Please see prior post about "affordable" tube. When done right, tube is expensive - I've ne'er heard one but I hear you can modify the ART dual pre with NOS tubes but again, I just don't know.
Please see prior post about "affordable" tube. When done right, tube is expensive - I've ne'er heard one but I hear you can modify the ART dual pre with NOS tubes but again, I just don't know.
Price range? Mic impedance? Gain needed?
Gotcha. short term memory is shot. LOL
I'm starting to think a lot of it is snake oil.
My song I recorded last week went to the mastering engineer and he may have been gassing me up but he said my mix/recording sounded as good, and better than some "pro" stuff he's gotten. It seems to me that it's more the pilot behind the gear that's important.
That said I will continue to fetishize this stuff.
So I've been looking into all this and it comes down to this: I would like a better mic for recording podcast vocals but I'm really trying to get out for $100 or less.
I know the Shure dynamic mic is highly touted but given that I'm currently using a dynamic mic (albeit a super-cheap one), I'm not jazzed on the idea of another one where I have to crank up the pre-amp just to get the recording levels up right. So I'm think LCM, maybe a AT2020 or the B1.
Hey 4yeargraduate. I have been loving the sm7b. props for that. You got me interested in the API 512C but from what I can see, I gotta spend an extra 400 for a lunchbox.
What looks ideal to me would be a API 512C, a 525 compressor, and a lunchbox, but that's going to run me damn near 2 large. Is there a cheaper alternative you might recommend or should i save for a couple of weeks and go this route?
If you are inclined, I have a spare 525 here from a console we decomissioned that you could try out, they are kind of wierd compressors and aside from using on bass (electric) on mixdown, i don't feel they are the most versatile compressor for the money. That's why i would suggest a pre/eq combo to start up with.
Which would give you two API mic pres and Line stages + a really good a/d converter that would allow you to bypass the digidesign garbage - and you would get the added bonus of clocking PT to the a2D as well. You would just ysue this as a front end and run into the back of the digi via SPDIF.. that's probably making your money go the farthest IMO.
At this point, this guy could recommend anything and I would cop it.
So that compressor isn't all that? Have you heard anything about Elysia compressors?
I want a compressor for recording vocals, since I'm going to compress them anyway ITB, I might as well get it on the way in. Just some leveling. Not really urgent though. Mostly just for playing back takes on the fly without having to make a quick compressor instance.
Now you got me salivating on the A2D. I've been wanting new converters for sampling drums off vinyl. Everybody says digidesign 003 is trash but can you really tell that much difference?
I still may decide to go the lunchbox route because I'm sure I will want to add something to the chain eventually. That EQ looks intriguing. Would I get a better sound eqing on the way in than ITB?
I'm recording at least 3 times a week now. Never meant to go into recording vocals, I'm a beat dude, but man is this fun and addictive, especially when mixing those vocals into the beat. Too much fun.
I went ahead and purchased the API 512c and a lunchbox. I have a few other pieces I want for my vocal chain, including that Harrison 32EQ and a compressor so it was no big deal buying the box. I got a good deal and the post-production tax break doesn't hurt.
I was worried that I would bring it home and not notice any difference. Sometimes the changes from lower to higher end gear is slight. It may help when you are mixing multiple tracks but in a single track but the audible difference is negligible. THIS IS NOT THE CASE WITH THE API 512c (emphasis not yelling). I did a side by side comparison and the API is a lot warmer. It seems to have more lower mid beef and the lows sound tight. In comparison the stock 003 pres sound flat, crispy, and lacking in girth. Total poopsville.
Hopefully I will get off that 003 A/D sooner than later, including that 2AD rack from earlier in the thread.
Man, everything 4yeargraduate has recommend has been pure gold. Anybody have a favorite 500 series compressor? I'm interested in the Elysia XPRESSOR but it's stereo so maybe for 2bus compression. I would still need a mono one since you can't unlink the channels on the XPRESSOR..
I bought one a few years ago - got the free box from vintage king - and its pretty much been the BEST purchase EVER.
I've got it loaded with an API512, API 525, 2 Purple Action Compressors and the Shadow Hills Mono Gama mic pre. Still have 1 empty slot i may fill with a chandler germ pre.
It is crazy expensive no doubt.. my lunchbox probably cost more than my ENTIRE studio combined..including my instruments.
I went ahead and purchased the API 512c and a lunchbox. I have a few other pieces I want for my vocal chain, including that Harrison 32EQ and a compressor so it was no big deal buying the box. I got a good deal and the post-production tax break doesn't hurt.
I was worried that I would bring it home and not notice any difference. Sometimes the changes from lower to higher end gear is slight. It may help when you are mixing multiple tracks but in a single track but the audible difference is negligible. THIS IS NOT THE CASE WITH THE API 512c (emphasis not yelling). I did a side by side comparison and the API is a lot warmer. It seems to have more lower mid beef and the lows sound tight. In comparison the stock 003 pres sound flat, crispy, and lacking in girth. Total poopsville.
Hopefully I will get off that 003 A/D sooner than later, including that 2AD rack from earlier in the thread.
Man, everything 4yeargraduate has recommend has been pure gold. Anybody have a favorite 500 series compressor? I'm interested in the Elysia XPRESSOR but it's stereo so maybe for 2bus compression. I would still need a mono one since you can't unlink the channels on the XPRESSOR..
Thanks man, I'm glad your happy with your purchase. Aside from the 512 being a top end can't go wrong micpre, the great thing about it is you'll notice it's one of the THE only 500 series pres with level leds on the front, so you know exactly where you stand gain wise as you dial in the microphone. This is one of the things that gets really tricky if there is not metering on every piece in the chain, you got to know where you stand to avoid unwanted distortion down the line. I also was using the 512s in the studio as a line gain stage for sampling - just engage the pad and dial it in inbetween, say, the sampler output and the input of the PT rig. Makes 808s hit like all hell. The input tranny on the 512 likes to get the level.
For a compressor, I would say the API 527 is wayyyy more versatile than the 525, though i only own a 525 (so far). ANd for that i only use it when lightly compressing e.bass . There are so many choices in the 500 series and i haven't used them all but my favorite one is a dirtbag: the Standard Audio level-or. It was developed by my friend Ian to mimick a vintage Sure Level-Loc, and i find that when using it in parralel compression with just about anything it can't go wrong but beware -it is DIRTY SOUNDING. Massive. The xpressor looks dope, I know the Mpressor is highly regarded, but again i haven't used it.
What i would do is get a free pass to the floor at AES in SF this November and bring a CD of vocals with you that you are familiar with, then go to each of the booths for the manufacturers and try each one out until you hear or find one you really like.. then offer them a lowball cash figure for the demo model on the convention floor. hehehe.
Aside from the 512 being a top end can't go wrong micpre, the great thing about it is you'll notice it's one of the THE only 500 series pres with level leds on the front, so you know exactly where you stand gain wise as you dial in the microphone.
Wow, that pretty much makes my decision easy for the next preamp I buy. I was just falling in love with the meter, too. No latency style computer meter. smh. It's so funny, your mind gets used to and adjusts for latency. Mine does anyway. When I first got the mpc tr808 set up I had the midi going from the mpc thru PT to the 808 (kenton mod). I adjusted to the small delay when I hit the pad and the sound plays. Then when I connected the drum machine midi direct, it felt like the the sound was triggering before I even touched the pad. It threw me off for a minute.
I now have a Shure SM7B which works fine with the Apogee Duet but running it into my mixer (XLR to 1/4" cable), it's just hella quiet. Even cranked to 10 on the mixer (Rane TTM56), I still have to yell for the vocal input to peak. Is that just what happens with a dynamic mic on a mixer? Or would I need to run it into a dedicated mic pre-amp to get it louder?
I now have a Shure SM7B which works fine with the Apogee Duet but running it into my mixer (XLR to 1/4" cable), it's just hella quiet. Even cranked to 10 on the mixer (Rane TTM56), I still have to yell for the vocal input to peak. Is that just what happens with a dynamic mic on a mixer? Or would I need to run it into a dedicated mic pre-amp to get it louder?
edit: sorry I misread the post.
I would think your mixer would need a good pre for the job.
So I discovered my api pre amp makes some beastie distortion when overdriven. I'm gona run some drums through it. Should I worry about clipping it too much? I cant blow it can I?
Comments
Should I go tube?
Price range? Mic impedance? Gain needed?
Gotcha. short term memory is shot. LOL
I'm starting to think a lot of it is snake oil.
My song I recorded last week went to the mastering engineer and he may have been gassing me up but he said my mix/recording sounded as good, and better than some "pro" stuff he's gotten. It seems to me that it's more the pilot behind the gear that's important.
That said I will continue to fetishize this stuff.
http://www.soulstrut.com/index.php/forums/viewthread/66285/
Hope you like it. I'm happy with it.
I know the Shure dynamic mic is highly touted but given that I'm currently using a dynamic mic (albeit a super-cheap one), I'm not jazzed on the idea of another one where I have to crank up the pre-amp just to get the recording levels up right. So I'm think LCM, maybe a AT2020 or the B1.
Any other recommendations for a decent ~$100 LCM?
THanks.
What looks ideal to me would be a API 512C, a 525 compressor, and a lunchbox, but that's going to run me damn near 2 large. Is there a cheaper alternative you might recommend or should i save for a couple of weeks and go this route?
Buy this 2 space rack from VK and get half off on when you buy two modules:
http://www.vintageking.com/A-Designs-Audio-500HR-2-Slot-Rack-Frame-with-Power-Supply?sc=42&category=37680
Then purchase these two modules:
API 512
http://www.vintageking.com/API-512C?sc=42&category=11988
Harrison 32 500 EQ (with the api, effectively giving you the Thriller recording setup)
http://www.vintageking.com/Great-River-32EQ?sc=42&category=40595
approx $1600
OR
Daking Pre/EQ (based on the Trident A Range console)
http://www.vintageking.com/Daking-Products-Mic-Pre-EQ?sc=42&category=40
OR
If you are inclined, I have a spare 525 here from a console we decomissioned that you could try out, they are kind of wierd compressors and aside from using on bass (electric) on mixdown, i don't feel they are the most versatile compressor for the money. That's why i would suggest a pre/eq combo to start up with.
Alternatively, your money might be best spent by purchasing this:
http://www.vintageking.com/API-A2D?sc=18&category=337
Which would give you two API mic pres and Line stages + a really good a/d converter that would allow you to bypass the digidesign garbage - and you would get the added bonus of clocking PT to the a2D as well. You would just ysue this as a front end and run into the back of the digi via SPDIF.. that's probably making your money go the farthest IMO.
So that compressor isn't all that? Have you heard anything about Elysia compressors?
I want a compressor for recording vocals, since I'm going to compress them anyway ITB, I might as well get it on the way in. Just some leveling. Not really urgent though. Mostly just for playing back takes on the fly without having to make a quick compressor instance.
Now you got me salivating on the A2D. I've been wanting new converters for sampling drums off vinyl. Everybody says digidesign 003 is trash but can you really tell that much difference?
I still may decide to go the lunchbox route because I'm sure I will want to add something to the chain eventually. That EQ looks intriguing. Would I get a better sound eqing on the way in than ITB?
I'm recording at least 3 times a week now. Never meant to go into recording vocals, I'm a beat dude, but man is this fun and addictive, especially when mixing those vocals into the beat. Too much fun.
I was worried that I would bring it home and not notice any difference. Sometimes the changes from lower to higher end gear is slight. It may help when you are mixing multiple tracks but in a single track but the audible difference is negligible. THIS IS NOT THE CASE WITH THE API 512c (emphasis not yelling). I did a side by side comparison and the API is a lot warmer. It seems to have more lower mid beef and the lows sound tight. In comparison the stock 003 pres sound flat, crispy, and lacking in girth. Total poopsville.
Hopefully I will get off that 003 A/D sooner than later, including that 2AD rack from earlier in the thread.
Man, everything 4yeargraduate has recommend has been pure gold. Anybody have a favorite 500 series compressor? I'm interested in the Elysia XPRESSOR but it's stereo so maybe for 2bus compression. I would still need a mono one since you can't unlink the channels on the XPRESSOR..
Jammy: I don't know about that stuff. Looks retro. Is it or is that just the design?
I bought one a few years ago - got the free box from vintage king - and its pretty much been the BEST purchase EVER.
I've got it loaded with an API512, API 525, 2 Purple Action Compressors and the Shadow Hills Mono Gama mic pre. Still have 1 empty slot i may fill with a chandler germ pre.
It is crazy expensive no doubt.. my lunchbox probably cost more than my ENTIRE studio combined..including my instruments.
Thanks man, I'm glad your happy with your purchase. Aside from the 512 being a top end can't go wrong micpre, the great thing about it is you'll notice it's one of the THE only 500 series pres with level leds on the front, so you know exactly where you stand gain wise as you dial in the microphone. This is one of the things that gets really tricky if there is not metering on every piece in the chain, you got to know where you stand to avoid unwanted distortion down the line. I also was using the 512s in the studio as a line gain stage for sampling - just engage the pad and dial it in inbetween, say, the sampler output and the input of the PT rig. Makes 808s hit like all hell. The input tranny on the 512 likes to get the level.
For a compressor, I would say the API 527 is wayyyy more versatile than the 525, though i only own a 525 (so far). ANd for that i only use it when lightly compressing e.bass . There are so many choices in the 500 series and i haven't used them all but my favorite one is a dirtbag: the Standard Audio level-or. It was developed by my friend Ian to mimick a vintage Sure Level-Loc, and i find that when using it in parralel compression with just about anything it can't go wrong but beware -it is DIRTY SOUNDING. Massive. The xpressor looks dope, I know the Mpressor is highly regarded, but again i haven't used it.
What i would do is get a free pass to the floor at AES in SF this November and bring a CD of vocals with you that you are familiar with, then go to each of the booths for the manufacturers and try each one out until you hear or find one you really like.. then offer them a lowball cash figure for the demo model on the convention floor. hehehe.
that shi*s gonna be a blast.
At work usually the kids will steal any flashy mics we buy so we have an assortment of cheap SM58 copies & use them for everything lol
Wow, that pretty much makes my decision easy for the next preamp I buy. I was just falling in love with the meter, too. No latency style computer meter. smh. It's so funny, your mind gets used to and adjusts for latency. Mine does anyway. When I first got the mpc tr808 set up I had the midi going from the mpc thru PT to the 808 (kenton mod). I adjusted to the small delay when I hit the pad and the sound plays. Then when I connected the drum machine midi direct, it felt like the the sound was triggering before I even touched the pad. It threw me off for a minute.
I would go for a Great River MP, the golden combo with an SM7b
That would set you back mucho dinero, so a golden age pre-73 might be a good option
edit: sorry I misread the post.
I would think your mixer would need a good pre for the job.