Opinion On My Weakest Link

[rackdude]

Ok, so I've upgraded my studio a bit. I have a Schoeps CMC4 with a MK41 capsole and it sounds beautiful, but it's solo. I have a pair of Naiant X-S's. I have an at2020 and an at2021. I have recently acquired a CAD M179, SP C3, and an SM7 *original*. I think my mics might be good for now... even though I will be adding a tube later *Avant C-12 fit here?*.

I have just made a lot of room treatment and put it up all nicely. I have been running large track counts through a Phonic Firewire 24 and smaller counts directly into a M-audio transit. So, I was thinking of getting an Audiofire 12 to beef up my conversion.

The preamps I use are from either the phonic board or from a DMP3. I was thinking of making an SCA rack and making a T15 to beef this up.

I also have a situation with guitar amps. I borrow some amps sometimes and let the people I record just use theirs. Right now I have two Crete amps *a small one and the powerblock* that I use to amp up guitar modeling from my Digitech modeler. That works fine for MY tone *I have a cool little dialed in tone of some weird amp not modeled on anything and tweaked to sound good that I love* but I don't have the OTHER tones. I'm going to try to diagnose the problem with my Fender Champ to see if I could fix that up for Fender cleans and vintage breakups, but I still don't have a good modern rock sounds *a marshall or mesa*. I do have the opertunity to use my friends Microcube whenever needed, but I don't know how great it is. I'm thinking of either investing in a Trademark 10/30 or a Peavy Classic. Fit the bill?

I have a lot of soft synths and they're chill. I have two M-audio midi controller and I am fine with the action on these. I have a Juno 106 and its working fine. I have a Casio just because its easy to turn on and play something, works to write down and inspire while the computers booting up.

I'm monitoring through a pair of KRK Rokit 8's. They seem good enough for now. Also I'll recheck mixes through my Beyerdynamic DT 770's and ATM40fs'.

I use BFD 2 and Drumagog. I used to sound replace drums but now with treatment there it's alright and its now just a artistic choice... kind of. They are a bit fuzzy still. Conveters and preamps problem?

My guitars are alright. A lot from my dad. I got a BC Rich Warlock I use with modeling. I don't know why but it sounds great with it. That's the one for that weird tone I came up with years ago and its just "mine". But for other tones I got a Gibson SG, Ibenez 59er, Gibson Student SG from the 70's or something like that, a Fender acoustic, and a ukalele. So, I don't believe the instruments are the weak link.

For bass I just DI in and use Ampeg SVX. Sounds decent enough. But I think converters and preamps will help here.

Now, I only have $500 right now. That could get me the Audiofire 12 OR the T15. Which should I get first? Then what? Then the Avant C-12? Or guitar amp?

All opinions welcome!

[u b k]

what are you monitoring thru? that'd be my first suspect.

from there, preamp, then converters.

keep saving your duckets, it's time to buy just the good stuff, things you'll never need to upgrade.


gregoire
del
ubk
.

[rackdude]

Edited that in. I think my monitors are alright for now. $500 won't get me further than I'm at *actually, those cost $500 for a pair*. But, I am looking down the line to pick up some Events or Dynaudio.

[rackdude]

Bump.

[chrysb93065]

I agree about the monitors. Events or Dynaudio will be your best upgrade. How's your room treatment?

[ddageek]

Mics and monitors are were you will always here the most difference as you move up! You've got that schoeps and the SM& now save some so that you really can hear whats going on!
I'll admit that a a pre or a better converter will make a difference but you will be amazed at the difference a pair of Dynaudios will make!

[rackdude]

Alright, so monitors before conversion or pres? Or a better mic? Will it make that much of a difference?

[kubimusik]

Simple concept really... (forgive me for taking this thread to a very basic level for a minute. Not trying to insult anyone's intelligence, I simply think sometimes it's good to look at things in terms that are as simple and basic as possible...)

First, you need to be able to hear what you're doing, otherwise everything sounds the same - good gear, bad gear, well-recorded tracks, poorly recorded tracks, good mixes, bad mixes - you'll never know. So:

• First make sure your room is decent enough to monitor in so that it doesn't negate any and all gear you put into it. You can fix it through intelligent placement of speakers, some acoustic treatment, etc.
• Then be sure your speakers/amps are solid.
• Then be sure your DA is good enough to work with.

Now you can hear, and you also know that everything that is digital to begin with (i.e. software synths, VI samplers, pre-recorded loops, etc.) will sound pretty good already.


Next, you need to make sure you have a good chain to get that which isn't digital to begin with, i.e. real recorded audio, into your system. So:

• First be sure you have a spot that lends itself to recording live. In the average bedroom studio, that usually means a dry, neutral spot that fits one performer and that doesn't introduce a nasty room sound into the recording that you won't be able to get rid of later.
• Then be sure you have a couple of decent mics. They don't necessarily have to be expensive, just appropriate for the job.
• Then be sure to have at least one decent mic pre. Usually those also have good DIs.
• Finally, be sure to get a decent 2 channel AD (or more if you track more than 2 channels at once.)

Now you can get real audio (as well as the occasional instrument rec via DI) into your system at decent quality.

This whole puzzle is connected and dependent upon each piece, so the goal is to have every one of the above mentioned elements in place in workable quality. Later you can improve each element even further, or add channels, or add mic options.

Once these two aspects (being able to hear, and being able to properly record) are taken care of, you can worry about the other stuff, i.e. more processors, plug-ins, compressors, whatever.

That's it, really. I think... Well, as far as the tools are concerned....

[rackdude]

Originally Posted by kubimusik

Simple concept really... (forgive me for taking this thread to a very basic level for a minute. Not trying to insult anyone's intelligence, I simply think sometimes it's good to look at things in terms that are as simple and basic as possible...)

First, you need to be able to hear what you're doing, otherwise everything sounds the same - good gear, bad gear, well-recorded tracks, poorly recorded tracks, good mixes, bad mixes - you'll never know. So:

• First make sure your room is decent enough to monitor in so that it doesn't negate any and all gear you put into it. You can fix it through intelligent placement of speakers, some acoustic treatment, etc.
• Then be sure your speakers/amps are solid.
• Then be sure your DA is good enough to work with.

Now you can hear, and you also know that everything that is digital to begin with (i.e. software synths, VI samplers, pre-recorded loops, etc.) will sound pretty good already.


Next, you need to make sure you have a good chain to get that which isn't digital to begin with, i.e. real recorded audio, into your system. So:

• First be sure you have a spot that lends itself to recording live. In the average bedroom studio, that usually means a dry, neutral spot that fits one performer and that doesn't introduce a nasty room sound into the recording that you won't be able to get rid of later.
• Then be sure you have a couple of decent mics. They don't necessarily have to be expensive, just appropriate for the job.
• Then be sure to have at least one decent mic pre. Usually those also have good DIs.
• Finally, be sure to get a decent 2 channel AD (or more if you track more than 2 channels at once.)

Now you can get real audio (as well as the occasional instrument rec via DI) into your system at decent quality.

This whole puzzle is connected and dependent upon each piece, so the goal is to have every one of the above mentioned elements in place in workable quality. Later you can improve each element even further, or add channels, or add mic options.

Once these two aspects (being able to hear, and being able to properly record) are taken care of, you can worry about the other stuff, i.e. more processors, plug-ins, compressors, whatever.

That's it, really. I think... Well, as far as the tools are concerned....

Thanks but... I kinda know this.

I got everything, but, what now do you think would help most?

Are the KRK's really that bad compared to Dynaudio's or Event's?

More than how bad the conversion difference would be?

Would a mic pre help the most as I only have a DMP3?

Or would getting a tube mic make a huge difference?

Thanks for all replys so far.

[kubimusik]

Well, the room, the monitors and the DA converters are really all part of the same thing, so whatever the best solution you can afford is to improve all three at once is what I'd be focusing on. So, provided the treatment of the room is good enough, get a better DA and better monitors, whatever combo you can afford.

Until you have a monitoring chain (room, monitors and DA) that you can really rely on I wouldn't worry about mic pres and tube mics. As mentioned before, you wouldn't really be able to hear the difference and work with them properly until your monitoring is taken care of.

[rackdude]

Any more opinions?

[McGee]

Originally Posted by rackdude

Any more opinions?

Extend your collection of casio keyboards.

For great interesting synth tones, buy big 70's home organs. They usually have a heap of electronics going on in them. They sold for $1000's back in the day, and you can get them for nothing now. They'll provide you some grittyness to add to your soft synth sounds. Look for the ones with the most buttons, switches and beats.

[PepsiFX357]

Sell the phonic and get an RME interface...Sell all of your least favorite mics and get a Peluso...Get the SCA N72 preamp...T15 is not that great...
krks are decent a little to forgiving of a sound for me but they can work...I picked up a pair of NS-10's on ebay for $412 and used an old yamaha power amp I had to power them...horrible sounding monitors but I'll be damn if they don't make a mix.

Ben

[PepsiFX357]

By the way, if that is a Unidyne III SM57 that you have it is the best snare drum mic that has ever been.

[Drlove]

Monitors and converters.

[knightsnare]

If you "learn" your monitors, you can get farther with less cash parting from your pocket. Spend a few days listening carefully to cds that you know what are supposed to sound like. Write down your conclusions and use them as a starting point for analyzing your mixes.
Most important part of the signal chain is time dedicated to learning your equipment.