What would you recommend that people look for in a recording studio? Aside from the engineer, I think, believe it or not the acoustics of the environment are perhaps more important than the actual equipment, although the equipment is important. Basically, you want to be creating in a room that is accurate, so that what you’re recording and what you hear actually translates everywhere else. You’re recording something, for example, at your homeboys’ studio and it sounds great and you throw it in the car and it’s like, it didn’t sound like this at all. There are usually reasons why the acoustics of the room can throw things off completely, where you’ll have standing waves and reflections and things that that make your mix and your recording sound good, when in fact those are phantom sort of sounds and they’re not really there. The accuracy of the room is critical. After that would be the equipment. Now more than at any other point in time you can do a lot with a couple thousand dollars worth of equipment you can great sounds. Back 10, 15 years ago there were quarter of a million dollar consoles, really super expensive digital recorders that were sometimes up to half a million dollars. Now you can get awesome conversion great pre-amps at reasonable prices. The gear is important, it certainly is, but obviously the engineer needs to know how to get the most out of the equipment. I would say really only 20, 30% […]
What preamps and output gear are available for use and what sources would you use the most? We have a whole pallet of preamps. SSL VHD Preamps, we have a rack of those, some Neve Clones, APIs, we have some Earthworks Preamps, which are really super, super clean and clear. Let’s see, Rupert Neve designs, 517, we have a bunch of 500 Series Preamps as well. We also have 500 Series EQs and compresses, API EQs, Purple EQs, a bunch of stuff. We have a Bettermaker EQ as well, which is a pultec model, which sounds fantastic. We also have SSL EQs and compressors, we have racks of these X-Rack compressors, so the actual compressors and EQs from the consoles we have racked. The choice of outboard stuff is pretty much limitless. What about the preamps models of [inaudible 00:01:11]? Oh, that’s right. Okay. Also, on our actual interface we have modeling of preamps. The actual preamps is really clean but they’ve also introduced a way of imparting the sound of API, Neve, and a bunch of other brands so you get that vintage sound, as well. We have a huge pallet. Okay, great.
When listening in a room with multiple monitors such as these, there are many options and techniques that can be used depending on the needs of the recording engineer. The ADAM S2X monitors are very transparent and provide a realistic perspective of your mix. In the Fishtank recording studio, we pair those with our KRK 10" Sub to simulate the "wall of sound" and when switching to the other monitors the sub is removed. This makes them ideal for working with panning and depth in your mix as opposed to the other monitors in our studio. In comparison, the Genelec monitors have a more rounded frequency range and are used without the sub to provide a mix quality sound for referencing. These work great for mixing bass because you can check the presence of your mid range frequencies in a monitor where all the frequencies are combined and then switch back to your main speakers. We use the Yamaha NS-10 monitors to reference our mid and high range frequencies without the sub. These vintage monitors provide an ultra clear and present sound that is a bit harsh at first but very useful in hearing the subtle details of your source. I like to use these for referencing guitars, vocals, and overheads without the sub because they allow me to hear the full timbre of the instrument and determine which frequencies I want to adjust in my EQ. If I had to pick one of these pairs as my favorite, it would be the ADAM […]