Hello everyone,

As I continue this incredible journey through music production, after roughly 5 years of recording and mixing 100% in the box (with shitty mics & interface but decent monitors & room treatment), and after getting some really nice feedback from a great mastering engineer last year, I started investing in good gear.

I perfected my room treatment (could always be better, but at what cost?), bought better instruments, gradually picked up nicer mics (a used U87 for clients, a Lauten FC387 for versatility, a pair of used 214s, a pair of SM81s—because I love their sound, etc...), and upgraded my audio interface with a used RME UFX II.

Before that, I never really spent big money on gear (mostly gifts or small acoustic treatment upgrades)—I'm quite frugal by default. But ever since I started, I just couldn't stop.

So after getting a couple of good guitar amps, this year I bought my first outboard gear for tracking (500 series).

And boy oh boy, I need you to bring me back to reason here because I'm losing my mind, and I'll end up broke if I don't slow down.

I bought a used RND R6 chassis along with a used pair of RND 511s and RND 543s (great first-hand deal, everything still under warranty, etc.).
I mostly record vocals, bass, and acoustic guitar—sometimes violin, trumpet, or similar instruments—ranging from folk to metal, but generally "normal acoustic pop-ish" stuff. No drum tracking.
I have two more slots that I want to fill, but there are so many options, and I want to buy everything I listen to—it’s horrible. I bet heroin is easier to quit.

Here are my options:

1. Be reasonable and stick with what I have because—even though it really made a difference so far, I need to REALLY MASTER WHAT I HAVE before moving on.

2. Be slightly less reasonable and only buy 2 modules—maybe a coloration EQ like the CAPI BT50 and a second comp, like an opto, for a deep, gentle, colorful compression on vocals in the way in (but most of them take up 2 slots ), tell me what your tracking strategy would be.

3. Be way less reasonable and buy a 10-slot chassis, chasing my wild 500 series dreams with opto comps, 1176 type comps, classic Neve-style, API-style, and Pultec-like EQs etc while I kind of can (and to step up fast gear-wise).

4. Be more intelligent and invest in good microphones instead: better ribbon (Royer R121? I only have an sE X1-R), better dynamics (maybe an RE20?), better LDC (414 BULS? Maybe a tube mic like a U47 clone, M49 clone, or M149?).

5. All of the above and live on the street with all the gear in the world.

I hope you get my point. I want to invest in good gear but I also need a reality check from you guys. And/or a bit of 500 series knowledge for the realistic option 2 (for taste reference, I love dark and thick-sounding vocals, but I know I need contrast in some elements). And it's not my main activity for now, but it's kind of the objective

Don't hesitate to tell me what you think, what you use, why you like it and what advice you'd give on it, i'm all ears. I also hope it helps others in the same situation.

Anyway, thank you in advance for your help!

Max

I might get a pair of 542 or Beriech density. Something like that. I don't get too worked up about 500 series comps. EQs and preamps, yeah.

Best thing would be to break this fever and get back to music. I have two API 10 slot boxes, so I know the sickness of which you speak. Better to go all junkie with the music and the tracking, mixing, and not what you have in the racks. But I get it.

The quality (or lack of it) in the last ten songs I made had nothing to do with gear. In fact, I may have overcooked an acoustic track dicking around with a rev f. And no, heroin is not easier to quit.

But don't listen to me. I'm the hot dog filler before people come along who really know what they are talking about.

This kinda GAS is flagrantly counterproductive and kinda self-destructive. Just stop. Change your mode of thinking entirely. Focus on the music, and producing music. Get more gear or replace gear only if you can't do something or something is not right. So yeah, option 1. If anything, a good ribbon mic if you don't have one.

Heh, lol.

I hope you first responders got there in time!
Whew!

I'm certainly not laughing at the GAS condition, but it IS funny how we all go through it. And how we try to prevent the same mistake in others.

And, I suspect, they won't listen, either.

After all, did we??

GAS is tough. Every penny ever on this junk...

If you have enough preamps great. Nothing wrong with the UFX ones and RND is nice.

If you need 500 mic pres then DAV would be great and cheap. There is a quite affordable SSL one too.

Be tempted for a pair of EQ and RND would be obvs to complete the set.

And yeah a different flavour comp for tracking not a bad idea.

Build the 500 stuff up over time when bargains appear.

Few more mics are good too and you always keep them not matter what fashions come and go.
Usual suspects CM4, OM1, OC818, KM18x, Schoeps. Not a new 414 these days I feel, old ok (BULS probably most modern that's acceptable IMHO.)

Or you can be a real man and walk away, and don't look back. The GAS man's comin'!

I vote 1 but 3 is more my style

Room treatment, followed by mics, followed by monitoring, followed by comps, followed by pre's, followed by converters.

Given where you at: buy mics. RE20 works on many things. AA OC818 is probably the best and most versatile LDC mic you'll currently find under 1k. At that price a steal. Beyer 160 for a good ribbon not breaking the bank.

That said: what are you monitoring with?

I’m a nr 5 kind of person, but I recommend 2.

Specifically, I recommend to buy a pair of Derr-essers by Empirical Labs.

You get the most recommended de-essers and they only exist in 500 form (there is their bigger 19” rack Lil FreQ but it’s not exactly the same).

And - you can use these for high frequency limiting which can be VERY useful if you record as you say:
- vocals
- acoustic guitar
- trumpet
- violins

In fact, those are the exact sources I would want a high quality hi frequency limiter on.

And if you get two - you can also put any stereo bus or whole mix through it, which is what they did for analog masters for vinyl. So if you want a bit of that sound that could be the thing to do

Resale value should be good too. Get those and make some great-sounding music without high frequencies from those sources that suddenly pierce through, and without having to lower or squash that whole track.

Can save some editing time too with non-musical sound artifacts being smoothed out or limited. Especially useful if they’re certain sounds that can come of acoustic guitars and violins as you change grip and such

if I was starting again I wouldn't even get 500 series, I'd go with full size 19'' rack units, they are often better made, higher headroom, and worth the extra premium price, but seeing as you've already invested in it I'd get hardware EQ, I do like my elysia xfilter 500 a lot, although it's quite 'clean' it can allow me to EQ things far more agressively without it sounding weird like plug ins can, to me an EQ shouldn't have a sound or character which is why I ended up getting it and it's not dissapointed me once, it's also true stereo and is good enough for mastering as well as anything within a mix, really versatile, I was going to get 2 x SSL EQ's but am glad I went with the elysia.

I got a feva. And the only cure, is more preamp.

There are no perfect cars just as there are no perfect guitars. The closest thing to a perfect car is an older BMW. Not a new one Sharp, an older one. Upgraded of course. It is incomparable to other cars even a Mercedes and the only machine I can think of which is perfect except for its looks. But looks are important. Way too bland and conservative, annoyingly so, incongruous with its performance. Imperfect.

Yeah modern BMW are boring and all the same.

And in the UK they have just doubled the annual tax to drive one. A 330i is now about £750 a year to own. Muthas.

I wouldn't say it's perfect, but I'm still happy with my triple-black '04 330ci convertible. Always garage kept, and still under 100k miles.
I enjoy taking in various 4th of July fireworks shows with it. It's become a bit of a tradition that my wife and I enjoy. Just pull up, lean back, and enjoy the show.

The Appalachians in the fall are breathtaking, as well.

Hey Max,
first of all welcome on GS!

I'd say that with what you have you should be able to get pretty decent results already.
the real question to ask yourself is: what are you missing? What do you want (to achieve) from a sonic perspective?

IF I were in your shoes, the first thing to do is not going into debt for this!

Generally speaking I'd tend more to the number 4, and invest your money better, in high quality stuff and have plan for growing slow, step by step, with time, knowing what you want and buying quality pieces that will last a lifetime. Buy once but good!

This is what I'd suggest, as an optimization (and growth) of your setup.

1. Investing in better mics is the way to go!
the first mic I'd suggest you is a (even just 1 single at the beginning) Schoeps with a mk4 capsule (or whatever capsule/polar patter you prefer, also depending on how your room is), this will be a game changer for recording acoustic instruments, like violin, ac gtrs, etc..

2. I'd sell the 214 pair and get a pair of Austrian Audio OC818 instead
When used with the Polar Designer plugin will give you all the polar pattern you want in post (also per frequency range... it's a pretty powerful tool).. ideally you want to use 4 channels of the same preamp, with the same exact gain like the ones in your UFX II.

3. if you want a 47-style tube mic, the Horch RM2J is the way to go. Also quite reasonably priced for what you get/how it sounds. You already have a Neumann which is great!
Other Neumann's with a smoother/different sound than the U87 are: the TLM67 which is quite "mellow" sounding (it could also be converted in a real tube U67 with the Max Kirchner mk67 mod body swap, so it becomes a tube mic, although even out of the box the tlm67 is a pretty useful and good sounding mic, if you want a less “abrasive” condenser option to a “regular” FET condenser mic) and a TLM170, which is also a solid state mic, but it’s quite "neutral", less top end boost than in other Neumann). But since you already have a Neumann U87 (and the Lauten), would probably go for the Horch tube mic.

4. for your ribbon desires an AEA R84 or a Coles 4038 are great additions!
They are not too expensive, after all (although there might be cheaper alternatives, none are at this level imho).
Although some ribbon mics are pretty cool for specific uses, like the very cheap Tbone RB500 on gtr cabinets and drums too). (The Kerwax Melodium 42BN is a fantastic ribbon too, but costs much more, and the other two mentioned above are really good too imho).

This section below is for expanding your options, but you need to understand IF you really need these..:

(5. Maybe a used Sennheiser 441 for the horns/trumpet, it works nice on that, although you could decide to skip that and use only the ribbon. )

(6. I'd sell the R6 and get a 10 or 11 slot lunchbox, so that you could add some modules in the future, and having a better power supply/modules/cost ratio.)

When budget allows you can add few selected pieces
(not that you have to buy all of these, obviously, but just to give you a list of the VERY best, imho, modules you could find on the market and pick the ones that you need):

- Avedis MA5 (neve-ish with very high headroom, also offers the 28k button to use for opening up these nice ribbons! )

- Avedis MD7 (for a smoother API-ish type of sound and a killer DI , which also allows to insert pedals while tracking if you want)

- Crane Song Insigna EQ (fantastic tube eq, for a "soft" sounding yet "clean" tube approach, it also have filters which is great)

- Electrodyne 511a (or the new B version with more frequency choices), a fantastic sounding 2 band eq..

- Pulse Techniques EQP-500x is a great solid state pulteq eq with api 2520 opamps in the output stage.. really great sounding!

- Avedis E12G, an incredible 12 band graphic eq, that is very nice, svelte, fast in decision making, perfect for tracking.. very classy as everything Avedis does.

- Avedis E27, is already a modern classic, very high quality gyrator based eq.. if you want a punchy, more "electric" feel out of your sources, fantastic bottom end and air frequencies.

- the upcoming Cranborne Brick Lane is a pwm compressor with several different modes, it might be a great tool for a LOT of sources and at an affordable price. Not out yet, but hopefully soon.

- Heritage Grandchild 670, a stereo tube varimu in the 500 series with a very nice vibe (I'd be careful since Heritage doesn't have a good track record with repairs, but this unit sounds good, dunno if will take the test of time)

- Tree Audio Comp, is a vca comp that simply sounds very good (before was named Bad Boy made by Inward Connections, if you want to do some research), high headroom, high quality. Can't go wrong with this.

- Serpent Audio the Splice MK2 500, is the FET compressor (1176 style) you might want, it also have two different modes, blue and black mode.

I hope this helps,

howdy

Cheu

Thank you for sharing, it's nice to have this kind of feedback too, and you're right, music first.

Thanks for the wake-up call. I have to say that all of your (kind and respectful but realistic) messages triggered the other syndrome I have (and it beats them all): Imposter Syndrome. (+ I'm struggling with a mix right now), and it actually calmed the damned GAS!

Thanks! I'll look into the list, but calmly and solution-focused as suggested!

Adam A7X on good stands.
Not perfect, a bit harsh and unbalanced in a way. I'd love to change them, but I'm quite used to them, and they do the job. Feel free to share your thoughts, of course!

I'm gonna ask the forbidden question, but… a plugin at the end of the chain (but still in the recording path) can't do that for me? I feel like I want hardware for its character and playability, but maybe I'd gain from it!

I thought about going that way, but I live in a fairly big city and don't have the room for it, unfortunately. That said, I don’t want too many 500-series modules either. I'm actually looking into a real mixing desk with built-in 19'' racks for my next big upgrade if I go full pro.

Unexpected turn of topic, haha, but I agree. I'm actually passionate about cars, especially old BMWs, but I'm sticking to my 2002 red passion 1.8L NBFL Mazda MX-5 (Miata) for real fun and sporty drives. That said, it's a bit off-topic now. Thankfully, I'm not suffering from "Car Acquisition Syndrome" like some of my friends, but I do have the GAS to deal with!

Anyway, as a final word for this first round of answers (and hoping for more):

- First, thank you for the nice words and the "reality check." I need to focus on the music, especially right now. You’re right—I’ll wait for the next real "need." I even bought blank placeholders for the last two slots just so I wouldn’t see them empty and waiting!

- I'll look into a good ribbon mic because I love the "ribbon sound," and I'm sure it could help me achieve my dream dark and thick sound (+ it works great with the silk option of the 511s). As for LDCs, I think I already have what I need, but I was curious about a clearer-sounding LDC. However, I hate harsh-sounding stuff, and I can't seem to find mics that sound clear without also being harsh (and budget-friendly).

- For my 500 setup, I'll stick to filling the last two slots with two different-flavored EQs… or maybe more preamps, as suggested. I also like to "pre-mix" (by printing) main mix elements with it, so EQs could be great for that, and also for bus processing... What would you suggest? I promise I won't buy anything right now—I'll wait for deals!

Thanks for the precise and personnalised answer!
I'll look into everything.

You're right on many levels, I'll just try to take my time as suggested, but that's frustrating I want it all now!

I had the 214 pair for cheap, I use them on rythmic guitars and so far it suits that purpose. But I'll look into the OC818 if I find one to try!

For the ribbon i'll look into it, I love the idea, I think that'll be the next move.

For the tube mic also, i'll take my time but I like the idea too, thanks for the models.

As for buying a 10slots, I believe it was a wise choice to only buy 6 for now (didn't see the GAS comin' but it's something), I'll also think about it when the mic collection's up to speed!
But duly noted for all of the suggestions, I'll try to have a listen to all of this!

Thank you, I see I have more geeking and testing coming up, that's always something to delay the urge to buy gear now

I was not asked directly, but if you want better monitors there are some good (better) options..

Monitors are also a personal thing, to some extent a matter of “taste”, but more importantly they are part of a system, and that system is the ROOM, your room.
If it’s well treated (and measured to take care of the biggest issues of that very room) it’s then worth to invest in a good pair of monitors that could stay with you for the next decade, at least. Buy once, BUT GOOD!

In the same (more or less) price category you can find the Abacus C-Box 4, which are small and cute little wonders.. sealed cabinet, good quality drivers and a quite unusual approach with how they are amplified/xovered..
They sound pretty good for their price, and they let you hear what it’s in your recordings.. it’s a step up from what you have now..

BUT I’d suggest to make a real step up, so you could stay with these new monitors for a LONG time, hopefully.. that step up means being in the 4k territory for the pair.
There’s nothing below the 3.5/4k range that is really worth considering, IF you want to do a step up.

- Sky Audio Verdade II (with an Abacus or an Audiophonics or any decent amp that you might already have), these are an incredible pair of passive monitors, very high quality, and you’ll need to invest at least double their price to come close to that performance. Unknown gems. Highly reccommended! These are probably your best bet imho.

- Abacus Mirra 14 (or Mirra 15 if you need the vertical orientation), these are a little bit above the 3k mark for the pair. These are, again, a very nice sounding 3way proposition from Abacus.
Very good price/performance.
These guys know what they’re doing. Also not very well known unfortunately, they definitely deserve more recognition. You can find some reviews online (in german, but today you can get it translated easily).

- KSD A200 mk2 could be another good option for a compact 3way loudspeaker around that price.

- ATC scm20asl used could be an option too around that price, these have a different presentation, where the bass is quite fast and “lean”, but they’re incredible mixing monitors imho.
Some wants/need a sub (in which case makes them more expensive and you need to get a sealed sub for the best integration, from Rythmik Audio, Bag End or Subwoofer Pro’s).

- Alcons should come out soon with their MR series monitors.
The small Alcons MR5 are definitely something to consider too..they do very high quality stuff!
dunno the price yet though..they’re not on the market yet (as of today, beginning of april 2025, I can imagine they might be more than 4k though). I’ve heard some prototypes last year.

I’m not a big fan of the Neumann’s, although they’re well made loudspeakers, I find their lows and lowmids don’t translate well in the real world.. and they’re a tad too “soft” in the mids-highs..

The Hedd are also well made monitors, but I still think their delivery is not very “natural” (it’s too “fast”) due to that specific amt tweeter (that adam also uses, at least a similar one).. although is better implemented in the hedds (and they have retty good mids).

I’m also not fond with genelecs, for different reasons.. although their coaxial series are not bad when calibrated.

I hope this helps,

howdy

Cheu

Thanks for the suggestion!

I do have a decently treated room (done with REW and many panels) but it's not perfect because a bit small and not perfect in dimensions (and I record in the same room).

The A7X were my expensive "buy once but good" when I started to take mixing seriously 6 years ago and I've been learning on them so it kind of works.

But i thought of it too recently, I sometimes make better calls on headphones and I'd love to buy better monitors, but 4k is quite a big investment and it takes time to "re-learn" to hear new monitors.

I'll try and pop by a music store to have a listen to my tricky mixes though real good monitors!

I came here to spend less money and now i'm 2K ribbon, 4k monitor, 1K LDC, and 1,5k 500series deep
At least I now have a perspective on spendings, thanks!

How many channels do you record simultaneously? You have a pretty decent set of mics, a good converter with four very good and clean pre's. Two Neve pre's to add, for a total channel count of six preamps You don't record drums - do you really need more? Mics will make a much bigger difference than preamps.

Hence I'd go either for more microphones or for better monitoring. Cheu suggested a few. I'd like to add Amphion and also recommend HEDD, which I don't find unnatural at all. They are indeed similar to Adam whose original founder Heinz Klaus is heading the development at HEDD. The tweeter technology is the same, with some changes applied. I find them a tad more refined than Adam. Give the Type 20s a listen if you can.

Abacus - nice to see them mentioned. No nonsense hifi-brand from northern Germany. Recently trying to push into the studio market. Haven't heard their monitors but I'm pretty happy with their little DAC-head which while simple plays above it's class.

As for mics: RE20, works on a lot of things. Guitar amps, Bassdrums, voices. Not a sexy mic maybe but one that is on a million great records.

My point is that it’s not worthed to do a side move and get something slightly different (slightly more expensive) than what you have now (with monitors).
Then stay with what you know already.

That price range of 3.5/4k is what is needed to get really better drivers/loudspeakers, a substantial upgrade, and one that you could keep for the next decade, due to their quality.

The next step to get something better than that is more than double that.. about the 8-10mark (today in 2025).. and this is already a matter of diminishing returns for your invested money.

But that 3.5/4k is a reasonable place, that allows the manufacturer to put some real quality in there and build something solid, that can translate well and last a long time.

Otherwise will probably happen the following:
1. You get your choice of a 1.5/2.5k monitors..
2. You’re happy they react different (and hopefully a bit better than what you have now..)
3. After a while, let’s say 3-4 years, you notice that you should get to the next step with your monitors..
4. You buy your 4k monitors of choice (given the inflation and increased cost of living that 4k monitor pairs costs now probably even more)..

So instead of investing 4k in the first place, you invested about 6k (or more) losing money and your time (since you would probably need more time for mixing the same thing on the less “capable” monitors) on a pair of loudspeakers that don’t bring you “there”.

I’m on atc scm25 since about almost 15yrs now.. I bought them second hand and it’s the best investment I made after my Neumann (and schoeps) mics.
If I want I can still sell them tomorrow, and get all what I payed for them..
And meanwhile they were able to save me so much time since I was able to take decisions much faster, and the mixes translated much better too.

At least this is my experience.
Buy quality, not quantity. Buy once, but good.

This is where all my suggestions comes from, real world experience, and knowing what/where is the quality (also beyond the usual most marketed brands).

I hope this helps,

howdy

Cheu

Thanks for the feedback!

I will not record more than 4 tracks, usually 3 (Stereo + Room), and I mostly do mono. I don't need more preamp inserts, just thought of more preamp "sounds and colours", and wanted to be able to do BUS processing hence the coloured stereo path.

But I don't think I need more right now you're right. Though as much as I love the clear RME pres, I have to say that the not so coloured RDN 511 pres give a radically different and pleasing sound (on my U87 for example) and not only the free EQ thing, I compared directly EQing the RME pres by ear to match the 511s and it sounds the same in solo but very different in the mix, especially when given effects like comp and EQ) so I kind of flipped when I started to see the potential and developped my GAS that very second.

The good thing is that the RND 543s have many options (Feed-back/feed-forward circuit, Peak/RMS comp, Low Sidechain) which makes finding the right sound for the track very easy and fun. (They're just a tad strong on the higher mids saturation for the U87 I feel sometimes, depending on the mode, giving the "Sss"s a "no teeth" quality sometimes to my ear, but avoidable and better than pure sibilance, I'll give you long term feedback)

For the mics I've been trying to get a used RE20 but didn't find one yet, but yes it's on the shortlist I love it too! It's bound to happen soon.

As for the monitoring I'll think about it for the next steps depending on how the music income goes too, I still want to stay realistic in terms of "business".

No of course I agree, 100%, sorry if it wasn't clear.

I'll look into buying new monitors for good (used if possible), I'm just talking about taking my time for the buying part of it. But yes if I upgrade I'll try to get something I will not change.

That's my point of view for any gear, that's why I switched from 89€ mics to 1-2K€ mics without any additional step.

As for the mics I'll probably look into everything you mentionned, thanks again.
So far I tried to stick to big references (like neumann) for clients and resale value, but I'm very interested in this tube alternative you mentionned (Horch RM2J), and will look into the TLM67 too).
I just don't want to rush and get more mics that I know how to properly use.

But thank you very much for all of the answers, it helped me get out of the 500 series "rush" I was in, I really need to focus on the weak links in my chain and I believe right now it's the monitors, then the mics.

I'll maybe still try and find EQs or have one EQ + one special comp for colour cause I love using it while mixing too (and it helps me have fun in what I do and that's also important), but not right now and I agree, I need to stay focused on "Making good music", that's what's important.

But you got me interested again in new monitors, I'll seriously look into that, thanks!

Take your time, try to test the stuff yourself when possible...
even better if in your room with your own gear.
You can take a lot of BS (or personal bias, or personal "taste") out of the equation.
Good that you're thinking at resale value too!

Regarding the Hedd (and even more about the adam that you have), what I find "unnatural" is how "fast" the transients are in the high-mids...

what I mean by that is that no other loudspeaker in the world (that doesn't use these type of amt tweeter) sounds like that...
all in all hedd is a step up from adam, but I still find their sound quite "unique", so I prefer something that is more "realistic" with the delivery.. if this makes any sense.. (and btw the type20 is also about that 4k mark).. They have great mids, very open sounding though, and quite a good lowend.. wouldn't be my first choice, for the reason explained above.

The Sky Audio Verdade II mentioned above also use a similar tweeter, BUT their delivery is completely “natural”.. very different from adam or hedd..
the alcons also uses a ribbon tweeter, or pro ribbon as they call it, which is an evolution of an old philips patent.. incredible loudspeakers, they make one of the finest PA loudspeakers (especially for acoustic stuff imho).
Just to say that not every amt or ribbon tweeter is/sounds the same.

anyway the lists I made are some of the very best modules and gear/mics you can find on the market imho (for what you were looking for).

I hope this helps,

howdy

Cheu

I was unaware of the current monitors.

Yes, I'd be changing those before anything else, ok for listening to some music while cooking but not for any critical judgements.

If you can make ATC land you will not buy more monitors.

nothing wrong with the 500 frame you can buy good quality gear or entry leval gear you get what you pay for most often
if you dont have enough head room in a 30 plus volt swing its not the gear.
lots on consoles run on 15 to 16 volt bipolar swing.
and yes theres lots of cheap 500 format gear not worth looking at.
as for quality there is a LOT of 500 format gear with supper build quality better the a LOT of cheap 19" rack crap I would take if you gave it to me.

Lots of good advice already.

Don't be afraid of looking used and waiting. I have The Box and a 3124. Eight preamps is fine for what I do. I have a Carbon, so once in a blue moon I'll use one of those for something more transparent.

I picked up an API 8 slot chassis with the Vintage King ears at GC Used for $350. All I wanted were some eqs to use with the 3124.

A couple of weeks ago, I found an identical 500 chassis at GC Used again for $325, so I bought it, but it's empty. I was thinking about maybe one of those AMS Reverbs, an SSL Bus Comp, and perhaps a couple of other things, but I don't want to spend money for the sake of doing so.

The 500 series modules are cool, but I can see it being a way to spend a lot of money. I use the eqs when tracking and sometimes patch them into my summing channels.

At this point I'm only going to look for used/blowout modules. YMMV.

The API chassis is really good. They pop up used and I haven't heard much bad about them. No hums, plenty of power, nice build quality.

Well again thank you so much for all the info

I'll have to agree with you on this one. I was very much impressed with the adams when I first listened to it, cause of the detailed nature of the highs (and cause my last speakers were sh...)
It's great for compression work on the highs but I tend to have some trouble on the overall representation of the dynamics (and frequencies too tbh) of the whole spectrum, and often end up having dull or thin rough mixes and need a lot of cross checks.

I've recently listened to some PMCs and really liked the "matte" aspect of the sound for example, I could really hear the RME UFX pres signature sound (even though they're transparent, they do have a sound) in an U87 and was impressed with the "easiness" of the frequency representation.

I've read wonders about the The Sky Audio Verdade II, but I don't have any resellers nearby so I don't think I'll be able to listen to it without actually having them sent my way.

I think 4K is a realistic budget and will definetly stop me from buying anything else anyway cause I cannot afford to spend that much more ahah.

If you buy monitors - which I too deem the proper course of action - make sure you get to try them in your room, with your music.

There really is no substitute for this step.

Also I'd keep the Adams for at least a while. Not only as a second pair but also as a fallback if your new speakers confuse you. Happens quite a bit during the transition period.

Yes I'd keep them and occasionally flick to them and then congratulate myself for buying other speakers!

-> Stupid question then but Do you buy different pairs of speakers and return them only to keep the one?? Or you have friends & acquaintances with said speakers allowing you to try?

Thanks for the tips!


Ahahah I can feel that

You’re welcome!
Sky Audio is a very small operation.. 1 or 2 man operation business, I believe..
I imagine in most cases they sell direct.
Small business.

Try to write them an email and see if they can send you a pair for testing/demo.. they are very friendly and they reply fast.

You might lose the shipping, IN CASE you don’t want them, but it might be your last pair of loudspeakers.. worth the try imho (I believe they will stay though.. )

Dennis Busch is the guy taking care of the practical stuff/distro (at least it is for my country) very friendly!
Shoot him an email.. see what they can do.

I’m thinking of getting a pair, but I’d like to get their Mestrado model (which was on the old website and I believe they’re not doing anymore, unfortunately.. was basically a more expensive version of the Verdade II).

I know that abacus offer a demo package for their stuff, and you pay a “fee” that will be returned if you then buy the goods. It’s usually around the 50 or 100 euro, depending on the product I believe..
but it’s a great way to test their loudspeakers, and send them back in case are not for you.

The experience you get is priceless imho.
And the cost exists only if you DON’T want them, otherwise you don’t have any additional costs. So it’s a very low “loss” for a big real life IN YOUR ROOM experience.
So maybe Sky Audio can offer something similar?

I hope this helps,

howdy

Cheu