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Interface OR Preamps?
Old 7th September 2019
  #121
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Also strike what I said about the RNC I just realized it's stereo only, not dual mono, so I guess I can't use it on two separate things at the same time. Might still be worth a grab though.
Old 7th September 2019
  #122
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I am pretty sure the ASP880 is going to be an "upgrade" over sticking to the Clarett pres.

I'm not a huge fan of the FMR stuff. They are very fiddly to use, and quirky, with odd form factor, wall warts, unbalanced connections, etc. They sound really clean but I had to ditch mine. Really clean compression is not really my thing. Maybe if you're doing a lot of sparkly acoustic or jazz or something. I don't know. $120 is an average price for an RNC.

Tascam is going to be interesting. Going to find out what those one knob compressors are all about.
Old 7th September 2019
  #123
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Quote:
Originally Posted by monkeyxx View Post
I am pretty sure the ASP880 is going to be an "upgrade" over sticking to the Clarett pres.

I'm not a huge fan of the FMR stuff. They are very fiddly to use, and quirky, with odd form factor, wall warts, unbalanced connections, etc. They sound really clean but I had to ditch mine. Really clean compression is not really my thing. Maybe if you're doing a lot of sparkly acoustic or jazz or something. I don't know. $120 is an average price for an RNC.

Tascam is going to be interesting. Going to find out what those one knob compressors are all about.
Yeah, I am pretty sure the Audient is what I would go for if not for the fact that I wanted to see about those comps first incase they would tip the scale in favor of the Tascam. Tough one.

FMR doesn't sound that good when you put it like that, haha. Price wise around here that is a pretty crazy low price, but I guess things are different here.
Old 7th September 2019
  #124
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My advice would be to stick with the XR18 for now. But instead of getting just an outboard pre, I would get a channel strip with a good preamp and a compressor. Look for something used.
Old 7th September 2019
  #126
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Quote:
Originally Posted by monkeyxx View Post
I read that (a bunch of times, hahah) and a lot of other threads. It helped me lean towards the Audient too. Also, I heard a shootout (forgot where now) that was the ASP880 against a UAD 4-710d. I am not experienced but the comparison made me think the Audient is really good value, especially for an 8-channel unit.

Quote:
Originally Posted by DougS View Post
My advice would be to stick with the XR18 for now. But instead of getting just an outboard pre, I would get a channel strip with a good preamp and a compressor. Look for something used.
Ah, I already got the Clarett 8prex a few posts ago! I did consider (aside from the interface) getting one super good channel so that at least guitar, vocals and bass will not be compromised. I suppose the drums would be compromised that way though, other than maybe using the good channel for the snare or something.
Old 7th September 2019
  #127
Quote:
Originally Posted by konkon View Post
FMR doesn't sound that good when you put it like that, haha. Price wise around here that is a pretty crazy low price, but I guess things are different here.
There is nothing wrong with the RNC. It is a very useful little compressor. It does have some caveats, as pointed out, but in "Really Nice" mode, it is very smooth and unobtrusive, doing its job and getting out of the way. That said, if you can produce a little more $$$ for purchases, look at the RNLA as in my experience it was a more enjoyable compressor. I have owned quite a few of both and they were fun to work with.

I sold off all my outboard compressors in the past year as I have migrated over to using Metric Halo interfaces for all my tasks. Time will tell if that was a wise choice or not. : )

Form factor in favor of RNC/ RNLA = you can fit three of them side-by-side on a rack shelf and they weigh next to nothing.

Routing benefit = if you are inserting on a typical console with a TRS to dual TS scheme, you can send/ return on a single TRS to TRS cable into an RNC or RNLA which is really cool.

Stereo compressor, not dual mono... true that can be a bummer, but sometimes that is a serious benefit, like for drum over heads.

Anyway, it is a great compressor in my experience.
Old 7th September 2019
  #128
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Quote:
Originally Posted by Puffer Fish View Post
There is nothing wrong with the RNC. It is a very useful little compressor. It does have some caveats, as pointed out, but in "Really Nice" mode, it is very smooth and unobtrusive, doing its job and getting out of the way. That said, if you can produce a little more $$$ for purchases, look at the RNLA as in my experience it was a more enjoyable compressor. I have owned quite a few of both and they were fun to work with.

I sold off all my outboard compressors in the past year as I have migrated over to using Metric Halo interfaces for all my tasks. Time will tell if that was a wise choice or not. : )

Form factor in favor of RNC/ RNLA = you can fit three of them side-by-side on a rack shelf and they weigh next to nothing.

Routing benefit = if you are inserting on a typical console with a TRS to dual TS scheme, you can send/ return on a single TRS to TRS cable into an RNC or RNLA which is really cool.

Stereo compressor, not dual mono... true that can be a bummer, but sometimes that is a serious benefit, like for drum over heads.

Anyway, it is a great compressor in my experience.
Thanks for the insight. I did look at the RNLA too, but the cheapest one I could find was around 2.5x the price I could find the RNC for and I figured it won't be 2.5x better. In fact I get the impression they are a similar "level", but just "different". Would that be fair to say?

Form factor wise, I guess I can't have them in a fixed rack with everything else that I can just take anywhere, I suppose they would have to go separately, but no big deal I guess.

What would I be able to do with that routing? Just out of interest. I am new to recording, I just got into in recently out of necessity, as a guitar player that now needs to produce some good recordings to change "my situation" (as explained way back at the start of the thread)...

Yeah I was thinking about overheads. And I suppose I would be okay with single channel instruments. I just guess if I wanted to record two separate things at the same time it would be a problem. Then again, I was wondering, what would happen for example, if I used it in stereo for two kick drums? My drummer will be using 2 kick drums 100% of the time.
Old 7th September 2019
  #129
The RNLA is not worth spending substantially more money on. I suspect you can find other options that are better value in your market, but I am not in any position to suggest what that might be, sorry.

The RNLA has a subtle but real different sort of sound to it. This will be abroad description, and one could argue otherwise, but it is my opinion: the RNC is more clinical and the RNLA has a subtle softness and flattery in the way it compresses the signal.

That routing thing I mentioned only applies if one is using a console/ mixer with TRS inserts on the channels. If you are not working that way, the send/ return feature on the RNC/ RNLA is not helpful for you.

I do not think I would use a single RNC for double kick drums. That seems like a less than ideal way to use a stereo compressor.
Old 7th September 2019
  #130
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The FMR stuff "sounds" really good! RNLA was a little more useful to me too. A little more "gooey" as they company says. I liked it on drum overheads and acoustics sometimes. RNC is sort of a utility box or something. Just really clean leveling. The Art Pro VLA II is another good one in this sort of category, I used to use all of these along with some DBX and Symetrix 501. I was mixing budget-hybrid for a while there. It was fun. I guess I should get back to it with a new set.

It was everything else about FMR that I just couldn't deal with. I hate gear that doesn't rack easily/cleanly. Can't even deal with it. I'm a little OCD/anal about this stuff. They do offer 500 series now, though, which is much more my speed.
Old 7th September 2019
  #131
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konkon's Avatar
Quote:
Originally Posted by Puffer Fish View Post
The RNLA is not worth spending substantially more money on. I suspect you can find other options that are better value in your market, but I am not in any position to suggest what that might be, sorry.

The RNLA has a subtle but real different sort of sound to it. This will be abroad description, and one could argue otherwise, but it is my opinion: the RNC is more clinical and the RNLA has a subtle softness and flattery in the way it compresses the signal.

That routing thing I mentioned only applies if one is using a console/ mixer with TRS inserts on the channels. If you are not working that way, the send/ return feature on the RNC/ RNLA is not helpful for you.

I do not think I would use a single RNC for double kick drums. That seems like a less than ideal way to use a stereo compressor.
Quote:
Originally Posted by monkeyxx View Post
The FMR stuff "sounds" really good! RNLA was a little more useful to me too. A little more "gooey" as they company says. I liked it on drum overheads and acoustics sometimes. RNC is sort of a utility box or something. Just really clean leveling. The Art Pro VLA II is another good one in this sort of category, I used to use all of these along with some DBX and Symetrix 501. I was mixing budget-hybrid for a while there. It was fun. I guess I should get back to it with a new set.

It was everything else about FMR that I just couldn't deal with. I hate gear that doesn't rack easily/cleanly. Can't even deal with it. I'm a little OCD/anal about this stuff. They do offer 500 series now, though, which is much more my speed.
Hey guys, I know this is a random one and also that this is not supposed to be a compressor thread, hahah, but what do you think about the BSS DPR-404? Just because it's 4 channels and I just randomly saw that they are incredibly cheap and have not read anything too horrid about them...
Old 8th September 2019
  #132
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Also, back to the preamps, I have another question for you guys. Are there any preamps that might be good that have the ADAT connection for expansion but aren't 8 channels?

I don't actually need 16 channels total. I can get away with 10. 12 would be a bonus. It's just that I can't seem to find any decent ones that aren't 8 other than the 4-710d which is just too expensive to consider. Am I missing anything? Any 2 or 4 channel unit that can do this that will save a bit of budget from having to buy an 8 channel?

Thanks again.
Old 8th September 2019
  #133
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Start looking out for SPDIF boxes. SPDIF has a maximum of 2 channels in, 2 channels out. It's the little RCA jacks on the back of your Clarett. You connect with a 110 ohm (or 75 ohm?) RCA / coax cable.

I really like the Tascam UH7000 for this purpose. If you can find one, we've talked about these.

The ART PRO MPA Digital is another one that would work in a low-ish price range. I haven't personally put my hands on that one but I have used other ART gear.

Actually I need to find more preamps to look at in this category. There seem to be a ton of DACs but not as many ADC/Preamps.
Old 8th September 2019
  #134
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Quote:
Originally Posted by monkeyxx View Post
Start looking out for SPDIF boxes. SPDIF has a maximum of 2 channels in, 2 channels out. It's the little RCA jacks on the back of your Clarett. You connect with a 110 ohm (or 75 ohm?) RCA / coax cable.

I really like the Tascam UH7000 for this purpose. If you can find one, we've talked about these.

The ART PRO MPA Digital is another one that would work in a low-ish price range. I haven't personally put my hands on that one but I have used other ART gear.

Actually I need to find more preamps to look at in this category. There seem to be a ton of DACs but not as many ADC/Preamps.
Thanks. Ah yes, I did look at the UH7000. I just didn't find a used one yet. I've looked at tons of ART models too, especially that one, but the prices don't seem THAT low, considering I am thinking on a "per channel" basis. I mean it's not much more to stretch to the ASP880. Then again maybe I am just being dumb and should go for that one and stop fooling around. In fact I would have already if not hesitating to find out about the Tascam.

I also heard about heating problems on the ASP models but I don't suppose that maybe a big deal. Not sure? Aside from that, everything about it seems to be very good for the price though.
Old 8th September 2019
  #135
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If you have a line on a smoking deal on an ASP880 you might just want to go for it. Not sure. Depends on how much time you have to consider.

The way people are describing the Audient in the other thread makes me think it serves a very similar function to the Tascam. Just a good clean capture. That may sound humble but it's a really important task that a lot of gear/things fail at.

For something like a drum set, you're going to be hard pressed to make out a significant difference anyway. In my experience with drums it's something like the Player > Room acoustics > Drum tuning and setup > quality of drums and cymbals > microphones and placement > mixing choices > preamps and conversion somewhat in that order. Ordering might need some small tweaking, just a quick thought. My point is the order of importance does not put a significant weight on the mic pres, as long as they are "good enough." Tascam and Audient are both "good enough" is the point. Spend money on microphones and drum gear.
Old 8th September 2019
  #136
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Quote:
Originally Posted by monkeyxx View Post
If you have a line on a smoking deal on an ASP880 you might just want to go for it. Not sure. Depends on how much time you have to consider.

The way people are describing the Audient in the other thread makes me think it serves a very similar function to the Tascam. Just a good clean capture. That may sound humble but it's a really important task that a lot of gear/things fail at.

For something like a drum set, you're going to be hard pressed to make out a significant difference anyway. In my experience with drums it's something like the Player > Room acoustics > Drum tuning and setup > quality of drums and cymbals > microphones and placement > mixing choices > preamps and conversion somewhat in that order. Ordering might need some small tweaking, just a quick thought. My point is the order of importance does not put a significant weight on the mic pres, as long as they are "good enough." Tascam and Audient are both "good enough" is the point. Spend money on microphones and drum gear.
Okay, well since the drums and mics are already taken care of (my drummer's kit is already setup in my place and is his own signature custom kit) and we are borrowing a ton of mics from our sound engineer to choose from, I guess the Audient seems most logical maybe.

I think the only main difference I can see in the Audient vs Tascam thing would be that one has the high pass filters and one has the compressors. I suppose both can be useful to keep things under control while tracking, so it's a tough call. I think both could be good because I am in a far from ideal room, so having some control on the way in MIGHT be helpful. I hope.

I suppose I can either just take the compressors or go for the high pass filters and get outboard compression.

I would rather not have to find a way to afford multiple channels of compression though. I guess I would not need 8 or 16. Maybe I could just have a few channels covered.

I mean, I just need one for guitar, bass and vocals. When doing drums I suppose I could prioritize the snare?! And maybe the overheads or the 2 kicks. Not sure. Still learning all this! Or maybe I would be okay with just the one and use it for the snare...
Old 8th September 2019
  #137
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One weird thing about both the ASP880 and the Tascam 8p is that neither one seems to have an input pad.

"Maybe" the compressor on the Tascam will take care of that in its own way I guess we'll have to see.

I'm not going to test that though really because I am pretty set on using my Yamaha MLA8 preamps for drums which offer both filters and pads.

High pass filtering is easily accomplished in a standard DAW channel. However, it's a nice thing to commit to on something like drums overheads for example.

Tough call.

Tascam is newer and might have better audio specs, depending on how much you care about that stuff. Depending on how much of an audiophile or a purist you are maybe.

You might have to flip a coin.
Old 8th September 2019
  #138
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Quote:
Originally Posted by monkeyxx View Post
One weird thing about both the ASP880 and the Tascam 8p is that neither one seems to have an input pad.

"Maybe" the compressor on the Tascam will take care of that in its own way I guess we'll have to see.

I'm not going to test that though really because I am pretty set on using my Yamaha MLA8 preamps for drums which offer both filters and pads.

High pass filtering is easily accomplished in a standard DAW channel. However, it's a nice thing to commit to on something like drums overheads for example.

Tough call.

Tascam is newer and might have better audio specs, depending on how much you care about that stuff. Depending on how much of an audiophile or a purist you are maybe.

You might have to flip a coin.
I suppose these are now insignificant details I shouldn't obsess over. Maybe I should get whichever one I can find for the cheapest. Hahah.

If better audio specs means the preamps and the converters are better then I guess I care. However, I was under the impression that the Tascam is a lower price range so maybe inferior in those respects. On the other hand, being new, it maybe superior. I guess no way to know until someone has tried one.

I also suspect I won't be able to tell the difference, even if either one is slightly better than the other. Hah!
Old 8th September 2019
  #139
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Some of my favorite reference albums were made on surprisingly cringey, by modern standards, converters. They were good at the time. Makes a hill of beans difference vs. the art and the skill used to create the works of art.

Specs truly don't tell the whole story. But if a company has gone through such an intense effort to refine their builds that they are able to reach these sort of impressive numbers and so on, I think that speaks to the passion of the engineers designing the things. I get the impression that Tascam is very passionate about some of their products. I get the same impression of Audient. And RME to use an extreme example.

Good "numbers" also point to the fact that sub-par budget components ("jelly beans") were likely not tossed onto a generic circuit board layout.

Most of my favorite converters do tend to test very well, so there is that.

I'm going to stop typing about this now because I feel like I'm about to go insane on the topic.

Haven't even mentioned preamps in this post. What you're looking at are two "clean utility pre" boxes that are very closely matched in my opinion. Price is very different if purchased brand new. Features are slightly different. Sound quality is really something we need a shootout of closely matched clips to make any sort of judgement on. There will be some differences. This shootout may or may not ever happen.
Old 8th September 2019
  #140
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Quote:
Originally Posted by monkeyxx View Post
Some of my favorite reference albums were made on surprisingly cringey, by modern standards, converters. They were good at the time. Makes a hill of beans difference vs. the art and the skill used to create the works of art.

Specs truly don't tell the whole story. But if a company has gone through such an intense effort to refine their builds that they are able to reach these sort of impressive numbers and so on, I think that speaks to the passion of the engineers designing the things. I get the impression that Tascam is very passionate about some of their products. I get the same impression of Audient. And RME to use an extreme example.

Good "numbers" also point to the fact that sub-par budget components ("jelly beans") were likely not tossed onto a generic circuit board layout.

Most of my favorite converters do tend to test very well, so there is that.

I'm going to stop typing about this now because I feel like I'm about to go insane on the topic.

Haven't even mentioned preamps in this post. What you're looking at are two "clean utility pre" boxes that are very closely matched in my opinion. Price is very different if purchased brand new. Features are slightly different. Sound quality is really something we need a shootout of closely matched clips to make any sort of judgement on. There will be some differences. This shootout may or may not ever happen.
Right. I will make a decision soon.

I do have another question if you don't mind? I just saw an Art Voice Channel going cheap locally. I wasn't going to consider those, but I just saw that it's going for low. Would I be able to use that to expand since it has digital connections? So like a 9th channel to add to the Clarett?

That would definitely be a cheap option! Although I at least wanted 10 tracks for drums.
Old 8th September 2019
  #141
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And yeah I think I will go insane if I ponder this too much longer and don't just get on with it. You make a good point! Hah!
Old 8th September 2019
  #142
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Quote:
Originally Posted by konkon View Post
Right. I will make a decision soon.

I do have another question if you don't mind? I just saw an Art Voice Channel going cheap locally. I wasn't going to consider those, but I just saw that it's going for low. Would I be able to use that to expand since it has digital connections? So like a 9th channel to add to the Clarett?

That would definitely be a cheap option! Although I at least wanted 10 tracks for drums.
Yes that will work. 9th channel.

10 is the "magic number" of drum channels for my basic semi-elaborate setup that I usually go for. Any less, for me, I'd be losing some of my critical channels and have to start going for more minimal/ whole kit kind of setups. Which is also a perfectly valid way to record drums.

12 would be better but let's not get too crazy, hahaha.
Old 9th September 2019
  #143
Sorry, I am not familiar with the BSS DPR-404 so I can not comment on it.

As for preamps with less than four channels that can deliver ADAT, you could also consider the Focusrite ISA428, but you need to add the digital card and I suspect it is out of the price point you are seeking, based on the other stuff you wrote.

Also consider the Audient ASP800 along with the ASP880. My personal preference would be the ASP880 as it has more control on individual channels with the variable high pass filters AND it outputs AES as well as ADAT and for my set up, that would be more useful. : ) The Audient preamps seem like really great value and good use of rack space for the inputs they provide.
Old 9th September 2019
  #144
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Quote:
Originally Posted by monkeyxx View Post
Yes that will work. 9th channel.

10 is the "magic number" of drum channels for my basic semi-elaborate setup that I usually go for. Any less, for me, I'd be losing some of my critical channels and have to start going for more minimal/ whole kit kind of setups. Which is also a perfectly valid way to record drums.

12 would be better but let's not get too crazy, hahaha.
Right, same here! 12 would be great, but 10 I can manage to at least mic each drum. I want to be able to do a lot of stereo widening, or should I say placement in the stereo landscape? It's a trio band with guitar, bass, drums, percussion, vocals, so I want to use a lot of the drums and percussion (and some of the guitars and backing vocals) for the width since we will not have any other instruments in the mix (maybe occasionally).

The kit is snare, 2x kick, left crash, left crash/ride, hi-hat and four toms. The drummer usually uses (at least) 4 MORE pedals, one or two cowbells and three congas too live, but for studio recording I guess we can overdub those.

So the basic core kit is 10 pieces. I was hoping to at least mic the snare, each kick, each tom, the hi hat so I can have more control and get it over to the left side more and have 2 overheads, etc.

Bonus if I had more channels to have a room mic and a bottom snare, or even inside & outside kicks. Then again maybe I don't even want to have to mix THAT many tracks after. It could be a bit of a headache and I think the 10 can do what I need. I prefer to have more control, but I suppose there could be downsides to having like 16 tracks to mix JUST on the drums, before adding percussion, guitar, bass, vocals, etc.

I can see the merit in a simple setup like snare, kick and 2 overheads too, but in this particular instance I think it's important to have some more options for mixing. Not to mention there are 2 kick drums so that adds at least one channel already.

I think for most song recordings (of course it depends on the songs), generally, I would have snare and kicks in the middle (I thought about having them left and right but then I figured it may make the "power" off the tracks off center, or maybe I can try it for some songs), then everything else panned that would be ideal.


Quote:
Originally Posted by Puffer Fish View Post
Sorry, I am not familiar with the BSS DPR-404 so I can not comment on it.

As for preamps with less than four channels that can deliver ADAT, you could also consider the Focusrite ISA428, but you need to add the digital card and I suspect it is out of the price point you are seeking, based on the other stuff you wrote.

Also consider the Audient ASP800 along with the ASP880. My personal preference would be the ASP880 as it has more control on individual channels with the variable high pass filters AND it outputs AES as well as ADAT and for my set up, that would be more useful. : ) The Audient preamps seem like really great value and good use of rack space for the inputs they provide.
Thanks. Yes, exactly. I have been looking at the ISA 828 and 428 but it's just too much of a stretch in cost, like the UAD 4-710d. Just the ISA digital card is expensive even by itself!

I looked at all the ASP versions too, but since I can get the 880 for cheaper than the 800 usually costs I figured there's no point considering the slightly lesser unit. I just liked the idea of compression on each channel on that Tascam we've been talking about so that I wouldn't need to get any hardware compression at this stage. Hence why I am torn with regards to the ASP880 vs 8p thing.

I could just wait to see what the Tascam is like first, but then the ASP880 I can get cheap might be gone! Not to mention, I kinda need to hurry with all this. So I am on the verge of deciding to go for that ASP880...
Old 9th September 2019
  #145
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For stereo image I tend to rely on stereo room mics on drums. Either spaced pair, which is wide and fat sounding, or mid-side, which can sound pinpoint precise and work with your tom/overhead panning, etc.

I also have to have two mics on kick, for what I want to hear.

Anyway just some brief thoughts on drum sounds.
Old 9th September 2019
  #146
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Quote:
Originally Posted by monkeyxx View Post
For stereo image I tend to rely on stereo room mics on drums. Either spaced pair, which is wide and fat sounding, or mid-side, which can sound pinpoint precise and work with your tom/overhead panning, etc.

I also have to have two mics on kick, for what I want to hear.

Anyway just some brief thoughts on drum sounds.
Would you still have 2 mics per kick if miking 2 kicks, or would you consider it overkill?

Left to right I thought of that, but I also wanted to be able to control panning of which tom goes where a bit more.
Old 9th September 2019
  #147
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Quote:
Originally Posted by konkon View Post
Would you still have 2 mics per kick if miking 2 kicks, or would you consider it overkill?

Left to right I thought of that, but I also wanted to be able to control panning of which tom goes where a bit more.
Having two kicks and a billion toms is not something I've ever done or recorded. Yeah I would probably want outside mics on both kicks but now you're really using a lot of channels. I'm sure you could do without it.
Old 9th September 2019
  #148
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Quote:
Originally Posted by monkeyxx View Post
Having two kicks and a billion toms is not something I've ever done or recorded. Yeah I would probably want outside mics on both kicks but now you're really using a lot of channels. I'm sure you could do without it.
I also thought about using less channels and doing 1 mic per 2 toms, but the floor tom is kinda far and the 3 rack toms are close together.

I suppose the toms are truly not that important to be individually tracked, but I just wanted to be a kid and play with some left to right / right to left big tom fills. Hahah.
Old 9th September 2019
  #149
This thread just keeps evolving. Not a bad thing really. This has been an interesting thread.

I like the Audient sound. I don't know why one of the previous posters was so negative about them. When the pres get pushed hard, I think that they sound better. Sure, I still prefer an API sound, but at this level, they're fine. So are MANY other options. Moving a microphone one inch will still make a much bigger difference, than "which preamp" discussion that develops into a matter of preference.

Someone, maybe Monkeyxx said it: workflow. This matters WAY more in the modern era.

The OP mentioned the RNC earlier and I have since moved away from the RNC due to workflow. Recall and printing is just faster and easier with MJUC or some other solid compression choice ITB, for my workflow.

RNC is a solid clean option.

I play drums from time to time and as a recording engineer I have appreciated LESS drum mics. I do a stereo pair for overall balance, but then I'm fine with a Kick and Snare. There are a lot of techniques (Recorderman comes to mind) for capturing drums with less mics. And even MONO drums can be very cool, considering the context of the song.

If it's a prog rock tracks and needs attention on Toms, then I would and have adjusted my approach.

I do like one mic on Kick. In a studio environment, you have a ton of control on that one mic, so get it right. And then you always have the ability to supplement that track with samples.

Depending on the room, having an extra channel or two for rooms would make me more excited than a tom mic or a second kick mic.

It all depends on your intent.
Old 9th September 2019
  #150
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Quote:
Originally Posted by jpanderson80 View Post
This thread just keeps evolving. Not a bad thing really. This has been an interesting thread.

I like the Audient sound. I don't know why one of the previous posters was so negative about them. When the pres get pushed hard, I think that they sound better. Sure, I still prefer an API sound, but at this level, they're fine. So are MANY other options. Moving a microphone one inch will still make a much bigger difference, than "which preamp" discussion that develops into a matter of preference.

Someone, maybe Monkeyxx said it: workflow. This matters WAY more in the modern era.

The OP mentioned the RNC earlier and I have since moved away from the RNC due to workflow. Recall and printing is just faster and easier with MJUC or some other solid compression choice ITB, for my workflow.

RNC is a solid clean option.

I play drums from time to time and as a recording engineer I have appreciated LESS drum mics. I do a stereo pair for overall balance, but then I'm fine with a Kick and Snare. There are a lot of techniques (Recorderman comes to mind) for capturing drums with less mics. And even MONO drums can be very cool, considering the context of the song.

If it's a prog rock tracks and needs attention on Toms, then I would and have adjusted my approach.

I do like one mic on Kick. In a studio environment, you have a ton of control on that one mic, so get it right. And then you always have the ability to supplement that track with samples.

Depending on the room, having an extra channel or two for rooms would make me more excited than a tom mic or a second kick mic.

It all depends on your intent.
Hahah you must be psychic. I was just wondering if this has gone too far off topic, but I feel like it is all related.

The Audient does seem very good to me, except that I read a bunch of threads regarding them dying and others about them overheating. That's my only source of concern about them. Aside from that they seem like you are getting more than you're paying for at the price I can get that B stock one for. And yes I just need it to be "decent" and then get on with the job at hand.

The RNC seems decent yes. I am just not sure what the issue is everyone has with apparently being unbalanced. Still need to get clarity on that. I also seem to get the impression because it is stereo and not dual mono there's no way of sticking two things into it. When I first saw it I was thinking great, two channels of compression. Bargain. If it's one, it's less of a bargain. Still okay though.

I would on the one hand like less hassle / less mics. However, we did a session in someone's studio and they used Glyn John's technique and when I tried to mix it I just couldn't get what I wanted to do with it. On the other hand it was also a normal kit and we need two kicks, which the kit didn't have and a bunch of other stuff.

Well it's sort of fusion stuff with a sort of rock sound, so it's like sort of even more to that direction than prog rock. Not that I categorize things, but that's just what would would label it I guess. Hence the reason I want to be able to put toms (and other things) in different places in the stereo landscape.

I was thinking of just getting the sound out of one mic per kick and one on the snare though because it's getting ridiculous to also have 2 on each as well as everything else.

The other reasoning (though I maybe wrong in my thinking) is that the room is far from ideal so I figured the dryer the sound the better (I have tried deadening the room mostly), so would rather focus on getting each drum mic'd than the room (both would be even better, but if I have to choose one over the other) so that at least I have more control over what I can do with it after in mixing.
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