1 (edited by Subh 2020-04-29 23:42:06)

Topic: “Newbie Seeking Recording SetUp Advice”

Continued from:
https://forum.rme-audio.de/viewtopic.ph … 21#p153621


Hi Ramses,

Thank you for the blog and the pictorial depiction of ADI-2 Pro integration. Macro views cleared up a lot of doubts. Now I can dive into micro.

Thank you for the <interface+footprint> approach idea for putting together a setup. Makes sense and minimizes number of devices and wastage of time, money and space. I am reading up more on each device and accessory on your list to understand the whole idea fully. Will revert for more advise in fine-tuning the way ahead that might take more time than I originally thought this would -I am glad I consulted you all before rushing into random and impulse purchases. RME has my gratitude for running this forum.


Hi KaiS,

I just started reading up on the mics you suggested, their audio samples, history and basic design & engineering inside. God, these are works of art - Neumann mics seem to be like the microphone equivalent of Renaissance paintings. Thank you for the compilation. I thought I could get away with one multi-polar mic for all jobs but your list for diverse purposes does have a point. I can chalk out a long path towards acquisition over a period of time. U87 and, at the other extreme, SM57 might possibly be the first ones I need to start looking around for the present indie feature I am in the preproduction of.

Adding to my ADI-2 Pro, a combo of <UFX-II+ & 12Mic> or <UFX-II+ & one or two QuadMic> and ARC USB might be the best possible solution for a three-device-or-less future-proof setup for a Thunderbolt/USB interface with TotalMix FX, 8+ I/O, AD/DA and monitoring?

Could you or any of fellow members kindly recommend:

A) a highly reliable pair of near-field monitors too for mixing and mastering in 2.1 in the most objective way? (<$4000) I am presently drawn to Focal Solo6 Be 6.5".  My first and last pair was Yamaha HS8 that I don't own anymore.

B) a pair of open-backed and a pair of closed-back headphones for the same?

C) Also, forgive me, if I sound amateurish but I am a one-man-crew trying to capture the best possible sound from filming location but one who tends to focus more on video than on audio since I have only a pair of hands and a pair of eyes. The 32-bit float recording tech with 770dB headroom offered in Sound Devices MixPre field recorder/mixer, for the first time in my life, gave me that freedom to ignore the audio levels on recorders. The same or much similar feature is available in any present or future RME interface that forgives all sins committed on location (or studio)? And could such a 2-in/2-out RME device be further expanded into a new portable product with added SD-card recording functionality and built-in battery for field/location/on-camera recording/mixing?


2 (edited by KaiS 2020-04-30 01:56:42)

Re: “Newbie Seeking Recording SetUp Advice”

For Nearfield Studio Monitor purpose I'm a strong proponent of coax systems, where the tweeter is located in the middle of the woofer/midrange driver.

It's my personal experience that I can work on those for 8 or more hours, listen to the mix next day and it still sounds the same - my auditorial system doesn't get tired.

Opposed to anything else I used during my long career.

They give me precise control even at reasonable listening levels - below the "official standard" of 83 dBSPL, which feels too loud for me.

The technical explanation for this behaviour is relative simple:
On coax speakers midrange and tweeter are in the same (co-)axis, there is no change in the relative travel path from both to the ear if the listener changes position.
Or, the phase relationship, and therefore the frequency response at the xover region, stays constant, in well made systems even linear if you move.
This is never the case with speakers when multiple drivers are mounted in a distance.

The auditorial system has to do less abstraction work, what you hear is more reliable.

Long story short:
• Tannoy Gold 7, 380€/pair; optional with 2 Subwoofers, Sub's Canton AS30 100€/pc, used, from Ebay
• Genelec 8341 AP 2750€/pc, can do without sub.

I don't see anything inbetween.

The Genelecs are a really advanced, DSP power solution.
Can do automatic room calibration, digital inputs, ...

The Tannoys are just straight (biamped, active) monitors.

Avoid everything that smells the slightest like "HiFi".
Your mixes will sound good at your place, but only at your place.


Massdrop/Drop/Hifiman HE4xx.
Very nice like delivered, world class if you replace the outer grill with something more transparent (or remove it), and the earpads with the leather version from AUDEZE.
Base price: $145, Audeze earpads ~$100(?), grill replacement DIY.

Sony MDR V900 / MDR 7509.
Hard to get, lot of fakes out there.
A one time wonder, they never did it again.
Worn out earpads are easily replaceable by chinese aftermarket ones, the only headphone I know where this doesn't negatively affect the sound.

3 (edited by KaiS 2020-04-30 01:52:32)

Re: “Newbie Seeking Recording SetUp Advice”

770dB headroom is very optimistic smile

- or simply missleading.

The very best, double-stacked AD-converters reach about 144dB dynamic range.

The best regular ones reach 122dB, if implemented as good as in RME's ADI series.
That's the, OK, let's call it "bottleneck", because:
24bit (the ADC's output format) can store 144dB dynamic.

The best mic's have about 115dB dynamic range, in a totally quiet room.
Substract at least 20dB for room noise, but don't breathe then.
95dB source's dynamic range at max. - if you record gunshots.
For spoken word be happy if you come close to anywhere near 60dB.

The fact is true, for a given mic the best ADCs exceed the mic's dynamic far enough that there is no noise penalty if you record very low (but dynamically adapted to the mic), and boost later.

But - problems caused by other sources stay hidden, inaudible until you do so, so beware!