ausrock
Well-known member
And that's only the sound system for the computer............
I wonder how it actually sounds as far as accuracy goes.
I wonder how it actually sounds as far as accuracy goes.
K
kennyb2k
New member
I think the top musicians want to leave the recording engineering to the experts. They just want to go to a studio where everything sounds great, not worry about anything but their songs, performance, and arrangements. For the rest of us, hackers and semi-pro musicians, (most of us) home recording is great, and the engineering is part of the fun.
A Reel Person
It's Too Funky in Here!!!
Right, Kennyboy!
That's it, right there. Well put, in 100 words or less.
That's it, right there. Well put, in 100 words or less.
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trew
New member
So digidesign released the new Pro Tools.
To quote Christopher Walken:
WOWEE WOW WOW!
Just wondering if anyone has opinions about whether this will/won't make any big difference in these alleged 'studio wars'.
Does this move everything else digital down a respective notch? Will TDM systems start showing up in even more home studios? Or are we better off sticking with our 001 systems until we can afford 96k? Or analog?
Is 96k or 192k really a threat to analog? Is achieving 'fat & warm' more about learning how to track differently? Or are the 'tried & true' techniques of old the only real way to get 'that sound'? Will I always wish that I had the dollars and skills to record to 2"?
Are we better off in the long run building computer skills instead of electrical engineering skills? How long will it be before one of these guru guys comes up with a $200 box that will precisely 'squash' sounds on to disc just like recording to tape? Is that even possible? (A lot of scratch could get had there, eh?)
And to sort of reiterate what has been written on this thread before, I'm just so glad that even a thick-skulled, dumb-ass drummer (because ALL drummers are thick-skulled dumb-asses, right?) like me can get sounds on my own even on a penny-pinching budget, and even with a brain that can barely get past 1-2-3-4, 1-2-3-4. I mean, all this technology has GOT to be making some of the aspects of this recording stuff a lot easier, isn't it?
To quote Christopher Walken:
WOWEE WOW WOW!
Just wondering if anyone has opinions about whether this will/won't make any big difference in these alleged 'studio wars'.
Does this move everything else digital down a respective notch? Will TDM systems start showing up in even more home studios? Or are we better off sticking with our 001 systems until we can afford 96k? Or analog?
Is 96k or 192k really a threat to analog? Is achieving 'fat & warm' more about learning how to track differently? Or are the 'tried & true' techniques of old the only real way to get 'that sound'? Will I always wish that I had the dollars and skills to record to 2"?
Are we better off in the long run building computer skills instead of electrical engineering skills? How long will it be before one of these guru guys comes up with a $200 box that will precisely 'squash' sounds on to disc just like recording to tape? Is that even possible? (A lot of scratch could get had there, eh?)
And to sort of reiterate what has been written on this thread before, I'm just so glad that even a thick-skulled, dumb-ass drummer (because ALL drummers are thick-skulled dumb-asses, right?) like me can get sounds on my own even on a penny-pinching budget, and even with a brain that can barely get past 1-2-3-4, 1-2-3-4. I mean, all this technology has GOT to be making some of the aspects of this recording stuff a lot easier, isn't it?
freshmattyp
New member
I've done tape and PC based recording. I just bought a Tascam 2488 that should be here today. I'm going to be using that to track, then fly the tracks into my PC for mixing in Cubase. I spent a lot of time debating between a Digi002 or the 2488, and ulimately based my decision on the ease of use of the Tascam, and the longtime familiarity with Cubase over the learning curve of Pro Tools.
I've recorded 3 cd's in my basement, tracking to ADAT. I've always preferred to get my tracking done at home, then spend the $$'s on mixing and mastering at a pro facility.
I've recorded 3 cd's in my basement, tracking to ADAT. I've always preferred to get my tracking done at home, then spend the $$'s on mixing and mastering at a pro facility.
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chessrock
Banned
What I'm finding is that the explosion of the do-it-yourselfer home recordist has created quite an exciting niche for the Project Studio like myself.
You see, the more people there are trying to do it themselves . . . the more people there are who begin to understand just how difficult it is to do a good job with it.
What happens is about 75% will get frustrated within a year, realizing they can't get the kind of quality they were hoping for, and that they just don't have the time, money and energy to spend in order to get themselves up to speed on it. Maybe they'd rather focus on music or their families or whatever. So within a decent amount of time, they wind up selling their stuff . . . which opens up a whole new avenue of cheaper gear for guys like me (or us).
Then when it comes time to get serious about their recordings, they'll come to me with a greater appreciation for what I do, and for what I can bring to the table. These are the guys who, when you suggest things, will listen to you -- because they know they're kind of clueless themselves. And they actually take an active interest in what you say sometimes, which is kind of nice.
Guys who have never had that experience of trial and failure don't have much of a concept of what they don't know -- and they expect me to be able to do everything really easy for them . . . and have no idea why I might suggest doing certain things differently.
It's a win-win for everyone in my view.
You see, the more people there are trying to do it themselves . . . the more people there are who begin to understand just how difficult it is to do a good job with it.
What happens is about 75% will get frustrated within a year, realizing they can't get the kind of quality they were hoping for, and that they just don't have the time, money and energy to spend in order to get themselves up to speed on it. Maybe they'd rather focus on music or their families or whatever. So within a decent amount of time, they wind up selling their stuff . . . which opens up a whole new avenue of cheaper gear for guys like me (or us).
Then when it comes time to get serious about their recordings, they'll come to me with a greater appreciation for what I do, and for what I can bring to the table. These are the guys who, when you suggest things, will listen to you -- because they know they're kind of clueless themselves. And they actually take an active interest in what you say sometimes, which is kind of nice.
Guys who have never had that experience of trial and failure don't have much of a concept of what they don't know -- and they expect me to be able to do everything really easy for them . . . and have no idea why I might suggest doing certain things differently.
It's a win-win for everyone in my view.
HangDawg
bUnGhOlIo
After I started my voyage into home recording, I had a few friends who thought it was cool and started themselves. I am the only one who stuck with it. 
It was as chess stated. They hit a couple of rough spots and said screw it. I didn't score any cheap gear though. 
It was as chess stated. They hit a couple of rough spots and said screw it. I didn't score any cheap gear though.
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chessrock
Banned
HangDawg said:I didn't score any cheap gear though.
Man, that sucks.
freshmattyp
New member
I have a buddy who is about a year behind me in his studio setup, so I just pass along the gear I've outgrown to him and use the cash to upgrade my setup.
After only about 2 hours, I'm really impressed with the 2488's ease of use. I'm feeling really good about my purchase.
After only about 2 hours, I'm really impressed with the 2488's ease of use. I'm feeling really good about my purchase.
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songsj
Member
I do both however I used to use a Tascam 788 for rehersal and now am using a Tascam 2488 for rehersal. I record drums at one studio, and all other parts at another. I'm trying to see how much I can get out of the 2488. These little boxes are amazing but when you want it done right and need maximum editing flexabilty along with all the high end processing for vocals an upscale project studio or better is the way to go. [ However it will cost you}
Kevin Deschwazi
Well-known member
I use a hardware DAW and I'm looking at moving to a PC based setup.
I don't have any real aspirations for my recordings to be noted as excellent 'productions'. I'm a writer/musician foremost and for me it's a creative tool and a way of giving people (friends, promoters etc.) an idea of what our music is about.
When we need a recording that's for real public consumption then I'd definitely go to someone who knows what they're doing.
Maybe if I wasn't too keen on the deal/gig then I'd do it all myself.
I don't have any real aspirations for my recordings to be noted as excellent 'productions'. I'm a writer/musician foremost and for me it's a creative tool and a way of giving people (friends, promoters etc.) an idea of what our music is about.
When we need a recording that's for real public consumption then I'd definitely go to someone who knows what they're doing.
Maybe if I wasn't too keen on the deal/gig then I'd do it all myself.
guitarhunny
New member
I record on a Fostex MR8 in a walkin closet with a home version of a sound booth made out of PVC pipe, particle board and acoustic foam. I have a MXL990 condenser mic. I then transfer to Cakewalk HomeStudio XL for mixing.
If I had a choice, I would record in a large studio. The learning curve for equipment in my own home studio has been time consuming and has made the release of my first CD lengthy and since I know pretty much nothing about sound quality it is hard for me to tell if what I am doing is any good. It would be nice to be in a situation where I had someone with experience to help me.
If I had a choice, I would record in a large studio. The learning curve for equipment in my own home studio has been time consuming and has made the release of my first CD lengthy and since I know pretty much nothing about sound quality it is hard for me to tell if what I am doing is any good. It would be nice to be in a situation where I had someone with experience to help me.
Blue Bear Sound
New member
Just hang around these forums -- people here will give you a lot of help. You can post clips and get feedback on them, along with many tips and tricks..........guitarhunny said:
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Robert D
New member
I've recorded in pro studios, and recorded at home, and it's kind of hard to pick a favorite between the two. I'm a studio rat all the way, and having performed in front of large audiences and felt that thrill, I can honestly say I'm happier in the studio creating new music. But spending too much time in a pro studio is more expensive than a bad coke habit, so economically, the home studio is a better choice for me. I think that affordable gear has become so good these days that if you really learn your production chops, the recording quality can be a non issue. In the end, it's the performance, not the signal chain that sells records, and so the question for me is where will I and my collaborators deliver the best performance to be recorded. There's a magical feeling that you get when you're in a pro studio, and that magic can be powerfully conducive to reaching beyond yourself and delivering to the mic that extra something that no amount of outboard gear can provide. When that happens, and the engineer, the producer, and the facility are equal to the task, then magical records are made. But it doesn't always work that way, and as often as the red light creates inspiration, it causes the dreaded red light fever and everything freezes up inside. Or, it's just not your day, voice isn't on, whatever, and the meter is running. In that case the home studio is where you can strike when the irons hot, walk away when it's not, and not end up using mediocre takes because you have to. As a listener, I'd rather hear a great performance recorded through a $10,000 signal chain than a mediocre performance recorded through a million dollar signal chain any day.
RD
RD
D
DJL
Self Banned
Because of lack of funds.dobro said:
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Shakuan
New member
Ok I'm bored and you know...
I was heading to be an electrical engy but then I realised I'd have to work alot which meant less time for music and other hobbies and I refuse to spend all my life "working" in something that I really consider like hard work for money. So I just left school and I'm about to buy 7k worth of gear to start recording my own stuff and experimenting. In the end, I hope to release a pro sounding album which will sell alot. Then, when I actually get really good at a specific instrument, I'll prolly give lessons. That is, if I don't become a rockstar before then.
I'm 22 and started playing guitar 5 years ago. I still can't do guitar solos, and I suck at drums and bass and piano and everything. But I know what's good and what's not so I figure with alot of time and efforts I can get somewhere. The important thing is to know what sounds good and what doesnt, and NEVER stop working on something until YOU KNOW it's high quality stuff. I refuse to beleive that if I do that, I won't be able to pull off some hit songs. I got some high expectations, and I jut hope it all works out in the end. I know I can't sing good enough, so that's a good start. I can tell when someone has "it". I don't have "it". But it doesn't mean I can't get the same results. I'll just need to try harder and longer. And that's how my home studio will save me. I'll be able to work as long as I want and it's not gonna cost anything for the time. I think "great" music can be achieved with alot of experimentation. You can't really "experiment" in pro studios. It would cost too much. ... anyways. Maybe I'm just crazy, we'll see. I told my parents about all that stuff the other day and they kinda laughed. I don't take it personnal tho since they think Thom Yorke's voice sucks. So basically their opinion is worthless.
soo... to answer the question, I'l be recording at home on my PC.
wow that was prolly the most useless post in this thread sorry.
/me pass the joint
I was heading to be an electrical engy but then I realised I'd have to work alot which meant less time for music and other hobbies and I refuse to spend all my life "working" in something that I really consider like hard work for money. So I just left school and I'm about to buy 7k worth of gear to start recording my own stuff and experimenting. In the end, I hope to release a pro sounding album which will sell alot. Then, when I actually get really good at a specific instrument, I'll prolly give lessons. That is, if I don't become a rockstar before then.
I'm 22 and started playing guitar 5 years ago. I still can't do guitar solos, and I suck at drums and bass and piano and everything. But I know what's good and what's not so I figure with alot of time and efforts I can get somewhere. The important thing is to know what sounds good and what doesnt, and NEVER stop working on something until YOU KNOW it's high quality stuff. I refuse to beleive that if I do that, I won't be able to pull off some hit songs. I got some high expectations, and I jut hope it all works out in the end. I know I can't sing good enough, so that's a good start. I can tell when someone has "it". I don't have "it". But it doesn't mean I can't get the same results. I'll just need to try harder and longer. And that's how my home studio will save me. I'll be able to work as long as I want and it's not gonna cost anything for the time. I think "great" music can be achieved with alot of experimentation. You can't really "experiment" in pro studios. It would cost too much. ... anyways. Maybe I'm just crazy, we'll see. I told my parents about all that stuff the other day and they kinda laughed. I don't take it personnal tho since they think Thom Yorke's voice sucks. So basically their opinion is worthless.
soo... to answer the question, I'l be recording at home on my PC.
wow that was prolly the most useless post in this thread sorry.
/me pass the joint
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Robert D
New member
Shakuan said:
Shakuan - No, it wasn't a worthless post. You brought up a good point about it being too expensive to experiment in a pro studio. A lot of great sounds have come out of experimentation.
The rest of your post is an interesting blend of both acknowledging and denying reality, or being unaware of reality. There are so many people that actually have the "it" that you speak of, that we'll never hear on the radio. There simply aren't enough slots in rotation to accomodate anywhere near all the people who really do have "it". There are lots of people you've heard on the radio that you think have "made it", that are broke, and not because they partied away their millions. Because of a thing called recoupment, which basically means you don't earn a dime till all the costs of making, distributing, promoting, etc. a record, you can have a "hit" record and not see a dime of it. Happens all the time. Most recording artists make their real mony from touring, not from record sales, and believe me, touring all the time IS work, really hard work.
When I'm not playing around with music, I work at what you just dropped out of. I love it, and let me tell you what I tell my daughter. The people who make the least money have to work the hardest for it. The education you've turned up your nose at is the key to making good money with your feet kicked up, vs sweating your ass off for a measly minimum wage check. I'm sorry, I'm coming off as a total jerk lecturing you like this, but I see guys all the time that I used to play the circuit with, who had "it", and said back then that if they pursued a career they wouldn't be hungry enough to make it. They didn't make it, and they're paying dearly for it now with nowhere jobs and nowhere lives. There is no reason you can't pursue parralell tracks, music and a career. Betting your future on making it in music, even if you have "it", is like quitting school to buy lottery tickets.
Ok, I'm done sticking my nose into your business where it doesn't belong, and I apologize.
Best of luck with whatever you do,
RD
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Shakuan
New member
Robert D said:
Don't worry, if I didn't want anyone in my business I wouldn't have talked about it in the first place.
I know it's weird but I feel like I still don't know exactly what I wanna do with my life. The efforts required to be engy were just too much compared to my desire to be that, so I quit (like 2 months ago, at least I still got my technician paper). I always liked music, so I decided to try myself at it while it's still time. I really don't know where I'll end up. I'm not a cash whore tho. So as long as I can play music, I'll be happy. Anyways, this thread isn't about my life so I'll shut it now.
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grimy paco
New member
Home recording is great but what many of you say is true.
It is nice to have someone else there to push the bottons and enjoy the playing.
It ends up being a better product.
When I do invite my big time producer buddy over to lend me a hand he enjoys my music I enjoy his expertise.
I also pick up little things every time he does come by.
I don't enjoy spending more time operating the board than actually playing.
When it is time for the red light light to come on I usually am a little stressed and end up re dubbing my tracks alone later on.
Mixing is wear it all happens and that is the fun part that is where I start to really enjoy my work.I think more and more every day to drop the playing and start taking the production more serious.But no one goes to studios anymore so you can not win.So just pick up a pint and enjoy it all.
The end product always comes out fantastic because it is a part of you.
It is nice to have someone else there to push the bottons and enjoy the playing.
It ends up being a better product.
When I do invite my big time producer buddy over to lend me a hand he enjoys my music I enjoy his expertise.
I also pick up little things every time he does come by.
I don't enjoy spending more time operating the board than actually playing.
When it is time for the red light light to come on I usually am a little stressed and end up re dubbing my tracks alone later on.
Mixing is wear it all happens and that is the fun part that is where I start to really enjoy my work.I think more and more every day to drop the playing and start taking the production more serious.But no one goes to studios anymore so you can not win.So just pick up a pint and enjoy it all.
The end product always comes out fantastic because it is a part of you.
ssscientist
Info you can use...
I wore OUT a Tascam 644 in the late 80's/early 90's. Used it so much that it went beyond the point of being repairable - strangely enough at the end of it's life the heads were still usable; it was the transport and the electronics that were beat to death.
I had it down; MIDI clock out from 644 to sequencer to lock synths and drum machine. The recorder even had reasonably fast MIDI mute scenes which I made very good use of.
It's been since then --- a bunch of blind alleys with ProTools and Cubase --- that I've finally found a simple system that lets me be creative again without having to worry too much about the technical side of things - I use a Yamaha AW16G, an Akai MPC1000 with the 128K upgrade and a Korg Electribe MX and am making music that sounds good to me again.
My closing statement: Please yourself first...worry about others later, if at all.