If it’s inconvenient for you then it’s inconvenient! I work on an api console with several racks of outboard gear and lots of real instruments, gear and a 2” tape deck and at home I’ve got a uad twin with a midi controller and headphones lol. Totally does the job for sketching out songs that sound good enough I’ve had demo itis more than once. If it hinders you making your art, keep it simple, I get paid to keep the vibes and flow for other people so it’s a little different sometimes you just want to keep it simple. If you wanted a recommendation, consider dipping your toe into the 500 series water with a db25 patch bay or whatever you can hook to your interface. Easy way to start playing around at a reasonable price pt without committing to full size rack gear. I will say, getting a decent preamp and even 1 hardware compressor for tracking you’ll likely get it, but don’t get fomo in way of making art. It’s a fallacy lot of people fall down. Work with what you have, I started with couple 57s and a 4 track.

"he book examines every piece of recording equipment used at Abbey Road Studios during the Beatles' sessions, including all microphones, outboard gear, mixing consoles, speakers, and tape machines. Each piece is examined in great detail, and the book is illustrated with hundreds of full color photographs, charts, drawings and illustrations. How the equipment was implemented during the group's sessions is also covered. The effects used on the Beatles' records are addressed in great detail, with full explanations of concepts such as ADT and flanging. The "Production" section of the book looks at the group's recording processes chronologically, starting with their "artist test" in 1962 and progressing through to their final session in 1970. The book contains several rare and unseen photos of the Beatles in the studio. The studio personnel and the studio itself is examined."

https://en.m.wikipedia.org/wiki/Recording_the_Beatles the one i linked up above (can you see this?)

If you can find this book I think it’s the most thorough record that exists lol. It’s over 530 pages and goes into even studio player position, what was bounced when all of it. You’d love it

it's pretty nerdy and awesome if you can find it! mics used, tape machines, what was on each track, special processing, details like kick resonate off/on, which consoles, engineer notes and session notes (things i never realized like recording double bass guitars).

Have built several fences here with post hole digger, run into rocks of all sizes (including ones that require jack hammer) on every project lol. Some you can just pry bar out. North, se and west side. Good luck ;) call before you dig website or 811 for free utility location

Something similar exists, though hard to find (I’m lucky I snagged copy 20 years ago when it came out). Basically exhaustive breakdown of gear and tech details for songs and sessions. https://en.m.wikipedia.org/wiki/Recording_the_Beatles

You are capturing more samples at a higher sample rate actually lol. An analog signal has no sample rate, it’s just a continuous sound wave. If I play back a track off my jh24 2” tape machine through my console it’s just a continuous waveform captured with magnets and the tape formula. If I bounce those tracks to digital, the sample rate takes snapshots of the continuous wave form at whatever sample rate you choose. 88.2 has more samples along that waveform than 44.1. If you literally zoomed all the way into a digital waveform you’ll eventually see steps instead of continues wave. Now whether 48k is more than enough is debatable and probably fine in a lot of cases.

I’d generally agree with this and as it relates to ops question, the comment I replied to above suggested recording at higher sample rate not being worth it just not something I’ve run into professionally lol.

This is just absolutely counter to every recording engineer I know. If you put a mic in front of a guitar amp, do you want more or less information the mic is capturing to make it to your daw? I won’t argue that most people can hear difference, but just the basic idea of capturing more of your source not being worth it is not really an opinion most professionals I know hold.

I’m sure there’s a book, but if not, a story where all the superpowers each have cultivated their own super agi mind in an “arms race” that basically runs the country and tries to outdo others maybe isnt so far fetched. It’s obvious countries already vying for ai supremacy

The uad ampex and their other sims are pretty great and used widely. And there’s lots of similar if you don’t like uad.

Not raised that way, it’d be easier to believe in something honestly. Where I’ve landed. The universe is 13b years old and will last for maybe ever. I’ve gotten a chance to live an almost mathematically improbable life, love people deeply, experience and make art, see some of the most beautiful things in our entire solar system. There’s beauty if this is “all” there is, and while maybe not a religious miracle, it’s miraculous all the same.

If it makes you feel better, for years I was near parkway and Franklin underpass with people passed out with needles in yard, people with knives, all kinds of really crazy stuff and cops were awesome and would even come late at night to check alley and property. And every other interaction I’ve had with cops has been pretty good. I know there’s some bad seeds, and maybe I’ve just been lucky, but just my experience when I needed them they were attentive and empathetic and kind.

One example, There’s literally people dumping thousands of ai tracks into streaming services to scam the system to make money. Diluting real music and musicians even more. Luckily for actual musicians people are always going to want to go to concerts, no ai can replace that experience. Fighting for integrity and respect for artists who spend their whole lives basically getting shit on already doesn’t make anyone a loser.

3 post history generally ai related… hmmm.

Had a brown sound craft 400 series for bunch of years when I was younger recording to an mx5050 lol. Have been in and worked in studios with older consoles, just be aware that things can and likely will eventually need to be repaired or tinkered with. With our current place we’re building we’re installing a new console, and besides the fact that I love the manufactuer, we’re not super close to a bunch of service techs like in la / Nashville etc and my patience for chasing down issues with soldering iron has waned. They’re generally pretty neutral, nothing terrible, not amazing. About what you’d expect for a prosumer recording or live sound application at time. If it’s cheap, go for it. You’ve got nothing to lose, except money and time for cabling etc

Keep in mind that tape can function as a type of “compression” (as someone who started on tape and who still uses it), also, mastering of course usually has some compression / limiting even back then to prep for lathe. And analog gear from the 60s and 70s has all kinds of qualities that can add slight distortion and shave off transients etc to sound. My point being, no compression 70s style and 2025 into a prosumer digital interface and daw are not really apples to apples. I’m sure you’ve checked out Steve albinis drum sounds, for modern take on less compression but still sounding massive. Also a lot of times we use compression as an effect vs tool to level a signal (those crushed drum sounds, 1176 style attack release etc). Also if you aren’t taking into account makeup gain making track louder, sometimes it’s easy to mistake louder for “sounding better”. Cheers

Hey kudos to you for thinking of an album. I hate that so much of music now just endless singles and there’s no algos that reward a full record. Most recent band I’ve been in has done two epic full lengths, and with over a year into recording and mixing both it’s disheartening sometimes the way social media likes music. So 🙌🙌. Also track list pretty great ;) I’ve always put a slower song 3rd after 2 bangers out the gate. Then build back up and slow down around 7/8 then close with something giant.

I know this I’ve been recording bands for 25 years lol, which is why I’m calling the submix of just the guitar track with the mixer’s processing (eq reverb etc) a stem .

lol not sure why I’m getting downvoted, if guitar has any stereo processing. etc yes could be stereo track. mixer could easily send just guitar track post whatever he’s done to mastering engineer and mastering engineer can then place on top of existing stereo mix to increase its volume. Mastering engineers getting vocal and other stems not unheard of and help exactly in situations like this.

Just ask for solo stem ?

Except for those of us recording into hardware compression quite liberally literally at tracking lol.

We’ve lost a lot (and gained a little) by shifting to these unsupervised mixed sessions. When artists used to be in room and you had this back and forth things just happened. I’ve had luck with remote session type mixing with zoom and listen.to etc not sure if you are interested in this. They get a little real time feedback and hear requests instantly , sometimes (actually a lot of time) helps cut back on revisions. And, it’s their record, I’m sure you have ref tracks of what they liked? Like if someone walks in with ghost is born that’s a different . sounding thing than summerteeth if bands a songwriter based rock band. Also maybe what he really wants instead of mixing is a good mastering engineer to just massage his stereo tracks?

we’d print our stereo mixes to atr or other mix down deck before mastering and send the 1/4 or 1/2” off to mastering engineer for limiting etc . Never did much self mastering when I was recording strictly analog, that was (and still is to me) its own art form. Then mastering would print our master cd for duplication or it’d go to vinyl lathe. There are no rules anymore and whatever sounds good, but for this reason I find myself putting the atr before limiting (though I usually still send off to mastering without it or limiting, but client mixes I do they sound more finished).