how to build a professional studio

[yellowfever]

I aint gonna bother in future.

[jak666]

Jak, you've been asked a lot of questions but not done much to answer them. I'm in agreement with those saying this is a wind-up, a prank. But maybe if you bother to reply to people's attempts to help you, it'll seem less that way.

Assuming you aren't just TTP (if you are, then I recommend a massively impressive DFA box that I will build you to order for... well, however much money you have to spend), here's a really easy one to start on -- a question whose answer will be important if anyone is to give you a serious answer:

Out of interest, what music style do you write and what gear have you got already?

i ve still answered to this question

an acoustic style, so rock , pop, jazz

[yellowfever]

^^^ and do you have any equipment already?

[Meffy]

That's part of an answer. Go on.

[C00kie]

Here's a good resource with lots of articles on this subject:
http://www.theprojectstudiohandbook.com/directory.htm

as audio device i was thinking about MOTU 828 MKII

It really sounds like you're a sucker that ultimately wants ProTools with a DigiDesign audio interface.

what about mixer and preamp?

Depending on the audio interface you have (or will get) : you might get away with not having any!

i was thinking about this microphones setup

nuemann u 87
shure sm 57 x2
shure sm 58
KRK V88
AKG C-414 B TL II x 2
AKG D112
Neumann KM184

And which mike is to be used for what specificly? Why so many mics if all you want is record one track at a time?
Why bother recording real drums? Are you a drummer? Or do you know a good drummer? Drums in software are easier to use and can be extremely convincing...

how many preamps do i need?

Minimum: as many as you have mics you wanna record simultaneously. Big audio interfaces and mixers have many mic preamps already built in. For starters you want transparent preamps. Get the boutique stuff after you feel the need yourself.

how many compressor/limiter?

None. Do that with software!

[jak666]

compressor with software? it's sounds hard to my hear... there should be issues like clip in vocal or on a snare...

anyway, this should be my final setup

MIC
Audix D6
Audix D4
Sennaiser 421
451B AKG
AKG C414 B-XLS (x2)
Ribera r47
Apex 460 (x2)
shure sm57 (x2)

PREAMP
AUDIENT ASP008 x2
BEHRINGER MINI AMP800
Fireface Rme x2

COMP
DBX 266XL (x2)


MONITORING
GENELEC 8130A
AKG K141 (x3)

OTHER
LUDWIG LR1024XXB
IBANEZ SWX 100

PRICE: 12000 EURO



i still have anything else,

guitar gear, cables, 4 bass guitar, 1 piano, a good pc, good softwares

[tehlord]

compressor with software? it's sounds hard to my hear... there should be issues like clip in vocal or on a snare...

anyway, this should be my final setup

MIC
Audix D6
Audix D4
Sennaiser 421
451B AKG
AKG C414 B-XLS (x2)
Ribera r47
Apex 460 (x2)
shure sm57 (x2)

PREAMP
AUDIENT ASP008 x2
BEHRINGER MINI AMP800
Fireface Rme x2

COMP
DBX 266XL (x2)


MONITORING
GENELEC 8130A
AKG K141 (x3)

OTHER
LUDWIG LR1024XXB
IBANEZ SWX 100

PRICE: 12000 EURO



i still have anything else,

guitar gear, cables, 4 bass guitar, 1 piano, a good pc, good softwares

That sounds perfect.



'Nuff said really.

[scoobz]

yeah, whatever

[scoobz]

Oh BTW you have a lot of headroom in 24bit so overs are easily avoided but you know that already right? I mean you wouldn't just be spending money blindly right?

[Kraku]

Oh BTW you have a lot of headroom in 24bit so overs are easily avoided but you know that already right? I mean you wouldn't just be spending money blindly right?

I might be talking out of my arse, but 24bit doesn't really give you any more headroom when you're doing AD conversion. The hiss that comes from the analogue signal path before it hits the AD converters can be loud if you start boosting the signal after the conversion. This is why it might actually be a good idea to invest in a good limiter/compressor which comes before the audio interface to "boost" the signal a bit louder by getting rid of the clipping peaks.

[jak666]

Oh BTW you have a lot of headroom in 24bit so overs are easily avoided but you know that already right? I mean you wouldn't just be spending money blindly right?

I might be talking out of my arse, but 24bit doesn't really give you any more headroom when you're doing AD conversion. The hiss that comes from the analogue signal path before it hits the AD converters can be loud if you start boosting the signal after the conversion. This is why it might actually be a good idea to invest in a good limiter/compressor which comes before the audio interface to "boost" the signal a bit louder by getting rid of the clipping peaks.

intersting... can u suggest me some good one???


for scoobz... i ve thousands of read book about the sound, and the componets... but any pratice...


i ve to pratice pratice pratice

and to do this i need instruments... good intruments, this is my aim, i wanna be the best (lol)

[scoobz]

Er yeah, ok.

Recording at 24bit means you don't need to go anywhere near 0db so you don't need to worry about clipping with proper gain staging, freeing you up to do all your compression ITB should you so desire but you know that right? It must have said it one of the thousands of books you've read?

This might be worth a read.....

http://www.gearslutz.com/board/so-much- ... mixes.html

Kraku, hiss is hiss and however you record will not affect the difference between your loudest peak and your noise floor (dynamic range). The resolution of 24bit means you can record quieter and not worry about clipping, that's all I was saying

(God I'm grouchy today! )

[yellowfever]

i ve thousands of read book about the sound, and the componets...

and yet you have to ask where and how to use a compressor or limiter? goodnight

[Kraku]

Kraku, hiss is hiss and however you record will not affect the difference between your loudest peak and your noise floor (dynamic range). The resolution of 24bit means you can record quieter and not worry about clipping, that's all I was saying

Yes, that's perfectly clear to me.

What I mean is that if you record for example sharp percussive sounds (snare/rimshot/sticks for example) the dynamic range is HUGE. The attack/peak is really loud and the tail is really quiet (and the character giving part of the sound is the tail). Even though the noise floor is quite low with today's audio interfaces, it becomes audible if you have to boost the signal a lot. You can minimize the amount of noise by getting rid of the "worst" peaks before going into AD with as hot signal as possible. If you do it the other way around (ie. make the signal really low level), the noise floor is quite high compared to the dynamic range you really want to use.

[jak666]

Er yeah, ok.

Recording at 24bit means you don't need to go anywhere near 0db so you don't need to worry about clipping with proper gain staging, freeing you up to do all your compression ITB should you so desire but you know that right? It must have said it one of the thousands of books you've read?

This might be worth a read.....

http://www.gearslutz.com/board/so-much- ... mixes.html

Kraku, hiss is hiss and however you record will not affect the difference between your loudest peak and your noise floor (dynamic range). The resolution of 24bit means you can record quieter and not worry about clipping, that's all I was saying

(God I'm grouchy today! )

oh yes, i know it, thank u for stated it anyway. u re good

yellowfever: i know how to use a compressor, or some other dinamic controller. i don't know what compressor buy, i don't know that compressor i will buy how it works... goodnight!