a/d converters

[michaelwookey]

So... I'm about to start recording someone and he's being a bit of a pain about the gear I have. He only seems to want to use Neuman microphones and today talked about getting hold of a standalone A/D converter.

I have never really considered AD conversion... my soundcards have always just that that included in the box (as I think most do)... but when I told him that he said that there was no comparison between a standalone box and a soundcard... I don't know if this is true? Can someone please explain this?

It's perhaps a different conversation, but I think there really isn't too much point in having amazing studio equipment if you have no studio to use it in? It's clear that you can't have a weak link in your chain, but people seem to forget that the weak link can be the room and the instruments as well as the recording equipment... I dunno.

Michael.

[Snarl 12/8]

What exactly gear do you have? What mics? What "soundcard?" Are you just talking about a soundblaster?

It sounds like you might not be the guy and/or have the gear for this particular gig. There's no shame in that. You might do more for your reputation by passing on this than by trying to convince this guy that he doesn't want what he wants.

I do agree with you (I think) about having an actual studio room being the most important part of the chain. I'd rather hear a great song, recorded in a great room on an iPhone than a shit song recorded with Neumanns in somebody's untreated bedroom.

But I'm a total hack. Let's hear what the pros have to say.
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Carl Keil

[trodden]

I'd be concerned about recording someone if they're more interested in the gear I'm not using instead of the capabilities of all parties.

I bring and often use mics that I own when working in other studios with many "big name" mics available. No one ever has a problem with me using, say a CAD mic on something even though there is half a dozen u87's available. In the past, I've spent way too long trying to get a "big name" mic to work, because they're available, to then resort to one of less of a price tag that I'm familiar with and know will work.

I'd be more inclined to spend time with someone who likes my company, trusts me to try my best, and who can take the time to write interesting music rather than tell me what I need to get in order to work with them.
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[kslight]

By all means if he's willing to pay for it rent the gear he wants to use, otherwise send him on his way. Clearly he's the expert in this situation, don't be an obstacle in his creative pursuits (sarcasm).

[michaelwookey]

This is what I thought about it - I know my equipment well, and I know how to make it sound good. I've often recorded in big studios and chosen my equipment over what they had. I don't think the cleanest option is always best.

I don't have anything fancy, but what I have isn't noisy and is all pretty transparent sounding. The soundcard I use is a simple focusrite saffire 10 and I have two extra focusrite preamps. I have a large collection of mics - some that just sound normal and some special things that I use a lot in my own music but don't often use with other people - things like taxi microphones and an old reslo ribbon microphone.

[kslight]

[farview]

Why is he coming to you if you don't have the stuff he thinks is necessary?

I've been in this situation before: Someone comes to me because they are impressed with the work that I have done, and then they try to make me use equipment that I am not comfortable with, use methods that I've never used before, etc... and then wonder why their project doesn't come out the same way as the other stuff I've done.

If you come to me because you want to get my results, it needs to be done in a way that gets my results...most of the time that means my way.

Obviously, if the guy has a favorite mic that works well, I'll use it. I'm pretty flexible, but if someone comes in and plunks down a bunch of equipment I don't know how to use very well or doesn't do the job as well as the stuff he is turning his nose up at, it's not going to end well.

It's madness. I've finally gotten to the point where I just send them to someone else who works the way they insist on working.
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Jay Walsh
Farview Recording and Farview Audio

[michaelwookey]

He's not paying me... that's the thing. I usually charge for my time, but in this case I liked actually this particular instrument he uses and it caught my eye so I offered to record him... and now he's all on his high horse about the equipment not being like abbey road standard or whatever. I've recorded a lot of people with what I have and I have my methods that I like to use so it kind of seems strange to break those, especially as it's for no real gain (I'm pretty sure it'll turn out shitty because I'll spend too much time thinking about things that would normally be second nature)...

I think I'm probably just going to decline my offer.

[michaelwookey]

I do think that people know the big names and want that, but actually it's not necessarily the best. Anyway, I don't have the big name stuff.

[calaverasgrandes]

some folks have as much recording sense as can be gleaned from an article in EQ. Just enough to ask for an outboard AD converter, not enough sense to hook one up!
Honestly, even though I know how to mic, eq and edit most things rock and roll, when I am being recorded I keep my mouth shut and let them do what they are their to do. I'm the bassist and I will not be soliciting input on my bass playing. So it wouldn't be cool to be second guessing the recordist.
Until of course, they start really effing things up. Then they get an earful.
(really, you are recording 16 tracks into your computer, which has one hard drive for system and data, and you are surprised that PT locks up when you updated it just an hour before the session?)
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