plastic spoon on carrots....
which part of my plan is really that bad?
If I want to get some demos out that are better than an iPhone recording but only have a few hundred dollars, something must be worth buying.... Should I just stick with the phone recordings? Come on, guys, give me a break.
If I said I was going to get a 57 and a focusrite scarlett you guys would not be laughing at me, would you? That's within my budget, right? It's just not what I need. There is so much choice out there that there must be SOMETHING that will fit my needs...
And while everybody keeps saying "omg eww onboard" and "hahaha have fun with your behringer" nobody will tell me why on either account - a couple people tried to tackle the a/d question, but I don't think it's a generally understood concept - people don't a/b an m-audio mobile pre against an apogee 16x converter so except on paper (snr, "clean" gain, bit depth, sample rate, driver stability - which is not quantifiable but only available through anecdotal evidence) it's a bit of a mystery.
If I got an A&H zed and a c414 would that be good enough? There must be better gear than a zed and a 414.... where do you draw the line between a plastic spoon and drop-forged steel?
FunkDaddy this is not at you personally, I've just gotten this vibe all over, but I read a bunch of threads before joining, and I didn't see much of this. Maybe I'm having an off day, maybe it's me. Sorry if I'm being dramatic, don't want to be an internet-ass. Just sayin.
If you had music exploding out of your ears and only a few hundred dollars in your pocket, what would you do if you wanted to get it down? Everybody has been there at some point, right?
As to your question regarding onboard sound versus interface there are several factors:
1) A converter good or bad is not just the chips but the analog front end of the converter that feed those chips the signal. This front end will determine how well and accurately fast transients, high frequency/low frequency and many, many other things are handled and given to the chips to convert as you record, and just as important when you play back. You can't mix what you can't hear. Onboard sound typically not good in this area. Limited space on the motherboard, need to keep costs of the entire system down and in all fairness, it's not what these mass produced, generic playback converters are designed to do well. We're in a fairly niche endeavor here. These onboard converters were designed to give acceptable results webcaming with grandma or playing back the sound on that cute kitten video on you tube. not recording your next master piece. Even gamers and peple using computers as a hub for TV and movies will usually upgrade from onboard sound to get more acceptable play back, they're not even considering recording.
2) Stats around signal to noise ratio, THD etc don't really tell you a whole lot, they are usually measured in perfect conditions using a 1khz sine wave at a fixed level which takes, transients, harmonics, other frequencies and a lot of other important stuff out of the equation. Generaly speaking a pure sinewave is not what is being recorded or played back in real world application.
3) Headroom. this is a big deal, how much room do you have over nominal (Line) level. Good converters will give you lots of head room or even user defined calibration so that yo can ensure the whole signal path is calibrated to the correct levels. So that, if you get a little excited and hit that snare a little too hard one time or aggressively bow that string in the middle of the take, you don't ruin an otherwise great take with digital clipping which cannot be undone. Accidental, ruinous clipping is very easy to do on cheap, low headroom converters where it may not even be clear what line level is actually calibrated to be.
4) Locked sample rates. Many onboard soundcards have locked sample rates. What this means is that no matter what you set the sample rate to in your DAW, your sound card will record at a fixed sample rate (I believe some of the cheapo soundblasters and realteks are locked at 48khz) this means you may not really be recording at your target sample rate, you are always recording at 48Kz and then your DAW is having to resample internally to the new sample rate. This adds a great deal of strain to the system which can give you pops and clicks on your recording as the computer struggles to process on the fly, can induce resampling artifacts which are not pleasant sounds and will become more apparent if you try and bring up levels after recording is done and will become more and more apparent with each track you record, increases latency in your recordings and means you actually get no benefit (if there is any to be had) from using differnt sample rates
5) ease of use. External sound cards usually provide standard audio connections that makes pluging in mic's monitors and other audio gear much less of a headache the tring to get everything to end up with a stereo 1/8" jack
Behringer
*A lot of it comes down to reliability. Their stuff is cheaply made using cheap components and breaks down easy. It's a pain in th a$$ if you are in the middle of a session and your interface, mixer, or whatever just up and quits. At that point there is the question of is it worth having to re buy the same piece of crap three times over, in the end it would have been better just to buy something good to start with
*Noise.. as I mentioned above most stats are measured under perfect conditions with a pure sine wave. When you actually use a Behringer piece to say try and get enough gain to get your vocal or cello up to line level through an SM57 you'll find a lot of noise (and not good noise) has been added at the higher gain settings
*It's also kinda cool to hate on Behri
*THere are a couple of good pieces ADA800 and CT100 or even th BCF2000 (at least at it's price point) for example but a lot of it really is crap
I still say if I had only a couple of hundred bucks in my pocket I'd go for an all in one solution like something by zoom, boss or tascam rather than getting the absolute lowest of the low end of everything as individual items. Then use the remainder of the money to find some decent used monitors (because you can't mix well what you can't hear well) I think it would just work out far, far simpler, you'd spend way less time trouble shooting and more time on the music (which is after all the whole point) and the results would probably be better at that price point.
It would be a real shame to spend $500 bucks on the lowest of the low end individual pieces and find that it's really not a lot better than what you were getting on your iPhone. It would be nice if all you were paying for on higher priced gear was a name and market hype, but somethings really cost more for a reason and some things really are dirt cheap for a reason. Sometimes you hit a gem in a pile of coal(ADA800, ART Pro VLA, FMR RNC etc) but most lowend stuff is usually cheap for a good reason...