studio quality.

Click Here to see more reviews about: MXL USB 009 24BIT/96KHZ USB Condenser Mic

Producing a 24-bit/96 kHz feature-rich USB microphone for the professional broadcast and music industry meant no compromises on quality. The MXL® USB.009 features a large diaphragm, 32mm capsule, similar to what\'s found on the world\'s best analog microphones. With zero latency monitoring, hand selected components and analog rotary knobs to dial in the perfect mix, the MXL® USB.009 replaces an entire studio. When it\'s time to listen back to the tracks you\'ve recorded, it will impress with its amazing detail and punch. The MXL® USB.009 is a simple, feature-rich, elegantall-in-one recording solution that is nothing short of professional!
24-bit A/D and D/A 96 kHzrecording
114 dB dynamic range
Large gold sputtered diaphragm
USB 1.1 and 2.0 compatible
Zero latency monitoring
Analog gain control before A/D
Hand selected components
USB powered - no externalpower needed
Plug and play with no preamps, mixers or any other externaldevices required
Includes: • Mic • Aluminum flight case • Desktop Stand • Mic stand adapter • 10\' USB cable • Cleaning cloth • Manual

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Rode NT1A Anniversary Vocal Condenser Microphone (Includes NT1A, Premium Shock Mount, Pop Filter, 20 Review

Rode NT1A Anniversary Vocal Condenser Microphone (Includes NT1A, Premium Shock Mount, Pop Filter, 20
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I'm a musician who is starting to move more into a producer role as well, and I needed a good vocal mic for the studio. Previously I was doing all of my vocals with a Shure SM57, which is a great mic but it is very directional and necessitates a lot of preamping, which tended to make it pretty noisy for picking up softer vocals.
I'd heard a lot of positive hype about the NT1A and claims of it being the "quietest mic in the market". I was very much surprised by the low-cost and comparisons to microphones in a much higher price range, so I picked one up figuring that if it didn't live up to the claims, I'd return it and buy a more expensive mic.
I didn't return it. And I don't ever see myself selling it either.
Quite simply, this mic is amazing. I plugged it in direct to Roland 24-track digital workstation and cranked the gain all the way to 10. Not even a touch of hiss. This never happened with my SM57, and I always attributed the hiss to weak preamps in the Roland. Guess not. The pickup on the NT1A is incredible, to the extent that I had to remove a small clock on the far wall because I could hear the second hand ticking. This wasn't audible to the naked human ear until you literally put your ear on the clock. I even had to add a couple throw rugs in the studio under the mic area because I could hear the carpet pad connecting with the cement floor. Amazing.
The mic sounds nice direct, but I typically run it through a good tube preamp and the sound is warm and pristine, with the only noise coming from the preamp. I've recorded everything from dreampop to industrial screaming and this mic handles it all.
Only complaint--with the exception of the XLR cable that came with it, I've had issues getting other cables to connect to the NT1A. The cables don't lock into the mic like they do on my other mics, and only a couple of occasions I lost connection briefly during a take. I'm guessing this is probably just a freak design flaw with mine, because I haven't heard this complaint from anyone else.
Regardless, incredible mic that that is worth every penny, and probably actually worth many tens of thousands of pennies more.

Click Here to see more reviews about: Rode NT1A Anniversary Vocal Condenser Microphone (Includes NT1A, Premium Shock Mount, Pop Filter, 20

The RODE NT1A raises the bar for value-priced mics! The NT1A Anniversary Model is a complete redesign of the now legendary NT1 classic studio microphone. From the new nickel plated body to the state of the art surface mount electronic circuitry, the NT1A will leave you asking 'how can RODE offer a microphone that sounds this good, for so little money'? The RØDE NT1A, Winner of the Electronic Musician 2004 Editor's Choice Award and the world's quietest studio condenser microphone. This redesigned version of RØDE's classic NT1 has only 5 dBA of self-noise.

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PreSonus Eureka Pro Recording Channel Review

PreSonus Eureka Pro Recording Channel
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The Eureka has gotten a lot of buzz. The box feels solid and substantial. It comes with gain, hard/soft compression, three band parametric eq, and master volume. The patch order of the eq and compresion can be switched, depending on your needs. Other useful features include phase inversion, variable impedence, and a saturation knob. A backlit analog meter can display incoming signal level or gain reduction. Inputs and outputs are both TRS and XLR. An effects insert point is included. An optional digital output card is available.
I bought the Eureka on the recommendation of a trusted music salesperson (yes, they exist) to power my Royer 121 ribbon mic. There were no preamps anywhere close to this price that he would consider recommending. As it turns out, he did me a great favor. The Eureka does a very solid job with the Royer mic (although I haven't heard the Royer on anything else, so I can only speak to the pairing of the two). Better yet, it gives me new options for almost every other piece of gear I own. I have an inexpensive Precision bass that really benefits from this box - the compression and preampe give it the fullness of a better instrument, while the eq helps to control the noisiness and unevenness between strings. The variable impedence allows users to try those DIY tricks on Shure SM57 mics without pulling out a soldering iron. Other budget-to-midrange mics also benefit. I run my Mojave tube mic through the Eureka to control peaks with good results. I haven't found anything that doesn't benefit at least a bit from the Eureka. I have even heard of mixes being run through the Eureka (one side at a time) to remove the dreaded "digital chill". Between the quiet operation and the versatility of the Eureka, it is no wonder that it is quickly becoming a "best kept secret" among many home recordists and even sine professionals.
Downsides: The knobs are close together and seem vulnerable to being bent. Three sweep eq's with no shelving eq are less than I'd prefer, but they do their job. The optional digital card can take signals from two Eurekas run in tandem, but the signal from the second Eureka must pass to the card in the "analog domain" before it is converted to a digital signal. As with any analog gear, favorite settings must be written down instead of being saved to memory for instant recall. None of these issues is a deal-killer - they just illustrate how hard I had to work to come up with any complaints at all.
If you're looking for a way to bring your home recording quality up a notch, or a way to give old gear a new lease on life, the Eureka may be just the ticket. Its quality sound, versatility and bang-for-the-buck put it in a niche that will make many bugdet-minded recordists very happy.

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The Eureka is a professional recording channel strip containing a discrete class A transformer-coupled microphone preamplifier, compressor, and three-band parametric equalizer. The microphone preamplifier features variable input impedance so that the Eureka can be matched and "tuned" for all types of microphones and recording applications. The Class A transformer-coupled microphone preamplifier also features a saturation control which adjusts the drain current on the input FET amplifier to simulate of the effects of tape saturation and tube "warmth".

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TASCAM DP-008 8-Track Digital Portastudio Review

TASCAM DP-008 8-Track Digital Portastudio
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After wanting a digital multi-track for a long time, I finally decided on this model, and I'm glad I did.
One thing that is not included in a list of specs is the usability factor. I've purchased my share of electronic devices for making and recording music over the years. Just looking at a dry list of specs has often been my method of deciding on what to buy. Well, on paper the DP-008 looks good, but it's not until you use this to cut a few tracks that you realize how well it is designed. I'm SOOOO glad I didn't buy the DP-004, as this model is clearly the results of Tascam eliminating the weaker aspects of the 4 track model just in time for the 8 track version.
I have seen a lot of digital multi-tracks that look good on paper, but to use them is a real pain. The fact that the DP-008 has all the individual track knobs means that you don't have to go flipping through pages on a menu or choosing the "hot track" in some other way. Here it's all laid out logically and makes tweaking the final stereo mix a piece of cake. Sure it would be nice if there were level sliders rather than dials, but these work just fine.
I use this model to record myself playing guitar and bass, run a Boss drum machine into it, and I record vocals with an external mic though a small mixer that has some helpful effects on it. You don't need a mixer, though, as the included mics are quite good. I am able to record several tracks, "bounce" them if I want to, and then write them to a stereo master mix. Then, I export that mix on the unit itself (sounds weird, but basically you're just creating a wav file that can be seen by a computer). The final step is connecting the DP-008 to a computer and merely dragging the song files over to the computer. I then use Audacity to convert it to an ogg file or mp3.
I use Linux and the process of transferring songs to the computer is very simple. In the past you would have received a useless cd-rom with a crappy "song transfer" program and maybe some crapware to go along with it. I'm glad that Tascam has decided to treat the customer right and state it clearly: There is no need for special software. Once you export the song, it will show up as an external storage device and you can simply transfer the files over to your computer, whether it's a PC running Windows or Linux, or a Mac.

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Concentrate on your music and not on the recording process with the easy-to-use Tascam DP-008 8-track digital Portastudio, which can capture CD-quality audio wherever you roam. Using a Secure Digital (SD) memory card, you can record two tracks simultaneously and work with up to eight tracks in a multi-track project.
You can use built-in microphones to grab ideas, plug condenser mics into the XLR inputs or plug a guitar directly in to lay tracks. There's even a metronome and chromatic tuner built-in for tight-sounding tracks. The DP-008 also allows you to digitally bounce tracks to make room for more, and touches like editing and undo make recording stress-free.
Each track on the DP-008 has its own row of knobs for level, pan and effects, just like Tascam's classic cassette Portastudios of the past. The effects knob sends to a built-in stereo reverb processor with hall, room, stage and other effects. Each track also has EQ to tailor the sound for your mix. When your song is complete, mix it to a dedicated stereo track while riding levels and flipping pan as much as you want. You can export your mix, or even individual tracks, as a WAV file.
What's in the BoxTascam DP-008, USB cable, 2 GB SD card, batteries, user manual
Features and Specifications
8-track Digital Portastudio
2-track simultaneous recording
(2) XLR microphone inputs with phantom power
(2) 1/4-inch line inputs, one switchable to guitar level for direct recording
1/4-inch footswitch input and Autopunch features for punch-in recording
RCA line outputs
1/8-inch stereo headphone output
Chromatic tuner and metronome features
Stereo reverb effect on send/return path
Level, Pan and 2-band EQ controls per channel
44.1kHz/16-bit recording resolution
Records to SD or SDHC Card media, up to 32 GB supported
USB 2.0 connection to computer for backup and track/mixdown export
Built-in stereo electret condenser microphones
Backlit LCD display
Powered by four AA batteries (included) or PS-P520 power supply (optional)
Up to 5.5 hours of battery life (recording, phantom power off); up to 6 hours of battery life for playback
Measures 8.7 x 1.42 x 4.98 inches and weighs 19.7 ounces (without batteries)


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Zoom r16 Digital Stand-Alone Multitrack Recorder, with Tascam Vt1 Headphones; Microphone Cables and 10ft Instrument Cables Review

Zoom r16 Digital Stand-Alone Multitrack Recorder, with Tascam Vt1 Headphones; Microphone Cables and 10ft Instrument Cables
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I normally don't write gushing reviews, but I really love this little machine.
I got it last night and spent only a couple of hours to lay down a mix with 5 tracks. I have been looking for a digital means to do multitrack recording for our band, but it's always been too expensive. So the options were: either run a horribly bad live mix in a single stereo track to the laptop (mixed on the fly on one of my regular Behringer or Mackie mixers, but adjusted for the PA), or record one track at a time (which I could never get the band to do anyway).
I originally bought the recorder to work with DAW - I already have Live 8, and the recorder comes with Cubase as a bonus. But I found last night that mixing within the machine itself is pretty effortless too; bouncing tracks and layering a mix can all be done stand-alone. There's also a built-in insert and 2 built-in send/return FX loops (one for chorus/delay, one for reverb). There's a slew of built-in effects for these (i think several hundred) and room to edit custon effects. You can take the tracks and master that are the result right off the SD card, put it in the laptop for backups or MP3 creation (the recorder makes WAV files).
So it takes one major headache out of DAW recording that I've had before: the endless twiddling around with latency to get a fast enough USB I/O to overdub in real time. Now, even if there's some issue with the USB driver or with your laptop's speed etc, you can get the mix 90% ready on the recorder itself, then upload the master tracks in WAV format for post editing. It also means less cables, no waiting for PC bootup etc etc. The recorder runs on batteries, USB power or the included power adapter, so it's very flexible.
The machine is made of plastic, but feels pretty solid. In a trade-off of materials and convenience, it's a really good choice - my 16 track mackie is a real backbreaker, but this recorder can easily be lifted with one hand. The input connectors feel quite solid and 1/4" jacks click into place without any play - i actually had to pull quite hard to get them back out, so good connections.
Also very handy that it has 2 built-in condenser mics with stereo recording. They're decent enough to quickly record ideas on the fly, and it means you can carry the recorder anywhere without any wires, power supplies or cables, and record as inspiration strikes.
The only negatives I can find so far are:
- There's only one insert available. Not sure why this was done, since it should be possible to use a different one for every track, perhaps machine processor speed was the issue? In any case, you can always re-master on a laptop, and then use as many effects as you like. Plus, for live multi-tracking, chances are each player already has their effects of choice anyway, so you'll be getting those wet signals as inputs already. For studio recording, the good thing is you can run the insert to the headphones or output so you can listen with effect as you play, but you can actually record the track as a dry mix if you like, so you can change the settings later. You can also record wet.
- EQ is available per track but a little hard to access - while the faders are readily accessible, EQ has to be adjusted through the little keypad and display, and it's just not that intuitive, so you really can't adjust it well in a live setting (I think, haven't actually tried it live yet). It does have EQ gains on 3 or 4 frequency bands per track, with the frequency range adjustable per gain.
All in all, for the money this package costs, and the fact that it comes bundled with Cubase, 8 cables, an 8Gb memory card and a headset, it's pretty unbeatable!

Click Here to see more reviews about: Zoom r16 Digital Stand-Alone Multitrack Recorder, with Tascam Vt1 Headphones; Microphone Cables and 10ft Instrument Cables

This Package Contains One Zoom R16 Digital Multitrack Recorder Interface NEW;One Transcend 8gb Class 2 SD Card;One Tascam HP-VT1 Stereo Headphones;Four 20 Foot XLR to XLR Microphone Cable;Four 10 Foot Instrument Cable.Zoom revolutionizes recording with the first digital recorder with 16-track playback and 8-track simultaneous recording that uses Secure Digital (SD) memory. The new R16 recorder is three production tools in one incredibly versatile device. It's a digital multi-track recorder, an audio interface and a control surface, providing you with all the tools necessary to create studio-quality recordings anywhere. The R16 combines a remarkable level of functionality with exceptionally intuitive design. For recording purposes, the unit supports up to 32GB SD cards, allowing over 100 track hours of recording. The flexibility of SD recording not only makes the R16 lighter and more portable, it also ensures increased reliability with no concern for a crashing hard drive. You can even have respective SD cards dedicated to specific recording sessions. Back up your project on a USB memory stick. With the ability to record up to 8 tracks simultaneously, it's easy to capture a live band or even a complete drum kit. The R16 features built-in stereo condenser microphones for field recording or quick, convenient "sketch-pad" capturing of ideas and rehearsals. It also provides 8 combination XLR-1/4-inch inputs along with one Hi-Z input for direct connection of guitar or bass. And the R16 also runs on 6 AA batteries for the ultimate in multi-track portability.USB operation means you can control each function of your favorite DAW software from the R16 for easy mixing with fine-tuned control. Incorporate any of the 100+ built-in studio effects to enhance your recording and use the pro-quality mastering effects to complete that studio sound. You can even connect two R16s via USB for synchronized operation and 16 tracks of simultaneous recording.

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Tascam US1641 USB 2.0 Audio and MIDI Interface with digital Connection - Macintosh and Windows Review

Tascam US1641 USB 2.0 Audio and MIDI Interface with digital Connection - Macintosh and Windows
Average Reviews:

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I looked at virtually every multiple mic interface on the market and couldn't find anything to touch this in features and/or price... so I bought it.
Wow!This thing rocks! I connected up 8 microphones for Kick, Snare, Hi-hat, Tom 1, Tom 2, Tom 3, Left Overhead and Right Overhead... all those mics plug into the 8 XLR mic sockets at the front of the unit. Got some really great 20ft XLR mic cables from Amazon for only $6.95 each (Whirlwind LowZ Microphone Cable (20 Foot) I then plugged in my bass guitar into one of 2 switchable line/guitar 1/4" mono inputs on the front.
Each of the 10 front panel inputs has a volume control knob and red/green led. The drummer hits each drum individually one by one so I can adjust each vol control so that it just occasionally clips red but mostly stays green.
After adjusting the six individual drum mics I now get the drummer to play the whole set and I adjust the left and right overheads mics so they don't clip (go red). That's it! The mics are setup ready to record.
I took the main output from the back of the unit to my monitors and there's a volume control on the front of the unit to allow you to turn down the monitor while recording... then you turn it up to listen back... so in effect, the unit has it's own monitoring control.
Two headphone jacks would've been nice, but I used a Y-adapter 1/4" Headphone Splitter to split the output allowing me to plug in the two headphones for me and the drummer.
I now setup recording on my laptop (HP TX2500z) using the supplied Cubase LE4 software which is really easy to use - buy yourself the The Complete Idiot's Guide to Recording with Cubase. There's no specific book for version LE4 but this idiot's guide worked great for me.
A note about my notebook - It's a tablet PC laptop HP Pavilion tx2500z 12.1" TOUCH-SCREEN Notebook with a great touch screen - so you can arm/disarm or mute/unmute your record channels/tracks just by touching the screen buttons with your finger - it's just like a real mixing desk with real tactile switches - it's really cool!
You may need to tweak your laptop for audio recording to get the best results otherwise you will hear artifacts (odd noises) when recording if the laptop is struggling to find the necessary processing power. I tweaked my laptop and it was just amazing to see the difference in performance. You can Google "Tweak Vista for audio recording" to find the information on how to tweak.
I also replaced my 5400rpm drive with a 7200rpm drive Seagate 500 GB 7200RPM 2.5" Drive - it's real easy to do... Google "Upgrading laptop hard drive". As well as getting a faster speed drive I also made it a 500GB to replace the 320GB drive that I had - so lot's more space... and very low cost too!
RESULTS!!!!!!!!!!!
Well... Let me tell you, I was absolutely BLOWN AWAY by the results obtained with this unit! The Tascam 1641 is an amazing piece of gear and Amazon's price is just out of this World at only $299...
It's like having a whole recording studio in a box - the mic pre's, the mixing desk (vol controls), the signal LED's, the monoring vol control, headphone controls, etc... AND the software - all for $299 - You can't beat that!
The actual sound that I got was totally professional - I couldn't have done better if I was in a top-notch recording studio. I am 100,000% satisfied!
GO FOR IT!!! HIGHLY RECOMMENDED!!!!!!!



Click Here to see more reviews about: Tascam US1641 USB 2.0 Audio and MIDI Interface with digital Connection - Macintosh and Windows

With sixteen inputs, the TASCAM US-1641 is the ideal choice for musicians to record the whole band to a computer. Eight mic/line inputs plus six line inputs gives you plenty of channels for a large ensemble, drumset, live recording or worship service. It includes Cubase LE4, Steinberg's latest version, for 48 tracks of 96k/24-bit recording power. Using the latest high-speed USB 2.0 technology, the US-1641 packs the interfacing power of a big console into only one rackspace.The eight mic inputs employ TASCAM Pro mic pres for 60 dB of gain and phantom power for studio-quality recordings. Two balanced TRS line inputs on the front panel are switchable to guitar level for direct-in recording of bass or guitar tracks. Four more balanced line inputs and outputs fill out the rear panel, along with MIDI and S/PDIF digital inputs and outputs for a total of 16 ins. A built-in power supply means there's no special wall-wart to lose, and connection to the computer is handled by USB 2.0 technology - 40 times faster than USB 1.1 and 20% more bandwidth than FireWire 400.The US-1641 comes with Cubase LE4, Steinberg's latest version of the 48-track, 96kHz recording workstation, so you'll be ready to cut tracks right away. Also included is TASCAM's Continuous Velocity Piano, a VSTi plug-in for Windows that uses Giga technology for totally authentic grand piano sounds. The US-1641 installs ASIO and Core Audio drivers for Windows XP, Windows Vista 32 and Mac OS X, with simple instructions for hooking up to Logic Pro, Cubase, Nuendo, Digital Performer, SONAR, Reason, Live and nearly all other recording software. For musicians and bands always looking for more inputs, the US-1641 is the ultimate choice. Gather up your mics and head to your TASCAM dealer for more.

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Blue Yeti Pro Multipattern Condenser Microphone Review

Blue Yeti Pro Multipattern Condenser Microphone
Average Reviews:

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A lot of people might look at the price of this microphone and get put off, but they'd make a mistake in doing so. If you are a musician, podcaster, or simply looking for great quality for your vocals, instruments, or whatever sound you want captured, the Blue Yeti Pro will more than do the job.
I'd like to start out by saying the sound quality on this microphone is simply amazing. It easily dwarfs any other USB mic before it, and can even compete with some professional condenser studio mics made by Neumann or Rodes. It's hard to believe this mic is an improvement from the original Yeti, but it is, and by at least 4 times, based on my personal estimation. For $250 this mic can't be beat. You get features in this mic you'd need at least 5 mics for. Oh, and did I mention it's also an audio interface that plays back at a 24-bit, 192khz sampling rate through the headphone port? And it sounds much better than it would on your laptop headphone port. This mic is fantastic and I recommend to anyone looking to do professional work at home.

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The Yeti Pro is the world\'s first USB microphone combining 24 bit/192 kHz digital recording resolution with analog XLR output.Featuring three custom condenser capsules and four different pattern settings, the Yeti Pro can capture digital audio with up to fourtimes the clarity found on CDs. Plus, the Yeti Pro features a cutting-edge A-D converter chip and separate analog circuit path for usewith professional studio mixers and preamps. You also get a built-in headphone amplifier for zero-latency monitoring, and direct controlsfor headphone volume, pattern selection, mute, and microphone gain. So whether you record at home, in a studio (or in the Himalayas!),the Yeti Pro is your ultimate sound solution.

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