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| the HOME RECORDING STUDIO thread
Posted: 3/22/2006 11:09:19 PM | Hey Guitarman100,
I have a smaller home studio, that has recently outgrown a few peices. I have a Korg D16 for all m,y portable recording of live gigs and friends bands for practice sessions and the like that I will dump to Sony Acid to do the basic edits, EQs, and sequencing. However I need a better hookup for my own gear when I am @ home. I have an M-Audio Firewire 410 to do the small basics when it is just me and the guitar but I want somethign that I can use when I am running move of my gear. At the moment I have most of the instruments run to a 24 channel board where I will set all the levels and the like a do a straight record but it limits my multi-track editing in the mastering process. So I need an interface that will work with everything from my turntables, mics, MPC, guitars, bass gutars, synthesizers, and my electronic drumkit. I want somethign that can take in 10 (or more) balanced input connections(XLR or 1/4 work fine), MIDI, and about 4(or more) outputs I can control from the PC, to send a signal to the heaphones or monitors I have hooked up @ the time.
.... oh and on top of that I dont want to break the bank, but I know what I am looking for isnt going to be found for $600.
Any suggestions let me know
b | |
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| the HOME RECORDING STUDIO thread
Posted: 3/22/2006 11:28:41 PM | crypticon
great question !!!
I have the m-audio delta 1010 it does upto 10 seperate tracks at a time
you can stack them and get upto 3 running(30 tracks)
they have come down in $ and you can find them on ebay
they sound really good for what they cost
also checkout the emu 1082 | |
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| the HOME RECORDING STUDIO thread
Posted: 4/16/2006 11:55:34 PM | I knew I'd stop by this thread eventually....
...I've acquired a Tascam DP-01FX and a REALLY shitty mic...buddy that I bought it from said they threw in the mic for free.....
any opinions on good instrument mics (we can't sing and don't try) that are able to pick up the sound from all directions? ....it's really hard to balance the sound of a live jam with a uni-directional mic! dammit!
$100 - $150 price range?
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| the HOME RECORDING STUDIO thread
Posted: 4/17/2006 1:32:55 AM | PAULCHINO
get a shure sm 57 or sm- 58
those are standards
sometimes you can get them used for cheap
check your local used paper/pa rental place
new they arent bad either
for condenser mics if you have phontom
I like the audio technica at-3035
on the cheap | |
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| the HOME RECORDING STUDIO thread
Posted: 4/17/2006 8:23:52 AM | I use a Fostex mr-8, its a digital 8 track that lets you record directly (for amps) or with a mic, it uses a flash card, which is awesome, 1gig of space before i have to transfer to my computer, Then mix it with a program like cool edit,(audobe audition), and convert to mp3,
my music is at Please see Forum Rules concerning copyright violations/spam
Check out jesus of suburbias sound quality
assuming you have a good guitar with good pickups, and a nice bass guitar, You can get that quality for 500 bucks
The vocals need a decent mic to, so a shure sm58, or a beta shure, or a condenser mic are what i like to use.
Check it out, and give feedback or any questions id love to ask
I been doing home recordings for a year now, its so much fun :) | |
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| the HOME RECORDING STUDIO thread
Posted: 4/17/2006 10:05:44 PM | alright...
took the trip to long & mcskinny's today and after a few mins of talking to the clerk I went with a shure beta 58A didn't even realize the bolded print that says VOCAL mic on the box...and I'm thinking that I should've got the 57A as it is designed for instruments.....
....no vocals for our jams...but from what I gathered on the website...the 57 and 58 are virtualy the same mics....
...would it be worth the trip back to exchange it for a 57? I obiously don't know too much about mics...but some would say I'm anal about sound quality....
....I'm playing my recordings back through some goods speakers too (sound dynamics) so if there is much difference, I'm Shure I'll be able to hear it.....OK I'm done with the bad puns...
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| the HOME RECORDING STUDIO thread
Posted: 4/17/2006 10:33:25 PM |
...would it be worth the trip back to exchange it for a 57?
Yup, it's far better suited for instrument use.
I obiously don't know too much about mics...but some would say I'm anal about sound quality....
Hmmm..... "anal" about mics/sound quality doesn't exist under $5000.
You should meet my partner in crime, ....he's shopping for a pair of U47's right now.
Don't Google that if you have a weak heart. | |
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| the HOME RECORDING STUDIO thread
Posted: 5/12/2006 7:33:57 AM | | Is the AW4416 still considered a decent workstation? I picked one without a scratch on it V2 with a stagemaster case for $800 can. I had some practice with My AW16G, but the 4416 appears to blow it away, but I am still learning how to use it.. Long way to go yet. | |
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| the HOME RECORDING STUDIO thread
Posted: 5/13/2006 7:20:01 PM | | Analog yes ,I still use my Tascam Portastudio 448 and mix down on dat than tranfer to cd the sound is outta this world and it makes me a graet living also | |
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| the HOME RECORDING STUDIO thread
Posted: 5/16/2006 7:18:58 PM | I have a Yahama AW16G Workstation, and many Yahama keyboards, including a 3000.
~ just cant make out the instructions for the workstation.Do you know of any way of finding simpler instructions... say on the " net"?
Thanks .. Bill | |
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| the HOME RECORDING STUDIO thread
Posted: 5/17/2006 8:23:39 PM | These are my weapons of choice...
Guitars:
1995 Gibson Les Paul Standard - aged cherry sunburst
80's Fender MIJ Strat w/ Seymour Duncan HotRails - lake placid blue
2002 Martin D-16GT acoustic
70's Yamaha F-310 acoustic
Amps:
2001 Vox AC30 6/TB w/ Celestion greenbacks
THD HotPlate 16ohm
Marshall MS-2
Effects:
Boss TU-2 chromatic tuner
MXR Dynacomp Compressor
Vox 847 Wah
Fulltone Fulldrive 2
EHX Big Muff Pi
MXR Phase 90
Boss TR-2 Tremolo
Line6 DL4
Boss CH-1 chorus
EHX Holy Grail Reverb
Computer Hardware:
Apple iBook 1.67 ghz 1gb ram OS X
M-Audio Firewire 410
M-Audio Keystation 49es
Sony Headphones
Studio Monitors*
Computer Software:
Reason 3.0
GarageBand 2.02
Logic Express 7.1
Abelton Live 5
Guitar Rig 2
etc.
Miscelleneous Recording gear:
Korg MA-30 metronome
Korg GT-3 tuner
Shure SM57 mic
MXL 2001 condenser mic
mic stands/pop filters/cables
bottleneck slide
Dunlop capo
ebow
George L cables
Rondomusic Aluminum Locking Pedalboard Pedalcase
Godlyke Powerall
D'addario EJ16 & EXL110
Dunlop Tortex | |
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| the HOME RECORDING STUDIO thread
Posted: 5/18/2006 2:06:03 AM | Is the AW4416 still considered a decent workstation?
Killer tracking rig, if you paid $800, ...it was a steal.
Consider upgrading the AD/DA convertors.
With the Apogee AD/DA upgrades, and pro analog "front-end", with pro mics, and good ears, a 4416 can pull off stunning recordings, ....if you take the tracks to a professional facility for mixing/mastering (not really suited for this). With the Apogees, the "44" is amazing bang for buck, and less "jitter" than almost any DAW you can get now.
The fact that it has such a great upgrade path makes it an awesome value. | |
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| the HOME RECORDING STUDIO thread
Posted: 6/6/2006 8:05:12 PM | was talking with my buddy today after laying down a drum track on my digital recorder...he says...
"I know a guy who can take this stuff...record it back onto 1/4 inch tape and cut you a vinyl record"
I thought that would defeat the purpose if it's already been initially recorded on digital equipment...he argued that you're playing it back "through the air" which gives it a more "real" sound...
any thoughts on this? can you "recover" some sound quality using this method? | |
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| the HOME RECORDING STUDIO thread
Posted: 6/6/2006 10:16:22 PM | No.
1/4" tape is no good for mastering.
A vinyl acetate cut from 1/4" is such a waste of acetate, it boogles the mind.
"Throught the air"?
Tell him, "dood, that's where sound travels to our ears, whether it's vinyl, tape, mp3, parrots, noisy squirrels, my alarm clock, etc.
BTW, can you ask your buddy if I can have some o' what he's on?
He sounds like a true mellow cat.......
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| the HOME RECORDING STUDIO thread
Posted: 6/7/2006 11:54:40 AM |
BTW, can you ask your buddy if I can have some o' what he's on?
He sounds like a true mellow cat.......
Oh ya, perfect description for this dude, knows more about absinth than recording...maybe he'll cut you in on the REALLY STRONG bottle he's planning on ordering over the net....
....I'll tell him to stick to the djembe.... | |
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| the HOME RECORDING STUDIO thread
Posted: 6/7/2006 12:12:46 PM | If you recorded to a digital device at any point in the process, it will never be Analog, even if transfered to vinyl.
OK, time to try "Stump The Pro"
I've a 8 ch mixer and an M-audio 1010 and a set of CAD drum mics (kick, snare, toms), although my 8 track has recenty died (R.I.P). My current probem, and hence question, is that I have gotten into Banjo and am wondering if any one can suggest the best way to mic it?
I tried my snare mic, back and front, it is ok. Note small cap ok, cause it really doesn't pick up the full range of the Banjo, especially as I get better at playing it. Anyone got any experience with this? | |
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| the HOME RECORDING STUDIO thread
Posted: 6/7/2006 1:19:54 PM | "I have read many professional sound engineers that say they could record a whole drumkit and get a professional sound with a bunch of shure 57's"
This is true. Shure 58s are also pretty good.
Many of the pros use and love them both.
Very affordable...and sound good.
Like late was saying though...
most of the affordable IS useless. | |
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| the HOME RECORDING STUDIO thread
Posted: 6/7/2006 1:25:06 PM | "Oh ya, perfect description for this dude, knows more about absinth than recording"
I just spit up my nice summertime margarita...thanks. Sorry, it has none of that terrible tasting absinthe in it though. To drink that stuff...I'd have to steep in in a pound bag of sugar. | |
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| the HOME RECORDING STUDIO thread
Posted: 6/7/2006 3:01:18 PM | if you recorded to a digital device at any point in the process, it will never be Analog, even if transfered to vinyl.
True, ......BUT,
If you have top quality analog front end gear, and leave off the digital "plug ins", and have decent AD/DA gear, it's still best to mix and master in the analog world. This can mean summing to a 1" or 2" mastering deck. and dumping this back to the AD to the hard drive for digital re-mastering. The less "software" you use, the less tracking errors you have, the better the sound.
Mastering to 1" and 2" tape will fatten up the sound noticeably, and add a little tape compression magic to the final digital master.
OK, time to try "Stump The Pro"
I've a 8 ch mixer and an M-audio 1010 and a set of CAD drum mics (kick, snare, toms), although my 8 track has recenty died (R.I.P). My current probem, and hence question, is that I have gotten into Banjo and am wondering if any one can suggest the best way to mic it?
I tried my snare mic, back and front, it is ok. Note small cap ok, cause it really doesn't pick up the full range of the Banjo, especially as I get better at playing it. Anyone got any experience with this?
I would go with a large diaphram tube condensor mic, and experiment with placement. I'm willing to bet that the sweet-spot is somewhere around the 14th fret, about 5' away. I can't advise you on the CAD mics, I have yet to hear one that wasn't dreck. As important as the mic itself is the mic preamp. Most mixers, even higher end ones, don't have the kind pf pre's that are up to the task of recording. One or two high quality mic pre's go a long way in making even so-so mics work that much better.
"I have read many professional sound engineers that say they could record a whole drumkit and get a professional sound with a bunch of shure 57's"
Best I've heard was two overhead small diaphram condensor mics (@ about 8' up) and a single large diaphram condensor (about 5") in front of the kick.
This is typical for a "pro" recording.
2 X Eric Hasnik EAH Mk II small diaphram condensors (hand built) (overheads)
1 X Lawson L47 large diaphram tube condensor mic (Neuman U47 type) (front)
While there may be other mics in the picture, they usually get set up "just in case", and the tracks are rarely saved.
See pic:
http://homepage.mac.com/ewald/.Pictures/drum-mics.jpg
Less is better, less phase cancellation/standing wave nightmares.
I haven't used dynamic mics for anything but "ghost" tracks for years.
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| the HOME RECORDING STUDIO thread
Posted: 6/12/2006 7:50:56 AM | Thanks Late, I checked into tube condenser mics and yea they seem to be "The Mic". But price..gawd from hundreds of dollars to tens of thousands....
I am going to have to start saving my pennies and dimes.
But as to the setup. You said 5 "feet" (unless it was a typo) from the 14th fret... Well we are talking "Home Recording" and I anit got five feet (well, not with out rearranging everything). Also it woud be hard to setup with (and islolate) other players.
Maybe a suggestion on a mic that could be mounted closer? (and Cheaper) | |
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| the HOME RECORDING STUDIO thread
Posted: 6/12/2006 8:12:57 AM | Ok I have A Mackie 1402-VLZpro mixer, sound blaster 5.1 sound card, and audcity multitrack recording software(I used to mess with sound forge)find it easier to use.And a cheap dynamic mic...Does the mic really make that much of a difference? I was going to build a sound booth 8'x8'x8' until I hurd that those dim's are no good? It's just for vocals..
I know im gonna need a better mic but the sure is a 1000.00, anything i can get in the mean time that will put out a decent recording? And is Audcity a decent multitrack? Is there anything else I need to add to the Mackie? How can I get the sound of my voice on the track the way it sounds to me,I mean it sounds good until I play it back(distorted,flat)just not happy with the end. | |
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| the HOME RECORDING STUDIO thread
Posted: 6/12/2006 9:41:37 AM |
But as to the setup. You said 5 "feet" (unless it was a typo) from the 14th fret..
I meant 5", sorry, moving the mic around is the only way to find the sweetspot, but I'd start there.
Using more than one mic is really only practical if you have a way of dealing with phase problems.
There are some cheaper mics that will work well too.
Rode NT2 for example, is a great acoustic instrument mic at round $400 (if you look).
http://www.rode.com.au/?pagename=Products&product=NT2-A
Those Hasnik EAH small diaphram condensors I mentioned in my last reply can be had for $1200 a pair, at the moment the wait time on them is about 5 months though (they ARE hand built). Engineers and producers who are picking these up are selling their pairs of B & K small diaphram condensors, ...those go for $4000+ a pair.
A decent mic pre will set you back at least $500, but EVERY mic you have will work that much better (or show it's flaws, that much more obviously)
It's not unheard of for home studio guys to sink thousands into a dedicated computer, or recording DAW, software, yet, they balk at sinking a grand into a decent mic and pre that will be able to get something high quality to the hard drive.
Also it woud be hard to setup with (and islolate) other players.
The best way to record ensemble acoustic instruments is to set up the band, in front of two REALLY good large diaphram mics = no isolation, phase cancellation, and standing wave problems.
Again, this can be done with "consumer" level gear, but, ...it may not sound as good as you would like.
Guys who just use midi gear and loops have the advantage here. there is no "sound" to record. A direct injected synth track is not going to benefit to the same degree, relatively speaking, from higher quality "front-end" in regards to recording.
As soon as you are sourcing your signal from "the air", ....any quality limitation in the signal path, is going to decide how good your recording sounds.
As far as tracking is concerned, you can accomplish what the pros do with 24 or 48 tracks, by concentrating on having just two channels of "pro" quality. This can be accomplished passably at around $5000, and can run into six figures, ...on the other hand, multiply that by 24 or 48....
...and that's just tracking.
The point being, if you take what people call "just as good as what the pro's can do", and A/B it with "what the pro's can do", ...you'll see that this is a load of BS. (discaimer: This is not a statement about the quality of music done by an amateur - but the quality of the production re: sound quality).
If you want something that can stand up to the level of quality, above that of a "hobbiest"?
What CAN be done on a budget, (let's get realistic here, and aim for AT LEAST; .5% -note the decimal point- of what a "budget" pro tracking facility costs)"as good as the pro's can do", provided your ears are up to it: Is to "track" a project with at least two channels "at a time" (as many tracks as your DAW can handle...), with "entry-level" pro gear = 2Xmics, 2Xpre's, 2Xcompressors, 2XEQs ....note, I didn't include a mixer, ...unnecessary to track, only NEEDED to mix and master. I can't believe how many guys spend money on mixers, ....you DON'T need to use mixers to track, most times you're better off not using one at all unless it's a Neve, SSL, MCI, etc.
So you're looking at about at least $5000 for a "starter" set-up. Take the "quality recorded", raw tracks to a pro facility for mixing and mastering. ....another $550 a tune at least.
And you can have a CD of the quality - "as good as the pro's can do".
That's how this sample track was recorded, on about $10,000 "front-end" gear (and a Yamaha AW4416 w/Apogee AD convertor upgrade), the tracks were then taken to Ken Friesen's (Gordon Lightfoot, Tragically Hip, Blue Rodeo, etc. etc.) recording facility to master the CD:
http://www.peggywhite.ca/FAIRISFAIR.MP3
That's an MP3, ....crank it through reference monitors, compare it to any other MP3 that's compressed from a recording of "real instruments". It was a "top-100" CD in the U.S. and Australia, BTW.... And, her fourth attempt at a CD, the other three were never released because of lousy production. The tracking was basically done at a "home studio".
On the other hand, if it's just a hobby?
It's just a hobby.
Just don't set yourself up under the pretense that "hobby" gear can match what "quality" gear can do, ...even at the most basic level of recording one instrument. Or you're setting yourself up for disappointment and frustration.
Seriously, if you just want to archive some music as a hobby, don't set your expectations higher than the means you have to accomplish this.
No matter how much you've spent on instruments, and a recording set up, ...the most critical gear components are the ones that GET the instrument signal TO the recording medium, this means, quality mics, quality pre's, quality comps, quality eq's, ALL ANALOG! and when you get high-quality stuff? It NEVER depreciates in value, ...ever. That said, ...even a crappy quality cable or power supply can negate even this.
Mixers?
Ahhhhhh!!!!!!! I made the same mistake when I put together my home studio, ....after I spent my budget, I had a nifty $1000 mixer, a $1500 AD/DA, that I couldn't use anyway, .... no more money, so,...no quality mics, no pre's.
Without decent raw tracks? ...a mixer's less than useless.
Geeezz!! you only need a mixer for summing and mastering, ....and if you think tracking is expensive?
Mixing and mastering is where the outboard gear get's seriously expensive in a studio.
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| the HOME RECORDING STUDIO thread
Posted: 6/12/2006 4:33:08 PM | LATE
that is some very good advice
and the mp3 sounds great
what kinda mics did you use on it?
do you have a link for those hasnik mics?...I tried google no luck | |
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