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Iso Booth or High Quality Pre First? Condenser Microphones
Old 26th December 2010
Here for the gear

Iso Booth or High Quality Pre First?

My chain now consists of of a modded Rode NT1A done by Michael Joly at Oktavamod. I have it set up in a collapsible cube portabooth. The rest of my chain consists of a Symetrix 528e going into an M-Audio, into my DAW. I do radio commercials with my gear. I want to take my sound to the next level. What should I do first? Build an iso-booth or buy a top end pre? I am looking at the Gordon Model 4, The John Hardy M1, the UA Twin Finity 710, and the Langevin DVC for preamps. I am looking at building an iso-booth out of a Rubbermaid Roughneck Large Storage Shed. I will add accoustic foam and a bass trap. The collapsible cube porta booth helps, but there is still quite a bit of room noise that you can really hear on the head phones. Any recommendations as to what I should do first?
Old 26th December 2010
Lives for gear
djmukilteo's Avatar
I would think if your doing voice work and your focused on that then you'll eventually want both if you want to make improvements.
The thing is you already have the voice, a mic a preamp but it doesn't sound like you have much of a controlled booth...I'm not sure how good of an isobooth you're going to DIY from a RubberMaid shed but building vocal iso booths is a whole other thought and something that is just as important as the electronics....
That is something you should get a handle on first....basically take that out of the equation where you feel good about the space and sound you can get with the equipment you have already....then try different mics, preamps etc....just my 2 cents worth
Old 26th December 2010
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SörenHjalmarsson's Avatar

Some reading:

RealTraps - Vocal Booths

Old 26th December 2010
Lives for gear
SörenHjalmarsson's Avatar

To answer your question... A desirable environment goes before fancy equipment, otherwise the fancy equipment would only record bad sounding sources and what's the use in that?

Same goes for a control room... a flat room response is worth more than fancy mixing gear, otherwise you wont hear which way to tweak your fancy EQ. The painter wont have any use for a fancy brush if he has to work with a blind fold. i.e money spend in vain... dont spend good money after spending bad... dont through pearls at swines... etc...

Sören's systematic investment order:

1. Secure a Good sounding TR.
2. Get a good musician (or singer).
3. Make the musician present of a nice sounding instrument.
4. Acquire an excellent sounding signal chain (mic, mic preamp, signal processors...).

1. Treat your room according to calculations.
2. Secure equipment for room measurements.
3. Get a good (flat) speaker system and calibrate it properly.
4. Assure an acceptable room response (fine tune your room).
5. Acquire some excellent sounding hardware or software based processing gear for mixing and mastering.

This list can then go on forever...

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