Todzilla

Get a degree, hone your craft and pursue it with gusto. Talent is important, but so is luck and having something to fall back on is great. Worst case, you can pursue music as a very serious avocational pursuit without worrying about pandering to an increasingly capricious market. Actually, worst case is you spend 20 years pursuing a singing career only to end up penniless and with no degree.

Conveniently absent in this whole discussion is the notion of "rounding errors." True, capture and playback of a 48KHZ vs 96KHz sample yields no discernable differences, the greater data granularity of a 96KHz signal means that as the signal is processed algorithmically, that greater granularity will ensure more precise rounding of resulting data files. Whether it's perceptible to the ear is debateable, but this discussion should look beyond the mere "can the ear hear a difference between two sample rates" argument.

I tie dyed my own fabric, then sewed it on to some heavy moving blankets, which are about as cheap per mass, as you can get.

If you cut and paste song parts, how do you create transitions? I sometimes alter a song's arrangement by cutting and pasting a verse, or chorus, but not the way the OP is suggesting. For example: If I want to eliminate a chorus that has a verse before and after, I'll cut the last half of the verse before, through the second half of the verse after. That way, I've still preserved the transitions. Rarely do splices at the exact cross over point work for me.

I think it depends on the kind of overhead recording technique you're using. A coincident pair presumes matched mics. Any general stereo field recording approach benefits, IMO, from a matched pair. Some of the more esoteric setups, i.e. Glyn Johns or recorderman should work well without matched pairs and still give good results. YMMV

That being the case, at what point does the expense outweigh the returns? And what would be a good example of gear (interfaces) that meet this qualification? Thanks for your advice! The point at which your wife finds out how much you're spending on all that studio crap.

Real life, even the Internet version of it, doesn't conform to confrontation resolution tactics seen on TV.

Recording IS easy. Making it sound really good is the hard part.

I have an Epiphone Valve Junior, but I find it to be very limited. I would advise looking at/listening to the new tiny all-tube Fender Champ, as well as offerings from Gretsch and even, yes, Peavey.

HUGE Sound Generation & Capture Facility I wanted it sound as pretentious as humanly possible.

weighted and even semi-weighted is a budget buster.

Obama. The 2000 McCain wouldn't have been so bad, but the cozying up to the most craven elements in the Republican party has drained any respect I once had for him.

Whats your budget? I did my room with OC703 for under $400. I assume you mean you acoustically treated your room, not soundproofed it.

It is a rented commercial space. As for budget, the budget is "as cheap as possible." It needs to be done and will be done, but needs to be done as cheap as humanly possible without being an eyesore. There are a few rooms that need this done, so I think $400 per room would be too much. With all due respect, if you can't afford to spend $400 soundproofing a room, but you have to have it soundproofed, you're doomed.

Several people on this forum have reported mild successes just by making sure that the space was more-or-less air tight: caulking windows shut, making sure that the door jamb sealed, closing off venting to the space, installing storm windows, etc. That would be the cheapest place to start a project that is inherently expensive. Really good advice. Also, you need to look at HVAC ductwork, which can easily sabotage any other efforts, if your ducts in the loud room connect directly to adjacent rooms (usually the case). Sounds like you're renting. Your options are pretty scarce.