FoulPhil
Well-known member
Too many jerk companies trying to get my money! I wish it were just simple instead of being way too many to choose from. I guess it has it's ups and downs
Let me ask you guys something about buying an expensive microphone
Too many jerk companies trying to get my money! I wish it were just simple instead of being way too many to choose from. I guess it has it's ups and downs
FoulPhil
Well-known member
What I hate is the mother funking false advertising. I don't really know if it's false, but I would probably go for it and then pick a nice preamp to go with it if it would certainly be better than buying an interface.
If you read this is clearly states...
Focusrite ISA-828 A-D Card | Musician's Friend
Yet it costs thousands less than most the other high end converters. I don't see any way to tell which is better, only some have bigger price tags lol. That's what sucks about it.
I do like the idea of being able to add on fancy preamps as the years go by, so maybe this is the route, not sure just yet, but it's actually fun looks at all this gear.
I'm not sure but I think it only works with Focusrite preamps lol which might be whys it's not as expensive.
If you read this is clearly states...
Focusrite ISA-828 A-D Card | Musician's Friend
Yet it costs thousands less than most the other high end converters. I don't see any way to tell which is better, only some have bigger price tags lol. That's what sucks about it.
I do like the idea of being able to add on fancy preamps as the years go by, so maybe this is the route, not sure just yet, but it's actually fun looks at all this gear.
I'm not sure but I think it only works with Focusrite preamps lol which might be whys it's not as expensive.
Bobbsy
Boring Old Git
Why would it "certainly be better than buying an interface"?
It's a Focusrite. Focusrite make good mid-range gear that I've recommended before. However, the total performance will depend on the mic pre amp(s) you buy. Hint: re-read the spec about inputs and outputs to see how suitable this unit would be.
Anyway, as okay as Focusrite is, some high end interfaces can knock their sound into a peaked cap. Companies like RMI and MOTU spring to mind--and you're getting an integrated system without any issues of matching inputs and outputs.
I think you're being swayed way too much by advertising claims and puffed up reviews by strangers (who may or may not have a connection with the company they're reviewing. Yeah, I know I'm a stranger--but I'm just a retired engineer with just under 40 years experience and no connection with any manufacturer or retailer.
FoulPhil
Well-known member
I hear that. Just been checking out different options. They even have Ethernet recording interfaces, which are outrageously expensive, but pretty neat!
A
Ainaudio
New member
Acoustic guitar is wide frequency range source and needs possibly linear and neutral sounding microphone(s) - small to large diaphragm, polar patterns and recording formats can be different.
There is a reason to record acoustic guitar in stereo, or two times if you are able to do it sync enough.
Vocals has relatively compact frequency range and most case needs large diaphragm warm sounding mono cardioid microphone, and depending from distance and kind voice - pop filter or windscreen can be used.
Even if you are using the same microphone(s) - both applications are very different in most aspects - distance, angle, room acoustics, pop filter, different preamps (or preamp adjustments), etc.
Concerning mics - I can suggest to try Violet or JZ Microphones.
Compare and make decision, you will save some money and get real tools.
There is a reason to record acoustic guitar in stereo, or two times if you are able to do it sync enough.
Vocals has relatively compact frequency range and most case needs large diaphragm warm sounding mono cardioid microphone, and depending from distance and kind voice - pop filter or windscreen can be used.
Even if you are using the same microphone(s) - both applications are very different in most aspects - distance, angle, room acoustics, pop filter, different preamps (or preamp adjustments), etc.
Concerning mics - I can suggest to try Violet or JZ Microphones.
Compare and make decision, you will save some money and get real tools.
C
chuckduffy
Well-known member
If I was gonna spend two grand I would buy a better instrument over mics or equipment any day of the week. And I would practice a lot. You've got the practice part covered, and you may already have the better instrument part covered. Haven't heard to much from you lately. When last we went back and forth you were getting nice recordings out of an $80 acoustic.
FoulPhil
Well-known member
Yeah I just feel like I'm missing something. I don't think I can get the sound I want with a $80 dollar mic. I've had a ton of nice instruments and mics, but basically wasted money over the years trying shit out. That's kind of why I would like to get right to the nitty gritty of it all. I want to get into something I wont grow out of and time soon. That's why I'm thinking a couple of high end mics and a high end interface would do it for me.
I thought he did OK when he got.........
https://homerecording.com/bbs/equip...ew-guitar-i-just-got-about-hour-ago-d-354017/
.... but if you think he needs something better what can you suggest?
If you ever second guess your Martin HD28 just play some other brand for a little while and then go back to playing your HD28. You'll remember real quick why you bought it
R
Rod Norman
New member
Those are great mics. But here's a thought. Impedance matching is a big deal and can turn even an SM57 into a monster. I've used the TwinTrak Pro by Focusrite and love it. Get two of the 214's and the TwinTrak and see if they don't blow you away when you sweep that impedance knob back and forth. Set it where they sound the best and go. Good Luck,
NewYorkRod
NewYorkRod
FoulPhil
Well-known member
I like it buddy. Only problem is the TwinTrak Pro is discontinued. So, I would have to buy it used which I try to avoid because I've had bad luck with use gear in the past. Any idea what the current equivalent is? I should be a gear sales man with all the product knowledge I'm learning
FoulPhil
Well-known member
I hear that. Another thing that I don't really have a grasp on is how to get the pre-amps into the computer. Interfaces aside, I see A/D converters, PCI cards, pre-amps, all kinds of connections and shit going on. How is all that getting into the computer? I'm just taking a wild guess, but the pre-amp connects to the converter and the converter connects to the sound card?
Bobbsy
Boring Old Git
They're all different forms of the same thing.
Most computers, for example, have a built in "sound card" which includes a very basic mic pre amp, an A to D, and a D to A feeding the speakers/headphone socket. The quality of these built in devices is very low (they cost pennies to make) but they ARE the basic chain.
For more serious recording and mixing, it's more common to use a specialist audio interface/sound card. These used to be almost all PCI cards with some kind of break out box or fan of cables, but, in the last 10 years or so, the most common form of these have become external boxes connecting to the computer with USB or Firewire. Whether PCI, Firewire or USB all these do basically the same job as the built in card, just with hugely better quality.
The most common audio interfaces contain the whole package: microphone pre amp(s), Line Level inputs, A to D converter and a D to A converter. The better ones also have extra controls to allow monitoring without feeding via the computer with the latency that entails. However, they don't all have all the bits and pieces since not everybody needs everything.
Some have just Line Level inputs and the A to D, D to A parts, assuming you'll use an external pre amp or mixer for example. Others have mainly/all digital inputs (things like ADAT, AES etc.) which are then adapted into a computer input via PCI, Firewire or USB. FYI, that's what I use--a digital mixer with ADAT outputs and a box that adapts the ADAT into Firewire.
Anyway, don't worry too much if people use the phrase Sound Card or Audio Interface. They're pretty much the same thing. Similarly, PCI, Firewire or USB all work to get into the computer (though PCI and Firewire are getting scarce these days).
What you DO have to do though is read through the specs very carefully. Almost all Audio Interfaces will claim to have "14 inputs" or whatever--but, on reading you'll find that the ten include only two mic pre amps, two line sockets which are shared with the XLRs for the mics so you can't use both at once, a stereo digital input on RCA/Phono and an ADAT input (requiring an external box with mic pres and ADAT out. You just need to make sure you have the inputs that you need.
My advice is still to just buy a good, all-in-one interface known to have good pre amps and let it go at that. However, if you're dead set on having an extra pre amp, make sure your interface has line level inputs NOT shared with the built in mic preamps, otherwise you end up going through the interface mic pres anyway, just padded down for level.
FoulPhil
Well-known member
Yeah I've had quite a few different interfaces. but I was thinking you could go into a PCI card if you wanted to bypass an interface and go from the pre-amp to the ad converters and then right into the computer, but not sure how that all works out
I assume that not paying for all the shit that comes with an interface you could make a chain of higher quality. By going from Mic, Premap, A/D Converter, PCI card. I'm just taking a wild guess. There are a lot of PCI cards with breakout boxes and shit. Still haven't figured out how to tell which ones are better than the others. lol. Gots to be some kind of specs!
Another weird question. Is the impedance thing something that has to come built into a special preamp? Lots of interfaces don't have a knob for it, so is there a software control for impedance? lol...
I assume that not paying for all the shit that comes with an interface you could make a chain of higher quality. By going from Mic, Premap, A/D Converter, PCI card. I'm just taking a wild guess. There are a lot of PCI cards with breakout boxes and shit. Still haven't figured out how to tell which ones are better than the others. lol. Gots to be some kind of specs!
Another weird question. Is the impedance thing something that has to come built into a special preamp? Lots of interfaces don't have a knob for it, so is there a software control for impedance? lol...
Bobbsy
Boring Old Git
A PCI card is just another form of interface. The only difference is the way it connects to the computer, not automatically the facilities they offer. Most have similar ins and outs to a USB or Firewire interface.
The impedence thing is nothing more than a gimmick. Virtually all mics are low impedence devices (150-200 ohms) and as long as the mic input on your mixer/interface is higher than the mic (generally several times as high) all will be good. If you plug a 200 ohm mic into an interface then vary the input impedence from, say, 1000 to 1200 ohoms, I'll buy you a case of Scotch if you can hear the slightest difference. Gear is designed to work that way and impedence matching is simply not needed as long as the input is higher than the source.
The impedence thing is nothing more than a gimmick. Virtually all mics are low impedence devices (150-200 ohms) and as long as the mic input on your mixer/interface is higher than the mic (generally several times as high) all will be good. If you plug a 200 ohm mic into an interface then vary the input impedence from, say, 1000 to 1200 ohoms, I'll buy you a case of Scotch if you can hear the slightest difference. Gear is designed to work that way and impedence matching is simply not needed as long as the input is higher than the source.
FoulPhil
Well-known member
Yeah I checked out a ton of mics, still listening. Still haven't really come to a finale conclusion of what would be best for me lol...