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Old 04-09-2013, 05:37 PM   #21
roaraudio
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just wanna add i have nice heaphones but i also have 6 dollar ear buds, while not great, perform very similarly to Dr Dre's beats which are 200.
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Old 04-09-2013, 07:38 PM   #22
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Originally Posted by Dimarzio45
That can work both ways. But, I see what you're saying.


No, it can't really work both ways.

The suggestion that, if it sounds good on one specific pair of crappy speakers, then it will sound good on anything is entirely untrue.

Consider: A slightly convex mirror might be a really cool visual effect. But if you can make something look great in that slightly convex mirror, will it look great in real life? Doubtful.

This is why we keep getting threads like "my mixes sound awesome in my studio, but sound like shite in the car." It's because your studio speakers distort the audio (you know... those searing highs and smackin' bass is, by definition, a distortion of the actual audio) one way, so you compensate for that in the mix. Then, when playing back on another system, it gets distorted differently, and because you've made mix judgments based on one distortion and compensated for it, now your source audio is not what you intended, which is rarely a positive.

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Chris is the king of relating music things to other objects in real life.
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Old 04-09-2013, 07:39 PM   #23
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Originally Posted by RGallagherFan
Thank you very much CT. While I can't seem to find the UR816 model on musiciansfriend or the long & mcquade website, there is the UR824 which I'm guessing is just a bigger version.

Knowing that it's as compatible as can be with Nuendo is very nice to hear.


Sorry. My mistake. The UR824 *IS* the updated MR816. There is no UR816.

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Could I get some more talent in the monitors, please?

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Chris is the king of relating music things to other objects in real life.
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Old 04-09-2013, 10:17 PM   #24
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Playing the devil's advocate, the UR824 supposedly sounds fantastic, but has horrid drivers. Supposedly they're pretty good now, but Steinberg drivers still scare the crap out of me. If you get one, buy it new, at a place you can return it to if the drivers don't end up working out for you. Otherwise, the new Focusrite Scarlett 18i20 is a great choice. The preamps and conversion aren't as good as the Steinberg... but they are perfectly acceptable and come backed with an excellent support team. If you want to go higher-end, there's also the RME UFX, but I didn't hear much noticeable difference between it and my Focusrite Saffire Pro 40, so I returned it. At $2600, I was expect that thing to blow my Saffire away
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Old 04-09-2013, 10:35 PM   #25
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Get a Focusrite interface. Nice drivers, decent pres and the best bang for buck at that price range.
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Old 04-10-2013, 06:41 PM   #26
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Originally Posted by MatrixClaw
Playing the devil's advocate, the UR824 supposedly sounds fantastic, but has horrid drivers. Supposedly they're pretty good now, but Steinberg drivers still scare the crap out of me.


It was a bit of a b!tch to set up. I don't think it was as much a driver issue, though, as it was unclear documentation.

First, I found out that it is picky as hell in terms of wanting Texas Instruments chipsets on the firewire card. Shouldn't be an issue with a USB device.

Second, I had to do some searching, but I came to find that there is a folder buried on the installation CD called "extras" or something, and in that folder is another firewire utility that adjusts another firewire buffer that somehow seems to be separate from the audio buffer. The default is set to small, and on that setting, I couldn't even listen to an mp3 from my computer without it being all crackly. I adjusted the buffer setting to large and everything has worked beautifully ever since.

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Could I get some more talent in the monitors, please?

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Chris is the king of relating music things to other objects in real life.
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Old 04-10-2013, 07:42 PM   #27
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Don't waste your time replacing the interface. The preamps on the US1800 are clean and neutral and do the job just fine. Getting rid of it and replacing it with a similar-level Focusrite or whatever is throwing money down the drain.

Since your US1800 has straight line inputs as well as the 8 mic preamps, it makes much more sense to buy one or two 'character' mic preamps. The Golden Age Pre 73 or something similar would work nicely.


This thing about 'focusing on the preamp instead of mics' is utter nonsense.


Personally my money would go on monitoring, mics and outboard.
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Old 04-11-2013, 04:44 PM   #28
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^ Have you tried the US-1800? I very much disagree that a Focusrite would be of similar level. The drivers on the US-1800 and 800 I had were terrible. The routing via the mixer was nearly nonexistent and the thing couldn't record more than 4 tracks at once before it had audio dropouts or created a ton of latency. I used mine for recording live shows, but in a studio environment where monitoring at low latency is a concern, it would've been next to worthless. The pres were decent sounding, but were far from clean. Don't even think about recording low level sources with it, because the pres got so noisy, the signal was unusable. For any entry level interface, its pretty decent, but I even just for stability's sake, I'd say the extra cost is worth it
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Old 04-12-2013, 04:12 PM   #29
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Originally Posted by MatrixClaw
^ Have you tried the US-1800? I very much disagree that a Focusrite would be of similar level. The drivers on the US-1800 and 800 I had were terrible. The routing via the mixer was nearly nonexistent and the thing couldn't record more than 4 tracks at once before it had audio dropouts or created a ton of latency. I used mine for recording live shows, but in a studio environment where monitoring at low latency is a concern, it would've been next to worthless. The pres were decent sounding, but were far from clean. Don't even think about recording low level sources with it, because the pres got so noisy, the signal was unusable. For any entry level interface, its pretty decent, but I even just for stability's sake, I'd say the extra cost is worth it

I did 12 hours of live recording with a borrowed US1800 at a festival last weekend and came away really impressed, bought one for myself.

Preamps were clean and neutral, drivers seemed absolutely rock solid on W7 64bit, even though we were tracking 14 channels on an old dual-core PC with 2GB RAM.
I heard the earlier drivers were junk though, that might have been your problem.

Here's some (basically unmixed) samples:
http://rightontime.vilayer.me/CWREC...k%20(rough).mp3 (skip to 1:00ish)
http://rightontime.vilayer.me/CWREC...he%20Barman.mp3


Don't get me wrong, at best it's an average/mediocre piece of kit and it's very much built to a price. But as long as your mics and engineering skills are up to scratch I'm sure you could get extremely professional sounding results. I've yet to try a ribbon or an SM7, though it had enough gain to get a good clean signal out of my old transformerless Unidyne III.
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Old 04-12-2013, 10:21 PM   #30
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I've got the Tascam US-1641 (the 1800 is the updated version). I've never had any issues recording multiple tracks at once (10 or more). It's nice but has latency issues. However, I've learned how to work around the latency issues for it to not be bothersome. It's a middle-of-the-road unit. I would definitely be more concerned about buying better mics if I were TS. That, and soundproofing.
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Old 04-13-2013, 01:10 PM   #31
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Fair enough on the live recording, but I assume you weren't trying to monitor that signal at the same time, either. In a studio environment, low latency is very important to me, especially if I'm going to track drums, and the Tascam was just not capable of it.

Definitely has its purpose as a low cost solution for a lot of inputs, if you can look past its flaws. Though, for $300, you could buy a used Saffire Pro 40, and within a few months, the Scarlett 18i20, once they hit the used market, which is a much smarter use of your money IMO

I guess I might be a little more sensitive to the conversion and preamps than most on this board, mainly because I'm using a very high end monitoring system and can actually hear those differences. It probably IS a smarter idea to buy mics and monitors w/ acoustic treatment at this point. If the TS finds he has trouble with latency and whatnot, he can always upgrade later. I wouldn't suggest wasting money on preamps right now, though - As long as your preamps in your interface can power the mics you're using, it doesn't make any sense to spend the money for such a small upgrade, when you have so many other deficiencies in your recording setup that should be addressed first.
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Old 04-13-2013, 09:48 PM   #32
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Yeah I'll probably go for the mics. And possibly the Steinberg interface if my wallet is confident enough.
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Old 04-13-2013, 09:51 PM   #33
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I got the Tascam in the first place because I was using a Behringer Xenyx x1204 before and couldn't multitrack. I was considering the Tascam or the Presonus Audiobox 1818vsl and my shop had the Tascam so I went with it.

If I'd known about the Steinberg I probably would've gotten it to begin with.
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Old 04-13-2013, 09:55 PM   #34
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Originally Posted by RGallagherFan
I got the Tascam in the first place because I was using a Behringer Xenyx x1204 before and couldn't multitrack. I was considering the Tascam or the Presonus Audiobox 1818vsl and my shop had the Tascam so I went with it.

If I'd known about the Steinberg I probably would've gotten it to begin with.

Yeah. Me too. But, hey....live and learn. What mics are you looking into?
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Old 04-13-2013, 10:14 PM   #35
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Most likely a kick drum mic: thinking AKG D-112 since John Bonham usually had an AKG mic for recording and I've had some okay luck with a rental I had. They've reissued the AKG D12, but it's like $500. I really like loose, natural, roomy and boomy kick sounds. No cardboard box sounds for my drums!

For vocals and guitars I was thinking an Audio Technica AT4040 or 4050. I'm 100% sure that anything Neumann would sound shitty in an untreated room (even though that's probably true with any other decent mic) so probably not going there.

The AKG C414 looks good to me too.
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Old 04-13-2013, 10:24 PM   #36
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AKG makes some nice stuff for the money. Never tried Neumann or really heard much about them...
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Old 04-13-2013, 10:39 PM   #37
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Quote:
Originally Posted by RGallagherFan
Most likely a kick drum mic: thinking AKG D-112 since John Bonham usually had an AKG mic for recording and I've had some okay luck with a rental I had. They've reissued the AKG D12, but it's like $500. I really like loose, natural, roomy and boomy kick sounds. No cardboard box sounds for my drums!

For vocals and guitars I was thinking an Audio Technica AT4040 or 4050. I'm 100% sure that anything Neumann would sound shitty in an untreated room (even though that's probably true with any other decent mic) so probably not going there.

The AKG C414 looks good to me too.

Not a fan of the D112. Just never did it for me. Shure Beta 52 kills it IMO.

The AT4000 series mics are good choices. All of the mics in that series are great.

The C414 is nice too, but it's not particularly stunning on a lot of vocal sources. Great for drum overheads, though <3
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Old 04-14-2013, 08:30 PM   #38
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Originally Posted by RGallagherFan
Most likely a kick drum mic: thinking AKG D-112 since John Bonham usually had an AKG mic for recording and I've had some okay luck with a rental I had. They've reissued the AKG D12, but it's like $500. I really like loose, natural, roomy and boomy kick sounds. No cardboard box sounds for my drums!

For vocals and guitars I was thinking an Audio Technica AT4040 or 4050. I'm 100% sure that anything Neumann would sound shitty in an untreated room (even though that's probably true with any other decent mic) so probably not going there.

The AKG C414 looks good to me too.


Second hand Audix D6 for $100! It's up there with the D-112 and beta 52
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Old 04-14-2013, 08:35 PM   #39
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Second hand Audix D6 for $100! It's up there with the D-112 and beta 52

I really like the D6 for metal kicks and floor toms, but it's not nearly as versatile as the Beta 52, and the TS doesn't seem like he'll be recording metal?
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Old 04-15-2013, 07:44 AM   #40
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Sennheiser e602 also punchy for kick - not jut for metal.

CT
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Quote:
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Chris is the king of relating music things to other objects in real life.
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