Quote:
Originally Posted by BlakeMcKibben
For some reason I can't seem to come close to a decision. I already have 8-in/out of Lavry conversion, a u-87, pair of KM184's, 2 API 512c's, 2 560b's, TG-2, and a Coles 4038. So I'm tempted to go all in on a mixer. Such a big decision !!
Any advice?
If you have the kind of gear you are describing but can't make it sound like a record then you are facing a fundamental problem right now. Seriously.
Number 1, record great sounding instruments. Have you analyzed the quality of instruments you are recording? Who knows what **** you are recording through that slutty gear of yours?!

You need to understand that frequencies are originally generated by the sound source, no matter what you put between the sound source and the record you are going to need great sounding instruments to make it professional sounding. Let me just tell you what professionals do when they want an organ to sound good on a record, they bring in a real B3 organ, though not at random, through contacts they get their hands on the very best sounding real B3 organ and hire it for the entire project.
Number 2, record electric instruments through a great sounding amplifier. You might have the right instruments but have chosen the completely wrong signal path. Focus on getting the combination of instrument + amplifier sounding great. Let me give you an example. I have a Fender Richie Sambora USA stratocaster that sounds truly amazing on several pickup positions. This guitar actually sounds so sweet that people come on stage after the shows and tell me about how overwhelmed they are with that guitar sound. In order to make it great sounding on a record I can't just record it directly, I need to amplify it with the right amplifiers. I can choose a Traynor YCV80 or a Roland JC-120 Jazz Chorus and the sound on the record is all of a sudden of world class.
Number 3, use a great sounding overall microphone for tracking. The Neumann U-87 mic (that you use) has a 10 dB attenuation switch located on the rear. It enables the microphone to handle sound pressure levels up to 127 dB without distortion. You can also use it for M/S miking (together with another U-87...). Why not take maximum advantage of a great sounding mic?
Number 4, don't use gear for simulating room frequencies. No matter what kind of gear you use, you need to realise that an instrument sounds the best when the room allows it to shine. Maybe your recording room is too damped and you are now trying to compensate (negatively) by using gear.
Number 5, this is a controversial point, but I want to bring it up in this context. Maybe you are recording music that is not very well produced? In fact, I know a lot of professional sounding records that I don't like. Yes, the quality is great, but
I ALSO WANT TO LIKE WHAT I HEAR!
I hope this makes it a bit cheaper for you and more efficient for reaching your goal...!

If you can't make it sound like a record after these points are met, then I think you can't mix and should read about how professionals mix and/or you have monitoring problems and need to upgrade your monitors as well as configure your control room acoustics.