When I tested the ADAM Audio A7V nearfield monitors [Tape Op #153], I also acoustically measured my control room for the first time. It brimmed with problem areas. Though I will defend home recording...
I try a different vocal microphone on just about every record I make. Some are technically great, but too sterile for my taste. Others – particularly tube large diaphragm condenser (LDC) mics...
Ever since I acquired a rack-mounted DAW interface, I didn’t think I had much need for a smaller, portable interface. However, when I recently had the opportunity to record a grand piano outside...
Like many home recordists, I work out of the smallest bedroom in my house: a glorious 10 x 10 x 8-foot room. Palatial, it is not. My “control room” dimensions would reduce even the...
I’ve been fiercely loyal to my older computer audio interfaces, ignoring the glut of new options over the years. Yes, I’ve had to buy a host of over-priced Apple connectors to keep my...
When I recently reviewed the Fredenstein Bento 8 500 series chassis [Tape Op #144], the company kindly included a clutch of their own 500 Series units to demo as well. I had fun tracking and mixing...
As a home recordist on a limited budget, I’ve been hooked on 500 Series modules for the past few years. In addition to the possibility of building my own gear, like my beloved CAPI VP26 [Tape Op...
Nothing captures the boom of a kick drum’s resonant head or the growl of a bass cab quite like a Neumann U 47fet [Tape Op #108]. A well-placed dynamic mic will capture the attack and the mids,...
