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Let's build the dream rig
Old 26th June 2005
  #1
Gear Nut
 

Lightbulb Let's build the dream rig

I'm a new member and boy is this great timing. My shows have slowed down for the next couple of months and I am looking to upgrade my moble recording rig.

I currently use a Cooper Sound 208 mixer as a master with 3 Presonus M80 (Jensen and OPA627 mod.)linked and feeding the mix buss of the Cooper. Each microphone is split with a 32 channel Whirlwind passive splitter with 30' tails, into the mic pres and into 4 Sony PCM-800 recorders. A rough mix is sent to the video decks for editorial and the DTRS tapes are sent to post sound for a Protools HD session.

Now the idea is to build a system that is easy to transport, sounds great and doesn't eat up my profit. I will not be given a big pay raise because my recordings sound so much better than last year. The people writing my checks (HDNet) don't really care how cool my gear is. No one is complaining and I only have personal reasons to better my work.

I am very interested in the ATI 8MX2. I haven't heard them but the feature set is exactly what I am looking for. It uses a VCA so you can record at one level and send to the mix buss another level. You can also monitor and mix from the tape returns and it also has a cue button on each channel. These are big deals to me above and beyond the Presonus functionallity. I think this would be the biggest bang for the buck in my upgrade.

Next would be new recorders. The Sony's have been great recorders and have worked perfectly for me recording over 350 bands in the last three years. They have more than paid for themselves and tape is still appealing to me, but they are heavy. My recorders weigh 160lbs. for 32 tracks, and although, that's nothing compaired to a Studer it's feeling heavy to my 40-something back. I would love a Radar system if I felt I could live with 24 tracks. Maybe I can, but 32 would be more comfortable. 24 tracks would sufice for 90% of the jobs I have done. The new Trashcam 48 track recorder looks interesting and I would love to have Apogee A/D, but the Radar seems like it would be the best compromise and has good sounding A/D.

OK, so what do you guys think? Let's have some build ideas that are "fly pack" configuration. I would love to see both $20,000.00 and price is no limit. Remember to keep portability and speed of setup in mind.

Brad
Old 26th June 2005
  #2
Brad,

I guess I'll bite first...

Recorders:
2 - RADAR V Nyquist w/meterbridge and session controller.

Pre's:
2 - Langevin DVC's
2 - Great River MP2MH's
2 - API Lunchboxes w/512C's
2 - JoeMeek VC1-Q's
2 - Focusrite 110's

Console:
Midas Sienna 480

Outboard:
12 - dbx 160X's
2 - Drawmer DL251's
4 - KT DN500's
2 - Drawmer DS201's
2 - Drawmer DS404's

Effects:
Lexicon PCM 91
Lexicon PCM 81
Eventide 960L
TC M5000
TC D2

Interconnect:
Whirlwind W4 48x8 dual transformer isolated w/lifts
4 - 25 foot Fans
3 - 50 foot Trunks
2 - 100 foot Trunks
2 - 300 Foot Trunks

This and a 500 foot spool of Mogami with about 500 misc neutrick connectors would make me happy.

(Not too far from this now, heheheheheh!!!)

Max
Old 26th June 2005
  #3
Gear Nut
 

Sounds like a nice setup you have there. Have the Radars ever given you any trouble?

I want to stay with a fly pack system; no large consoles, no effects, etc.
I like being inside the venue where I can quickly communicate with the FOH mixer and see any problems first hand. This means I need everything to fit within a couple of racks. I work in 500-3500 seat venues and most of them don't have room for me to bring in a large console. All recordings are go to post production so I don't need any effects or compression. I do admit some compression would be nice at times, but I try to resist the temptation. It would be really bad to over compress something because I couldn't hear it accuratly at the time and the post guys not able to undo it. Limiters yes, compressors no.
Old 26th June 2005
  #4
Quote:
Originally Posted by boomed
Sounds like a nice setup you have there. Have the Radars ever given you any trouble?

I want to stay with a fly pack system; no large consoles, no effects, etc.
I like being inside the venue where I can quickly communicate with the FOH mixer and see any problems first hand. This means I need everything to fit within a couple of racks. I work in 500-3500 seat venues and most of them don't have room for me to bring in a large console. All recordings are go to post production so I don't need any effects or compression. I do admit some compression would be nice at times, but I try to resist the temptation. It would be really bad to over compress something because I couldn't hear it accuratly at the time and the post guys not able to undo it. Limiters yes, compressors no.
You did say dream rig right?

Wish I already had the RADARS! Still stuck in ADAT Sync hell and DP 3. Got a little less than 1/2 the pre's, comps and gates. Trying to get the funding right for the RADARS as I write...

Got all of the FX except the 960L. Even snagged an Eventide 300, just need to get the LARC upgrade... but I've really got the hots for a 960L... then again... who doesn't right?

I prefer to keep the rig away from the venue entirely... thus the W4 with 300 foot trunks. I really need to snag a couple of 100 footers though. Not really needing that much trunk means I have to leave a bunch in a roller trunk somewhere that always ends up being an obstical for someone.

As or communication... with the W4 I set-up a standard com on Send Ch H and I can talk to FOH or Mon World (when there is one) without any problems.

Guess I'm kinda old school, but tracking w/o any comps or gates is the only I track, unless there is something REALLY wonked.

The reason for the dream package of comps and gates is because I'm still mixing in the rig... The studio construction's been delayed like a #&%@*(^$ year! (Renovating the house and getting the landscaping done has taken almost twice as long as planned.) but that's another story...

Max
Old 26th June 2005
  #5
Lives for gear
 
Gerax's Avatar
 

Hi

I'm kinda in the same situation as you in that I'm a one man remote recording facility, so I have to have my gear portable, but still high quality enough to accomplish the tasks I'm calld for; currently my setup is as follows:

Focusrite ISA428 with digital option
Focusrite Octpre with Digital Option
Mackie SDR2496 HD recorder
Sony PCM R300 DAT
HHB Burn It plus CD Recorder

The preamps go straight into the recorder via ADAT lightpipe, with the ISA card as WC master. I had a smal rackmount line mixer for monitoring and rough mixes, but I'm in the middle of an upgrade and I'm planning to get something compact but versatile enough like an used Yamaha 03D that would fit 24 tracks into a rackmountable frame, or a DM 1000...I'm just considering these options.
Usually I record an average of 16 tracks, so when they're more I rent additional preamps, but more preamps are on my list (API 3124+ in pole position).
The analog feed of the preamps goes to DA78 (rented for live gigs, in a separate case) for safety backup. So far no reliability problems with the SDR which as low end as it can be is roadworthy enough to withstand all the gigs I've brought it to, no hassles; plus going straight in digitally avoids its not so great converters. When I'm done recording I just pull out the removable drive and plug it into Pro Tools back in the studio, works like a breeze.

This setup is in a 12 RU fly case and fits in the back of my van (along with stands, cables, multicore splitter and mic cases) and it takes just 1/2 hour to set up.

I acknowledge that the Radar would be a major step up in sound quality, more so if fitted with Nyquist converters that seem to sound particulary sweet. You could rent a second one when in need of more than 24 tracks.
I considered the ATI MX8 possibility too in the beginning, particulary for their modular capability: the mix bus is linkable, so if you get 4 for a total of 32 channels the mix buses stack up to get you a compact and flexible enough line mixer: problem solved, you don't need a console at all...I chose to use different pres for different colors and not the same for all of the tracks, but the ATI should be a great choice anyway.

Hope this helps

L.G.
Old 27th June 2005
  #6
Gear Nut
 

I understand the joys of home ownership$$$$

300's are definitly long; long enough that I would be putting my pres on the short end. That's another reason I like being inside is that I can go near monitor world and only have 50' to the snake box, or 30' if I can get them to go to my splitter first.

My longest run was 650 feet to the box at Texas Statium. Try pushing a SM57 down that line with no noise. Now multiply it by 48. Needless to say out onto the field came the pres.

I don't know, maybe I should rethink mixing in the van. It was about 90 degrees inside the venue this weekend.
Old 27th June 2005
  #7
Lives for gear
 
Kestral's Avatar
 

Dream Rig:

Neve BCM10 (w/AMS Neve 1073 modules)
6 x Urei 1176 (vintage)
2 x LA2A (vintage)
Pro Tools HD3 Accel on a Mac w/Digi 192
Apogee Big Ben
2 x Neumann U47 long body chrome top
2 x SPL Transient Designer
Old 30th June 2005
  #8
Lives for gear
 
Jim vanBergen's Avatar
 

24-track Dream Rig:
(4) Wunder PEQ-R1 pre/Eqs
(4) Great River MEQ-1NV pre/Eqs
(4) Daking 52270C pre/Eqs
(4) Chandler LTD-1 pre/Eqs
(2) Earthworks 1024 four-channel pre's
(1) Millenia Media HV-3D (8 ch)
(1) Manley 16x2 line mixer
(2) Crane Spider 8x2 mixers (three mixers with 32 possible channels)
(1) Smart C2 Compressor
(2) FMR RNC Compressors
(2) EL-8 Distressors
(1) Genex GX9048 24-track 24 bit/192kHz multitrack with DSD/SACD format
(1) Tascam DV-RA1000 24bit/192kHz master recorder

The whole thing fits into two 20-RU racks (or to fit in my car, one 20 RU rack, one 12RU and one eight-space)

Until we add the cable, mults, and the MIC CLOSET! (sweet!)
-------------------------
My actual fly-pack rig:
(1) Langevin DVC
(2) Earthworks 1024
(1) Presonus M80
(1) Presonus DigiMax
(4) ART Dual Tube Pres
(2) Speck EQs
(2) FMR RNC's
(2) Distressors
(1) Trident S100 8x6 Mixer
(2) Mackie HDR 24/96
(1) Universal Audio 2196 AD/DA/master clock
(1) Alesis Masterlink with custom HD

I track with little EQ (the Specks are tiny and GREAT sounding); bring the Mackie Drives into ProTools and then mix thru an analog console and a load of great outboard gear in my studio.
Old 30th June 2005
  #9
Lives for gear
 
audioez's Avatar
 

http://www.ezraudio.com/gear.html

whatever it is, keep it simple, and stick to quality transfomers, as remotness says!!!
Old 2nd July 2005
  #10
Super Moderator
 
Remoteness's Avatar
Exclamation

Yeah... "You're only as good as the transformers you keep."
Old 14th July 2005
  #11
Gear Maniac
 
wyndrock's Avatar
dream rig:

one purple mic that picks everything up perfectly and has perfect tonality and is shaped like an elephant walking in a bubble, smoking a pipe.

one console that is wired, telepathically, directly into my brain so that all i have to do is think about the routing and it's done. but it also makes cotton candy and strip steaks on demand...without having to wait.

two little bright white and cheerful clouds that sit above the mixer and radiate gorgeous music, and they change shape according to the position your hands are in.

one donut.

the letter "z" never appears near the rig. we all know how scared the ducklings are of that letter. so let's not get that started. good to go?

awesome. im totally happy. when i wakeup, it's back to the ball and chain. but until then, a boy can dream...
Old 14th July 2005
  #12
Lives for gear
 
cdog's Avatar
Quote:
Originally Posted by xaMdaM
Brad,

I guess I'll bite first...

Eventide 960L


(Not too far from this now, heheheheheh!!!)

Max

Dude I LOVE the Eventide 960L!!! heh
Old 14th July 2005
  #13
Super Moderator
 
Remoteness's Avatar
I concur...

The Lexicon 960L is a toy compaired to the Eventide 960L! heh

...And, the Eventide 300 blows away the Lexicon 300 in everyway except when you want to connect the LARC to it and such. heh
Old 14th July 2005
  #14
Lives for gear
 
mac black's Avatar
Quote:
Originally Posted by cdog
Dude I LOVE the Eventide 960L!!! heh
heh heh heh

My rig..

HD3 accel g5 2.5 192 I/O digi (150 TDM plugs is one dream that came true)
Prism ADA8 (converter and clock)
Curtis opre2
Massive Passive
STC-8
The Phoenix
2x distressorsEL8-X
dbx165a
02R96 ...

My shopping list :
960
H8000
192 I/O analog
1081/1073
1176 black face rev C (modified by Alactronics)
LA2A
vari-mu
GML 8900 & 8200
korby

Dream list
Neve 88R/API/SSL desk
Custom main monitors which make is a tough one ...
660/670
A few Pultecs
Top notch leads
Sony 800-G, 251, C12 (original), U47/67.
Vintage fender strat,Gibson LP,precision bass,
Vox rig,marshal rig,messa boogie rig,ampeg rig
jupiter6,system100,arp2600,more moogs ... 909/808/303/606/cr78 etc.
A healthy control room to put it all in (with windows looking at the sea/mountain)
A dream live room with top piano (white steinway grand ) and a solid drum kit.
Some girls under the desk and in reception (all under 30 and under 9 stone/54 kilos and potential hugh hefner gfnds heh )
hmmm Im sure I forgot a few things
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