Understandable. Studios have lots of value, and because of the boom in home recording, a lot of people are acting as though they're unnecessary or a waste of money. Not true at all. If anything, I can now see what these places can do, and it's a lot under the right hands. But people must also keep in mind that 1). Not all music needs a studio. Records have been made on 4-tracks that, in many ways, couldn't have sounded better for the material. But then again, some people home record their work, and it just sounds like a pale imitation of a studio record. Depends on the stuff. 2). Some people genuinely can't afford to work in studios (myself included ... this is more of a freak thing). But that shouldn't make them give up, in my eyes. Work with what you have, and you'll probably surprise yourself if you work at it enough.cgarges wrote:True. And I wish more people would embrace this than argue the semantics of things otherwise. (How do I get the snare drum sound from the "X" record with a $49 condenser mic and $2000 worth of gear?) I guess I just get sick of all the "yeah, fuck spending money in a 'real studio' " posts that seem to pop up here often, usually from people who've not spent much time recording in a real studio or with an experienced and client-friendly engineer. I realize your post wasn't like that, by the way. I just thought I'd point out some good reasons to utilize a "real studio" for those people who might or might not see the value.Bear wrote:But my point was not so much to folks like yourself, who do this professionally. It was more to the people who don't have access to nice gear. And I think even you can agree that all this stuff is really awesome, but it isn't needed to record music. As long as you have a mic and a 4-track, you can make something. Something with the same sonic qualities and beautiful sounds? ... no, maybe not. But wonderful records are made on junk, so don't let junk stop you. Or whatever.
Chris Garges
Charlotte, NC
That being said, here's the gear list from this place. If anyone wants to give me some tips (there are too many mics for me to really get to know in the amoutn of time we'll be there), I'm putting together a notebook, for when I go back for more tracking I'll have a better idea of what everything does, or at least a starting point on such.
Mics:
2 Royer 121s
2 Re20's
2 Blueberries
2 Blue Bottles
1 Blue Kiwi
1 Blue Dragonfly
1 Blue Cactus
2 DPA 4011
Sennheiser 441
2 Nuemann km184s
1 Nuemann m149
2 TLM 103s
2 Special Edition Gold Plated U-87s
1 Nuemann Binaural Head
1 Collector's edition Microtech Geffell Gmbh (no. 23 of the 75 that were made)
1 AKG c12
2 AKG 414's
2 Earthworks QTC1s
1 Shure KSM 32
2 Sony C-800s
1 Shure 520 DX
1 "Manley Reference Gold Mic"
1 d112
2 Shure drum Mic Kits
2 AEA R84s
And a shitload of Shures and Senns.
Pres, Comps and EQs:
API 3124
3 Avalon 2022s
2 Focusrite quads
Earthworks 1024
Manley Preamp
Manley Compressor "Variable-Mu"
3 Pultec EQs
Manley EQ "Massive Passive"
2 UA 1176s
NEVE 9098 EQ
AML 8200 EQ
2 Distressors
A Fatso Jr.
Smart Research C2 Compressor
Tube Tech Compressor CL1b
Millenia STT1
TC Electronics TC Icon RS 6000 reverb
Sony Sampling Reverb Dre-5777
I'm all ears in terms of tips or starting points on any of this gear. After the ten mics I played with the last time, the Blueberry, the Re20 and the Dragonfly stodd out the most, and I loved the distressors. They sounded ace for what we were tracking. BUt I've only read about maybe half of this gear, so yeah. Advice would be grand, if you've got it.
