Studio overhaul for a Newbie!

  • Thread starter Thread starter deadroom
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deadroom

New member
I am new to the board, however have used it as a reference from time to time.
I recently quit my full time (60 hour a week) job to do my home studio for a living. I have had great luck networking over the years and don't have much of a problem booking bands, my problems have been in gear upgrading.

I will be the first to admit that i have CRAP for gear and want to know where I need to go from to have full on professional gear. And I would like multiple opinions please!

Currently I am using a brand new iMac w/ Cubase Studio 4.
I would like to continue using Cubase since I know it very well, which eliminates ProTools.

I have several decent microphones. Rode NT1A, Sennheiser md421, AKG D112, Schure SM57 & 58, Audix Pencil Condensors and a Sterling Audio ST66 Tube Condensor.

I am pretty "naive" when it comes to new gear... I started with the Firepod....slowly built up the collection of mics...slowly learned about EQ and all the basics of getting good sounds...Now i feel like I need to step up to get better.

I am using a Presonus Firepod as my interface/preamps.
This is what I believe to be the next thing I get rid of/upgrade...my question is to what exactly?

I am not afraid to drop about $2000 to start.

I dont know anything about preamps except basically that "avalons" and "isa 428's" are badass. I dont even know where to start!

If you search for "dead room studios" on myspace you will find my site to hear what sounds i've been getting so far.

Sorry if i sound like a dumbass.

Opinions Please!
 
If you don't have a problem in booking bands, you must be getting reasonable results from your current set-up. Nor would I say that what you have is 'crap', though admittedly it is not top-of-the-line. You're not using Protools? That's of no consequence. Cubase will accommodate the vast bulk of your recording needs.

The difficulty with asking in this forum for upgrading advice is that no-one here knows the characteristics of your recording and monitoring chain, nor does anyone know what work you do to get your recordings to that reasonable state.

As you continue to gain experience in recording and beome more discriminating in your listening, you should be able to identify the elements of your chain, that, if improved, would yield a significant improvement to your overall results.

So . . . my questions is: What part of the process are you most dissatisfied with?

If the answer leaps out, then you know what to get.

If it doesn't leap out, then maybe there is nothing in particular that demands attention . . . maybe you would need to upgrade everything to get a significant difference, or maybe your ears aren't supplying the answer.

In that case you can do a number of things:

1 Do nothing, and keep going as you are until the answer does leap out.
2 Make a list of possible improvements, and work through this, investing in better gear opportunistically;
3 Make a list of possible improvements and work through this systematically.

Find out what people's opinions are of these possibilities, but be sceptical. Opinions are only opinions (including this one). Heed your own advice.
 
$2000 for new a interface?.... one word ............"RME"
I'm not a company spokesman so research it on your own time.
I will say this device holds up to the big boys and is a product of fine german engineering. Sound quality is superb, and I've had no random problems using it. I will also say that it's silly to take someone elses advise on gear. Everyone has different thin\gs that they look for in gear. The only real way to know if something is worth spending $2000 on is to try it for yourself and see if it meets YOUR standards. You don't want to be a metalhead and take advise from some old-school country guy, or visa-versa.
 
I understand completely what you're both saying...

I read somewhere on here "its like asking a guitar player what the best guitar is..." which kind of hits it right on.

I was thinking about getting a Focusrite ISA828 preamp and combine it with an Apogee Ensemble...From what i've heard that will get me pretty close to a class A studio sound.

I know alot of people will say that the equipment is only as good as the person thats using it which is true, but with good stuff it sure is much easier!
I am making the best with what I have for now until i have the 4 grand to spend.

Anyone use this set up?
 
Deadroom,

Ultimately it is your experience that makes things sound good....
But it doesn't hurt to have good tools to use!

How many channels do you need to record simultaneously?
Are you oriented more towards a certain type of music?

I have a studio that focuses on Acoustic oriented music so I like clean and pristine but I do need to be able to record Rock bands as well so I have had to cover my bases with a large number of channels and options.
It helps if you have specific needs.

Also if you ever find yourself up toward the South Side of the DFW Metro, you are welcome to come to my place and try out anything from my arsenal.
 
I am mainly recording metal/punk/pop punk/indie rock stuff and occasionally I get the acoustic solo artist.
Mainly I am looking for a very clean clear pristine full sound recording. Right now when I get them clean sounding they are lacking fullness and warmth and when I get them full sounding they sound slightly muffled.

I think the presonus pres in the firepod are what's keeping me from getting clarity and warmth.

I wonder if upgrading tothe Focusrite ISA 828 and apogee ensemble will get me the results I'm looking for.
 
I'm not convinced that the presonus pres are your problem. You could invest in grander gear and end up not much better of.

Before going down that path, I would want to be satisfied that the problmes aren't elsewhere. My first port of call would be addressing the source. Does the source sound the way it should? Are you satisfied with mike choice and mike placement?
 
I wish I could link you to my myspace page but it won't let me.
At least you could get an idea of my overall quality of sound.

I believe my mic placements are correct and the source sounds are sounding correct to my knowledge.

The name of my studio is "dead room recording studio".

If you don't mind visiting myspace, I have some tracks up.
 
I am in the same boat; kind of. I didn't quit my job (the Army has a funny way of not letting you "quit!) but I am revamping my studio so when I retire I can record full time. Although their are about a billion variables to consider and a ridiculous amount of gear available, I am starting with my signal chain. Starting with the very first thing my signal touches; the mic pre. Although you have a lot to consider, I doubt anyone would argue that you need to have a few good mic pre's. Personally, I have only heard a handful of really good pre's I could afford. After more research, I think I have decided to go with a channel strip so I can get a little more bang for my buck (I need an outboard compressor, a simple but musical EQ section, and a good DI). I was torn between the LA-610 and the Trident S40. I think the LA-610 will serve me best. I will tell you that I DID have one glaring issue that popped out. That was my sound after tracking. I figured I would attack the issue one problem at a time, starting with my initial signal and working forward. (I don't use Pro-Tools either. Sonar 7 Pro for me.)
 
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