>no, really, not a soundcloud thread edition
Post the bleeps you're working on, discuss others' bloops. Learn why Tyler the tiler is the next big thing and why chasing fat people is so funny.
>Sound Synthesis and Sampling (book):
>Intro to Synthesis (video):
>Learn why Tyler the tiler is the next big thing and why chasing fat people is so funny.
Fucking excellent. Whats everyone working on today? I'm working on some more Dub inspired electronic music, Just bought the Waves LoAir Sub Generating plugin in the waves sale and the ToneBoosters Plug Essentials as my demos run out So will be having a play with them too.
>implying old drum machines sound anything like 8bit drums
Any fellow octatrack / elektron users here?
The octatrack is the most fun, creatively expansive piece of equipment I've ever learned, albeit with a bit of a learning curve. Curious to see if anyone has found some cool uses for it besides the standard techno bullshit you see on youtube demos.
can i get some feedback on this? i have never really used soundfonts, and im not sure the mix came out alright
any criticism is great, i need to improve
Any of you guys use hardware sequencers/loopers/whatever? Stuff like drum machines. I'd be worried about making super repetitive tracks that are just the same 4 bars for an hour... right now I use software for pretty much everything.
Also how to get good at mastering? I know if I invested a couple of days into it I'd have it nailed for now, but I hate it so much, fuck
really all I do, is raise the velocity on the notes in the piano roll, or turn up the volume in the synth and on the master, after I'm done mixing, I throw a bit of compression so I can turn up the gain a lot
>why chasing fat people is so funny
I was mentioned in the OP I was mentioned in the OP!
thats not mastering. thats turning up volume.
mastring is an intricate process that in most cases is better left to professionals, because you need a lot of training, knowledge and an excellent and almost objective set of ears, which is almost impossible with your own music.
I hope y'all are having a productive creative day fams. I'm taking a short break from producing while my creativity and enthusiasm glands recharge. Renoise is a bit complicated but I'm learning it quickly, next thing I wanna do is make a track with more automations and I wanna use the reverse play effect. Really starting to like it, though I still haven't tried MuLab or sonar.
Could I get a recc for an album similar to nosaj thing's Drift or venetian snares' under a black star?
l m a o
I once slammed the door on my thumb and it got caught between the door knob thing that sticks out and the metal thing that received it. Cut my nail in half about halfway and a bit more on the finger side. Surprisingly I didn't cry seeing how I was like 13.
ediT - Crying Over Pros For No Reason
of course you can make something out of it. being all mono and having very little dynamic it would only be an element, or a spine if you will, to something more grand, but sure it's a nice harmony.
what is it did you make it
The bass is overpowering when using headphones.
This kind of music usually ends by abruptly cutting out everything except for the bass and then fading the bass out after a few bars.
the shakers in the first part (the sound and the rhythm) are really corny, a straight 8th note (no swing) hi hat type thing would be better imo. and just end it by dropping the drums and letting the other instruments ride out. youre not writing a sonata,
What's some jazzy stuff I can produce? I was thinking about just having some dark sounding minimalist stuff, just an organ and some drums and maybe occasional samples and stuff. Or would that be boring?
No shit but I'm losing interest in shit so fast, I just keep picking up ideas for like a day or hour or even sometimes minutes at a time and then dropping them again because I can't think of a place to take them or I don't know if they're any good or I'd rather play something on an analog instrument if I wasn't away from home.
I'm just looking for advice on places I could take that idea. Maybe if I did a bunch of weird stuff with tempo and dissonance? That might be kind of cool. Make it at points border on Sun Ra-type craziness.
I was hoping not. I was going to try and do a jazz project with traditional instrumentation but the whole point of this is something cool while I don't have access to them, if I only have access to my laptop and I need to produce something.
I just hope I don't get burnt out since I have that and I also have a free jazz group with some friends, haha. I just really want to produce SOMETHING and I'm stuck for ideas.
I'm working on a new track, this is what I have done so far. Any comments/pointers are appreciated, especially regarding mixing since I am bad at it.
How do you make songs as a whole louder? I'm using FL Studio and it never seems like my tracks are never loud enough when I export them.
Think I know the answer to this already, but is there any way to have external effects in Massive, somewhere in the FX chain? I want to run a sound through some VSTs then modulate the result with Massive's filters
Or if there's an external input function I could just run two instances of it
Hey Guys thought I'd post this here seems now days you don't have to train for years to master your tracks (or as anon said a couple of days lol). Now you can master tracks just by the push of a button...a mouse button
Free online mp3 mastering for all your sound clouds
No its something I found the other day thought it was quite interesting, so ran a couple of tracks through it.
Its free for fuck sake how would I be advertising?
...2015 trying to help a brother out.
As if half the people here arnt uploading their finished tracks in a lossless format to some web hosting to be listened to in a lossless format.
Fuck I don't even know why I waste my time...Well I found it interesting to see what it sounded like after and how it compared to my mastering so I thought it might help other anons that don't have a real mastering guy to compare with. I'm under no illusions that its going to be great but interesting no less. I expect its just a mastering plugin set on a few defaults depending on how it analyses the frequency in your uploaded track
>computer's going to shit
>tired of recording into DAWs and finally have the gear to physically make music
>want to get a portastudio or some sort of small recording apparatus
>everything's either $400 and can only record 2 tracks at a time or can only record to cassettes and is still $200+ for an actually functioning unit
Seriously is there anything reasonable out there that can record 4+ tracks at a time?
it depends on if you want onboard or offboard mics.
I'm not a Tascam shill, I just like their field recorders better than Zoom.
Lets make sure and keep some element of home studio recording to these threads not just synthesis, yeah?
-Trying to get into home recording?
>What DAW you workin with?
Ribbon-mic-anon here. I'm always postin' about home recording!
Sadly one of my newly acquired ribbon mics is sick and packed-up to be sent back, and they're sending me a new one. Siiiiigh.
They're Nady RSM-5's and so far the ONE I have is beautiful, and sounds quite different from my other ribbon so I'm happy to have the variety and (soon enough) the pair of them!
Found this thread in the catalog, was going to start a thread, might have to if i get no replies:
Please, some one help me out with this shit. I have $125 to spend from gift cards i got for christmas, and I really want to start getting into audio engineering, but I have no idea where to start. I have basically no equipment. I'm thinking I use this money to purchase a nice microphone for recording.
But I've already settled on this; I want to make recordings in full analog. I have an old amplifier, cassette player, and i can get a hold of a Teac 4 track.
I don't exactly have a full grasp on what analog is, what can be in analog, and what can't. Meaning, do microphones transmit in analog or is it entirely based on what you're recording onto? My friends have had success with Blue microphones, I particularly like the Yeti Pro, but I don't understand if this would inhibit my ability to record in full analog...
According to their website, "The Yeti Pro is the world's first USB microphone combining 24 bit/192 kHz digital recording resolution with analog XLR output."
I just want to at least know how they recorded in the old days, like before cd's. Someone halp, im so confused. What mic should I buy? I feel like I'm the only person that wants to record this way.
its more meant for podcasters and streamers
ive heard two friends using it and I would pretty much say their voices sounded "meh"
Better than the average headset mic, but still not that amazing.
I'm not a music guy but I'm a computer guy.
Analog means audio is turned into an electrical current of variable continuous values and then recorded to a physical interpretation (think the tracks in a vinyl record).
Digital means the audio is turned into electrical current, and that current is transformed into digital data, zeroes and ones (think the on and off little holes in a CD)
Basically, digital=/= analogic.
Now, that mic uses USB, which, as you can rpobably guess, transfer digital data. If yuo want to go full analog you need a mic that uses a olde goode audio jack thingie
hope i'm clear, it's late and I'm hella tired
Any mic that has an XLR output can record analog. The Yeti has USB (digital output) as well as XLR (analog) which is good because it gives you flexibility. Almost all mics are analog (XLR). The trick is, you need to power the mic so you can record into the tape recorder, generally consumer and prosumer tape recorders don't accept XLR inputs. You need a preamp to power the mic. The best one I can think of for cheep, and it's bascially a tank so you can't wreck it, is the ART Tube MP Studio. It'll take any kind of mic and give you more gain than you could ever need to record out into the tape machine, computer, PA, etc. You can get it for $30-$40, which should leave you enough money for a modest mic and of course cables, stand, etc
So I have come into a little bit of money and I'm pretty much blowing it all on my studio. If you could spend 2,000 on mics what would you get?
I already have a bunch of 57's, a Senn e835, SM58, Shure Beta 52 a.
I'm planning on getting some MD 421's looking into maybe the Nady DM 70 and DM 80, EV RE20, and AKG 451. I don't know much about these mics, just looking at what other people like.
I like the sound of albums i have that are recorded in analog better than digital. I think me + my friends' recordings on the Teac have this mystifying sound to them. I enjoy my vinyl records and cassettes, I'm a fan of a lot of warm fuzzy spaced out shoegaze music like mbv, maybe producers just suck these days, but i think a lot of older stuff sounds better as far as production goes.
That''s because analog colours the signal for the most part. You can easily recreate analog feels with digital.
You just want to make your life more difficult and more expensive than it should be.
twenny hundred dollas? shit idunno. i would probably get a LOT of modest-priced mics instead of a couple expensive ones though.
i would get a couple nice preamps and a better interface first and foremost, but for mics hmm.... akg 414s, couple sennheiser e609s, couple more '57s, maybe a tube mic but I'm not sure what, a rode NT-2, a nice shotgun like a rode ntg, one or two PZMs definitely!
I own the nady dm-70 and 80 (and have told people about them on here - maybe you were one of them?) and they're pretty damn satisfying. for the ridiculously cheap price they're the best toys to have, and they're quite versatile. they're made for high SPLs so if you want to record anything acoustic or delicate with them you'll need a decent amount of clean gain, but on amps and drums they're easy and loverly
It's funny, it's like nobody believes that i just prefer analog, like im making this up for some reason. Maybe it is a bit of placebo, maybe im biased, but who gives a fuck, it would be something no one else is doing these days. I mostly listen to, as you can guess, band-oriented music, rock music, if you will, and I've noticed a lot of more recent music has this shitty reverebed out, trebbley sound with hardly any dynamic. It's like everything you hear these days sounds so "clean", which is good, but it has almost no variation, it sounds like it's coming out of a computer. I'm currently listening to Cosmo's Factory by CCR and it has this kind of mystical sound to it, it sounds warmer, there's almost a sort of ambience to it. It's like you can really listen to it over and over again and notice small subtleties you haven't noticed before.
naw bro just let him be, he's not going into the engineering business he's just having fun recording. i think people should be allowed to do it however they want, as long as nobody's scamming him who cares if he wants to record to tape
Sure but it's just ridonkulous.
Saturation and such things. There's tons of analog emulation plug-ins like tape saturators or whatnot.
Just because they do it doesn't mean you have to.
yes, i understand, thank you, that's basically what ive gathered from looking it up online, which really makes analog sound more appealing to me. and by "olde goode audio jack thingie" do you mean an xlr cable? because it has the option for that.
So what does it mean that the Yeti has "digital recording resolution"? It sounds to me like it would still technically be in digital but it can record onto say a 4 track? if i were to buy that pre amp, would that be legitimate? I'm hoping i can find some cheaper mics, i just remember Blue's from places I've recorded at, and as i said, i know basically nothing.
I don't understand why you wouldn't just go for the real thing...and by example, i meant if you knew any recent rock albums with great production, in digital. It all sounds kinda similar to me, granted i haven't heard everything.
yeah fuck with like ferricTDS which is free or pirate basically any tape saturation plugin. also low-pass the entire track at some ridiculous frequency like 4 or 5 kHz (before the tape saturation)
>it would be something no one else is doing these days
no it fucking wouldn't you dumb shit, "hurr analog" is the biggest bandwagon ever
it's just too expensive to make it not sound like garbage
>So what does it mean that the Yeti has "digital recording resolution"?
Nah it means the mic has a digital output (USB) which means internally it's converting the analog to digital for the USB output, but the XLR output skips all that and just outputs the original signal. Blue mics are fine, but you're really not looking for a mic with USB. You can save money just getting something with a regualr XLR cable hookup.
What sources are you planning to record? I might be able to suggest some mics that are suitable
so I have a shure sm57 and a focusrite 2i2
when I record shit, it cuts in/out like so at a constant interval
what could cause this?
>and by "olde goode audio jack thingie" do you mean an xlr cable?
I was thinking about auxiliary jacks but that works too.
Now, be careful, a mic light that might be
"optimized" for digital audio recording
just remember that analog is a whole different league in terms of money you're going to spend, and if you don't plan to release cassettes or vinyls you might as well give your music a fuzzy feeling digitally
Well my experience kind of varies between the unattainably expensive Avalon and Focusrite rack units (over a thou each, over two thou often), and relatively cheap ones.
My nicest one is the Studio Projects VTB-1. It's only like $180 nowadays. Tons of gain, really clean, versatile inputs and outputs, and it's got a tube blend which makes it fucking fantastic. It means your signal is either 100% solid state amplified, 100% tube amplified, or any variable mix between. Fucking fantastic.
I have one of these preamps and I'm dying for a second one so I have a pair but I can't fucking afford it ;_;
you could easily spend on software the same as hardware, buying a shit computer, monitors, interfaces, and controllers all cost money. you can pirate plugins and daws, but legitimate software costs as much as hardware can
well the reason i wanted the yeti is because i could digitally record rough drafts of songs on my computer, but it's not that important so maybe i could just get something cheaper.
I'm only trying to record some dirty sludge-y guitar tracks with me on guitar/vocs, one friend on bass, and another on drums. I'm super poor so I don't even have an analog guitar amp yet, but our equipment is still decent. The funny part is, our drummer just got his associates degree in music production or something like that, he currently has an internship at a studio, and he likes recording our stuff on his microphones into pro tools on his laptop. So naturally, he is extremely opposed to my wish of trying to record in analog, so im going to go about it myself. Me and him are very different musically, he is what id consider much more "conservative" in his methods. Like, I love Steve Albini's work and MBV and stuff with a lot of mids and lows, and he's super into Bruce Springsteen and clean stuff like that. I told him I'd only put one mic on the drum kit, he uses like 4. He also really wants to overdub vocals, but im against that.
Well, I'm getting off track here. So I can get a hold of this teac, im pretty sure this is the exact one one of my friends has. i made an error, it's actually a reel-to-reel with 4 tracks. unfortunatley, the damn thing keeps snapping the tape now, so i have to fix that too...we have an old mixer too, but i think thats broken as well. I think I would want to record our 3 piece band using four microphones all in live takes on this reel-to-reel, just to get a feel for things to start. I'm thinking of the Yeti but it seems a little unnecessarily expensive. We use a keyboard amp for vocals which i realize is probably in digital as well. So i basically need tube amps and we can make something sounding straight out of the past
Are premamps primarily for amplification into the interface? I have had a problem with quiet tracks so far.
I have a presonus Firestudio, do I just run from that into the preamp? Thanks for letting me pick your brain.
fuck, forgot pic
i want to somehow convert the tape to a cassette, but i heard something like the tape might not be the right size for a cassette? Well anyways, i want to do that, make some cool art to put in it, and THEN convert them to digital to like 20 cd's, because im sure no venue will accept a cassette, lol. this is more just for me.
The keyboard amp probably isn't digital. It might have some built-in effects (like reverbs and stuff) you can use that are digital but for simple amplifying it's not going to be an issue.
yeah record how you want. it's a challenge to lay something down with only 4 tracks!
where did he study btw? I studied a few different places and know people from many others, so i'm curious
The firestudio IS the preamp. It's the gain control on the mic input. You can use the ones onboard your interface, or you can use eternal ones. It depends, the onboard ones tend to be a little weak and a little noisy (depening how much you spend) so if you're recording something delicate or if you have a superexpensive mic you might want to have a "special" preamp you use for such things. the output of the preamps goes into the "line in" of the interface. for example, i have some ribbon mics which need a powerful preamp that doesn't add much noise for them to sound clear and beautiful, the ones on my interface don't cut it but the VTB-1 make sit sing like an angel. the difference is night and day.
>inb4 Studio Projects shill
I just own this one and love it. I also own >>52793755, which is powerful and robust but it's a little noisy!
>I don't understand why you wouldn't just go for the real thing...and by example, i meant if you knew any recent rock albums with great production, in digital. It all sounds kinda similar to me, granted i haven't heard everything.
Slash's new album was recorded all-analog but it's expensive as fuck to make albums that way nowadays.
i can't think of one band that records in analog these days...maybe they use saturation to emulate that sound, but no one actually does it anymore.
yeah that's why im thinking it'd be safer to buy older mic's that were released before digital. Could be expensive though.
Indiana State. I feel like an asshole giving him a hard time over all this when he just went to school for it, so I'll probably compromise and record with him while I slowly build this up myself. But then again, they are my songs, so I should still have some say in this.
But one last question; is there anything else i should know about that can transmit in analog? i can borrow my friends tube amp for the recordings, but we're working with this peavey for bass, i assume this is digital. Are there any vocal mics, cords, or even guitars we have to look out for?
If I'm looking to get into production, what kind of software should I use? I have a strong music background, and already know what the songs would sound like etc., I'm basically just looking for the most intuitive/least dense software I can get that doesn't sacrifice too much depth and doesn't cost an obscene amount of $$. Is there such a thing?
This isn't really right tho is it. for example I couldn't even buy the tape to go on these 6 reel to reels.
I would love a few analogue bits of gear mainly a decent reel to reel but unfortunately I don't really have the room, but I agree with the other anon that if you want to buy analogue as you like the sound of it then don't let anyone tell you otherwise.
I dont understand why people get so fucking pissed off that someone want to do something they don't.
Right, I understand that now. But I've noticed the pre-amps built in to my Firestudio are like you say. The gain distorts pretty quickly. So the pre-amps that you said you might buy are likely better than the on-board ones? Are pre-amps pretty linear on bang for your buck? It seems like mics have a lot of hidden gems in the bargain areas, is this the same for pre-amps? Do you own a bunch of different ones or like to collect a bunch of a certain one?
Also I'm buying a couple of Avatone Mixcubes with the money I'm getting. Worth the price? Any favorite headphones out there? I'm going to be spending a good amount of money on monitering because I read that's super important for mixing properly.
Idunno fi that amp is digital, might not be. You don't have anything to watch out for, just make sure you pair things up correctly - instruments go into instrument intputs, line signals go into line inputs, mic signals go into mic inputs, watch you levels so you don't clip and distort, etc
Just finished this. Probably "techno". Operator, TS-808 VST + somebody's TR-8 sampled drum rack, "Flying Waves" instrument from M4L for the fuzzy, distorted bass sound.
I know, this picture is from wikipedia, but this is exactly how i remember it looking like. We have an awesome selection of improvisational jams on tape, my friend who owns it is really into jazz, but he was still down to improvise in the style of doom metal, shoegaze, acoustic, and so many other cool shit. The damn thing keeps snapping the tape whenever we try to record now though ;_;. I told him I'd put up the money to fix it someday, it's an estimated 200 bucks so ill have it in no time, that thing is truely a privilege to record on. and it sounds great on playback too. We just still don't know much about it, since it's so outdated these days.
That's cool, but i was asking for your preference on rock albums recorded in DIGITAL these days, as you were defending digital recording.
I don't even need us to sound that good, i kind of just want us to sound different, the music should speak for itself over that.
preamps are for amplification into anything
preamps are before the power amp stage of guitar amplifiers, they are also made to bring mic levels up for recording interfaces or other media recorder.
You'd have to get a cassette recorder. Those are much easier to find, use, and are cheaper. Then you can bounce your mixes from the four track and add way more channels.
Also, you're committing a sin by letting your reel2reel live without 10 1/2" reels
>anything else analog
there's two main kinds of amplifiers, tube and solid state. neither are bad, but they're really different. tubes work with very high voltages, and have nonlinear characteristic. solid state amplifiers are much more efficient and reliable, but they're very linear, and when you run out of headroom, it distorts in a not very good way. some guitar amplifiers cheat by having a tube preamp section, but a solid state power amp, but they don't work the same as a tube power amp. however, both of these are analog types of amplification.
Never heard those monitors so idunno. I use Shure se535s, they're my fav! If your gain is distorting quickly that means you have plenty of level (too much in fact). They might have a lot of noise though. The Firestudio is pretty decent but not amazing. And yes, generally all interface preamps are very linear. I've done tons of testing with my 3 interfaces and they're basically flat from 10Hz-Nyquist, with litte variation. Also their step and phase responses are all good too. The only issue with them is how much noise they might have and how quickly the harmonic distortion kicks in.
For the most part the market of 2-4ch preamps are all pretty much in the same ballpark, unless you go real niche and get an apogee or something higher-end $$
Definitely man, we probably wouldn't be using a mixer anyway, so that would simplify things a lot, but ive actually got ONE MORE for ya.
Do I actually need this >>52793755 for every mic I use? Why would a tape recorder not take XLR? I assume the one I was talking about would take the Yeti straight on with no pre amp..
I agree that 6 tape machines cost more than one plugin, but anybody who would use 6 machines to do that would get laughed out of the studio. Even in a DAW, you should know how to bounce. If you can't afford tape though, I'm not sure you could afford a DAW
That old tape machine won't take an XLR input! I won't get into the whole thing with matching impedances but if you want to get a dynamic mic into the 1/4" mic input of that tape machine you need transformer and adapter, like pic related. if you want to get a condenser mic into it you need a preamp with phantom power to power the mic, which goes out into pic related and then into the tape machine.
if you get a crappy cheap PA microphone that has the 1/4" jack on it already you're set.
Well goddamn I'm feeling stupider by the post. I hear these terms all the time, if you could enlighten me, what the hell is a condenser and a dynamic mic?, I never understood. Also, I luckily already have one of those adapters from Audiotechnica when we only had an XLR output for our vocal mic.
a condenser is a microphone that needs a phantom power supply (from the preamp) to work. they're very sensitive and usually fairly delicate.
dynamic mics are the more robust mics that don't require phantom power. generally they cost less and can take a beating.
Probably the most versatile choice is dyamic, just because you can make it work on almost anything but condensers have to be chosen and placed more carefully, at least for your setup.
also make sure your adapter thingy isn't just an adapter but also a transformer - there's a big difference!
They're microphones that use different systems to convert physical waves into an electrical signal.
A condenser microphone uses 2 VERY thin metal plates, one of which is charged (hence why condenser mics need 48V of phantom power to work). One plate is fixed while the other plate moves with sound. When the capsule is moved, within the electrical field of the other plate, it creates a signal.
For dynamic microphones, the capsule is connected to a metal coil that surrounds a magnet. When the capsule/coil are moved within the magnetic field, it creates a signal. The fact that the capsule is connected to the heavier metal coil means that it takes more energy to move it. Dynamics are usually better suited for loud sources because of this.
The capsule on condenser microphones is on the other hand really thin and light and so it responds very clearly to high frequencies and has a more detailed sound.
If you're looking for a sort of versatile mic, it's probably best to go with a condenser, to be honest.
Thanks for the reply, this is really helping me out right now.
It says it's a "microphone impendance matching transformer", 250-50k ohms, so i think it will work. I probably should have at least one condenser for recording, and stick with a dynamic for the vocals, I'm not a big record producer, I just want to make something that sounds decent for labels, venues, and whatever else. You seem like you know a bit about recording yourself, what kind of condenser do you think i should buy? I'm not trying to make anything spectacular, and I think the Yeti might be overkill, but it's literally the only mic can recall with good quality. It does have kind of a flat sound, though, and as one anon pointed out earlier, it's better suited for voice recordings/podcasts. I don't know if i necessarily agree with that, im mainly looking for something i can use for my computer and the reel-to-reel, so i guess im kind of contrived.
tl;dr what mics should i look into, condensers and dynamics in mind?
>microphone impendance matching transformer
yes that's exactly whatcha need! and yeah, one of each mic is a fantastic idea.
get an sm57 and get a large diaphram condenser on the cheap. the nady and MXL ones are a good place to start looking. I'm a fan of the MXL990 because I have experience with it.
Music trackers (usually referred to simply as trackers) are a type of music sequencer software used to create music. They represent music tracks as an arrangement of discrete musical notes positioned in one of several channels, at discrete chronological positions on a timeline. The file format used for saving songs is called a module file.
A music tracker's musical interface is traditionally numeric: both notes and parameter changes, effects and other commands are entered with the keyboard into a grid of fixed time slots as codes consisting of letters, numbers and hexadecimal digits. Separate patterns have independent timelines; a complete song consists of a master list of repeated and concatenated patterns.
Recent trackers have departed from module file limitations and advantages, adding other options both to the sound synthesis (hosting generic synthesizers and effects or MIDI output) and to the sequencing (MIDI input and recording), effectively becoming general purpose sequencers with a different user interface.
Mulab is also cheap and it's similar to the big commercial sequencers, maybe give it a try?
If you're doing vocal recordings for you production I urge you to try condenser microphones. Even cheap condensers just have a clarity and detail that is really important in vocals. I have an AT2020, which is kind of a super cheap condenser but it's pretty decent. It's sufficient. I know some people who use the AKG P120 but I haven't tried it myself.
I mostly end up using dynamic microphones on instrumental things like guitars, drums, etc... Sort of rawer heavier things. For more experimental sound designy things and vocals I would mostly lean towards condensers.
Let's hear more about what headphones you all are using.
I'm trying to find a really nice pair with fairly flat frequency response. Currently looking at what is pictured but these are like $200. Sony MDR 7509
sm57, yes, ive used those, aren't they more suited for drums? And i believe ive used the mxl990 before as well. So I will need a pre amp with that, and i should be set. Have you used the Yeti before? the mxl is a fair bit cheaper, i wonder if it sounds better too.
It's interesting for awhile but then kinda just gets tuck on repeat.
to me it kinda sounds like an one channel A-minus-B thing, like it's the "Side" channel only of a stereo mix
Ok, I that definitely makes sense, but I'm trying to kind of go for the live raw sound with our album. I never see anyone playing live with a condenser, I know it would sound better for vocal range, but I was actually thinking of putting it on my guitar. Honestly I'm not the best singer and I don't even want my voice to be heard super clearly.