Well said, Barry! Not long ago, I had a very nice, very simple setup with clean, accurate preamps and everything else ITB with quality plugins. Then I went down the analog summing rabbit hole, something I had done before and abandoned because it just wasn’t worth the hassle and expense. But this time was different! I did lots of testing and rediscovered how much more exciting any signal sounds when running it through a piece of analog gear. For me, analog summing, even into a cheap mixer, had a special magic to it. Down, down, down I went, further into the rabbit hole and deeper into my bank account. I built my own multi-section summing mixer and added racks of extra gear, thus requiring a couple of mix console rack rebuilds, piles of extra cables and connectors, and hour after hour of wasted time contemplating and dreaming about my amazing setup. Then the light came on again and I decided that it was just too complicated to enjoy. I found that it actually limited all the things I can do ITB and I remembered that the Good Old Days of analog weren't always that good. It was always so much harder to do things we can now do so easily in a DAW, even with stock plugins. After that, I ditched the summing mixer and some of the outboard gear. I returned to my earlier focus of only using outboard gear when tracking or buss processing. I really don't need the extra work and hassles of the analog workflow. By all means, if you just enjoy buying and using analog gear, then do it for that reason. But you don't need to do it to make great music. Concentrate on capturing great tracks and doing everything else ITB.
Barry I appreciate that you give it to us straight with no cut involved what so ever… thanks my friend
2 года назад+3
Great video!! I use hardware precisely for what you mentioned. For tracking, I would add that it's not only the sound that makes a difference but the process as well. The need to make a decision on the fly may sound limiting, but actually might force you to listen and decide more carefully.
I agree with everything you said, and I would also like to add that there is a lot of hardware that is not in plugin format. This is another reason to buy a specific piece of hardware that you think would benefit your workflow. Great video!
Barry, you’re spot on with your advice in this one. I have five pairs of preamp channels… Hardy M1, Demeter VTMP-2c, Sebatron Axis 200VU, Hendy DaVinci, and a pair of API 312 500 series units. I don’t have a Neve clone but I think my Da Vinci dances close enough to that sound to suit me. The Sebatron is the most versatile of the bunch. It can go from smooth as glass to crunchy. When I want a clean channel, nothing beats the Hardy. The Demeter makes every FET mic sound amazing. And the 312s are magic on strummed acoustic guitars. I have a couple few EQs but I never track with them. I bought an elysia xfilter 500 hoping it would ease my desire for a Curve Bender but that didn’t work. My other eqs are both from Kush. I have a pair of Electra 500s that really only get used on drums and I have a Clariphonic that has become a permanent part of my mastering chain. All my compressors are from Audioscape. They make amazingly good gear for ridiculously reasonable prices. I have a pair of Optos (LA2A clones), a pair of 76As (1176 clones), and a V-Comp (Gates Sta-Level clone). If I could only keep one, it would be the V-Comp, hands down. The character that compressor imparts on vocals is gorgeous. I also have their SSL clone that sits on my mixbus. The next thing on my wish list is a pair of Audioscape Pulteq clones. That probably doesn’t happen this year because I’m going to grab a Mac Studio around xmas time but next year isn’t going to end without those in my rack. I’m not as excited about the new SSL Bus+ as you are. It’s the two-band equalizer that bothers me. I can’t imagine I’d get much use out of it and I hate paying for features I know I won’t use. Besides, the Audioscape Buss comp does an amazing job and only cost me $800. The future looks bright, doesn’t it?
This was very helpful. I’m just getting into 500 series. I’m interested in the Midas L6 rack. That SSL G Bus compressor is high on my priority list. Thanks for making this video and sharing your wisdom.
I literally spent the last year in that rabbit hole you spoke of lol. Wish I'd seen this video before spending all I spent. BUT not honestly sure if I would've listened and slowed down. Lol. Thankfully I did get higher end stuff, so what I didn't want was easy to resell. Didn't lose value. But there was definitely a HUGE learning curve involved in training your ear for analog sources and how those different analog elements will work and need to be blended together. Most people just tell you, "oh yea! Get that! It's great!"....which is true...but not enough people advise on how much of a process it can be to properly learn these units. I was over saturating all my vocals going in for months. Sometimes sounded cool, sometimes sounded awful and had to do a lot of mix cleaning lol. Now I'm running 500series never 511 into a distressor. Planning on getting ssl eq 500series in the next month or two Great video. 🙏🏾
Totally agree, tracking and mix bus are the keys, also in mixing for key tracks like main voice, main guitar or bass, maybe drums buss. Big fan of Stam Audio here, I own a LA2A (fast and slow) that can switch into a 3A and a 4A, just ordered a pair of 1073 with eq, a pair of 1176 (revs A D and G) and a 33609. Not buying any more compressors for a long time.
great work and perspective! I'm about to record again and I track my band in one room, trying to keep the bleeding and phase dialed in an things under control. So I need a lot of mic inputs simultaneously and so I recently bought a soundcraft ui24 to use as an audio interface cause the preamps are great and clean. Later I'll get more preamps in pairs to get different colours as you mentioned and/or some compressors on the way in for some main tracks when needed and work in the box from there. Unfortunately not this time.
I am very satisfied with my Apollo x6 and Dynaudio M5 MarkIII active speakers. The only problem is mixing the lower frequencies in my small room. I always play back the mix in my living room, through my Stax Electrostatic headphones, my Apple Airpods etc. to compare before I finish the mix. In the end, it’s my musical ideas and combination of instruments and sounds that count most.
As much as I’d like to replace all the plugins with hardware I know it would be a an almost inconceivable task. So I’ll definitely use you’re method Barry. My goal is to limit the amount of plugins I use to 10 no more than 15. Hopefully, I can achieve this with the goal of adding outboard gear.
Could you help me understand the number Chaston? Ive got the ssl uc1 plugins. So, 2 channel strips(including the one that came later this year). Why do you need more than channel strips? And maybe one more for mastering.
Great video Barry. Funny how we are all different in our recording/mixing process. I may do it wrong since a long time or should take more risk at the very beginning. I focus a lot on the instrument setting, mic placement and selection, musician return monitoring during the recording, so there's is no much time left to tweak more knobs on eq and comp or whatever. The hardware equipment is used (preamp appart) exclusively in the mixing step (through a console), I spend lot of time doing the very best first mix I can then print all the stems by instruments, reverb returns are also recorded as FX stems. The recall/adjustments/automations/mix-revisions are then made ITB for convenience. Again, nothing on the mixbuss as I kept considering this the mastering engineer part of the job. I guess I should experiment more with inputs and output :)
Yeah, follow your idea. But I decided to go with 4 stereo stem tracks into analog track and take it from there. After comp/sat/eq it goes into summing and them you have the mix bus chain. Most valuable analog units for me are the color units. That really makes a different in analog compared to digital. Just my 2 cents.
Yep!. Everybody... Trust Barry. He knows and shares good info!! I am an older guy that owned a smaller studio in Philly in the 80's. Live in FL now. I decided to get back into writing a bit ago as a hobby. Everything Barry said in this video is common sense. Been little by little building a set up. Almost there. Looking for a tape/saturation for tracking and mixbus to add to the setup. Looking at the Neve 542's or maybe Fusion, Black Box and so on...not sure. Have most of the things Barry mentioned. I was using the UAD Pultec on my Mixbus and just replaced it with the (Bettermaker Passive) I am keeping that unit. When you get into that type of quality there is no better just different. Was going to get 2 Pultecs but this unit works for me. It is recallable, not saying it is that hard to recall something like that but throw it on your bus and sometimes add in the API 5500 into the Neve Master buss is 1 way to go. Some material would fit that newer SSL that Barry mentioned instead of the Neve. Also, Wes Audio Ngbus is recallable. The Dangerous Comp is a good thing to have too. Anyway, I NEVER, NEVEEER post on sites but... this video I found by accident and makes total sense. Take Care, J
Hey, Barry, I'm a recent subscriber, and I just want to let you know how much I (and clearly others) truly appreciate what you do. I also live on the East Coast up in VA., and if we ever have a chance to cross paths and meet, I'd love to shake your hand. Keep doin what ya do, brotha. Cheers!
I mix with hardware all the time, I just commit and print, it’s actually sped up my mix time, forces me to make finite decisions, no more fiddling around with plugins for days on end 🤷♂️ To each their own though.
I started hybrid with a mackie 8bus and a handful of klark technic and warm audio stuff. Made a world of difference from itb. My mixes were more punchy and more present. Try otb
Great advice. Of course monitoring , acoustics and mics come first but I would suggest that quality comes before quantity. In my experience AML Soundskulptor Capi and JLM have great preamps and compressors that you can diy or have built. I second the fact that if you can’t mix ITB you need to revise your workflow. A good HW bus setup is nice but not crucial. I use the Weiss softube tools for 2 bus and it is worth the effort.
I feel like we've entered a period where only boutique brands are actually innovating. The big brands are making clones, or modified clones, of classic designs. I kinda miss the 90s, when Sound on Sound was full of hardware kit with different valves and transformers and FETs and opto compressors and VCAs, and all of it was different. Maybe none of it was as GOOD as the 1176 clones we have now, but it was different. I've recently picked up some TL Audio compressors. They are pretty unique, and very useful when both tracking and on the mix bus.
Thanks so much, golden advice! BTW, what’s your opinion on tracking through real hardware VS UA Unison preamps which have emulation of classic hardware (during the recording specifically)? Love to see dedicated video on this regards in details bases on your experience. Thanks again!
This is an amazingly good video and very educational. However, in my humble opinion, I would put the MixBus processing before the tracking processing. Why? Cause a lot of plugins already do an amazing job at the tracking stage, but the MixBus is probably more important when it comes to incorporate analog to the digital world. I know is not the most exciting way to do things, but i think it's the most effective one. Keep this great videos coming i certainly enjoy them a lot. 😊
Great piece of advice, as ever. The only thing I don’t quite agree with is what you said about KT’s Pultec clones. They can do a really good job. Incidentally, replacing the valves (depending on the stock batch) may also improve the result.
Hello Barry, Your videos are so clear and knowledgeable! May I ask please, would you consider online consultation to help this old guy with setup and usage of automation with Avid S1?
Fantastic video! What do you think about the SSLSiX mixer with the the eq and compressor built in two channels and the ability to do mix bus? I got for just under $1200?
Interesting comment about stacking channels with a single EQ. How exactly would you do that and _still_ be able to individually record each channel armed to its own DAW track? Perhaps I am misunderstanding something. Your sense of humor almost never ceases to make me laugh. Indispensable advice, Barry.
I think it has alot to do with what genre of music you're making and/or what you plan to do in your studio. What a rapper needs who is recording over pre-made beats vs a session drummer who wants to do drum recordings for people vs a guy who wants to do only mixing, are all different. Once established, picking an interface or converters with sufficient IO for the given task is the first thing. If ANY mixing will be done in said studio, then monitors come first ABOVE ALL ELSE. That is where most people go wrong in my opinion. Monitors, monitors, monitors. Okay, then if said studio is placing an emphasis on recording than you're on the money, except for I place mic importance above pre-amps. The mic doesn't have to be multi-thousand, there are wonderful mics in the 400-900 price range.. Th3n preamps comes next.. However, if lets say for example mixing is top priority, then I'd say start with 2bus and outboard for processing vocals, then sub-buses after that and trickle your way down from there. Good content on this channel by the way. Respect.
For me five things are important: 1. Good/great mics 2. A solid preamp 3. An analog, tube compressor 4. A quality DI for guitar and bass 5. Pro AD converter I'd love to track to tape but that's too complicated and expensive for me at this juncture.
Wesaudio gear is grear for 500 series rack and it had digital recall. The DIONE SSL style compressor and the PROMETHEUS pultec style stereo EQ are amazing in my 2bus chain. Handsome Audio Zulu passive tape simulator is a gem also.
For most people's needs they will never need more than a 4 in 4 our usb c audio recorder and either mac and garage band or if you need to spend money either reaper or if you gotta spend $200 for a perpetual license then go for logic pro, on m1+ you know logic pro will always have a cut over anything else. For everyone else Reaper is really the best choice because windows works but its a huge hog beast, using a minimal DAW like Reaper is a better choice there.
What is your opinion on gear for producers who are mostly sampling and making instrumental music with virtual instruments (midi), things of that nature and sometimes recording a live bass, moog, guitar, horn, or vocal part? Id love to eventually have a better setup to record vocalists, or live piano / organ, but currently I rarely use microphones at all. And I’m very happy with my beatmaking workflow. Is analog a waste of money for someone like me? Where would I see the most benefit if I did spend the money? And why is it not ideal to buy this stuff for mixing? Thanks so much. ( ps: I currently own an 1176 and greatriver mic pre that have been collecting dust as I have taken a sabbatical from working as an engineer to hone my craft as a producer / composer)
Hey Barry, Timely discussion for me. I've got the front end covered and I'm now focused on the mix bus. I'm considering an SSL Fusion or a Tegeler Creme....got any thoughts on these?
Incorporating analog gear has been the most difficult , frustrating and rewarding aspect of my musical journey. Feedback loops , wire issues etc has taught me to appreciate being able to grab an EQ plugin and move on, but I insist on learning and utilizing gear. I refuse to buy more gear until I can master the few pieces I have 😆
I’ve only gone so far as getting a preamp- FocusRite Isa One- that I really love the sound of. I think I’m comfortable keeping my analog ambitions to my tracking chain and keeping the rest in the box.
I'm using the Neve 542 through the Ferrofish Pulse 16 with Cubase. My Sends and returns are set to 0.00. When I engage the 542 (or any outboard gear) I get a feedback echo, and, especially on drums, it sounds like all the drum hits are doubled. If I turn the return all the way down, this doesn't happen. Question. Is that what I'm supposed to do? What's the purpose of having return level settings if turning it up creates this echo? Or, am I just doing something else wrong? Thanks in advance.
@BarryJohns I'm not home right now, but I'm sure it's either 512 or 1024. I'm guessing the buffer size has an effect on sends and returns? I can experiment with that and see what happens. Thanks for the quick response. BTW, Love your channel!
If I were to start out clean for a business project studio. I would invest most my money into a quality condenser vocal microphone, a couple sm57’s for guitars, and a drum microphone kit from CAD etc. Second I would get an M1 version of the Macintosh with 16 GB of RAM and one terabyte hard drive. Third I would get an Audience ID 14 Mk II with a toss link to a Behringer ADA 820O. Now I have 10 channels input. Fourth I would use a subscription to plug-ins such as UAD or Slate etc. Fifth I would get a multi channel headphone distribution amp, and one high-quality headphone for the engineer and four Behringer studio headphones for the talent. Finally, I would get room treatment, some separation barriers and all the necessary XLR cables etc. Now I can start recording paying talent and building up funds to slowly get what hardware Barry has listed in this video such as 1176’s and Neve preamps, but there’s no sense in buying all the professional hardware if your financial model will not support it as a solvent business. Thank you for the video Barry
if someone needs to ask, most likely they don't have enough experience and they just want to find an excuse to blame their lack of skill, nowadays, only hardware which makes sense is input (audio interface, keyboard controller, maybe motorized fader controller) and output (again, nice interface, speakers, headphones perhaps) and that's all, good interfaces like RME can do EQ+comp on record monitoring, independent (or not) from actual recording, that seems like a perfect compromise to me, if someone hasn't grown with legacy analog gear, there's no need to start looking back into such devices, even the emulations are just another flavour, nothing mandatory to make great music/sound, btw same goes with plugins - people are just looking for fancy excuse why their mixing is trash, because they fail to understand basic principles of sound processing :)
Sorry, have to disagree. I’ve done all ITB and all OTB and the very best solution if you want the best results is to have some real compressors, quality mic preamps and certainly the mix bus benefits tremendously from the right hardware and it does not take a fortune to do this. That said, you can still make very good recordings ITB. There is practically nothing in life that cannot be improved open, the only question is the improvement worth the cost, for me, no question yes. If I were just mixing well recorded tracks I’d do a lot ITB, it’s tracking where this makes a big difference if doing traditional analog recording. Please try to never make the mistake that because something fits your needs, your workflow, and your style, that just because that works for you certainly will not necessarily work for others.
Barry, is there anyway you could message me? I have a question regarding some gear upgrades, and honestly? I would rather just message you a few times, get a REAL answer that I trust, other than looking through alllllll the "voodoo" online. Thanks in advance, brotha.
Well said, Barry! Not long ago, I had a very nice, very simple setup with clean, accurate preamps and everything else ITB with quality plugins. Then I went down the analog summing rabbit hole, something I had done before and abandoned because it just wasn’t worth the hassle and expense. But this time was different! I did lots of testing and rediscovered how much more exciting any signal sounds when running it through a piece of analog gear. For me, analog summing, even into a cheap mixer, had a special magic to it. Down, down, down I went, further into the rabbit hole and deeper into my bank account. I built my own multi-section summing mixer and added racks of extra gear, thus requiring a couple of mix console rack rebuilds, piles of extra cables and connectors, and hour after hour of wasted time contemplating and dreaming about my amazing setup.
Then the light came on again and I decided that it was just too complicated to enjoy. I found that it actually limited all the things I can do ITB and I remembered that the Good Old Days of analog weren't always that good. It was always so much harder to do things we can now do so easily in a DAW, even with stock plugins.
After that, I ditched the summing mixer and some of the outboard gear. I returned to my earlier focus of only using outboard gear when tracking or buss processing. I really don't need the extra work and hassles of the analog workflow. By all means, if you just enjoy buying and using analog gear, then do it for that reason. But you don't need to do it to make great music. Concentrate on capturing great tracks and doing everything else ITB.
Hardware rules, period. Track with hardware, mix with plugins, build a hardware chain for the 2 bus and thank me later.
Barry I appreciate that you give it to us straight with no cut involved what so ever… thanks my friend
Great video!! I use hardware precisely for what you mentioned. For tracking, I would add that it's not only the sound that makes a difference but the process as well. The need to make a decision on the fly may sound limiting, but actually might force you to listen and decide more carefully.
Best video on hardware I've ever seen Barry. No understatement. You're a legend.
I agree with everything you said, and I would also like to add that there is a lot of hardware that is not in plugin format. This is another reason to buy a specific piece of hardware that you think would benefit your workflow. Great video!
Great video Barry. I’ve been watching your channel for a while now. Love the content. Very insightful. Keep it up.
Barry, you’re spot on with your advice in this one. I have five pairs of preamp channels… Hardy M1, Demeter VTMP-2c, Sebatron Axis 200VU, Hendy DaVinci, and a pair of API 312 500 series units. I don’t have a Neve clone but I think my Da Vinci dances close enough to that sound to suit me. The Sebatron is the most versatile of the bunch. It can go from smooth as glass to crunchy. When I want a clean channel, nothing beats the Hardy. The Demeter makes every FET mic sound amazing. And the 312s are magic on strummed acoustic guitars.
I have a couple few EQs but I never track with them. I bought an elysia xfilter 500 hoping it would ease my desire for a Curve Bender but that didn’t work. My other eqs are both from Kush. I have a pair of Electra 500s that really only get used on drums and I have a Clariphonic that has become a permanent part of my mastering chain.
All my compressors are from Audioscape. They make amazingly good gear for ridiculously reasonable prices. I have a pair of Optos (LA2A clones), a pair of 76As (1176 clones), and a V-Comp (Gates Sta-Level clone). If I could only keep one, it would be the V-Comp, hands down. The character that compressor imparts on vocals is gorgeous. I also have their SSL clone that sits on my mixbus.
The next thing on my wish list is a pair of Audioscape Pulteq clones. That probably doesn’t happen this year because I’m going to grab a Mac Studio around xmas time but next year isn’t going to end without those in my rack.
I’m not as excited about the new SSL Bus+ as you are. It’s the two-band equalizer that bothers me. I can’t imagine I’d get much use out of it and I hate paying for features I know I won’t use. Besides, the Audioscape Buss comp does an amazing job and only cost me $800.
The future looks bright, doesn’t it?
This was very helpful. I’m just getting into 500 series. I’m interested in the Midas L6 rack. That SSL G Bus compressor is high on my priority list. Thanks for making this video and sharing your wisdom.
Hi Barry thanks for the videos! Great insight for a “younger” person considering some hardware studio upgrades. Keep it up!
I literally spent the last year in that rabbit hole you spoke of lol. Wish I'd seen this video before spending all I spent. BUT not honestly sure if I would've listened and slowed down. Lol.
Thankfully I did get higher end stuff, so what I didn't want was easy to resell. Didn't lose value. But there was definitely a HUGE learning curve involved in training your ear for analog sources and how those different analog elements will work and need to be blended together. Most people just tell you, "oh yea! Get that! It's great!"....which is true...but not enough people advise on how much of a process it can be to properly learn these units.
I was over saturating all my vocals going in for months. Sometimes sounded cool, sometimes sounded awful and had to do a lot of mix cleaning lol.
Now I'm running 500series never 511 into a distressor. Planning on getting ssl eq 500series in the next month or two
Great video. 🙏🏾
Totally agree, tracking and mix bus are the keys, also in mixing for key tracks like main voice, main guitar or bass, maybe drums buss. Big fan of Stam Audio here, I own a LA2A (fast and slow) that can switch into a 3A and a 4A, just ordered a pair of 1073 with eq, a pair of 1176 (revs A D and G) and a 33609. Not buying any more compressors for a long time.
great work and perspective! I'm about to record again and I track my band in one room, trying to keep the bleeding and phase dialed in an things under control. So I need a lot of mic inputs simultaneously and so I recently bought a soundcraft ui24 to use as an audio interface cause the preamps are great and clean.
Later I'll get more preamps in pairs to get different colours as you mentioned and/or some compressors on the way in for some main tracks when needed and work in the box from there. Unfortunately not this time.
I am very satisfied with my Apollo x6 and Dynaudio M5 MarkIII active speakers. The only problem is mixing the lower frequencies in my small room. I always play back the mix in my living room, through my Stax Electrostatic headphones, my Apple Airpods etc. to compare before I finish the mix. In the end, it’s my musical ideas and combination of instruments and sounds that count most.
As much as I’d like to replace all the plugins with hardware I know it would be a an almost inconceivable task. So I’ll definitely use you’re method Barry. My goal is to limit the amount of plugins I use to 10 no more than 15. Hopefully, I can achieve this with the goal of adding outboard gear.
Could you help me understand the number Chaston? Ive got the ssl uc1 plugins. So, 2 channel strips(including the one that came later this year).
Why do you need more than channel strips?
And maybe one more for mastering.
Great video Barry.
Funny how we are all different in our recording/mixing process. I may do it wrong since a long time or should take more risk at the very beginning.
I focus a lot on the instrument setting, mic placement and selection, musician return monitoring during the recording, so there's is no much time left to tweak more knobs on eq and comp or whatever.
The hardware equipment is used (preamp appart) exclusively in the mixing step (through a console), I spend lot of time doing the very best first mix I can then print all the stems by instruments, reverb returns are also recorded as FX stems. The recall/adjustments/automations/mix-revisions are then made ITB for convenience.
Again, nothing on the mixbuss as I kept considering this the mastering engineer part of the job.
I guess I should experiment more with inputs and output :)
Great stuff John! Just sub’d and 👍🏻 Cheers from the SF Bay Area! 🙏
Yeah, follow your idea. But I decided to go with 4 stereo stem tracks into analog track and take it from there. After comp/sat/eq it goes into summing and them you have the mix bus chain. Most valuable analog units for me are the color units. That really makes a different in analog compared to digital. Just my 2 cents.
Yep!. Everybody... Trust Barry. He knows and shares good info!! I am an older guy that owned a smaller studio in Philly in the 80's. Live in FL now. I decided to get back into writing a bit ago as a hobby. Everything Barry said in this video is common sense. Been little by little building a set up. Almost there. Looking for a tape/saturation for tracking and mixbus to add to the setup. Looking at the Neve 542's or maybe Fusion, Black Box and so on...not sure. Have most of the things Barry mentioned. I was using the UAD Pultec on my Mixbus and just replaced it with the (Bettermaker Passive) I am keeping that unit. When you get into that type of quality there is no better just different. Was going to get 2 Pultecs but this unit works for me. It is recallable, not saying it is that hard to recall something like that but throw it on your bus and sometimes add in the API 5500 into the Neve Master buss is 1 way to go. Some material would fit that newer SSL that Barry mentioned instead of the Neve. Also, Wes Audio Ngbus is recallable. The Dangerous Comp is a good thing to have too. Anyway, I NEVER, NEVEEER post on sites but... this video I found by accident and makes total sense. Take Care, J
Mixbus comp...Serpent Audio SB 4001 😉 loving it for many years ✌
I simply enjoy all your videos brother!
Appreciate your contribution to helping home producers and recordists to make better recordings !
Perfect timing for me on this - great video
Very helpful. Thanks, Barry.
Hey, Barry, I'm a recent subscriber, and I just want to let you know how much I (and clearly others) truly appreciate what you do. I also live on the East Coast up in VA., and if we ever have a chance to cross paths and meet, I'd love to shake your hand. Keep doin what ya do, brotha. Cheers!
Thank you so much! If you are in the Orlando area let me know!
I mix with hardware all the time, I just commit and print, it’s actually sped up my mix time, forces me to make finite decisions, no more fiddling around with plugins for days on end 🤷♂️
To each their own though.
Great video.. def something I have asked.. but it all makes sense.. what else could we put on that mix bud? 😊
I started hybrid with a mackie 8bus and a handful of klark technic and warm audio stuff. Made a world of difference from itb. My mixes were more punchy and more present. Try otb
Great advice. Of course monitoring , acoustics and mics come first but I would suggest that quality comes before quantity. In my experience AML Soundskulptor Capi and JLM have great preamps and compressors that you can diy or have built. I second the fact that if you can’t mix ITB you need to revise your workflow. A good HW bus setup is nice but not crucial. I use the Weiss softube tools for 2 bus and it is worth the effort.
Agree on the monitoring, room treatment, and mics first, I actually have several videos specifically about that.
Thank you for the amazing videos!
I feel like we've entered a period where only boutique brands are actually innovating. The big brands are making clones, or modified clones, of classic designs. I kinda miss the 90s, when Sound on Sound was full of hardware kit with different valves and transformers and FETs and opto compressors and VCAs, and all of it was different.
Maybe none of it was as GOOD as the 1176 clones we have now, but it was different.
I've recently picked up some TL Audio compressors. They are pretty unique, and very useful when both tracking and on the mix bus.
Thanks so much, golden advice! BTW, what’s your opinion on tracking through real hardware VS UA Unison preamps which have emulation of classic hardware (during the recording specifically)? Love to see dedicated video on this regards in details bases on your experience. Thanks again!
Hardware for me.
If only UA had a decent converter, they suck
This is an amazingly good video and very educational. However, in my humble opinion, I would put the MixBus processing before the tracking processing. Why? Cause a lot of plugins already do an amazing job at the tracking stage, but the MixBus is probably more important when it comes to incorporate analog to the digital world. I know is not the most exciting way to do things, but i think it's the most effective one. Keep this great videos coming i certainly enjoy them a lot. 😊
👍🏻
Thanks Barry!
Amazing and very knowledgeable! I have a new favorite channel and this is it!
Wow, thanks!
@@BarryJohns Sure! It’s the truth.
Thanks for this one, Barry! This isn’t the first time you’ve helped me temper my GAS, and I’m sure it won’t be the last! haha
Great piece of advice, as ever. The only thing I don’t quite agree with is what you said about KT’s Pultec clones. They can do a really good job. Incidentally, replacing the valves (depending on the stock batch) may also improve the result.
He has several videos where he trashes them even though he owns some. It’s his schtick. It’s really old. 🤷♂️
Hello Barry, Your videos are so clear and knowledgeable! May I ask please, would you consider online consultation to help this old guy with setup and usage of automation with Avid S1?
This is very handy information as I'm thinking of getting into the 500 series equipment. I am curious which EQ's you may think would be complimentary?
Rick Rubin’s tracking of Cash utilized an old compressor/limiter of sorts that gave the depth to his voice and guitar. Familiar?
Fantastic video! What do you think about the SSLSiX mixer with the the eq and compressor built in two channels and the ability to do mix bus? I got for just under $1200?
Interesting comment about stacking channels with a single EQ. How exactly would you do that and _still_ be able to individually record each channel armed to its own DAW track? Perhaps I am misunderstanding something.
Your sense of humor almost never ceases to make me laugh. Indispensable advice, Barry.
I think it has alot to do with what genre of music you're making and/or what you plan to do in your studio. What a rapper needs who is recording over pre-made beats vs a session drummer who wants to do drum recordings for people vs a guy who wants to do only mixing, are all different. Once established, picking an interface or converters with sufficient IO for the given task is the first thing. If ANY mixing will be done in said studio, then monitors come first ABOVE ALL ELSE. That is where most people go wrong in my opinion. Monitors, monitors, monitors. Okay, then if said studio is placing an emphasis on recording than you're on the money, except for I place mic importance above pre-amps. The mic doesn't have to be multi-thousand, there are wonderful mics in the 400-900 price range.. Th3n preamps comes next.. However, if lets say for example mixing is top priority, then I'd say start with 2bus and outboard for processing vocals, then sub-buses after that and trickle your way down from there. Good content on this channel by the way. Respect.
Just got a McDsp APB-16. It has perfect recall + next to digital plugins the sound is night and day better to me.
I’ve heard nothing but good things about that unit
I loved that video exposing pro tools terrible plans!
This is great advice!
Bettermaker makes a good digitally controlled stereo pultec. Should look into it!
For me five things are important: 1. Good/great mics 2. A solid preamp 3. An analog, tube compressor 4. A quality DI for guitar and bass 5. Pro AD converter
I'd love to track to tape but that's too complicated and expensive for me at this juncture.
My Great River ME1NV (1073 Clone) and Distressor have me covered. The Distressor is capable of emulating most compressors.
I own both of those!!!!!
I started on a neve board and missed it every time I rec since leaving that studio!
Hey Barry - great video. Can you include a video on the new mini Macs pls. It’s now a tossed up between a mini and a Studio. Thanks
I have on three pieces of hardware - it’s enough for me.
I have one on order.
Boss man I love your videos!! Just a down to earth guy! Not them I know everything kind of people
Thanks 🙏
I've always wanted a portico 2 but man they are high dollar but worth it if u got it!
That is exactly. how i got my studio. Set up.
What about AD/DA converters when tracking acoustic instruments?? How important for the overall sound are these?
I like this brother! God bless 🙏
I appreciate it
Wow! Great great great!
The Warm Audio Bus Comp is truly a delightful unit - really adds punch to your mix bus for the price.
Wesaudio gear is grear for 500 series rack and it had digital recall. The DIONE SSL style compressor and the PROMETHEUS pultec style stereo EQ are amazing in my 2bus chain. Handsome Audio Zulu passive tape simulator is a gem also.
ok can you give your opinion to drummer in a conundrum. first I am all in towards analog.
do I go sidecar or 500 series mini console?
Too late Barry I already have GAS (gear acquisition syndrome) and I don't think there is a cure.
Hey . Please give your take on the ART pro stuff . Does it get your stamp of approval?
For most people's needs they will never need more than a 4 in 4 our usb c audio recorder and either mac and garage band or if you need to spend money either reaper or if you gotta spend $200 for a perpetual license then go for logic pro, on m1+ you know logic pro will always have a cut over anything else. For everyone else Reaper is really the best choice because windows works but its a huge hog beast, using a minimal DAW like Reaper is a better choice there.
i will do my work in the box
with a touch of preamp/compressor
bro we have enriched this companies out here
What is your opinion on gear for producers who are mostly sampling and making instrumental music with virtual instruments (midi), things of that nature and sometimes recording a live bass, moog, guitar, horn, or vocal part?
Id love to eventually have a better setup to record vocalists, or live piano / organ, but currently I rarely use microphones at all. And I’m very happy with my beatmaking workflow. Is analog a waste of money for someone like me? Where would I see the most benefit if I did spend the money? And why is it not ideal to buy this stuff for mixing?
Thanks so much. ( ps: I currently own an 1176 and greatriver mic pre that have been collecting dust as I have taken a sabbatical from working as an engineer to hone my craft as a producer / composer)
With that workflow I’d invest in my Master Buss Chain. Good stereo master buss compressor, two Pultec EQ (Clones) (recommend AudioScape).
Hey Barry,
Timely discussion for me.
I've got the front end covered and I'm now focused on the mix bus.
I'm considering an SSL Fusion or a Tegeler Creme....got any thoughts on these?
Im gonna get the fusion and the buss+ after i pay off somethings.. Its gonna be like $250 a month for 24 months .. No interest with Vintage King ...
@@SeventhSonMusic Cool!,
I'm not ready to pull the trigger yet.
Both gorgeous unit. I own the Fusion and it is a wonderful colouring box for the mix bus. Such fun to use.
Incorporating analog gear has been the most difficult , frustrating and rewarding aspect of my musical journey. Feedback loops , wire issues etc has taught me to appreciate being able to grab an EQ plugin and move on, but I insist on learning and utilizing gear. I refuse to buy more gear until I can master the few pieces I have 😆
I use md to think that too until I got into hardware. You can’t go back! I still use plugins for mixing too
I’ve only gone so far as getting a preamp- FocusRite Isa One- that I really love the sound of. I think I’m comfortable keeping my analog ambitions to my tracking chain and keeping the rest in the box.
Hi Barry, what about a Summing Mixer? Spl Mixdream Xp, Neve Orbit? Etc.
In time!
my Hardware is a analog synth aka the Moog Grandmother
Proven recording approach with proven hardware designs. Now if you just know how to use it you should get some good results.
I like to work hybrid with my setup
Any links to your work ? Thanks.
Can I get a descent software for Chromebook?? Do I need a Mac or pc???
I'm using the Neve 542 through the Ferrofish Pulse 16 with Cubase.
My Sends and returns are set to 0.00. When I engage the 542 (or any outboard gear) I get a feedback echo, and, especially on drums, it sounds like all the drum hits are doubled. If I turn the return all the way down, this doesn't happen.
Question.
Is that what I'm supposed to do?
What's the purpose of having return level settings if turning it up creates this echo?
Or, am I just doing something else wrong? Thanks in advance.
What is you buffer set to in Cubase?
@BarryJohns I'm not home right now, but I'm sure it's either 512 or 1024. I'm guessing the buffer size has an effect on sends and returns?
I can experiment with that and see what happens.
Thanks for the quick response.
BTW, Love your channel!
I have serious GAS for other stuff like software and recording gear. Not so much racks and all that..guess I dodged a bullet 😅
🤔Great Converters/Clocks, Monitors, and Room Treatment improve sound quality...Not Plugins!
Do not fall into the plugin trap.
If I were to start out clean for a business project studio. I would invest most my money into a quality condenser vocal microphone, a couple sm57’s for guitars, and a drum microphone kit from CAD etc. Second I would get an M1 version of the Macintosh with 16 GB of RAM and one terabyte hard drive. Third I would get an Audience ID 14 Mk II with a toss link to a Behringer ADA 820O. Now I have 10 channels input. Fourth I would use a subscription to plug-ins such as UAD or Slate etc. Fifth I would get a multi channel headphone distribution amp, and one high-quality headphone for the engineer and four Behringer studio headphones for the talent. Finally, I would get room treatment, some separation barriers and all the necessary XLR cables etc. Now I can start recording paying talent and building up funds to slowly get what hardware Barry has listed in this video such as 1176’s and Neve preamps, but there’s no sense in buying all the professional hardware if your financial model will not support it as a solvent business. Thank you for the video Barry
Theee flavvvvorrrrr 😂👌
if someone needs to ask, most likely they don't have enough experience and they just want to find an excuse to blame their lack of skill,
nowadays, only hardware which makes sense is input (audio interface, keyboard controller, maybe motorized fader controller) and output (again, nice interface, speakers, headphones perhaps) and that's all,
good interfaces like RME can do EQ+comp on record monitoring, independent (or not) from actual recording, that seems like a perfect compromise to me,
if someone hasn't grown with legacy analog gear, there's no need to start looking back into such devices, even the emulations are just another flavour, nothing mandatory to make great music/sound,
btw same goes with plugins - people are just looking for fancy excuse why their mixing is trash, because they fail to understand basic principles of sound processing :)
Sorry, have to disagree. I’ve done all ITB and all OTB and the very best solution if you want the best results is to have some real compressors, quality mic preamps and certainly the mix bus benefits tremendously from the right hardware and it does not take a fortune to do this. That said, you can still make very good recordings ITB. There is practically nothing in life that cannot be improved open, the only question is the improvement worth the cost, for me, no question yes.
If I were just mixing well recorded tracks I’d do a lot ITB, it’s tracking where this makes a big difference if doing traditional analog recording.
Please try to never make the mistake that because something fits your needs, your workflow, and your style, that just because that works for you certainly will not necessarily work for others.
@@BarryJohns I was just sharing my point of view,
there's nothing wrong with your points either :)
Barry, is there anyway you could message me? I have a question regarding some gear upgrades, and honestly? I would rather just message you a few times, get a REAL answer that I trust, other than looking through alllllll the "voodoo" online. Thanks in advance, brotha.
Yup, you need analogue 'going in' and 'coming out'.
Beyond that, you're kidding yourself.
Bill P.
LA 2A clone “two”
Man, you don’t really need it, but if you want to try go with Neve, API, Pulteq, La2a, 1176… we’re talking about what… 20K ??
I don’t get the advice.
Did you watch the whole video? I mention or similar clones. Fraction of the cost.
That is exactly. how i got my studio. Set up.