The rest of your signal chain... - Gearspace.com
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The rest of your signal chain...
Old 20th February 2020
Lives for gear
jnorman's Avatar
3 Reviews written
🎧 15 years
The rest of your signal chain...

We discuss mics all the time, but don’t often go into the details of the rest of our signal chain to record and post process our recordings.

What is the signal flow you have settled on over the years? From remote recording setup, to your computer, interface, DAW, external hardware, most-used plugins, mastering chain, monitors, etc - please share some of what you have learned and why you use what you use.

I will start, since mine is pretty simple:

On location, From my mics (Schoeps, Neumann, akg, AT), I use canare cables with neutrik connectors into a SD mixpre6. K&M and manfrotto stands. Lumix GX85 with LED panel for video.

Back in the studio, tracks are imported into lenovo yoga c930, i7 8th gen, external acer display, running Reaper v6.xx, focusrite 18i8, Neumann KH80 monitors, Sony 7506s.

Within reaper, I use Acon Deverberate (as needed for some locations), and reafir for subtractive eq if needed, followed by fabfilter pro-q, pro-c2, and pro-r, Acon Verberate, followed by ozone v5 for final eq, spectral and phase analysis, and limiting.

That’s about it... how about you?

Last edited by jnorman; 21st February 2020 at 06:32 PM..
Old 20th February 2020
Lives for gear
🎧 15 years
Sennheiser/Josephson/Soundfield, Latchlake stands, Canare Starquad and Whirlwind snakes
via Gordon preamps (or Soundfield DSF-1 via its dedicated preamp/processor) or directly to Sound Devices 788. Editing in Nuendo 5.5 with
plugins: Voxengo MSED, Voxengo Sound Delay, Ozone Eq and Dynamic Eq, Fabfilter Pro R Reverb. Final treatment/level adjustment/SRC with Izotope RX 7 Advanced.

Last edited by Folkie; 21st February 2020 at 11:25 PM.. Reason: Added mics and stands
Old 20th February 2020
Gear Maniac
brhoward's Avatar
🎧 5 years
Schoeps / Sennheiser / AEA mics

Mogami / Canare cabling soldered up by hand.

Pueblo, D.A.V. and MERGING preamps

MERGING Technologies Convertors (HAPI/ANUBIS) & Sound Devices Backup

MacBook Pro (10.13.6) - ProTools / Reaper / Pyramix / and even Ableton!

D.A.V. Broadhurst GRDNS No.3 Mastering EQ and Rupert NEVE Designs Portico II MBP for finishing/mastering

DIY mastering grade speakers (tri-amped with 6 Channels of Bryston)
Nuemann KH80 for on location
7506 Cans
HD650 Open Cans

Probably not considering any changes in the near future.
Old 20th February 2020
Lives for gear
🎧 10 years
MKH mics
Manfrotto/ Arri stands
Canare SQ
Nagra VI + HD 25II
IMac running Logic WaveBurner
HD 800 cans/AVI active 3 way LS.
Old 20th February 2020
Lives for gear
🎧 5 years
Variety of mics* depending on the job into a QSC TM30Pro. I do the entire mix in the desk, recording down to 2-channel.

I then grab the files off the USB SSD, make sure the recording hits 0dBFS in Audacity, and export as WAV, MP3 or whatever else the customer wants. By default I'll send full-fat WAV and 256k MP3s so they've got a choice of download sizes.

Monitoring via Shure SRH840s on-location, and then mixing is done on whichever monitors are available depending on if I need to provide a finished mix then and there (JBL 104s) or if I can take the recordings home and use something nicer: custom 8" 2-way speakers with a midbass driver from the same line as the Amphion One series, and a 1" compression driver.

* Beyer MC930 x7
SE VR1 x2
SE4400a x2
Plus a load of "live" mics - e935s, e904s, e906s, M201TGs...

Old 20th February 2020
Lives for gear
Plush's Avatar
5 Reviews written
🎧 15 years
Gathering the sound with a good variety of mics into a Sonosax R4+ with Sonosax AD8+ (8 channel preamp / ad converter) 16 channel recorder.
Mostly using Schoeps (Rens Heijnis 60 volt modified,) Pearl, AEA R84, and Neumann large diaphragm (170, U89), and Gefell large diaphragm tube mics.

Mic amps are DAV, Rens Heijnis Custom Built, GML, and various tube units--Gyraf Audio and Tube-Tech.

On-location mixer is SONOSAX.

Also a fan of the Neumann KM A analog amplifier with the KK131, KK133, KK183, and KK184 capsules.

Using Grimm TRP cable, Van den Hul cable and Mogami snakes.

Location monitors are Meyer Sound AMIE. Main monitors in the studio are a PMC super stack.

Load into Magix SEQUIOIA editor or into SADiE V.6 daw where editing and post work using source/destination type editing is accomplished.
Using EQ in Sequoia. Small number of plug-ins such as Weiss limiter, Flux, Sometimes Ozone.

Quantec Reverb is integrated digitally into the Sequoia mixer.

DDP exports to record companies are done in SADiE.

Last edited by Plush; 21st February 2020 at 04:48 PM..
Old 20th February 2020
Gear Maniac
🎧 5 years
A heartfelt solicitation follows, for those who like to monitor remotely while on location.

My workflow has changed... been using manual-gain preamps of various sorts, combined and converted in using SSL MX 16-4, then piped to remote monitoring room over MADI. I love MADI, it's one less thing to think about. What I don't love, is running back to the stage to tweak a gain setting. So I have a MultiPre rig coming from the good people at Crookwood, which simplifies my preamp situation and allows for configuration of all settings remotely. So far so good.

BUT - (drumroll) - Crispin is working on a design that allows control of stage redlight (!), and talkback, as well as monitor control with excellent headphone amps (yes, plural - you read that right), via a unified remote control type unit. All over MADI. Not XLR. Single wire. At the moment he is needing a couple more customers to make this box a reality. We don't know what to call it, for now we're calling it "The Thing."

I won't relay his thoughts on pricing here publicly, but most of us would consider it very reasonable.

Is this something you're interested in? Say so here, and send an email to let him know! crispin -at- crookwood.com
Old 20th February 2020 | Show parent
Gear Guru
1 Review written
🎧 5 years
What is the signal flow you have settled on over the years? From remote recording setup, to your computer, interface, DAW, external hardware, most-used plugins, mastering chain, monitors, etc - please share some of what you have learned and why you use what you use.
some of the projects i'm involved are quite large (meaning they require a multitude of i/o's), move between tracking in studios or concert halls to mixing in studios (or backstage in a venue) to live production and/or broadcasting. they often include acoustic and electronic instruments so there's amplification involved (and all what comes with it) and vary in size and genre (from jazz to rock to classical and/or combinations).

i settled for a solution which allows me to easily move between these different settings and gets me enough cbannel/bus/processing count for all but the very largest situations (192 i/o's at 48khz) - it's based on a broadcast desk* and a madi infrastructure to which i add whatever is needed for the task at hand (collaboration with live sr rental companies doesn't hurt):

- cables: various manufacturers (analog, aes3, aes10; copper and optical)
- stands: k&m, manfrotto, eurotruss
- stageboxes: studer d21m (mic pres, a/d converters, d/a converters, gpio's)
- mic/line splitters: studer d21m, klark dn1248
- madi splitter/format converter/midi-over-madi: rme, ssl
- digital mic pres: rme/neumann
- additional mic pres: amek/neve, crane song/dave hill, focusrite, grace design, millennia, summit, yamaha
- di boxes: radial

- mixing desk: studer vista
- efx: quantec, lexicon, sony, tc, eventide, yamaha
- dynamics: jünger, weiss, waves, drawmer, tc, spl (all digital)

- recording: ssl live recorder, rme madiface xt, nuendo (often redundant)
- editing: nuendo
- mixing: studer vista (i'm mixing on desks, not itb!)
- mastering: wavelab (plus an old tascam hd/dvd recorder)

- line outputs: studer, euphonix, ssl, rme
- speaker processing/amping: lake/lab, armonia/powersoft (or yamaha dme)
- speakers: genelec, k+h (neuheiser), tannoy, fostex
- headphone amps: spl, grace design, klangfabrik
- headphones: beyer, sennheiser, audio-technica

- metering: dk technologies msd-series (or rtw)
- measuring/analyzing: b&k (or dpa), smaart

* for the comfort it gives me, i often schlepp the relatively large desk even into places where the huge i/o and processing count wouldn't be needed - if running out of space, i can control the same stageboxes from a much smaller desk (or just from a pc) so my smallest rig (besides mics, stands, cables) includes but a stagebox, a hd recorder, a headphone amplifier and a pair of headphones.
Old 20th February 2020
Lives for gear
James Lehmann's Avatar
🎧 15 years
I've been recording and monitoring everything on location for the last 20 years with Metric Halo hardware, mostly using the basic but incredibly reliable MH Record Panel software too. And with the recent Metric Halo 3d upgrades I'm planning on working exactly the same way for the next 20 years as well. If it ain't broke, etc...

I also have some DAV BG preamps, the ubiquitous Sony MDR-7506 cans, K&M stands of all shapes & sizes and SKB cases; I roll most of my own cables with Belden/Neutrik and recently invested in an MTR HPA-6 6-way headphone amp for small ensemble performers.

I'm not ashamed to admit I also have a little Mackie 1202-VLZ3 that I always sling in the van 'just in case' which has got me out of jail more times than I care to remember; it's ridiculous how useful and reliable that thing has been over the years for €250.

Editing back at base in Logic X with Amphion & PMC monitoring, plus Beyer DT-880 cans.

I'm actually perfectly content with all of the above - at least none of it is going to hold me back from making excellent recordings. The mic locker on the other hand, and the science of knowing how and where to place them... well, that's a lifetime's 'work in progress' isn't it!

Last edited by James Lehmann; 20th February 2020 at 07:48 PM..
Old 20th February 2020
Lives for gear
RobAnderson's Avatar
15 Reviews written
🎧 15 years
Depends on what I'm doing, really.

My tall stands are all converted Impact lighting stands, with a few Manfrotto and Shure stands thrown in. Heavily invested in sand and shot bags of 5 and 10 pound varieties; rubber feet, too. Most T-Bars are by SabraSom in various lengths.

A lot of Whirlwind and ProCo cabling and snakes; 5-pins are by Canare and Remote Audio; analog splits are usually Whirlwind - they rarely get used these days. Lots of Dante splits getting combined with my own stuff.

For my little 2-track gigs, an API 3124M feeds Mytek converters to DR-680 SPDIF for the primary, and mix out feeds the field recorder du jour straight analog. Sometimes, a Zoom f8 gets employed to handle everything when setup time is super short, or more than a few tracks will be needed.

Larger multi-tracks depend heavily on the gig, but I'm still sneaking my old Apogee AD16x's in wherever possible. Lately, the Ferrofish A32 Dante has been out on almost every gig over 16 tracks, but when possible it's getting fed Apogee conversion (still sounds better IMO). A32 converts >>whatever<< into MADI for a UFX+ to handle.

Preamps depend on the circumstances, and how much carrying needs to be done (especially if there are stairs involved - ATI's get used a lot, Millennia, various flavours of Hardy (Twin Servo is still my favourite).

Presonus 32 channel board or Yamaha 01V96 occasionally gets employed for a live-to-whatever; otherwise I might carry a Faderport to control the DAW for convenience.

I edit in Pro Tools, occasionally Reaper when necessary for immersive or Ambisonic work. Tried to love Sequoia, but too set in my ways, I think.

Monitors by Neumann and Avantone; headphones are DT770's, HD25's, HD600's; and still the occasional 7506 for nitty-gritty editing.

DDP's are handled by HOFA software these days.

Last edited by RobAnderson; 21st February 2020 at 11:17 PM..
Old 20th February 2020
Gear Addict
apotheosis's Avatar
🎧 5 years
RHmodded DPA, B&K, Neumann, Rode, Audio Technika, Shure, Line Audio.
Van Damme main cables, custom-made cables, some cheaper for spot mics.
2x RMe Octamic
SMUX adat out into APPSYS adat extenders (cat6)
into RME UFX
Backup Scarlett 18i20.
Sequoia DAW.
Neumann KH80, Yamaha HS50 and Beyerdynamic DT770
Old 21st February 2020
Gear Maniac
🎧 10 years
Mics by Sanken, Neumann, AEA, Sennheiser, Beyerdynamic; KM stands, some DIY carbon fibre extensions.
DAD AX32 - 24 pres installed, with all interfaces - MADI, Dante, AES, Pro Tools.
DAD AX24 - as an extension to AX32 for larger orchestral setups, synced via MADI.
Sequoia 15.
Plugs - RX7, Relab LX480, FLUX, Sequoia internals.
Yardstick via AES.
Boom Recorder on MacbookPro as a backup.
K&H O300.
Sennheiser HD900.
CISCO switch for Dante network.


Last edited by [email protected]; 21st February 2020 at 04:54 PM..
Old 21st February 2020
Gear Maniac
🎧 10 years
DPA, Schoeps, Neumann, Gefell, Sennheiser, Hiller, Sony, Rode mics.

3 MOTU Stage B16 AVB stageboxes
MOTU M64, 828es, 8m, 112D AVB interfaces
RME Madiface Pro for Talkback, Monitoring and additional recording laptop
HP ZBook + Elitebook, Win10, Samplitude Pro X4
Zoom F8
Audio Technica ATH-M50 cans
iLoud MTM mobile speakers, Klein+Hummel MM201 for Talkback
PMC TB2S + Munrosonic Egg150 speakers
Midi controlled CF35i recording light
Old 21st February 2020
Gear Addict
🎧 5 years
Concert recording these days with Schoeps and active extensions and stands. Sessions with Gefell, DPA, Neumann, Sanken, etc.
Large channel-count events onto SEQUOIA 15 through Grace, DAV, LineAudio mic-pres. A/Ds are Grace, Lynx Aurora, and RME UFXii. Chamber-music, live-capture usually goes live-to-stereo to a Nagra 7 (with a pair of SD 744s as multi-channel safety) through a Cooper CS106 mixer with direct-out and talk-back mods. Location monitors are KEF LS50. Cans are Audeze LCD-X, LCD-2 (closed-back), and JH Audio molded in-ears when I'm in the same space as the musicians. Sennheiser HD-600, 580s for producers/artist playback.

Post production on ATC SCM50ASLs with Grace M905 D/A. Lex PCM91, and Bricasti hardware verbs. Phoenixverb software verbs. Sequoia plugins and DDP delivery.
Old 22nd February 2020
Mine is definitely a budget setup:

Line Audio, sE & Rode mics into Line Audio pres, then ESI 168XT into a 2015 MPB via USB. It does the job but I'm definitely going to upgrade to better converters when I can afford to. Smaller gigs are sometimes handled by a Zoom L-12, either direct recording to SD card and/or redundant recording to the MBP through USB.
Old 27th February 2020 | Show parent
Lives for gear
seedee701's Avatar
🎧 15 years
Originally Posted by RobAnderson ➡️
Larger multi-tracks depend heavily on the gig, but I'm still sneaking my old Apogee AD16x's in wherever possible. Lately, the Ferrofish A32 Dante has been out on almost every gig over 16 tracks, but when possible it's getting fed Apogee conversion (still sounds better IMO). A32 converts >>whatever<< into MADI for a UFX+ to handle.
there is something about those AD16X - i have a hard time to replace mine, too...
Old 27th February 2020
Gear Guru
Tracking: Belden 9182 LAN network cable used for mics or Kimber pure silver 3 braid AGSS. Audio Upgrades High Speed or my tube mic preamps, more AGSS cables to the converters.
The price is a bit high but the sonics unequaled.

Mixing: Modified Soundcraft Delta console fed from outboard converters, direct coupled except two silver foil caps in the current feedback sum stage. Another run of pure silver AGSS cable to the modified BurrBrown PCM/DSD4222 EVM ADC. That feeds the PC soundcard with a RCA fitted AGSS S/PDIF cable. Outboard is the usual stuff plus Bricasti and Lexicon rack units. I don't like ITB mixing.

The power amp is a rebuilt and modified Adcom GFA545 with Vishay naked bulk foil and Mills wirewound resistors. Monitor speakers are Golden Ear Aeon 2's with InfiniCap crossover capacitors and a custom 15" sub. Speaker cables are Kimber 8TC.
Old 5th March 2020
Lives for gear
🎧 15 years
-Josephson / Gefell / Schoeps / Royer / Modded Oktavas / Various Rock & Jazz Staples / ZOD ID DI / Ehrlund EAP
-Belden 9182 / Mogami
-2 X Tascam hsp-82 & HD24 XR
-Merging Anubis
-m50x, hd800, Spiral Groove Studio Ones w/ Kimber 8tc
-Reaper, Fab Filter proQ3, proL, proR, DearVR Pro, Blue Ripple Sound Ambisonic Tools, Magic Death Eye, UAD, RSPhaseShifter,
Old 5th March 2020
Lives for gear
🎧 10 years
Neumann/RFT/Gefell omnis, Soundfield, om1 cm3, no hype audio ribbons, Canare and sommer cables,
Rme ufx, dav bg8, behringer ada8200, steller-online mobile pc + sequoia, walhalla verb, kotelnikov comp, stax headphones, genelec 1032.
Old 13th March 2020
Lives for gear
mpdonahue's Avatar
I dunno, my setup is pretty simple...
Mics, mic cable (Mostly Mogami, but some Canare and Belden mixed in)>Merging Horus/Hapi>Pyramix.
Post is all in the box, I use the built in Merging Strip tools or EQ-x if I need EQ or compression, Stratus for reverb and Flux Elixir for limiting. That's it.
As always, YMMV.
All the best,
Old 14th March 2020
Lives for gear
tourtelot's Avatar
1 Review written
🎧 10 years
The usual suspects for mics (new set of Josephson C617 SET on the way and boy am I excited), Mogami and Gotham GAC cable, Grace m108, DB25 out to a Sound Devices 788T for 8 inputs or less. Done!

9 inputs to 32 inputs and I go to my Dante rig and record on a JoeCo BBR64-Dante.

Old 17th June 2020 | Show parent
Originally Posted by tenorfran ➡️
Mine is definitely a budget setup:

Line Audio, sE & Rode mics into Line Audio pres, then ESI 168XT into a 2015 MPB via USB. It does the job but I'm definitely going to upgrade to better converters when I can afford to. Smaller gigs are sometimes handled by a Zoom L-12, either direct recording to SD card and/or redundant recording to the MBP through USB.
Just upgraded to a MOTU 16A and BOY what a difference!
Old 18th June 2020
Lives for gear
mostly schoeps and Neumann mics with a few others available (EV and Shure dynamics, AEA ribbons). For location work we are now on sound devices mixpre10M. k&H o110 for remote monitoring. Gotham gac3 vintage brown cable with the old Neumann grounding scheme.

At the studio we have an HDX rig with prism titan and avid 192. Bricasti M7, PCM60 and 70. GML preamps. Various compressors etc.... monitor on Neumann kh310. Mostly use Sony oxford for eq and compression, also DMG eqiulibrium and some Tokyo Dawn eq and compression for certain mastering things. In addition to the hardware reverb we also like the lexicon pcm native.

DDP is done in sonoris DDP Creator.
Old 18th June 2020
Lives for gear
hbphotoav's Avatar
🎧 10 years
Gefell, Sennheiser, Sony, AT, Neumann, Rode, Line Audio, DPA and lots of Shure, Senny and Beyer mics (I do live sound/PA/AV support as well as recording). Simple stereo system is a TASCAM DR-60D and a pair. I often use a DAV BG8 on the way in. Recently I've been tracking larger choir/orchestra things through a Midas M32R (my usual live sound desk), USB out into a Logic X session onto a MacBook Pro to an external SSD. Backup is location mix sent stereo to M32 internal USB stick, and an analog stereo feed to the DR-60D. Most church work is also sent analog to the venue's livestream device. Monitoring is on Sony MDR-V6 or UltraSone 650 cans; Ultimate Ears dual armature buds under -29dB muffs for the occasional rock band gig; Equator D5 pair for location/green room monitors. Edit/mix post production is ITB via MBP Logic X or MacPro/Logic/Waveburner editing/mixing/burning; Tannoy 800A w/Tannoy system sub for monitoring. Mostly church work, schools and one-off individual "vanity" projects. Now... if we could just get back to live event projects to record...
Old 18th June 2020
Gear Maniac
🎧 5 years
Sound Devices 702T with an old Paintpot for run n gun jobs.
Crookwood MultiPre x28 for the bigger ones - it has MADI out, splitters, remote control and of course conversion onboard all in 4RU, so quite a convenient stage box!
GAC3 and all the usual suspects, DPA, Neumann, Schoeps etc.

No Senny's though!
Old 20th June 2020
All the location recordings Ive done so far have pretty much been me hauling backline, p.a and the works to places such as basements, 2 miles up a logging road to this cool makeshift stage where I ran power off a generator for the first time, garages, bars, house parties, band practices at different places, I have also ran a 200 ft snake out into my backyard to do an "environmental sound capture", been in big tents and a barn one time. I try to facilitate the needs of anyone who wants to jam or make music. Then I like to record what happens while its happening. I've optimized my rig to meet my needs and intent. I use Midas xl4 preamps, into line inputs of Behringer Xenyx 2442 mixer then direct outs into Cymatic Audio U-Track24 which saves to a 3G hard drive. After the session I send audio out of the recorder back into the Midas preamps, into the Xenyx, mix with outboard processors then send a stereo mixdown into a Focusrite 2i2 onto Abelton Live.
Old 23rd June 2020
Lives for gear
fred2bern's Avatar
🎧 5 years
On location for symphonic productions:

On stage:

APC Smart-UPS SC 1500VA
One video cam Canon Legria HF R78 (with home made microphone cable between the output and the TV:100m try it, it works )

Home made Decca.
Microphones: Neumann/Schoeps/Royer/Line Audio.
Home made cables with Neutrik gold and several cable brands.
Preamps: 48ch with 6x RME XTC (waiting for a Micstasy with MADI Card).
MADI between the preamps and the >

On location control room:

> RME MADI Routeur (50/100/200 m)
2x MADIFace Pro going into 2 Gigabyte computers (P37w series) with SSD 2To and Samplitude X3 Suite on both computers.

One computer is the backup, the other is the main.
On the backup:
IIyama ProLite moniteur externe 24 pouces

On the main:
Altiverb regular 7
Waves Platinum
1 external screen Samsung C49HG90 49''
1 Mackie MCU 32channels
1 RME Arc Usb
Monitoring Neumann KH120 and 1HD20 + DT880.
2x Behringer amp800

one APC Back-UPS 1400VA
1 TV for the video.
2 chairs with wheels (super important!)

Looks like this (it was 2 weeks ago):

Back home:

1x RME Fireface UFX
1x TC Electronic Reverb 4000

1x Ordinateur PC I7 8x3.7 16 gig Ram 2x SSD 1To RAID1
1x Backup RAID1 3To
1x Backup RAID1 6To
1x IIyama Prolite moniteur 40''
Another Samsung moniteur C49HG90 49''
2x Samsung moniteur 27''

Samplitude Pro X3 suite and Pro X4 suite
Altiverb regular 7
Waves Platinum
HOFA CD & DDP Bundle
iZotope RX6 Standard
Melodyne 4 Studio
Nero 2020
TC Electronic LM2n Loudness Radar
TC Electronic LC2n Loudness Correct
Waves API2500
Waves IR-1
Waves Platinum

Another Mackie MCU 32ch

2x Adam Audio S3H
2x Adam Audio S3X-H (sometime I switch between the Adam).
2x Neumann KH120

3x APC Back-UPS 1400VA
A fridge and a coffe machine...

It Looks like this:


Last edited by fred2bern; 24th June 2020 at 02:05 PM..
Old 10th January 2021
Lives for gear
jnorman's Avatar
3 Reviews written
🎧 15 years
Fred - that is a very nice looking setup!
Old 10th January 2021
Lives for gear
🎧 15 years
Now that I have just experienced my 80th birthday my absolute mantra is the "less is more" protocol. Please understand it is much easier to be highly selective in choosing where and when you work if you have survived 50+ years in the business.

1) We are offering Acoustic Americana shows with small ensembles so focusing
on ultra high quality sonic delivery for the paying customers is very
2) In the studio I have a Digigrid/Waves LV1 rig feeding a Studio one DAW.
I have an A&H SQ5/DX168 combo for our live FOH Video captures: 24/96K
for both systems. I have six tube mics that I deploy for both systems:
(An AT4060, several Palusos and a Flea47 next)
3) If FOH stacks are needed I have a complete KV2 ES system along with
three EX10 wedges.
4) I use two GH5 cameras with Atomos V recorders for turn key video captures
for live shows and currently I am doing mostly studio performance videos.

I have used the past 10 months to re-think exactly what I want to do when the gigs come back: and they certainly will eventually. My new A&H live gear all fits in a gator suit case and when adding a single wedge monitor and a tube mic for my solo set this is very portable system. When I package a second Bluegrass act I provide additional tube mics for simultaneous vocal/instrumental capture. I can travel very light with world class SR in my SUV when a venue has adequate installed FOH and in the event we need it I hook up the trailer with the ES system and hire a couple of young helpers to do the grunt work. I have owned and/or worked with just about everything prized in the audio world. This is what I know: The world class studio Digico "D" pres are linear with the D-Live pres in my DX168 And the 24/96K performance of the Waves LV1 and A&H FPGA processing is stunning. We are truly in the golden age of audio gear.
Old 15th January 2021
Lives for gear
Tommy-boy's Avatar
🎧 15 years
My onsite rig is normally as follows:
- Schoeps mics (although I also deploy sennheisers, beyers, R0des,etc...)
- K&M, Quicklock, Latchlake stands
- Mogami and proco cable
- Switchcraft 8 channel splitter
- Sound Devices 788T (2 of em)
- Sennheiser 280 cans
*As my mic count is almost always under 8, this works well, is redundant, and I run off of battery only (usually NPs with L-types as backup)

In the studio:
- Custom built computer
- RME AES sound card
- Lynx Aura
- Audient console
- Event speakers
- Sennheiser 600 cans
- Sony 7506 cans
- Steinberg software (Cubase and Wavelab) and control surface

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