. Nightlub elipticals into the rane mixer at medium gain. leaving plenty of headroom - out of the mixer with no additional gain, into duet at only 75% of the total allowable level(because many of the transients will eb hitting faster than the meters can show, so you don't want to distort on the way in) record, normalize, rinse and repeat.
What I'm talmabout! Well, I'll probably invest in the Duet first and worry about the Nightclubs later. But thanks for breaking down what you see as an optimal chain.
Oliver, did you send me any emails about the project?
Naw - I haven't had any time to move forward with this. At this point, it was really a matter of doing more interviews but I kept back-burnering them and damn, now the semester's over!
or, get a gemini mixer from the 90's. I am not shitting you guys.
such as the Gemini PS-626?
That's what I've always used and been happy with when recording.
I've noticed that different recording software definetely affects the end result... I liked adobe audition to work with , but it was crap capturing a full signal. Someone tossed me Sony Soundforge and I started recording with that and editing in Audition...seemed to work much better.
or, get a gemini mixer from the 90's. I am not shitting you guys.
such as the Gemini PS-626?
That's what I've always used and been happy with when recording.
I've noticed that different recording software definetely affects the end result... I liked adobe audition to work with , but it was crap capturing a full signal. Someone tossed me Sony Soundforge and I started recording with that and editing in Audition...seemed to work much better.
You put AX7s in a phono pre? really? i was expecting some gigantic transformers in a solid state design. no need to soften things up! oh well. actually that rolls pre that someone posted is damn good. my friend has one and whenever he rips records for me they sound real big. simple, cheap, clean circuitry. and yeah the geminis are ridiculous. its like your sm7 --> tube amp steez, just fits perfectly for making rapppp music. ps personally i think the sound of the A&H xone is ridiculously good...shit sounds like a neve.
ps what were you doing in china?
i think i convinced odubs not to do anything dumb / maybe get the duet. telling you that thing is near-perfect. minus the clocking is basically is 2 channels of an AD-16X.
ps - there are some crazy noises coming out the favela tonight. sounds like multiple cats dying.
O, Mogami's nice and all, but whats really important is that if your mixer has balanced outputs, use them (it will be balanced 1/4 inch or XLR, RCA plugs are never balanced.)
Balanced outputs, besides being less prone to interference, will give you a louder signal which needs less gain from the mixer to hit the sweet spot on the Duet, resulting in less noise.
Mogami is nice but doesn't matter. If you really want to be anal about things you should get cables from Redco.com - they do real cheap custom sized cables for pretty much every type of cable that exists. You can get them mogami but also get a standard redco material that is basically the same thing. Great customer service too. Reasonably priced.
But realistically cables are not going to affect things for you, as long as your cables aren't broken.
O, Mogami's nice and all, but whats really important is that if your mixer has balanced outputs, use them (it will be balanced 1/4 inch or XLR, RCA plugs are never balanced.)
Balanced outputs, besides being less prone to interference, will give you a louder signal which needs less gain from the mixer to hit the sweet spot on the Duet, resulting in less noise.
Word, thanks. I'm pretty clueless about stereo electronics so this is useful. My Rane has balanced 1/4 outs and I already have cables that normally are used with my FX-500 (currently collecting dust).
I record from my turntable straight to a cd recorder and rate it as the best way for sounds quality.
I record off an Linn LP12 turntable with a lingo power supply, with a Naim Aro tonearm and an Ortofon Kontrapunkt B cartridge, with the signal going via a Tom Evans Goove+ phonostage into a NAD s100/s200 pre/power amp and recorded on a Tascam cdrw900. There's no compression or shit tinny sounding files, and while it's not vinyl it's as good as i can get for digital.
Without trying to sound like an arrogant prick I reckon the recordings i make piss over the quality i hear on the comps and reissues i tend to hear, some of which I can tell are poor vinyl mastered recordings even though they might talk shit about using mastertapes. There are quality reissues like Music Matters Bluenote analog reissues etc though.
Here's a couple of recordings so see what you make of it - both recorded off the original analog issue LPs...
Comments
What I'm talmabout! Well, I'll probably invest in the Duet first and worry about the Nightclubs later. But thanks for breaking down what you see as an optimal chain.
Naw - I haven't had any time to move forward with this. At this point, it was really a matter of doing more interviews but I kept back-burnering them and damn, now the semester's over!
That's what I've always used and been happy with when recording.
I've noticed that different recording software definetely affects the end result... I liked adobe audition to work with , but it was crap capturing a full signal. Someone tossed me Sony Soundforge and I started recording with that and editing in Audition...seemed to work much better.
no
ps what were you doing in china?
i think i convinced odubs not to do anything dumb / maybe get the duet. telling you that thing is near-perfect. minus the clocking is basically is 2 channels of an AD-16X.
ps - there are some crazy noises coming out the favela tonight. sounds like multiple cats dying.
Balanced outputs, besides being less prone to interference, will give you a louder signal which needs less gain from the mixer to hit the sweet spot on the Duet, resulting in less noise.
But realistically cables are not going to affect things for you, as long as your cables aren't broken.
Word, thanks. I'm pretty clueless about stereo electronics so this is useful. My Rane has balanced 1/4 outs and I already have cables that normally are used with my FX-500 (currently collecting dust).
I record off an Linn LP12 turntable with a lingo power supply, with a Naim Aro tonearm and an Ortofon Kontrapunkt B cartridge, with the signal going via a Tom Evans Goove+ phonostage into a NAD s100/s200 pre/power amp and recorded on a Tascam cdrw900. There's no compression or shit tinny sounding files, and while it's not vinyl it's as good as i can get for digital.
Without trying to sound like an arrogant prick I reckon the recordings i make piss over the quality i hear on the comps and reissues i tend to hear, some of which I can tell are poor vinyl mastered recordings even though they might talk shit about using mastertapes. There are quality reissues like Music Matters Bluenote analog reissues etc though.
Here's a couple of recordings so see what you make of it - both recorded off the original analog issue LPs...
http://www.mediafire.com/?qwn2jn5dmtm
http://www.mediafire.com/?mmeqzzizrof
http://soul-sides.com/2010/03/the-cavern-productionssoul-sides-guide-to-digitizing-vinyl.html