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$1k to record acoustic guitars
Old 12th September 2012
  #31
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jslevin's Avatar
 
🎧 15 years
I'm assuming these rules:

- Can't spend the money on acoustics or the guitar or guitarist
- Don't mind spending all the money
- Can't sell any of the gear and put that money toward other gear

Assuming those three things, my advice is to spend the money on the best small-diaphragm condenser you can afford. Spend nothing on preamps or other outboard.

Gefell M300 would be a devastatingly good investment. If you shop used, you possibly could buy both that and an AT4040.

The GAP73 is a solid preamp. You're not going to improve on that significantly without blowing your whole budget, like on a Great River. Although the Portico 5017 is always an intriguing option.

Bottom line, though, nothing wrong with that preamp, and mics are more important.

If any of the above three assumptions change, then the answers change as well.
Old 12th September 2012 | Show parent
  #32
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TurboJets's Avatar
 
3 Reviews written
🎧 15 years
Quote:
Originally Posted by kludge ➑️
I have a $4000 handmade beauty that smokes them all live, but in the context of a mix, the refinement is lost, and the others are usually better.
A little room treatment would fix that.
Old 12th September 2012
  #33
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tINY's Avatar
 
1 Review written
🎧 15 years

Kel has some mics you should consider - the HM3 and HM1 are well-suited to SDC duties. If you need an actual 1/2" SDC, the AT4041 is hard to beat value-wise.

Again, the Kel HM7. This is a very nice mic for acoustic instruments and a lot of vocals. Other "LDC" mics worth considering are the CAD e100s, MXL2003a, and SP CS5.

And, just because a room sounds good to your ears, it doesn't mean you won't ever need gobos, bass traps, or diffusers...




-tINY

Old 13th September 2012 | Show parent
  #34
Gear Maniac
 
🎧 5 years
Quote:
Originally Posted by sdelsolray ➑️
Take a look at 3 Zigma CHI mics. A pair of mic amp bodies, a pair of SD capsules and one LD capsule with provide some versatility, and you can add other capsules later if desired.

Very nice mics.
that seems like a very cool idea as well I'm definitely getting a lot of food for thought
Old 13th September 2012 | Show parent
  #35
Gear Maniac
 
🎧 5 years
Quote:
Originally Posted by tINY ➑️

Kel has some mics you should consider - the HM3 and HM1 are well-suited to SDC duties. If you need an actual 1/2" SDC, the AT4041 is hard to beat value-wise.

Again, the Kel HM7. This is a very nice mic for acoustic instruments and a lot of vocals. Other "LDC" mics worth considering are the CAD e100s, MXL2003a, and SP CS5.

And, just because a room sounds good to your ears, it doesn't mean you won't ever need gobos, bass traps, or diffusers...




-tINY

I've got broadband absorbers, gobos, bass traps, and diffusers already
so at least for my studio environment the room isn't usually an issue. That was the first thing I invested in was getting a good sounding recording environment to record/track and monitor/mix in.
Old 13th September 2012 | Show parent
  #36
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tINY's Avatar
 
1 Review written
🎧 15 years
Quote:
Originally Posted by indie folk guy ➑️
I've got broadband absorbers, gobos, bass traps, and diffusers already
so at least for my studio environment the room isn't usually an issue. That was the first thing I invested in was getting a good sounding recording environment to record/track and monitor/mix in.

Smart move - carry on...




-tINY

Old 13th September 2012 | Show parent
  #37
Gear Maniac
 
🎧 5 years
Quote:
Originally Posted by jslevin ➑️
I'm assuming these rules:

- Can't spend the money on acoustics or the guitar or guitarist
- Don't mind spending all the money
- Can't sell any of the gear and put that money toward other gear

Assuming those three things, my advice is to spend the money on the best small-diaphragm condenser you can afford. Spend nothing on preamps or other outboard.

Gefell M300 would be a devastatingly good investment. If you shop used, you possibly could buy both that and an AT4040.

The GAP73 is a solid preamp. You're not going to improve on that significantly without blowing your whole budget, like on a Great River. Although the Portico 5017 is always an intriguing option.

Bottom line, though, nothing wrong with that preamp, and mics are more important.

If any of the above three assumptions change, then the answers change as well.
you are pretty much right on the money I plan to spend about $10k in total to finish the studio and I want to be able to do the singer/songwriter style stuff, live bands, location recordings (for bands, orchestras, choirs), etc.

So I'm trying to make sure that I get gear in small phases usually about $1k-$2k at a time over the next year.

The only outboard gear I plan to get FOR SURE with that budget is:
Focusrite Octopre Dynamic MkII (because I need additional channels to do drums/live bands)
Second GAP Pre73 and rackmount kit (to have the pair)
Radial Stereo Pro DI Box
that will probably be purchased all at once

that gives me 12 mic preamps to use plus 2 channels to do keyboards, guitars, or basses direct.

Mic Additions:
Pair of Small Diaphragm Condensers
Pair of Ribbon Mics with Lundahl transformers and a dual input cloudlifter
Large Diaphragm Condenser (pref a pair of multi pattern workhorses) but we will see

I'm hoping that the collection of mics I have now plus some variation of those additions will accomplish my goals as a good starting foundation:
Heil dynamics, trio of CAD M179, Neumann KMS105, and an AT4033 (I just got from the classifieds here)

I appreciate as always the many insights provided by many of you here, I love the fact that many of us are able to think outside the box. And like I said in this instance I'm kind of beyond the point of worrying about performers, instrument oriented gear, and the recording environment as it's not an immediate concern.

I'm looking for mics and preamps.

So with a somewhat modest budget do you guys realistically think I should change my goals. $10k over the next year to expand my mic locker, add preamps, direct box(es), cables which will be DIY, additional stands, etc. I've already got the DAW and plugins (and for the sake of not doubling my budget I'd like to stay in the box for EQ, comp, reverb, etc). When I start making my money back on this initial investment I will obviously invest and expand.

Obviously when the time comes to service clients I need the gear to matter because let's face it when people hire recording services the tools you use can sometimes speak more than your abilities as an engineer/studio. Which is why I'm trying to stick to the brands that have a trusted reputation. I'm not too worried about getting things like Shure SM57/58 and some other standards like that since I know a lot of people I can borrow from and I'd like to be able to offer something a little different than the average studio, obviously I still don't have an amazing studio/setup.
Old 13th September 2012 | Show parent
  #38
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kludge's Avatar
 
🎧 10 years
Quote:
Originally Posted by TurboJets ➑️
A little room treatment would fix that.
I said "in the context of a mix". Room treatment won't solve the problems of having to "shrink" an acoustic guitar sound so it doesn't fight with the drums and stomp all over the vocals. And once it's been compressed, eq'd, and panned, what matters isn't the fine delicate detail of the guitar.
Old 13th September 2012
  #39
Gear Guru
 
tINY's Avatar
 
1 Review written
🎧 15 years

Stands are critical. If you see a lot of traffic with various set-ups, the Latch Lake are worth considering.

Short of that, USS has some nice tall stands with stable bases for a lot less than the Atlas equivalents.

Pop screens, add-a-booms, stereo bars...

Seriously, for stereo multi-pattern LDC, the CAD m179 is really not a handycap. I understand the need for options, though. Worth considering is your clients' expectations for seeing certain gear. You really can't sell time to wrappers or hip-hoppers without a Bock-designed mic, for instance...



-tINY

Old 13th September 2012 | Show parent
  #40
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3 Reviews written
🎧 15 years
Quote:
Originally Posted by kludge ➑️
I said "in the context of a mix". Room treatment won't solve the problems of having to "shrink" an acoustic guitar sound so it doesn't fight with the drums and stomp all over the vocals. And once it's been compressed, eq'd, and panned, what matters isn't the fine delicate detail of the guitar.
I'm sorry man, I thought everyone would realize I was absolutely joking/kidding.
Old 13th September 2012 | Show parent
  #41
Gear Maniac
 
🎧 5 years
Quote:
Originally Posted by tINY ➑️

Stands are critical. If you see a lot of traffic with various set-ups, the Latch Lake are worth considering.

Short of that, USS has some nice tall stands with stable bases for a lot less than the Atlas equivalents.

Pop screens, add-a-booms, stereo bars...

Seriously, for stereo multi-pattern LDC, the CAD m179 is really not a handycap. I understand the need for options, though. Worth considering is your clients' expectations for seeing certain gear. You really can't sell time to wrappers or hip-hoppers without a Bock-designed mic, for instance...



-tINY

as usual I agree on all your points

The M179 has been one of my favorite mics since I found out about it years ago on here lurking around. That mic amazes me pretty much every time I use it. It's just a fantastic mic for acoustic guitars, certain vocals, kick drums, toms, drum overheads, drum room mic, piano, bass cabinets, guitar cabinets, stereo miking (you can do pretty much any stereo technique with the variable patterns). Usually presents a clean and neutral image of what you are recording which to me is great.

I have a few Stedman Proscreen XL's, tons of Blue Kiwi and Blueberry mic cables from my GC days over 10 years ago (I used to stock up on them with my employee discount they were cheaper at my cost than it was to make my own Mogamis and they look cool, they do sound great too), plenty of DIY Mogami quad mic/patch cables, several stereo bars, assorted DR PRO tripod stands (low and regular height), I've been looking into Manfrotto for location work and oddly enough your Atlas and USS solutions for other studio stands.

I think right now my mic locker tentatively speaking will probably end up looking like this unless I get some more sound clips/hands on experiences to tempt me in other directions. This puts me at about $5k in additional mic investment. I'll spend about $2k on additional outboard (the focusrite octopre dynamic mkII, a second GAP Pre73, a stereo radial di box, cloudlifter, and a dav bg1). I'll also get a headphone bundle probably the Presonus HP4 and K77 deal. Already got nice AKG and Beyer headphones for myself and HS80 monitors. If I had to spend the remaining $3k which I probably won't I'd probably invest in a Soundcraft or A+H board (at $1k) and spend the other $2k on a set of the new EV active mains/subs (the 8" mains and 12" subs) use my Mackie thump 15's as monitors and do live sound for smaller gigs/parties. Obviously the other thing I can do with that $3k is get a really nice flagship LDC like a U87 or similar. But honestly since the money is coming out of my pocket I'd prefer spending less and still having a good mic collection, etc. Yeah I think like a business person cheaper with the same results is better.

-Neumann KMS105
-Heil PR35 (x2)
-Heil PR30B (x2)
-Heil PR40
-Heil PR22UT
-Beyerdynamic M88TG
-Beyerdynamic M201TG
-CAD M179 (x3)
-Shure KSM141 Stereo Pair
-Cascade Vin Jet lundahl Stereo Pair
-AT4033
-AT4041
possibly an AT4031 pair
Old 13th September 2012
  #42
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tINY's Avatar
 
1 Review written
🎧 15 years

The USS Tour T-T tall is a good choice for location - goes up to 8 feet plus the boom you add. It appears to be discontinued - good thing I bought a couple when they were available. Maybe someone still has some.

Ultimate Support Tour-T-Tall Tripod Microphone Stand at zZounds





-tINY

Old 13th September 2012 | Show parent
  #43
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kludge's Avatar
 
🎧 10 years
Quote:
Originally Posted by TurboJets ➑️
I'm sorry man, I thought everyone would realize I was absolutely joking/kidding.
Heh. You should have said "Mixing OTB would fix that", then we'd ALL know it was a joke!
Old 13th September 2012 | Show parent
  #44
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donsolo's Avatar
Quote:
Originally Posted by indie folk guy ➑️
I'd like to spend about $10k to setup a half decent studio that I can make a little bit of money from operating...
Stop right there, stop.

You're not going to make a little bit of money from a $10k rig, sorry. Maybe if you bought a Neumann U87 and an Avalon 737 pre and a Digi 002 and called yourself a "hip hop studio" then maybe, but even then, you're kidding yourself.

I can't speak to your local scene but guys around Austin are operating with 100k+ rigs at $30/hr. I'm 40k in myself and there's no money to be made even at my level, I've tried.

That being said, spend a little more and get a pair of Daking Mic Pre Ones. Just do it, stop playing with toys and just buy good stuff. Use the mics you have, the pres will make them sound better. If you are dead-set on getting a pair of mics, get a pair of SM57s. Use those until you can afford a good M-S mic setup and a good pair of LDCs.
Old 13th September 2012 | Show parent
  #45
Gear Maniac
 
🎧 5 years
Quote:
Originally Posted by donsolo ➑️
Stop right there, stop.

You're not going to make a little bit of money from a $10k rig, sorry. Maybe if you bought a Neumann U87 and an Avalon 737 pre and a Digi 002 and called yourself a "hip hop studio" then maybe, but even then, you're kidding yourself.

I can't speak to your local scene but guys around Austin are operating with 100k+ rigs at $30/hr. I'm 40k in myself and there's no money to be made even at my level, I've tried.

That being said, spend a little more and get a pair of Daking Mic Pre Ones. Just do it, stop playing with toys and just buy good stuff. Use the mics you have, the pres will make them sound better. If you are dead-set on getting a pair of mics, get a pair of SM57s. Use those until you can afford a good M-S mic setup and a good pair of LDCs.
$10k is for additonal mics and additional preamps

I have substantially more invested in existing gear, computers, the studio/environment, stands/cables, etc. If you included instruments I'd have well over $100k.

This is a secondary business I'm primarily investing in "advertising" it's cheaper for me to invest in my own recording stuff and do my own advertising long term then it would be to go to local studios to record or do product demos. I may not make a livelihood on it but I should be able to make some of the investment back. At least this way I have the potential to earn money back whereas I simply spend money on advertising using other studios.
Old 13th September 2012 | Show parent
  #46
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donsolo's Avatar
my advise stands. Spend 1600 on a pair of great pres that you'll never outgrow unlike your other stuff listed.
Old 13th September 2012 | Show parent
  #47
Gear Maniac
 
🎧 5 years
Quote:
Originally Posted by donsolo ➑️
my advise stands. Spend 1600 on a pair of great pres that you'll never outgrow unlike your other stuff listed.
definitely interesting food for thought but I still have another $8k that I can spend on mics and such. Right now I'm planning to spend about $5k on additional mics, $2k on an octopre a dav bg1 and a second pre73 plus a stereo DI, I definitely have room in my budget to add a couple of higher quality preamps.

The question mark for me right now is hold on to that last $3k or spend it on something like a nice LDC or your idea a pair of preamps, or spend it on a live sound setup (a decent soundcraft or a&h board and a pair active of mains/subs).

I'm in the process of picking up a few mics from the classifieds here.
AT4033, AT4041, and AT4031 pair.
While not the most glamorous I know that these are able to handle a variety of duties.
Old 13th September 2012
  #48
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1 Review written
🎧 10 years
Just get the pair of SDC's with the $1k and make music.You have everything else you need.You can x/y or catch the 12th fret + LDC,done.Save money then for another interface.

Sent from my PC36100
Old 13th September 2012
  #49
Gear Maniac
 
🎧 5 years
well I'm spending $650 to do the 4033, 4031 pair, and a 4041 all used from users on here so I'd say that will definitely save me a few bucks and get some excellent results.

I think if I upgrade my interface I'll probably go with an RME Fireface UC.
Old 13th September 2012 | Show parent
  #50
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krheatman's Avatar
 
1 Review written
🎧 10 years
Quote:
Originally Posted by indie folk guy ➑️
well I'm spending $650 to do the 4033, 4031 pair, and a 4041 all used from users on here so I'd say that will definitely save me a few bucks and get some excellent results.

I think if I upgrade my interface I'll probably go with an RME Fireface UC.
Sounds great.Do those either of those Epiphones sound similar to a J-45 Custom?A friend I play with bought one and it just has the right sound,no effects or eq.Makes my Taylor sound like a dog.
Old 13th September 2012 | Show parent
  #51
Gear Maniac
 
🎧 5 years
Quote:
Originally Posted by krheatman ➑️
Sounds great.Do those either of those Epiphones sound similar to a J-45 Custom?A friend I play with bought one and it just has the right sound,no effects or eq.Makes my Taylor sound like a dog.
I did find them to be similar to many J45's/J45 customs I'd auditioned. I like most of the Gibsons better than a lot of other brands because they just have the right balance to my ear of low-mid-treble content they aren't too boomy and they aren't too sparkly. IME and IMHO they sound great live and recorded. I will say I don't always feel the Epiphone electrics hold up to the big dogs as well as their nicer acoustics do.

I mean honestly they sound really really good I've tried picking up more expensive guitars and it's very tough especially considering the huge price differences to really justify the "better" acoustics on the market. Once I do setup work on them (which is very minimal) it's a no brainer.

With a good guitarist in a good sounding room with a good engineer it's pretty much perfect.

I'm probably going to hunt down a second inspired by 64 texan and a second AJ500R masterbilt and set them up. I really need 5 acoustics to do my live shows two for standard tuning (it's always wise to have a backup ime), one for open d, one for open g, one for high strung nashville tuning.

I'll probably use LR Baggs iBeams in both the Masterbilts and make those my standard tuning axes and the Texans will be kept stock (except I'll replace the nut/saddle/bridge pins with bone) and I will setup one for Open G and one for Open D. I'll likely take the EMG piezo system out of my current masterbilt and throw it in my Washburn WD20S which is setup for high strung nashville tuning (my $150 craigslist score, that included a hardshell case).
Old 13th September 2012 | Show parent
  #52
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krheatman's Avatar
 
1 Review written
🎧 10 years
Quote:
Originally Posted by indie folk guy ➑️
I did find them to be similar to many J45's/J45 customs I'd auditioned. I like most of the Gibsons better than a lot of other brands because they just have the right balance to my ear of low-mid-treble content they aren't too boomy and they aren't too sparkly. IME and IMHO they sound great live and recorded. I will say I don't always feel the Epiphone electrics hold up to the big dogs as well as their nicer acoustics do.

I mean honestly they sound really really good I've tried picking up more expensive guitars and it's very tough especially considering the huge price differences to really justify the "better" acoustics on the market. Once I do setup work on them (which is very minimal) it's a no brainer.

With a good guitarist in a good sounding room with a good engineer it's pretty much perfect.

I'm probably going to hunt down a second inspired by 64 texan and a second AJ500R masterbilt and set them up. I really need 5 acoustics to do my live shows two for standard tuning (it's always wise to have a backup ime), one for open d, one for open g, one for high strung nashville tuning.

I'll probably use LR Baggs iBeams in both the Masterbilts and make those my standard tuning axes and the Texans will be kept stock (except I'll replace the nut/saddle/bridge pins with bone) and I will setup one for Open G and one for Open D. I'll likely take the EMG piezo system out of my current masterbilt and throw it in my Washburn WD20S which is setup for high strung nashville tuning (my $150 craigslist score, that included a hardshell case).
My other friend had an Ibeam put in his Taylor Koa and it sounds less ringy,I might do the same.To be honest,I have a Chinese Yamaha I record straight out of the guitar that sounds amazing.I bought one for my kid,and couldn't believe how good it sounded.$400.00.So I bought one for the studio and my nice Taylors don't get used anymore.
Old 13th September 2012
  #53
Gear Maniac
 
🎧 5 years
well I'm not looking for the direct option for acoustic recording but I like them live.
Old 13th September 2012 | Show parent
  #54
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krheatman's Avatar
 
1 Review written
🎧 10 years
Quote:
Originally Posted by indie folk guy ➑️
well I'm not looking for the direct option for acoustic recording but I like them live.
I use it for both.I use a preamp out of a Neve 80 series or my BAE 1023, and a SDC.Of course it is not perfect for everything,nothing is.
Old 13th September 2012 | Show parent
  #55
Gear Maniac
 
🎧 5 years
Quote:
Originally Posted by krheatman ➑️
I use it for both.I use a preamp out of a Neve 80 series or my BAE 1023, and a SDC.Of course it is not perfect for everything,nothing is.
I guess that's not entirely true I do usually blend a slight amount of DI signal.

I've heard that the I beam is a little less quacky and they are easier to install than the piezo undersaddle options.
Old 14th September 2012 | Show parent
  #56
Lives for gear
 
🎧 10 years
I'll also support the idea of getting a solid pair of SDC's for now. Either the Beyer MC930 or Shure KSM141 would be an effective choice. It would be good if you could try them out before buying, but I don't think you can go wrong either way.
Old 14th September 2012 | Show parent
  #57
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3 Reviews written
🎧 15 years
Quote:
Originally Posted by indie folk guy ➑️
definitely interesting food for thought but I still have another $8k that I can spend on mics and such. Right now I'm planning to spend about $5k on additional mics, $2k on an octopre a dav bg1 and a second pre73 plus a stereo DI, I definitely have room in my budget to add a couple of higher quality preamps.

The question mark for me right now is hold on to that last $3k or spend it on something like a nice LDC or your idea a pair of preamps, or spend it on a live sound setup (a decent soundcraft or a&h board and a pair active of mains/subs).

I'm in the process of picking up a few mics from the classifieds here.
AT4033, AT4041, and AT4031 pair.
While not the most glamorous I know that these are able to handle a variety of duties.
I'm just curious but if you've got $10k why would you buy pre's that people with a budget of $1k (or less) usually go for?

Also, you might consider ditching the 4041's for pro37's. YMMV
Old 14th September 2012 | Show parent
  #58
Gear Maniac
 
🎧 5 years
Quote:
Originally Posted by TurboJets ➑️
I'm just curious but if you've got $10k why would you buy pre's that people with a budget of $1k (or less) usually go for?

Also, you might consider ditching the 4041's for pro37's. YMMV
well then I'd like to see what you would do with $10k to buy gear with
(you start with the scarlett 18i6, gap pre73, neumann kms105, 2 heil pr35, 2 heil pr30b, 3 cad m179, at4033, at4031 pair, at4041, modded yamaha hs80m monitors, acoustically treated rooms in a studio, assorted stands, pop filters, cables, etc)

you can pick an interface (I'm considering a new laptop and an RME Fireface UC which may or may not be part of the $10k), preamps, mics, etc?

intended uses for equipment:
singer-songwriter stuff (an advertising cost for my own music)
product demos for youtube (an advertising cost for my other business)
full bands (various styles - potential commercial/profit to offset advertising investment)
location recordings (orchestras, bands, choirs, jazz groups - potential commercial/profit to offset advertising investment)


I want that budget to be able to mic up to a 9 piece drum kit (2 snares, 2 kicks, 3 rack toms, 2 floor toms, and assorted cymbals), a bassist, two guitarists, track keyboards/pianos, vocalists, horns/woodwinds, etc.

My current interface will allow me 2 built in mic pres, 6 analog line ins, 2 channels via spdif, 8 channels via adat. So this is ample for what I'm trying to accomplish.

So I'd want
a decent pair of auxilary SDC mics (which I chose the AT4031 pair and AT4041 from here I have used these mics before they are similar to SM81)
an excellent pair of main SDC mics (I'm actually thinking about Gefell M300 over the Beyer/Shure options now that I'm picking up the AT mics the Shure/Beyers were going to be a compromise between the two extremes)
5 tom mics (that can serve other purposes CAD M179 which I have three of already and Audix D2/D4 are my considerations)
2 dynamic mics for guitar cabs (I have the Heil PR30b already)
vocals (got a couple pr35, a kms105, and an AT4033, I was thinking about getting a nicer LDC)
a decent pair of ribbon mics (I was considering cascade vin jet stereo pair with lundahls and a cloudlifter)
dynamic mics for snare drum/other apps (I'd like a Beyer M201 pair)
dynamic mics for kick drum/bass cab (I'd like a Beyer M88 pair)
acoustic guitar mics for the singer-songwriter applications (I got the 4033, 4031 pair, and a 4041 plus I figure with some of the other mics I'll be purchasing I'll have plenty of less conventional options Beyer M201, Beyer M88, Heil PR30, Cascade Vin Jet ribbons, etc)

personally I'd rather invest the bulk of my money into better mics at this point in time. I can always add/upgrade a preamp down the road (and likewise you could argue the same about a mic selection). But for things like singer-songwriter and location recordings of classical music the mics you select are paramount to the quality of your recordings (obviously the room and source are important but for a lot of these apps in my experience those aren't things I have control over nor are they issues). My own music definitely doesn't need to worry about the source (I'm a trained/professional musician and so are the musicians I work with) and the studio I'm building will not have room issues.

Unfortunately I have to cut corners somewhere I have a low budget, it's sometimes hard to justify investing $10k in this because it's not my primary business/source of income. I'm investing for advertising and the potential to earn profits down the road.

To me a mic preamp makes a subtle difference where the mic makes a larger difference. I can get a better variety of quality mics than I can get a variety of quality preamps. If this does well I'd love to upgrade the whole front end better preamps, better ad/da converter, etc. But I could easily drop $10k-$20k on that and I'd have basically no mics to work with.

Sure I could grab a pair of SM57 and a couple of high end preamps and go mic an orchestra but it's never going to sound as good as a pair of Gefell M300 run into a DAV BG1.

The preamps I've chosen for my rig really aren't bad at any pricepoint (yes I'm aware there are much better available but when I'm not really earning a profit recording how can I justify $1k per channel when I can spend less to get absolutely acceptable results?) and as I upgrade and expand these are all mics that will still be useful to have around
GAP Pre73 (for a 1073 style sound), DAV BG1 (2 excellent preamps, this will likely be my location recording main pair), and Octopre Dynamic Mk II (8 channels of clean/versatile preamps)
I may consider one really nice preamp/channel strip to do lead vocals through but it's a hard expense to justify on such a limited budget.

I have used all the preamps I'm looking at among countless others Neve, Avalon, API, Great River, Blue Robbie, UA 610, UA 710, Presonus Eureka, the list goes on.
Old 2nd March 2013
  #59
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patshep's Avatar
 
🎧 15 years
i had a geffel m930 i bought for like $700 used that was really amazing on acoustic, and i liked it on voice quite a bit too... then use the extra 300 for maybe a nice SDC ?? or i would buy a great river pre, but you only get one channel... however that one channel will make an sm57 etc sound amazing on vocals, and would do wonders for the cad mics you have... plus a great bass di if that's important
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