Planning some purchases (bass, vox, monitor wedge)

[Torniojaws]

Okay, once again I have a summerjob and that let's me to upgrade some things I've long waited to update So, I have done quite a bit of research and refined my choices to these. Now I'd just like some comments or suggestions, should there be a better choice that you know from experience

Vocals

So far, I've mostly been borrowing some random mics etc, so I decided to get my own gear. 95 % of the stuff is going to be growling, with some clean vocals sometimes.

Current chain: SM57/AKG C3000B -> Fireface 400 -> DAW

So I decided to buy a Shure SM7B, FMR RNLA and a K&M mic stand (instead of Millenium ). I would still be going into the Fireface 400 as a preamp, but I think it should be enough. I'll be getting a proper vocal preamp later on, but not right now, unless it's really lifethreatening The RNLA should help with keeping the recorded vocals a little more consistent.

So, do you really think I would need a better vocal pre at the moment? I don't have a real recording room, so I feel it might be wasted.

Bass

So far I've only put my live (reamped) bass signal into either some random borrowed amps, or direct to FOH, which takes a bit away from my own live experience And also, it will be handy during rehearsals But because I have a small car, it will have to be something that is transportable. So, a transistor combo really.

My current choice for the amp is Ampeg BA300/210 (2x10"), which seems to be a good choice for mostly death metal. Any better recommendations? I've also checked out Fender Bassman 250/115 (they say it rattles after a while), MarkBass Mini (a bit expensive maybe), Gallien Krueger (seem to be slightly too small ones).

And for some distortion, I was thinking of getting the MXR M80 DI+, so I can split the signal, taking a clean signal to FOH and then using the distortion for grit on stage.

Monitoring

And finally, because I'm sick and tired of underpowered or crappy sounding monitors at shows and rehearsals, I was thinking of getting a dB Technologies M10/2 for my own use, especially because with a drum machine, it's sometimes very difficult to hear them through monitors. I would make my own monitor mix with a big emphasis on the drums, and that would come from this monitor wedge, while leaving the stage monitors free for normal use. Many people around here in Finland seem to give the M10/2 good points, despite the price.

So, any input is welcome

 

[~BURNY~]

SM7 and RNLA... I approve this. I love them. But you might want to compress on the way in to avoid multiple conversion steps... If so, then you probably need an external pre. Or does the fireface has some kind of pre-adc insert?

 

[ahjteam]

Monitoring

And finally, because I'm sick and tired of underpowered or crappy sounding monitors at shows and rehearsals, I was thinking of getting a dB Technologies M10/2 for my own use, especially because with a drum machine, it's sometimes very difficult to hear them through monitors. I would make my own monitor mix with a big emphasis on the drums, and that would come from this monitor wedge, while leaving the stage monitors free for normal use. Many people around here in Finland seem to give the M10/2 good points, despite the price.

So, any input is welcome

Get something with 12" or 15" woofer instead if you want to emphasize drums on the monitor mix. Similiar difference than using 4x12" instead 1x8" guitar cabinet.

 

[Torniojaws]

SM7 and RNLA... I approve this. I love them. But you might want to compress on the way in to avoid multiple conversion steps... If so, then you probably need an external pre. Or does the fireface has some kind of pre-adc insert?

I'm not sure, but I don't think the RNLA has any ADC? Then there would only be one ADC with Mic -> RNLA -> Fireface pre.

 

[~BURNY~]

I'm not sure, but I don't think the RNLA has any ADC? Then there would only be one ADC with Mic -> RNLA -> Fireface pre.

Err, you can't plug the mic into the comp before it's amplified by the pre.
What I meant is that you'll have to use this chain:
Mic->Fireface pre->Fireface out->RNLA->Fireface line in (2 additional conversion stages)
or
External pre->RNLA->Fireface line in
On the other hand I'm probably over exaggerating the issue with multiple conversions. I just tested myself multiple loop back recordings and the difference isn't dramatic with my 2626.

 

[Torniojaws]

Oh right, didn't know that. So far I've always used software compressors

So, how's SPL Track One Mk II vs. FMR RNP?

But then again, is an outboard compressor really that different compared to using a software compressor on the input signal directly? Any advantages?

 

[-Noodles-]

Buy a Sansamp, a clean bass amp will be all you require once you own one of these.

A bass amp maybe cool to have around the studio, but our studio recently bought an ampeg (same one you're looking at) and it's noisy as all hell.

 

[Torniojaws]

Buy a Sansamp, a clean bass amp will be all you require once you own one of these.

I already have one, but I don't like it at all when going direct (haven't tested with a bass amp yet). It barely has distortion, it's too mild for me

A bass amp maybe cool to have around the studio, but our studio recently bought an ampeg (same one you're looking at) and it's noisy as all hell.

Mmm, that's not good then. Perhaps I'll check out the MarkBass stuff more thoroughly.

 

[006]

The operation of a hardware compressor should be identical to a software one. Threshold, attack, ratio, release, makeup gain and (if featured) knee all mean the same thing between soft and hardware. Don't forget, the software ones were made after the hardware originals after all

 

[Torniojaws]

I mean the sound quality (especially analog vs. DSP) and how it responds to the signal

 

[ahjteam]

I mean the sound quality (especially analog vs. DSP) and how it responds to the signal

I have the SPL Track One mark I, hit me a PM if you want to hear the test I did with it.

 

[Torniojaws]

Okay, the first field test has now been done Here's my findings:

dB Opera M12-4 (monitor)
Ace! Really perfect for me It was flawless in performance, from both sound quality and volume level without even pushing it! I had it on about 7/10 volume, and it drowned out my two guitar amps at gig levels Exactly what I wanted Now the live performances will never suffer from missing cues or the beat. Definitely worth the money (550 euros). And now I can have my own bastard monitoring mix of kick, snare, OH, and synths, and nothing else

Gallien Krueger NEO700 (1x12")
This one I can't rate all that much, because I really didn't listen to it during the gig, as I was concentrated on playing. But during the soundcheck on its own, it sounded quite good with the MXR M80 as distortion. I'll rate it after the next gig or rehearsal.

Beyerdynamic DT-770 Pro (8 ohm)
Well, these are quite good for checking out the bass frequencies in a mix, but these are far from flat! I read that there was a new version of these released a few years ago, for DJs or something like that. So I think these are those new ones. But still, for checking the bass, these are very accurate by feel. For mixing/checking mids and highs, I wouldn't recommend these. But I guess most people use these for tracking, so I'll see about that later

SM7b
We start the vocal recording sessions soon, so I'll be able to review these