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Mic! Mic Pre! Interface upgrade! What you think?
Old 7th June 2016
  #1
Gear Nut
 

Mic! Mic Pre! Interface upgrade! What you think?

Hey guys
I’m currently preparing to upgrade some of my gear.
I feel like currently that my vocal chain is very weak and needs some improvement.
Currently I am using a Focusrite Scarlet 2i2 interface with an at2020 microphone.
Not the best set up in the world but I was managing quite well till I found myself not satisfied with the quality of the recording anymore.
I do not have an acoustically treated room and even more not a good recording environment. I’m currently planning to move so I’ll get the acoustic treatment after I get settled.
My budget is around $3000 but I live in Korea with terrible taxes and tarrifs which will add around 30~50% more to the USD prices. So it would be better to estimate around $2000 to $2500 USD.
I am thinking of grabbing the Slate Digital’s VMS because I was eye balling that thing forever and it just sounds so good. A dream come true for someone like me.
Plus I am an Everything Bundle user so working within VMR and such is not a break in workflow for me because I already am using that workflow.

I am also thinking about getting the Focusrite Clarett 4pre interface because I need 2 headphone outputs for monitoring when recording a separate artist besides myself.
Plus a low latency interface for VMS and thunderbolt which helps opening up one usb port and hopefully better conversion. (On a macbook pro an extra usb port is like gold lol)
I am concerned about bypassing the built in pres because I heard that it cannot be truly bypassed. I know that this is true for the Scarletts but is this true for even the line inputs on the back of the Claretts?

For vocal isolation I am thinking of getting maybe the Kaotica Eyeball thing which does look quite funny but heard some nice things and some great samples from.
For recording I move around to different places quite often and it looks like it will be easy to carry around and I can be sure to have decent quality no matter where I am.
It does look quite funny tho plus it doesn't seem very flexible when it comes to mic placement because I heard that the vocalist will have to sing directly into the mic. With the vintage emulations that I will be using with VMS it seems that mic placement will play a crucial role, even if it isn't vintage its still true, so will it be better just to get a standard isolation filter type thing behind the mic? I like to place the mic slightly above the vocalist's lips slightly, not too so where they have to raise their necks but in a gentle way to capture my vocals. Sounds a bit crispier but it all depends on the room and the singer in general. Might be simpler but also could be a deal breaker so I would like to hear some advice to see what could be my best purchase.

This is what I have been thinking about but I could go a totally different route. Before the news of VMS actually launching I thought about going for the audient interface (heard great things about that unit), apogee because I use Logic, or the UA Apollo route with something like the Anvantone cv12 microphone. I'll be mostly recording male rap vocals but also some traditional female vocals as well. So versatility is key plus high quality sound.

This is a song that I have been working on. Tell me what you think of the production and mix. Feedback is always welcome. I loved my mix but compared to the original song I found it to be very weak. I know I shouldn't blame it on equipment but I have used this setup for several years now and the vocal chain seems to me as the weakest link of the song. Would love to hear what you guys think and what improvements I can make. Plus advice on gear purchase will be great as well. Thanks a lot!

https://soundcloud.com/ezhdproductio...over-feat-gina
Old 8th June 2016
  #2
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chrismeraz's Avatar
 

Figuring out where to best spend your money is surprisingly simple, if you keep in mind what is actually happening during a recording.

The music starts in the musician, and is transferred to an instrument. The instrument transfers its sound to the room, and the room pours that sound into the microphone. From there to the preamp, then the analog to digital converter, into the digital audio workstation (or tape), and the rest we will ignore for now. So let's summarize:

Musician > Instrument > Room > Mic > Preamp > ADC > DAW

It is no coincidence that this is also the order of the most important elements, and so is an excellent indicator of where you should invest the most money or time (decreasing order of importance from left to right, naturally).

Last edited by chrismeraz; 9th June 2016 at 12:26 PM..
Old 8th June 2016
  #3
Gear Nut
 

Quote:
Originally Posted by chrismeraz View Post
Figuring out where to best spend your money is surprisingly simple, if you keep in mind what is actually happening during a recording.

The music starts in the musician, and is transferred to an instrument. The instrument transfers its sound to the room, and the room pours that sound into the microphone. From there to the preamp, then the analog to digital converter, into the digital audio workstation (or tape), and the rest we will ignore for now. So let's summarize:

Musician > Instrument > Room > Mic > Preamp > ADC > DAW

It is no coincidence that this is also the order of the most important elements, and so is an excellent indicator of where you should invest the most money or time.
yep its like when i did 3d animation for a while. the 3d program is just the tool. you have to first plan out what you wanna do and all the finer details and then set it in motion in your programs and make it happen. you can doodle all day but if you have no artistic plan or direction youre screwed.
Old 9th June 2016
  #4
Gear Nut
 

Quote:
Originally Posted by chrismeraz View Post
Figuring out where to best spend your money is surprisingly simple, if you keep in mind what is actually happening during a recording.

The music starts in the musician, and is transferred to an instrument. The instrument transfers its sound to the room, and the room pours that sound into the microphone. From there to the preamp, then the analog to digital converter, into the digital audio workstation (or tape), and the rest we will ignore for now. So let's summarize:

Musician > Instrument > Room > Mic > Preamp > ADC > DAW

It is no coincidence that this is also the order of the most important elements, and so is an excellent indicator of where you should invest the most money or time (decreasing order of importance from left to right, naturally).
Exactly! That is why I'm looking into the VMS and Kaotic eyeball thing. I won't be recording anything much besides vocals mostly. Just want to know how well that eyeball will work and if I should upgrade my interface as well. If so, what would be a good interface to go for? For interface, I'm looking for something that has low latency (hopefully thunderbolt to save usb ports) Great ad,da converstion, true bypass line inputs (the focusrite stuff doesn't seem to do this), and 2 headphone outs so the artist and I can both hear whats going on in the same room at the same time. It is a pain to turn on and off the monitors and headphones every time. I've done quite a lot of research but not too sure what to do.

I'm starting to think that I should just stay with the 2i2 and spend that extra money somewhere else.
Old 10th June 2016
  #5
Dot
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Dot's Avatar
Quote:
Originally Posted by chrismeraz View Post

Musician > Instrument > Room > Mic > Preamp > ADC > DAW
And you really could keep going with that:

Musician > Instrument > Room > Mic > Preamp > ADC > DAW > DAC > Monitors > Room > Musician/Engineer/Programmer

Which can reverse the order—because every decision the Musician/Engineer/Programmer is making is based on what they're hearing in the < Room —through the < Monitors — driven by < DAC fed from < DAW.

And that also includes tracks and music by other artists that they're listening to, and forming a reference with in terms of what they think "sounds good."

The case could be made that initially it's more important to set up the Room + Monitors + DAC + DAW first. Because that's "tuning," refining, and educating the brains and ears of the person running the Studio system.

In OP's case, the "musicians" are a singer and a rapper. And even if you'd add in an acoustic gtr player, the math could look more like:

Musician + Room = Instrument

Mic + Mic Preamp = Instrument

DAW = Instrument

I also think it's much more constructive to view the entire Studio as an Instrument.

The entire Studio—including the Room—is a symbiotic feedback system that incorporates everything. Which sort of kills the idea of your "order of the most important elements."

Another approach is simply to look at the weakest link in the chain. Because it will have an effect on everything else. So, just make sure to give Equal importance to Everything, and have Everything reflect in relative ratio the quality of Everything else.

And we didn't even factor in the single most important element: The Song.

Song > Studio
Old 10th June 2016
  #6
Your quality issue is primarily most likely to be a matter of having an untreated room and lack of mixing skill.

This doesn't mean you suck, but it means you are not as good as you would like to be. Gear wont solve that. Practice and Studying will.

The audio quality measurement of PreAmps, Interfaces and Mics does indeed have an effect. But not as large as it seems based on how people talk about it.
Can you get a 100% pro sound with the cheapest gear? No. Not if we are judging from a quantifiable outlook. But in most cases we aren't and listeners/fans certainly are not. We are more so juding the actual song itself. Then the relative job on the mix. The clarity, imaging, and level of recording itself is much smaller in comparisson. Thats why some of your favorite songs when you listen to them are not actually recorded all that well. There is distortion, hiss, noise, echo, proximity issues etc..... but the song is great and that trumps the minor flaws of the recording proccess.

Bottom line. Treat the room if you can (Id personally skip the eyeball unless you cant treat the room) #2 Practice your mixing, read books and watch several tutorials. If you really want to get good, send your track to a strong engineer. Have him mix it using only stock plug-ins and send it back to you, both the stereo file and the session. Then you work on the session to recreate what he did. You first try to "blindly" build his mix, then when you hit some road blocks, you open up the other engineers session. This will teach you how to think, and teach you the true behavior of what each of the tools does to your music or voice, such as compression, reverb, delay, panning etc.......

Or take the short cut and pile on Pre-Sets and scratch your head wondering why you still dont have a good sound, after buying new gear.
Old 13th June 2016
  #7
Gear Nut
 

Quote:
Originally Posted by drethe5th View Post
Your quality issue is primarily most likely to be a matter of having an untreated room and lack of mixing skill.

This doesn't mean you suck, but it means you are not as good as you would like to be. Gear wont solve that. Practice and Studying will.

The audio quality measurement of PreAmps, Interfaces and Mics does indeed have an effect. But not as large as it seems based on how people talk about it.
Can you get a 100% pro sound with the cheapest gear? No. Not if we are judging from a quantifiable outlook. But in most cases we aren't and listeners/fans certainly are not. We are more so juding the actual song itself. Then the relative job on the mix. The clarity, imaging, and level of recording itself is much smaller in comparisson. Thats why some of your favorite songs when you listen to them are not actually recorded all that well. There is distortion, hiss, noise, echo, proximity issues etc..... but the song is great and that trumps the minor flaws of the recording proccess.

Bottom line. Treat the room if you can (Id personally skip the eyeball unless you cant treat the room) #2 Practice your mixing, read books and watch several tutorials. If you really want to get good, send your track to a strong engineer. Have him mix it using only stock plug-ins and send it back to you, both the stereo file and the session. Then you work on the session to recreate what he did. You first try to "blindly" build his mix, then when you hit some road blocks, you open up the other engineers session. This will teach you how to think, and teach you the true behavior of what each of the tools does to your music or voice, such as compression, reverb, delay, panning etc.......

Or take the short cut and pile on Pre-Sets and scratch your head wondering why you still dont have a good sound, after buying new gear.

Totally agree with what you say. I watch tutorials and practice my game endlessly and improved greatly however not there yet. I can not treat my room currently because 1, I'm not living in a traditional western type of room so one of my wall is actually a door that opens side ways and don't really have any place to put acoustic treatment. I will be moving soon as well so I'm planning to treat my studio room once I get settled. Its interesting that ever since I started to learn how to mix I realized how bad some of my favorite songs sounded Anyways, to compensate for the bad room I tend to listen to my mixes through many different devices speakers headphones earphones, the old iphone test and all. I also know how important EQ and compression is and trying to improve in those areas as best as possible as well. In the end, in most of the articles videos etc that I learn from states that it is important to get things right from the source and I totally agree with that statement. It will make things so much easier however, I just don't like the sound of the mic that I'm currently using. Especially on my own voice. I actually prefer the USB mic that I had before. I won't be spending any more money on gear for the next couple or so years. More like can't so I just want to have everything set before then. I know gear isn't going to solve my problems when I can't use them properly. Just want to capture my vocals better with better sound from the start to make my mixing life a bit easier.
Old 14th June 2016
  #8
Quote:
Originally Posted by Zfalcon1 View Post
I can not treat my room currently because 1, I'm not living in a traditional western type of room so one of my wall is actually a door that opens side ways and don't really have any place to put acoustic treatment. I will be moving soon as well so I'm planning to treat my studio room once I get settled. Its interesting that ever since I started to learn how to mix I realized how bad some of my favorite songs sounded Anyways, to compensate for the bad room I tend to listen to my mixes through many different devices speakers headphones earphones, the old iphone test and all.
It is quite possible that you are 100% right, that you cant treat this room. But if you want some good alternative suggestions on how to make it better....post a couple pictures. Especially in the acoustics forum here. Even with an odd shaped room, those guys can often give you some interesting alternatives.

Don't.....
SAY CAN'T
Instead....
SAY HOW
Old 15th June 2016
  #9
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3rd Degree's Avatar
 

I would say room treatment first though you say you can't do it, usually there is a work around, it's just if you can feasibly work around it. I arguably cannot treat my current space, don't really want to call it a room per say, but it's a really big anomaly and would not be if I didn't have a wife. At the same time, if I didn't have a great wife, I wouldn't have my Ensoniq ASR 10 on my kitchen countertop so it's all relative haha. Even though I absolutely don't like the AT2020, I would also, in that same thought process, use your budget to buy some good near field monitors. I hate suggesting a brand or model because it can be a strong preference by Dyanaudio, Adam, Focal, Genelec, and Neumann come to mind. Even with a subpar mic, you are hearing it much better. On your budget, that could eat up half on the lower end of the brands I am suggesting (and I personally wouldn't go lower than that) but you hear everything so much better that you really know what is off. I would rather keep everything you have the same, in a treated room, with those monitors than any other upgrade.

I love the idea of the Slate VMS but it took so long to come out, I haven't done enough research to know if it's something I still would be on top of. If not, there are plenty of mics, especially if you cannot afford to treat your room, and/or already have good monitors to fund another mic. To many to mention here but that would be the next one to upgrade, surely.

Even though your interface is on the budget side, it's not bad at all it's probably the last upgrade I would do. With the Slate VMS, you likely wouldn't want to add a good preamp but if you got a different LDC, that would come before the interface. It may seem strange but I feel interfaces are very rarely the weakest link if you are using something less than 5 years old.
Old 16th June 2016
  #10
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BazzBass's Avatar
actually you CAN bypass the built in pre amp on the Scarlett 2i2.

Go in with a TRS cable, set the input to "line' and turn the gain knob fully counter-clockwise.
Old 17th June 2016
  #11
Gear Nut
 

Quote:
Originally Posted by 3rd Degree View Post
I would say room treatment first though you say you can't do it, usually there is a work around, it's just if you can feasibly work around it. I arguably cannot treat my current space, don't really want to call it a room per say, but it's a really big anomaly and would not be if I didn't have a wife. At the same time, if I didn't have a great wife, I wouldn't have my Ensoniq ASR 10 on my kitchen countertop so it's all relative haha. Even though I absolutely don't like the AT2020, I would also, in that same thought process, use your budget to buy some good near field monitors. I hate suggesting a brand or model because it can be a strong preference by Dyanaudio, Adam, Focal, Genelec, and Neumann come to mind. Even with a subpar mic, you are hearing it much better. On your budget, that could eat up half on the lower end of the brands I am suggesting (and I personally wouldn't go lower than that) but you hear everything so much better that you really know what is off. I would rather keep everything you have the same, in a treated room, with those monitors than any other upgrade.

I love the idea of the Slate VMS but it took so long to come out, I haven't done enough research to know if it's something I still would be on top of. If not, there are plenty of mics, especially if you cannot afford to treat your room, and/or already have good monitors to fund another mic. To many to mention here but that would be the next one to upgrade, surely.

Even though your interface is on the budget side, it's not bad at all it's probably the last upgrade I would do. With the Slate VMS, you likely wouldn't want to add a good preamp but if you got a different LDC, that would come before the interface. It may seem strange but I feel interfaces are very rarely the weakest link if you are using something less than 5 years old.
Yea I do have a pair of Rokits 5's that I'm using currently. They work for me but most of the time I'm using headphones anyways. I normally work during the night after work starting around 12 am so... Only really use them after I get a basic mix and need to make more crucial mixing decisions on the weekends. It works for me.
I ended up not to decide not to upgrade my interface like you said. Probably upgrade after a few years probably by then I will have to upgrade because of usb c and so on lol.
I guess I could treat my room somehow if I really wanted to to some degree but don't really want to go through the trouble to do so yet. My room is my studio bedroom/everything else so its already messy as it is lol. I'm going to be setting up a proper studio room when I move and room treatment is the biggest priority when I do so. I found a few companies quite famous for doing it as well over hear so hopefully I will get some nice things going on then. For now I just want everything else in place and focus more on making dope music

Quote:
Originally Posted by BazzBass View Post
actually you CAN bypass the built in pre amp on the Scarlett 2i2.

Go in with a TRS cable, set the input to "line' and turn the gain knob fully counter-clockwise.
I searched online and Focusrite said it themself that you cannot truely bypass the built in pres because the line input does go through the built in pres slightly. Then they said that the pres are transparent in nature so it wouldn't make a big difference. It seems that most people can't tell a big difference while others do. Not too sure how to think about that but the idea of a signal going through 2 different types of pres seems to be redundant and not too good.
Old 18th June 2016
  #12
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BazzBass's Avatar
Only an xlr cable in the input goes to the pre amps, use a TRS cable.

the gain structure in line mode is much lower, and turned counterclockwise is off.

I record vox and bass and acoustic guitars and there is no saturation or added noise going this way.

Compared to analogue days,you have nothing to worry about. try bouncing down five times on a 4 track cassette tape to put things in perspective. We are talking about minute differences here
Old 20th June 2016
  #13
Gear Nut
 

Quote:
Originally Posted by BazzBass View Post
Only an xlr cable in the input goes to the pre amps, use a TRS cable.

the gain structure in line mode is much lower, and turned counterclockwise is off.

I record vox and bass and acoustic guitars and there is no saturation or added noise going this way.

Compared to analogue days,you have nothing to worry about. try bouncing down five times on a 4 track cassette tape to put things in perspective. We are talking about minute differences here
True to this. Although it does not do true bypass apparently there isn't much of a difference or added saturation. I decided on just using my 2i2 and maybe upgrading later on when I really need it. I'm not gonna be recording much anyways except for vocals and maybe some acoustic guitars now and then.
Old 20th June 2016
  #14
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Focusrite__'s Avatar
 

"Currently I am using a Focusrite Scarlet 2i2 interface with an at2020 microphone.
Not the best set up in the world but I was managing quite well till I found myself not satisfied with the quality of the recording anymore."


Your room isn't sound treated, yet you're blaming the interface and AT2020? You can make great music with your set up as it is. I think you need to work on sound treating your room, your singing abilities, and learn how to mix and master your vocals before we upgrade any further. After that is taken care of and you're still not satisfied, upgrade your microphone.
Old 21st June 2016
  #15
Gear Nut
 

Quote:
Originally Posted by Focusrite__ View Post
"Currently I am using a Focusrite Scarlet 2i2 interface with an at2020 microphone.
Not the best set up in the world but I was managing quite well till I found myself not satisfied with the quality of the recording anymore."


Your room isn't sound treated, yet you're blaming the interface and AT2020? You can make great music with your set up as it is. I think you need to work on sound treating your room, your singing abilities, and learn how to mix and master your vocals before we upgrade any further. After that is taken care of and you're still not satisfied, upgrade your microphone.
I record in diverse places outside of my home studio often where sound treatment is not possible. My room is not treated as well but I know the sound of it well enough to mix and clean up my recordings as well. I love my interface and the only reason I was looking into upgrading is that when I record other vocalists in other cities, I often cannot bring my monitors with me (I actually did it once ) so I need two headphone outs built into my interface. I record myself and other vocalists as well and I work on my vocals everyday as well as the vocalists that I record. The vocalists that I record are all amateurs but are passionate about what they do and always does their best to get a professional result.
I'm not trying to blame the gear that I have purchased for my music because I make music that I think sounds good and music that I personally like and I love it. If I blamed gear for the music that I created then that would mean that my gear made my music for me but that isn't the case.
As mentioned above, I decided in keeping my interface for at least 3 more years and now I'm moving away from buying VMS mostly due to the fact that it is too unpredictable when it will hit my country plus I'm not really sure if I really need it. Might purchase a rhode nt1a or just stay with the 2020 for now.

I believe my mixes and productions sounds pretty good although I still have a lot more room for improvement. I work on my stuff every single day and I have a couple thousand bucks to spend on gear which I will no longer be able to upgrade for the next 2~3 years because of some stupid law in my country (Korea), so I cannot make any money during that time. I just want to spend my little but hard earned and saved money wisely. I don't have anywhere else much to spend that money on anyways and I saved it up specifically for music.

I'm not trying to be one of those kids who blames their bad productions on their gear although I might sound like one. I think my productions are great but I also know I have a lot more to improve and that is why I constantly watch tutorials like Pensado's place, Recording Revolution and so on and try to implement those concepts into my own music.

There are many reasons why treating my room is difficult currently due to personal issues which I do not want to explain. I could do it if I wanted but I feel that it would be better to do so once I am actually settled and know that I will live in that house for at least the next 5 years. Once that is done, the first thing I will do is treat the room. I'm dying to treat my room and was so for the past several years but I moved more than once per year during that time. For the time being I need to make a compromise. I'm not in the best room with the best treatment with the best gear with endless budget or anything. But that does not mean that I have to have the best everything and have everything to be perfect. I make with what I have and I am totally happy with that but sometimes I want something more just like everyone else.

Anyways this is getting too long and I'm not trying to start a fight so I hope I didn't sound to offensive or anything. I just love making music and I have a couple grand to buy some new toys so what should I buy? I already spent a grand to buy maschine and I'm having so much fun on that thing already that I got no idea how I made music without it. Spent about 2 nights on that thing and now I can do most of what I want from that thing without searching on google or looking through the manual anymore. Still learning about what it can do and need more experimenting but its all fun and I love to do that. Thats what I love about music. Now what should I buy next? I do want to spend some money on my recordings as well and was my bigger priority but.... yea...
Old 22nd June 2016
  #16
Here for the gear
 
Focusrite__'s Avatar
 

Quote:
Originally Posted by Zfalcon1 View Post
I record in diverse places outside of my home studio often where sound treatment is not possible. My room is not treated as well but I know the sound of it well enough to mix and clean up my recordings as well. I love my interface and the only reason I was looking into upgrading is that when I record other vocalists in other cities, I often cannot bring my monitors with me (I actually did it once ) so I need two headphone outs built into my interface. I record myself and other vocalists as well and I work on my vocals everyday as well as the vocalists that I record. The vocalists that I record are all amateurs but are passionate about what they do and always does their best to get a professional result.
I'm not trying to blame the gear that I have purchased for my music because I make music that I think sounds good and music that I personally like and I love it. If I blamed gear for the music that I created then that would mean that my gear made my music for me but that isn't the case.
As mentioned above, I decided in keeping my interface for at least 3 more years and now I'm moving away from buying VMS mostly due to the fact that it is too unpredictable when it will hit my country plus I'm not really sure if I really need it. Might purchase a rhode nt1a or just stay with the 2020 for now.

I believe my mixes and productions sounds pretty good although I still have a lot more room for improvement. I work on my stuff every single day and I have a couple thousand bucks to spend on gear which I will no longer be able to upgrade for the next 2~3 years because of some stupid law in my country (Korea), so I cannot make any money during that time. I just want to spend my little but hard earned and saved money wisely. I don't have anywhere else much to spend that money on anyways and I saved it up specifically for music.

I'm not trying to be one of those kids who blames their bad productions on their gear although I might sound like one. I think my productions are great but I also know I have a lot more to improve and that is why I constantly watch tutorials like Pensado's place, Recording Revolution and so on and try to implement those concepts into my own music.

There are many reasons why treating my room is difficult currently due to personal issues which I do not want to explain. I could do it if I wanted but I feel that it would be better to do so once I am actually settled and know that I will live in that house for at least the next 5 years. Once that is done, the first thing I will do is treat the room. I'm dying to treat my room and was so for the past several years but I moved more than once per year during that time. For the time being I need to make a compromise. I'm not in the best room with the best treatment with the best gear with endless budget or anything. But that does not mean that I have to have the best everything and have everything to be perfect. I make with what I have and I am totally happy with that but sometimes I want something more just like everyone else.

Anyways this is getting too long and I'm not trying to start a fight so I hope I didn't sound to offensive or anything. I just love making music and I have a couple grand to buy some new toys so what should I buy? I already spent a grand to buy maschine and I'm having so much fun on that thing already that I got no idea how I made music without it. Spent about 2 nights on that thing and now I can do most of what I want from that thing without searching on google or looking through the manual anymore. Still learning about what it can do and need more experimenting but its all fun and I love to do that. Thats what I love about music. Now what should I buy next? I do want to spend some money on my recordings as well and was my bigger priority but.... yea...
Well you want to start as close to the source as possible. When upgrading to get better quality you get the best improvement starting in this order
  1. Sound treatment
  2. Microphone
  3. Preamp
  4. Interface

You can purchase a new microphone for now if you'd like. I'm not saying you shouldn't upgrade your interface, you should if you want, but I'd start off where it's going to make the most impact first.
Old 22nd June 2016
  #17
Gear Nut
 

Quote:
Originally Posted by Focusrite__ View Post
Well you want to start as close to the source as possible. When upgrading to get better quality you get the best improvement starting in this order
  1. Sound treatment
  2. Microphone
  3. Preamp
  4. Interface

You can purchase a new microphone for now if you'd like. I'm not saying you shouldn't upgrade your interface, you should if you want, but I'd start off where it's going to make the most impact first.
Yes and that is why I am looking into the Kaotic eyeball thing. I know it isn't going to be as good as a treated room but it is a compromise that I have to make. My question is is that if the kaotic thing better than the more traditional filters. In my head, the concept of the eyeball makes more sense and should sound cleaner (plus easy to carry around) but what about in the real world? I couldn't find much information about this online. Sorry if I didn't explain myself well on the post. I have a tendency to organise my thoughts as I write and not get to the point faster and clearer.
I listened to some of the demos for the eyeball and they all seem to sound great. I will be upgrading my mic after I spend enough time with the eyeball or whatever filter thing I get and upgrade accordingly. The last thing I want to do is spend money on something that I don't really need.
That is the reason why I started this thread. To know if the things I'm thinking about purchasing are going to be good purchases or not.
Anyways thanks for your advice. I'm glad that there are so many experienced people willing to help strangers with less education, experience, and knowledge. I am so thankful to people on this site such as yourself and the people who provide great insight on the web like Dave Pensado, ADSR, Recording Revolution, etc. Such a great time to live in and make music and I'm loving it.
Old 23rd June 2016
  #18
Gear Nut
 

The slate vms might give you a better mic and preamp. I've never used one, but if I had an extra grand, I would pick one up to test.
Old 23rd June 2016
  #19
Gear Nut
 

After some research, I have moved away from buying the NT1A because I have decided that it wouldn't be much of an upgrade to my current microphone which still does pretty decently well. It seems that the NT1A will have similar problems that I've had with my 2020 in where the highs are a bit too strong and not in a good way. I'm deciding if I should pick up something like the Avantone cv 12 or Rode mk1 or another tube based mic around this price range or just wait until VMS hits Korea. I'm in no hurry but I do not like have money just lying around because it seems to disappear so easily once I just let it sit there
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