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Is This Too Much for a Start? Monitor Controllers
Old 1st January 2011
  #31
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kooz's Avatar
 

Quote:
Originally Posted by drBill View Post
You can ignore this advice, but 20 years from now, it's the advice you will be giving out.....
LOL, SO True. wise, very wise.
Old 1st January 2011
  #32
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DaVogi's Avatar
I would aim a little bit higher than adam a7(x) ... they're great in their pricerange but focal twins/solos and the other mentioned monitors play an other league!

it doesn't make much sense spending >5000 usd on a plugin bundle like waves mercury and then save some money on the most important part of a studio = monitors!
Old 1st January 2011
  #33
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Scott Whigham's Avatar
 

Quote:
Originally Posted by aj633 View Post
If you're mainly mixing, I'd say get some outboard gear that sets you apart from all the guys who downloaded Waves to a computer in their basement. If it were me, I'd probably get a stereo comp, a few mono comps that are versatile, and a good EQ. Go for character.
Speaking as an artist who books someone for mixing, I'd echo that I'm more impressed by hardware than plugs. I can't say that I have a logical reason for it but it's definitely something that matters to me even though I think the plugs are great myself. But, having said that, I'm mostly impressed by pres, mics, and acoustics. Weird - I try to watch that but it's just "there". I like hardware

Quote:
Originally Posted by kittonian View Post
Seeing as how you're on a rather tight budget, does the Dangerous Monitor ST really make sense when you could get the SPL 2Control (or if you absolutely need talkback capabilities, the SPL MTC-2381) for a whole lot less? Both are excellent monitor controllers with no coloration or signal degradation.
Agreed. OP, Spending $1900 on monitor control when you're talking about buying Adam A7s seems incongruous. The SPL 2Control or the Coleman M3PH MK2 seem a good fit perhaps.

Quote:
Originally Posted by therealbigd View Post
Agreed. The problem with Gearslutz is people will promote pieces of gear because they own it, and they feel that by promoting it, they are justifying their money to themselves. You really need advice from somebody who is impartial, and in a position where they will have actually heard a wide range of different options. Many people are only familiar with the equipment in their studio.
I think that is just a great quote.

Quote:
Originally Posted by Unskilled Jon View Post
Also, with the help of you guys I have selected plug ins for what my needs are. As many people have said, if need be I can grow.
I was surprised not to see the Steven Slate VCC plugs on your list of plugs, OP. That's all the rage right now - that and the UAD Studer. Might be something to check out when it finally gets out of beta.

Lastly, OP - hope you know the value of buying used. A lot of the people offering help would love to sell you new but the Classifieds section has lots of options if you are patient. "Money flows from the impatient to the patient" (attributed to Ben Franklin)

I'm excited for you - this must be very exciting. Congratulations on starting on your own and best of luck!
Old 1st January 2011
  #34
Lives for gear
 

Quote:
Originally Posted by Unskilled Jon View Post
Thanks so much again for the responses.

To answer what seems to be a lot of peoples ideas as I am not a beginner. I have been working in studios for the past 3 years as a first or second engineer. I have decided I wanted to move out on my own and that seems to be the direction I'm heading.
So what? 3 years as an engineer is not 3 years as a self-employed engineer. Meaning, you have no experience in your prospective field.

Sorry to have to tell you like this, but apart from credits, your 3 years experienced means jack all in the world of finding your own work.

There is another thread somewhere where I opened up the realities of where the money needs to go. But to put it simply, if I had $10,000 to open my own studio, I'd spend max $4k on equipment with audio connections.

I will dig out the post / thread. Also, I will reply to your PM later tonight.
Old 1st January 2011
  #35
Lives for gear
 

Quote:
Originally Posted by Scott Whigham View Post
I was surprised not to see the Steven Slate VCC plugs on your list of plugs, OP. That's all the rage right now - that and the UAD Studer. Might be something to check out when it finally gets out of beta.
And neither of them should be - at least for the OP in this thread.

Reality: When it comes down to making money from your own mixes, nobody really genuinely gives one whether you can accurately make it sound like it came out of an analogue console. If you can make it sound good straight from the box, people are equally happy with that.
Old 2nd January 2011
  #36
Gear Maniac
 

1.acoustic treatment(professionally adviced if you can)
2.monitors high end
3.monitoring/talkback system(dangerous d-b0x)
4.at least 2 channels of highend preamps
5.a/d d/a converters highend if you got the money go for a 16 in/out
6.nice Mac based computer(I'm a pc guy)
7.Pro Tool whatever lol
8.UAD Omni Quad Card bundle if you want a nice bundle you won't have to add to for a while( I'm going to have this package and add ssl package and Studer plug-in once you're in the UAD family you have tons of stuff to chose from with new very highend plugs always in the works with the actual makers of those outboard signal processors that UAD making into software)
9.a distressor(I keep hearing tons of good stuff about this outboard piece for sure on my list)
10. Look into modified mics (you can buy 4mics for super cheap but with great quality)
11.Shure SM57 for a workhorse mic!!!!!!
12. Books on tracking,mixing, and signal processors
13. Pay a highly recommended tracking and mixing engineer to study under for 6months for a solid foundation(someone using the same DAW you plan on using)
14. As far as interface get a highend pro tools compatible interface that has at least 8 ins/outs preferably 16in/outs
15.BFD plug-in for drums
16.seems you going to be producing too so a nice at least 49 key midi controller with enough knobs and slider to pre-program a vst for quick production work so you don't spend time setting up vst.. but spend time playing vsts
Old 2nd January 2011
  #37
Lives for gear
 

Quote:
Originally Posted by fataltone View Post
1.acoustic treatment(professionally adviced if you can)
2.monitors high end
3.monitoring/talkback system(dangerous d-b0x)
4.at least 2 channels of highend preamps
5.a/d d/a converters highend if you got the money go for a 16 in/out
6.nice Mac based computer(I'm a pc guy)
7.Pro Tool whatever lol
8.UAD Omni Quad Card bundle if you want a nice bundle you won't have to add to for a while( I'm going to have this package and add ssl package and Studer plug-in once you're in the UAD family you have tons of stuff to chose from with new very highend plugs always in the works with the actual makers of those outboard signal processors that UAD making into software)
9.a distressor(I keep hearing tons of good stuff about this outboard piece for sure on my list)
10. Look into modified mics (you can buy 4mics for super cheap but with great quality)
11.Shure SM57 for a workhorse mic!!!!!!
12. Books on tracking,mixing, and signal processors
13. Pay a highly recommended tracking and mixing engineer to study under for 6months for a solid foundation(someone using the same DAW you plan on using)
14. As far as interface get a highend pro tools compatible interface that has at least 8 ins/outs preferably 16in/outs
15.BFD plug-in for drums
16.seems you going to be producing too so a nice at least 49 key midi controller with enough knobs and slider to pre-program a vst for quick production work so you don't spend time setting up vst.. but spend time playing vsts
But not a penny on marketing?

No wonder everyone is on here asking why is it they have 6 1176s a U47 and an MCI and still dont get any clients.
Old 2nd January 2011
  #38
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Scott Whigham's Avatar
 

Quote:
Originally Posted by therealbigd View Post
But not a penny on marketing?

No wonder everyone is on here asking why is it they have 6 1176s a U47 and an MCI and still dont get any clients.
But don't you know? All you have to do is post an ad on craigslist 5x a day. That'll have you so busy in clients that you'll have a four month waitlist in no time!
Old 2nd January 2011
  #39
Lives for gear
I still can't get over mixing in a 8x8 room. I don't even know if that is treatable. After you put all these huge bass traps and gear in there, it;\'s not going to be comfortable. That's my concern. Have you ever mixed in a closet that is completely dead sounding?

I don't know just something sounds wrong with buying all this gear and not having a decent room to put it in. It would be really hard to get a room with those dimensions to translate a mix in the real world. It's completely square.
Old 3rd January 2011
  #40
Here for the gear
 

To be honest after hearing all these comments about my room I've decided to move up, however, I have a few choices, there is a 10x14, 13x18, and a 15x20. What seems to be the best choice? Also, therealbigd, would still love to hear back from you =]
Old 3rd January 2011
  #41
Lives for gear
 

Quote:
Originally Posted by Unskilled Jon View Post
To be honest after hearing all these comments about my room I've decided to move up, however, I have a few choices, there is a 10x14, 13x18, and a 15x20. What seems to be the best choice? Also, therealbigd, would still love to hear back from you =]
Will do it today. Got to get an equipment proposal to a rental company by 0900GMT for about £7,000 worth of hire for 1 week so unfortunately that's the priority at the moment (as hiring from somewhere else is going to cost us an extra thousand at least).
Old 3rd January 2011
  #42
Gear Guru
 
u b k's Avatar
 

Quote:
Originally Posted by Unskilled Jon View Post
10x14, 13x18, and a 15x20.

Need to know ceiling heights to give a semi-accurate answer, as room modes will be a function of all 3 dimensions.

Knowing what the floor, walls, and ceilings are made of, and how many windows there are, is also helpful.


Gregory Scott - ubk
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