# Essential home recording gear



## RBlakeney

So, very slowly accumulating some gear to record, so that I can pretend to justify the amount of gear in my basement. I’m wondering what essential things I’m missing if anything, that I will kick myself for not having when I get started. 
I got a new Mac, for now I’ll probably just use garage band, I may upgrade to logic just because I have an apple gift card that will cover most of it. 
for mic’s I have an akg c214 and an sm57.
I have monitors, an interface, a little midi controller


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## Guncho

Headphones to wear while tracking, mic stand.

Do you have software to generate drum tracks?


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## RBlakeney

Guncho said:


> Headphones to wear while tracking, mic stand.
> 
> Do you have software to generate drum tracks?


Forgot. I have headphones and a mic stand also. 
I dont yet have specific drum software. I’m currently looking at a couple, and will probably try a couple free trials to see which I like.


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## slag banal

GarageBand has virtual drummer that’s good enough to get started.


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## dgreen

Before you go for logic, check out presonus studio 5 pro as well. I opted for that and am a lifer when it comes to using mac's.
Also on the drum software front? BIAB ( band in a box) software, a little pricey but nothing comes close imo. I have been using their product since 2013. Works flawlessly with Mac as well


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## Merlin

RBlakeney said:


> Forgot. I have headphones and a mic stand also.
> I dont yet have specific drum software. I’m currently looking at a couple, and will probably try a couple free trials to see which I like.


Addictive Drums 2 from XLN Audio is excellent!


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## bw66

Looks like a great start. I would pick up a couple of shock mounts and a pop filter if you're recording vocals.


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## RBlakeney

bw66 said:


> Looks like a great start. I would pick up a couple of shock mounts and a pop filter if you're recording vocals.


I have that also. The c214 comes with a shock mount and I bought a double pop filter to capture my beautiful angelic voice. 😆


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## RBlakeney

dgreen said:


> Before you go for logic, check out presonus studio 5 pro as well. I opted for that and am a lifer when it comes to using mac's.
> Also on the drum software front? BIAB ( band in a box) software, a little pricey but nothing comes close imo. I have been using their product since 2013. Works flawlessly with Mac as well


i Have studio one 5 or something on my other computer I was using. i liked it alright, I really assume they are all pretty similar at this point.


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## YaReMi

Very useful addition would be a reflection filter. I’m using an sE Electronics and it works great (unless my furnace kicks in ..). L&M has some of them on sale now.


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## KapnKrunch

Yer all set. Give 'er. 

Looking forward to your original songs in 2022. 

My son got me EZ Drummer for Father's Day. So "EZ" even I can use it. Definitely worth the money and I added a six-pack of styles on sale.


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## RBlakeney

KapnKrunch said:


> Yer all set. Give 'er.
> 
> Looking forward to your original songs in 2022.
> 
> My son got me EZ Drummer for Father's Day. So "EZ" even I can use it. Definitely worth the money and I added a six-pack of styles on sale.


Ez drummer 2 is in the very short list so far
we’ll see how 2022 goes for recording and writing, don’t get your hopes up 😆


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## ezcomes

Pop filter
Repear is a great DAW, easy and cheap
I use MT power drum kit...free...it comes wth loops to build your own drum track, its eazy to make your own midi drums, or, i plug my edrums into it and use them when recording


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## Greenbacker

Some sort of risers to get the monitors to a good listening height and reduce vibration. Yoga blocks are a good, cheap hack.


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## mhammer

Do you have a patch bay?


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## RBlakeney

mhammer said:


> Do you have a patch bay?


I don’t even know what a patch bay is, let alone have one. 😆


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## guitarman2

mhammer said:


> Do you have a patch bay?


I asked my buddy about this and he seemed to think my small set up wouldn't need it so probably the OP wouldn't either. I have 2 mic cables running to the back of my music room for my amps and I have 2 mic cables going to the left and right of my desk so on my desk behind my interface I have 4 mic cables sitting there of which only 2 can be plugged in at the same time. I wondered if there was something (like a patch bay) that I could plug all 4 cables in to and then select which mics to be active in the interface. My recording friend thought it wasn't a big enough deal to look for a solution.


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## RBlakeney

guitarman2 said:


> I asked my buddy about this and he seemed to think my small set up wouldn't need it so probably the OP wouldn't either. I have 2 mic cables running to the back of my music room for my amps and I have 2 mic cables going to the left and right of my desk so on my desk behind my interface I have 4 mic cables sitting there of which only 2 can be plugged in at the same time. I wondered if there was something (like a patch bay) that I could plug all 4 cables in to and then select which mics to be active in the interface. My recording friend thought it wasn't a big enough deal to look for a solution.


I feel like this is likely the case. The interface has 2 inputs and I have 2 mics, and will probably only use one at a time for now anyway.


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## Granny Gremlin

Patchbays are just a liability at this point. 

Emphasis to what @Greenbacker said re raising and isolating those monitors. May need more height than a single yoga brick - ear level; toed in at yer 'ead; low volume. If there is no way to easily regulate volume on your interface (knob vs mousing in the comp) - consider an external attenuator (eg Mackie Big Knob). Also ensure that if there is a bass or room mode switch on the monitors that it is set for up-against-a-wall (bass rolloff aka "half space" or 2pi radiation on the "Acoustic Space" switch on the old Mackie HR824s mki I had before). 

I can't see how wide or deep the room is, but you probably want some absoption on either/both sides or back. This can be a couch, or a dense blanket (for max effectiveness spaced off the wall by half to a full inch - mount some 1x1/2 along the top of the wall and staple it on). Perhaps get a nice rug.

Vocal reflection filters are alright and can produce good results, but if there's a closet full of cloths down there, open the door and sing into it. For a dryer sound still (not sounding like your basement at all) build a blanket fort around the mic and sing inside. The closet can be the back wall of the fort.

Forget about Logic or whatever. Reaper - not only free to use (fully functional never ending trial - personal legit license is only like $50, which I have an recommend once satisfied, more for pro, but youre not), but I'd even say it's better (all the same features but more efficient - save yer memory and flops for higher track count or more signal processing). You can DL a skin to make it look like whatever you're used to so not much learning curve. Save that giftcard for something else, like a nice channel strip or that Big Knob.

Most important of all: lava lamp. 2 for stereo.


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## mhammer

A patchbay is not *essential*, especially if one is going to operate largely in the digital domain. But I looked at that shelf of pedals and thought that if there is more analog gear than that, having an easy means to reconnect things might be helpful.


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## RBlakeney

mhammer said:


> A patchbay is not *essential*, especially if one is going to operate largely in the digital domain. But I looked at that shelf of pedals and thought that if there is more analog gear than that, having an easy means to reconnect things might be helpful.


All of it is analog at this point, but really should just be my mic’s plugged in and all the amps are on the amp wall… well some of them Anyway. I’ll like try out one of the axefx thingys all the kids are talking about soon enough


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## mhammer

A patchbay would let you run cables from each of the amps to the patchbay, where you could simply plug the guitar into any one you wanted, without having to move very far.


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## Always12AM

You have everything you need to get started.
The most practical investments that you could make right now in order to get the most out of this are:

1. Time: learning the garage band software which is directly transferable to Pro Logic X.

2. Control: over room reflection and low frequencies. This means a lot of acoustic treatment and experimenting with the physical layout of the space.

Things start sounding good regardless of the equipment once you start making progress on those two things. ^

Gear suggestions and why:
-Apollo interface of some kind:
Because it will allow you to purchase state of the art plug ins which are digital versions of very expensive analog equipment and track everything that you record in real time with next to zero latency. This immediately yields better results.

-AKG C414: 
Ideally, you could have a couple of really good microphones based around what it is you are recording and how many inputs you have, but this mix will cover all of it better than most and offers a lot of bang for your buck.

Everything else is just incrementally upgrading what you already have to accommodate needs based on your own unique goals. You may find yourself selling pieces of a collection in order to really be able to record / leave behind some evidence of the guitars and amps that you do own.


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## RBlakeney

Always12AM said:


> You have everything you need to get started.
> The most practical investments that you could make right now in order to get the most out of this are:
> 
> 1. Time: learning the garage band software which is directly transferable to Pro Logic X.
> 
> 2. Control: over room reflection and low frequencies. This means a lot of acoustic treatment and experimenting with the physical layout of the space.
> 
> Things start sounding good regardless of the equipment once you start making progress on those two things. ^
> 
> Gear suggestions and why:
> -Apollo interface of some kind:
> Because it will allow you to purchase state of the art plug ins which are digital versions of very expensive analog equipment and track everything that you record in real time with next to zero latency. This immediately yields better results.
> 
> -AKG C414:
> Ideally, you could have a couple of really good microphones based around what it is you are recording and how many inputs you have, but this mix will cover all of it better than most and offers a lot of bang for your buck.
> 
> Everything else is just incrementally upgrading what you already have to accommodate needs based on your own unique goals. You may find yourself selling pieces of a collection in order to really be able to record / leave behind some evidence of the guitars and amps that you do own.


I figure I will probably upgrade the interface at some point once I use it enough to justify it. 
for mic’s I just got the akg c214 for Xmas which seems like it should do me for quite a while Before justifying upgrading


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## Greenbacker

That’s a pretty awesome wall of amps! I’ve been considering arranging mine like that lately.

The patch bay comment is interesting. I’ll admit that mine has made my studio a lot more efficient, and I’ve learned that when something is more easy and immediate, the more likely I am to do it. I have found it useful in patching different instruments into different fx/chains quickly, and/or into my recording interface. It is particularly useful for running a loop from my pedalboard — right between the boost/drive effects and the modulation effects — to it, so I can easily patch in other stuff from a studio rack that isn’t on my pedalboard (tape delay, rack reverb…) If you’re running different instruments like guitars/basses and a handful of synths, and a bunch of fx that you want to be accessible to all of those instruments, then it might help streamline your process, but if you’re mostly sticking a mic in front of an amp to record at this stage, it’d likely introduce more complexity for you. Yes, you could patch into the different amps more easily, but you’d still be walking over to them to turn them all on/off.

It sounds to me like you’ve got most of what you need to get going, with some small + cheap tweaks. +1 to the virtual drummer thing too, though I find the GarageBand one to be pretty decent too. 

Have fun!


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## Always12AM

RBlakeney said:


> I figure I will probably upgrade the interface at some point once I use it enough to justify it.
> for mic’s I just got the akg c214 for Xmas which seems like it should do me for quite a while Before justifying upgrading


The C214 is a killer mic.
The C414 suggestion hails from me knowing that it could replace almost very Mic I own and do almost as good of a job on everything.


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## Always12AM

RBlakeney said:


> All of it is analog at this point, but really should just be my mic’s plugged in and all the amps are on the amp wall… well some of them Anyway. I’ll like try out one of the axefx thingys all the kids are talking about soon enough
> View attachment 395094


Where is the blackface deluxe?


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## RBlakeney

Always12AM said:


> Where is the blackface deluxe?


My office, the tuxedo Princeton is in the living room.


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## Always12AM

RBlakeney said:


> My office, the tuxedo Princeton is in the living room.


That is the answer I was looking for.


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## Budda

I await your fractal toe dip


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## 2112

For headphones I would recommend some Grado SR60 or SR80 (80s have a bit more low end) they are open so you can wear them for long periods of time for listening and mixing. I know you're not supposed to mix on headphones, but for starters I don't see an issue.

For drum software my preference is Addictive Drums over EZ Drummer. Somehow they sound better in the mix to me, and later when you get deeper into things, AD offers so much flexibility with tweaking the sounds and MIDI mapping. I also use it for triggering electronic drums...works great.

Good luck


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## Granny Gremlin

mhammer said:


> A patchbay would let you run cables from each of the amps to the patchbay, where you could simply plug the guitar into any one you wanted, without having to move very far.


Consider the cable length on that run, then back and forth to a few things and tell me that's still a good idea.

Patchbays for unbalanced HiZ signals = hard no for me.

What is a good idea is to isolate speaker cabs somewhere (laundry room, pantry, closet etc) and run speaker level from amp heads located in the "control room" over that long distance. Doesn't help with combos tho.



2112 said:


> For headphones I would recommend some Grado SR60 or SR80 (80s have a bit more low end) they are open so you can wear them for long periods of time for listening and mixing. I know you're not supposed to mix on headphones, but for starters I don't see an issue.


Grados are great but not for mixing - very coloured. They sound awesome, but mixes won't translate to other systems well - been there tried those. Mixing on cans has been a faux pas in the past but it is a matter of getting used to it vs monitors and, IMHO, more valid in modern times where most people are listening to music on cans all the time vs expensive stereos. One should at least check mixes on a pair of cans. The cans one already has, knows, and loves are probably best (no matter what they are) because you have the reference of all the music you like and what it sounds like on those cans for context and comparison.

If buying new cans also stay away from Audio Technicas - great cans but not for mixing (there's a upper bass/lower mids thing they do that is misleading; I have like 3 pairs and I just use them for tracking because the isolation is good and the kick drum cuts through so people stay locked). AKG, Beyer, not the very bottom of the range Sennheissers, and pro (vs consumer) Sony's are all good not ridiculously priced choices. I have mixed a record on Etymotic in-ears in a pinch when a monitor blew. They were super flat and translated well, but not so comfy for long term wearing (you gotta get em in there proper for the bass to be right). Avoid anything that claims great low end - you don't want the boost. Remember: Yamaha NS10s monitors were studio staples not because they sounded good or flattering, but because they sounded bad and exposed weaknesses in the mix. Closed are better for tracking (isolation - most important for vocals when the cans are very close to the mic) open can be better for mixing (no internal resonances messing with the driver's freq response and causing distortions) but some closed are very flat/accurate as well. Unless you're going to be buying separate cans for tracking and mixing stick with closed.

Remember to keep the volume low or you will fatigue your ears and they will start to defend themselves by shutting down sensitivity, making you turn up and not hear things properly. This is also important with monitors but more so with cans.


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## guitarman2

Granny Gremlin said:


> Consider the cable length on that run, then back and forth to a few things and tell me that's still a good idea.
> 
> Patchbays for unbalanced HiZ signals = hard no for me.
> 
> What is a good idea is to isolate speaker cabs somewhere (laundry room, pantry, closet etc) and run speaker level from amp heads located in the "control room" over that long distance. Doesn't help with combos tho.
> 
> 
> 
> Grados are great but not for mixing - very coloured. They sound awesome, but mixes won't translate to other systems well - been there tried those. Mixing on cans has been a faux pas in the past but it is a matter of getting used to it vs monitors and, IMHO, more valid in modern times where most people are listening to music on cans all the time vs expensive stereos. One should at least check mixes on a pair of cans. The cans one already has, knows, and loves are probably best (no matter what they are) because you have the reference of all the music you like and what it sounds like on those cans for context and comparison.
> 
> If buying new cans also stay away from Audio Technicas - great cans but not for mixing (there's a upper bass/lower mids thing they do that is misleading; I have like 3 pairs and I just use them for tracking because the isolation is good and the kick drum cuts through so people stay locked). AKG, Beyer, not the very bottom of the range Sennheissers, and pro (vs consumer) Sony's are all good not ridiculously priced choices. I have mixed a record on Etymotic in-ears in a pinch when a monitor blew. They were super flat and translated well, but not so comfy for long term wearing (you gotta get em in there proper for the bass to be right). Avoid anything that claims great low end - you don't want the boost. Remember: Yamaha NS10s monitors were studio staples not because they sounded good or flattering, but because they sounded bad and exposed weaknesses in the mix. Closed are better for tracking (isolation - most important for vocals when the cans are very close to the mic) open can be better for mixing (no internal resonances messing with the driver's freq response and causing distortions) but some closed are very flat/accurate as well. Unless you're going to be buying separate cans for tracking and mixing stick with closed.
> 
> Remember to keep the volume low or you will fatigue your ears and they will start to defend themselves by shutting down sensitivity, making you turn up and not hear things properly. This is also important with monitors but more so with cans.



I only use my headphones for tracking (Audio Technica ATH M50x) and my studio monitors for mixing. I'm not sure I'd want to mix with headphones, even headphones suitable for mixing.


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## mhammer

Granny Gremlin said:


> Consider the cable length on that run, then back and forth to a few things and tell me that's still a good idea.


No law against using a patchbay AND a buffer/driver.


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## Granny Gremlin

mhammer said:


> No law against using a patchbay AND a buffer/driver.



True, but now consider if the complexity and work involved (plug in patchbays are garbage - is the OP gonna solder/punchdown/DIY this thing) - is still worth it. You're gonna need a few dedicated buffers too.


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## Granny Gremlin

guitarman2 said:


> I only use my headphones for tracking (Audio Technica ATH M50x) and my studio monitors for mixing. I'm not sure I'd want to mix with headphones, even headphones suitable for mixing.



It is a different game, and that's fine. But people do it, and do it well, including some "pros." Not my preference either, but I have had to do it from time to time.


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## MarkM

Granny Gremlin said:


> Consider the cable length on that run, then back and forth to a few things and tell me that's still a good idea.
> 
> Patchbays for unbalanced HiZ signals = hard no for me.
> 
> What is a good idea is to isolate speaker cabs somewhere (laundry room, pantry, closet etc) and run speaker level from amp heads located in the "control room" over that long distance. Doesn't help with combos tho.
> 
> 
> 
> Grados are great but not for mixing - very coloured. They sound awesome, but mixes won't translate to other systems well - been there tried those. Mixing on cans has been a faux pas in the past but it is a matter of getting used to it vs monitors and, IMHO, more valid in modern times where most people are listening to music on cans all the time vs expensive stereos. One should at least check mixes on a pair of cans. The cans one already has, knows, and loves are probably best (no matter what they are) because you have the reference of all the music you like and what it sounds like on those cans for context and comparison.
> 
> If buying new cans also stay away from Audio Technicas - great cans but not for mixing (there's a upper bass/lower mids thing they do that is misleading; I have like 3 pairs and I just use them for tracking because the isolation is good and the kick drum cuts through so people stay locked). AKG, Beyer, not the very bottom of the range Sennheissers, and pro (vs consumer) Sony's are all good not ridiculously priced choices. I have mixed a record on Etymotic in-ears in a pinch when a monitor blew. They were super flat and translated well, but not so comfy for long term wearing (you gotta get em in there proper for the bass to be right). Avoid anything that claims great low end - you don't want the boost. Remember: Yamaha NS10s monitors were studio staples not because they sounded good or flattering, but because they sounded bad and exposed weaknesses in the mix. Closed are better for tracking (isolation - most important for vocals when the cans are very close to the mic) open can be better for mixing (no internal resonances messing with the driver's freq response and causing distortions) but some closed are very flat/accurate as well. Unless you're going to be buying separate cans for tracking and mixing stick with closed.
> 
> Remember to keep the volume low or you will fatigue your ears and they will start to defend themselves by shutting down sensitivity, making you turn up and not hear things properly. This is also important with monitors but more so with cans.


I am still rockin the NS-10's and I am also Audio Techic headphones. There is a big difference in how it sounds!


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## YaReMi

An analog compressor might be essential. You need to control your levels before your voice or instruments hit the A/D interface. Compressor plug-ins are only good for further processing in digital domain.
Years ago I used a DBX 286 channel strip (pre-amp, EQ and compressor). They are easy to find on eBay, may be the best $300 spent on your studio.
Just a thought …


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## KapnKrunch

I disagree.

No compression or eq or effects until the track is recorded. The precautions needed in the old magnetic tape days are not needed on computer recording. Learn to track with no processing whatsoever. Then any necessary adjustments can added *or removed* in the mixing process


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## JivRey

If it was me, I'd invest in a better recording interface. Motu M2 or SSL2.

If you want to record dry tracks, especially using the Presonus, I'd buy a D.I., the Radial JDI probably being the most common.

I personally use and LOVE the Traverse Analogue Mass DI, made in Newfoundland.









Welcome to Traverse Analogue


Manufacturer of the Mass-DI / Mass Direct Interface



www.traverseanalogue.com





And for reamping, I use the Radial JCR (Passive), I prefer it over the Radial X-Amp (Active).

What's great about D.I./Reamp is that it helps a lot learning how to record guitars. You play your dry tracks through the reamp and then your learn mic placement "live" and can compare all the results with different amp settings or effects from your different takes.


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## bw66

YaReMi said:


> An analog compressor might be essential.





KapnKrunch said:


> No compression or eq or effects until the track is recorded.


This is what I love about this forum.

(For the record, I own a compressor and have used it to record, but I could get by without it.)

Looks to me that you have everything you need to get started. So get started. Soon enough you'll figure out what else you need to do the things you want to do. Many of the albums you love were made with lesser gear than you have.


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## Guncho

KapnKrunch said:


> I disagree.
> 
> No compression or eq or effects until the track is recorded. The precautions needed in the old magnetic tape days are not needed on computer recording. Learn to track with no processing whatsoever. Then any necessary adjustments can added *or removed* in the mixing process


Yeah. Sing the loudest part. If you're clipping, turn the input down.


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## fonziedog

This is a great thread! Thanks to all the contributors - there's great info here for a newbie like me. My 2022 New Year's Resolution is to create music of my own. My setup is ready to go - it's now time to create 

I picked up an Apollo Twin X DUO Heritage yesterday; it was the last day to get a number of their extra plugins: Cooper Time Cube Mk II Delay, Fender '55 Tweed Deluxe , Century Tube Channel Strip, Realtime Access, Moog Minimoog. There's a steep learning curve ahead but I'm super excited!


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## Granny Gremlin

YaReMi said:


> An analog compressor might be essential. You need to control your levels before your voice or instruments hit the A/D interface. Compressor plug-ins are only good for further processing in digital domain.
> Years ago I used a DBX 286 channel strip (pre-amp, EQ and compressor). They are easy to find on eBay, may be the best $300 spent on your studio.
> Just a thought …



You don't have to. In the days of tape, yes you did, because you needed to maximise signal to minimise noise floor at mix time, but with modern DAW recording the noise floor is so low it does not matter at all. The only consideration is not clipping the converters while still driving the preamp (if that's what you're doing). The solution is not necessarily a compressor/limiter, but a simple level/volume control. Some preamps have a gain and an output level for exactly this reason (any modern preamp that fails to have an output level is BS IMHO, unless it's a super clean thing where that is moot because there's no point to driving it harder), but it's also easy enough to wire up a dual gang 10k log taper pot in between. I have a bank of those in front of my interface for this reason (actually 2 of them are stepped attenuators - a resistor network on a 20 position rotary switch vs a continuously variable resistance like a pot, I use those for stereo pairs or (sub)mixes and other critical things (easily repeatable and matchable between channels), and the rest are just high quality Sifam pots I got from some studio's console spare parts drawer.

That said, with some sources, especially singers with strong voices but poor mic technique and self-awareness, it can make things easier. But then for very dirty guitars, which by definition are already compressed by the distortion, why pile on more for no good reason? Don't be Metalica; leave some dynamic range. 

There is something to be said for eliciting a better performance from a singer, when they sound better to themselves, so tracking through an, eg 1176, can be handy for that. But that's not just the compression but the mojo of the unit itself - the compression should be kept minimal. And it's dangerous - you're committed. If you squash it too much then it can be worse than none at all and compression is very misunderstood. 

The point is, with modern DAW and interface technology, it is no longer imperative to maximise signal level to the recorder - in fact it is best not to ride that line because unlike tape it clips in a bad way vs saturating; just leave more headroom for safety. Compression on the way in is an artistic/production choice vs a necessity.


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## KapnKrunch

fonziedog said:


> number of their extra plugins


Lots of great music being made in many different ways. "The proof is in the pudding", so definitely, find the best path for yourself.

Another highly opinionated observation from me. Please disregard if I am blowing smoke outa my butt (again!): If these plug-ins are so great why do we get them for free. The most I've seen so far is $10,000 of plug-ins free with a thousand dollar item. WTF?

I like virtual instruments. They are practical for me as a guitar player who adds other instruments for embellishment only. But playing guitar thru a computer is like "riding" a dirt-bike video game -- how can this compare to riding a dirt-bike in real life?

And the "studio processing" plug-ins??? Go for it if you like fake-sounding music. I prefer the "in the room with the artist" productions myself.

"Today, anyone can sound good in the studio. It's what you can do live that separates the men from the boys." So says Anne Murray, thus making her one of my biggest influences, LOL.

So what am I doing today? Learning to comp multiple takes in Reaper, trying to cover up the fact that I am one of Ms. Murray's "boys". LOL!

Just yappin' away here. Ignore me...


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## YaReMi

Granny Gremlin said:


> You don't have to. In the days of tape, yes you did, …


I‘m showing my age … 🤪


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## Granny Gremlin

JivRey said:


> If it was me, I'd invest in a better recording interface. Motu M2 or SSL2.
> 
> If you want to record dry tracks, especially using the Presonus, I'd buy a D.I., the Radial JDI probably being the most common.
> 
> I personally use and LOVE the Traverse Analogue Mass DI, made in Newfoundland.
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Welcome to Traverse Analogue
> 
> 
> Manufacturer of the Mass-DI / Mass Direct Interface
> 
> 
> 
> www.traverseanalogue.com
> 
> 
> 
> 
> 
> And for reamping, I use the Radial JCR (Passive), I prefer it over the Radial X-Amp (Active).
> 
> What's great about D.I./Reamp is that it helps a lot learning how to record guitars. You play your dry tracks through the reamp and then your learn mic placement "live" and can compare all the results with different amp settings or effects from your different takes.



Yeah, this is a great thing to experiment with, and if you have any cool outboard gear, the same applies to any other tracks you record, not just guitars.

That said, his interface already has a DI, and reamp boxes are not strictly required though they can make things easier and foolproof. If you have -10 (consumer) line level coming out the interface, that's actually a great match for a guitar input - super close. Even +4 (pro) level is fine if a bit hot (same Z as consumer, about 10k, which is in the ballpark of a pickup, just stronger signal). It's already likely to be TRS out so you can plug a TS in there; the interface is modern enough to sense the ground and be fine with it. The only benefits to a reamp box are 1) pickup inductance simulator (I don't think this is too important and not even all reamp boxes have this), 2) a convenient level control (amp has an input gain so not strictly necessary, and the DAW has output control for the track(s) in question), 3) tone control (again, redundant bc amp and DAW both have better tone controls), 4) phase invert switch (sounds like it would be handy, but you can also do that in the DAW with a single click), 5) ground lift (I've never found this useful in the studio, and frankly, you can just mod a TRS/XLR cable real quick - cut the ground on one end and mark it with tape so you remember - don't do it on the TS - you can continue to use it as normal as the ground only needs to be connected at 1 end to work, both ends connected can contribute to ground loops which is why the lift exists), and 6) if passive a nice transformer you can saturate a bit.

I would especially advise against the cheapest reamp boxes (like the 100$ Radial, at least go for the 250$ one), because they are less fully featured... and the more fully featured ones can get up to 1k, which is money better used for something else IMHO.

Basically the OP can already play with reamping and decide if they want to pursue further and whether a reamp box would help (e.g. signal too hot to amp no matter what and too noisey, but Idoubt there will be much trouble here). Remember you cannot just use a passive DI backwards because it's not mic to instrument level, but pro line to instrument - you don't need to Z match (a passive DI uses a 4:1 transformer) so much as isolate (some reamp boxes use a 1:1, other are like 1.x:1, maybe 2).

Circling back to "reamping" things other than guitar. This is why I suggested a nice channel strip (go big or go home, cheapies aren't worth it - something with colour - your interface is already clean). If you do need to groom something on the way in to the DAW, you have it. You also have an alternative to the interface preamps which if any good are as neutral as possible, but also you can run things out to it from the DAW and back (no Di no reamp box required - everything stays at line level the whole time). You usually get a nicer DI in the bargain. Now of course theres EQ and compressor plugs, but the point is to get some mojo in the bargain - drive that preamp and get that compressor pumping with the beat. Plugs can simulate this too but I don't think it's quite the same and the better ones that get close are still $$$. Also don't be afraid to use your guitar pedals like this - it's not uncommon for me to have a Boss CE-2 on one of my auxes at mix time (though it has been a while); again, no reamp box required, just watch your gain staging. A light parallel dusting of chorus can be magical on the vocal or keyboard buss. A Rat is cool on vocals as well, if it's that kinda song.


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## silvertonebetty

RBlakeney said:


> So, very slowly accumulating some gear to record, so that I can pretend to justify the amount of gear in my basement. I’m wondering what essential things I’m missing if anything, that I will kick myself for not having when I get started.
> I got a new Mac, for now I’ll probably just use garage band, I may upgrade to logic just because I have an apple gift card that will cover most of it.
> for mic’s I have an akg c214 and an sm57.
> I have monitors, an interface, a little midi controller
> 
> View attachment 395046


I’d like to get into home recording but I got to finish my pedal board first . But know nothing about audio interfaces . Let alone if my current pc could handle it 😂


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## RBlakeney

silvertonebetty said:


> I’d like to get into home recording but I got to finish my pedal board first . But know nothing about audio interfaces . Let alone if my current pc could handle it 😂


What pedals do you still need?


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## silvertonebetty

RBlakeney said:


> What pedals do you still need?


Not many tbh I’m not liking the ep booster as I thought I would so I guess a bad monkey or a tube screamer,tuner I’ll have to double check my list . If I don’t like the auto swell on the mobius then I’d need a second delay and volume pedal too . Slow and steady wins the race . There’s actually a kingtone um duellist here I’m interested in and a dual delay on reverb but much rather just find a lucky cat


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## RBlakeney

silvertonebetty said:


> Not many tbh I’m not liking the ep booster as I thought I would so I guess a bad monkey or a tube screamer,tuner I’ll have to double check my list . If I don’t like the auto swell on the mobius then I’d need a second delay and volume pedal too . Slow and steady wins the race . There’s actually a kingtone um duellist here I’m interested in and a dual delay on reverb but much rather just find a lucky cat


The duelist is a great pedal, will cover tubescreamer and bluesbreaker style with some extra options.


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## silvertonebetty

RBlakeney said:


> The duelist is a great pedal, will cover tubescreamer and bluesbreaker style with some extra options.


Only thing to question, will it last long enough 😂 the. Strymon ate up my “want fund’s” lol it would be nice to get back to work but as long as I’m coughing I can’t go back 😂. I personally don’t blame them but it’s gotten much better since I gave in and gotten Buckley’s


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## Wardo

I found that this TLM 102 made the biggest difference over anything I'd tried for recording vocal.


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## DavidP

Given I'll likely be hunkered down in the home bunker more than expected for at least the beginning of this new year (thanks to you-know-what), I'm closely following this thread! Home recording has always been on the to-do list, but never really followed through (always let others take care of it in their setting)... 
Keep the info flowing, folks, especially interfaces and DAWs for newbies!


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## Guncho

DavidP said:


> Given I'll likely be hunkered down in the home bunker more than expected for at least the beginning of this new year (thanks to you-know-what), I'm closely following this thread! Home recording has always been on the to-do list, but never really followed through (always let others take care of it in their setting)...
> Keep the info flowing, folks, especially interfaces and DAWs for newbies!


Focusrite Scarlett 2i2
Reaper
Done.


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## Budda

Guncho said:


> Focusrite Scarlett 2i2
> Reaper
> Done.


2i4 for input pad - i still see stories about 2i2s even though they dealt with that.

@tdotrob you got that link to free IRs, amp sims etc handy?


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## tdotrob

Yep. Some really good IR in there for sure.






The FREE IRs, Amp sims, and boosts post.


Over time I've collected a fuck ton of digital gear. Trying to build out a functional studio situation for working on my stuff as well as other people's projects and stuff. There's always talks of what boosts, sims, and IRs people use so I figured I'd share what I have. Below are folders for...




www.sevenstring.org


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## Sketchy Jeff

RBlakeney said:


> will probably only use one at a time for now anyway


that era lasts a very short amount of time in my experience
j


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## KapnKrunch

The Direct USB Recording converts the Fireface UFX Series both into a stand-alone field recorder and a powerful multichannel live player for previous recordings, e. g. for virtual sound checks. Live concerts, band rehearsals or spontaneous jam sessions can be directly recorded and played back from the medium - even completely stand-alone without computer or software. 

Fireface UFX+ - RME Audio Interfaces | Format Converters | Preamps | Network Audio & MADI Solutions 

Buy once.


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## RBlakeney

Sketchy Jeff said:


> that era lasts a very short amount of time in my experience
> j


We'll see, I bought an HX stomp yesterday so I can just direct in for guitar as well, so I have some options.


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## ezcomes

Herr is a free parallel compressor plugin




__





Plug-in Collective: Baby Audio | Focusrite


Baby Audio’s Parallel Aggressor Is This Month’s Plug-in Collective Giveaway.




focusrite.com


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