C
chessrock
Banned
And get some better mics.
Then worry about whether you need to buy a new goddamn preamp.
Jeez Louise.
Then worry about whether you need to buy a new goddamn preamp.
Jeez Louise.
C
chessrock
Banned
While you're at it . . .
Get some better monitors . . . and treat your monitoring area, too. Get some freakin' bass traps, for cryin' out loud.
That way, you'll have at least an outside chance of actually hearing the 0.0001 bit of difference your new preamp will make.
Get some better monitors . . . and treat your monitoring area, too. Get some freakin' bass traps, for cryin' out loud.
That way, you'll have at least an outside chance of actually hearing the 0.0001 bit of difference your new preamp will make.
K
kylen
New member
...in progress - before I buy any more equipment I want a place where I'll actually know if it's cool or not...kylen
dwillis45
Número sesenta nueve
Good suggestion about fundamentals! I only have one problem: I can't buy better mics until I come up with a mic-preamp combination that fits my vocals and style of music. I've gotten into a rut defined by prevailing conventional wisdom and I can't get out!
The issue of room treatment is also on target but it begs a secondary question: How do I treat my room. I've got plenty of basetraps, auralex studiofoam, and difusers. I've read plenty of primers on room acoustics and I've looked at the theortical waves generated by my particular room dimensions. I've even used a cheap RTA to analyze the room. And I still run into problems when I listen to my mixes in multiple listeing environments. My tendency is to remix, burn another CD, listen again, take copius notes, and either remix or re-record. I think some of this is typical and hopefully the process will become less cumbersome with more experience.
PS: Has anyone used the Aurlex consulting form on their website?
The issue of room treatment is also on target but it begs a secondary question: How do I treat my room. I've got plenty of basetraps, auralex studiofoam, and difusers. I've read plenty of primers on room acoustics and I've looked at the theortical waves generated by my particular room dimensions. I've even used a cheap RTA to analyze the room. And I still run into problems when I listen to my mixes in multiple listeing environments. My tendency is to remix, burn another CD, listen again, take copius notes, and either remix or re-record. I think some of this is typical and hopefully the process will become less cumbersome with more experience.
PS: Has anyone used the Aurlex consulting form on their website?
C
chessrock
Banned
dwillis45 said:
What? ? You're saying you can't buy a mic untill you get your pre? That's silly. Plug it in to something with gain . . . and if it sounds right, then get it. Then, once you get your room and monitoring situation straightened out, you'll probably decide it's all wrong for you anyway, and you'll ebay it.
Just kidding. That's when you'll want to start sweating over differences between pres and converters, etc.I have just the forum for you, by the way. You're gonna' love this. You ready? :
https://homerecording.com/bbs/forumdisplay.php?forumid=20
rushfan33
New member
Chessrock..... did my post about needing another pre spawn this thread? If so, WTF? If not, cool then!
RF
RF
C
chessrock
Banned
rushfan33 said:
Yea, yours and about 50 other guys in the last week or so.
rushfan33
New member
My question was not meant to be like many of the "other" ones. My question was actually to AVOID buying one as I think my Meek is already fine for my needs. Also, I should've said..."Assuming that my room is already tuned,...." Anyway, I'm defenitely not one to buy on a whim or on another person's thought's alone. Especially from a HOME recording forum. I actually went to GC to listen to some yesterday and I realized that I might not need one at all. I just wanted an opinion to see if I had a weak link in my audio chain.
So.... climb off my back and we can BOTH walk tall .
RF
Anyway, I'm defenitely not one to buy on a whim or on another person's thought's alone. Especially from a HOME recording forum. I actually went to GC to listen to some yesterday and I realized that I might not need one at all. I just wanted an opinion to see if I had a weak link in my audio chain. So.... climb off my back and we can BOTH walk tall
.RF
C
chessrock
Banned
Alright, Rushfan . . . originally, this post was not directed towards you.
But it seems to have gotten you a little riled up. My guess is it somehow stirred deep-seated guilt within the deep recessions of your soul.
My guess is your tracking rooms accoustics haven't been adequately addressed? ? ? Hmmmmmmm ? ? ? Don't deny it. It's written all over your face. GUILTY !
Join the support group. I, too, have been suffering from Gear Aquisition Syndrome, and my accoustics aren't quite what they should be, either. Hell, I'm too afraid to run any of the room mode calculations out of fear of embarrassment. And all my omni-directional microphones? Haven't seen 'em. Some little green man must have come by and hid them on me.
It's okay, though. The first step is admitting you have a problem. We'll take this one in small steps, and in time, we'll get through it.
But it seems to have gotten you a little riled up.
My guess is it somehow stirred deep-seated guilt within the deep recessions of your soul. My guess is your tracking rooms accoustics haven't been adequately addressed? ? ? Hmmmmmmm ? ? ? Don't deny it. It's written all over your face. GUILTY !
Join the support group. I, too, have been suffering from Gear Aquisition Syndrome, and my accoustics aren't quite what they should be, either. Hell, I'm too afraid to run any of the room mode calculations out of fear of embarrassment. And all my omni-directional microphones? Haven't seen 'em. Some little green man must have come by and hid them on me.
It's okay, though. The first step is admitting you have a problem. We'll take this one in small steps, and in time, we'll get through it.
rushfan33
New member
Chessrock,
The only problem with your assesment of MY situation is that at the moment, there are no rooms to speak of. The bulk of my studio is all tucked away in a 3x3 closet until THE STUDIO GETS BUILT! I'm trying to get what I need and then that's it! I'm not going to keep changing gear.
You're right about one thing though... deep down, I'm a gear whore! I'm guilty of buying some items and hardly ever using them. It just feels good to have it all in the rack. I'm just about at the 12th step though...in other words, I'm just about broke!
By the way, do I need a better pre?
John
The only problem with your assesment of MY situation is that at the moment, there are no rooms to speak of. The bulk of my studio is all tucked away in a 3x3 closet until THE STUDIO GETS BUILT! I'm trying to get what I need and then that's it! I'm not going to keep changing gear.
You're right about one thing though... deep down, I'm a gear whore! I'm guilty of buying some items and hardly ever using them. It just feels good to have it all in the rack. I'm just about at the 12th step though...in other words, I'm just about broke!
By the way, do I need a better pre?
John
tjohnston
New member
Re: While you're at it . . .
Thats what I wanted to hear!
chessrock said:
Thats what I wanted to hear!
Ethan Winer
Acoustics Expert
DW,
> I've got plenty of basetraps, auralex studiofoam, and difusers ... I still run into problems when I listen to my mixes in multiple listeing environments. <
There are bass traps and then there are bass traps. Foam corners and panels are not the most effective way to treat a room. The fact that you still have problems with mixes not translating illustrates this perfectly. Better types of acoustic treatment are based on rigid fiberglass instead of foam.
--Ethan
> I've got plenty of basetraps, auralex studiofoam, and difusers ... I still run into problems when I listen to my mixes in multiple listeing environments. <
There are bass traps and then there are bass traps. Foam corners and panels are not the most effective way to treat a room. The fact that you still have problems with mixes not translating illustrates this perfectly. Better types of acoustic treatment are based on rigid fiberglass instead of foam.
--Ethan
dwillis45
Número sesenta nueve
Bass Traps
Ethan: You get high marks for not mentioning your own product (RealTraps), so I'll do it for you!
http://www.realtraps.com/
Now I just need to come up with $636 plus shipping and make a yard scuplture with the eight Lenrd traps!
Ethan: You get high marks for not mentioning your own product (RealTraps), so I'll do it for you!
http://www.realtraps.com/
Now I just need to come up with $636 plus shipping and make a yard scuplture with the eight Lenrd traps!
A1A2
New member
chess,
I like the point you've brought up, but since i live in an apartment, acoustic treatment isn't always the easiest thing to do. I've been trying to ask questions in the studio construction forum, but those peeps are dealing with building houses from ground zero most of the time
I would like to see a list of "non-destructive treatment components" if someone is got one, and let's all stop buying preamps and whatnot for the next few months and all start building something
Al
I like the point you've brought up, but since i live in an apartment, acoustic treatment isn't always the easiest thing to do. I've been trying to ask questions in the studio construction forum, but those peeps are dealing with building houses from ground zero most of the time
I would like to see a list of "non-destructive treatment components" if someone is got one, and let's all stop buying preamps and whatnot for the next few months and all start building something
Al
Dethska
Not a Mod
Non destructive room treatments? Um, look up.
Seriously.
http://www.realtraps.com
You can mount the mini traps and micro traps on mic stands. Or hang them on the wall like pictures.
Seriously.
http://www.realtraps.com
You can mount the mini traps and micro traps on mic stands. Or hang them on the wall like pictures.
C
chessrock
Banned
Good points, Dethsaka.
This is the kind of thing you can get creative with. As long as you know some of the basic priciples of mass and space/air. Introducing heavy, leather couches and/or futons is a pretty simple way of getting more mass in the way of the sound's path.
Then, of course, there's the 703 wedges. I don't even think I could describe to you in words how I have mine secured, but it's quite an interesting jerry-rig that allows for at least a few (sometimes several) inches between the 703 and the ceiling.
This stuff can be almost as fun as buying new gear. Obviously, whoever it was who gave this thread one star doesn't agree with me, but it really is pretty instantly rewarding when you start realizing you can actually back your mic off on certain things. Sometimes as much as several feet, and still get good sound. Suddenly figure-8 and omni-directional mics aren't so scary, and your mixes start sounding clearer because they don't have all that built-up proximity effect from having to close-mic everything.
The world of stereo mic'ing will open up to you in ways you never thought possible, allowing for some 3-dimensionality to certain tracks. Your guitars and percussion might actually sound like they have some coordinates in 3-D space.
But forget all that, guys. Screw it. Just go and get a fancy mic pre.
This is the kind of thing you can get creative with. As long as you know some of the basic priciples of mass and space/air. Introducing heavy, leather couches and/or futons is a pretty simple way of getting more mass in the way of the sound's path.
Then, of course, there's the 703 wedges. I don't even think I could describe to you in words how I have mine secured, but it's quite an interesting jerry-rig
that allows for at least a few (sometimes several) inches between the 703 and the ceiling.This stuff can be almost as fun as buying new gear. Obviously, whoever it was who gave this thread one star doesn't agree with me, but it really is pretty instantly rewarding when you start realizing you can actually back your mic off on certain things. Sometimes as much as several feet, and still get good sound. Suddenly figure-8 and omni-directional mics aren't so scary, and your mixes start sounding clearer because they don't have all that built-up proximity effect from having to close-mic everything.
The world of stereo mic'ing will open up to you in ways you never thought possible, allowing for some 3-dimensionality to certain tracks. Your guitars and percussion might actually sound like they have some coordinates in 3-D space.
But forget all that, guys. Screw it. Just go and get a fancy mic pre.
D
DJL
Self Banned
Re: Bass Traps
Amen... and I bet the Real Traps are some of the best traps made too.
dwillis45 said:
Amen... and I bet the Real Traps are some of the best traps made too.
Michael Jones
New member
Re: While you're at it . . .
You're going to tell me that the difference between an Audio Buddy and a Re-capped Neve 1073 is 0.0001??
Pah-leeease!
I agree that treating your rooms is a good first course of action, but its only one part of the equation.
chessrock said:
You're going to tell me that the difference between an Audio Buddy and a Re-capped Neve 1073 is 0.0001??
Pah-leeease!
I agree that treating your rooms is a good first course of action, but its only one part of the equation.
Dethska
Not a Mod
I think Chess was thinking more of the difference between the DMP-3 and the VTB-1. Or maybe the pres on a Mackie vs. a RNP.
I'm not sure anybody has EVER gone from an Audio Buddy to a Neve 1073. Except for somebody who just won the lottery.
I'm not sure anybody has EVER gone from an Audio Buddy to a Neve 1073. Except for somebody who just won the lottery.
A1A2
New member
is there a site where they teach you how to DIY these traps? I think I saw one before, but can't remember
Al
Al
