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The Truth about Expensive Studio Gear

Discussion in 'Recording In Progress' started by Thin white duke, Aug 6, 2020.

  1. hemingway

    hemingway Poster Extraordinaire

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    Apart from really good mics, most people's home setup is better than anything the Beatles used. Think about it.

    Having said that, really good mics help. A lot.
     
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  2. hemingway

    hemingway Poster Extraordinaire

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    BTW, best video ever.
     
  3. Biffasmum

    Biffasmum Tele-Meister

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    Amusing bloke and fair points. If we’re really honest with ourselves he’s not pointing out anything we don’t already know.

    But I reckon the reason we blow so much cash on gear is because we bloody love it! :p
     
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  4. Lawdawg

    Lawdawg Tele-Afflicted

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    Good post with very good points, especially his points about converters.

    My only minor disagreement is about Gearslutz which really is a fantastic forum. They have a couple of forums dedicated exclusively to less expensive gear, which greatly reduces the issues he seemed to have with it. I think the challenge with forums like Gearslutz is you get a wide mix of hobbyists, amateurs, semi-pros, and big time pros all of whom have very different needs for equipment. Once you learn how to filter out opinions that don't necessarily apply to what you're trying to do, it's a great source of info.
     
  5. CupofJoe

    CupofJoe TDPRI Member

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    I recently posted about my Dot 335 but I’m so loving it with an accidental acquisition of a Princeton reverb reissue (long story) but it has driven me to put a mic down (small digital recorder for conference lectures) and record like nothing else ever has and heaven help me ... I might actually write a song! At least I have a lot more confidence in doing it, just saying...
     
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  6. Ed Driscoll

    Ed Driscoll Tele-Afflicted

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    A DAW is infinitely more flexible in terms of track usage and editing than the 4-track recorders that George Martin had to work with until the time of the White Album, but those Studer J-37s, with one-inch wide tape had a phenomenal sound, as did the whole vocal chain going into them: Neumann U47s and U48 into the REDD.47 pre-amp into the Fairchild compressor. Not to mention the acoustics of the studios -- and of course, the talents of the Beatles, George Martin and Geoff Emerick. If you ever get a chance to read the coffee table book Recording the Beatles, it's an incredibly detailed look at the equipment Abbey Road contained in the '60s, and how the Beatles et al exploited it.

    Good mics help a lot, as does good neutral acoustics. At a bare minimum, a Reflexion Filter or a couple GIK's Portable Isolation Booth panels and some duvets will help a lot when recording vocals, acoustic guitar, or hand percussion. Good acoustics in the room are much more important than owning the sexiest microphones.
     
  7. Stanford Guitar

    Stanford Guitar Tele-Afflicted

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    You gotta have lots of gear to make great music. I mean look at all the gear RL has in this video. Probably at least $20 worth here.....Talent >>> Gear.

     
  8. Stanford Guitar

    Stanford Guitar Tele-Afflicted

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    Billy Corgan in a hotel room with a tape recorder and acoustic guitar.

     
  9. cyclopean

    cyclopean Poster Extraordinaire

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    and how many of our home studio monitors have reasonable bass response?

    i know a techno dj who almost bought a vest with speakers built in which is supposed to imitate how your mix sounds on club speakers with huge low end.
     
  10. drmordo

    drmordo Tele-Afflicted

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    I think the moment I realized a studio environment wasn't critical when I started studying recordings and reading about classic albums that were recorded in rented houses. Those generally aren't audiophile-grade recordings, but most of them still sound pretty dang good.

    That said, you can learn an incredible amount from a single day in a pro studio.
     
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  11. Deeve

    Deeve Poster Extraordinaire Silver Supporter

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    I found the sermon pretty reasonable, esp where he called me out - I've just gotta hit the "record" button to see what things sound like, then adjust as needed.

    Unlikely that any pixie-dust will add a meaningful difference.

    Now, I've got a mic to plug in. . .

    Peace - Deeve
     
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  12. 24 track

    24 track Doctor of Teleocity Ad Free Member

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    this is too true!!!

    I have a ton of gear( lots were given to me ) but I always start as simple as possible and add to it from there to get my results the Kiss principles apply

    Also those behringer mic pres he talks about there, Kick hinny I have 2 of them and they sound great 8-in /8 out and adat lightpipe
     
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  13. TwangerWannabe

    TwangerWannabe Tele-Holic

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    Same could be said about guitars and amps. Many think their gear is holding them back, when in reality they just suck.
     
  14. Thin white duke

    Thin white duke Friend of Leo's

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    :lol::lol::lol: True...
     
  15. Thin white duke

    Thin white duke Friend of Leo's

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    ;););)
     
  16. klasaine

    klasaine Poster Extraordinaire Silver Supporter

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    Learning how to play well and being honest with yourself about your playing negates the need for expensive anything gear wise. Some of the greatest music ever was played on a $h1t guitar and captured with a field recording tape machine in a hotel room.
     
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  17. codamedia

    codamedia Poster Extraordinaire

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    Not the style of messaging I prefer, but certainly truthful!

    It's not easy to record something people want to listen to.... and affordable gear has never been the limitation.
     
  18. ping-ping-clicka

    ping-ping-clicka Poster Extraordinaire Ad Free Member

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    the truth is expensive studio gear for me is not going to happen. I am on a virtual budget that is to say all my studio gear is virtual
    , code , nice code , but virtual .but it never gets dusty.
     
  19. cravenmonket

    cravenmonket Tele-Holic

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    Obnoxious shouting aside, he's right.

    Gear snobs are largely just frustrated that high-end recording results are available to anyone with a few hundred dollars and the patience to actually learn good recording technique. Gearslutz is FULL of ex-professional studio engineers and even some producers who have been out of work for years since the home-recording revolution started twenty years ago, and artists realized they could have a very capable studio set-up of their own for about the same price as a day and a half in a pro studio. So, these out-of-work pros migrated to the message boards and started a campaign to exclude lower-cost studio gear from what they saw as the industry.

    Well, there is no industry any more. And very few bands pay $2,000 a day for a pro studio with trained and experienced engineers. Many artists today grew up over the last couple of decades learning how to use inexpensive or free DAWs and acquiring skills and low-cost gear, and through accident and experiment became very capable recording engineers. A vast number of extremely high quality records are being made by self-taught artists using their own homes and interesting acoustic spaces, and some cheap equipment. The revolution has been bolstered and accelerated by progressively higher-quality equipment from China with much lower price tags.

    The professionals who didn't have massive wounded egos and became Gearslutz trolls actually moved into the You Tube space, and now there are thousands of great instructional videos which explain every aspect of the recording, mixing and mastering process. If you don't know how to do something, it's because you haven't taken the time to find out how online.

    One of the down-sides to the availability of inexpensive equipment now is that many artists spend a lot of time producing their records, but not much time actually writing good material, or learning how to play and sing well. A great-sounding recording will only highlight a bad musician. When it used to cost serious money to go into a studio and record, musicians made damn sure they were ready. They didn't start to roll tape until they knew they could play it. That's why you hear these stories of bands getting great songs down in a single take. It doesn't happen any more, because it costs nothing to do multiple takes. And overdubs are seamless and edits are easy. So many finished songs are patched together from hours of takes, and that sucks the energy and immediacy and the life out of it. It's a trade-off. We have liberated the recording process and democratized audio production, but we aren't getting a wave of incredible records. It's more like a wave of mediocrity. Vast numbers of bad musicians releasing rubbish onto Spotify, only to watch it sink without a trace. So they buy streams and pay for social media shout-outs. So I guess there is an industry now, but it's very different.
     
  20. klasaine

    klasaine Poster Extraordinaire Silver Supporter

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    ^^That should be a 'sticky' at the top of every recording and gear forum^^
     
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