linas
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Post by linas on Feb 16, 2023 9:11:06 GMT -6
Hey,
I have some plans for this thread. For current moment, can you answer my super ignorant question: do you basically just print stuff through outboard and move on and never come back, because that is a freaking weird concept to me, since I've been in the [X] since 1999?
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Post by Blackdawg on Feb 16, 2023 10:46:35 GMT -6
No you can patch hardware in live as inserts. However that can be complicated or simple, all depends on what DAW you are using.
It is usually smart to print some of it though as you might never have that hardware again or other reasons as simple as you don't have enough I/O to support all your hardware.
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linas
Junior Member
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Post by linas on Feb 16, 2023 11:15:43 GMT -6
I think Cubase should do it. What about FL Studio?
Do you EQ it ITB after the printing? I've actually never used outboard before.
Can you just patch and use a single input for the live master chain, then maybe two for live busses and maybe just some boxes for printing?
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Post by Blackdawg on Feb 16, 2023 12:21:30 GMT -6
Cubase will do it and has a way for you to do Delay compensation which is important if you're running hardware like a "plugin" live on the track the whole time.
You can totally run something through a piece of hardware and then use whatever you want after it ITB like eq or whatever you want.
I have no idea if FL studio will do it, I've never used it.
Long as you can route it and bring it in you can do whatever you want. I run hardware as inserts with Plugins all the time on the same tracks in Protools HDX. For mastering I usually do an analog signal chain and print it back into Wavelab, then use digital tools to tweak before renders.
There are a ton of ways to do this and it'll all depend on what hardware, I/O, and DAW you have. And how you want to use it all.
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Post by ragan on Feb 16, 2023 13:21:49 GMT -6
I’ve done it lots of different ways but generally when I’m tracking, I think about mic placement and then, when satisfied there, I think about the take. Once I have the take(s), I put on the audio engineer hat and sort of act as if the person getting those the takes is on the other side of the glass from me. I’ll shape things with EQ and compression and print that. I also keep live hardware inserts on drum bus and mixbus.
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Post by drbill on Feb 18, 2023 10:03:58 GMT -6
I do it all kinds of ways.
- I almost always am printing thru Hardware as I track it in
- After initial tracking, I ofter "reamp" thru various pieces during the production process
- During Mix I ALWAYS have hardware on various tracks / busses and 2 Mix
- During Mastering I'm always using hardware as well.
- As of late I'm trying to adopt a new system that will allow for 100% total recall of all outboard, or the ability to change the analog gear up. It's complicated, and for me requires PTHDX, but I'm pretty excited about this new work flow.
I've got 120 I/o of conversion and more than that in outboard gear. It's the lifeblood of "my sound" and - IMO - much superior to an all digit or all analog setup.
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Post by gwlee7 on Feb 18, 2023 11:39:06 GMT -6
I’ve done it lots of different ways but generally when I’m tracking, I think about mic placement and then, when satisfied there, I think about the take. Once I have the take(s), I put on the audio engineer hat and sort of act as if the person getting those the takes is on the other side of the glass from me. I’ll shape things with EQ and compression and print that. I also keep live hardware inserts on drum bus and mixbus. Your approach is a good one. Not to keep blowing smoke up your ass but your last release is one of the best sounding recordings I have ever heard. It stays in my huge liked albums playlist shuffle and holds it own with everything else that ever pops up. |
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Post by ragan on Feb 18, 2023 12:12:35 GMT -6
I’ve done it lots of different ways but generally when I’m tracking, I think about mic placement and then, when satisfied there, I think about the take. Once I have the take(s), I put on the audio engineer hat and sort of act as if the person getting those the takes is on the other side of the glass from me. I’ll shape things with EQ and compression and print that. I also keep live hardware inserts on drum bus and mixbus. Your approach is a good one. Not to keep blowing smoke up your ass but your last release is one of the best sounding recordings I have ever heard. It stays in my huge liked albums playlist shuffle and holds it own with everything else that ever pops up. Hey thanks! |
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kcatthedog
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Post by kcatthedog on Feb 20, 2023 4:34:05 GMT -6
you are kinda asking a how and a why question
the why is pretty simple, you prefer the mojo of certain boxes to no or plug in mojo, for example I never tracked with plug ins but used Apollo fro years
I learned I prefer real pres, and comps ( had eqs for a while but typically didn't use them just hpf on pres), so I tracked with them and as Ragan said above, really go for the sound at source idea and the ob is printed with the track. I find this means I use less plug in while mixing.
I had almost 16 channels of comps when I had my small delta mixer very easy in logic to set up inserts, so would patch different stems to different comps when mixing for their different mojos. While I preferred that sound, I also found I was lazy and having to reset everything to change songs , was not for me, would want automation and recall if I got another mixer, daws of course do this now.
Now I have a small hybrid system with OB while tracking , plugs while mixing and I use an ssl clone on my 2 buss when mixing and mastering. I sold get more ob for my 2 buss if I could afford it, the new Stam Pultec eq with the mid band, the stamchild 670, a Bettemaker eq and or limiter , all interest me. Bettermaker stuff does recall.
In terms the how, you may know that a good patchbay, is really the way to go, if you get ob and patch all your io to it and then physical patching just becomes your habit: you immediately hear the differences in sound on a source, decide what you, like and go for the take: plug ins for me never felt so tangible or immediate. Sure recall is manual but you will likely come up with a system of notes that works for you or peeps take pics of settings.
Building a hybrid system can get expensive, maybe rent some stuff for a project and experiment, do two mixes and see what you prefer.
But, if the day ever comes , when you need to sell, real good ob gear retains a lot more value then plug ins.
If you are thinking pres, Greg who posted above, I think is still selling a 2 channel Daking (trident) clone pre. I have one and think it great, a buddy bought his other, also thinks it great, very euphonic.
Have fun on your OB journey: there is just something betterer about real gear !
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Post by copperx on Feb 20, 2023 15:05:24 GMT -6
Hey, I have some plans for this thread. For current moment, can you answer my super ignorant question: do you basically just print stuff through outboard and move on and never come back, because that is a freaking weird concept to me, since I've been in the [X] since 1999? The ideal would be to have racks of outboard and have one of everything for all your needs. Even then, I would print everything at the end of a mix to avoid the trouble of recalls. In my experience, recalls are simple things (e.g., raise the volume of the hi hat) that don't require re-printing everything. Because I only have a few pieces, right now I'm painstakingly printing every track through hardware eq / compressors as I mix. What is surprising to me is that this is faster than using plugins everywhere. I get to my desired sound faster. It also helps with decision-making. Once you have printed the drums processing, it's done, and you can move on to other things, instead of messing with it all the time. If several tracks call for the same processing, I have a Reaper script that prints them through outboard automatically. |
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linas
Junior Member
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Post by linas on Feb 21, 2023 5:18:18 GMT -6
Very helpful, thanks. I wonder should I think about a patchbay or can I do with some interface with many ins/outs?
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Post by copperx on Feb 21, 2023 13:08:07 GMT -6
Very helpful, thanks. I wonder should I think about a patchbay or can I do with some interface with many ins/outs? If you want to address individual pieces your best bet is an interface with many I/O ports, and you don't need a patchbay if you do it that way (many drivers let you patch stuff digitally). If you're using your equipment like a big channel strip, and you're processing stuff in series all the time, then an interface with few I/O ports might be a cheaper idea, and then add a patchbay so you can change the order of modules. |
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linas
Junior Member
Posts: 54
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Post by linas on Feb 21, 2023 13:20:06 GMT -6
Can you tell me some examples of interfaces with many I/O ports that has highest D/A quality?
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linas
Junior Member
Posts: 54
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Post by linas on Feb 25, 2023 4:15:50 GMT -6
I got recommended API for my thick deep baritone voice. Could anyone comment on that? Thx.
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Post by ragan on Feb 25, 2023 10:14:16 GMT -6
I got recommended API for my thick deep baritone voice. Could anyone comment on that? Thx. API what? |
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linas
Junior Member
Posts: 54
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Post by linas on Feb 25, 2023 10:21:10 GMT -6
Preamp I suppose. I'm a noob, sorry  |
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Post by notneeson on Feb 25, 2023 11:56:16 GMT -6
Preamp I suppose. I'm a noob, sorry I think my fav API pres for vocals are actually the super clean ones in the 1608. That said, I’ve never actually heard anyone recommend API specifically for vocals. Not that it wouldn’t work. More typically lauded for drums, bass, and guitar. |
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Post by Ward on Mar 3, 2023 10:27:06 GMT -6
I do it all kinds of ways. - I almost always am printing thru Hardware as I track it in - After initial tracking, I ofter "reamp" thru various pieces during the production process - During Mix I ALWAYS have hardware on various tracks / busses and 2 Mix - During Mastering I'm always using hardware as well. - As of late I'm trying to adopt a new system that will allow for 100% total recall of all outboard, or the ability to change the analog gear up. It's complicated, and for me requires PTHDX, but I'm pretty excited about this new work flow. I've got 120 I/o of conversion and more than that in outboard gear. It's the lifeblood of "my sound" and - IMO - much superior to an all digit or all analog setup. You need to have a chat with Michael Bauer! |
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Post by Ward on Mar 3, 2023 10:31:12 GMT -6
I got recommended API for my thick deep baritone voice. Could anyone comment on that? Thx. Heavily depends on the microphone you are using. The microphone is up to 90% of th sound and the capsule is the biggest part of that. then the preamp needs to work with that mic to help it shine, and the preamp shouldn't cloud or get in the way. What's your chosen microphone for your own vocal work? |
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linas
Junior Member
Posts: 54
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Post by linas on Mar 5, 2023 14:01:31 GMT -6
I've personally only worked with NT2A, which is a great super cheap mic, but we've done major TV channels with it. And also C414 which was borrowed from my friend. I could get a 87 from that same friend, he's got like 20 of them  |
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Post by hadaja on Mar 5, 2023 16:23:43 GMT -6
Very helpful, thanks. I wonder should I think about a patchbay or can I do with some interface with many ins/outs? If your setup is not big you dont need a patch bay just yet. It also depeiends uon how big your location is.some people have to setup and pack up each time they record so patchbays are an extra pain to setup. |
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