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Complete with ultraviolet stains?

awww... many thanks guys! Had a great day hiking and swimming!

They don’t know what a Neumann U87 is.

Dan's questions are great. The bottom line depends a lot on the situation. Do the players "know" what they are looking for? In other words, do they have experience in a studio/recording environment. If so, like Sherwood said, you should listen to what they want. The classes I took on recording were great. We'd take a instrument like drums, and the teacher would show us a couple of well known mic set ups (and mic choices for each position) and talk about where each mic type might be placed. Then we would listen to what that sounds like, move each mic around, then switch mics and then switch drummers. After that class we'd book studio time and meet in small groups and experiment with that instrument group. We did that for each instrument type. After that we booked talent and studio time and recorded a complete song. We also used a pretty good book. The Recording Engineer's Handbook by Bobby Owsinski Amazon's got it on Kindle. That class was a great experience and it taught me how much is trial and error until you've put in your time. And always use your ears!

You'd be surprised how much most bands/musicians know about recording and preferences these days. Most are experienced with some sort of recording/production software/hardware.

Current game plan is SM57 on the two primary guitar players’ amps, Earthworks on the vocalist’s amp and then either the U87 or an Aston Spirit in Omni or a pair of condensers set up stereo on the band. All going into the MixPre 10 II on Sony L Mount batteries recording in 32bit Float to hopefully be idiot proof.

I’m not the last word in pros here, but I would put 57s on each amp so you can set your own mix. Vocals into an amp is not ideal, it would be better to have vocals into a mixer and then wedges on stage to monitor, but talent wants what talent wants. If the vocals share an amp with a guitar your levels there are out of your control, but I’d still close mic that then put an omni out for crowd noise and possibly some ambience on vocals.

I was sent this and it was posted on SBAF so one can expect the level of discourse over there: There is so much here that I don't even know where to start. First off, they claim this circuit is "unique"...well it isn't. Old as the hills this one, same as the old TubeCad stuff, the Rudistor amps, the prototype Schiit built, that Trilogy H1 piece of shit and I've been building similar amps for the last 15 years. Stax also released something similar in the 60's so no...not unique. The amp circuit is simple and works well enough for a cheap amp so nothing wrong with that. I also like that they used a CCS on the front end (though they claim it is on all stages but that's not true) but my issue is with the PSU and the bias supply. What an utter clusterfuck.... The circuit requires a bipolar PSU so with a center tap transformer the bias supply can be a bit tricky but simple to solve really. I just don't understand what the hell they did with that delay circuit. It's just adding tubes because... tubes? Makes no sense at all. The bias supply seems to be driven off a tap for some reason. Also, those ballast resistors look like RN55 units and they are nowhere near adequate for the job. Smaller issues, twisted output wires are a no no, not sure what's up with those output "sockets" and an unregulated heater supply is never a good idea. Still I like the colors. Might have to do something like that...

Feel like this is a solid comment on what we're living through right now, both the lyrics and the stark to-camera "Zoomness" of the video.

With a little patience, that's enough for a 2nd hand SRM-727. That really makes that Sirrah a bad deal.

Maybe I have spent enough time with the various low end DAWs to sort of understand how they work so the new one is getting some familiarity benefit, but Luna seems to be the easiest to use and best sounding DAW that I have worked with so far. The level of integration with the Apollo is fantastic as is the easy of playing the virtual instruments with the Keylab. Working on the Shape instrument that lets me bring in strings, etc. to layer on the piano to great effect. Next is recording the Tele into the 55 Tweed.

Come at the king, you best not miss. Sent from my iPhone using Tapatalk

Success!

Que sirrah, sirrah.

The whole shaving off the top of the main transformer scares me. Insulation is there for a reason. 1st order of business, try NOT to kill the user.

Definitely like that style of stand, but at its narrowest, it is still too wide to hold the Sub 25.