ProgRock11

This is a really great question. For me, I can't say my knowledge hinders my love for listening to great music. If anything, it adds to the experience because if I hear something that throws my ear for a loop, it can be pretty exciting trying to figure out the techniques used in recording that sound. And I think I've learned to appreciate a well recorded record. However, with the on going "loudness war" it's hard to appreciate some of the music that is coming out these days. I don't like the feeling of my ears getting pounded out by a sledgehammer during, what supposed to be, a quiet intro that builds into a jumbled mess...like the new Metallica album.

Wait...you don't think the 57 is the right mic for the job? Honestly, I'm a bit surprised. 57's are one of the standard "go to" microphones for miking up a guitar amp. Why dismiss it before you even give it a try?

BUT what if something is set 4:1 but input level only goes 2dB above threshold. Does the compressor still work? Even though the input level hasn't gone 4dB above threshold? That isn't the threshold...it's the ratio. And yes the compressor still works. It compresses everything above your threshold. If your threshold is -10dB, with a ratio of 4:1...and a peak only goes over the -10dB threshold by 2dB then: -10 + (2/4) = -9.5dB You will only see an increase of .5dB. It's good to know the math...but don't let it fool your ears.

Bands will suffer, because when they want to step up to the next level, there will be no place to go, to do it. Believe me, anyone who's ever worked in a good mid-level room w/a competent engineer will NEVER wish they were back in their buddy's basement w/his M-Box. MG +1: Very important point!

...Doesn't charge for mixing and mastering ...21 and lives with his parents ...something most people won't notice I'll throw a hand grenade here: You realize it's guys like this who have made it almost impossible to have a viable career as an audio engineer, don't you? Hopefully all of you are just interested in recording as a hobby, let alone spending thosuands to study it at a recording school... Try living in a major music center and keeping a roof over your head and food on the table for the $15-20 hr. you'll top out at, IF you can get work at all. There's always going to be a handful of "A-listers" who make good money, but you'd be SHOCKED at what the "A-minus" and below engineers are willing to work for, nowadays. Guys w/Gold and Platinum records on their walls... Interested in everyone's thoughts on this. MG We're all in this together dude, I really don't think anyone is purposefully trying to take away work from you or any other professional sound engineers. I think basement operations are a great way to learn...especially if someone is throwing a little bit of money at you for your time. It's a good way to build up experience and possibly save up enough money to go to a recording school. Everyone has to start somewhere and not all paths are the same. That being said, in most cases, you get what you pay for. If you pay for cheap budget gear...it's probably not gonna sound as good as the recordings you are trying to emulate. If you pay for a basement producer/mixer/engineer...it will sound like a non-professional recording (in most cases, not saying there aren't some very talented people out there working out of their homes; I'm speaking in general terms). If you're planning to release your music as an album, paying the extra $$$ for professional work is the best option.

Like others have stated, in terms of headroom, 24 bit allows more room for dynamics processing. A few years ago I was working on a system that was limited to 16 bit processing and it was fine at the time, but the more recording I did the more I realized it's limitations. I was constantly struggling to find a "happy place" while mixing, carefully trying to avoid clipping and unwanted noise artifacts. This isn't to say that it was impossible to create some nice sounding music, I just had to be careful with my signals. I would personally suggest you keep working with your current DAW until you feel that ITS limitations are limiting YOU. That's when I would suggest an upgrade. Until then you might want to invest in some decent mic preamps...you will notice a leap in sound quality with good preamps. High quality converters also HIGHLY affect sound quality. Long story short, right now there are other upgrade options you may wish to consider to improve overall sound quality.

Just buy an intel mac and forget about it . Or an older G5 mac...those are still highly popular. Your processor speed and capabilities are extremely important.

Definitely depends on what you're recording...2-4gb works great. 12...sounds a bit like overkill.