Gtoboy
Well-known member
Hi -off topic :>) How do you have your QU set up? Direct as an interface to DAW for example or..?
I'm new to the mixer, only used the 'QU drive, and transferred a few projects to Sonar.
It was fun to do a bit of mixing off the drive. Something I haven't done in years actually
Not to heist OP but I have it set up to go usb into computer which required a download from A&H and admittedly was fiddly to set up. I also have it set so I can switch it to use as a control surface when mixing Pro Tools sessions in the box (more fiddly set up)
spantini
COO of me, inc.
I'm using AT2020 XLR > Tascam US-2x2 > Computer > Reaper
Right now, I'm working on recording some acoustic guitar and my vocal. Original music, all written on acoustic. Music style.. whatever it is when it pops outta my head onto the guitar and paper. I would loosely classify it as 80's Pop-Rock - - 3-1/2 to 4-1/2 minute "gems".
Some of these songs have been recorded to 8 and 16 track tape in good home studios. I'm planning to set a few out for others to add their tracks to - see what happens. You know, a conspiracy. .. NO! .. I mean COLLABORATION!
Right now, I'm working on recording some acoustic guitar and my vocal. Original music, all written on acoustic. Music style.. whatever it is when it pops outta my head onto the guitar and paper. I would loosely classify it as 80's Pop-Rock - - 3-1/2 to 4-1/2 minute "gems".
Some of these songs have been recorded to 8 and 16 track tape in good home studios. I'm planning to set a few out for others to add their tracks to - see what happens. You know, a conspiracy. .. NO! .. I mean COLLABORATION!
E
ecc83
Well-known member
Might help others if you could write that pre up in the DIY section? There is not nearly enough electronics done these days.
Dave.
F
Findlay
Member
Good idea Dave - hadn't thought about that - will do so as soon as I can.
M
Mack Caster
Banned
I am listening on your BC page and diggin it. I am gong to BM this page so the next time someone slams the 2i2, I can show them how it works with a 7b in the hands of talent! I had to listen to it twice. The fist time I could not get past the vocals. Thinking Makes It So, KILLER!
E
ecc83
Well-known member
Yes great track. I would never SLAM the 2i2, I just think there are better/as good AIs for less money. Then, surely, the Cloudlifter is doing the donkey work here?
Dave.
fuzzsniffvoyage
Well-known member
I always use it, I have it so why not. It doesn't seem to colour the source.
fuzzsniffvoyage
Well-known member
I got the SM7b and the Cloud lifter in a package deal at Sweetwater, forget exactly what I paid, but it was like $50 or so off if bought separately.
W
WarmJetGuitar
New member
It depends quite a lot on the singer and genre.
I mostly record rock 'n' roll, psychedelic rock, punk and garagerock with the occasional folk, metal or weird ass stuff.
Usually I go with the stock preamps of our DDA Q desk to a GL Audio 5021 comp on moderate settings. Only recording on tape, can't be bothered with digital.
My most versatile one might be the Oktava MK-319; good for most eveything, very musical sounding and rarely need much EQ. Has a nice gutsy sound up close and don't have the plastic sounding highs of many other cheap LDC.
For female singers or dudes with lots of air in their voices I dig Neumann KMS105 as well as for dudes with great voices and mic tecnique. Used it for a folk artist two days ago, he recorded his acoustic guitar at the same go. Great natural sound and almost as little bleed as there would have been in a 57/58.
I love the Sennheiser MD421, but I don't have access to one anymore. The 60's version is great for rock 'n' roll vocals, I assume that the new one is too.
Happens that it's just 57/58 if I'm asked to get a filthy sound, if the singer is too unfamiliar with condensors or just because it sounds good on a particular individual.
A few times I borrowed a SE Gemini, can't remember which edition. Sounds gorgeous on backing vox, especially when doing the Roy Thomas Baker thing with stacking up 16 to 24 voices with four people sharing the mic and repeating it several times. Good on lead vox too but actually prefer the Oktava.
Recently got an old Sennheiser MKH 406 small diagram condensor. Tried it on my bandmate who's a great singer and worked really well on him, got all the details and sounded so much like real life. Later tried it on a nice female singer for whom it sounded nice too but she didn't have the mic tecnique to get the most out of it, or at least it was tricky to mix.
Also have a Beyer M201 and a bunch of oddball mics around if I want a different flavour but the ones mentioned above usually does the trick.
Would love to get my ribbon mic fixed and to get a Beyer M88 and a Sennheiser MD-421.
I mostly record rock 'n' roll, psychedelic rock, punk and garagerock with the occasional folk, metal or weird ass stuff.
Usually I go with the stock preamps of our DDA Q desk to a GL Audio 5021 comp on moderate settings. Only recording on tape, can't be bothered with digital.
My most versatile one might be the Oktava MK-319; good for most eveything, very musical sounding and rarely need much EQ. Has a nice gutsy sound up close and don't have the plastic sounding highs of many other cheap LDC.
For female singers or dudes with lots of air in their voices I dig Neumann KMS105 as well as for dudes with great voices and mic tecnique. Used it for a folk artist two days ago, he recorded his acoustic guitar at the same go. Great natural sound and almost as little bleed as there would have been in a 57/58.
I love the Sennheiser MD421, but I don't have access to one anymore. The 60's version is great for rock 'n' roll vocals, I assume that the new one is too.
Happens that it's just 57/58 if I'm asked to get a filthy sound, if the singer is too unfamiliar with condensors or just because it sounds good on a particular individual.
A few times I borrowed a SE Gemini, can't remember which edition. Sounds gorgeous on backing vox, especially when doing the Roy Thomas Baker thing with stacking up 16 to 24 voices with four people sharing the mic and repeating it several times. Good on lead vox too but actually prefer the Oktava.
Recently got an old Sennheiser MKH 406 small diagram condensor. Tried it on my bandmate who's a great singer and worked really well on him, got all the details and sounded so much like real life. Later tried it on a nice female singer for whom it sounded nice too but she didn't have the mic tecnique to get the most out of it, or at least it was tricky to mix.
Also have a Beyer M201 and a bunch of oddball mics around if I want a different flavour but the ones mentioned above usually does the trick.
Would love to get my ribbon mic fixed and to get a Beyer M88 and a Sennheiser MD-421.
N
NickIrwin
New member
I am using CAD U37 Condenser USB MIC
A
arnomusicman
New member
Lately suffered from serious GAS and got some extra stuff in my studio.
For vocals I have this at my disposal.
Mics:
sE Electronics sE 2200a (large membrane condenser)
sE Electronics Gemini III Ltd. (large membrane condenser 2-tubes)
Neumann TLM 102 (large membrane condenser)
Blue Baby Bottle SL (large membrane condenser)
Avantone CR-14 (ribbon)
AKG C 535 EB (small membrane condenser)
Shure SM 58 (dynamic)
Shure SM 58 Beta (dynamic)
Pre-amps:
TL Audio Ivory2 5051 channel-strip
Joemeek VC1Qcs channel-strip
SPL Goldmike mark 2 (2-channel)
Then to my Soundtracs Topaz Project 8 32ch console. Inputs from the SPL Goldmike go through insert to my Drawmer DS201 gate, Joemeek SC2.2 compressor and SPL De-Esser. On the channel-strips I have no further inserts than a denoiser.
And then record it through my ECHO AudioFire12 ADDA interface to Cubase Pro
For vocals I have this at my disposal.
Mics:
sE Electronics sE 2200a (large membrane condenser)
sE Electronics Gemini III Ltd. (large membrane condenser 2-tubes)
Neumann TLM 102 (large membrane condenser)
Blue Baby Bottle SL (large membrane condenser)
Avantone CR-14 (ribbon)
AKG C 535 EB (small membrane condenser)
Shure SM 58 (dynamic)
Shure SM 58 Beta (dynamic)
Pre-amps:
TL Audio Ivory2 5051 channel-strip
Joemeek VC1Qcs channel-strip
SPL Goldmike mark 2 (2-channel)
Then to my Soundtracs Topaz Project 8 32ch console. Inputs from the SPL Goldmike go through insert to my Drawmer DS201 gate, Joemeek SC2.2 compressor and SPL De-Esser. On the channel-strips I have no further inserts than a denoiser.
And then record it through my ECHO AudioFire12 ADDA interface to Cubase Pro
Last edited:
andrushkiwt
Well-known member
[MENTION=43272]Steenamaroo[/MENTION]
see? I guess it's what you gotta do
---------- Update ----------
[MENTION=43272]Steenamaroo[/MENTION]
..and again
Steenamaroo
...
Uh huh?
andrushkiwt
Well-known member
Argh, thought I remembered you saying it shouldn't be necessary. Apolo-geez sir
Steenamaroo
...
I did, but I back-pedalled just in the nick of time. 
andrushkiwt
Well-known member
I did, but I back-pedalled just in the nick of time.
you ol' back-peddler you. watch it. you'll trip
Steenamaroo
...
lol! You get good at it after a while.