Compyfox

Er... there we have it again: outburts, disruptive behaviour - "watch it boy". *sigh - I give up* The only outburst I did was my last comment, and it's true I shouldn't have written it down, then again so shouldn't have you. I'm discussing this new... policy as I see it in my opinion, you asked us remixers to state our points, so I did in a calm way which obviously seems to either be misunderstood, or not wanted. Once again it is layed out for me as if I'm only causing trouble. Okay... fine with me, note taken. Please feel free to continue on discussing this topic - I guess I stated my point and there's nothing more to say from my point of view. Unless of course, you want to David - my PM folder is open. - Roland

I'm honored that it seems that I understood at least some of that jibba-jabba. *cough* It's not about distributing the material on a random fan page (for example the Turrican Central in Germany). It's about giving my song "away" without asking me first. And to that I count Last-FM as contrary. I don't want to be involved with them, neither do I give you permission for the future, if I should ever submit a remix, to give the tracks to them for "listing" or even "releasing". Whoever started that crap, and thought it's great, should be shot in my opinion. No offense, but it's enough that I'm listed on that musicmap thing along with Dr. Alban! THAT IS NOT TRUE. For example the Final Fantasy track that's featured on Project Majestic Mix by Jan Van valbourg (if I can remember correctly that was Anxious Heart) or was it that "Underneath the Rotting Pizza" remix (which also vanished from OCR all of a sudden a couple of weeks after it was released). Both tracks were removed one or the other way because the tracks were later sold on CD. Steven Kennedy still permits to re-re-release (no typo!) any of those tracks (Zeratul and I wanted to release his Magus remix as remastered version once, but it wasn't possible as the CD is "still sold" and we didn't get permission, even if it was his creative property). So if a firm makes a contract with me, says "your remix is great, redo it please/mix it up, we put it into our next game/on our next compilation CD", or even I decide to release that track as official single internationally, you refuse to remove that track, even if it was online for like 1 year because you insist on "this is OCR, we release our stuff for free, if you want to sell it - screw it!"? Now that's seriously messed up and arrogant. Would you even continue to stick to that if the lawyers of the original/momentary copyright holders start to sue your page? I guess not. VGMix offered the possibility to remove tracks by the artist, if somebody at KWED would do the same, they say "no problem". What you do here, is setting up a adhesion contract for both musicians and live performers. As if you own the right, even if that is not the case. This is why people went haywire with Cafepress. Not if the track is: a) uncompressed on CD (Stereo)/ DVD-A/SACD (Surround) enhanced in terms of sound and/or arrangement Then again, so what? Even if there was once a freeware version, the new version is different, an official release - and if I say "take it down", you have to give in. According to the "rules" setup by you and your lawers, paragraph one, we still remain the rights to our track, which you negate with the very same paragraph we're discussing here. Sorry, then you should STOP INSTANTLY with what you do and posing with your page on anime conventions. Even if it's a fact that most cames come out of Japan and that topic "games" is spread at conventions, it is no point of having a pannel to pimp your popularity. It is a fact, that you got that popular thanks to us remixers. WE devoted our time to suit your needs and standards, WE present(ed) your page in radio shows, live gigs, podcasts and conventions, WE wear your swag. In short - WE help you personally. If you think we shouldn't do that, or shouldn't have done that, then think about why OCR is so popular. Sure not because you started it as offspring of that Overclocked webcomic, or as platform to present your remixes. Nobody is getting popular without any form of help. Must be either my language barrier - or due to the rules you setup in your first post that I get the impression that something's fishy going on here. With most of the involved mixers EXCLUDED. Especially with the second lockdown. This is the problem... The Lockdowns started because somebody decided that the quality standards needed to be pulled through and that certain mixes don't fit OCR anymore, because they're just "not good enough for what OCR is all about". What if you change the standards in the future, then randomly decide "this mix is off balance, the mixing could be better - we will remove it" or "this mix is not true to the original" or even "this mix is too true to the original, this is no remix", then you remove the remix out of reason because you think this track is not good enough for OCR anymore? This counts to me as censoring at it's worst pace, erasing some of OCR's history, saying that mixer A "was not good enough - so we took him down after two years - he got his share, he should be happy". In other words as with Mission Impossible "we deny that we know you and work for our institution". This is, in my opinion, just another excuse of powerabuse and negates all rights of a remixer that is submitting to OCRemix. Wasn't there a third one planned, as soon as you hit 2grand? Or was it 1,5grand? I still remember that from before I was banned. Will you really stick to that? No, the label will say "put it down", and you have to give in - period. It's their right to do so, as they hold the only rights for the distribution now. I on the other hand had to remove it from all places where it was "once available" to fulfill that contract. Please read some books about it (in German it's GEMA, GVL & KSK - very informative), or ask your befriended lawers. It was always like that, always will be. Clearly an adhesion contract. You can't write "all rights remain to the original artist" and in the same time you prevent us musicians to do with the track what we want to at a later page. From releasing it commercially, to performing it live (Shael Riley for example), to use it in a video or whatever comes to mind at that point. If you'd hold the rights to all the tunes that were remixed, and would present them as the label who holds those rights in the first place, I'd understand that. BUT... your page is presenting fanmaterial that is, blatantly said, illegaly distributed. It is accepted because it's a "fanproduction" (like fanart), but if we're looking at it as if it's all "legal and stuff", you clearly pull off an illegal thing, try make it look like legal, and steal yourself out of the responsibility, should something ever happen like a lawsuit for example. This is not okay - and I highly object as remixer and longtime member of OC Remix, like it was asked to do so by you in the first place (via eMail). Then this whole draft is useless, as you try to enforce our rights, yet you say "it's not within our power". I'm sorry, but why even try to pull off these rules then? If they ask the mixer directly, why even bother? Only if somebody is pointing fingers and is like "this and that dude used a mix from OCR", will you go off and say "did he use that with permission from us? No, he's not allowed to do so." IMO a totally useless point in your draft that looks to me like just another add-on to look good in the end. Wait wait wait wait... Is it not my right to comment on it? Do we start this kind of crap again as it happened with the sitedesign (and the resulting random bans)? Then why was I informed to participate in the discussion if comments and objections are, I wouldn't say not being allowed, but being ignored right from the start? What's the use in this thread then anyway? Excuse me but this is your interpretation. I just wrote about "selling mixing" because it's a thing to discuss, same as with performing music live. It's a possibility that can occour and I commented on that. To me your whole draft sounds like a box filled with hot steam, but nothing else in it. The set up rules are either ridiculus and/or cut off the rights of the participating artist, even if stated in the first post that this won't be the case. It's as with disclaimers warez and ROM pages "you can test that stuff for 24hours, then you have to delete it", or even better "if you have the original cart, you're allowed to have the ROM" - but it is still illegal. You just want to be on the save side somehow. Seriously now, if you really insist on those rules... ...then I highly advice that nobody should ever submit any remixes to OCR anymore! *the very same as you told me earlier too, btw. this really reminds me of Cafepress, only a bit more sweetened up*

I guess as longtime mixer/engineer who's hanging out in several communities, I have to comment on some stuff for sure. Don't get me wrong, but some stuff is negating each other and this definitely reminds me of Cafepress where they cut off the total rights of the original artist and sold the stuff as "their work". While this might clear some things, this whole text does indeed sound like a "big label", not a friendly community anymore as it used to be. Of course you can complain about it, but well... we mixers were asked to comment (and in a pretty short time too if I may add), and I take my right to do so. This is bugging me a bit. Okay it clearly states where a remix is coming from (example: Sharing communities), but this sounds to me like that this track is "only" available on OC Remix. But what about if the mixer submitted it to a different page at the same time, or earlier, or after it was submitted on OCR but cleaned up a tad? I personally do not accept that to be honest. Mirrors are okay to help keep the bandwidth low, but I have something against it giving my mix away - for example to people like Last-FM (which is bugging me anyway, why am I listed there anyway?) or other community pages who "port" the material from example from OC Remix and redistribute them. (worst case scenario - doesn't mean that it's happening right now, but what if they'll do in the future?) As mixer I'd loose control over my track, and I'd loose track over the comments from my songs. While putting this into one place, everything's collected. I object to that, due to several reasons: 1) What if I want to withdraw that track, remix it (as in form of in-depth mixing, mastering, maybe even enhnancing it), and then sell it on a CD compilation that's also paying royalty fees to the firms who whold the copyrights? If the stuff is still on a remixing community page, the firms would be screwed, so are those who paid for the CD or the file distribution (internet download), not to mention the artist who shelled out the money for the distribution, and the fees involved to be allowed to do so. 2) What if the artist wants to move away from OCR, like happened with Mustin, Virt, etc and distribute that stuff somewhere else, or on the own page from the creators. Is that forbidden now as in "you submitted to OCR, this is OUR mix now and we can do whatever we want - even change the name"? Clearly, I won't accept that as creative participant who's helping you, the president of OCR, to keep the page interesting and running. This is what was bugging me back in the day a couple of times with the "lockdowns". Some opinions were obviously biased, some mixers weren't informed and the "delete" button was faster pressed than you could say "supercalifragilisticexpialidocious". The only comments from sides of those who deleted that material were "this was a violation, and he/she was long enough on OCR anyway". This is what's bugging me a bit. First of all you say "if you come to us, we will present your skill" as in terms of "we're a professional distributing platform", and then later you say "this is just a drumloop with a melody in it - violation of our standards, delete - sorry buddy". It's as if you'd wipe out the history of this page, and kick those in the face who helped you become big. Personally I think the invoved artist should have all rights to say "I accept your decision" or "I won't accept that, that track stays on OCR" rather than a supreme court who's like "our standards changed, we now erase all tracks that don't fit them anymore", as it happened twice already. At the moment it sounds a bit like "you're allowed to help us, pimp us out, remix, participate, help us grow" but as soon as the stuff is submitted, you'll loose all rights on your material. In terms of "standards", I have a lot more to say, but you know how I think about it - and some stuff is really ridiculus, but this is not the point here. This conflicts with the point of "reserves the right to reject removal requests". As stated a bit further up, if the artist wants to sell his remix in some sort of compilation or even an official CD, the upper point states "you can't do that", and this point states "as long as it's the official remixer, it's allowed". Two edged sword. Especially if the remixer is a member of the RIAA or German GEMA. Because those people are usually NOT allowed to submit anything for free - every track has to be cleared to collect royalty fees, etc. Overall OCR is a greyzone anyway, as all remixes submitted are NOT cleared with the copyright holders, and that'd be the original musicians, or the firms who still distribute the videogames. Somebody tell that G4-TV, Gametrailers.com, random TV stations, etc (who're financed by fees to use the page, or PayTV fees). They used tracks from OCR/VGMix/KWED already and never gave credit, not even on their page. Maybe it's because they think "this remixing scene is a greyzone anyway, so it's okay that we go into the greyzone too" Okay I had to read this a couple of times to fully understand it. Else I would have asked "but what about if that mix is also submitted to VGMix/ThaSauce/KWED?". But we're talking about "made available on", and in this case, if the track is loaded from OCR, it's an "OC Remix". And this page will terminate in 5 seconds... *cough* Once again, tell that the Game TV stations, or those who illegally sell OC Remix compilation packs. That's a two edged sword again. First you say "you have permission if credited", and then you're "if you use OCRemixes over and over, we deny that we gave permission/that this track is coming from us" or even "we deny the permission to use the files". In ths case, I think the involved musician should have the last word. It's funny how a page covering a "grey zone" is acting as a major label now - complete with adhesion contract, and with the same breath denies all actions involved if a lawsuit shall clash down. Makes me really think whether or not I should submit a remix to OCR or not from now on. Sorry to say that, but you wanted an honest opinion, so... here it is.

Can you maybe get in touch with the ThaSauce folk in therms of compo's? Their new system is great for tracking what's up. Maybe I participate this time (though I'm stuffed with client work, want to finish my new song and have a lot of private stuff to do), but I don't want to loose track of when stuff needs to be done or where to send in, etc.

If you need something for guitars only, then I'd go with Line6 GuitarPort (PSU independent) or the GearBox Silver Bundle (with Toneport, a recording DI bundled).

Maybe this link will speak for itself: http://kotaku.com/gaming/cloud-nine/ff-party-what-remake-the-people-really-want-259993.php

FF1 and FF2 was a port? Not really. The PSX version was upgraded already, new storyline, new sound. FF4 to FF6 was ported, FF3 was a remake. FF1, FF2, FF4-6 was all released on PSX, FF1/FF2 even on Wonderswan Color, then on GBA, now "redone" on Nintendo DS. But no, it's no remake. Nintendo got the wink from their customers while they tried to pull the NES Classic Stunt which was nothing like a NES emulator with a crappy NES ROM, or the GBA versions of Super Mario? Thanks but no thanks. Square rides the dead horse even more, and while the fans are screaming for certain remakes, because the games were just more interesting, it's a total no-no? Final Fantasy 7 was never properly finished, FF8 was half-assed, FF9 was just too short (in my opinion) but that was finslly again what the series was all about. FF10? Oh come on, you played a friggin "movie", right from the start it was like "if you don't finish the game, it'll never happen" and the beginning was the ending already - not to mention that NOTHING from what they planned and presented at various gameshows were implemented. FF10-2? The worst mistake they could ever do, half assed, stupid "happy ending" with no context to the rest of the game. It was just fishing for money and "fanservice". And this is what pissed the people off. That Square pulled out other games for FF7 was really not due to milking alone, the story just wasn't done (ending and plot-holes of FF7 anyone?). And why hype all the stuff, if they never release it. FF7:Crisis Core is still not released, unless you know something I don't - Dirge of Cerberus? it was more of an action game than an RPG and it's more like the sequel to Advent Children, or better "Before Crisis" anyway rather than a FF7 one, because the only relation to FF7 were the experiments with the essence of the livestream. Or do you have access to FF:Before Crisis in the USA? I guess not, so that makes two games and one movie only at this moment. Not to mention that FF7 is one of the most highly sold game (not counting FF8, as these sales are only high in Europe). It just doesn't count that "this game is still playable on PS3", because all other games (the FF1-6 remakes on PSX, FF8-9, FF10-12) are all playable on PS3 too and still they do crappy remakes. Speaking of Kingdom Hearts - this game is also milking the franchise. In my opinion as worse as Final Fantasy. Just as reminder: Kingdom Hearts Regular Edition, Kingdom Hearts - Final Mix (with extended hidden trailer to KH2), Kingdom Hearts - Chain of Memories (GBA), Kingdom Hearts 2, Kingdom Hearts - Extended Edition/Final Mix (now with Chain of Memories included as 3D game, and once again extended hidden trailer to KH3) and that soon to be Kingdom Hearts 3 which will also hint at KH4 - and wasn't there a movie planned or something like that? Or what about Dragon Quest and their spinoffs - oh... too uninteresting so they won't be re-released on GBA. Oh yeah, and what about those dissapointing Seiken Densetsu sequels and remakes? Or Crystal Chronicles? If you look at that, FF3 DS was also milking only. It looked good, but the game was worse than it's original, same with "Shinyaku Seiken Densetsu". This is what I call a good "remake" If you're so picky about "Square", complain about other firms, too. For example the people who made "Tales of...", and they still bring out new games which are sequels to their predecessors. Xenosaga? It was aimed to be a 9 part game, only 4 are out with a gap in the middle (Xenogears being EP5), so it's another unfinished game and the comments about "where are the sequels" were "we'll never release it - busted!". Valkyrie Profile (Enix)? Hell yeah a parallel sidestory that also screams for another sequel. Prince of Persia is also released over and over and nobody cares. Mortal Kombat on next generation consoles AND PSP, not to mention with "bugfixes" because the old ones couldn't be fixed in time? Tekken, King of Fighters, Dead or Alive (also successful in terms of milking the franchise). I could go on like that. I rather want a "finished" game, than an obviously finished one redone over and over and made worse in the progress (FF1-3, and now 6 again too), or a sequel to an awesome game, that has an open ending but dusts in the shelves because nobody wanted to buy it (yes - I talk about "Beyond Good and Evil"). Maybe think about that one. Then again - who cares, we'll never see certain sequels or remakes anyway outside of Japan. And one of them will be on CellPhones (Parasite Eve 3, FF7:Before Crisis, if I can remember, that Resident Evil Cellphone game) or very interesting DS games (learn software), because we're not "ready for stuff like that" yet. *sigh*

It wouldn't work for USA/Canada and Europe anyway, as this game is, like "Final Fantasy 7: Before Crisis", released in Japan for their iMode system cellphones only. It won't work here, and we can only hope for a DS remake (as it was "promised" once for FF7:BC too), though we all know that this won't happen and Square-Enix rather converts yet another "oldschool" Final Fantasy game into 3D, that nobody is interested in anyway. (I'd have loved to have a 2D FF3, but no! It had to be ported to 3D, and now FF6 with yet another storyline for DS, too). Squaresoft - please do something that the fans really care about, as you've seen on your anniversary show with the "gamers have a word" wall you started there: - FF7 Remake in Advent Children style for PS3 - FF7: Crisis Core on PSP (finally, as promised for 4 years now!) - FF7: Before Crisis on DS (all chapers!) - Chrono Trigger in 3D (like the Chrono Trigger: Resurrection project) - Radical Dreamers as it was planned as real game once (not a novel, and not like Chrono Cross as "official Remake") - Kenshin Dragon Quest for Nintendo Wii (as hinted in the showreel of the Wii Release in Japan) Nobody cares for yet another remake of FF4-6. Nobody! PE3? God PE2 was already messed up thanks due to the "Resident Evil" clone mumbo-jumbo. The best game of that series is still PE1 on PSX! And it should have stayed that way.

Well, yes and no. Balanced cables are more common in professional studio environments. You can see whether or not a microhpne (especially the cheap ones) are balanced, if it has 1 or two rings on the plug. As Stereo microphones are expensive and aimed for special use in professional environments, they use XLR right from the start usually and you won't have a problem identifying them. If the plug has 2 black rings, it's a balanced system and the second ring (or the tip) is the signal cord that is then used for phase inversion. If it has one black ring only, it's unbalanced. In home and semiprofessional studios, also with most synthesizers, it's common that unblanced cables are used due to the fact that they're cheaper, and if the cables aren't that long, noise due to radiation isn't really an issue if setup properly. In large studios and on stage, or with highend microphone equipment, it sure can make the difference and the third cable in the balanced one is some sort of "rescue line" (though not guaranteed). You can read a bit more about XLR here: http://en.wikipedia.org/wiki/XLR These combo-jacks are used for a while now, especially because there're still ton of different connection possibilities out there. Not to mention that this unit can connect guitars directly. Well and most guitar cables and connectors are unbalanced.

If we're talking about THIS E-MU0404 USB Device, it has have an XLR port. http://www.emu.com/products/product.asp?category=610&subcategory=611&product=15185 That strange looking mic port is a hybrid one. It can use normal 1/4" jacks and XLR (the triangle shaped port in the middle is for the pins. It also features phantom power, and that does only feature an XLR system. A XLR->1/4" converter would work too, but personally I don't see a benefit. XLR is only higher quality is we talk about "balanced/unbalanced". Balanced cables have a thrid cable inside, that is then phase inverted later to kill noise. This is especially interesting for very long cables, radiations in the studio environment or on-stage usage. Else unbalanced cables work just as good, but are mainly used for line signals (synths).

Works with two ways: 1) Vocals in terms of outdoor movie recordings and voice over, no special treatment needed 2) If he builds a small box with acoustic mats around it. This boosts the low end and he can use the shotgun for vocals, too. It has a different characteristic (hyper cardioid if I can remember), but it's still a condenser, though a small membrane one.

It'd work though if you'd use Cool Edit Pro/Adobe Audition, as this is aimed at multitrack recording. This combination does Shael Riley use for most of his work for example, so did Reuben Kee with "To Far Away Times/The Place we know" for the Chrono Symphonic Remix Project.

Actually Haroon Piracha used Reason for a while too before he completely switched to Cubase and ProTools (both Mac). He still uses it for productions. I also remember Ravi Sharma (SirRus) using Reason, so does Shael Riley. And SGX uses both Sonar and Reason in Rewire mode now. Nobody is saying that it's really bad per se. But it's a fact that Reason is more and more aimed at "click and play" producers, as it's showing with all kinds of Refill packs out there, patches for Substractor and the like. This happens for all kinds of tools out there. Stylus RMX is the best example, then again it can be either a boring loop player to help you get a job done quickly if you don't know how to program material, or you abuse it for more creative work and layer it with what you have. It all depends on the point of view, and what you'll make out of it. Reason is a closed system. It can only be enhanced if Propellerhead decides to release more synths, or if there're more Refills for NNXT/DrREX and the synths. It sure has some advantages to be limited by something, which can push your creativity due to the limitation. But sometimes you'll ask for more. And one major letdown in Reason is the ability to record Vocals or live instruments like a Guitar. I won't say much about FLStudio or the pro's/con's whether or not to get it or switch to a more "professional" sequencer. The basics can be learned in FL, and if you know your sequencer you can do everything with it. It's just that FLStudio has stuff build in that other sequencers lack. Cubase SE for example (since Cubase 4 is out, it's only Cubase 4 Studio for the time being) doesn't have that much effects or synths, while FL has a synth built in, a very dead simple to use "drum-module-system" (just drag and drop the sample, then lay down the beats as if you'd use a hardware beat programmer, but with a bit better overview). Then again, it can also have some letdowns in terms of mixing, live recording and general clarity in terms of the overview (unless you know how to handle that!). Logic is bound to Macintosh, but it offers a lot of possibilities right from the start (plugins/sampler/synths), same with ProTools and Cubase - only that they're cross platform. And those three (Cubase/Logic/Protools) are studio standards nowadays, though Samplitude and Sonar are on their way, too. It's hard to decide where to go. But as starter, I'd check out FLStudio if you want to use own synths and learn the basics of studio tools. If you want to force your creation and learn patching, go for Reason. If you wanna check out creative routing with the possibility to go wild, try out EnergyXT (also known as eXT, it's dirt cheap and has features of the old BuzzMachine Tracker). If you mainly want to do live recordings and mixing, maybe go for Reaper (unlimited working shareware) or Argur (though Linux only if I can remember), maybe even Garageband (very basic), the smallest versions of Sonar and Samplitude, or even the new and upcoming Steinberg Sequel (though you can only use what's offered in there, aka it's also a closed system). The possibilities are there, just try out some stuff to find out what suits you best. We really can't tell you what to go for, it depends on you. We can only say what we'd prefer and use for years now.

I'd say, form experience: Playstation 2/XBox (though X-Box Version has better Graphics): Prince of Persia Trilogy (Part 1 and Part 3 especially) Beyond Good and Evil Both are definitely must-haves. Playstation 2: BeatMania IIDX GameCube: Mario Party 5 Paper Mario RPG - The Sealed Door The Legend of Zelda - Twilight Princess Xbox: Halo 2 Panzer Dragoon Orta I'd also like to nominate the following games, but it's more of a personal opinion here: Burnout 3: Takedown (PS2/XBox) Burnout 4: Revenge (PS2) Valkyrie Profile Silmeria (PS2) Pacman VS. (Gamecube Japanese) The Legend of Zelda - 4 Swords (Gamecube Japanese) Wario Warez Inc (Gamecube) Mario Power Tennis (Gamecube, the only "fair" Mario Sports game IMO) Devil May Cry (PS2) Zone of the Enders: Anubis (aka "Second Runner", PS2) Xenosaga (PS2) ICO/Shadow of the Colossus (PS2) Shin Contra (aka "Contra: Shattered Soldier", PS2) I can't really count remakes and gameports like "Last Blade", "Metal Slug" or "Sonic Megacollection" in here, as they're basically other platforms.

Sure you can't, demo needs a dongle. Contact Steinberg, get "Studio Case II" or do it like everybody else: use an illegal copy. Then again, this is the reason why the demo isn't free. You get the meme?!

No YOU STFU, nobody likes you anyway, noob! Lazy people just piss me off! Read your books, read you manuals. Else keep your mouth shut! I help whenever I want to, not if somebody "tells me to".

Then pay an engineer or keep your hands of making music. Especially with Fruity Loops. kthnx.

How completely retarded would someone have to be to do that? I know a lot of people who did the very same mistake. They are called "beginners" or "novice users". Also known as "noobs" at this board. Ah yeah, there was a thread at this section recently which covered the very same issue, but oh... sorry... it's in german: http://www.ocremix.org/phpBB2/viewtopic.php?t=84388

http://www.ocremix.org/phpBB2/search.php Keys: Volume Issues, RMS Levels, Mastering, Volume Race http://www.google.com Keys: Online Mastering, Mastering Services in general, ... You're right, there "isn't" anything written about this problem.

More liek good shit.

Couldn't have been me I guess. I started recording later. And speaking of which: LARRY, YOU GOT MY SNAILMAIL ADRESS AGES AGO - WHERE IS THE SH*T?!" And by "sh*t" I don't mean drugs.

http://www.kvraudio.com/forum/viewtopic.php?t=141197 Links in the middle

more liek JUNOWND, am I rite?!

Wait till my mbSID is built, Yoozer. And I sure hope your bro told you that I recently "aquired" Wusikstation 2 "Bigpack" with a couple of additional bonus stuff. Hm... did I even mention ReBirth on my studiopage? XD

What you ask for, is not done with like 200USD, especially not for the microphone section. Also you ask for "the most cleanest sound", which also needs at least a neutral recording environment. If I can still remember, we have(!) a mic/audiocard thread circling around somewhere. Or go for the new Samson USB (large membran) microphone, which should work for most applications.