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Post by Dan on Mar 20, 2024 23:29:40 GMT -6
Just a note for those using Reaper. Maybe this is really obvious, but I felt really dumb after discovering it. By default, Reaper does anticipative FX processing (render-ahead) of 200 ms. Which means that if you have ANY plugin in any track, even if it is a zero-latency plugin, the latency will be of at least 200 ms. Make sure to disable anticipative FX processing if you're tracking. Software defaults are powerful, and Reaper has some weird ones (in my opinion). That's not how it works. Reaper renders ahead 200ms by default. It's not delayed 200 ms; it's pre-rendering 200ms as you hit playback. It just optimizes your computer resources. Cubase does something similar with ASIO Guard but the audio engine will collapse before the CPU unlike Reaper and Logic. |
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Post by drumsound on Mar 20, 2024 23:43:45 GMT -6
Speaking of LFACs, were there ever small format or medium format consoles? If so, what are some examples? A lot of broadcast consoles like the Neve BCM10 could be called a small format console. So could the API BOX. I might call the current API 1604 a medium format console. |
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ericn
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Balance Engineer
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Post by ericn on Mar 21, 2024 5:56:59 GMT -6
Large Format Analog Console. Only for old timers.....  Can you somehow get FLAC from LFAC? Only if you have AFLAC, Ben there. |
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Post by svart on Mar 21, 2024 7:14:58 GMT -6
I'm right there with you, Wiz. The Apollo system works great for me and I think it sounds great too. I often pull up a "finished" mix session with 50-60 full of plugs, including on the mix bus, and track an overdub with 1.1 ms latency, even with a really nice reverb or delay being monitored. I can have my buffer set to 2048 and it's rock solid with 1.1 ms latency. I actually was able to do that with a 2012 Macbook Pro too and it was no problem. I've never been able to get that low of latency under that kind of load with native systems, but I haven't tried it with the newer Apple Silicon computers yet. With native systems I always had to disable some plugins, and I couldn't track with reverbs without delay. I think the only thing that can compete latency-wise is HDX, and it costs twice as much money. I put that money into microphones and monitors instead and I'm glad I did. I think the converters sound great. I slightly prefer the sound of the Apogee Symphony AD, but these days when you're buying an interface, you're buying into an ecosystem, and all the other factors still make the Apollo a winner for me. The DA on the Apollo X series blows away a lot of the DACs that top mastering engineers were using 20 years ago. I'm sure a Hilo would be even more transparent, but I work just fine with the Apollo X DAC. I still haven't used Luna. I know I'm in the minority on this, but I find it easy to work with UA Console and Pro Tools. I came up at a time in studios when we were using LFACs as a front end to record into Pro Tools, and this is basically the same workflow but with software. In Pro Tools I'm always switching between the mix and edit windows, this just adds a third window with the same quick keys. I'm super fast with both Pro Tools and Console and it's easy for me. I'm sure Luna is an even better workflow and I'm excited to give it a try when I have time. 2048 samples at 96KHz sampling rate would be about 21ms of buffering time. Not sure how the math works to get you 1.1ms latency. I guess that 1.1ms would be just processing latency, not total audio latency. |
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Post by svart on Mar 21, 2024 7:16:59 GMT -6
Just a note for those using Reaper. Maybe this is really obvious, but I felt really dumb after discovering it. By default, Reaper does anticipative FX processing (render-ahead) of 200 ms. Which means that if you have ANY plugin in any track, even if it is a zero-latency plugin, the latency will be of at least 200 ms. Make sure to disable anticipative FX processing if you're tracking. Software defaults are powerful, and Reaper has some weird ones (in my opinion). I've never turned off anticipative FX and I certainly have never heard almost 1/4 second of delay.. |
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Post by ragan on Mar 21, 2024 8:49:25 GMT -6
I'm right there with you, Wiz. The Apollo system works great for me and I think it sounds great too. I often pull up a "finished" mix session with 50-60 full of plugs, including on the mix bus, and track an overdub with 1.1 ms latency, even with a really nice reverb or delay being monitored. I can have my buffer set to 2048 and it's rock solid with 1.1 ms latency. I actually was able to do that with a 2012 Macbook Pro too and it was no problem. I've never been able to get that low of latency under that kind of load with native systems, but I haven't tried it with the newer Apple Silicon computers yet. With native systems I always had to disable some plugins, and I couldn't track with reverbs without delay. I think the only thing that can compete latency-wise is HDX, and it costs twice as much money. I put that money into microphones and monitors instead and I'm glad I did. I think the converters sound great. I slightly prefer the sound of the Apogee Symphony AD, but these days when you're buying an interface, you're buying into an ecosystem, and all the other factors still make the Apollo a winner for me. The DA on the Apollo X series blows away a lot of the DACs that top mastering engineers were using 20 years ago. I'm sure a Hilo would be even more transparent, but I work just fine with the Apollo X DAC. I still haven't used Luna. I know I'm in the minority on this, but I find it easy to work with UA Console and Pro Tools. I came up at a time in studios when we were using LFACs as a front end to record into Pro Tools, and this is basically the same workflow but with software. In Pro Tools I'm always switching between the mix and edit windows, this just adds a third window with the same quick keys. I'm super fast with both Pro Tools and Console and it's easy for me. I'm sure Luna is an even better workflow and I'm excited to give it a try when I have time. 2048 samples at 96KHz sampling rate would be about 21ms of buffering time. Not sure how the math works to get you 1.1ms latency. I guess that 1.1ms would be just processing latency, not total audio latency. I think he means DAW buffer is at 2048. But he's monitoring through Apollo Console app, independent of that buffer. |
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Post by drbill on Mar 21, 2024 9:11:36 GMT -6
Large Format Analog Console. Only for old timers..... Who you calling old ? Me. |
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Post by drbill on Mar 21, 2024 9:14:02 GMT -6
Large Format Analog Console. Only for old timers..... Well I’m not that young…I know and love consoles…but I’ve never seen them referred to with that acronym Maybe its not a N'ville thing? Or maybe you're not old ENOUGH! LOL |
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Post by drsax on Mar 21, 2024 9:32:43 GMT -6
I’m with ya wiz. My studio is centered around a large Apollo system w 4 apollos (two of those are Apollo 16’s) and a couple octo plugin accelerators. The workflow for me is unbeatable. I think aside from a large scale pro tools rig, there is nothing else out there that touches it for workflow. The sound quality has been great for me and I’m working on the Mark ii series. For DA to my monitors, master buss conversion, mastering, and things like lead vocals, stereo sources, or when recording only one or two channels at a time, I use high end conversion which is connected to the Apollos digitally.. (2x Hilo, Burl, 2x Svartbox). It leaves me wanting for nothing. And there are many times I have traveled remotely and just brought my Apollo twin with me for recording sessions with very well-known artists. The results we achieved were excellent. No complaints from anyone. In the past I used to have a much more elaborate system with an outboard mixer and hub for headphone mixes. It was quite complicated and didn’t allow me to give each musician the best headphone mix. And sonically did not sound as good. What I’m able to do with the Apollo system is truly remarkable and far exceeds my previous system. I like the system so much that after a couple decades of being on PC, I switched to Mac. Although I was able to use my Apollo system on PC, Universal Audio is clearly more dedicated to the Mac platform. My current rig is my favorite I’ve ever had and has been rock solid. |
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Post by Quint on Mar 21, 2024 10:14:11 GMT -6
I’m with ya wiz. My studio is centered around a large Apollo system w 4 apollos (two of those are Apollo 16’s) and a couple octo plugin accelerators. The workflow for me is unbeatable. I think aside from a large scale pro tools rig, there is nothing else out there that touches it for workflow. The sound quality has been great for me and I’m working on the Mark ii series. For DA to my monitors, master buss conversion, mastering, and things like lead vocals, stereo sources, or when recording only one or two channels at a time, I use high end conversion which is connected to the Apollos digitally.. (2x Hilo, Burl, 2x Svartbox). It leaves me wanting for nothing. And there are many times I have traveled remotely and just brought my Apollo twin with me for recording sessions with very well-known artists. The results we achieved were excellent. No complaints from anyone. In the past I used to have a much more elaborate system with an outboard mixer and hub for headphone mixes. It was quite complicated and didn’t allow me to give each musician the best headphone mix. And sonically did not sound as good. What I’m able to do with the Apollo system is truly remarkable and far exceeds my previous system. I like the system so much that after a couple decades of being on PC, I switched to Mac. Although I was able to use my Apollo system on PC, Universal Audio is clearly more dedicated to the Mac platform. My current rig is my favorite I’ve ever had and has been rock solid. I have pretty much all of the exact same comments about Apollos and workflow as you have stated here. I have a pair of x16s, and will likely be adding a third 16 channel Apollo (for a total of 48 channels) whenever the new generation is released. I use my 2192 via AES for simple two track stuff. It all works great and sounds great with Luna. I have other complaints about some of UA's business practices, etc., but the quality of the Apollos, Luna, and workflow are generally not one of them*. *I WOULD like to see the next gen Apollos have better routing. That's why I've held out on buying a third x16. I'm hoping the new gen will be better in that context. |
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Post by brenta on Mar 21, 2024 10:30:54 GMT -6
I'm right there with you, Wiz. The Apollo system works great for me and I think it sounds great too. I often pull up a "finished" mix session with 50-60 full of plugs, including on the mix bus, and track an overdub with 1.1 ms latency, even with a really nice reverb or delay being monitored. I can have my buffer set to 2048 and it's rock solid with 1.1 ms latency. I actually was able to do that with a 2012 Macbook Pro too and it was no problem. I've never been able to get that low of latency under that kind of load with native systems, but I haven't tried it with the newer Apple Silicon computers yet. With native systems I always had to disable some plugins, and I couldn't track with reverbs without delay. I think the only thing that can compete latency-wise is HDX, and it costs twice as much money. I put that money into microphones and monitors instead and I'm glad I did. I think the converters sound great. I slightly prefer the sound of the Apogee Symphony AD, but these days when you're buying an interface, you're buying into an ecosystem, and all the other factors still make the Apollo a winner for me. The DA on the Apollo X series blows away a lot of the DACs that top mastering engineers were using 20 years ago. I'm sure a Hilo would be even more transparent, but I work just fine with the Apollo X DAC. I still haven't used Luna. I know I'm in the minority on this, but I find it easy to work with UA Console and Pro Tools. I came up at a time in studios when we were using LFACs as a front end to record into Pro Tools, and this is basically the same workflow but with software. In Pro Tools I'm always switching between the mix and edit windows, this just adds a third window with the same quick keys. I'm super fast with both Pro Tools and Console and it's easy for me. I'm sure Luna is an even better workflow and I'm excited to give it a try when I have time. 2048 samples at 96KHz sampling rate would be about 21ms of buffering time. Not sure how the math works to get you 1.1ms latency. I guess that 1.1ms would be just processing latency, not total audio latency. The buffer doesn't affect latency when you're direct monitoring. You can set it to the highest setting to get the most processing power and best stability, and still get 1.1ms of total audio latency for recording. That's the great thing about the Apollo, for me at least. |
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Post by svart on Mar 21, 2024 10:53:53 GMT -6
2048 samples at 96KHz sampling rate would be about 21ms of buffering time. Not sure how the math works to get you 1.1ms latency. I guess that 1.1ms would be just processing latency, not total audio latency. The buffer doesn't affect latency when you're direct monitoring. You can set it to the highest setting to get the most processing power and best stability, and still get 1.1ms of total audio latency for recording. That's the great thing about the Apollo, for me at least. So it takes the audio from the streams before the DAW? How do you monitor through the plugs in the DAW then? I think that's what wiz was asking about, right? |
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Post by drsax on Mar 21, 2024 11:05:16 GMT -6
I’m with ya wiz. My studio is centered around a large Apollo system w 4 apollos (two of those are Apollo 16’s) and a couple octo plugin accelerators. The workflow for me is unbeatable. I think aside from a large scale pro tools rig, there is nothing else out there that touches it for workflow. The sound quality has been great for me and I’m working on the Mark ii series. For DA to my monitors, master buss conversion, mastering, and things like lead vocals, stereo sources, or when recording only one or two channels at a time, I use high end conversion which is connected to the Apollos digitally.. (2x Hilo, Burl, 2x Svartbox). It leaves me wanting for nothing. And there are many times I have traveled remotely and just brought my Apollo twin with me for recording sessions with very well-known artists. The results we achieved were excellent. No complaints from anyone. In the past I used to have a much more elaborate system with an outboard mixer and hub for headphone mixes. It was quite complicated and didn’t allow me to give each musician the best headphone mix. And sonically did not sound as good. What I’m able to do with the Apollo system is truly remarkable and far exceeds my previous system. I like the system so much that after a couple decades of being on PC, I switched to Mac. Although I was able to use my Apollo system on PC, Universal Audio is clearly more dedicated to the Mac platform. My current rig is my favorite I’ve ever had and has been rock solid. I have pretty much all of the exact same comments about Apollos and workflow as you have stated here. I have a pair of x16s, and will likely be adding a third 16 channel Apollo (for a total of 48 channels) whenever the new generation is released. I use my 2192 via AES for simple two track stuff. It all works great and sounds great with Luna. I have other complaints about some of UA's business practices, etc., but the quality of the Apollos, Luna, and workflow are generally not one of them*. *I WOULD like to see the next gen Apollos have better routing. That's why I've held out on buying a third x16. I'm hoping the new gen will be better in that context. totally agreed - about some of the business practices and the future routing… Even though I paid TONS of money for all my UAD plugins including ones that are now being almost given away, I remind myself that my system and plugins owe me nothing. I have made a living off of them for a LONG time. |
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Post by ragan on Mar 21, 2024 11:30:49 GMT -6
The buffer doesn't affect latency when you're direct monitoring. You can set it to the highest setting to get the most processing power and best stability, and still get 1.1ms of total audio latency for recording. That's the great thing about the Apollo, for me at least. So it takes the audio from the streams before the DAW? How do you monitor through the plugs in the DAW then? I think that's what wiz was asking about, right? The plug-ins you monitor through aren’t in the DAW, they’re in the UA Console app. You can monitor them or print them if you want. |
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Post by brenta on Mar 21, 2024 11:48:23 GMT -6
The buffer doesn't affect latency when you're direct monitoring. You can set it to the highest setting to get the most processing power and best stability, and still get 1.1ms of total audio latency for recording. That's the great thing about the Apollo, for me at least. So it takes the audio from the streams before the DAW? How do you monitor through the plugs in the DAW then? I think that's what wiz was asking about, right? I probably don't have the technical explanation of how it works, but here's what happens: If you're trying to record through UAD plugins, those are hosted by the Apollo, and you would engage those in UA Console, not your DAW. For the plugins on the other non-record-enabled tracks being monitored in your DAW, they have plenty of delay of course, but since the tracks you're recording are being direct monitored by the Apollo, the artist doesn't hear that delay, and then the DAW's delay compensation magically lines up the recorded track when you press stop. I think it's the exact same way HDX works. The only time you get delay is with virtual instruments or non-UAD amp sims. Then you're at the mercy of the buffer. It's a great workflow that allows me to mix as I go. Back in the day when I would do projects on PTLE system, I would avoid adding plugins to a project until we thought we were done recording. And when we did have to overdub, I would need to disable a bunch of plugins. Computers are better now of course so it's not as bad, but with this I can get pretty dang close to zero latency regardless of how far along I am mixing. |
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Post by brenta on Mar 21, 2024 11:57:39 GMT -6
I should add that there are some UAD plugins that add latency if you record through them. I actually don't record through a ton of plugins because I have a decent amount of hardware.
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Post by brenta on Mar 21, 2024 12:06:10 GMT -6
I'm right there with you, Wiz. The Apollo system works great for me and I think it sounds great too. I often pull up a "finished" mix session with 50-60 full of plugs, including on the mix bus, and track an overdub with 1.1 ms latency, even with a really nice reverb or delay being monitored. I can have my buffer set to 2048 and it's rock solid with 1.1 ms latency. I actually was able to do that with a 2012 Macbook Pro too and it was no problem. I've never been able to get that low of latency under that kind of load with native systems, but I haven't tried it with the newer Apple Silicon computers yet. With native systems I always had to disable some plugins, and I couldn't track with reverbs without delay. I think the only thing that can compete latency-wise is HDX, and it costs twice as much money. I put that money into microphones and monitors instead and I'm glad I did. I think the converters sound great. I slightly prefer the sound of the Apogee Symphony AD, but these days when you're buying an interface, you're buying into an ecosystem, and all the other factors still make the Apollo a winner for me. The DA on the Apollo X series blows away a lot of the DACs that top mastering engineers were using 20 years ago. I'm sure a Hilo would be even more transparent, but I work just fine with the Apollo X DAC. I still haven't used Luna. I know I'm in the minority on this, but I find it easy to work with UA Console and Pro Tools. I came up at a time in studios when we were using LFACs as a front end to record into Pro Tools, and this is basically the same workflow but with software. In Pro Tools I'm always switching between the mix and edit windows, this just adds a third window with the same quick keys. I'm super fast with both Pro Tools and Console and it's easy for me. I'm sure Luna is an even better workflow and I'm excited to give it a try when I have time. UA Console has keystrokes? What can you do with them? Presumably you still have to target the Console window for them to apply. They are listed on page 65 and 66 of the current manual: media.uaudio.com/support/manuals/v11.0.0-y2Bz6/Apollo%20Thunderbolt%20Software%20Manual.pdfYeah, you still have to have the Console app engaged for them to work, otherwise you will likely be triggering things in your DAW instead. I know most of the PT quick keys and all the ones I need in Console so it makes it easy to fly around and do what I need to do. I have considered adding a Softube Fader just for the sole purpose of controlling Console, but it's kinda a lot of money for just that. |
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Post by Quint on Mar 21, 2024 12:22:43 GMT -6
UA Console has keystrokes? What can you do with them? Presumably you still have to target the Console window for them to apply. They are listed on page 65 and 66 of the current manual: media.uaudio.com/support/manuals/v11.0.0-y2Bz6/Apollo%20Thunderbolt%20Software%20Manual.pdfYeah, you still have to have the Console app engaged for them to work, otherwise you will likely be triggering things in your DAW instead. I know most of the PT quick keys and all the ones I need in Console so it makes it easy to fly around and do what I need to do. I have considered adding a Softube Fader just for the sole purpose of controlling Console, but it's kinda a lot of money for just that. Mark II Console 1 units are being heavily discounted right now. $349. Also, there is the Console Midi thing from Radu Varga. You can use any midi controller at that point to control Console. www.raduvarga.com/software/ua-midi-controlAnd, also, there is obviously Luna, which removes the need to even mess with Console at all but, that obviously requires you to switch DAWs from whatever you're using now. |
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Post by Quint on Mar 21, 2024 12:26:22 GMT -6
I have pretty much all of the exact same comments about Apollos and workflow as you have stated here. I have a pair of x16s, and will likely be adding a third 16 channel Apollo (for a total of 48 channels) whenever the new generation is released. I use my 2192 via AES for simple two track stuff. It all works great and sounds great with Luna. I have other complaints about some of UA's business practices, etc., but the quality of the Apollos, Luna, and workflow are generally not one of them*. *I WOULD like to see the next gen Apollos have better routing. That's why I've held out on buying a third x16. I'm hoping the new gen will be better in that context. totally agreed - about some of the business practices and the future routing… Even though I paid TONS of money for all my UAD plugins including ones that are now being almost given away, I remind myself that my system and plugins owe me nothing. I have made a living off of them for a LONG time. I don't generally disagree with you about not being owed anything from UA, for plugins I bought in the past. It's some of the other things that have been going on that I don't love. As for routing, I just want them to use a bigger FPGA in the next Apollo. It would be nice to have things like more stereo cues and stuff like that, especially without having to make a tradeoff on how many ARM paths are available in Luna. It's too much of a compromise, in my opinion. |
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Post by kcatthedog on Mar 21, 2024 13:13:32 GMT -6
So it takes the audio from the streams before the DAW? How do you monitor through the plugs in the DAW then? I think that's what wiz was asking about, right? I probably don't have the technical explanation of how it works, but here's what happens: If you're trying to record through UAD plugins, those are hosted by the Apollo, and you would engage those in UA Console, not your DAW. For the plugins on the other non-record-enabled tracks being monitored in your DAW, they have plenty of delay of course, but since the tracks you're recording are being direct monitored by the Apollo, the artist doesn't hear that delay, and then the DAW's delay compensation magically lines up the recorded track when you press stop. I think it's the exact same way HDX works. The only time you get delay is with virtual instruments or non-UAD amp sims. Then you're at the mercy of the buffer. It's a great workflow that allows me to mix as I go. Back in the day when I would do projects on PTLE system, I would avoid adding plugins to a project until we thought we were done recording. And when we did have to overdub, I would need to disable a bunch of plugins. Computers are better now of course so it's not as bad, but with this I can get pretty dang close to zero latency regardless of how far along I am mixing. Not necessarily as the uadX are native and don’t need an Apollo ? |
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Post by brenta on Mar 21, 2024 13:45:18 GMT -6
I probably don't have the technical explanation of how it works, but here's what happens: If you're trying to record through UAD plugins, those are hosted by the Apollo, and you would engage those in UA Console, not your DAW. For the plugins on the other non-record-enabled tracks being monitored in your DAW, they have plenty of delay of course, but since the tracks you're recording are being direct monitored by the Apollo, the artist doesn't hear that delay, and then the DAW's delay compensation magically lines up the recorded track when you press stop. I think it's the exact same way HDX works. The only time you get delay is with virtual instruments or non-UAD amp sims. Then you're at the mercy of the buffer. It's a great workflow that allows me to mix as I go. Back in the day when I would do projects on PTLE system, I would avoid adding plugins to a project until we thought we were done recording. And when we did have to overdub, I would need to disable a bunch of plugins. Computers are better now of course so it's not as bad, but with this I can get pretty dang close to zero latency regardless of how far along I am mixing. Not necessarily as the uadX are native and don’t need an Apollo ? Not sure which part you are saying not necessarily to, but yeah UADx native plugins will work the same as any other native plugins in your DAW, as far as I know. |
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Post by kcatthedog on Mar 21, 2024 14:13:55 GMT -6
You said uad plugs are hosted by Apollo, so I was just commenting on that, as uadX aren’t, so same plug in, just different format.
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Post by ragan on Mar 21, 2024 14:48:25 GMT -6
But as to the topic at hand (how can you monitor through plugs while circumventing the DAW buffer), those need to run on Apollo DSP.
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Post by thehightenor on Mar 21, 2024 15:40:01 GMT -6
There has been a lot of talk about HDX , Apollo, Pro Tools, AD convertors.... I am just now overdubbing a vocal.. and it struck me what I am actually doing.... I have a Mac mini M1, with 8 GB ram, running Ventura. I am using LUNA and have an Apollo X8 and an Octo Satellite (8 DSP chips in it, and 6 in the Apollo for a total of 14) I am tracking (overdubbing) my lead vocal, into a finished song. I am using my U87i into 1084 Unison Preamp... I have c-suite noise reduction (not being printed just monitored) and a plate reverb as a comfort verb on the channel...as well as Studer A800 tape on that channel as well.... I have my mix buss with its full compliment of plug ins instantiated, including ATR102, API 2500, Ozone 11 !!!!!!.... all my verbs running. (Sound City, AMS RMX, Bricasti outboard, Pure Plate) EZdrummer 3, EZ bass VI's, all the guitars in the song...each of these tracks has A800 studer tape on them, EQ (pro q3) and UA comps like Fairchild, LA3A etc Sonarworks is running on the MAIN outs... my Mac isn't breaking a sweat, the metering in Luna is 37% way in the green... my DSP usage is 47% and I am monitoring my vocal with no perceptible latency at all.....without committing the tape processing, the noise reduction processing....I also just tried it for the heck of it...and I can also run AUTOTUNE realtime X on that track and monitor pitch correction with no problems.... Luna was and is free..... I do everything to do with routing inside LUNA I don't have to use an external software mixer.... The sound is glorious... Now I am not saying this is for everyone... because everyone's needs are vastly different....but it's great for me... cheers Wiz Yeah, I sang into my Wunder CM7 into Coil CA -70 into Retro STA Level into Crane Song HEDD 192 and then mixed through my Thermionic tube EQ and Compressor and thought this is truly glorious and better sounding than half the albums I’ve ever loved! And I presume a lot of people could say the same thing about their rig. It’s like booking a seat on a plane. 1st class, business, economy …. Everyone arrives at the same destination at the same time. Just different drinks served at half time |
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Post by BenjaminAshlin on Mar 22, 2024 16:05:49 GMT -6
Other than the Luna integration. The primary benefit of Apollo is you can mirror the plugins on your recording chain with the plugins in your daw.
Otherwise it does what most other interfaces with DSP do, maybe you could argue it does it more elegantly and the DSP plugins are higher quality. (although Antelope and Apogee have good dsp plugins.)
Also only UA and Antelope have Autotune on their DSP as far as I know.
I loved my apollo setup until I wanted to record synths. That was before luna and the release of their new synths. Great all in one studio setup though. I can understand why they are so popular.
Whatever helps capture the vibe the best imo.
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