A
A.D.Ryan
New member
Haha. Because we use the a third of the room to store clothes I call it a wardrobe. Silly isn`t it
? Anyway, enjoy your drink and thank you for helping me!

Thank you Nelson! I think I`ll there. You reckon I should keep my SHure 58 or try to sell it? I heard that they`re good for concerts but they`re not studio microphones.
Cheers! I bought everything today! I hope it works! I`ll keep you updated![]()
Yeah i like the idea of killing 2 birds with one stone
And more importantly than that, you need to hear accurately when you are recording in the first place. You should not be listening to anything but isolated (as much as possible in our home rec situations) monitors before you hit the record button.You need to be able to hear accurately what you are mixing.
Room treatment while not at all sexy, covered in flashing lights and VU meters will by far have the most significant impact at the outset.
A more expensive interface will normally get you more inputs/outputs and a Firewire connection instead of a USB connection (Unless you are talking about some really serious money where better converters and pres will start to factor in to the equation) which if you are doing a track or two at a time recording in a hom studio won't really make any significant quality difference at all
Need:I respectfully disagree with bristol. Dont get me wrong, room treatment is important, but in my experience, it should not be overemphasized when on a tight budget.
In my experience, when there is a strict budget, it becomes a matter of what is essential vs. what you would ideally have.
This is 100% backwards.Bottom line, an interface is top priority for any beginner home studio. Think about it like this, If you could only have one of the three (interface, monitors, or treatment) which would you choose?
Listen to this man.That's fair enough I'm just one opinion.
The reason for my opinion is generally on these getting started threads we are all gung ho for the shiny new gear but then in a few weeks the proud owner of all this new gear then comes back to the forums with a post about how they have all this gear with the word "Pro" in the product name but their mixes sound like sh!t and don't translate to other systems, waht's up with that and what are the secret tricks the pros aren't telling us
If I were starting over I would at the very least build or buy 4 bass traps and take care of the room corners before I even took the interface out of the box
This is 100% backwards.
How will a beginner create the correct sounds and put the mics in the correct place if he can't hear what is wrong? How will a beginner even know anything is wrong? This is why people think their problems are mix/master related. They never learned to record because they disregard monitors and room treatment.
And by that token, what good is a better interface and better mics if the sound coming down the mic cable is no good? Once you learn what a good sound is, and once you learn how to position things to catch it, then mic/interface upgrades make sense. But why spend money to make a better recreation of a bad sound?
Listen to this man.
You said it right there. "It sounds good to you". You base what "sounds good to you" on what you are hearing, obviously. How can a person change their opinion on what sounds good if they can't hear accurately? By the time it gets to the car stereo it's too late. Yeah, it doesn't sound good. Must have been how I mastered it/mixed it/encoded the mp3/whatever. If you don't know right at the moment the sound is captured, it is going to be a long frustrating journey to troubleshoot your problem. You can't learn to hear without the presence of the sound you are trying to learn to hear.But for a beginner, things like what a good sound is or isn't becomes much of a muchness. If you have a 'bad sound' {your words} but it sounds good to you, it's going to take some time before you get to the point where you change your mind about what is and what isn't a good sound.
Agreed. The learning curve is brutal. But the learning curve is almost 100% learning how to listen. Once you know that, the technical details of the "how" fall in to place.I made an observation in another thread that the standards and bar set in home recording seems really high ! In a way that's a good thing but sometimes, I wonder if we're not taking into account progression. To put it bluntly, someone new, in my opinion, needs to know that there is a learning curve and that it takes time and sweat to progress up this curve if you want to.
Like I said, you can't learn to listen without being around the sound you are trying to listen to.Things like room treatment make a difference to someone whose ears are sufficiently trained {and by that, I don't mean an expert}, not someone who doesn't have a clue because how will they know what effects what ?
But they almost always assume the problem is in the wrong place...because they didn't learn to listen.If after a few months said newbie is back saying "I'm having this problem and that problem", then I'd say that is sometimes a good thing. It represents progression.
And that's just it. A misunderstanding of the what the basics even are. Interfaces and mics and whatnot... those are the nitpicky details. The sound you are hearing and manipulating, THAT's the basics.Incidentally, Chibi and Bristol, I'm not knocking what you've said. I think it's been really valuable and it hopefully will get people thinking along lines they otherwise wouldn't have. But for the new home recorder who wants to record and enjoy what they do and who isn't necesarilly at this point looking for nirvana, wouldn't they need to just hit basics first ?
But for a beginner, things like what a good sound is or isn't becomes much of a muchness. If you have a 'bad sound' {your words} but it sounds good to you, it's going to take some time before you get to the point where you change your mind about what is and what isn't a good sound.
I made an observation in another thread that the standards and bar set in home recording seems really high ! In a way that's a good thing but sometimes, I wonder if we're not taking into account progression. To put it bluntly, someone new, in my opinion, needs to know that there is a learning curve and that it takes time and sweat to progress up this curve if you want to. Things like room treatment make a difference to someone whose ears are sufficiently trained {and by that, I don't mean an expert}, not someone who doesn't have a clue because how will they know what effects what ? If after a few months said newbie is back saying "I'm having this problem and that problem", then I'd say that is sometimes a good thing. It represents progression.
Incidentally, Chibi and Bristol, I'm not knocking what you've said. I think it's been really valuable and it hopefully will get people thinking along lines they otherwise wouldn't have. But for the new home recorder who wants to record and enjoy what they do and who isn't necesarilly at this point looking for nirvana, wouldn't they need to just hit basics first ? Part of the reason home recording has really taken off, whether rightly or wrongly, is because people can make music at home without all the (as they see it) drama, heavy weather and construction skills that it always seemed was necesary. Get a machine, plug in and go ! Then as one gets further in.........
Had this been in a section other than the newbie one, I wouldn't really have said any of that. I assume that if a question is in the newbie bit, that the poster is new at all this.
I live in the countryside and have birds and stuff chirping around outside too
3) Use a dynamic mic for recording vocals (personally I lke the SM7b but there are tons of great dynamics for vocals) and keep the recording end pointed away from the area where bird noise originates. The cartoid patern of the and lower sensetivity mic means that sounds from behind the mic (non recording end) are pretty effectively rejected