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It would help to know where you are. There's no info on your profile.

Just recording one channel (Left or Right) from a Stereo signal source you are, in fact, getting half-stereo into a Mono track, wich may not translate properly. To obtain a complete translation of the Stereo source into Mono you should add the two Stereo channels and sum them into one Stereo track. ...

Mine are models C19-6 and C19-3 (two of each). I had never layed my ear on the monitors but i did now, since you asked :) ...they're dead silent. I even flipped two of them to lay my ear on the back of the monitors, where the mains cable attaches to their back, and there's not even a "hum"...

Fujitsu Siemens, four of them all "On" simultaneously. Not a sound.
Maybe yours had a power supply problem.
They're usually silent.

My approach is to not compress during tracking. This wasn't always the case, but with the dynamic range available today (i.e., 24 bit recording) I see no need to use compression while tracking. You can always compress later, but if you compress up front, there's no undoing it. That's my take on it ...

Adjust Attack and Release settings accordingly with the music's rhythm. Imagine applying compression to maximize volume on a song where the parts are accentuated as follows (this would be a 4/4): TAM tam tam tam... TAM tam tam tam... If you apply a fast Attack and a fast Release you may get: tam TAM...

Multiband compression is just what I'd thought, because I figured I could pinpoint that break where, below a particular note/frequency, the singer becomes soft, and I could set below that to boost, and above that to, well, not do so much. But I've just no idea really how to do it .... If you have a...

Use Multiband Compression.

To me it's about what is input to the converters as well. Give a chimp prism converters at 32/192 and your not going to get much out. Give John Lennon a mini disk recorder and you may/will get some kind of gold. Sample rate discussions are pretty boring how about you talk about song structure and m...

therealbigd wrote:hmm could it be a setup thing?

i have a Sony DMX-R100 and suffer no latency issues with that at all. We used to have an O2R and never experienced it there either...

Weird.
Every digital system has latency.
Even hardware digital synths have latency.
Everything digital has latency.

yeah i believe multi-tracking is the word. 3 mics to record kick, snare, toms. then 2 condensers to record the cymbals. simple eh. Huh... that's five and goes a bit against the purpose of recording drums with 3 mics don't you think? Of course one can always record with just one Mic and do two overd...

im not going to bother quoting because i have a job and a life and you're pettiness comes below both . but i would like you to know that: * i agree that those 26/28kHz sounds all add to the texture , but I disagree with the fact that you can hear them when there's 2 guitars being shredded, a bass b...

i feel i should clarify a few things The way you have posted doesn't make it at all clear since you have replied inside the quotations. Anyway, i'll edit it for you and make your post clear. You said, to make things clear: i said heavy, scream-your-heart-out metal, not heavy metal. when somebody is...

therealbigd wrote:for a mega room sound, try recording the skins and the cymbals seperately. it gives you much more mixing options afterwards.

With three microphones?!?!

. Every time I do this I get a kit that sounds like it's being phased in some way. I've heard of problems with the 02r sending erratic latency offsets ... This is true. I don't know about "erratic" but digital consoles induce latency. It comes with the territory (read: digital territory)....