Another great discussion thanks guys, Ed, I'm not 100% sure I understand when you say "Zoom wide" in Pro Tools but if you are referring to the mixer/faders then you can expand the channel width visually by 1 step using the shortcut, Option-Command-M. For the Edit Window, you can zoom in and out horizontally with key commands R & T (R for zoom out & T for zoom in with keyboard focus enabled) but you may already know this.
I've had Neve, Focusrite ISA and SSL racked mic pres but my favourite is the SSL SiX mixer - two Superanalogue mic pres, two "channel comps" with basic EQ and "G bus compressor" with latency free monitoring! No brainer at less than 1000 quid! I also use it for summing (12 channels!). THE BEST studio gear I've ever bought is the Herman Miller Aeron chair... wish I'd got it 20 years ago!
For recording a good quality mic/line pre-amp with absolutely zero latency monitoring is essential. Also the use of extensive eq on the way in while recording can help the artist perform better, as long as you don't distort the signal eq can always be undone afterwards. Be careful with compression because unlike eq this cannot be undone but light compression can help the performance too, specially on vocals. For mixing good monitoring is absolutely key, like you guy's mentioned, you cannot mix what you cannot hear. Don't underestimate acoustic treatment, make this priority number one. Buy a measuring microphone and measure your room, every little improvement you can do with acoustic treatment outweighs the results of just buying better speakers.
@@danielleepperson3772 That’s a difficult one to answer. There really are not so many cheap options available. If you go for a good external pre the prices go up very fast. I would recommend to safe up some money and get a real 1073. If you want to use it for recording vocals maybe even consider a channel strip. My favorite is the 1073DPX it’s pretty expensive but you can use it with the transformers and eq as a color box on a mix-bus and use it when tracking vocals or use it on overheads on drums. A good analog eq starts from a thousand, a good pre-amp too so taking that in consideration it isn’t that expensive. You probably have a tool that you can rely on for the rest of your life.
@@danielleepperson3772 I think a pre-amp that's worth buying coast at least 500 bucks. Below that it isn't interesting imo. Beter save a little bit longer and buy one from 500 bucks or higher, otherwise the pre-amp in your interface will probably be just fine. Also it depends what kind of pre-amp, a clean sound or one that you can drive and has more color.
So I have imagined my dream studio that I would open for business. At the heart of it would be a hybrid console that will connect with the computer. So yes, it does play with expectations. But I do think that it will aid in the workflow because I like the tactile feel of working with faders and knobs, though I’ve been using a combination of keyboard and mouse. There will be more “options” I will offer as far as microphones and instruments too in a very simple manner and I’ll leave it at that 😁. And yeah, this is why I leave “essays” for comments … I enjoy listening to you two. It’s been said that the sign of a good business transaction, even if it doesn’t result in a sale, is if you can have a beer afterwards. I definitely will have a pint with you blokes. I’ll even hold the Audient monitors for ya =]
So with room correction software, you use harmon but remove it post mixing? The idea of it is to have a more "optimal" frequency response when mixing on headphones?
No room correction software. That's sonarworks. It's an eq tailored for those select headphones so they have a frequency response more akin to speakers in a treated room. That's harman. But yes the eq is always bypassed on export
@@WorkingAudioTools cool.... Thanks. That mix... That you recently did of I Can't Stop... You were using it with the multiband, at your usual 60%? I listened to that mix like 5 times! It's so good!
