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I've got 50-60 grand to blow, help me do it..
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Solunaris
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#1
28th May 2005
Old 28th May 2005
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I've got 50-60 grand to blow, help me do it..

Here's my current rig:
P4 3.2GHZ
2GB RAM
Nuendo 3
TC Powercore (selling)
UAD-1
LynxTwo-C w/LS-ADAT (selling)
RME ADI-8 Pro (selling)
Focusrite Octropre (selling)
57's
(2) 421's
D112
oktava mc012 (2) (selling)
I just sold my genelec 1030A's

So far this is what I have down that I'm going to get:
Magma Expansion Chassis
(3) UAD-1's with an UltraPak
(2) TC Powercore MKII
(2) Lynx AES16
(2) Lynx Aurora 16
Apogee Big Ben
ADAM S3A's or ATC SCM20ASL's
Grace m904b or Crane Song Avocet

Microphones:
(2) Wunder CM12's
Gefell UM900 maybe 2
Avenson STO-2
Royer R122
(3) AKG C451B
e602 or Audix D6
2 more 421s
Yamaha subkick
Blue Mouse

As for outboard goes:
Empirical Labs EL8/SX
Chandler TG2 or a TG Channel and a LTD1
(2) Purple 1176's or UA 2-1176
OSA 8-Channel rack of MP1-L3's or UA8110 or Crane Song Spider or (8) Purple BIZ's
Wunder PEQ1 (2)
Mercury M72S
Helios 69 2-channel

16 ASC Tube Traps
Real trap Kit

What am I missing?
Solunaris
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28th May 2005
Old 28th May 2005
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oh yeah, and some SPL MixDreams...
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28th May 2005
Old 28th May 2005
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Suggestions for gear solutions like these are highly dependant on the business you are trying to run - tell us much more about your current and intended recording and production operations.
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#4
28th May 2005
Old 28th May 2005
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What kind of music?
Solunaris
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28th May 2005
Old 28th May 2005
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Mainly loud, rock stuff. Occaisonlly I'll be doing other music, but mostly heavy rock stuff. It's for my own person use. I probably will be renting it out occaisonally. I'm in the process of getting a commercial space. For now, I'm recording my own band in a very large living room, hence the ASC tube traps and Real Traps.
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28th May 2005
Old 28th May 2005
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You could always build a room. At $200/sq' 50-60 grand doesn't go a far as you might like. $60k will get you a 15' x 20' room.
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#7
29th May 2005
Old 29th May 2005
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use it to put a downpayment on a house.
Solunaris
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29th May 2005
Old 29th May 2005
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I own a house already...
#9
29th May 2005
Old 29th May 2005
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sounds like a cool tight list. A couple of thoughts, if you can pair off the Distressor, very useful. I have a UA 2-1176, awesome piece, works real nice with the Distressor for biggafying vocals. LTD-1>Distressor 10:1>1176 4:1 (used very mildely) that combo sounds insane, hands down. The 1176 does something magical to the track. Also the more I lean on the Distressor the better it sounds, so a lot of times I'll hit it hard on tracking. The way I look at it I'm going to slam it when we mix so do I want to use plug in or a Distressor,...... no brainer! Also I own both the LTD-1 and a TG Channel, I would get that combo instead of the TG2. I couldn't live without my LTD-1 it is the shit for vocals, bass, kick etc. The EQ is great for mixing. The TG Channel is another beast also very nice, acoustic guitar, snare, percussion, electric guitars with my Royer 121. The EQ is way different on the Channel from the LTD-1, the TG is limited in it ability to do intricate moves but the EQ itself sounds beautiful, I little high end boost on an acoustic guitar is amazing, I run it into my C2 for acoustic guitar and it just sounds expensive!!! thumbsup

p.s. this is not Gregg Sartiano, it's James Lugo. He forgot to sign out.

p.p.s find the tallest building and throw the octopre off it, that's the best sound you'll get from that piece...lolol
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#10
29th May 2005
Old 29th May 2005
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I'd hire a producer and spend the money on a public relations campaign!
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29th May 2005
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haha very funny. So far someone told me to get Prisms and a Lexicon 960L and an Eventide H8000 instead of the aurora's and buying expensive mics. I know it's a lot. But they are the best from what I hear. Apogee's of course are a candidate. More opinions please.
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29th May 2005
Old 29th May 2005
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Quote:
Originally Posted by Bob Olhsson
I'd hire a producer and spend the money on a public relations campaign!
no joke.
#13
29th May 2005
Old 29th May 2005
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I would get the room and monitoring setup as good as freakin possible. You already mentioned some good starting points (tube traps/Avocet). It might be a good idea to get an initial purchase going and tweak from there. If you blow your whole load, you've got nowhere to go if stuff doesen't work out as planned. Then you've got to sell off some stuff and lose money on it. You may get the tube traps and find that they aren't applicable to your situation. Maybe you need some paneling or diffusion. Maybe you really need tuned bass traps. Or perhaps you need to actually do a bit of a build out (elminate parallel surfaces). Get the basic studio setup and do some hardcore listening tests. Really delve into how the room sounds, and not just at the mix position! Where are the peaks and the holes? Hire a good acoustical consultant to get some advice. Also consider the comfort level of working in this space. Is there a vibe? Is it a place where you like to go and spend a lot of time? Is it a place where others like to work? how's the lighting? How's the climate control? A place with a great vibe that sounds great to listen in will yield FAR greater mixes than having the latest scamming.....oops, I mean.....summing box or newfangled Neve clone mic pre or vintage whatever compressor.

Another thing to check out is the electrical situation. If you're not on balanced power, I would HIGHLY recommend it. Check out the Equitech stuff. It might require some rewiring but the benefits can be enormous. I like to think of it as a trade off. Instead of buying more gear, you're making your existing gear sound 10 to 20% better. It can also significantly lower your noise floor which makes quiet dynamic recording actually possible. Also, make sure all of your wiring is in tip top shape. Use high quality cable in the shortest possible runs for EVERYTHING (leaving yourself enough slack to expand if you need to). Make sure your bays are in good condition. I would recommend ADC or Switchcraft bays if you need to get new ones. Check you're patch cables, instrument cables and mic cables. High grade there as well. Make sure you have a great tech to do all the wiring for you. Someone who knows what they're doing...unlike some techs I've met (Source shielding?! What's that?! You're crazy man!)

I know it kinda stinks to spend money on the boring stuff like wiring and acoustics, but that is what will make the studio sound good. It's like buying a new roof for your house. It may not look any different or give you any flashy bragging rights, but at least you can sleep at night keeping warm and dry! Best of luck!
#14
29th May 2005
Old 29th May 2005
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Quote:
Originally Posted by Gregg Sartiano
p.p.s find the tallest building and throw the octopre off it, that's the best sound you'll get from that piece...lolol
what pre, mic, and comp combination should he use to record this event....will the LTD with the distressor capture enough of the "Crack" or should he look for something a bit more pillowy with bigger body and a longer release?
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Solunaris
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29th May 2005
Old 29th May 2005
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ahh yess the good ol' octopre. sad enough it was the only preamp i owned for awhile before I realized why all my recordings sounded so thin and shitty. I knew it sucked but I thought if I used my impressive engineer skills that I would be able to get something decent. The best recording I ever made with that box is still a sorry sounding steaming pile. I would throw it off a building if I knew I couldn't get 5 bills for it. I'm extremely excited about getting my new studio.
#16
29th May 2005
Old 29th May 2005
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I'd buy two or three Distressors, I see only one on your list. I greatly prefer them over 1176's for rock because they have this attitude that the 1176 lacks. And its cheaper, roughly a thousand less per unit.

For an 8 channel mic pre, did you consider the True Precision 8? I definitely like the sound of it, although I have not heard the UA 8 channel unit yet. The True is cheaper, and I can say that I do like the Pre's in the True over the UA 6176 unit.

You did factor in the cost of wiring, storage bays, etc?

The Royer 122 is an excellent choice. I'd demo the Kiwi and see how you like it compared to the Mouse. I personally prefer the Kiwi, but I have friends who love their Mice as well, so its a matter of taste.

I'll also vouch for the ADAM S3A's. I love my S1A's, I hope to pick up a pair of S2.5A's when I pay off this infernal computator!


Dante
#17
29th May 2005
Old 29th May 2005
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Quote:
Originally Posted by arrogantbastard
I own a house already...
I think your best bet would be to find a studio that's already built and empty and move your gear in.

You will save on the overhead and if it doesn't work you are not stuck with an empty shell.

The building of the studio will eat your budget like moths on fabric.
#18
29th May 2005
Old 29th May 2005
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Quote:
Originally Posted by alphajerk
use it to put a downpayment on a house.
That's what I was going to say...
#19
18th December 2006
Old 18th December 2006
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A word of advise research more and look at the cash you have.50 or 60 grand will get you the gear,but sure wont get you the room.Also i think the hybrid set up is the next big thing look into that.You have some great gear selections,i recommend a great console with PT and at least 24 converters.You could get an entire turn key rig for around 4 to 8 grand.As for my gear choices,well vintage would be my first choice.Many great vendors lurking with great vintage gear.As for the pre i would go ape wild and get every posh pre available,and then start to look at Distressors and purples and LA-2As.But you should really focus one whats proven in the industry and than go for the new fandgled stuff.Chew on it dont rush into it take your time and talk with vendors as much as you can.Patience
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Last edited by studio825; 18th December 2006 at 02:05 AM.. Reason: I fu8888 up
#20
18th December 2006
Old 18th December 2006
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Why is it that almost every time an artist/self producer posts that they have $$ thousands $$ to spend on gear to record their own band, an avalanche ensues of posters telling the person to hire a producer and spend the money at another studio ??

Time and time again I have heard recordings of bands (ESPECIALLY the aggressive style ones) that were done at supposedly "top notch" studios (with Neve or SSL consoles and 2" tape machines), and that were pitiful and nowhere near what the client wanted as an end result.

At least if you have some top notch gear to work with, you can keep tweaking things to your heart's content without the stress of being on the clock.

For your price range you will have to make some compromises though. People here are definitely right about the room being an issue, ESPECIALLY for tracking drums for loud, aggressive style music. This is probably the only thing worth considering another studio for, and possibly final mixing.

But for tracking basically everything else (vocals, electric guitar, electric bass, keyboards, electronic stuff) you'd be throwing your money away at one of the super studios. Like I said, I've met countless bands that spent $10-$20K at a big name studio and NONE ever sounded like a major label quality production!! Without a caring producer who is really digging what you're doing (and also getting PAID to dig you!!), then the big studio route will likely be a major dissapointment.

Also, where's your budget for the guitar amp/speaker combo ?? If you leave this one out, I don't see how you expect to record the loud rock stuff.
#21
18th December 2006
Old 18th December 2006
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I agree completely with Sage691.
Don't forget about getting the best 'source' gear.
Get Boogie/Fender amps/guitars. A top DW kit with the best Zildjians, etc
Don't forget the software too. How are you doing in that department?
#22
18th December 2006
Old 18th December 2006
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Invest it in something other than Audio.

Mutual Funds
Property (Rentable Living Space or Straight Land)
Retirement Savings Plan

Do yourself a favour and set a great example for people reading this thread...
Invest at least SOME of that money for later on in life.

That being said Schoeps Mics are looking mighty fine with all that cash =)
Whomever suggested getting a pre-constructed studio is a genious. Save you alot of grief. Probably hard as heck to find though.

-Good luck
#23
18th December 2006
Old 18th December 2006
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You're missing reverb. I agree with the suggestion to grab a 960L. Maybe a TC6000.
#24
18th December 2006
Old 18th December 2006
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I think the original poster is way past this thread..

look at the most recent post: May 2005

I believe our friend arrogant is now a Tonelux console owner as wellthumbsup
#25
18th December 2006
Old 18th December 2006
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Hee haw - didn't even notice that...
#26
18th December 2006
Old 18th December 2006
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Quote:
Originally Posted by RoundBadge View Post
I think the original poster is way past this thread..

Cracks me up every time. Some people don't like to read dates, just post away.
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#27
18th December 2006
Old 18th December 2006
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Quote:
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Cracks me up every time. Some people don't like to read dates, just post away.
Me too.
#28
18th December 2006
Old 18th December 2006
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I actually wouldn't mind arrogantbastard telling us how it all panned out for him and what gear he settled with and what he moved on from and too plus any lessons learned.

I think a 60k investment in your band is quite a move! It could be entirely fruitful or a complete disaster especially considering the lack of equality in the contribution!

Peace,
cortisol
#29
18th December 2006
Old 18th December 2006
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Spending 60k can be a disaster for an owner that isn't going to put the effort into learning how to use all of that gear. The problem with getting a huge new system all at once is just that... it's overload, and you run the risk of under-utilizing your investment. See what you can get by with, and add as you NEED to. It would really be best to get something you need first and augment your setup as you discover limitations.

I'll tell you from experience, I did something very similar to what you are proposing. I do not have regrets, but I certainly wasted a lot of money. Keep in mind no microphone, preamp or compressor is going to make you a better musician... but a good producer can make you a better record. In time you will become a better producer; but is that your goal? If you want to have a legit record, spend 20k on production and the other 40k on marketing and press. People don't sell records because they have great recorded material... they sell records because people are talking about it... there's a buzz. Sad, but very, very true.

Unless you've made a lot of records, you may find it's much easier to pay someone else and making the production of your album(s) their pain in the ass.

I hope that doesn't discourage you... but think about it.
#30
18th December 2006
Old 18th December 2006
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Ok, now if you actually spend the money... make sure you go for microphones. Not chinese capsule mic's, not 12 SM57's. Get a couple really nice tube mic's, maybe an old ribbon or two and keep them close to your heart.

Get mic's that have been in demand for at least 10 years, but don't break the bank on a $15k 251 or something. Be smart... but your mic's will be selling points, they will make your job easier and they seem to be the safest investment you can make in audio today.
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