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converters or everything else
Old 11th December 2011
  #1
converters or everything else

I have a lot of good high paying recording gigs coming up in the future with even more on the horizon if I do a good job, and I'm hoping to be able to save enough from that work to be able to upgrade my equipment. My question is I'm currently using a focusrite Pro40 and octopre mkII for my converters. Do you think my money would be best spent upgrading my converters or everything else in my signal chain? I don't have much in the way of expensive condenser microphones I have an akg 214 a studio projects b1 and a pair of mxl 603's my dynamic microphones are looking a little better I have a 421 an re20 a beta52 a cascade fathead and piles of 52s. I have a 7th circle audio neve pre amp clone and all of my other pre amps are onboard the converters. I feel like I've been making fairly decent sounding records and I'm not upset with any of my gear, so I was going to spend say $3000 what should I upgrade. (I attached a sample of my work if you want to listen for flaws. It is mastered) MEGAUPLOAD - The leading online storage and file delivery service
Old 14th December 2011
  #2
Does anyone have any advice? I'am not attempting to brag about future work or previous work, I'm simply looking for some guidance from a community I trust.
Old 14th December 2011
  #3
Lives for gear
 
mikeyrad's Avatar
 

Preamps and mics!

If you got a SCA rack get some more of those pres. Def invest in another n72 and get some A12's both those pres rock! Also if you need some badass clean pres get the j99's.

Also you should sell/mod the 603's and upgrade.

Try and get atleast one good LDC or a pair if possible. I have the 214 and it just doesn't do it for me.

If all you need is the amount of Inputs your DAW gives you and I would not worry about upgrading to more inputs.

Others Will say converters but hey whatever this is just my two cents
Old 14th December 2011
  #4
Lives for gear
 
thepilgrimsdream's Avatar
 

Seventh circle a12bs
Old 16th December 2011
  #5
What is the difference between the A12 pres SCA sells the have the A12 and A12B and there are lots of options when ordering for different transformers ... are those different then the cinemag? . Also I really find the 603 useful for lots of purposes that you wouldn't expect. Like matched with a 421 for punk rock or other loud vocals. I think I'll hold on to it. Any suggestions for a nicer pair of SDC though? I've used Mojave Audio MA-100SP before, and I loved them, but I'm not sure I need to drop half my budget on them.
Old 16th December 2011
  #6
Lives for gear
 
thepilgrimsdream's Avatar
 

Quote:
Originally Posted by codestar View Post
What is the difference between the A12 pres SCA sells the have the A12 and A12B and there are lots of options when ordering for different transformers ... are those different then the cinemag? . Also I really find the 603 useful for lots of purposes that you wouldn't expect. Like matched with a 421 for punk rock or other loud vocals. I think I'll hold on to it. Any suggestions for a nicer pair of SDC though? I've used Mojave Audio MA-100SP before, and I loved them, but I'm not sure I need to drop half my budget on them.
A12 is moddable, A12b is not. But the A12b is wonderful enough that you should have no reason to mod it unless your a true geek. A12b comes pre assembled, so you would be saving money if you dont want to mod or build them.

I would go to michael joly for the SDC, he can give you the best bang for the buck with his modded mics
Old 16th December 2011
  #7
whats his turn around like. There is a wait list for michael joy right
Old 17th December 2011
  #8
Lives for gear
 
thepilgrimsdream's Avatar
 

Quote:
Originally Posted by codestar View Post
whats his turn around like. There is a wait list for michael joy right
No clue, email him. He might have stuff in stock
Old 19th December 2011
  #9
Gear Head
 
recordingrev's Avatar
 

Honestly your Saffire converters are excellent and aren't holding you back. In my opinion you don't NEED anything to make better recordings. Unless you need a different type of mic to capture audio differently (dynamic vs condenser, SDC vs LDC, cardioid vs omni, etc).
Old 19th December 2011
  #10
Lives for gear
agreed with last post. your converters are excelletn actually and plenty good enough to keep forever in a recording career. the preamps in teh device are also very good, very neutral, better in many ways than those used on many hit albums in the 60s and 70s and even 80s.

get mics or work on your room itself if you havne't got a great sounding room. focus on picking up the music as well as possible (from great sounding instrument to great sounding mic). the rest of the simple chain is better than what I use currently for professional work. you're just fine.
Old 20th December 2011
  #11
Gear Maniac
 
LolrusPl's Avatar
 

I hate to hijack this thread, but would the jump from the Saffire-Grade conversion to RME justify double the price? (Discounting the amazing support and drivers from RME, purely sound-wise)
Old 21st December 2011
  #12
Gear Addict
Hate to presume here, but even the pros need to focus on fundamentals sometimes. As I recall, the rule of thumb for the upgrade path really should be:
1) Monitors
2) Room treatment - these 2 really go together
3) Mics
4) Pres
5) Plugins/instruments/outboard gear
6) Interface/Converters
7) Everything else

Assess with an ear to anything that seems out of balance with your eyes closed.
Old 22nd December 2011
  #13
Quote:
Originally Posted by yosefTux View Post
Hate to presume here, but even the pros need to focus on fundamentals sometimes. As I recall, the rule of thumb for the upgrade path really should be:
1) Monitors
2) Room treatment - these 2 really go together
3) Mics
4) Pres
5) Plugins/instruments/outboard gear
6) Interface/Converters
7) Everything else

Assess with an ear to anything that seems out of balance with your eyes closed.
This is great. I'm really attuned to my monitors, which are hs50s with a krk sub and my room is rather large and is treated (although I would like to hang some diffusiors) and has a very got "tight" sound. I ran the numbers and found out it would actually be cheaper for me to buy a mini fleet of amplifiers for my clients to play then microphone that would make a significant difference in my audio quality. Having a marshal class 5, a vox night train, a 70s fender deluxe, and a 12" fender bassman 150 bass amp will probably effect my recordings a lot more then say buying a u67 clone
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