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Digital Converters

Anyone have any ideas on a good digital converter. I'm looking to go from my mic preamp into the converter into the computer. I've been looking at apogee and understand they are supposed to be very good. Any help would be appreciated.
Thanks!
 
If you're willing to spend the cash on a AD/DA, why not just just get a high-end card like a Lynx? Sure, Apogee stuff is great, but I don't really see the need. With something like the Rosetta 200, you'll either need to drop an additional $350 for the FireWire card, or you'll need a high-end card and run s/pdif into it. Either way, you're looking at around $2000...For about $500, you could have something like a CardDeluxe or LynxOne and I think you'd be hard-pressed to hear the difference on voice. Maybe on a full mix, if you're using Genelec or Dunlavy to monitor, but even then, I doubt you'd hear the difference on a single voice.

Emmett
 
Hi Jeff,
Just saw your post. I've uploaded a spot demo that has the mic chain used on some of the clips. I think you'll be able to tell which ones. (ESPN, Network Telephone, Bank Spot) The other clips were done with the TLM 103 into a Symetrix 628. The Manley is set with no EQ, and only a db or two of compression with a Med-Fast Attack and Slow-Med release. Also the gain setting I'm using is "50". I'm coming straight out of the Manley into the soundcard using the preamp direct out. This is before the transformer. The problem I'm having is the Manley is too hot for the soundcard, so I can't drive it as much as I'd like without overdriving the card. I think that hitting the Manley a little harder would optimize the tube sound. By the way, we're neighbors...hello from Asheville!
 
What is the purpose of using a digital converter for VO? Isn't voice analog? I know Neumann makes digital mics..seems silly.
 
VODood said:
What is the purpose of using a digital converter for VO? Isn't voice analog? I know Neumann makes digital mics..seems silly.

Well, if you want to record digitally, you have to have a converter somewhere...Otherwise we're all still using tape and there's no such thing as Pro Tools or Audition. In most cases, one would use the built-in A/D/A converters in their soundcard. In the highest-end of cases, one would use an external convert before the soundcard.
 
Is that truly necessary? Like I mentioned, voice is analog. I record mic>mic preamp>Mackie>soundcard (Echo Mia)>Adobe Audition. Is that wrong?
 
Your soundcard has converters. Voice is not analog, per se...It's just a sound source. And the microphone is simply a transducer that creates an analog electrical signal, sends the analog signal to the preamp, stays analog through the Mackie and to the soundcard, where it is converted to digital. When you buy a high-end (stereo) soundcard, you're paying mostly for the converters in that card. That (and better connectors) separate pro cards from consumer or gaming cards. In most cases, a good quality audio card does just fine...If you're mixing a commercial record, you would want an external converter that will perform to the absolute highest quality. They shine most when it comes to stereo imaging and L/R correlation, which isn't an issue with voice. They also perform better on complex, dynamic material, which also isn't an issue with voice. Which is why a high quality soundcard will provide equal quality to an external converter, when used on voice. Someplace like a mastering house would use very high-end external A/D/A converters. They would also use cable that costs $400 per foot, and $35,000 monitors...Which is exactly what you would need to really hear the difference. Ever bought a $200 mic cable? It will make some difference, but only if everything else in the mic chain is flawless. Otherwise, it's a waste of about $170.

As for the Neumann digital mic, it's built for accuracy. It has A/D converters, which were designed especially for the mic, built-in. One would use the mic to avoid anything altering the sound of the mic. There's no preamp to give it color, no equipment or cable to distort the sound. After passing through the capsule, the signal is immediately converted to digital and transmitted to the DAW via AES/EBU or S/PDIF. IMO, it doesn't have much of a use...Measurement maybe. Might come in handy for symphony recording or something like that, where it's hard to keep the signal pure.

But to answer your question, no...You're fine. After you've dumped another $40,000 into your studio, then you might see the need....You know, after you've upgraded everything else as far as you can.

Emmett
 
"...another $40,000 grand..."

I plan on either a TLM103 or the TLM49, and an ISA-220 Pro Pak. And perhaps MBox2 or the new MBox Mini. And that's about it.
 
I had a bad experience with Focusrite. I purchased a Voicemaster Pro and it went belly up after a couple of weeks. It took them around 6 weeks to get me a new one. Since then I've heard the Voicemaster Pro has power supply problems. The unit you're looking at should be alright. In the meantime I bought the Manley Voxbox and the Focusrite is in the closet still in the box.
 
Cost between a Voxbox and an ISA220 is still at least $1000.

Corley and Merkel use the Voxbox. Corley with a RODE II Classic tube, Merkel a Lawson tube.

John Wells... 416 and a Mackie 1202 mic pre amp. That's it, lol!
 
"John Wells... 416 and a Mackie 1202 mic pre amp. That's it, lol!"

So, what did we learn today, boys and girls?

The right mic for YOUR voice. I've bought and tried a bunch of mics/pres,
you know what sounds best, for me? A Shure SM7B through the cheap
Yamaha mixer pre, with no outboard processing. I do have a good room, though,
and do some light eq/processing in the box.
 
the pre's in the newer Mackie Onyx series are pretty darn good.Mackie always has good gear and bullet proof...and those perkins EQ's are excellent
 
I lovingly call JBW "The Devil"... love his voice/read. No better rock VO out there.


Wells does use a u87 and the Focusrite 7 & 8 for film and narrative work. But for radio he told me the 416/Mackie is good enough. He sends it raw to stations, no EQ.
 
Today, even the cheap preamps sound very good...And Mackie had a large hand in making that happen. However, there's much more to the importance of a preamp than sound alone. Good preamps "focus" the sound much better than cheaper preamps. Cheaper preamps smear the sound...But it's not something that you would notice on dry voice. It becomes much more apparent when mixing the voice with a music bed or sound effects.

Every producer has noticed a voice (or several voices) that are just extremely easy to mix. It's actually a challenge to bury them in effects or music. Then there are those voices that sound outstanding, but somehow always get lost in the mix. The preamp is what makes that difference.

The focus, not just the sound, is a big reason for choosing a high-current preamp...And paying the extra price.

Emmett
 
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