Studio Gear Comparison - Need Advice
Home > Home Recording Forum > Gear Gab > Studio Gear Comparison - Need Advice
Posted on Mar 02, 2005 04:14 pm
Mat
Music Enthusiast
Member Since: Jan 24, 2003
I feel like a ghost due to my quasi-total absence on the Forum here. Anyway, I have a question that I'd like to pass to you experienced audio enthusiasts because I always get insightful answers here. My situation is that I have a pretty ambitious musical project and so, Home Recording would actually be more of an investement than going in a studio. And it's easier to get grants to record than to build a studio. So there's three major contendors and I'm posting the gear list of each here (two of them are links). If you have a little bit of spare time, could you check and compare the three and give an opinion? Any answer will really help me. I am aware that the engineers/reputation/feel of the studio are all important but I put these three almost on par with each other (I visited 1 & 2). My choice so far would be STUDIO 1. STUDIO 2 is a lot more expensive and STUDIO 3 does not impress me much with its gear and track record.
STUDIO 1:
www.distortionstudios.com/studio/
STUDIO 2:
Mixing desk
• Neve 80 series (custom)
- (16) 1073 mic inputs (vintage)
- (16) 33114 mic inputs (vintage)
- (48) returns
- (2) stereo returns
- (3) stereo aux. / (8) mono aux.
- (6) foldbacks with (3) stereo additives each
• Flying Faders automation
Recorders
• Digidesign Protools HD3 (v5.3.1)
- (3) 192 I/O
- (1) Sync I/O
- Assortment of plugins
24 analog I/O, 24 digital I/O (AES-EBU, TDIF, ADAT)
• Opcode Studio 4
• Alesis MasterLink
Computer
• Power Mac G4 533mhz (Digital Audio)
- Mac OS 9.2.2
- 640MB RAM
- CDR-W
- SCSI UltraWide, USB and FireWire
• 18" NEC LCD screen
Compressors & EQ's
• 2 Aphex 661 Expressor Tube
• 2 DBX160
• 4 Dynamite Valley People (Stereo Comp./Gates)
• 1 Klark Teknik DN 410 Dual Param
Reverbs & multi-effects
• 2 Lexicon 200
• 1 Lexicon PCM 60
• 1 Yamaha SPX 90
• 1 Yamaha Rev-7
Microphones
• 3 AKG C12 A
• 2 AKG C451EB
• 2 AKG D112
• 1 AKG D12E
• 1 Beyer M160N
• 1 Brauner, Klaus Heyne Edition
• 1 EV Re-20
• 1 Geffel UN70S
• 3 Neumann M149
• 1 Neumann U67
• 1 Neumann U87
• 2 Neumann TLM 170
• 4 Neumann TLM 103
• 4 Neumann KM 184
• 2 Neumann KM 140
• 2 RCA BK5-B
• 2 Schoeps CMC5
• 4 Sennheiser 421
• 3 Shure SM 57
• 3 Shure SM 58
• 4 Shure SM 98
• 1 Sony MS5
STUDIO 3:
www.bluebearsound.com/studio/bb_gear.htm
[ Back to Top ]
Mar 02, 2005 05:58 pm Nothing really meaningful to offer, just that it sure costs a lot of money to record in a professional studio! I'd make sure that you hear plenty of samples from each place, and get testimonials from the artists. That's a pile of $$$ to drop in one fell swoop.
This must really be an ambitious project for you to require a professional recording job over a home recordist!
WaltChief Cook and Bottle WasherMember
Since: May 10, 2002
Mar 03, 2005 09:54 am Definately a dito per GJ. They are all set up nicely for production audio. All of the automation to get folks through the system in a hurry. I think it boils down to who is behind the wheel?
cooloFrisco's Most UnderratedMember
Since: Jan 28, 2003
Mar 03, 2005 10:47 am I agree with Walt. I think you have to be comfortable with who you're working with, and also be comfortable in how music tends to sound once they are done with it.
Not that it's really relevant for me, but I have heard samples of at least one studio with great gear, but the way they mixed and processed their music (over production made it sound stupid to me) I would never go there.
Mar 03, 2005 10:54 am I have heard, and even been involved in session work, with multiple projects from the same studio and room, with different engineers. The differences were easily noticable. Make your choice based on the engineer, not the gear...within reason, the gear should count for a little bit anyway...
MatMusic EnthusiastMember
Since: Jan 24, 2003
Mar 08, 2005 03:21 pm Thanks for your tips and advice all. It is indeed an ambitious project and I don't know any serious (good) home recordist in my area. It's a full album with 14 tracks. If I had more time (i.e. no job) maybe I'd try to record myself but recording drums would be a big problem for me and would require a gear upgrade. When I factor in my own time + gear upgrade vs the final product, it makes more sense to apply for grants, cross my fingers and go in a reputable studio.
The ball is rolling now anyway...if anyone's interested, rough-draft versions of my tunes (progressive/pop folk?) can be found by following the Soundclick link at the bottom of my webpage: www.yvesphilippe.com
(All songs except 'The Flower' and 'Painting a star' recorded with my home set-up with a single take. Mic placement to accomodate for both voice & guitar and guitar patched for added stero imaging.)
Cheers!
Mar 08, 2005 03:23 pm why can't you record drums? A few years back I recorded my bands demo recording the drums down to two tracks, and it came out really well...anything is possible.
MatMusic EnthusiastMember
Since: Jan 24, 2003
Mar 11, 2005 11:28 am I guess you're right db. I have some major thinking to do. I checked the bluebear studio sound from their samples and it sounds like **** (IMHO). I received a demo reel from Distortion Studios and did a critical listen on my hi-fi sysytem and I know it was unmastered but I was a bit disapointed. The sound stage was narrow and a bit distant in many cases, the equing wasn't always great and most of the time the vocals were not loud enough in the mixes. The music didn't have the same presence and warmth as my other reference recordings. It often sounded 'radio'. Is that the result of poorly executed compression?
I find I get a more natural, warm sound by using absolutely no compression (but that's just a personal workflow preference). I'm wondering though, would mastering take care of these little nitpicks? I also wonder how often they record an artist that actually has a pretty good knowledge of recording techniques and has some experience. Perhaps if I lay down the law, I could direct them to a better sound? I just can't understand how I get a better sound with a single Audio Technica Mic for a singer with acoustic guitar. I did pass the songs through Ozone Izotope 2 though...
Or, I suppose I could just get a laptop (or borrow) and one of those USB mixers (e.g.Alesis) and some more mics and record on location. All songs will be my vocals and acoustic guitar. Some songs will have bass and drums and many of them will have cello, a couple with piano (Yamaha P90 keyboard).
The only problem I have with this option is recording myself...I am really impressed with the sound I get when recording others (I'll post samples soon for critique) but I find it impossible to tweak my own sound since when I play I can't fool around with mic placement and eq and when I do that I'm not playing. What a dilemma! I suppose I could search for an engineer that could help me...
The other problem is my location. If there's an ambulance that goes by or the phone rings, you can say buh-bye to that take. Maybe that's a small price to pay for saving from the studio costs.
I'm thinking more and more though that most of these studio guys have really nice gear but don't necessarily know how to operate it. That's real sad in a way.
Let's say I'd go with the portable studio option, do you guys have suggestions? For the USB mixer board and enough mics to properly record a drum kit? I think I know what I need for the rest. Many thanks again.
Mar 11, 2005 03:34 pm For mixers, another fine choice would be Berry's 1832 FX Pro service.bfast.com/bfast/c...mp;bfmtype=gear
It is a nice medium ground between the two you mention above. It has the effects of both (which are decent, same effects I have on my 1622FX Pro, plus the graphic EQ if needed plus it also has a couple subgroups which, if you are buying a mixer, be sure the one you buy has, you'll be glad you did later, and it still has 6 preamps. It might be a good choice as well.
I like Alesis for some things, speakers and mixers have never been among them...
