That is quite the undertaking... how exciting.
An analog set up is pretty easy as long as you're not intimidated by wiring it all up. I used to have 9 racks of TT 96pt patchbays that worked 80% of the time due to poor connections (wiring that many connections there's bound to be a few problems). A few years ago I dumped the patchbays and now I plug stuff in as needed.
I was strictly analog until last year and now I'm hybrid. I mix in the 'puter after importing tracks from my 2".
Here's how I have things wired:
My console is a D&R Orion 24x24x2 Split In-Line (24 channel in, 24 channel out, 2 mix).
Each channel has its own mic XLR in, line 1/4" in, monitor input, channel insert, monitor insert, and group/channel out.
My 24 track has 24 individual ins and outs (XLR).
I'll go ahead and explain how I have one channel wired as it is the same for the rest of the channels:
1) Mic XLR in - where the microphone is plugged in.
2) Line 1/4" in - where a 1/4" line in is plugged for DI or whatnot.
3) Channel Insert - where I can INSERT a compressor or gate PRE tape during tracking or INSERT POST tape during MIX mode.
4) Monitor Insert - where I can INSERT a compressor or gate POST tape.
5) Group/Channel out - this is where the Mic or Line In is send out to the tape machine track of my choosing (all levels to tape are controlled by the channel pres and line gains as designated respectively).
6) Monitor Input - Where the signal comes back POST tape through the monitor Input on designated console channel.
All channels are routed to the Mains Out (Stereo Left/Right) while individual channel control volume/EQ; much like how it is inside a computer software "mixer".
Mains Out's have several buttons for control room monitoring and two track monitoring. I have mine setup where one selection, "Control Room 1", will monitor the console mains. "Two Track A" monitors my computer's "speakers out" (i.e. I hear system sounds, modem connecting, iTunes, etc). "Two Track B" monitors analog output from
my Motu HD192 only (I don't do 5.1 channel mixing so just 2 channels work fine for that app). Finally, "Two Track C" monitors my stand alone rack Otari CD burner.
Okay, whew... now when I import tracks to my 'puter I use MOTU 24 i/o, MOTU HD192, PCI424, and Nuendo 2.2.0.39
The MOTU 24 i/o has 24 analog ins and outs (just enough for me). I can either go directly out independent tracks in real-time from my 24 track, to the MOTU, and to the software program or I can have the 24 track go out to the Monitor Input on the console, out of the group/channel out, to the MOTU, and to the software. The only reason why I'd go thru my console as opposed to directly out of the 24 track is in case I'd like to add inboard/outboard influence or adjust input gain PRE MOTU.
Then when I mix I can do it one of two ways:
1) Fully inside Nuendo while monitoring the console's stereo "Two Track B" or
2) Assign each track mono out within Nuendo to individual tracks that come out of the 24 i/o and into the console's channels (much like monitoring channel tracks from the 2" 24 track as explained earlier).
I hope that wasn't too confusing. Most console manuals plus trial and error helps narrow down any headaches.
I didn't go into sub/sum/group or aux send/return cuz that would be a whole other long statement.
If you're looking for a console for tracking, make sure it has decent mic pres, individual channel phantom power, individual channel phase reverse/flip (comes in handy if you're not using a program), and db pads are nice to have as well. API, AMEK, or Trident (MPA) consoles would be my top choice. I'd much rather dump money in a good console before anything else... other than a serviceable tape machine of course.
A few retro'd mic pres can come in handy for some flavor/color but like I said I'd rather have a good console before spending money on extra mic pres, those can wait.
Outboard compressors of different types is the next thing to get. Character of compressors is a subjective issue. Some like inexpensive compressors while others opt for high end tube gear like Manley MU, UREI 1176's, or solid state AMEK 9098's (if the person can afford it). It depends on what you like and if you have no reference then start out with a couple upper end compressors or a few knock around models and one dual vanity piece. High end compressors are great for controlling volume while keeping tone integrity. Lower end consumer models have a tendency to squash tone if used heavily.
Hopefully I answered some questions you might of had.
--Adam Lazlo
) cheerleader for hybrid setups. I use an analog console with an Alesis HD24/MOTU 2408/computer. It allows me to track and mix like an analog system while using hardware devices simultainiously using plugins. Editing in the digital domain is THE BEST. You can do a first class setup with the budget you stated.
