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Comprehensive Guide for getting into Home Recording

I'm going to borrow from a few sources and do my best to make this cohesive, but this question comes up a lot. I thought we had a comprehensive guide, but it doesn't appear so. In the absence of this, I feel that a lot of you could use a simple place to go for some basics on recording. There are a couple of great resources online already on some drumming forums, but I don't think they will be around forever.
Some background on myself - I have been drumming a long time. During that time, home recording has gone from using a cassette deck to having a full blown studio at your finger tips. The technology in the last 15 years has gotten so good it really is incredible. When I was trying to decide what I wanted to do with my life, I decided to go to school for audio engineering in a world-class studio. During this time I had access to the studio and was able to assist with engineering on several projects. This was awesome, and I came out with a working knowledge of SIGNAL CHAIN, how audio works in the digital realm, how microphones work, studio design, etc. Can I answer your questions? Yes.

First up: Signal Chain! This is the basic building block of recording. Ever seen a "I have this plugged in but am getting no sound!" thread? Yeah, signal chain.

A "Signal Chain" is the path your audio follows, from sound source, to the recording device, and back out of your monitors (speakers to you normies).
A typical complete signal chain might go something like this:
1] instrument/sound source 2] Microphone/TransducePickup 3] Cable 4] Mic Preamp/DI Box 5] Analog-to-Digital Converter 6] Digital transmission medium[digital data get recoded for usb or FW transfer] 7] Digital recording Device 8] DSP and Digital summing/playback engine 9] Digital-to-Analog Converter 10] Analog output stage[line outputs and output gain/volume control] 11] Monitors/Playback device[headphones/other transducers]
Important Terms, Definitions, and explanations (this will be where the "core" information is):
1] AD Conversion: the process by which the electrical signal is "converted" to a stream of digital code[binary, 1 and 0]. This is accomplished, basically, by taking digital pictures of the audio...and this is known as the "sampling rate/frequency" The number of "pictures" determines the frequency. So the CD standard of 44.1k is 44,100 "pictures" per second of digital code that represents the electrical "wave" of audio. It should be noted that in order to reproduce a frequency accuratly, the sampling rate must be TWICE that of the desired frequency (See: Nyquist-Shannon Theorem). So, a 44.1 digital audio device can, in fact, only record frequencies as high as 22.05khz, and in the real world, the actual upper frequency limit is lower, because the AD device employs a LOW-PASS filter to protect the circuitry from distortion and digital errors called "ALIASING." Confused yet? Don't worry, there's more... We haven't even talked about Bit depth! There are 2 settings for recording digitally: Sample Rate and Bit Depth. Sample rate, as stated above, determines the frequencies captured, however bit depth is used to get a better picture of the sample. Higher bit depth = more accurate sound wave representation. More on this here. Generally speaking, I record at 92KHz/24 bit depth. This makes huge files, but gets really accurate audio. Why does it make huge files? Well, if you are sampling 92,000 times per second, you are taking each sample and applying 24 bits to that, multiply it out and you get 92,000*24 = 2,208,000 bits per second or roughly 0.26MB per second for ONE TRACK. If that track is 5 minutes long, that is a file that is 78.96MB in size. Now lets say you used 8 inputs on an interface, that is, in total, 631.7MB of data. Wow, that escalates quick, right? There is something else to note as well here: Your CPU has to calculate this. So the amount of calculations it needs to perform for this same scenario is ~17.7 million calculations PER SECOND. This is why CPU speed and RAM is super important when recording digitally.
2] DA conversion: the process by which the digital code (the computer representation of a sound wave) is transformed back into electrcal energy in the proper shape. In a oversimplified explanation, the code is measured and the output of the convertor reflects the value of the code by changing voltage. Think of a sound wave on a grid: Frequency would represent the X axis (the horizontal axis)... but there is a vertical axis too. This is called AMPLITUDE or how much energy the wave is generating. People refer to this as how 'loud' a sound is, but that's not entirely correct. You can have a high amplitude wave that is played at a quiet volume. It's important to distinguish the two. How loud a sound is can be controlled by the volume on a speaker or transducer. But that has no impact on how much amplitude the sound wave has in the digital space or "in the wire" on its way to the transducer. So don't get hung up on how "loud" a waveform is, it is how much amplitude it has when talking about it "in the box" or before it gets to the speakeheadphone/whatever.
3] Cables: An often overlooked expense and tool, cables can in fact, make or break your recording. The multitudes of types of cable are determined by the connector, the gauge(thickness), shielding, type of conductor, etc... Just some bullet points on cables:
- Always get the highest quality cabling you can afford. Low quality cables often employ shielding that doesnt efectively protect against AC hums(60 cycle hum), RF interference (causing your cable to act as a gigantic AM/CB radio antenna), or grounding noise introduced by other components in your system. - The way cables are coiled and treated can determine their lifespan and effectiveness. A kinked cable can mean a broken shield, again, causing noise problems. - The standard in the USA for wiring an XLR(standard microphone) cable is: PIN 1= Cold/-, PIN 2= Hot/+, PIN 3=Ground/shield. Pin 3 carries phantom power, so it is important that the shield of your cables be intact and in good condition if you want to use your mic cables without any problems. - Cables for LINE LEVEL and HI-Z(instrument level) gear are not the same! - Line Level Gear, weather professional or consumer, should generally be used with balanced cables (on a 1/4" connector, it will have 3 sections and is commonly known as TRS -or- TipRingSleeve). A balanced 1/4" is essentially the same as a microphone cable, and in fact, most Professional gear with balanced line inputs and outputs will have XLR connectors instead of 1/4" connectors. - Hi-Z cable for instruments (guitars, basses, keyboards, or anything with a pickup) is UNBALANCED, and should be so. The introduction of a balanced cable can cause electricity to be sent backwards into a guitar and shock the guitar player. You may want this to happen, but your gear doesn't. There is some danger here as well, especially on stage, where the voltage CAN BE LETHAL. When running a guitabass/keyboard "Direct" into your interface, soundcard, or recording device, you should ALWAYS use a "DIRECT BOX", which uses a transformer to isolate and balance the the signal or you can use any input on the interface designated as a "Instrument" or "Hi-Z" input. It also changes some electrical properties, resulting in a LINE LEVEL output (it amplifies it from instrument level to line level).
4] Digital Data Transmissions: This includes S/PDIF, AES/EBU, ADAT, MADI. I'm gonna give a brief overview of this stuff, since its unlikely that alot of you will ever really have to think about it: - SDPIF= Sony Phillips Digital Interface Format. using RCA or TOSLINK connectors, this is a digital protocol that carries 3 streams of information. Digital audio Left, Digital Audio Right, and CLOCK. SPDIF generally supports 48khz/20bit information, though some modern devices can support up to 24bits, and up to 88.2khz. SPDIF is the consumer format of AES/EBU - AES/EBU= Audio Engineering Society/European Breadcasters Union Digital protocol uses a special type of cable often terminated with XLR connectors to transmit 2 channels of Digital Audio. AES/EBU is found mostly on expensive professional digital gear. - ADAT= the Alesis Digital Audio Tape was introduced in 1991, and was the first casette based system capable of recording 8 channels of digital audio onto a single cartridge(a SUPER-VHS tape, same one used by high quality VCR's). Enough of the history, its not so important because we are talking about ADAT-LIGHTPIPE Protocol, which is a digital transmission protocol that uses fiberoptic cable and devices to send up to 8 channels of digital audio simultaneously and in sync. ADAT-Lightpipe supports up to 48khz sample rates. This is how people expand the number of inputs by chaining interfaces. - MADI is something you will almost never encounter. It is a protocol that allows up to 64 channels of digital audio to be transmitted over a single cable that is terminated by BNC connectors. Im just telling you it exists so in case you ever encounter a digital snake that doesnt use Gigabit Ethernet, you will know whats going on.
digital transmission specs: SPDIF -> clock->2Ch->RCA cable(consumer) ADAT-Lightpipe->clock->8Ch->Toslink(semi-pro) SPDIF-OPTICAL->clock->2Ch->Toslink(consumer) AES/EBU->clock->2Ch->XLR(Pro) TDIF->clock->8Ch->DSub(Semi-Pro) ______________ MADI->no clock->64Ch->BNC{rare except in large scale pofessional apps} SDIF-II->no clock->24Ch->DSub{rare!} AES/EBU-13->no clock->24Ch->DSub
5] MICROPHONES: There are many types of microphones, and several names for each type. The type of microphone doesn't equate to the polar pattern of the microphone. There are a few common polar patterns in microphones, but there are also several more that are less common. These are the main types- Omni-Directional, Figure 8 (bi-directional), Cardioid, Super Cardioid, Hyper Cardioid, Shotgun. Some light reading.... Now for the types of microphones: - Dynamic Microphones utilize polarized magnets to convert acoustical energy into electrical energy. there are 2 types of dynamic microphones: 1) Moving Coil microphones are the most common type of microphone made. They are also durable, and capable of handling VERY HIGH SPL (sound pressure levels). 2) Ribbon microphones are rare except in professional recording studios. Ribbon microphones are also incredibly fragile. NEVER EVER USE PHANTOM POWER WITH A RIBBON MICROPHONE, IT WILL DIE (unless it specifically requires it, but I've only ever seen this on one Ribbon microphone ever). Sometimes it might even smoke or shoot out a few sparks; applying phantom power to a Ribbon Microphone will literally cause the ribbon, which is normally made from Aluminum, to MELT. Also, windblasts and plosives can rip the ribbon, so these microphones are not suitible for things like horns, woodwinds, vocals, kick drums, or anything that "pushes air." There have been some advances in Ribbon microphones and they are getting to be more common, but they are still super fragile and you have to READ THE MANUAL CAREFULLY to avoid a $1k+ mistake. - CondenseCapacitor Microphones use an electrostatic charge to convert acoustical energy into electrical energy. The movement of the diaphragm(often metal coated mylar) toward a ceramic "backplate" causes a fluctuation in the charge, which is then amplified inside the microphone and output as an electrical signal. Condenser microphones usually use phantom power to charge the capacitors' and backplate in order to maintain the electrostatic charge. There are several types of condenser microphones: 1) Tube Condenser Microphones: historically, this type of microphone has been used in studios since the 1940s, and has been refined and redesigned hundreds, if not thousands of times. Some of the "best sounding" and most desired microphones EVER MADE are Tube Condenser microphones from the 50's and 60's. These vintage microphones, in good condition, with the original TUBES can sell for hundreds of thousands of dollars. Tube mics are known for sounding "full", "warm", and having a particular character, depending on the exact microphone. No 2 tubes mics, even of the same model, will sound the same. Similar, but not the same. Tube mics have their own power supplies, which are not interchangeable to different models. Each tube mic is a different design, and therefore, has different power requirements. 2) FET Condenser microphones: FET stands for "Field Effect Transistor" and the technology allowed condenser microphones to be miniturized. Take for example, the SHURE beta98s/d, which is a minicondenser microphone. FET technology is generally more transparant than tube technology, but can sometimes sound "harsh" or "sterile". 3) Electret Condenser Microphones are a condenser microphone that has a permanent charge, and therefore, does not require phantom power; however, the charge is not truly permanent, and these mics often use AA or 9V batteries, either inside the mic, or on a beltpack. These are less common.
Other important things to know about microphones:
- Pads, Rolloffs, etc: Some mics have switches or rotating collars that notate certain things. Most commonly, high pass filters/lowcut filters, or attenuation pads. 1) A HP/LC Filter does exactly what you might think: Removes low frequency content from the signal at a set frequency and slope. Some microphones allow you to switch the rolloff frequency. Common rolloff frequencies are 75hz, 80hz, 100hz, 120hz, 125hz, and 250hz. 2) A pad in this example is a switch that lowers the output of the microphone directly after the capsule to prevent overloading the input of a microphone preamplifier. You might be asking: How is that possible? Some microphones put out a VERY HIGH SIGNAL LEVEL, sometimes about line level(-10/+4dbu), mic level is generally accepted to start at -75dbu and continues increasing until it becomes line level in voltage. It should be noted that linel level signals are normally of a different impedance than mic level signals, which is determined by the gear. An example for this would be: I mic the top of a snare drum with a large diaphragm condenser mic (solid state mic, not tube) that is capable of handling very high SPLs (sound pressure levels). When the snare drum is played, the input of the mic preamp clips (distorts), even with the gain turned all the way down. To combat this, I would use a pad with enough attenuation to lower the signal into the proper range of input (-60db to -40 db). In general, it is accepted to use a pad with only as much attentuation as you need, plus a small margin of error for extra “headroom”. What this means is that if you use a 20db pad where you only need a 10db pad, you will then have to add an additional 10db of gain to achieve a desireable signal level. This can cause problems, as not all pads sound good, or even transparent, and can color and affect your signal in sometimes unwanted ways that are best left unamplified. - Other mic tips/info: 1) when recording vocals, you should always use a popfilter. A pop filter mounted on a gooseneck is generally more effective than a windscreen made of foam that slips over the microphone. The foam type often kill the highfrequency response, alter the polar pattern, and can introduce non-linear polarity problems(part of the frequency spectrum will be out of phase.) If you don't have a pop filter or don't want to spend on one, buy or obtain a hoop of some kind, buy some cheap panty-hose and stretch it over the hoop to build your own pop filter. 2) Terms Related to mics: - Plosives: “B”, “D”, “F”, “G”, “J”, “P”, “T” hard consonants and other vocal sounds that cause windblasts. These are responsible for a low frequency pop that can severly distort the diaphragm of the microphone, or cause a strange inconsistency of tonality by causing a short term proximity effect.
- Proximity effect: An exponential increase in low frequency response causes by having a microphone excessivly close to a sound. This can be cause by either the force of the air moving actually causes the microphone’s diaphragm to move and sometimes distort, usually on vocalists or buy the buildup of low frequency soundwaves due to off-axis cancellation ports. You cannot get proximity effect on an omnidirectional microphone. With some practice, you can use proximity effect to your advantage, or as an effect. For example, if you are recording someone whispering and it sounds thin or weak and irritating due to the intenese high mid and high frequency content, get the person very close to a cardioid microphone with two popfilters, back to back approx 1/2”-1” away from the mic and set your gain carefully, and you can achieve a very intimite recording of whispering. In a different scenario, you can place a mic inside of a kick drum between 1”-3” away from the inner shell, angled up and at the point of impact, and towards the floor tom. This usually captures a huge low end, and the sympathetic vibration of the floor tom on the kick drum hits, but retains a clarity of attack without being distorted by the SPL of the drum and without capturing unplesant low-mid resonation of the kick drum head and shell that is common directly in the middle of the shell.
6) Wave Envelope: The envelope is the graphical representation of a sound wave commonly found in a DAW. There are 4 parts to this: Attack, Decay, Sustain, Release: 1) Attack is how quickly the sound reaches its peak amplitude; 2) Decay is the time it takes to reach the sustain level; 3) Sustain how long a sound remains at a certain level (think of striking a tom, the initial smack is attack, then it decays to the resonance of the tom, how long it resonates is the sustain); 4) Release is the amount of time before the sustain stops. This is particularly important as these are also the settings on a common piece of gear called a Compressor! Understanding the envelope of a sound is key to learning how to maniuplate it.
7) Phase Cancellation: This is one of the most important concepts in home recording, especially when looking at drums. I'm putting it in this section because it matters so much. Phase Cancellation is what occurs when the same frequencies occur at different times. To put it simply, frequency amplitudes are additive - meaning if you have 2 sound waves of the same frequency, one amplitude is +4 and the other is +2, the way we percieve sound is that the frequency is +6. But a sound wave has a positive and negative amplitude as it travels (like a wave in the ocean with a peak and a swell). If the frequency then has two sources and it is 180 degrees out of phase, that means one wave is at +4 while the other is at -4. This sums to 0, or cancels out the wave. Effectively, you would hear silence. This is why micing techniques are so important, but we'll get into that later. I wanted this term at the top, and will likely mention it again.

Next we can look at the different types of options to actually record your sound!

1) Handheld/All in one/Field Recorders: I don't know if portable cassette tape recorders are still around, but that's an example of one. These are (or used to) be very popular with journalists because they were pretty decent at capturing speech. They do not fare too well with music though. Not too long ago, we saw the emergence of the digital field recorder. These are really nifty little devices. They come in many shapes, sizes and colors, and can be very affordable. They run on batteries, and have built-in microphones, and record digitally onto SD cards or harddiscs. The more simple ones have a pair of built-in condenser microphones, which may or may not be adjustable, and record onto an SD-card. They start around $99 (or less if you don't mind buying refurbished). You turn it on, record, connect the device itself or the SD card to your computer, transfer the file(s) and there is your recording! An entry-level example is the Tascam DR-05. It costs $99. It has two built in omni-directional mics, comes with a 2GB microSD card and runs on two AA batteries. It can record in different formats, the highest being 24-bit 96KHz Broadcast WAV, which is higher than DVD quality! You can also choose to record as an MP3 (32-320kbps) if you need to save space on the SD card or if you're simply going to record a speech/conference or upload it on the web later on. It's got a headphone jack and even small built-in speakers. It can be mounted onto a tripod. And it's about the size of a cell phone. The next step up (although there are of course many options that are price and feature-wise inbetween this one and the last) is a beefier device like the Zoom H4n. It's got all the same features as the Tascam DR-05 and more! It has two adjustable built-in cardioid condenser mics in an XY configuration (you can adjust the angle from a 90-120 degree spread). On the bottom of the device, there are two XLR inputs with preamps. With those, you can expand your recording possibilities with two external microphones. The preamps can send phantom power, so you can even use very nice studio mics. All 4 channels will be recorded independantly, so you can pop them onto your computer later and mix them with software. This device can also act as a USB interface, so instead of just using it as a field recorder, you can connect it directly to your computer or to a DSLR camera for HD filming. My new recommendation for this category is actually the Yamaha EAD10. It really is the best all-in-one solution for anyone that wants to record their kit audio with a great sound. It sports a kick drum trigger (mounts to the rim of the kick) with an x-y pattern set of microphones to pick up the rest of the kit sound. It also has on-board effects, lots of software integration options and smart features through its app. It really is a great solution for anyone who wants to record without reading this guide.
The TL;DR of this guide is - if it seems like too much, buy the Yamaha EAD10 as a simple but effective recording solution for your kit.

2) USB Microphones: There are actually mics that you an plug in directly to your computer via USB. The mics themselves are their own audio interfaces. These mics come in many shapes and sizes, and offer affordable solutions for basic home recording. You can record using a DAW or even something simple like the stock windows sound recorder program that's in the acessories folder of my Windows operating system. The Blue Snowflake is very affordable at $59. It can stand alone or you can attach it to your laptop or your flat screen monitor. It can record up to 44.1kHz, 16-bit WAV audio, which is CD quality. It's a condenser mic with a directional cardioid pickup pattern and has a full frequency response - from 35Hz-20kHz. It probably won't blow you away, but it's a big departure from your average built-in laptop, webcam, headset or desktop microphone. The Audio Technica AT2020 USB is a USB version of their popular AT2020 condenser microphone. At $100 it costs a little more than the regular version. The AT2020 is one of the finest mics in its price range. It's got a very clear sound and it can handle loud volumes. Other companies like Shure and Samson also offer USB versions of some of their studio mics. The AT2020 USB also records up to CD-quality audio and comes with a little desktop tripod. The MXL USB.009 mic is an all-out USB microphone. It features a 1 inch large-diaphragm condenser capsule and can record up to 24-bit 96kHz WAV audio. You can plug your headphones right into the mic (remember, it is its own audio interface) so you can monitor your recordings with no latency, as opposed to doing so with your computer. Switches on the mic control the gain and can blend the mic channel with playback audio. Cost: $399. If you already have a mic, or you don't want to be stuck with just a USB mic, you can purcase a USB converter for your existing microphone. Here is a great review of four of them.
3) Audio Recording Interfaces: You've done some reading up on this stuff... now you are lost. Welcome to the wide, wide world of Audio Interfaces. These come in all different shapes and sizes, features, sampling rates, bit depths, inputs, outputs, you name it. Welcome to the ocean, let's try to help you find land.
- An audio interface, as far as your computer is concerned, is an external sound card. It has audio inputs, such as a microphone preamp and outputs which connect to other audio devices or to headphones or speakers. The modern day recording "rig" is based around a computer, and to get the sound onto your computer, an interface is necessary. All computers have a sound card of some sort, but these have very low quality A/D Converters (analog to digital) and were not designed with any kind of sophisticated audio recording in mind, so for us they are useless and a dedicated audio interface must come into play.
- There are hundreds of interfaces out there. Most commonly they connect to a computer via USB or Firewire. There are also PCI and PCI Express-based interfaces for desktop computers. The most simple interfaces can record one channel via USB, while others can record up to 30 via firewire! All of the connection types into the computer have their advantages and drawbacks. The chances are, you are looking at USB, Firewire, or Thunderbolt. As far as speeds, most interfaces are in the same realm as far as speed is concerned but thunderbolt is a faster data transfer rate. There are some differences in terms of CPU load. Conflict handling (when packages collide) is handled differently. USB sends conflict resolution to the CPU, Firewire handles it internally, Thunderbolt, from what I could find, sends it to the CPU as well. For most applications, none of them are going to be superior from a home-recording standpoint. When you get up to 16/24 channels in/out simultaneously, it's going to matter a lot more.
- There are a number of things to consider when choosing an audio interface. First off your budget, number of channels you'd like to be able to record simultaneously, your monitoring system, your computer and operating system and your applications. Regarding budget, you have to get real. $500 is not going to get you a rig with the ability to multi-track a drum set covered in mics. Not even close! You might get an interface with 8 channels for that much, but you have to factor in the cost of everything, including mics, cables, stands, monitors/headphones, software, etc... Considerations: Stereo Recording or Multi-Track Recording? Stereo Recording is recording two tracks: A left and right channel, which reflects most audio playback systems. This doesn't necessarily mean you are simply recording with two mics, it means that what your rig is recording onto your computer is a single stereo track. You could be recording a 5-piece band with 16 mics/channels, but if you're recording in stereo, all you're getting is a summation of those 16 tracks. This means that in your recording software, you won't be able to manipulate any of those channels independantly after you recorded them. If the rack tom mic wasn't turned up loud enough, or you want to mute the guitars, you can't do that, because all you have is a stereo track of everything. It's up to you to get your levels and balance and tone right before you hit record. If you are only using two mics or lines, then you will have individual control over each mic/line after recording. Commonly, you can find 2 input interfaces and use a sub-mixer taking the left/right outputs and pluging those into each channel of the interface. Some mixers will output a stereo pair into a computer as an interface, such as the Allen&Heath ZED16. If you want full control over every single input, you need to multi-track. Each mic or line that you are recording with will get it's own track in your DAW software, which you can edit and process after the fact. This gives you a lot of control over a recording, and opens up many mixing options, and also many more issues. Interfaces that facilitate multitracking include Presonus FireStudio, Focusrite Scarlett interfaces, etc. There are some mixers that are also interfaces, such as the Presonus StudioLive 16, but these are very expensive. There are core-card interfaces as well, these will plug in directly to your motherboard via PCI or PCI-Express slots. Protools HD is a core-card interface and requires more hardware than just the card to work. I would recommend steering clear of these until you have a firm grasp of signal chain and digital audio, as there are more affordable solutions that will yield similar results in a home-environment.

DAW - Digital Audio Workstation

I've talked a lot about theory, hardware, signal chain, etc... but we need a way to interpret this data. First off what does a DAW do? Some refer to them as DAE's (Digital Audio Editors). You could call it a virtual mixing board , however that isn't entirely correct. DAWs allow you to record, control, mix and manipulate independant audio signals. You can change their volume, add effects, splice and dice tracks, combine recorded audio with MIDI-generated audio, record MIDI tracks and much much more. In the old days, when studios were based around large consoles, the actual audio needed to be recorded onto some kind of medium - analog tape. The audio signals passed through the boards, and were printed onto the tape, and the tape decks were used to play back the audio, and any cutting, overdubbing etc. had to be done physically on the tape. With a DAW, your audio is converted into 1's and 0's through the converters on your interface when you record, and so computers and their harddiscs have largely taken the place of reel-to-reel machines and analog tape.
Here is a list of commonly used DAWs in alphabetical order: ACID Pro Apple Logic Cakewalk SONAR Digital Performer FL (Fruity Loops) Studio (only versions 8 and higher can actually record Audio I believe) GarageBand PreSonus Studio One Pro Tools REAPER Propellerhead Reason (version 6 has combined Reason and Record into one software, so it now is a full audio DAW. Earlier versions of Reason are MIDI based and don't record audio) Propellerhead Record (see above) Steinberg Cubase Steinberg Nuendo
There are of course many more, but these are the main contenders. [Note that not all DAWs actually have audio recording capabilities (All the ones I listed do, because this thread is about audio recording), because many of them are designed for applications like MIDI composing, looping, etc. Some are relatively new, others have been around for a while, and have undergone many updates and transformations. Most have different versions, that cater to different types of recording communities, such as home recording/consumer or professional.
That's a whole lot of choices. You have to do a lot of research to understand what each one offers, what limitations they may have etc... Logic, Garageband and Digital Performer for instance are Mac-only. ACID Pro, FL Studio and SONAR will only run on Windows machines. Garageband is free and is even pre-installed on every Mac computer. Most other DAWs cost something.
Reaper is a standout. A non-commercial license only costs $60. Other DAWs often come bundled with interfaces, such as ProTools MP with M-Audio interfaces, Steinberg Cubase LE with Lexicon Interfaces, Studio One with Presonus Interfaces etc. Reaper is a full function, professional, affordable DAW with a tremendous community behind it. It's my recommendation for everyone, and comes with a free trial. It is universally compatible and not hardware-bound.
You of course don't have to purchase a bundle. Your research might yield that a particular interface will suit your needs well, but the software that the same company offers or even bundles isn't that hot. As a consumer you have a plethora of software and hardware manufacturers competing for your business and there is no shortage of choice. One thing to think about though is compatability and customer support. With some exceptions, technically you can run most DAWs with most interfaces. But again, don't just assume this, do your research! Also, some DAWs will run smoother on certain interfaces, and might experience problems on others. It's not a bad thing to assume that if you purchase the software and hardware from the same company, they're at least somewhat optimized for eachother. In fact, ProTools, until recently would only run on Digidesign (now AVID) and M-Audio interfaces. While many folks didn't like being limited to their hardware choices to run ProTools, a lot of users didn't mind, because I think that at least in part it made ProTools run smoother for everyone, and if you did have a problem, you only had to call up one company. There are many documented cases where consumers with software and hardware from different companies get the runaround:
Software Company X: "It's a hardware issue, call Hardware Company Z". Hardware Company Z: "It's a software issue, call Software Company X".
Another thing to research is the different versions of softwares. Many of them have different versions at different pricepoints, such as entry-level or student versions all the way up to versions catering to the pros. Cheaper versions come with limitations, whether it be a maximum number of audio tracks you can run simultaneously, plug-ins available or supported Plug-In formats and lack of other features that the upper versions have. Some Pro versions might require you to run certain kinds of hardware. I don't have time nor the will to do research on individual DAW's, so if any of you want to make a comparison of different versions of a specific DAW, be my guest! In the end, like I keep stressing - we each have to do our own research.
A big thing about the DAW that it is important to note is this: Your signal chain is your DAW. It is the digital representation of that chain and it is important to understand it in order to properly use that DAW. It is how you route the signal from one spot to another, how you move it through a sidechain compressor or bus the drums into the main fader. It is a digital representation of a large-format recording console, and if you don't understand how the signal gets from the sound source to your monitor (speaker), you're going to have a bad time.

Playback - Monitors are not just for looking at!

I've mentioned monitors several times and wanted to touch on these quickly: Monitors are whatever you are using to listen to the sound. These can be headphones, powered speakers, unpowered speakers, etc. The key thing here is that they are accurate. You want a good depth of field, you want as wide a frequency response as you can get, and you want NEARFIELD monitors. Unless you are working with a space that can put the monitor 8' away from you, 6" is really the biggest speaker size you need. At that point, nearfield monitors will reproduce the audio frequency range faithfully for you. There are many options here, closed back headphones, open back headphones, studio monitors powered, and unpowered (require a separate poweramp to drive the monitor). For headphones, I recommend AKG K271, K872, Sennheiser HD280 Pro, etc. There are many options, but if mixing on headphones I recommend spending some good money on a set. For Powered Monitors, there's really only one choice I recommend: Kali Audio LP-6 monitors. They are, dollar for dollar, the best monitors you can buy for a home studio, period. These things contend with Genelecs and cost a quarter of the price. Yes, they still cost a bit, but if you're going to invest, invest wisely. I don't recommend unpowered monitors, as if you skimp on the poweramp they lose all the advantages you gain with monitors. Just get the powered monitors if you are opting for not headphones.

Drum Mic'ing Guide, I'm not going to re-create the wheel.


That's all for now, this has taken some time to put together (a couple hourse now). I can answer other questions as they pop up. I used a few sources for the information, most notably some well-put together sections on the Pearl Drummers Forum in the recording section. I know a couple of the users are no longer active there, but if you see this and think "Hey, he ripped me off!", you're right, and thanks for allowing me to rip you off!

A couple other tips that I've come across for home recording:
You need to manage your gain/levels when recording. Digital is NOT analog! What does this mean? You should be PEAKING (the loudest the signal gets) around -12dB to -15dB on your meters. Any hotter than that and you are overdriving your digital signal processors.
What sound level should my master bus be at for Youtube?
Bass Traps 101
Sound Proofing 101
submitted by M3lllvar to drums

[SELL][US Only] Huge Declutter- Colourpop, Kylie, Marc Jacobs, Urban Decay, and LOTS MORE

Hi, thanks for checking out my post :)
Prices include Paypal G&S fees. Shipping is a flat rate of $4 (US only). Due to the circumstances, I will be going to the post office once a week.
Prior to shipping, I will sanitize everything to the best of my abilities. I have not been in contact with anyone who’s tested positive for COV-ID and am still self-quaratining (except for weekly trips to grocery store and post office. Coming from a smoke-free, pet-free home in TX.
If you’re interested in skincare, check out my sell post on skincareexchange here. Happy to offer bundle discount/free shipping if you get multiple items.
Freebies for every $20 spent listed towards end of post.
All items are full size and unused unless otherwise indicated. I’m happy to answer any questions or provide more verification photos if requested.
Eyeshadow Palettes:Verification
  • Benefit Vanity Flare - $15
  • Clinique Duo in Stawberry Fudge- $4
  • Colourpop Frozen II Anna Palette
  • Colourpop Sol Palette- $10
  • Covergirl Trunaked- Sunsets (swatched), Chocoholic- $5
  • Dominique Cosmetics Sweater Weather Palette- $12
  • Flesh Beauty FleshColor Palette- $20
  • Makeup Geek 9 Pan Palette (lightly used)
  • Marc Jacobs- Electrick, Flamboyant- $32
  • Ulta Bloom Palette- $4
  • Urban Decay Naked Reloaded- $34
Eyeshadow Singles and Primers:Verification - Anastasia Eye Primer (mini, 0.06 oz)- $5 x2 - Bareminerals Eyecolor in Queen Tiffany (mini)- $5 - Charlotte Tilbury Color Chameleon in Champagne Diamonds- $18 - Dose of Colors Block Party in Lock and Key- $14 - Dose of Colors Cream Matte Eye Color in Rodeo - $14 - Elizabeth Mott Thank Me Later Eye Primer (used once)- $13 - Give Me Glow Shadow in Wedding Cake (swatched)- $4 - Glossier Skywash in Pebble, Echo (lightly used) - Glossier Lidstar in Cub (lightly used) - Kaja Moon Crystal Sparkling Eye Pigment in Rose Quartz- $12 - KVD Metal Crush in Thunderstruck- $6 - Lorac Diamond Lux Shadow in Satin (swatched, a bit broken) - $12 - Mac Extra Dimension Foil Eyeshadow in Cop a Pose (loose in pan), Gold Metalist- $15 - Marc Jacobs Seequins in Topaz Flash,Star Dust -$18 - Milani Hypnotic Lights Holographic Eye Topper in Luster Light (used 3x)- $4 - Milk Makeup Eye Pigment in Gig (swatched), Silent Disco- $13 - Surratt Artisque Eyeshadow in Soie (swatched)- $14 - Tarte Seaglass Eyeshadow in Suite Life- $15 - Urban Decay Eyeshadow Primer Potion in Sin- $16 - Urban Decay Eyeshadow Primer Potion in Honey (swatched)- $14 - Urban Decay Eyeshadow in Solstice (swatched)- $12
Brows:Verification - Anastasia Brow Wiz in Medium Brown - It Cosmetics Brow Pencil in Universal Taupe (mini) - $5 x3 - ModelCo x Karl Lagerfeld Brow Gel and Crayon Duo in Medium Dark (used 3x)- $6 - Tweezerman Brow Mousse (mini)- $4
Mascaras ($5 each or 2 for $8):Verification
  • Bareminerals Lashtopia (mini)
  • Buxom (mini)
  • Ciate WonderWand (mini)
  • Clinique High Impact (mini)
  • Colourpop BFF in Plum
  • Dior Diorshow (mini)
  • Fenty Beauty Full Frontal Mascara (used 3x)
  • Grande Cosmetics GrandeDrama (mini)
  • It Cosmetics Superhero (mini)
  • Lancome Monsieur Big (mini)
  • Lancome Definicils (mini)
  • Laura Mercier Caviar Volume (mini)
  • Mac Extreme Dimension 3D (mini)
  • Maybelline x Puma (opened to look at wand)
  • Rimmel Shake it Fresh
  • Tarte Big Ego (mini)
  • Thrive Causemetics Liquid Lash Extensions (used 5x)
  • Too Faced Damn Girl (mini)
  • Too Faced Better than Sex (mini) x2
  • Ulta Maximum Lashes
  • Urban Decay Perversion (mini) x2
  • Well People Expressionist (mini)
  • YSL The Shock (mini)
Eyeliners:Verification - Charlotte Tilbury Rock N Kohl Eye Pencil in Black Magic (mini) - $8 - Colourpop Creme Gel in Sincerely Yours,Swerve,Honeydude, Catsuit, Lover Boy, Showdown, Charmer,Subzero- $4 - Marc Jacobs Highliner in Blue Me Away (used 3x)- $16 - Stila Stay All Day Waterproof Liquid Liner (mini)- $8 - Too Faced Better than Sex Liner (mini) - Urban Decay Glide on Eye Pencil in Perversion, Lucky, Mildew- $13 - Urban Decay in Zero (mini)- $8 x2
Primers:Verification - Bareminerals Prime Time Original (mini)- $4 - Becca First Light Priming Filter (mini)- $8 x2 - Becca Backlight Priming Filter (mini) - $8 - Bobbi Brown Primer plus Radiance (mini) - $6 - Dr Brandt Pore Refiner Primer (mini) - $6 - Elf Poreless Putty Primer- $6 - Elf Beautifully Bare Illuminating Primer (lightly used, >90% left)- $4 - Elf Beauty Shield Primer (used once)- $6 - First Aid Beauty Pore Be Gone Matte Primer (mini)- $6 - Fenty Beauty Pro Filt’r Primer (mini)- $6 - GlamGlow Glowstarter Illuminating Moisturizer (mini, used once)- $5 - Hourglass Mineral Veil Primer (mini)- $7 x2 - Hourglass Ambient Light Correcting Primer (mini)- $6 - Lancome La Base Primer (mini)- $6 - Lorac Light Source Primer in Dusk (mini)- $4 - Milk Makeup Blur Stick (mini) - $6 - Milk Makeup Hydro Grip Primer (mini)- $6 - Nyx Pore Filler (mini)- $4 - Physicians Formula Spotlight Primer (mini, used once)- $4 - Smashbox Photo Finish Primer (0.5 fl oz)- $10 - Smashbox Photo Finish Primer (0.25 fl oz)- $5 - Tarte Timeless Smoothing Primer (unused but some product got on lid)- $22 - Too Faced HangoveRx (mini)- $4 x2 - Too Faced Primed and Peachy (0.68 fl oz) - $13 - Too Faced Primed and Peachy (0.16)- $4 x2 - VDL Lumilayer Primer Fresh
Setting Sprays:Verification - Bareminerals Dew Mist (mini)- $4 - Gerard Cosmetics Slay All Day Setting Spray in Peach, Green Tea, Coconut- $15 - Milk Makeup Blur Spray- $16 - Tarte Stay Spray (mini) - $5 - Too Faced Hangoverx (mini)- $12 - Urban Decay All Nighter (mini) - $5 x5 x3
Foundations/BB Creams/CC Creams:Verification - Bareminerals Bare Pro Foundation in Golden Nude (used 3x)- $16 - Bareminerals Bareskin Serum Foundation in Bare Natural (used 5x)- $12 - Benefit Hello Happy Foundation in 6 (expired 04/2020)- $10 - Clinique Even Better Foundation in Bone (>80% left)- $14 - Deoproce White Flower BB Cream in 23 (>60% left)- $6 - Erborian CC Cream in Golden- $32 - IPKN BB Cream in Light/Medium- $20 - It Cosmetics CC Cream in Light/Medium (expires 09/2020)- $18 - Kiko Sicilian Notes Hydra Foundation in Light Beige- $14 - Lancome Skin Feels Food Skin Tint in 035W Fresh Almond (exp 11/2020)- $18
Concealers:Verification - Fenty Pro Filtr Concealer in 185, 220- $18 - Urban Decay All Nighter Concealer in Light Medium Warm (swatched)- $16
Powders:Verification - Beauty Bakerie Flour Setting Powder in Translucent- $18 - Coverfx Translucent Light Loose Powder (mini) - $5 - Dermablend Illuminating Banana Loose Powder (used once)- $18 - Elf Beautifully Bare Powder Sheer Tint Powder in Light/Medium- $4 - Laura Mercier Translucent Loose Powder in Original and Glow (minis) - Makeup Forever HD Loose Powder (mini) - $5 - Urban Decay All Nighter Waterproof Pressed Powder (swatched)- $22 - YC Collection Powder (mini)- $4
Bronzers:Verification - Benefit Hoola (mini)- $4 - Loreal Bronze Please Bronzer in Light- $8 - Physicians Formula Organize Wear Sculpting Stick in Mocha (swatched)- $7 - Thrive Causemetics Bronzer in Rhea- $28 - Undone Beauty Water Bronzer Stick in Baked (used 2x) -$7 - Winky Lux Coffee Bronzer in Mocha (used 2x) - $12
Blushes:Verification - Bareminerals Gen Nude Blush in On the Mauve- $14 - Benefit Rockateur (swatched)- $20 - Benefit Gold Rush (used 3x)- $18 - Benefit Galifornia (used 3x)- $18 - Buxom Wandlust Primer Infused Blush in Goa (swatched)- $12 - Cargo Big Easy (used 3x)- $10 - Catrice Blush Box in Burgundy- $4 - Clinique Cheek Pop in Peach Pop (used once)- $12 - Colourpop Blush in Barre Hopping and Tulip to Quit (pans only) - Colourpop Super Shock Cheek in Tasty (swatched)- $5 - Etude House Blossom Cheek in Blossom Breeze (swatched, pan loose in compact)- $8 - Kylie Cosmetics Blush in We’re Going Shopping- $12 - Lorac Blush in Technicolor (used 3x) - $10 - Mac in Margin (used 3x)- $15 - Mac Glow Play Blush in Cheer Up (swatched) - Milk Makeup Glow Oil in Flare, Glimmer (each used 3x)- $9 - Nars Dual Intensity Blush in Adoration (used once)- $20 - Neutrogena Cheeky Wink in First Crush- $6 - Nudestix Plush Paint in Waikiki Rose- $10 - Nudestix Nudies in Poppy Girl, Sunkissed (minis)- $8 - Ofra Blush in Winter Rose Glow- $8 - Physicians Formula Butter Blush in Plum Rose (lightly used) - Physicians Formula Butter Blush in Natural Glow (mini)- $4 - Physicians Formula Organic Wear Dewy Blush Elixir in Gorgeous Peach (used 3x)- $7 - Surratt Blush in Chaleur (swatched)- $18 - Too Cool for School Jelly Blusher in Apple Red- $10 - Ulta Bohemian Treasure Cream Blush in Sunrise, Sunset (swatched)- $6
Highlighters:Verification - Becca Shimmering Skin Perfector in Gradient Glow- $24 - Becca Shimmering Skin Perfector in Vanilla Quartz (mini, came broken)- $6 - Becca Shimmering Skin Perfector in Moonstone (mini, used 3x)- $8 - Becca Light Chaser in Pearl Flashes Gold- $14 - Becca Confectionary Glow Powder in Cinnamon Sugar- $10 - Benefit Dandelion Twinkle (swatched)- $20 - Bobbi Brown Highlighting Powder in Pink Glow (used 3x)- $25 - Clinique Chubby Stick in Hefty Highlight- $12 - Colourpop Super Shock Cheek in A Song and A Smile- $7 - Coverfx Glitter Drops in Aurora (mini)- $9 - Coverfx Custom Enhancer Drops in Celestial (mini)- $9 - Dior Nude Air Luminizer in Holo Gold (lightly used)- $28 - Fenty Kilowatt Duo in Moscow Mule/Ginger Binge (swatched)- $25 - First Aid Beauty Mango Butter Multi Stick in Champagne- $12 - Japonesque Highlighting Powder in Champagne Gold (used 3x)- $6 - Josie Maran Argan Enlightenment Illuminizer (mini)- $6 - Kaja Mochi Glow in Prizm- $12 - Kylie Cosmetics Kylighter in Dreamin of Diamonds, Ice Me Out- $12 - Laura Geller Dew Dreamer Illuminating Drops in Gilded Honey- $6 - Laura Geller Baked Gelato Swirl Illuminator in Diamond Dust (mini, swatched)- $6 - Mac x Aladdin Highlighter in Always One Jump Ahead (lightly used)- $28 - Makeup Revolution Liquid Highlighter in Champagne- $4 - Marc Jacobs Dew Drops in Dew You (mini, used once)- $9 - Maybelline Master Chrome Highlighter in Molten Topaz- $5 - Milk Makeup Highlighter Stick in Turnt (mini)- $6 - Milk Makeup Flex Highlighter in Glazed- $20 - Physicians Formula Butter Highlighter in Pearl (mini)- $4 - Surratt Highlighter in Coup de Genie (swatched)- $18 - Tarte Highlighter in Exposed (mini, lightly used)- $6 - Too Faced Diamond Light in Canary Diamond- $22 - Too Faced Peach Frost (used 4x, loose in compact)- $7 - Wet n Wild x Bretman Rock!Highlighting Duo- $7
Face Palettes:Verification - Anastasia Sugar Glow Kit- $22 - Anastasia Ultimate Glow Kit- $24 - Clinique Warm Up Cheek Pop Palette- $27 - Clinique On the Glow Cheek Pop Palette (bronzer lightly used)- $24 - Colourpop Clockwork Cheek Duo- $10 - Laura Geller Life Glows on Trio (swatched)- $18 - Lorac Pink Champagne Palette (swatched)- $10 - Nars Coucher de Soleil Trio- $28 - Sephora Ice Cream Face Palette- $18 - Sephora Snow Globe Face Palette (used 3x)- $15 - Tarte Skin Twinkle Highlighting Trio (swatched)- $26 - Tarte Face Trio- $14 - Ulta Frida Kahlo Cheek Duo in Beso de Sol- $6
Lips:Verification - Anatasia Lip Gloss in St Tropez (mini)- $6 - Anastasia Liquid Lipstick in Crush (mini)- $6 - Aritaum Ginger Sugar Tinted Lip Balm in Coral- $6 - Bareminerals Gen Nude Matte Liquid Lipstick in Friendship- $12 - Bareminerals Gen Nude Matte Liquid Lipstick in Swag (mini)- $6 - Bareminerals Gen Nude Lip Lacquer in Everything, Rose Quartz (mini)- $6 - Bareminerals Barepro Lipstick in Petal (mini)- $6 - Becca Glow Gloss in Malibu Soleil- $12 - Becca Glow Gloss in Metamorphic Gold- $12 - Becca Glow Gloss in Creme Brulee, Cinammon Bun, Sugar Plum (minis)- $4 - Becca Liquid Lipstick in Red Velvet- $10 - Bobbi Brown Crushed Liquid Lip in Mango Mood, Smoothie Move- $17 - Bobbi Brown Crushed Liquid Lip in Smoothie Move (mini)- $6 - Bobbi Brown Crushed Lip in Regal, Lilac, Babe, Ruby (minis)- $8 - Bobbi Brown High Shimmer Gloss in Bare Sparkle (mini)- $6 - Burts Bees Glossy Liquid Lipstick in Sandy Seas, Wine Waters (swatched)- $4 - Buxom Full on Lip Cream in Gin Fizz- $13 - Buxom Full on Lip Cream in Sangria, Cherry Flip (minis)- $7 - Buxom Full on Lip Polish in Amber (mini)- $7 - Buxom Full on Lip Polish in Dolly (mini)- $4 - Buxom Bold Gel Lipstick in White Russian, Racy Reveal- $12 - Buxom Bold Gel Lipstick in Sinful Cinammon (lightly used)- $8 - Clinique Pop Splash Gloss in Pinot Pop, Rosewater Pop (mini)- $5 - Clinique Lipstick in Bare Pop (mini)- $6 - Clinique Almost Lipstick in Black Honey (mini)- $6 - Colourpop So Juicy Plumping Lip Gloss in Let It Happen- $6 - Dose of Colors Satin Lipstick in 1928- $10 - Dose of Colors Gloss in Muah!- $10 - Dose of Colors Liquid Lipstick in Bare It All, Date Night- $10 - Em Cosmetics Infinite Lip Cloud in Spanish Earth, Crimson Red x2, Muted Mauve, Rose Nude (minis)- $7 - Fenty Mattemoiselle Lipstick in Griselda (mini, lightly used)- $4 - Fenty Mattemoiselle Lipstick in Flamingo Acid (mini)- $6 - Glossier Balm Dotcom in Mango,Birthday Cake (used 3-4x) - Givenchy Le Rose Perfecto Lip Balm in Fearless Pink (mini)- $12 - Huda Liquid Matte in Alluring- $8 - Jane Iredale Lip and Cheek Stain in Forever Pink (mini)- $10 - Juvias Place Liquid Lip in Soil- $8 - Juvias Place Liquid Lip in Mina- $6 - Laura Geller Iconic Baked Sculpting Lipstick in Midtown Mauve- $6 - Laura Mercier Lip Glace in Baby Doll (mini)- $8 - Lime Crime Wet Cherry Gloss in Bitter Cherry, Pumpkin Pie, Tangy Cherry, Extra Poppin, Cherry Crush- $13 - L’oreal Glowing Gloss in Shell We Dance- $6 - Makeup Forever Artist Liquid Matte in 105 (mini)- $6 - Makeup Revolution Gloss in Chocolate Orange- $4 - Marc Jacobs Enamored Lip Gloss Stick in Uh-Huh Honey- $18 - Milk Makeup Oil Lip Stain in Tude (swatched)- $12 - Nudestix Lip and Cheek Pencil in Sin (mini)- $8 - Nudestix Lip and Cheek Pencil in Whisper (used 3x)- $12 - Physicians Formula Butter Lip Cream in Beijos- $5 - PYT Strike Twice Lip Duo in Rumor (swatched)- $12 - RMS Beauty Lipstick in Temptation (swatched)- $7 - Tarte Tarteist Lip Paint in Get It!- $11 - Tarte Tarteist Lip Paint in Birthday Suit (mini)- $5 - Tarte Color Splash Lipstick in Salt Lyfe (mini)- $6 - Tarte Lip Quench in Nude (mini)- $6 - Tarte Lip Quench in Holly- $12 - Too Faced Rich and Dazzling Gloss in Sunset Crush (mini)- $6 - Too Faced Lip Injection Glossy in Milkshake (mini,swatched)- $5 - Too Faced Peach Lipstick in Sex on the Peach (mini)- $6 - Ulta Frida Kahlo Matte Liquid Lipstick in Sensual- $6 - Urban Decay Vice Lipstick in Naked x2, Manic (mini)- $6 - Urban Decay Vice Lipstick in Bad Blood (lightly used)- $8 - Urban Decay Hifi Gloss in SPL (mini)- $4 - Winky Lux Glazed Lip in Coffee, Sugar (mini)- $5 - Yensa Lip Oil in Pink Shine- $6 - YSL Rouge Volupte Lipstick in 44 (mini)- $12
Drugstore and More- $2 each, 2 for $3, or pick one FREE for every $20 spent:Verification - Barry M Color Balm in Currant Run (lightly used) - Covergirl Lipstick in Caramel Kiss (used 2x) - Elf Clear Brow and Lash Mascara - Ellen Tracy Liquid Eyeshadows - Essence Pure Nude Highlighter (see photo for usage) - H&M Blush Trio (used 3x) - JCat The Big Eye Pencil in Marshmallow - Ko Voss Fairy Dust Highlighter - Kiko Lip Liner in 04 - Lorac Eye Pencil in Teal (used 3x), Rose Bronze (swatched), Antique Gold - Maybelline Master Precise Liquid Liner (mini) - Maybelline Master Prime Eye Primer in Prime and Illuminate - Maybelline Clear Lip Liner (lightly used) - Maybelline Great Lash Mascara (mini) - Max Studio Baked Blush (used) - Nyx Intense Butter Gloss in Tres Leches (swatched) - Physicians Formula Killer Curves Mascara (mini) - Revlon Lip Scrub (used 5x) - Revlon Lip Balm in Peach (used 5x) - Revlon Color Stay Eye Liner in Black (used 5x) - Rimmel The Only 1 Lipstick in It’s a Keeper - Sleek Major Matte Lip Cream in Daydreamer - Sleek Lifeproof Metallic Eyeliner in Break and Enter - Soap and Glory Sexy Motherpucker Gloss Stick in Plum Jam - Stila x Dancing with the Stars Blush - Ulta Eye Liner (mini) - Ulta Poreless Face Primer (mini) - Ulta Matte Bronzer (mini) - Ulta Liquid Highlighter (mini, light gold) - Ulta Jelly Eyeshadows (mini, silvery color) - Ulta Chubby Lip Crayon (mini) - Wet n Wild Highlighter in White Raven (swatched) - Wet n Wild Highlighter in Lilac to Reality (used 3x) - Wet n Wild Contouring Palette in Caramel Toffee (lightly used) - Wet n wild pigments- Kung Fu Lightning, Ride on my Copper, Dom and Cherry on Top, Heart of Rose Gold (all swatched) - Wet n Wild Lip Gloss in Featherless (swatched), Love Bird Affair
submitted by costco_hoesale to makeupexchange

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