I would love to see a video from you on how you manage powering your whole studio! Like what types of power conditioners you use and how you route power around the studio
I've actually got 16 channels of Clarett. I picked it specifically because it's so transparent. I can stick a colored preamp in front of it, or saturate it in the box afterward. It feels a lot more flexible to have transparent pres to work with.
I have an old airstream trailer converted into a studio that is minimal, but used as an Adventuring Recording rolling hub. I bought a Focusrite Scarlett 18i20 for my main studio, but know now I have to update in the mobile studio. I love the Focusrite, I will probably go with that again. Great video once again Jeremy.
Current setup is UAD Apollo X4, Black Lion Auteur MKIII preamp, focusrite 18i20 (use the optical to get more preamps) I have 12 inputs, but since I have a home studio in Brooklyn, where I have a million neighbors, I don’t really get the chance to track band stuff or anything with drums. So mostly use the black lion pre’s into the Apollo, but I do find them a little noisy and want to upgrade sometime in the future!
I wanted to do the Apollo twin thing for a while, but the Audient ID series was a better value for my use case... 4 onboard pres are clean and quiet, plus I did actually ADAT a Focusrite Octopre in to record an 8 piece jazz ensemble. No regrets, super practical, and now AU has their own Christmas mix tape lol
My current set up is an Apollo connected via optical cable to a focusrite 18i20! I've got an 1176 and an API 512V. I'm looking at growing my outboard to include some API 550A's in 2023.
@@RecordingStudioLoser The preamps have gotten MUCH cleaners since then .. I went from the firestudio , to the studiolive series iii . Much cleaner pre's and a much lower noise floor . Whatcha put into it is what you get out .
I borrowed an old digimax to add 8 more pres to my rig so I could track an orchestra. They sounded pretty fucking fantastic if I’m just being forward. Those preamps into the right converters are just 👌🏻👌🏻
Agree on the Clarett OctoPre. I have the previous generation double ADAT'ed into the Scarlett 18i20. Kinda combining two price points and leaning on the A/D on the Clarett primarily. The inserts are an interesting way to add some flexibility. I have a couple outboard pres and channel strips (too embarrassed to say what they are) but the insert kinda lets you swap an input between the outboard pre (using insert as a line level input) vs the built in pre, to give more options if you don't want a real patch bay. Now I just wish there was a replacement for ADAT that would sync sample rate changes across all the gear. 9 times out of 10 I forget to manually change sample rate on the Clarett when I change on the Scarlett.
Enjoy the Clarett! Using a RME UFX at home and switching between (Avid HD I/O + API / Tonelux pre's) and (Focusrite Clarett + Audient 880 pre's at work).
That's almost exactly my setup: Apollo Twin with Audient ASP800 through ADAT. Suits all of my needs tracking acoustic music. And the Audient has 2 channels with their own versions of tape and tube saturation... so I have the choice of color or not!
Being the idiot I am, I cycled through numerous brands of I/O devices: Behringer, Presonus, Focusrite (Clarett), Audient, and finally MOTU. I will say this about the Claretts: Their converters are just as good as any other devices I've used (I even had an RME converter device at one time and it was no cleaner than the Clarett converters). The preamps were pretty good but lacked a little compared to the Audient and MOTUs. That said, I think my favorite preamp for my snare top was the Clarett with Air engaged. That was just the perfect sound for my snare top mic. I'm pretty much all MOTU now as I find the preamps and converters to be extremely clean, prices reasonable, and I like the expandability via AVB for my mixing setup. But, if I had to rely only on Clarett devices I wouldn't feel hindered. They are quite good sounding and offer value in terms of price/quality ratio.
Current setup is an Antelope Audio Zen Tour, got a Captor X and a Warm audio Pultec clone for that chugga chugga, looking to expand into more outboard gear specifically for tracking and mix buss
I can relate to your Mesa 4x cab quest, however I’m really not too selective about the year. As long as the V30 is a UK version (still available at the Mesa store online). I also just grabbed a Mesa 2x cab for my collection. My recording system is 20ch of RME, most of which has outboard preamps for the guitar cabs. [edit] PC is a Microsoft Surface Pro 4 with an external SSD drive and a dock for extra USB inputs, dual displays. FL Studio, lifetime free updates! 😜
Great, great to hear that you have upcomming session in your studio. If orchestra allow maybe you could stream few minutes. Btw Jeremy, what is boring in this video? :) If you meant recording orchestra is boring, then - psst, don't answer. :) P.S. Overall idea for this video and editing are GREAT!!!
The stands and pres (i thought) may be boring. The Stands aren't for an orchestra.... specifically.... but for players and clients in general. Though I love recording strings
I'm running a Presonus Digimax DP88 (unfortunately discontinued) in conjunction with a RME Babyface Pro for 12 input and 12 output channels and couldn't be happier. At the time I specifically chose the Presonus over the OctoPre as it has direct ADC inputs that bypass the preamps, which should make it a great option for running external preamps and hardware inserts - should I ever have the money for that. On Windows RME is pretty much impossible to beat because of their excellent drivers. Also, I really don't like closed ecosystems, i.e. Universal Audio. Their plugins are great but there're plenty of alternatives out there and DSP chips aren't a necessity any more, considering the power of modern CPUs.
I am running a Burl Mothership with the BDA4m, the BAD4M, the mic pre card and the BAES card. The first 3 cards mentioned, have the option to bypass the transformers, which give you transparent sound. The BDA4M I have, has 2 different pairs of op amps, one for mastering chain and the other for monitoring. Small setup on my end, but I get a lot of flexibility of the Burl tape sound, or pristine transformer less sound. I don’t record a full drum set, so the current cards work great for a small studio. I love your videos and enjoy your comedic relief. The fly on the wall in the session, videos, bring back good times in a larger studio…smile. I get it on the newer Burl cards vs buying a Focusrite 8 channel interface to supplement your clean inputs, as the 4 channel “M” cards are a bit expensive. Just curious which cards you have in your Burl? Your acting in this skit in this video was killer. Made me laugh…smile.
@@RecordingStudioLoser, I got the cards I did to be able to bypass the transformer, since I was mastering more. The “M” cards BAD4M and BDA4M are really sweet. The mic pre also has buttons to defeat the transformer. The B4 pre doesn’t have inserts, but I have all of my outboard gear in the patchbay and easy to get into the Burl. I use it sometimes instead of a stereo channel BAE pre or an ADL 600. The cool thing is you can pop the transformer on for a brighter mic, and turn it off for a Royer 122 or a Lauten Eden for example. I don’t miss running my vocals through a compressor Dangerous comp or the Warm 76, as i get what I want out of the mics I have. Crazy vocalist goes to another pre into the comp though, or I just turn the level down on the B4…smile. Anyway, the B4 without the transformer in is pristine. I am probably getting more of those instead of the BAD4M, as they are also line ins when you rotate the input knob all the way to the left. Let me know and I can do an A/B on the mic pre with a Yamaha P155 grand or a mic, and do it with transformer in and out. And maybe go into the BAD4M. The ridiculous thing is, going out of the BDA4M into the Dangerous comp, and back into the BAD4M and getting to play with each card, engaging or disengaging one or both transformers. Your mix bus comp can be a different feel than your mastering comp. At this point for mastering, I leave the transformer in for out to dangerous and disengaged, for the trip back into the Burl, and half the time, I am almost using zero compression, just getting the flavor of the Burl.
I'd love to hear that new cab against other Vintage 30s. I've been played a MESA 2x12 RoadKing for years, I recently bought an Orange 2x12 with Vintage 30s inside, it sounds great, I feel like something is off. It's not exactly the sound that I was expecting. I though it was like Vintage 30s Made in UK vs Made in Vietnam... but now I learned that even the year they were made changes the sound. Now that's confusing... haha.
hahaha... I have a Bogner Ecstasy 101b from around 1999-2001, not sure the actual year. I need to look at the serial numbers on the V30's in the oversized 2X12. Great amp and cab, however, I'm thinking of loading a Port City 2X12 with a Weber Grey Wolf and a Silver Wolf for some heavier sludgy tones in addition to the Bog cab. I recently bought a MOTU MK5 interface and some "budget" Focal Alphas...vast improvement for my little bedroom rig... I know nothing about interface preamps...or any preamps for that matter. hmm...
I wouldn’t call focusrite pres as transparent as it gets (; but I hear you 100%. I have 4 pres on my Antelope zen tour with 8 channels of focusrite platinum octopre (FANTASTIC clean preamps that are super cheap on the secondhand market) but I have 4 more line ins that I want to have something more colorful for. I’ve been borrowing some Phoenix audio and trident series 65 preamps from a buddy and I think I know what kind of color I want cause GAHDAMN those are fucking astounding preamps. I might even do some research and make the tridents into a DIY project, I know those schematics aren’t super hard to find online.
@@RecordingStudioLoser hey man anything for the views right? If you want every want flat pres that sound a lot bigger than the focusrites for not that much more money than buying new the audient pres are fantastic. I’ve been doing a lot of classical recording with them lately and they sound astounding. My one gripe is that the gain pots aren’t balanced very well, once you get to about 3 o’clock then you get a useable amount of gain but anything below that is a much more significant drop
Yo man! So while I’d love to get that octopre, it’s not really in the budget rn. I have a behringer umc1820 but I’m lookin to get a few more inputs; what would you suggest that has adat compatibility?
So I have a question how long does it take you to get a mix from loading the multitracks to a mix you will send to your client. I want to improve my workflow and I understand you have been doing this for quite a while but I want to have a goal in mind.
It’s different everytime. But as a average I can get a mix in 3 hours with a new group. 2 if it’s and artist I’ve worked with before sometimes faster sometimes slower. But that’s how I plan.
@@RecordingStudioLoser I need to work on my main template I have to many choices on my most used plugins. I need to narrow it down to what I know best, then add specialty stuff as necessary. Thank you for taking time to chat. I do appreciate it.
TOSLINK ! imp.i114863.net/7mjDAr lol
I spent way too much time laughing at this
You should make an IR of that Mesa Cab. Would definitely pay money for that. Looking forward to the upcoming vid on it!
Say less....
I would love to see a video from you on how you manage powering your whole studio! Like what types of power conditioners you use and how you route power around the studio
would love to hear that Mesa cab. Absolutely!
its so smooth
Please do a video of the Mesa cab!
I've actually got 16 channels of Clarett. I picked it specifically because it's so transparent. I can stick a colored preamp in front of it, or saturate it in the box afterward. It feels a lot more flexible to have transparent pres to work with.
I have an old airstream trailer converted into a studio that is minimal, but used as an Adventuring Recording rolling hub. I bought a Focusrite Scarlett 18i20 for my main studio, but know now I have to update in the mobile studio. I love the Focusrite, I will probably go with that again. Great video once again Jeremy.
Current setup is UAD Apollo X4, Black Lion Auteur MKIII preamp, focusrite 18i20 (use the optical to get more preamps)
I have 12 inputs, but since I have a home studio in Brooklyn, where I have a million neighbors, I don’t really get the chance to track band stuff or anything with drums. So mostly use the black lion pre’s into the Apollo, but I do find them a little noisy and want to upgrade sometime in the future!
Your cable finder bit is hilarious
lol trying something new
I wanted to do the Apollo twin thing for a while, but the Audient ID series was a better value for my use case... 4 onboard pres are clean and quiet, plus I did actually ADAT a Focusrite Octopre in to record an 8 piece jazz ensemble. No regrets, super practical, and now AU has their own Christmas mix tape lol
I love Audient stuff. And your not pushed into an ecosystem.
My current set up is an Apollo connected via optical cable to a focusrite 18i20! I've got an 1176 and an API 512V. I'm looking at growing my outboard to include some API 550A's in 2023.
ooooo good choices
People hate on Presonus because they have no color. That’s why I prefer them. Even over focusrite.
I still rock a Digimax from like 2001 lol
Presonus DOES make SOME quality products.
I like My Presonus equipment. Great price clean inputs. I recommend them to my friends.
@@RecordingStudioLoser The preamps have gotten MUCH cleaners since then .. I went from the firestudio , to the studiolive series iii . Much cleaner pre's and a much lower noise floor . Whatcha put into it is what you get out .
I borrowed an old digimax to add 8 more pres to my rig so I could track an orchestra. They sounded pretty fucking fantastic if I’m just being forward. Those preamps into the right converters are just 👌🏻👌🏻
Cable Finder!!!! This would've been a killer magazine in the 80's and 90's! Hahahha
super sponsered post and I'm super proud of you for it. Great word mang.
Agree on the Clarett OctoPre. I have the previous generation double ADAT'ed into the Scarlett 18i20. Kinda combining two price points and leaning on the A/D on the Clarett primarily. The inserts are an interesting way to add some flexibility. I have a couple outboard pres and channel strips (too embarrassed to say what they are) but the insert kinda lets you swap an input between the outboard pre (using insert as a line level input) vs the built in pre, to give more options if you don't want a real patch bay. Now I just wish there was a replacement for ADAT that would sync sample rate changes across all the gear. 9 times out of 10 I forget to manually change sample rate on the Clarett when I change on the Scarlett.
Definitely do a video about the cab. I've seen other videos lately about different vintages of V30 speakers and would be interested to hear these.
Enjoy the Clarett!
Using a RME UFX at home and switching between (Avid HD I/O + API / Tonelux pre's) and (Focusrite Clarett + Audient 880 pre's at work).
Love the clarett octopre! I have mine adat to a Focusrite Red
That's almost exactly my setup:
Apollo Twin with Audient ASP800 through ADAT. Suits all of my needs tracking acoustic music. And the Audient has 2 channels with their own versions of tape and tube saturation... so I have the choice of color or not!
Using an Apollo X8 with a Scarlett Octopre Dynamic in the ADAT. Got the colors, got the clean, exactly as you said it.
Being the idiot I am, I cycled through numerous brands of I/O devices: Behringer, Presonus, Focusrite (Clarett), Audient, and finally MOTU. I will say this about the Claretts: Their converters are just as good as any other devices I've used (I even had an RME converter device at one time and it was no cleaner than the Clarett converters). The preamps were pretty good but lacked a little compared to the Audient and MOTUs. That said, I think my favorite preamp for my snare top was the Clarett with Air engaged. That was just the perfect sound for my snare top mic. I'm pretty much all MOTU now as I find the preamps and converters to be extremely clean, prices reasonable, and I like the expandability via AVB for my mixing setup. But, if I had to rely only on Clarett devices I wouldn't feel hindered. They are quite good sounding and offer value in terms of price/quality ratio.
Current setup is an Antelope Audio Zen Tour, got a Captor X and a Warm audio Pultec clone for that chugga chugga, looking to expand into more outboard gear specifically for tracking and mix buss
That neve portico 2 may be the best mix bus out there. I’m super biased btw
I can relate to your Mesa 4x cab quest, however I’m really not too selective about the year. As long as the V30 is a UK version (still available at the Mesa store online). I also just grabbed a Mesa 2x cab for my collection.
My recording system is 20ch of RME, most of which has outboard preamps for the guitar cabs.
[edit] PC is a Microsoft Surface Pro 4 with an external SSD drive and a dock for extra USB inputs, dual displays. FL Studio, lifetime free updates! 😜
Great, great to hear that you have upcomming session in your studio. If orchestra allow maybe you could stream few minutes. Btw Jeremy, what is boring in this video? :) If you meant recording orchestra is boring, then - psst, don't answer. :)
P.S.
Overall idea for this video and editing are GREAT!!!
The stands and pres (i thought) may be boring. The Stands aren't for an orchestra.... specifically.... but for players and clients in general. Though I love recording strings
Skit is hilarious!!
I wanted to try out something new... lol
WOOOOW!!! Who"s that other guy? lol
I'm calling him Door Knock Guy
In my little home studio. I'm running a Presonus 1824C with an added Behringer ADA8200.
I'm running a Presonus Digimax DP88 (unfortunately discontinued) in conjunction with a RME Babyface Pro for 12 input and 12 output channels and couldn't be happier. At the time I specifically chose the Presonus over the OctoPre as it has direct ADC inputs that bypass the preamps, which should make it a great option for running external preamps and hardware inserts - should I ever have the money for that. On Windows RME is pretty much impossible to beat because of their excellent drivers. Also, I really don't like closed ecosystems, i.e. Universal Audio. Their plugins are great but there're plenty of alternatives out there and DSP chips aren't a necessity any more, considering the power of modern CPUs.
I am running a Burl Mothership with the BDA4m, the BAD4M, the mic pre card and the BAES card. The first 3 cards mentioned, have the option to bypass the transformers, which give you transparent sound. The BDA4M I have, has 2 different pairs of op amps, one for mastering chain and the other for monitoring. Small setup on my end, but I get a lot of flexibility of the Burl tape sound, or pristine transformer less sound. I don’t record a full drum set, so the current cards work great for a small studio. I love your videos and enjoy your comedic relief. The fly on the wall in the session, videos, bring back good times in a larger studio…smile. I get it on the newer Burl cards vs buying a Focusrite 8 channel interface to supplement your clean inputs, as the 4 channel “M” cards are a bit expensive. Just curious which cards you have in your Burl? Your acting in this skit in this video was killer. Made me laugh…smile.
Hey man
I had 4 BAD8. And 2 BDA8.
I have wanted to mess with the preamp module though.
@@RecordingStudioLoser, I got the cards I did to be able to bypass the transformer, since I was mastering more. The “M” cards BAD4M and BDA4M are really sweet. The mic pre also has buttons to defeat the transformer. The B4 pre doesn’t have inserts, but I have all of my outboard gear in the patchbay and easy to get into the Burl. I use it sometimes instead of a stereo channel BAE pre or an ADL 600. The cool thing is you can pop the transformer on for a brighter mic, and turn it off for a Royer 122 or a Lauten Eden for example. I don’t miss running my vocals through a compressor Dangerous comp or the Warm 76, as i get what I want out of the mics I have. Crazy vocalist goes to another pre into the comp though, or I just turn the level down on the B4…smile. Anyway, the B4 without the transformer in is pristine. I am probably getting more of those instead of the BAD4M, as they are also line ins when you rotate the input knob all the way to the left. Let me know and I can do an A/B on the mic pre with a Yamaha P155 grand or a mic, and do it with transformer in and out. And maybe go into the BAD4M. The ridiculous thing is, going out of the BDA4M into the Dangerous comp, and back into the BAD4M and getting to play with each card, engaging or disengaging one or both transformers. Your mix bus comp can be a different feel than your mastering comp. At this point for mastering, I leave the transformer in for out to dangerous and disengaged, for the trip back into the Burl, and half the time, I am almost using zero compression, just getting the flavor of the Burl.
I'd love to hear that new cab against other Vintage 30s. I've been played a MESA 2x12 RoadKing for years, I recently bought an Orange 2x12 with Vintage 30s inside, it sounds great, I feel like something is off. It's not exactly the sound that I was expecting. I though it was like Vintage 30s Made in UK vs Made in Vietnam... but now I learned that even the year they were made changes the sound. Now that's confusing... haha.
Got a MESA OS with 2003 V30s recently and ... well, yeah! 🥰
hahaha...
I have a Bogner Ecstasy 101b from around 1999-2001, not sure the actual year. I need to look at the serial numbers on the V30's in the oversized 2X12. Great amp and cab, however, I'm thinking of loading a Port City 2X12 with a Weber Grey Wolf and a Silver Wolf for some heavier sludgy tones in addition to the Bog cab.
I recently bought a MOTU MK5 interface and some "budget" Focal Alphas...vast improvement for my little bedroom rig...
I know nothing about interface preamps...or any preamps for that matter. hmm...
trying something different.... lol
I wouldn’t call focusrite pres as transparent as it gets (; but I hear you 100%. I have 4 pres on my Antelope zen tour with 8 channels of focusrite platinum octopre (FANTASTIC clean preamps that are super cheap on the secondhand market) but I have 4 more line ins that I want to have something more colorful for. I’ve been borrowing some Phoenix audio and trident series 65 preamps from a buddy and I think I know what kind of color I want cause GAHDAMN those are fucking astounding preamps. I might even do some research and make the tridents into a DIY project, I know those schematics aren’t super hard to find online.
True. There are definitely flatter Pres. I was definitely a bit hyperbolic.
@@RecordingStudioLoser hey man anything for the views right? If you want every want flat pres that sound a lot bigger than the focusrites for not that much more money than buying new the audient pres are fantastic. I’ve been doing a lot of classical recording with them lately and they sound astounding. My one gripe is that the gain pots aren’t balanced very well, once you get to about 3 o’clock then you get a useable amount of gain but anything below that is a much more significant drop
Yo man! So while I’d love to get that octopre, it’s not really in the budget rn. I have a behringer umc1820 but I’m lookin to get a few more inputs; what would you suggest that has adat compatibility?
Old used digimax units are built like tanks and soooo cheap.
@@RecordingStudioLoser dope I’ll look into it, thanks a lot!
So I have a question how long does it take you to get a mix from loading the multitracks to a mix you will send to your client. I want to improve my workflow and I understand you have been doing this for quite a while but I want to have a goal in mind.
It’s different everytime. But as a average I can get a mix in 3 hours with a new group. 2 if it’s and artist I’ve worked with before sometimes faster sometimes slower. But that’s how I plan.
@@RecordingStudioLoser wow ok I’ve got some work to do for sure. Thank you very much.
Having a working template helps a ton. Also having worked in as many genres as possible is a plus.
You’ll naturallly get faster and trust your instincts. It happens quickly.
@@RecordingStudioLoser I need to work on my main template I have to many choices on my most used plugins. I need to narrow it down to what I know best, then add specialty stuff as necessary. Thank you for taking time to chat. I do appreciate it.
Cab cab cab!!
Someone likes Ryan George 😂
Toslink!!! lol... damn you are so cute!!!!
200% yes on the V30, that is the golden era
Its sooo good