Had a Digi 002 for many years with a Black Lion Audio modification. If you’re aren’t familiar with black lion mods, look into it. Basically they switch out the crap grade components in the analog paths of interfaces. They also have mods for the clocks and AD/DA converters.
My computer finally shit the bed and I had to get a new one for recording. The Digi 002 won’t work with newer computers so I had to also get a new interface. I opted for a UAD Apollo x8, which I also had modded by black lion.
Black lion also makes their own two channel interface, so they may be something to consider. I have not used it before, but have a buddy who recently bought one. For the record, I think he got rid of his focusrite Scarlett in favor of it.
I have two black lion outboard preamps and one of their analog compressors, as well.
UAD also makes smaller channel interfaces than the 8 channel that I have. I’ve only ever used their 8 channel interface that I own, so I can’t speak to others except to say UAD makes quality stuff.
What I do know is that in pro studios, you probably won’t find a lot of focusrite stuff (if any), but you will find UAD stuff (among others).
I don’t know about now, but in the past focusrite was considered crap, at least in the audio engineering school I went to. Yeah they used to be owned or run by Rupert Neve, but he sold the company and it went to shit in terms of quality.
In my professional opinion, your best sound will come from high quality clock/converters and by using a quality external preamp being fed into the interface via mic/line level inputs (not built in preamps on the interface). Some built in pres are considered ok by some, but most interface companies skimp on quality to keep costs down.
FWIW, I personally avoid built in pres and always opt for outboard pres…
But then I really care about sound quality, and maybe you don’t as much. Nothing wrong with that if you’re just having fun or making demos.
SM57 is a staple mic with lots of uses. I’ve never personally recorded a sax (or any horns) so I know little to nothing about those instruments. I typically use a 57 to mic guitar cabinets or other sources with high spl. But often I find myself using other mics and often in combinations (like a dynamic mic coupled with a condenser). I have a couple of 57s, but I also have an AKG D1000 that works nice on guitar cabs and in combination with condensers.
I think some folks use SM7B’s on horns, too, if I remember correctly. We certainly use them on guitar cabs and kick drums often.depends on the source and timbre, and what tone you’re going for, but I typically like a SM7B over a 57 on most things, personally.
57s (and all or most dynamic mics) are fairly directional, so that’s something to consider, too. Not really a problem for a guitar cabinet since it’s stationary. But a dude playing a horn may be moving some. If you use a 57, you’re going to want to stay as stationary as possible when recording, and also be wary of the mic angle. This isn’t as big of an issue with condensers typically, though. You still want to move as little as possible probably, but condensers are more forgiving and not usually as directional as a 57…though they are more sensitive and will clip out at much lower spl than a 57. That’s not to say youb ouldnt record with a condenser, but you’ll have to feed it a lot less preamp gain than you would a dynamic mic like a 57.. which also brings up another topic: signal to noise ratio. Dynamic mics like 57s typically have higher noise levels than condensers, too. But then a sax is pretty loud so it may not really be an issue.
If there’s a place in your town to rent mics, that may be the way to go to figure out what you’d like best on your horn. Do some A/B tests, then buy what you like best.
It's night and day. 'Sound proofing' foam is not egg cartons stapled to your wall.
Well, to begin with there’s a difference between sound proofing a room and simply treating a room for reflections and standing waves.
I was talking specifically about the latter, which can be achieved rather easily and cost-effectively.
Sound proofing is a whole other animal that requires a lot more in terms of materials, money, design, etc.
For the purposes of what OP is doing (one guy recording a sax), sound proofing isn’t necessary at all.
Hell, even for what I do, which is quite a bit more involved than recording a single instrument, it isn’t necessary either.
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