|
Post by jcoutu1 on Sept 22, 2017 13:34:53 GMT -6
Hey All, I'm on the cusp of renting an actual, purpose built studio space with a nice live room and control room. What is missing from my gear list that you would call a near essential, other than more damn cables! www.themixinghouse.com/gear/
|
|
|
Post by indiehouse on Sept 22, 2017 14:00:39 GMT -6
What's your headphone distribution system?
|
|
|
Post by drbill on Sept 22, 2017 14:05:24 GMT -6
Silver Bullet (2 - 4 channels) Manley Vari-Mu (1 - 2 channels) Serpent Splices (2) Serpent SA3a (2) API 550A EQ 4-8 channels CAPI Missing Links or LTL Chop Shops 2-4 channels LA2a
Backline Martin 000-18 vintage Martin D28 Dobro Resonater Les Paul variant Yamaha C7 Hammond B3, C3 or A100 w/ Leslie 122/145
|
|
|
Post by drbill on Sept 22, 2017 14:07:57 GMT -6
What's your headphone distribution system? ^^^^^^^
|
|
|
Post by jcoutu1 on Sept 22, 2017 14:16:19 GMT -6
Silver Bullet (2 - 4 channels) Manley Vari-Mu (1 - 2 channels) Serpent Splices (2) Serpent SA3a (2) API 550A EQ 4-8 channels CAPI Missing Links or LTL Chop Shops 2-4 channels LA2a Backline Martin 000-18 vintage Martin D28 Dobro Resonater Les Paul variant Yamaha C7 Hammond B3, C3 or A100 w/ Leslie 122/145 Edit: Serpent was missing from the list. I've got 40 plus channels of compression though. I think I'm good for compressors.
|
|
|
Post by jcoutu1 on Sept 22, 2017 14:16:59 GMT -6
What's your headphone distribution system? Just the auxes in the console and headphone amps.
|
|
|
Post by bradd on Sept 22, 2017 14:20:05 GMT -6
EV RE20, Sennheiser 421s, Beyer M160s and Coles 4038s are all mighty useful.
|
|
|
Post by drbill on Sept 22, 2017 17:03:24 GMT -6
Silver Bullet (2 - 4 channels) Manley Vari-Mu (1 - 2 channels) Serpent Splices (2) Serpent SA3a (2) API 550A EQ 4-8 channels CAPI Missing Links or LTL Chop Shops 2-4 channels LA2a Backline Martin 000-18 vintage Martin D28 Dobro Resonater Les Paul variant Yamaha C7 Hammond B3, C3 or A100 w/ Leslie 122/145 Edit: Serpent was missing from the list. I've got 40 plus channels of compression though. I think I'm good for compressors. <thumbsup> Are you trying to pull new clients in, or open a space for yourself to produce? If the former, known, name brand gear and killer backline - along with superior client amenities like a kitchenette, lounge, TV, gaming system, etc. - is what will translate into money in your pocket. A great piano is probably #1 on that list, followed by a Hammond. Like you say, you have the gear stuff fairly covered. Who are your clients going to be? Bands? Backline and Client amenities are your priorities, with "more me" headphone system coming next. Corporate? Beautiful high end looking facilities with comfortable chairs and artwork - look like a million bucks as best you can. Other Engineers? Name Brand Outboard and DAW. Pro Tools, 1176's, LA2a's, etc., etc.. Stuff they know and work with all the time. Think it through. If you're like me, there's not enough $$$ to cover ALL the bases. Figure out who your clients are first and foremost and work from there.
|
|
|
Post by jcoutu1 on Sept 22, 2017 17:48:32 GMT -6
Edit: Serpent was missing from the list. I've got 40 plus channels of compression though. I think I'm good for compressors. <thumbsup> Are you trying to pull new clients in, or open a space for yourself to produce? If the former, known, name brand gear and killer backline - along with superior client amenities like a kitchenette, lounge, TV, gaming system, etc. - is what will translate into money in your pocket. A great piano is probably #1 on that list, followed by a Hammond. Like you say, you have the gear stuff fairly covered. Who are your clients going to be? Bands? Backline and Client amenities are your priorities, with "more me" headphone system coming next. Corporate? Beautiful high end looking facilities with comfortable chairs and artwork - look like a million bucks as best you can. Other Engineers? Name Brand Outboard and DAW. Pro Tools, 1176's, LA2a's, etc., etc.. Stuff they know and work with all the time. Think it through. If you're like me, there's not enough $$$ to cover ALL the bases. Figure out who your clients are first and foremost and work from there. Space is too dated for the high end corporate stuff. This is just a side gig for me, so mainly nights/weekends. Mostly targeting bands and other outside engineer buddies for their projects. I'm not looking to spend big bucks, just make sure I have the basics covered. I wish I could go out and grab a B3 and some sweet vintage instruments, but that's not in the cards. RE20 seems like a gap in the locker right now. Could probably use another couple 421's too.
|
|
|
Post by Quint on Sept 22, 2017 19:53:27 GMT -6
I'd agree with Dr. Bill on the instruments. It's always good to have access to piano, organ, guitars, amps, pedals, etc. that a musician might otherwise not have access to. Pretty big selling point and something that is typically something your average musician is more intimately familiar with and seeking out.
I don't have a B3, but I do have an M3 and, for a lot of music styles, that is just as capable. I got mine on CL for like $300. And people give pianos away for peanuts on CL all the time. A Leslie is a different matter but you could still find a deal on one on CL every now and then. And small combo amps and pedals also come up on CL all the time. They can be picked up for cheap and provide other options and flavors to guitarists/bassists that own a limited amount of equipment.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Sept 22, 2017 20:10:29 GMT -6
There's a few low end mic's I like but you seem to be lacking on the upper end scale in terms of LDC's, I've never seen a studio without at least one U87.. However much people bash / love them they are good workhorse mics for many singers.. Personally I prefer the Neumann M149 but they are pricey in the US, far more than they are over here. You could get a Soundelux E49, now I've never heard one but people say they are better than the M149 and in the US they're probably quite cheap although I was never able to find one but they're still on the Soundelux website?..
The the amount of times I got asked "do you have a Neumann?" uhh.! I suppose you could get a cheap TLM for show but I can't say the TLM 102 / 103 rocks my world (102 is better IMO).. Others to consider are the Sontronics Aria although for a studio they don't quite have the "brand rep", Manley Ref's are great also and bit better known.. Would probably get some Neumann's personally.
There's the TLM67 to consider (although personally liked the 3U GZ67FET more), everyone stocks them and I'm sure you can rent Neumann's somewhere so try some and take your pick.
Apart from that, like the Midas Venice and you have enough compressors to crush a house. Oh and where's your snack list? I want me some pepsi max.!
|
|
|
Post by jcoutu1 on Sept 22, 2017 20:19:41 GMT -6
There's a few low end mic's I like but you seem to be lacking on the upper end scale in terms of LDC's, I've never seen a studio without at least one U87.. However much people bash / love them they are good workhorse mics for many singers.. Personally I prefer the Neumann M149 but they are pricey in the US, far more than they are over here. You could get a Soundelux E49, now I've never heard one but people say they are better than the M149 and in the US they're probably quite cheap although I was never able to find one but they're still on the Soundelux website?.. The the amount of times I got asked "do you have a Neumann?" uhh.! I suppose you could get a cheap TLM for show but I can't say the TLM 102 / 103 rocks my world (102 is better IMO).. Others to consider are the Sontronics Aria although for a studio they don't quite have the "brand rep", Manley Ref's are great also and bit better known.. Would probably get some Neumann's personally. There's the TLM67 to consider (although personally liked the 3U GZ67FET more), everyone stocks them and I'm sure you can rent Neumann's somewhere so try some and take your pick. Apart from that, like the Midas Venice and you have enough compressors to crush a house. Oh and where's your snack list? I want me some pepsi max.! Agreed. Should probably grab a Neumann. I'll have to get my Telefunken bodied Stellar CM5 in some pics. Hahaha
|
|
|
Post by johneppstein on Sept 22, 2017 22:57:06 GMT -6
Hey All, I'm on the cusp of renting an actual, purpose built studio space with a nice live room and control room. What is missing from my gear list that you would call a near essential, other than more damn cables! www.themixinghouse.com/gear/A pair or KM84s They're magic. (Accept no substitutes.) A real kick drum mic. The D112 stamps its thumbprint all over everything it touches and while it may be fine for certain things (and I'd debate that, really) it's NOT a good all around kick mic and isn't much good for anything else*. I'd get a couple of RE-20s (one for bass amp) and an M-88, both of which are great all around mics that are useful on a wide range of sources, as well as being stellar kick mics. Maybe I'm missing something but it looks to me like you're a tad shy on conversion - it doesn't look like to me that you have enough channels to do a small drum kit (at least 4 identical channels) plus a scratch vocal and guitar or piano. That's what comes to mind that I'd regard as really essential. * - I'm a big fan of the D12/D12E/D20 which the 122 "replaced" in the lineup but there's very very little real resemblance. The original D12 was designed to to be an all-around broadcast mic. The Beatles even used them for vocals a few times!
|
|
|
Post by jcoutu1 on Sept 22, 2017 23:20:41 GMT -6
Hey All, I'm on the cusp of renting an actual, purpose built studio space with a nice live room and control room. What is missing from my gear list that you would call a near essential, other than more damn cables! www.themixinghouse.com/gear/A pair or KM84s They're magic. (Accept no substitutes.) A real kick drum mic. The D112 stamps its thumbprint all over everything it touches and while it may be fine for certain things (and I'd debate that, really) it's NOT a good all around kick mic and isn't much good for anything else*. I'd get a couple of RE-20s (one for bass amp) and an M-88, both of which are great all around mics that are useful on a wide range of sources, as well as being stellar kick mics. Maybe I'm missing something but it looks to me like you're a tad shy on conversion - it doesn't look like to me that you have enough channels to do a small drum kit (at least 4 identical channels) plus a scratch vocal and guitar or piano. That's what comes to mind that I'd regard as really essential. * - I'm a big fan of the D12/D12E/D20 which the 122 "replaced" in the lineup but there's very very little real resemblance. The original D12 was designed to to be an all-around broadcast mic. The Beatles even used them for vocals a few times! I agree, not a fan of the 112. I had the RE20 on the list above. Pair would probably be smart. These would probably work well with the blues acts I generally deal with. What's the kick mic that all the metal guys like? D4? D6? One of those right? Should probably have a pair of 414's or 930's or something too as a workhorse pair.
|
|
|
Post by johneppstein on Sept 22, 2017 23:55:54 GMT -6
A pair or KM84s They're magic. (Accept no substitutes.) A real kick drum mic. The D112 stamps its thumbprint all over everything it touches and while it may be fine for certain things (and I'd debate that, really) it's NOT a good all around kick mic and isn't much good for anything else*. I'd get a couple of RE-20s (one for bass amp) and an M-88, both of which are great all around mics that are useful on a wide range of sources, as well as being stellar kick mics. Maybe I'm missing something but it looks to me like you're a tad shy on conversion - it doesn't look like to me that you have enough channels to do a small drum kit (at least 4 identical channels) plus a scratch vocal and guitar or piano. That's what comes to mind that I'd regard as really essential. * - I'm a big fan of the D12/D12E/D20 which the 122 "replaced" in the lineup but there's very very little real resemblance. The original D12 was designed to to be an all-around broadcast mic. The Beatles even used them for vocals a few times! I agree, not a fan of the 112. I had the RE20 on the list above. Pair would probably be smart. These would probably work well with the blues acts I generally deal with. What's the kick mic that all the metal guys like? D4? D6? One of those right? Should probably have a pair of 414's or 930's or something too as a workhorse pair. Audix D6, I think, yeah. Still don't care for 'em. IMO young metal guys (on the whole) wouldn't know a good kick mic if it jumped up and bit 'em on the nose. Back when I was doing a lot of metal live I used a pair of AKG D-20s (D12s with a useless bass cut switch.) Nowadays with D-12s rare, expensive, and impossible to get fixed MY choice would probably be M88s first and RE-20s second. But my taste in metal kick drums was influenced strongly by guys from TASCO (remember them?) who mixed Sabbath and Motorhead in the late '70s/early '80s. I think I still have my old TASCO tour jacket somewhere, falling apart and much too small for the current size of my gut.... A fair bit of influence from BOC's old FOH guy, George Geranios, too. I want my metal kicks to kick me in the chest, not click in my ear. I don't want my kick mic(s) to have "baked-in" EQ. That's why my board has knobs on it.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Sept 23, 2017 12:15:58 GMT -6
A pair or KM84s They're magic. (Accept no substitutes.) A real kick drum mic. The D112 stamps its thumbprint all over everything it touches and while it may be fine for certain things (and I'd debate that, really) it's NOT a good all around kick mic and isn't much good for anything else*. I'd get a couple of RE-20s (one for bass amp) and an M-88, both of which are great all around mics that are useful on a wide range of sources, as well as being stellar kick mics. Maybe I'm missing something but it looks to me like you're a tad shy on conversion - it doesn't look like to me that you have enough channels to do a small drum kit (at least 4 identical channels) plus a scratch vocal and guitar or piano. That's what comes to mind that I'd regard as really essential. * - I'm a big fan of the D12/D12E/D20 which the 122 "replaced" in the lineup but there's very very little real resemblance. The original D12 was designed to to be an all-around broadcast mic. The Beatles even used them for vocals a few times! I agree, not a fan of the 112. I had the RE20 on the list above. Pair would probably be smart. These would probably work well with the blues acts I generally deal with. What's the kick mic that all the metal guys like? D4? D6? One of those right? Should probably have a pair of 414's or 930's or something too as a workhorse pair. Many years of recording rock / metal and I never used (or should I say wanted to use) a D6.. I frittered between an AKG D112 MK2 (that came in a kit), SM7B / RE320 (for more clicky drums) and RE20.. I did some work out of another studio for a bit where the engineer recommended I use a Neumann U47 FET and I said sure as long as you're providing the mic.. In all fairness it does sound pretty damn good but c'mon it's an easy way to beat up a rather expensive mic, I think you'd either be crazy or very rich to use one on a bass drum.. I gave away a 3U audio MKID and the guys been using them on OH / Kick drum. Says he loves them, it's not like he's got a lack of choice either.
|
|
|
Post by jampa on Sept 23, 2017 15:48:41 GMT -6
A few good music stands
Gobos (depending on room)
Non-squeaky (and comfortable) seats for musos to sit on while tracking
|
|
ericn
Temp
Balance Engineer
Posts: 14,918
|
Post by ericn on Sept 23, 2017 21:53:24 GMT -6
As much as it's not my thing you got to have a real 87! I know so many who think the 87 is what makes you pro!
|
|
ericn
Temp
Balance Engineer
Posts: 14,918
|
Post by ericn on Sept 24, 2017 4:25:45 GMT -6
As much as I like looking at studios gear lists, I feel they are a moving target for potential clients, who cares what you have unless your trying to get freelancers in? Musicians are going to want what ever is hyped on GS this week. People will hire you for what you can do not the tools you use to get their. If you build a collection of 8 Neve pre's somebody's going to want API, the next guy won't be happy with real API ,he wants CAPI, next guy thinks Sytek ....
|
|
|
Post by jcoutu1 on Sept 24, 2017 6:25:47 GMT -6
As much as I like looking at studios gear lists, I feel they are a moving target for potential clients, who cares what you have unless your trying to get freelancers in? Musicians are going to want what ever is hyped on GS this week. People will hire you for what you can do not the tools you use to get their. If you build a collection of 8 Neve pre's somebody's going to want API, the next guy won't be happy with real API ,he wants CAPI, next guy thinks Sytek .... The 87 advice is sage. For the gear list, I was more looking for holes that should be filled. 87, RE20, workhorse LDC pair (414, 930, etc). I'm surprised someone didn't tell me that I need another verb. The only outboard verb I have is that TC M-One XL. I also don't have any API style preamps and probably should. Beyond that, I know that I still need more mic stands, music stands, patchbay, seating, lighting, and art. I've also got conversion on my mind. My board has a 32x32 converter built in, but is firewire and basically a ticking time bomb. I have a MOTU 24AI, which gets me in, but not out. I think my best bet might be to ditch the board (while the VeniceF still has an ounce of value) and the Motu in favor of an Orion 32. Buy a different board (Midas Verona for a good price locally perhaps). Lot banging around in my head.
|
|
|
Post by svart on Sept 24, 2017 7:30:07 GMT -6
You do tons of harder stuff, you NEED API style preamps.
|
|
|
Post by Martin John Butler on Sept 24, 2017 9:43:12 GMT -6
The first thing I would notice there is mics. You need a Neumann mic for business. Either a U87 or preferably the Max Mod 67, which is fantastic. Also, don't overlook the Soyuz 0-13 FET SDC. They honestly outgun KM84's, which shocked me. They're considerably less expensive, brand new with a warranty.
Of course it depends on who you need to reach, but if I was doing work that wasn't for me personally, I'd like to see a higher end monitor, like ATC or Barefoot.
Good luck!
|
|
|
Post by jcoutu1 on Sept 24, 2017 9:49:15 GMT -6
The first thing I would notice there is mics. You need a Neumann mic for business. Either a U87 or preferably the Max Mod 67, which is fantastic. Also, don't overlook the Soyuz 0-13 FET SDC. They honestly outgun KM84's, which shocked me. They're considerably less expensive, brand new with a warranty. Of course it depends on who you need to reach, but if I was doing work that wasn't for me personally, I'd like to see a higher end monitor, like ATC or Barefoot. Good luck! I have pairs of both PMC and Amphion and an upper tier pair of Adam's. I do needs a set of bigs for the soffit mounts, but not really sure what to look for. I need something that will properly fit the existing holes.
|
|
|
Post by ChaseUTB on Sept 24, 2017 10:46:12 GMT -6
Avoid antelope like the plague
|
|
|
Post by indiehouse on Sept 24, 2017 11:16:32 GMT -6
...Also, don't overlook the Soyuz 0-13 FET SDC. They honestly outgun KM84's, which shocked me...
|
|