Some new toys in the studio...

Discussion in 'Recording/Live Sound' started by loudboy, May 12, 2006.


  1. loudboy

    loudboy Member

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    Soundelux Elux 251

    Another API 3124

    Sytek MP-4

    Purple Audio MC77


    We're starting tracking on a really cool Americana/AAA project tomorrow that I'm producing and playing on, so I'll have more on how it all works later...

    Loudboy
     
  2. elambo

    elambo Member

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    If your project will have guitars, drums or vocals, it's going to sound amazing with that stuff. Nice! The Elux is still one of my favorite mics, and through the MC77 it can only get better.

    Don't forget to post your impressions after you've run it around the block a few times.
     
  3. LSchefman

    LSchefman Supporting Member

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    Sounds like a nice set of new stuff!

    I have another Focusrite ISA 220 coming. I'm really looking forward to it, I love that box.
     
  4. duffyguitarman

    duffyguitarman Member

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    Great new stuff "Loud". I love my Soundelux mics(match pair of U195's and a U95). Been sniffing at the 251 for awhile now.
    Unfortunately, I only have the software version of the MC77. My friend and I have been threatening to take a stab at one of their kits.

    Man I love using API's for drums. To me they seem to have a certain something that makes em' a little more lively than others.

    Congrats.:dude



    Peace,
    duffy
     
  5. Bassomatic

    Bassomatic Silver Supporting Member

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    Aaargghhh-

    I've been lusting for one of those 251s for a while.

    Must....resist...!
     
  6. loudboy

    loudboy Member

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    I know it's hard to believe, but almost ALL of my projects have guitars, drums and vocals... <g>

    Tracked a '73 P-Bass thru the Purple today. VERY impressed. Did some rough vocals with the 251/MC77 a day or so ago. Quite amazing.

    We also have an E-47, which we love, it's just different than the 251. I own a U195, which can also hold its own, given the right singer. Huge bang for the buck on that one.

    The Sytek pre beat out the API on deck tom today, surprisingly.

    More to come as we put this stuff to work...

    Loudboy
     
  7. elambo

    elambo Member

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    I figured that, and actually I meant to say guitars, drums "AND" vocals (since you said Americana) - three things in particular for which that gear is very well suited.

    Although I don't use a P-Bass exactly, I almost always send bass to an 1176. For most types of music there's no better comp. for bass.

    What type of vocal did you record with the 251 (male, female, smooth, raspy)?
     
  8. loudboy

    loudboy Member

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    He was a tenor, on the thinnish side. Not an accomplished singer, but cool lyrics and melodies. The 251/MC77 combo was about everything you'd want it to be. Detailed and present, but not harsh. Big, but not tubby.

    We do a pretty wide variety of stuff. In the past few months it's been: German Oompah Band, Celtic stuff, fretless banjo, classic rock, Brazilian solo artist, several Coldplay/Radiohead-type bands, Death Metal, quickie bar band demos, contemporary Christian, etc. We don't do any rap, mainly due to not being set up for midi and sampling and things like that.

    My philosophy is to only invest in gear which: A. Makes my job easier, B. Makes my clients happier, and C. Gets universally great reviews.

    Thus, my personal rack consist of: GR MP1-NV, GR MP-2MH, RNC, Drawmer 1968 ME Edition, Distressor, MC77, Ashly SC-52.

    I've also got a Royer R-121, Soundelux U195, BLUE Mouse, a pair of Neumann KM-184s and the usual selection of 421s, 57s, etc.

    Nothing fancy or esoteric, but it usually gets the job done... Kind of like me. <g>

    Loudboy
     
  9. MichaelK

    MichaelK Member

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    That 251 is supposed to be just gorgeous on the right kinda vox.

    Me, I'm looking at a Lawson combo pack in the next month or two. Different, but the 251 half is a similar intention.
     
  10. MichaelK

    MichaelK Member

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    I like them on everything I've ever tracked with them.

    Aw, man, I missed you guys. :)
     
  11. elambo

    elambo Member

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    Spoken not like a studio owner, but an artist :AOK

    Studio owners would have had only ONE item: gear that brings in more money. In a sense, your criteria will lead to this one thing, but puts the priorities in the best place for making good recordings, as far as I'm concerned. I'm not a studio owner, but I have a great relationship with the guy who does write the checks and he has a solid understanding for the importance of fast, efficient, top-quality gear, even if I have trouble explaining to him how a piece of gear, by itself, will bring in more work. A Lexicon 960L will not bring anyone through our door, but when a piece of music hits the air swimming in reverb from a 960L there's an instant perception of quality. THAT brings clients through the door. That goes for vocals recorded with a 251, or a Lakland bass through an 1176, or a full drum kit recorded with API pres and vintage Neumann and AKG mics. When a client puts up a demo you've recorded with this gear, then compares it to a demo by another company with mid-level gear (production, arrangement, engineering, etc., notwithstanding) you've instantly improved your chances of getting the gig.

    Didn't mean to rant, it's just refreshing to see purchasing criteria that places the art first.
     
  12. LSchefman

    LSchefman Supporting Member

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    >>My philosophy is to only invest in gear which: A. Makes my job easier, B. Makes my clients happier, and C. Gets universally great reviews.<<

    I've gotten to the point where I only invest in gear that I truly need for a paying gig, or that I simply will enjoy working with. The people who hire me to write and record music never even set foot in my studio.

    So the gear really only has to please me.

    While I appreciate good gear, and invested literally hundreds of thousands in it over the years, the computer/cheap gear world has gotten to the point where most anyone can get a good sounding recording together (given a basic modicum of knowledge), and it comes down to one thing: the music. Not the studio. And not even the mix, sadly, though I think I am a talented mixer.

    Today I don't own half of the stuff I once owned and thought was necessary. I'm not saying this works for anyone else, I'm strictly referring to my own needs.

    If I like the sound of a piece of gear, and will actually use it, it stays. If it's going to be there to make for a cool looking rack (there are no visiting clients to impress), but won't get used, it goes. Period.

    I just finished writing/producing/recording for a major tire company's radio campaign, kind of an ongoing ad campaign I'm doing the music for. Get this: they asked for final tracks to be delivered as mp3s (!). I said, geez, if you want digital delivery, how about AIFF files or Wavs, they'll sound better? Nope. "Send us mp3s."

    This has become current reality. Mp3s. It's really, truly silly for me to give a crap about fussing over which mic preamp to use under these circumstances.

    I do realize that if I had outside recording clients coming in, it would make a difference in terms of selling studio bookings, but this isn't a concern for me. In my world, everything's dumbed down.

    On the bright side, this does save me money. :)
     
  13. loudboy

    loudboy Member

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    I did a piece for an Annual Sales Meeting for a VERY large film manufacturer a few years ago. I'd sent a mono 128B mp3 for approval. Guess what they used...

    Loudboy
     
  14. LSchefman

    LSchefman Supporting Member

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    >>I did a piece for an Annual Sales Meeting for a VERY large film manufacturer a few years ago. I'd sent a mono 128B mp3 for approval. Guess what they used...<<

    It's going that way, which is really a shame.

    I love good audio, and granted, you have to start with something basically decent-sounding even with mp3, but a lot of the details that you hear on a good master are pretty much out the window.

    It's really disappointing, in a way. Then again, I replaced one of my filled-up racks with software, and no one seems to know the difference.

    Of course, the software HAS improved a lot in the past coupla years, but it's still not quite the same. Then again, WTF! ;)
     
  15. gtrnstuff

    gtrnstuff Member

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    That's frustrating, but given the acoustics and overall audio quality for most corporate gigs, I wonder how much better it could have sounded in the room. At least at the local "world class" convention hotels I've played, you may have a 500ms slap that infects everything, or the vocals will drown out any nuances the live band or backing track may have had. Keep saying, "at least it's not a cassette..."
     
  16. Red Ant

    Red Ant Member

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    Do you? I'm sick of them, quite frankly. The pre's, for all the hype, are kinda cold sounding, and god forbit you hit one a little to hard! :eek:

    The EQ is nice and precise, but again, i'm sick of its color (or lack thereof)


    Its too bad really, as i have 4 channels of ISAs :(
     

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