In this episode I share a little bit about some of the cool things Presonus is doing (from my visit with them at the NAMM show), and I answer more of your questions.

Happy listening!!

If you’ve got a question, ask away here:

Topics covered:

  • Hooking up an external preamp
  • How to decide where to pan your tracks
  • Copyright and Public Domain
  • Sweet rack for only $15
  • Mixing while recording
  • Setting levels
  • Dealing with mediocre musicians
  • Balancing drums
  • Parallel compression
  • Hanging guitars and acoustic treatment

Links from the show:

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  • Joe were you at the Presonus Event at RCA Studio A last night on Music Row? If so, I guess I just missed you… someone there said you were there… I was up in the front row far right (i.e. next to the snack table of course).

    • Yep, I was there!

      Were you the guy Jeff Mac said he was talking to? I meant to come find you but got held up at the “ask a question” table. 🙂

  • Jimbobjones

    For the guy with the question on bypassing the MR816x preamps…

    I have a MR816X and I use 2 external preamps when I want a coloured sound.
    With most interfaces, the 1/4″ jack does indeed bypass the pre amp, but annoyingly, not so with the MR816X. This forum may help your listener: The only way to fully bypass the preamps are to use the 2 unbalanced insert jacks on the MR816x. The preamps are very neutral sounding so they shouldnt affect the sound too much, but anyways in case he wants the fully bypassed sound, this is what he should so:
    1 – get a standard patch cable and attach his external preamp 1/4″ output to the insert on the MR816X.
    2 – The catch here though, is to insert it in all the way fully, and then pull it out one notch (or insert it one notch, depending on your point of view). This will bypass the insert send ring and should avoid the balanced/unbalanced signal issues that can arise.

    This is perhaps the only drawback with this otherwise fantastic and amazing interface card. I love mine, and rarely do I need stereo outboard preamps. The stock preamps sound great with drums ,which is the only occasion for me when I need more than 1 or 2 channels for recording.

    Anyways, hope this helps! 🙂

  • Im thinking about how I might need to PAY people to listen to my music That is
    If I get a Song completely finished which is debatable

    • I’m feeling you buddy

      • I’ll be experimenting with some different ideas when I release my next album. I’ll keep y’all posted about what works and what doesn’t. 🙂

    • Haha. There’s an idea.

      I think that’s kind of the idea behind giving away music for free. You’re “paying” them by not “charging” them…sort of…

  • Joe great Podcast as always 
    about the copyright law , a song/composition is the life of the composer +75 years after his death …
    but it vary …
    today I am license all my work under CC (Creative Commons) attributed license .
    I do encourage any and all musicians to read Eric Beall’s book Making Music Making Money …
    will give you a start point about copyright , marketing & promotion you music or other’s music …
    as we all here DIYers this is a must read book I am suggesting to you all ….
    I’ve enjoyed this podcast and the IKEA 15$ Rack is awesome ! TNX JOE

    • Thanks Avi. You always have great insights. 🙂

  • Brian

    Joe, excellent podcast!   I did want to point out a caveat to the use of “demo” plugins.  You have to check the licensing agreements.  I recently bought a Korg Nanokey2 (handly little keyboard!) and was initially excited because I was going to be getting ToonTracks EzDrummer… but it turned out it was the light edition and specifically says in the license that you can’t use it at all for anything commercial in nature whatsoever… i.e. I can’t actually use it in my mixes!  While most demos are indeed available for use as you said, there are a few out there who pull the rug out from under you…

    Now… whether or not they’d ever check if I were to use EzDrummer in a mix (I don’t bother, I have good enough drum vsts in Sonar that I can use!) is another story.

    • Interesting point. Of course, how you define the word “commercial” is quite the debate, too.

      • Brian

         Fine point, there, Joe.  Some of us are hopeful, though, that “commercial” may apply to our work someday. 🙂 

        Personally, if I were creative enough to be able to make a plugin, and I were giving out demo versions, I would have the license read “you are more than welcome to use this in commercial projects provided you tell everybody you used my plugin”. 

        • YES! That band Manic Bloom that I wrote about a few weeks ago? On their CDs they have something like this printed on them: “It is violation of US copyright law to copy and distribute this CD, but we highly encourage it.”
          Or something like that. LOVE it.

  • Nice Mic Joe I’m after one of them also…

    Headphones… I bought some from Monoprice following The Home Recording Show discussing them. They are much higher quality sound than you would expect for the price.
    Very similar to the ATH 50s from Audio Technica. Even by shipping a couple of pairs over here in UK with import taxes still 2 pairs come in at 1/3 of the price of my existing ATs

    Hate to be a bore,…but I could tell when you went off and had a coffee as when you came back the proximity effect changed very slightly and the low end jumped up a little. 

    Take solace in the fact that I would not have noticed this prior to hooking up with HSC..LOL

    best wishes Nigel

    • Ha ha ha. You could tell when I used my time machine. The force is strong with this one. 🙂
      Thanks for the comments, Nigel.

  • Alan Collins

    I like the new Mic, Joe! (Can I have your old one;)

    • Thanks Alan! Ha ha. Still got a use for the old one. 🙂

  • Your new Mic sounds excellent . You have a great broadcast voice/tone dry . Thanks for everything . **Peace be with You**

    • Thanks Paul. I’m really digging the mic. “Get it right at the source” sometimes mean finding the right mic for the job.