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Posts posted by where02190

  1. Stay away from the Behringer junk. While they may look similiar inside, one of the reasons their stuff is so cheap is they buy rejected components from other companies (many they have stolen or come very close to the other's designs), and the quality control of Behringer products is nonexistant.


    The Radial is totally worth the money if you have it. Wirlwind makes a 4 channel passive that's decent, obviously you'd need 2. Very reliable, good quality.

  2. Nylon washers are IMHO a must unless you want rack hash on the ears, which is not an issue until you want to sell the gear.


    Rear support is a must for anything long or weighty. I use 3" angle brackets screwed into the rack, if the unit is heavy, like an amp, I'll use two.


    Cabling gets strain relieved via screw in cable clamps and zip ties. This ensures connectors stay connected no matter what kind of rough ride the rack gets.

  3. ...analog tape will provide better quality than 24-bit digital?

    does everyone agree with this assessment?

    I cdrtainly don't. While analog tape has a very distict sound, it also has some very major limitations over DAW based recording.

    However IMHO at this point you know exactly what I meant are are just trying to continue your pissing contest. Best of luck.

  4. ...essentially this: i want to record "raw tracks" in my home studio, then take them to a pro studio to be mixed and mastered to "broadcast quality".

    i am not interested in a computer-based set up at this time.

    Then start thinking on a pro level. Taking ass sounding tracks to a pro studio as we've already discussed is going to be antiproductive, your time and money is better spend tracking at the pro studio in the first place.

    the Akai, while a nice preproduction tool, is far from pro quality, and is still a computer based setup.

    If you don't want to be computer based then start looking for multitrack analog tape machines, and be ready to shell out for tape.

    No not all the pretracked projects are done poorly, but most are. Sure you can make a good sounding cd with a 57, but why would you if there's better gear and experience available for less money. (I consider anyones time worth money.)

    Bottom line, there's no cheap solution to quality pro tracks, which I get the impression the original poster is looking for.

    Since you have already a supposedly good home studio and friends who are professional engineers, IMHO that's the way to invest your money.

    Music is an investment. You put your time (which has a worth in $$) and money into and end product that expresses yourself. Whether it is for pleasure or profit, there is an investment that can be measured in $$.

    How much is your time really worth?

  5. Sometimes disconnection is only part of the issue. I play drums, and it is impossible for me to set accurate preamp levels and play at the same time. the constant back and forth between studio and control room takes it's toll in about 10 minutes, and my creativity is junk.


    I have a couple interns that I trust to take the engineers seat for me. All the pressure of engineering is off, and my artistry as a musician can get 100%.

  6. The guy says he's been in and out of studios for a few decades. Says he knows his way around recording some tracks. Yet, he's asking some seriously subtle walter type questions here. If he has so much experience, than why is he looking for some advice from "professionals"?

    Plus, he says he doesn't have a home computer. Is he at the library? Maybe one of these studios he's been in since stereo was invented has internet?

    He's says he's reluctant about computers, but isn't he using one now?

    All I know is I've seen the guy do some hardcore trolling in another forum.


    Now we're getting somewhere....


    If I had a dollar for every band that took this approach, well, I'd have a lot of dollars. I get so many potential clients who tracked themselves and want to have me mix, thinking they can do this themselves. I flat out turn down morre than 1/2 of it, and of the remaining, often I will offer to retrack one tune for free, which quickly shows them the difference between tossing up some mics and hitting record and capturing tracks properly. They get the point quickly that it's cheaper to retrack right than for me to spend hours fixing their "work".


    Often that gear they bought to save them money ends up selling for 1/2 what they paid on e-bay or Craigslist to pay for studio time, rather than investing a partial of that sum in the first place in quality studio time.

  7. Unless you have a good (read acoustically tuned) environment, a ton of money to burn, and already know you possess the talent (engineering is not a skill you learn it's a talent you possess or don't) I'd recommend you find a studio you can be comfortable in. Otherwise you'll spend more time trying to understand why your tracks sound like ass, or paying through the noze for a real engineer to clean up your mess.

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