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Post by wendelgee2 on Mar 29, 2024 21:26:00 GMT -6
I know this is a gear forum and all, but maybe this should also be about what folks like you (and me) need to learn and how to learn it?
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Post by christopher on Mar 29, 2024 21:54:00 GMT -6
stuff I like
cheap: rebuilt old Fireface 400… you’ll need a FireWire to usb adapter, look for adapter with Texas Instruments chip: they are made.. and for newer Mac you need a few chained together...look for a rebuilt RME= top tier conversion with pre-fab-fire original AKM chips, although most the channels have NJM opamps and sound a little bland, ie less-than-vanilla scale.. actually that’s way better than furry and foggy like focusrite.. . However ch1/2 have Texas instrument mic pre chips, which are fine to use at zero gain for an 8 out of 10 on the “colored slightly in a good way” conversion. I’ve been doing a lot of experiments, and right now I feel Heritage EQ73jr ->1/2 = fancy conversion land.
The important part is RME drivers, which I’ve seen mastering engineers choose RME over $10k stuff and agree the software is awesome. RME TotalMix is a zero latency software mixer, (or at least super close to zero).. so incredibly useful to be zero latency for tracking, I can’t imagine not having it. totalMix allows you to monitor zero latency while recording.. the old firefaces had no effects, and that is good! That means the digital effects don’t mess with latency.
The other thing, RME has room to grow: ADAT ports can let you use any other converters, through the Total Mix app. Add 8 channels with ADAT= Wonderful! Because you aren’t stuck with some crappy software solution for some random “great sound first” company.. you can use RME total mix, which kicks butt after the learning curve and gives you zero latency.
Ok.. so maybe you are thinking brand new? Black Lion stuff impresses the hell out of me. Actually I’ll probably get the latest 8 channel thing to attach to RME. A little pain regarding gain staging.. but at your level that’s not an issue. You won’t be able to use the 8 channel thing, you need an interface first.. the revolution 2x2 is fine.
Neve 88m.
Thats where I’d want to start if I were you. Expensive and probably not a lot of bang for buck, but I bet it’s fun
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Post by chessparov on Mar 29, 2024 23:54:40 GMT -6
Is there a thread for going from serious (dead serious) to a hobby? Cause I'd be all over that thread. There is now.   Chris |
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Post by Dan on Mar 30, 2024 8:49:10 GMT -6
Is there a thread for going from serious (dead serious) to a hobby? Cause I'd be all over that thread. But moving from hobby to becoming serious as a business....erm.....OK. Carry on. We'll watch from the sidelines. Don't get hit by the structures disintegrating from socio-economic policies, the cratering dollar, the betrayal of musicians by both traditional and "new improved" music companies, general musician malaise, and the final blow of Spotify, Apple, Google, and the rest of their musical AI wielding buddies hell bent on making a profit off of "music and musicians". Then again, maybe I'm just having a bad day? Eh....maybe, but I don't think so. The BMI purchase by investment capitalists, and the recent minuscule "generous sharing payout" to those who actually created the music that the investment capitalists intend to profit off of pretty much secured the last nail in the coffin from my perspective. A disgrace. But pretty much on point for everything else music - except for the gear and instrument sellers. What did I expect? Fairness? Respect? Equity? HA!! I'm an idiot!!!!! Does anyone know if Hobby Lobby caries Mogami TT patch cables? and now Spotify is paying out money to shadow composers they employ churning out trash under aliases. No wonder labels are running listening farms! |
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Post by chessparov on Mar 30, 2024 10:19:05 GMT -6
Yikes! Like some Tomato Growers not growing tomatoes... They're getting paid for NOT making "real music". Chris |
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Post by christopher on Mar 30, 2024 10:37:37 GMT -6
So the chart topping songs about being a criminal that can’t get caught is being propped up by criminals? 🤔They really need to remind themself it’s just entertainment
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ericn
Temp
Balance Engineer
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Post by ericn on Mar 30, 2024 11:08:34 GMT -6
Yikes! Like some Tomato Growers not growing tomatoes... They're getting paid for NOT making "real music". Chris They are really good at producing Sour Grapes. |
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Post by Dan on Mar 30, 2024 11:16:54 GMT -6
So the chart topping songs about being a criminal that can’t get caught is being propped up by criminals? 🤔They really need to remind themself it’s just entertainment yes and what charts are they topping? Album equivalent units is a load of bullshit. Airplay isn’t sales. Pink Floyd, Led Zeppelin, and Iron Maiden didn’t have the airplay for most of their records but had the sales. You don’t hear George Straight on the radio much anymore but the owner of a local Latin restaurant will override the juke box with his stack of reissue CDs. There are guys who earned a living with no airplay. That’s all gone now Many current albums made by bigger artists are scarcely selling more than bigger underground artists for real sales. The bigger indie labels are now offering 365 deals to social media darlings or manufacturing faux independent artists like the majors tried to do through imprints in the 90s |
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Post by doubledog on Mar 30, 2024 11:20:32 GMT -6
If you're looking to do drums, I'd say to try to work up to 16 channels. Easiest way to do that would be any number of interfaces that have 8 preamps built into the unit with an additional lightpipe/ADAT input. You could start off with the 8 built in pres and purchase an 8-channel preamp with ADAT optical out down the road. Cheapest option would probably be something like the Behringer ADA8200, but that can scale up to many thousands of dollars on top of the line converters too. The "problem" with a set up like this is mostly that it's probably pretty baseline in terms of conversion, the preamps are pretty plain, and you're usually pretty limited with the input/output options. That said, a setup like a MOTU 8pre or Focusrite Clarett/Scarlett or Presonus whatever the frig and a Behringer ADA8200 is more than enough for you to sink your teeth in and make some awesome recordings. Bumping up to something like a Universal Audio Apollo would potentially offer more flexibility in the I/O, offer moduled preamp options for more "character" than just a plain interface pre would usually offer, and you can chain pretty much any of their interfaces together via Thunderbolt to expand. I think it's very easy to get carried away with worrying about the fancy shit when a lot of the time, those lowly prosumer pres and interfaces are more than enough to make some fantastic music. this is not wrong, but I would caution that some interfaces will have a slightly different latency when you expand/cascade with another ADAT connected unit. The time for digital bits to travel across that connection is not "free". And while it's very fast, if the original interface does not account for that difference, then you can end up having weird phasey stuff happening when you have more than 8 mics on a drum kit (I know, I know, but some of us do it). If you can keep yourself under 8 mics, then just keep them all on the interface, or the ADAT connected unit (but don't straddle across it) and you should be fine. I have a UA Apollo 16 because I didn't want to worry about it (but I started with other interfaces and ADAT connected converters). There are other interfaces that have more than 8 I/O in a single interface and the prices vary wildly. this one definitely caught my eye recently (and half the price of an Apollo 16) - www.arturia.com/products/audio/audiofuse-16rig/details |
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ericn
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Balance Engineer
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Post by ericn on Mar 30, 2024 11:56:19 GMT -6
If you're looking to do drums, I'd say to try to work up to 16 channels. Easiest way to do that would be any number of interfaces that have 8 preamps built into the unit with an additional lightpipe/ADAT input. You could start off with the 8 built in pres and purchase an 8-channel preamp with ADAT optical out down the road. Cheapest option would probably be something like the Behringer ADA8200, but that can scale up to many thousands of dollars on top of the line converters too. The "problem" with a set up like this is mostly that it's probably pretty baseline in terms of conversion, the preamps are pretty plain, and you're usually pretty limited with the input/output options. That said, a setup like a MOTU 8pre or Focusrite Clarett/Scarlett or Presonus whatever the frig and a Behringer ADA8200 is more than enough for you to sink your teeth in and make some awesome recordings. Bumping up to something like a Universal Audio Apollo would potentially offer more flexibility in the I/O, offer moduled preamp options for more "character" than just a plain interface pre would usually offer, and you can chain pretty much any of their interfaces together via Thunderbolt to expand. I think it's very easy to get carried away with worrying about the fancy shit when a lot of the time, those lowly prosumer pres and interfaces are more than enough to make some fantastic music. this is not wrong, but I would caution that some interfaces will have a slightly different latency when you expand/cascade with another ADAT connected unit. The time for digital bits to travel across that connection is not "free". And while it's very fast, if the original interface does not account for that difference, then you can end up having weird phasey stuff happening when you have more than 8 mics on a drum kit (I know, I know, but some of us do it). If you can keep yourself under 8 mics, then just keep them all on the interface, or the ADAT connected unit (but don't straddle across it) and you should be fine. I have a UA Apollo 16 because I didn't want to worry about it (but I started with other interfaces and ADAT connected converters). There are other interfaces that have more than 8 I/O in a single interface and the prices vary wildly. this one definitely caught my eye recently (and half the price of an Apollo 16) - www.arturia.com/products/audio/audiofuse-16rig/detailsYup, far too many people think digital is well digital, they don’t realize that the actual processing isn’t using ADAT or AES internally. Any and all outputs are involving a conversion or CODEC this where latency has a tendency to spike. Also most manufacturers don’t publish latency figures for digital input or output, so you are at their mercy. |
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Post by nicksteinborn on Mar 30, 2024 12:35:28 GMT -6
this is not wrong, but I would caution that some interfaces will have a slightly different latency when you expand/cascade with another ADAT connected unit. The time for digital bits to travel across that connection is not "free". And while it's very fast, if the original interface does not account for that difference, then you can end up having weird phasey stuff happening when you have more than 8 mics on a drum kit (I know, I know, but some of us do it). If you can keep yourself under 8 mics, then just keep them all on the interface, or the ADAT connected unit (but don't straddle across it) and you should be fine. I have a UA Apollo 16 because I didn't want to worry about it (but I started with other interfaces and ADAT connected converters). There are other interfaces that have more than 8 I/O in a single interface and the prices vary wildly. this one definitely caught my eye recently (and half the price of an Apollo 16) - www.arturia.com/products/audio/audiofuse-16rig/detailsYup, far too many people think digital is well digital, they don’t realize that the actual processing isn’t using ADAT or AES internally. Any and all outputs are involving a conversion or CODEC this where latency has a tendency to spike. Also most manufacturers don’t publish latency figures for digital input or output, so you are at their mercy. Interesting. I was not aware of that. I think I assumed that the whole point of syncing was to.. keep things in sync. Good to know. I haven’t ever noticed anything in the past, but I also wasn’t listening for it. Wild that isn’t a more known fact. Maybe I’ve been lucky with the interfaces I’ve used? Or just the ADAT pres tending to be like rooms/overheads/toms that end up living in the more-likely-to-be-a-lil-phasey territory? Very interesting. |
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kbb
Junior Member
Posts: 82
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Post by kbb on Mar 30, 2024 18:03:15 GMT -6
If you specialize mostly in Singer/Songwriters... Thunderbolt and Lightfoot is a good Studio name. Chris hahaha |
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kbb
Junior Member
Posts: 82
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Post by kbb on Mar 30, 2024 18:09:20 GMT -6
As someone who has tried to go from hobby to serious the last couple of years making my own more "serious" sounding record, and apologies if it's already been said, but as a renter, I'm absolutely convinced that a decent sounding, or at least overcome-able mediocre sounding space is crucial. I've got top shelf gear, from the instruments all the way to zeros and ones, and I struggle in my current space. A lot. More than I can fix at times. I'm limited to recording at a specific volume or lower, or it sounds like hot garbage. Top shelf hot garbage.
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Post by chessparov on Mar 30, 2024 20:29:01 GMT -6
My Baby loves me...
When I talk Trash.
Sometimes I even Refuse.
Chris
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