View Single Post
Old 25th July 2009
  #63
Lives for gear
 
allencollins's Avatar
 

Quote:
Originally Posted by Ethan Winer View Post
Agreed, close micing compensates for a lot of acoustic problems.
it sure does. And dead rooms with carpets and absorbing foams will yield great results with stringed instruments. It's been done for years

Quote:
Originally Posted by Ethan Winer View Post

I don't give a flying fig what you're sick of. Understand? I'm just as sick of seeing gear pimps tell newbies who are unhappy with their productions that they'll never get pro results until they drop big bux on ouboard pres and converters etc.
I'm with you on the pimps but good converters make or break the recording.
Did folks use tascam and fostex reel to reels in pro studios? no they didn't
Same reason pro studios don't use m-audio and behringer




Preamps are a fine line but $400 will buy you a nice one


Quote:
Originally Posted by Ethan Winer View Post
That is never the reason a newbie's mixes suck. Discounting musical issues such as performance and arrangement etc, the typical newbie problems with making their tunes sound "like a record" are, in order:
It's a learning process

Quote:
Originally Posted by Ethan Winer View Post
If you disagree that's fine, but at least be civil and stop with the name calling already.
I always refer to you as 'Ethan'. I guess to some that would be insulting
(just kidding) Seriously I never called you a name. I may have said you were wrong or one of your statment was dumb but never personally attacked you in any way don't pull spin and try to get me in trouble. You know I never insulted you. Disagreeing with Ethan is not insulting. Sorry to say along with me you are not the authority on anything

Quote:
Originally Posted by Ethan Winer View Post
If you have logic and useful points to make, then go for it. Otherwise keep your thoughts to yourself. If your sole motivation for chiming in on a thread is to diss me, that says a lot more about you than it says about me.
Sorry ethan you hijacked the thread. don't weasle your way out of it I made logical and useful points stating my beliefs on preamps
you can look back if you care too.

Bottom line is most guys on this board who are pros already know the deal. the ones just starting out need fair and unbiased advice
I'm not sure you provide that. Your room treatment beliefs maybe be correct but your constant denial of qualtiy A/D D/A
and importance of a quality pres are misleading. did you ever notice the real pro engineers /producers on this site who own top quality gear never debate you and your nonsense? I must just a sucker. Tell them their SLL or Neve is not needed. Tell them the Radar system was a waste of 20k. Sorry to inform you but people who drop 100k on a never or 500k on an api are not stupid
they may be helpless romantics for punchy warm and musical sultry sonics but they ain't stupid. They may be rich that's about it

Ethan if A/D like Weiss and Lavry or even if mid level stuff like UA, Burl and Hedd were marketing scams why woudl they still be selling my the boatload after 5 years? If your philosophy was correct, IZ and Mytek would be out of biz and Alesis and fostex stuff would be in every room in Holly and Nashville.

For the record. You can make an acceptable recording in a bad room with a behringer preamp and a maudio. You CAN'T make a recording that sounds like it was made in a professional studio. Maybe if you use sample you could.

But I'm sorry to break your heart and say you can make major label sounding recordings with a bad room a great console/pre and a great a/d converter. and the right outboard. Even with an untreated tracking and control room. I know many folks who have done it. Ive done it. It's done everyday.

The bottom line is cheap a/d sounds harsh. cheap pres sound thin and unmusical (yeah cliche') your not gonna get that
musicality (yeah cliche' again) associated with quality gear. The gear pimps go a bit overboard but many of them here know their ****.

I was like you a few years back. Thinking there is nothing wrong with that fostex a/d and that RME converter. Sorry to say they sound harsh and very unmusical. Wish I had bought the 2192 and the radar from day 1

It is what it is. These foolish a/b test " I can't hear the difference" really I wonder why? uhhh duh.... mabye cuz your monitoring through a $100 D/A converter? Not to offend anyone but It's like sex with a condom the real thing is not being captured so to speak
the cheap pre and cheap a/d are not representing whats really happening at the source.

Sorry ethan I never insulted you. Unless saying 'your wrong' is an isnlult then I'm guilty so don't pull a Dick Cheney or a Fox news and spin it. No one insulted, you not me. I disagree with you. Big difference.

bottom line room matters , pres matter, conversion matters , mic matters and the engineer matters.
but me? myself? I can still make the recordings I dream about in a square room with a dropped ceiling and sheetrock painted
with enamel. Oh and don't forget the carpet.

Why don't you post some stuff cut in your treated room with your $50 converter? $50 preamp. I'd love to hear it