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Hardware, Software, and Rituals

S

seanmoore

I have that irresistable urge to post something again so here goes:

Why do so many of you use hardware alongside or instead of the software plug-ins? For instance, I have been thinking about getting the DBX 286a, or the Focusrite Trackmaster, but usually opt to save money a little longer. This is because I get decent enough results out of the CEP/Audition compression settings and EQ.

So, what are the advantages of having the hardware? Is it mainly to:

* save time -- less or no post-recording tweaks? No fear of clipping going in?
* sound -- it is worth the expesive, cool-sounding tube stuff for you and your clients?
* touchy feeliness -- there is just something about physically turning actual physical knobs that turns you on?
* the blinking lights
* all of the above

I ask because if I had a billion dollars (and clients that were actually worth it) I would probably just buy the entire BSW warehouse. Since that is not the case, I find the sound of the virtual plug-ins sufficient.

Now, I will share my typical production ritual when recording at the radio station on their stuff:

Often, I am forced to use the station's lousy late-70's era Peavy board that slightly resembles my uncle Willie's Atari console of the same era. The pre-amp is noisy and hissy. The mic is an old, coffee-or-cigarette stained RE20. Crazy people in the hall are sometimes loud. The computer fan is too loud. On warm days - it smells like kitty-poo.

Still, I can counter these challenges and get decent results in CEP/Audition by:

1) Noise Reduction - first and foremost
2) Light compression/expansion
3) A dash of EQ
4) Extremely slight delay (not always)
5) Hard-limit entire mixdown
6) Closed-back headphones
7) A fragrant candle or incense

And that's it. No hardware!

Sometimes, as the last-minuteness and/or lousiness of the production order requires, I will simply record straight into the automation using the audition channel in the air studio -- no tweaking, editing, compression, or anything! Now, THAT'S where I sometimes think a little compression would be handy, because control becomes much more difficult when the level has to be acceptable, and you can't just normalize it.

So...what say you?
 
I like the 286A because the pre-amp is pretty good and I EQ with it
very lightly. You can also run it straight into the line in on the
soundcard for a very clean signal. I will also use the Audition
processing features if needed.
For high quality dry voice-over, I believe the accoustics of your recording
room are one of the most important factors. Get rid of the echos.
 
Everything I do, I do out of habit. If "habit" is compressing through the eventide, taking the mic and md outside to get appropriate street ambiance (there's your "outboard"), or bringing up the old Yamaha for that perfect bathroom sound I programmed 12 years ago, then that's how the job gets done.

I'd probably get rid of the Eventide and do more precision comp with audition, but some of the backward delay programs on Evie are just too precious. See, I even named him. With a girl's name.
 
Sean.you're probably right. It's the blinking lights alright.

Seriously each one of us would love to have a little edge on the other, and the perfect mic, and perfect preamp etc etc has always been the holy grail...at least for me. I like to keep imporoving my technical sound, and I guess one could do most all of that with plug-ins. However I have found myself doing a lot more ISDN work, and a quality mic and preamp do wonders for increaing your professioal credability with studio people and agency folks...I can use RTAS plug ins instead of hardware I guess and hope all goes well...but..eh....well, uh

It's IS the blinking lights..
 
Jeff Laurence said:
It's IS the blinking lights..
Click to expand...

It is the blinking lights. Let's face it, we ARE "gear sluts." We love it, and a fairly huge industry has spawned catering to folks like us who really want the latest and greatest. The people who make and sell this stuff thank you. It keeps their families in braces, soccer lessons and trips to Disney World.

The truth is, you can make much bigger improvements in audio quality by working on room treatment, and your own voice. As one techno-phobic friend said to me, “Over $25, most mics sound about the same.” Obviously he comes form an alien planet, but his opinion isn’t all that unusual. Making non-technology based improvements may involve actually taking voice lessons or even enrolling in acting or public speaking classes. You'd be amazed what you can pick up.

On the other-hand, ordering a new mic, or maybe an outboard processor is a hell of a lot more fun, and much more rewarding than the simple stuff. There is nothing wrong with that. I’m guilty as charged but it's a hobby all unto itself.

By the way Jeff, I just heard you on the air a moment ago. You sound "MAHVELOUS!" I'm sure the blinking lights did that. :D
 
Personally, I love the blinking lights...but, I also like not relying on all-digital processing.

I have a modest VO setup...I would never in a million years buy a Manley Voxbox for several grand, when I can get away with tweaking to my heart's content in ProTools ( or Logic ).

BUT...I also use a fair amount of plug-in processing, ALONG WITH, my external processing.

I like what I have, because, for my TV clients who want completely dry audio, I can give it to them...with just a little kiss of compression from my Distressor ( if you haven't heard one, try one...really terrific ).

Otherwise, the main reason I use an external preamp is because I find that, for the most part, the Preamps and Phantom Power supplies on quite a few soundcards / interfaces, sound TERRIBLE...lots of hiss...no "beef"

Most of the Digidesign stuff I use sounds just awful on its own. Which is why I used to travel with a 20 pound box of gear, including my Mbox Mini, a True P-Solo preamp ( which I still take with on some trips ), and a host of power supplies, cables, dongles, etc...

Now, when I get away, I pop my laptop, my Apogee Duet ( which sounds amazing in its own right ) and my Waves plugins on a single iLok key...and that's it. ( I am using Apple's Logic Pro for road recording now, and I am finally getting used to the quirky editing tools ).

Well...ok...for longer trips I still take the P-Solo with me...habits die hard.

But, it DOES sound like butter...
 
I KNEW IT WAS THE LIGHTS! I bet you even turn off all the room lights just for added effect! Personally, I'm a little touchy-feelie, and like turning actual knobs and switching real switches, etc.

Seems like the common denominator is a quality pre, along with a decent mic, just as always.

I am a little surprised nobody mentioned time-saving as the reason for a hardware/rack-style box. The way my gig works is that I'm basically a one man band -- copywriter, producer, voice guy. I have found that 50-75% of the orders I get, sadly, just aren't worth a lot of technical time and effort. They are these dumb spec orders for $200 contracts (if they even sell) for less-than-prime slots. AND, when they do sell, usually somebody else at the station re-cuts my spot anyway -- with the slightest script changes -- simply because the salesperson could not wait. So, while I'm expected to actually produce audio each time, the only evidence of my labor often just ends up being the script I wrote.

In those instances, I have come to see the audio production part as a complete waste of time!

SO...while I will of course spend more time on a regular, sold client -- I've taken to quickly knocking out the specs straight-into-automation on-the-spot style. There is NO way to control dynamics when you do that at our place. Yes, it works for an un-sold spec, but sometimes backfires on me. Sometimes I actually hear those spots a few days later on the air, and cringe because I know the audio could be better! To the stations' credit, they have fantastic processing at the transmitter, and that helps a lot. But to my ears -- well, I know better!

It seems like when you record your voice already EQ'ed/compressed/etc. that you naturally save time, because you don't have to take the time to do it in the DAW. Obviously, it sucks if you blow your settings, because you can't "undo." Still, in a quick-turnaround situation, with enough practice, it seems like the biggest advantage to going through a box is that it just saves time...time you could spend on more worthy projects (like actual paying clients!)

Thanks for the interesting feedback!
 
I might be in the minority here...because I am a gearphobe :) I just don't have the expertise, patience and understanding of electronics and sound design to mess with a lot of it. But I still enjoy what I do...writing, voicing & producing. I guess I'm just old school. No Mac for me yet.

But as far as gear goes...I have a Neumann U87, Manley Voxbox and a Telos Zephyr, and while each is an expensive piece of gear...that money came right back to me from my friends at the IRS. Everything I buy is a Sole Prop business write off. I write off my phone and cable, too. The freelance work I do is mostly non-taxed income so I value the ability to write off expenses like gear.

The WhisperRoom is next :)
 
I agree with LilJohnny...I'm somewhat old school myself....My hands need to be doing something besides clicking a mouse....I need those mixer pots....even some analog elements from time to time...Your talking about a guy who cued many a vinyl record and spliced a few reel to- reel tapes in his time.
 
I don't know if we're a minority or not. There seems to be a lot of people that prefer the "feel" of rotary pots, and the layout of the older style boards.

I'm overhauling a Gates Yard for my studio. The old tube guts are gone, and the inside will be all high end op-amp preamps and drivers.

To me, it just feels right!
 
I don't prefer rotaries myself (though I don't mind them), but I'm much more comfortable and happy if I'm moving faders around on my own in the studio and not relying on the computer to do everything for me.
 
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