It's refreshing to see someone making great use of the whole spectrum of gear price range as there are far fewer people with Neve 88r's, and Fairchild 670's than without.
I absolutely love this stuff! I enjoy your videos about the uber expensive, super crazy studios, but a vast majority of people are never going to work in one of those, and we will never have a chance at buying any of the gear in them. But THIS, this is great. Yeah, he's got some hella expensive stuff, but he's got attainable items for us regular people who are doing our best out here. Great video! I literally just did the same thing. Came across an old Mackie 16:8 console. Completely simplified my workflow, and opened so many more options in terms of physical routing. What I don't hear them talking about though, is the price of all the cables you may need when incorporating a console into your setup. In my case, to hook up my console, patch bay and interface I ended up using 64 TRS cables. 24 out from the console (1 direct out per channel channel, and 8 sub bus outs) to the patchbay. Patch bay taking those 24 lines to the interface. 16 outputs from the interface back to the tape inputs of the console. If you're using the console just as inputs, you can certainly save a bit by not needing to go back to the mixer though.
The cabling is a pain for sure. I've built and managed a lot of studios for other people over the years and luckily I had the tools and most of the materials to wire things up on hand.
Haha i have that Realistic reverb, but i got it for free. Great small unit, mine give great saturation. I use mostly with my harshnoise project, but i'll add it soon in my studio rig
Fanbloodytastic studio set-up. The gear might be affordable ( Just like me own gear ) but I think when used to the best of your ability, you can achieve what you need to achieve when recording for sure. In a hybrid mixing set-up.....the world is your oyster. Great to see this kind of set-up. It's a pity that I myself have all the old gear....but no idea.....ha ha ha LOL. One day am sure I will get there and with the help of PLAP I am sure I can get better at least. Cheers for the great video, much appreciated. As a side note some of the older consoles could be used in the winter to heat up your studio ( or the entire house depending on the make / model ) as well as making music....he he he
I have a Soundcraft ghost standing in the back of the studio, unfortunately needs repair in the master section, never got around to having it done... but I guess my studio is a little too small set it up anyway.
I used to have a 24 channel Soundcraft Ghost console. The mic pres and the routing were superb for the price, with each channel having direct outputs, "channel B", and complete EQ with adjustable bandwidth for high-mid and low-mid. I used it with an 8-track Otari 5050 and, later, Logic through an RME Fireface 800. The only limitation was the size of the apartment I moved into, so I sold it six years ago. If I had waited a year and half I would have had space for it in the house I bought. I miss the Ghost.
I’ve been checking out a lot of your videos learning lots of great information. I wanted to ask do you have any experience with the se electronics v7? I know it’s better it record vocals with a condenser microphone but I do not have a treated room and I can not afford the shure sm7b that I often see used by artists for untreated rooms. I do however have access to a old wood shed my grandpa built. However he did the walls it is very quiet cause he built it to block out the loud sounds of the machines cutting wood. I’ve heard great things about se electronics v7 but it’s all about LIVE sound. My next choice would be telefunken m80 if I can find a used deal. Any thoughts ?
tbh This is more my style, less about gear snobbery and more about good vibes and creativity. There is just a little too much "cork sniffing" in some of these studio showdown videos, haha. But its all good tho, peace out
Ha! Back when I was a runner at Capitol I learned the importance of having plenty of sharpened pencils on hand. If the little details are right, the artists are that much more comfortable and have that much more confidence in you and the studio.
I’m rocking a 32 channel studiolive series iii w😊avb stage box’s. Daw mode for writing automation. I prefer the low noise floor of the pre’s. Matrix mix for general eq room correct😢per monitor after measuring on sonarworks. Fat channel for low latency compression and eq on sources. Poor man center peace.
I have a 32 ch Allen heath I use in a similar fashion. It really is a great tool for creating ease of use. I also have a Mackie 1402 for CD player, tape deck, pa system, etc.
I remember lusting over the Ghost console in like 1997. I would constantly pore over the full-color brochure which I ordered from the back of Mix Magazine.
Just regular moving blankets. There’s a cabinet behind with all my other drums and guitar pedals and mics. It was here when I moved in and has glass doors so popped some metal grommets some into moving blankets and hung them on a curtain rod to dampen the reflections from the glass.
Haha! No way!! I have one of those Realistic Electronic Reverb boxes, bought it new in the 1980s when I was on a Radio Shack budget. It was one of my go-to's for doing dub reggae mixes, along with my Roland RE-201 Space Echo (which I still have also!). I also have some Realistic condenser mics from the same era that I still use on occasion for hi-hats, overheads or horns.
Money Mark hipped me to the power of radio shack a long time ago. Seeing a musician of that caliber show up to the studio with nothing but some Casios and realistic speakers and mics made me realize there are good or bad tools, just tools.
Definitely not the easiest repair, have to take the whole console out to get to anything. Luckily it’s light enough I can do that by myself. Only ever had a few minor issues with it though, mostly dirty pots or an internal connector that needed reseating.
Originally I started watching these and getting jealous of all the nice gear, now that jealousy has turned into inspiration and project planning for building my own studio. Nice work Warren 👍
Thanks Steve! I’ve worked in plenty of those sort of places, and they often have no vibe and no instruments. Much rather work in a creative space with plenty of toys were we can be comfortable.
Ha! I love shoe organizers, cheap and convenient. Got one on every door in the studio, full of all sorts of supplies and all my xlr and instrument cables.
@@analogsynthesis I was always a sucker for pokemon stadium but goldeneye was up there too. I could never have a console in the studio. Wouldnt get anything done 😅
Thanks for the tour and thank you for all the posts. I believe the Bily Sheean group you were talking about is Talas. I remember seeing them at the Gasworks in Toronto, ON back in the day - awesome!
Wish I could get near some good Studio's but I fear my city is so uncool that they don't accept unknown talent & genius in... Love the that guys gear.. The tattoo mage me chuckle 😂
Billy Sheehan,'s band was Talas , ( pretty sure) . i saw them in a small club in Pasadena MD sometime between 1988 - 2000 . He was fantastic ( very Sure)
Too many years as a studio manager having to order and keep track of supplies. If I can quickly see I got plenty, it’s one less thing distracting from music
@@analogsynthesis Is there a particular reason you gravitate towards the ultra budget stuff? Very cool just wouldn't expect all those upgrades on them, I feel like the necks would bug me. I get the bronco though because of the scale length and weight or it. The arcade button mutes are genius, never seen that done before.
@@Disco-Terry the modern machine built super cheap squire’s have great necks. Often more consistent than the more expensive fenders. The bullet series in particular are great. I also use an amazing luthier who makes these guitars play like butter. The frets and nuts always need work but he makes them sing.
I grew my hair out to where i could get it in a ponytail. I could grab it and tie it back and it covered the bald dome at the back. And if i tied it too tight it took wrinkles out of my face like if id had a face lift. But evemtually the pony tail fell off and im back to myself.
@@analogsynthesis pedantic but i like it...you have great taste i miss all the weird gear i lost to theft. Thanks for sharing man it's a cool vibe you have going.
Flats are a useful flavor in certain cases. My basses and guitars are more about providing different flavors than what a musician may already have or normally use.
I got my Ghost for the same price. Never seen mirrors on a desk haha that's cool. It's so crazy how similar our setups are. Has the interface channel count gone up to 32 yet? There's a method to get 64 channels using MIX B FYI
@@analogsynthesis can you please provide a little insight into the pairing of the two? How do you like your mix with the dynamics from the Orion being mixed through the Ghost?
@@ET2carbon I’m mixing in the box, never on the ghost. If I’m printing outboard or reamping I may go through the console, but not always. The console is purely for tracking. Eqs, inserts and faders basically. Also extra mic pre’s. I’m never hitting the ghost very hard like I might on a neve, it’s more of a utility console for me.
Not really. The Aurora N clock is great. I used to have a setup with an older Lynx Aurora and an HD I/O. The system was much more stable with the black lion. When I upgraded to the aurora N, I kept the black Lion, mostly because I like the peace of mind of having the large sample rate displayed right on the rack and being able to change it quickly with one knob.
@@analogsynthesis thanks for the reply. I use a Lynx Aurora unit and a 192. I have noticed the occasional disconnect so maybe an external clock could be a solution. Thanks again!
