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Post by lpedrum on Nov 30, 2020 19:27:11 GMT -6
As a result of the pandemic I've been helping a lot of musician friends set up or improve their home studios this year. I'm sure many of you have done the same. Most newbies have already purchased an entry level interface such as a Focusrite or an Apogee Duo and want opinions on what mics to buy etc. There's nothing more important in the recording chain than a good mic(s). But my friends quickly run into sonic limitations using the built in pres in low priced interfaces, and most of these pres can't be bypassed. So my question is, without going down the road of upgrading the interface and buying tube or transformer based pres, is there something I can suggest to put on the front end that would improve their sound? For instance, would a Zod DI going into an interface pre be an upgrade for vocals or miking guitar amps? If money is not an issue I usually suggest a nice two channel pre going into something like an Audient where you can bypass the pres. But for many musicians this year money IS an issue, so I wonder if there's something else I can suggest. Any thoughts or ideas? Or not worth the effort?
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ericn
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Post by ericn on Nov 30, 2020 19:43:23 GMT -6
As a result of the pandemic I've been helping a lot of musician friends set up or improve their home studios this year. I'm sure many of you have done the same. Most newbies have already purchased an entry level interface such as a Focusrite or an Apogee Duo and want opinions on what mics to buy etc. There's nothing more important in the recording chain than a good mic(s). But my friends quickly run into sonic limitations using the built in pres in low priced interfaces, and most of these pres can't be bypassed. So my question is, without going down the road of upgrading the interface and buying tube or transformer based pres, is there something I can suggest to put on the front end that would improve their sound? For instance, would a Zod DI going into an interface pre be an upgrade for vocals or miking guitar amps? If money is not an issue I usually suggest a nice two channel pre going into something like an Audient where you can bypass the pres. But for many musicians this year money IS an issue, so I wonder if there's something else I can suggest. Any thoughts or ideas? Or not worth the effort? OK, while yes the pre amps on the Average interface are not something I would choose they are not going to keep you from making a great recording. Now as far as interfaces with “ switchable line inputs I’m going to ask a stupid question, what makes you think it’s not just the mic input padded? Because if you ever get a chance to look at the schematics you would be shocked at how often this is the case. Now I’m always going to say spend your money on the transducers; mics speakers headphones, every dollar will always go further on transducers than electronics. When money is tight I’ll double down on it. The other, and far bigger problem with musicians on a budget is the quest for the best mic I can afford, it should be what is the right mic I can afford and even at a high budget as our fearless leader is a great example this can be hard as hell.
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Post by mrholmes on Nov 30, 2020 19:53:10 GMT -6
As a result of the pandemic I've been helping a lot of musician friends set up or improve their home studios this year. I'm sure many of you have done the same. Most newbies have already purchased an entry level interface such as a Focusrite or an Apogee Duo and want opinions on what mics to buy etc. There's nothing more important in the recording chain than a good mic(s). But my friends quickly run into sonic limitations using the built in pres in low priced interfaces, and most of these pres can't be bypassed. So my question is, without going down the road of upgrading the interface and buying tube or transformer based pres, is there something I can suggest to put on the front end that would improve their sound? For instance, would a Zod DI going into an interface pre be an upgrade for vocals or miking guitar amps? If money is not an issue I usually suggest a nice two channel pre going into something like an Audient where you can bypass the pres. But for many musicians this year money IS an issue, so I wonder if there's something else I can suggest. Any thoughts or ideas? Or not worth the effort? Cool that you help people. Currently I am helping a friend with some kind of modern "pop" music which is only tracked through low cost internal mic pres. I was surprised how good it turned out adding mic pre plugs or other tools which introduce nonlinear behavior. The problem I see most newbies put too much nonlinear sauce in the game becsuse they never worked with hardware. In the end I doubt that my 1073 would have done a big diffrence. Plug ins got so good in the last two years that I have no doubt thst I could do a lot of pro sounding music just internal. Last but not least performance makes a song work. Currently I make this experience again because my singing gets better and better.
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Post by lpedrum on Nov 30, 2020 23:56:29 GMT -6
I hear you both, and I realize that great gear isn't always the answer to making great music. And I'm a big fan of cheap old dynamic mics for creating wonderful sounding tracks--it's not always about the money spent. I just tracked a vocal using an old EV N/D 787 that cost me $35 on FB Marketplace and love it!
That said, some of the musicians that consult with me are long time pros who are recently learning how to provide instrumental tracks for artists from their home studio. They've got ears and they wonder why their tracks are lacking compared to what they hear in the studio. There's no denying the dimension and glue a good pre can provide an electric guitar track for instance. Hence my original "stupid" question about possibly adding something on the front end.
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Post by christopher on Dec 1, 2020 0:45:43 GMT -6
An engineer should be able to make it work even if they use $100 condensers and $299 interfaces. Run it through gear, mult it, plug-ins etc. They aren’t going to sound like the studio, at least not during tracking. I know people who refused to take my advice and record in a studio and instead went cheap: $30k buildout later it still sounds like a home studio. Decided walls and decor were more important than mics, treatment, gear. It’s expensive to sound expensive!
(Edit: I guess U87 would probably sound good though a focusrite. 414 XLS as well. Still not exactly studio level w/ pre’s etc.)
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Post by drumsound on Dec 1, 2020 2:27:01 GMT -6
I hear you both, and I realize that great gear isn't always the answer to making great music. And I'm a big fan of cheap old dynamic mics for creating wonderful sounding tracks--it's not always about the money spent. I just tracked a vocal using an old EV N/D 787 that cost me $35 on FB Marketplace and love it! That said, some of the musicians that consult with me are long time pros who are recently learning how to provide instrumental tracks for artists from their home studio. They've got ears and they wonder why their tracks are lacking compared to what they hear in the studio. There's no denying the dimension and glue a good pre can provide an electric guitar track for instance. Hence my original "stupid" question about possibly adding something on the front end. Mics, mics mics. Maybe a compressor if the interface has inserts. The new SSL 2 channel thing with the 4K button seems interesting... My brother just bought one, but I haven't heard what he's up to yet.
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Post by mrholmes on Dec 1, 2020 6:26:19 GMT -6
An engineer should be able to make it work even if they use $100 condensers and $299 interfaces. Run it through gear, mult it, plug-ins etc. They aren’t going to sound like the studio, at least not during tracking. I know people who refused to take my advice and record in a studio and instead went cheap: $30k buildout later it still sounds like a home studio. Decided walls and decor were more important than mics, treatment, gear. It’s expensive to sound expensive! (Edit: I guess U87 would probably sound good though a focusrite. 414 XLS as well. Still not exactly studio level w/ pre’s etc.)
Not my experience I think a good mic can make you're live a lot easier. Even there we don't have to spend a leg or an arm.
THINK:
The Russian Tank
Oktava they build true bang for the buck.
3U Audio Mics
SE Electronics.
Bang for buck times never have been better. Keep an eye on Craigslist...
I bought a near new Delta 200 console for 150 bucks by a Bank who used this thing 2 times a year for speeches etc. I think the mic pres/EQs are great.... special at 18,75 per strip....
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Post by matt@IAA on Dec 1, 2020 12:22:24 GMT -6
For me the mic pre is going to be a big step up. Yeah, you can make it work, but you can’t work with what isn’t there. The mic pre and mic pairing is in my opinion the most important part of the recording and mixing process. It sets the framework for everything else.
Maybe borrow or rent a few preamps and just compare with them? If they say yeah, that’s what I was missing then you know.
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Post by Blackdawg on Dec 1, 2020 14:00:07 GMT -6
If it's a crap instrument in a crap room with a crap performance. It'll sound like crap no matter what gear you have.
If it's a crap instrument in a crap room with a good performance. It'll sound like crap no matter what gear you have.(Which could be intentional)
If it's a crap instrument in a ok room with an ok performance. It'll sound like crap no matter what gear you have. (Which could be intentional)
If it's an ok instrument in an ok room with an ok performance. It'll sound ok no matter what gear you have.
Gear is the 4th consideration when it comes to recording. I think that is often way too over looked especially by musicians doing the "record myself" type thing. You can have a crap recording of a great musical experience and people will still love it. But if you have a stellar recording of crap music from a crap musician in a crap space with a crap instrument. No one will want to listen.
I'm being a little over the top here. But still. You can make a LOT of great shit with very very basic stuff. But the stuff has to be great from the get go.
And no ones living room is every going to sound like the pro studio that they are used to working in. It's just not going to happen. Unless you build well...a pro studio in your living room. Which is possible of course but not really the standard course of action.
This is also why VI and folks who are making lots of music with electronica elements can make their stuff so good(Billie Eilish for instance). They are recording just vocals. Everything else is a synth that you don't have to record in a space.
I have helped plenty of friends though this year with stuff of varying degree. I can tell you the guys that don't care that much about the gear and are just using it as a means to an end are having way more fun and creating a lot more stuff. Not that that's an end all be all thing, but still been interesting to observe.
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Post by mrholmes on Dec 1, 2020 14:29:15 GMT -6
If it's a crap instrument in a crap room with a crap performance. It'll sound like crap no matter what gear you have. If it's a crap instrument in a crap room with a good performance. It'll sound like crap no matter what gear you have.(Which could be intentional) If it's a crap instrument in a ok room with an ok performance. It'll sound like crap no matter what gear you have. (Which could be intentional) If it's an ok instrument in an ok room with an ok performance. It'll sound ok no matter what gear you have. Gear is the 4th consideration when it comes to recording. I think that is often way too over looked especially by musicians doing the "record myself" type thing. You can have a crap recording of a great musical experience and people will still love it. But if you have a stellar recording of crap music from a crap musician in a crap space with a crap instrument. No one will want to listen. I'm being a little over the top here. But still. You can make a LOT of great shit with very very basic stuff. But the stuff has to be great from the get go. And no ones living room is every going to sound like the pro studio that they are used to working in. It's just not going to happen. Unless you build well...a pro studio in your living room. Which is possible of course but not really the standard course of action. This is also why VI and folks who are making lots of music with electronica elements can make their stuff so good(Billie Eilish for instance). They are recording just vocals. Everything else is a synth that you don't have to record in a space. I have helped plenty of friends though this year with stuff of varying degree. I can tell you the guys that don't care that much about the gear and are just using it as a means to an end are having way more fun and creating a lot more stuff. Not that that's an end all be all thing, but still been interesting to observe.
It also depends on what you have in mind, and the way you do it. 2019 I fought Amp sims till I learned how to use them best and now I barely touch my Amps anymore.
I made a bigger Gobo corner for tracking acoustics and vocals - works.
If you are willed to go compromises - you can do professional work from the bedroom. I am one of these guys who mattered too much about the gear and to less about the idea / performance.
The problem is that most musicians are not patient enough to learn the technical stuff too. And to be true it did cost me 4 years till my mixes where constantly OK and it did cost me 8 more years to say I know what I want to hear. Learning never stops.
One of the best examples is my mentor who did a lot of synth pop in the 80s. I think he saw all important studios in the western world.
Today it still sounds like in the big studios but his place is a small home studio. Ok there is something SSLish in the middle but the outboard gear is minimal.
Nonetheless, I am sure it would sound the same even if he would do it 100% ITB. He knows his sound he knows the goal he knows what to do.
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Post by Blackdawg on Dec 1, 2020 15:26:20 GMT -6
If it's a crap instrument in a crap room with a crap performance. It'll sound like crap no matter what gear you have. If it's a crap instrument in a crap room with a good performance. It'll sound like crap no matter what gear you have.(Which could be intentional) If it's a crap instrument in a ok room with an ok performance. It'll sound like crap no matter what gear you have. (Which could be intentional) If it's an ok instrument in an ok room with an ok performance. It'll sound ok no matter what gear you have. Gear is the 4th consideration when it comes to recording. I think that is often way too over looked especially by musicians doing the "record myself" type thing. You can have a crap recording of a great musical experience and people will still love it. But if you have a stellar recording of crap music from a crap musician in a crap space with a crap instrument. No one will want to listen. I'm being a little over the top here. But still. You can make a LOT of great shit with very very basic stuff. But the stuff has to be great from the get go. And no ones living room is every going to sound like the pro studio that they are used to working in. It's just not going to happen. Unless you build well...a pro studio in your living room. Which is possible of course but not really the standard course of action. This is also why VI and folks who are making lots of music with electronica elements can make their stuff so good(Billie Eilish for instance). They are recording just vocals. Everything else is a synth that you don't have to record in a space. I have helped plenty of friends though this year with stuff of varying degree. I can tell you the guys that don't care that much about the gear and are just using it as a means to an end are having way more fun and creating a lot more stuff. Not that that's an end all be all thing, but still been interesting to observe.
It also depends on what you have in mind, and the way you do it. 2019 I fought Amp sims till I learned how to use them best and now I barely touch my Amps anymore.
I made a bigger Gobo corner for tracking acoustics and vocals - works.
If you are willed to go compromises - you can do professional work from the bedroom. I am one of these guys who mattered too much about the gear and to less about the idea / performance.
The problem is that most musicians are not patient enough to learn the technical stuff too. And to be true it did cost me 4 years till my mixes where constantly OK and it did cost me 8 more years to say I know what I want to hear. Learning never stops.
One of the best examples is my mentor who did a lot of synth pop in the 80s. I think he saw all important studios in the western world.
Today it still sounds like in the big studios but his place is a small home studio. Ok there is something SSLish in the middle but the outboard gear is minimal.
Nonetheless, I am sure it would sound the same even if he would do it 100% ITB. He knows his sound he knows the goal he knows what to do.
I mean if he is still doing synths then he isn't having to recording something in a space. Which was my point I was making later in my post. A sythn doesn't have a space, it builds it's own or you build it in the computer now. So you're own space doesn't matter(other than monitoring of course). My but to your point that artist don't have the time or dedication to learn the gear....all the more reason to not get well...any. If they got just one microphone and an interface and learned how to use that really well over time vs drowning in marketing hype and youtube videos on this or that trick or technique. They will go more places with their art and have more fun. You could do a LOT of stuff with a focusrite Scarlett an SM57 and stock DAW plugins and it would sound great, just need to learn the tools. It's easy to get overwhelmed with choice's these days and gear and all that. Way better for people like that to just get some basic stuff and just start making stuff. The more complex it is, the worst time they have. Slowly they will build up to other tools and things for sure. And I'd still argue getting a half decent microphone is important. But again, sometimes simple is best. At least to start. I've even had friends that enjoy the recording and making something. But hattttteeee mixing. So I've gotten some work that way. And it's been really fun.
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Post by svart on Dec 1, 2020 15:38:19 GMT -6
As a result of the pandemic I've been helping a lot of musician friends set up or improve their home studios this year. I'm sure many of you have done the same. Most newbies have already purchased an entry level interface such as a Focusrite or an Apogee Duo and want opinions on what mics to buy etc. There's nothing more important in the recording chain than a good mic(s). But my friends quickly run into sonic limitations using the built in pres in low priced interfaces, and most of these pres can't be bypassed. So my question is, without going down the road of upgrading the interface and buying tube or transformer based pres, is there something I can suggest to put on the front end that would improve their sound? For instance, would a Zod DI going into an interface pre be an upgrade for vocals or miking guitar amps? If money is not an issue I usually suggest a nice two channel pre going into something like an Audient where you can bypass the pres. But for many musicians this year money IS an issue, so I wonder if there's something else I can suggest. Any thoughts or ideas? Or not worth the effort? Good monitors. If your monitors veil the difference between two mics, then how would you ever know which one to choose?You can't. The bottleneck is still the bottleneck no matter what you put in front of it. Analogy time: Doesn't matter if you put a 1000HP engine in a car if the tires can't even grip at only 200HP..
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Post by mrholmes on Dec 1, 2020 15:56:46 GMT -6
It also depends on what you have in mind, and the way you do it. 2019 I fought Amp sims till I learned how to use them best and now I barely touch my Amps anymore.
I made a bigger Gobo corner for tracking acoustics and vocals - works.
If you are willed to go compromises - you can do professional work from the bedroom. I am one of these guys who mattered too much about the gear and to less about the idea / performance.
The problem is that most musicians are not patient enough to learn the technical stuff too. And to be true it did cost me 4 years till my mixes where constantly OK and it did cost me 8 more years to say I know what I want to hear. Learning never stops.
One of the best examples is my mentor who did a lot of synth pop in the 80s. I think he saw all important studios in the western world.
Today it still sounds like in the big studios but his place is a small home studio. Ok there is something SSLish in the middle but the outboard gear is minimal.
Nonetheless, I am sure it would sound the same even if he would do it 100% ITB. He knows his sound he knows the goal he knows what to do.
I mean if he is still doing synths then he isn't having to recording something in a space. Which was my point I was making later in my post. A sythn doesn't have a space, it builds it's own or you build it in the computer now. So you're own space doesn't matter(other than monitoring of course). My but to your point that artist don't have the time or dedication to learn the gear....all the more reason to not get well...any. If they got just one microphone and an interface and learned how to use that really well over time vs drowning in marketing hype and youtube videos on this or that trick or technique. They will go more places with their art and have more fun. You could do a LOT of stuff with a focusrite Scarlett an SM57 and stock DAW plugins and it would sound great, just need to learn the tools. It's easy to get overwhelmed with choice's these days and gear and all that. Way better for people like that to just get some basic stuff and just start making stuff. The more complex it is, the worst time they have. Slowly they will build up to other tools and things for sure. And I'd still argue getting a half decent microphone is important. But again, sometimes simple is best. At least to start. I've even had friends that enjoy the recording and making something. But hattttteeee mixing. So I've gotten some work that way. And it's been really fun.
I love the feeling when it's clear that a song arrangement is going into the flow phase. That's the moment when my brain shuts down and I just trust my gut feeling.
The last thing I worry about, at this moment, is gear.
Yes I did worry in the past about it, but it's stupid and burns energy for nothing. And I heard great works fully ITB with just cheap interface preamps.
Once you reach a decent gear-standard ... go and create something as good as you can.
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Post by drbill on Dec 1, 2020 16:03:19 GMT -6
Depends. It would be a LOT more fun with 1000HP though. Oh, and traction control comes into play too..... . Even at 700HP. Don't ask me how I know.... LOL
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Post by Guitar on Dec 1, 2020 18:25:52 GMT -6
I agree with Matt. A great preamp will be the first big step up from a basic utilitarian setup. There aren't many interface pres that sound "impressive."
But it's also really hard to get people to spend money who are part time hobbyists. As fun as it is to recommend a bunch of sweet gear to a musician it doesn't really matter a whole lot, because if they were truly serious about recording, they would be looking for gear all the time like the rest of us.
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Post by Deleted on Dec 1, 2020 19:21:37 GMT -6
Nassim Taleb was right. If they buy something good, then they have skin in the game. Most of the prosumers and bedroom musicians, deep down, they know that their music sucks, refuse to put money on the table and will defend their Focusrite Scarlet to the death. Explaining to them why it’s holding them back and why 75% of the plugins and stock daw tools out there are dysfunctional is hopeless. You have to show them reality. Unfortunately, the modern music market is the most lowest common denominator imaginable where recordings with expensive vocal chains in real studios end up with just as offensive of an end result, after mastering, as SoundCloud stuff. Someone with prosumer gear can easily beat pop stuff just by getting it in the box and not screwing with it as much.
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Post by soundintheround on Dec 1, 2020 20:04:38 GMT -6
As far as physical gear goes..... An SM7 and a UA Arrow can literally make a top 40 hit. Just tell them that. If that is too expensive, then not sure what to say.
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Post by lpedrum on Dec 1, 2020 20:33:22 GMT -6
OP here. I'm not quite sure why this thread veered off into the typical "anti bedroom recording/gear doesn't matter" responses. Maybe I wasn't clear enough with my original question. I'm talking about my professional musical friends, most of whom tour nationally and have done plenty of studio recording. 2020 has finally prompted them to get serious about supplying record ready tracks from home. Most of them have mics that will do the trick and if they don't I'm happy to share suggestions. And modest priced interfaces are capable enough these days. But...the next step of getting a pair of nice pres into a better converter gets into 2K territory, and not very many working musicians in 2020 have that kind of extra cash. So I just wondered if some sort of color box or tube DI etc. on the front end would give their tracks a little more depth and mojo. But it would seem that's probably not the case.
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Post by chessparov on Dec 1, 2020 20:46:02 GMT -6
I actually think there were quite a few intelligent points, brought up already. IMHO generally a "Law Of Diminishing Returns" starts creeping up. Even for top Pro musicians. Net net bottom line (usually) nothing beats going to a real Pro Studio, and getting recorded by a strong AE. Now if you're also very Talented DOING the actual recording process-Versus being a "Frequent Flyer"... (Paging Pete Townshend & Todd Rundgren) Different story!
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Post by matt@IAA on Dec 1, 2020 20:48:22 GMT -6
I think that entry converters are probably much less a limiting factor than entry level mic Pres.
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Post by lpedrum on Dec 1, 2020 21:52:12 GMT -6
I actually think there were quite a few intelligent points, brought up already. IMHO generally a "Law Of Diminishing Returns" starts creeping up. Even for top Pro musicians. Net net bottom line (usually) nothing beats going to a real Pro Studio, and getting recorded by a strong AE. Now if you're also very Talented DOING the actual recording process-Versus being a "Frequent Flyer"... (Paging Pete Townshend & Todd Rundgren) Different story! Sure....I enjoyed reading everyone's points. And you're right, nothing beats going to a studio with an experienced engineer. And I would add, having the producer in the room is always my preference when possible. But what I'm referring to is when talented players get asked if they can provide a remote track. Studio money for such requests aren't always in the budget.
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Post by lpedrum on Dec 1, 2020 21:55:16 GMT -6
I think that entry converters are probably much less a limiting factor than entry level mic Pres. Totally agree. If I were just starting a project studio tomorrow I'd buy something like an Audient that allows the internal pres to be bypassed and purchase a quality two channel pre wth real iron. Gee, I wonder who makes something like that.
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Post by Deleted on Dec 1, 2020 22:05:23 GMT -6
OP here. I'm not quite sure why this thread veered off into the typical "anti bedroom recording/gear doesn't matter" responses. Maybe I wasn't clear enough with my original question. I'm talking about my professional musical friends, most of whom tour nationally and have done plenty of studio recording. 2020 has finally prompted them to get serious about supplying record ready tracks from home. Most of them have mics that will do the trick and if they don't I'm happy to share suggestions. And modest priced interfaces are capable enough these days. But...the next step of getting a pair of nice pres into a better converter gets into 2K territory, and not very many working musicians in 2020 have that kind of extra cash. So I just wondered if some sort of color box or tube DI etc. on the front end would give their tracks a little more depth and mojo. But it would seem that's probably not the case. Some of the worst home recordings I’ve heard are from professional musicians. It’s a different skill set and they have to start at zero like everybody else. I’ve heard ridiculous stuff like phone recordings, insane clipping, and monitoring through a tv because their headphones broke. Something the FMR RNP or a used Daking Mic Pre One into something like the MOTU M4 will do the tracks they need to send to you well. They’ll sit better than the interface pres. The M4 is a good deal worse than the Ultralites and 16a but is worlds better than a Focusrite. If that’s too hard for them to manage, there’s always a used SPL Crimson for 400-600 bucks or an Apogee Element that will prevent them from clipping stuff with Soft Limit. These are all better than Chinese made interfaces with no-name or knockoff parts. If they’re playing through native amp sims, the Steinberg UR22C has a low latency mode that works.
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Post by soundintheround on Dec 1, 2020 22:37:27 GMT -6
OP here. I'm not quite sure why this thread veered off into the typical "anti bedroom recording/gear doesn't matter" responses. Maybe I wasn't clear enough with my original question. I'm talking about my professional musical friends, most of whom tour nationally and have done plenty of studio recording. 2020 has finally prompted them to get serious about supplying record ready tracks from home. Most of them have mics that will do the trick and if they don't I'm happy to share suggestions. And modest priced interfaces are capable enough these days. But...the next step of getting a pair of nice pres into a better converter gets into 2K territory, and not very many working musicians in 2020 have that kind of extra cash. So I just wondered if some sort of color box or tube DI etc. on the front end would give their tracks a little more depth and mojo. But it would seem that's probably not the case. Check out www.diyrecordingequipment.com/Some stuff there that can certainly add a flavor and not cost an arm and leg. -Otherwise yeh I agree if you are talking about highend preamps/compressors, or flavor boxes like Overstayer, SilverBullet, Black Box/etc those are gonna be a couple grand or more. The other option is to go with plugins like Soundtoys, Goodhertz, Slate, Waves. Lots of options there and now (if ever) is the time to buy with the current deals. Final tip would be to get an old mixer, or tape machine/compressor/etc on ebay. Pretty broad statement, but anything made before about 1980, and is mostly discrete inside probably wont sound terrible, and could yield some cool results in the right creative hands. Sure might be a bit more lo-fi in some respects, you have to understand gain structure and possibly tune/tweak the circuit a bit to combat noise....but I'd personally recommend this option the most if into rock/indie type of sounds.
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Post by soundintheround on Dec 1, 2020 22:43:36 GMT -6
I think that entry converters are probably much less a limiting factor than entry level mic Pres. Totally agree. If I were just starting a project studio tomorrow I'd buy something like an Audient that allows the internal pres to be bypassed and purchase a quality two channel pre wth real iron. Gee, I wonder who makes something like that. For high quality pre with transformer See capi-gear.com/ You can thank me later. Otherwise if your musician friends are totally useless; see Warm Audio or Golden Age Audio.
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