You can filet them, and sauté in butter & garlic...

@Diode J hoarder of audio gems~

@Diode J My studio and garage!

mono in most cases. I prefer to record in 32bit for samples, so when stretch, expand or other data isn't being made up during the editing stage and cause artifacts. if you record at 24bit and gain volume for example, the app is guessing and filling in data. when creating at 32bit you'll likely subtracting data, no destruct result. recording at a max of -3Db limiter will give you more clarity and crispness. this ensure you are also subtracting from the recording. you can bounce your final clips out at 24bit when done for use in pads, vst, synth, etc. . . everything in this realm works in multiple of 8 as a natural progression. that dreaded math!

@Monroe Neese paid subscriptions are for extra service are optional, not required. It's literally on the front page of there site. They have health insurance and other group programs for musicians.

@Phillip Patterson you'd have to check, but yes 10 for $35?

This entire philosophy is engineering in reverse. Hence the TRE. I recommend spending some time an re-watch the FTM events. Different methods and explanations exist in these event. Ultimately, the way you prefer to do things with the finished product in mind and nailing it; is the right way. There is no 'Always', 'Never' in anything in audio engineering. In my case I stick the program, it makes sense, it's repeatable and it's fast. I'll record, drop stems or tracks in a project, sometimes in a template, as I continue to build my studio the more templates are being used because of console/DAW, signal paths, chains, busses and hardware. So the first 32 channels are static. Once the tracks are sync'd, I'll drop everything to Infinity Gain (0). I'll either run a macro/script or select a group/ or all; to set the average gain to -11db. Generally I start with the drums/perc, then the bass to set a foundation. I'll add in the guitars and synths and level those up to fill the overall audio profile. So, on so forth. . . Until I bring in the VOX/BG-VOX; if there are any. General rule is to have your max volume in the entire composition ~6Db to bounce to a PreMaster file to then open as a Final Mastering Track. The entire process is about conserving energy, making mix adjustments, effects, and other in a balanced mix. The broader brushes and additional adding of volume is done in the Master. Depending on the genre will vary, but usually in the neighborhood of -3 to 0Db. . . All of this more like guidelines and actual rules. Again, go back and re-watch FTM. Good luck!