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trock

Platinum Blonde

Posts: 1,073 Member Since: 21/01/2011

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Jun 19 15 4:43 PM

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When I started the other thread about purging gear I realzied I am a bit different than most of you who do this for hire as a home or project studio

I have always loved reading what people would dream there ultimate setup to be

we are all constrained by money, time, and place but in the place you are in right now. how would you outfit if money and time were no object? and how far along are you?
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scullyfan

Platinum Blonde

Posts: 1,566 Member Since:27/07/2011

#1 [url]

Jun 19 15 8:26 PM

I started putting a studio together in the late 1970s. I wanted to create a commercial studio that could pay its own way and permit me to record my own stuff when time allowed. It started with a Scully 284 1" 8-track and ended with a Scully Model 100 2" 16-track. By 1982 I had amassed a bunch of Neumann and Sony tube mics, RCA ribbons, Sennheiser, Sony, Altec and AKG solid state condensors, and the typical Shure and EV dynamics, as well as various professional quality limiters, compressors, reverb and delay units. I got so busy recording bands and TV commercials that I seldom had time to record my own songs. After running the studio for 25 years I decided to call it quits. I sold off the only assets that were worth anything (a pretty amazing collection of microphones) to pay off the bank loans. I ended up with everything else. The 16-track spent two decades in storage, mostly in my living room. The other stuff was packed in boxes and Rubbermaid containers stuffed into every available space I could find.

Fast forward to today. I built a new studio space in 2008 to house what was left of the commercial studio. It has a 20' by 21' studio, a 20' by 12' control room and a trapezoidal iso-booth that is approximately 7' by 10' by 8'. The 16-track still works, as do a lot of the processing equipment (Lexicon, AKG, Valley People). I kept all of the mics that weren't considered 'valuable' when I liquidated and have some great ones, including a pair of C414EBs, Sennheiser MKH404s and a few old RCA ribbons. I even have the KM84 I bought 35 years ago, although I'm not sure how it survived the purge. I still have the Altecs and some oddballs (a pair of consecutively numbered Syncron AU7a mics). I have picked up some additional tube mics (Neumann & AKG) in the past 20 years to round out my collection, but I REALLY miss the U47 and U67 mics I used to have during the studio years. I've also picked up some API 500 series stuff and other 'high end' outboard pieces that I have mixed feelings about.

I have always enjoyed working with analog machines and I continue to do so. In addition to the 16-track I have two 1/4" 2-track machines that I mix down to. I had to take parts from three different machines to get a usable second mix down recorder, but everything works. Tape is expensive, but I am frugal. I have a lot of old Scotch 2" tape that I continue to use and it has held up admirably. The Ampex 456 tape I have has proven to be pretty much useless. I have been having pretty good luck with the newer RMGI 1/4" tape for stereo reduction.

I have recorded a few tunes of my own as well as dozens of different song ideas with this set up. I've recorded a few solo artists and a few friends. I haven't opened things up for mass consumption, I haven't even told all my old colleagues that I have built a facility. I spend quite a lot of time dubbing old 2-track masters to CD, sometime for friends and past customers who lost their cassette dub or 1/4' safety. Sometimes I just make CD copies to reminisce.

While others may wish for an HD Pro Tools rig or a Trident A Range board, I have chosen a different path. It may be relatively humble, but I am truly in my glory. It is the ultimate set up for me.

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wireline

Aqua Marine

Posts: 4,119 Member Since:24/01/2011

#2 [url]

Jun 20 15 4:38 AM

I've been trying to figure out an angle/means to build a new home on the back of our property, and use the current home as a recording facility for years. Given my absolute druthers, it would have a pair of U67, a pair of 441s, a pair of RCA 77s, couple of EV RE16s, 2 KM84s...all running thru the smallest Trident 80B I could find.

And some good neighbors.

Ken Morgan

Please...Give It A Rest

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duskb

Platinum Blonde

Posts: 2,236 Member Since:07/07/2011

#3 [url]

Jun 20 15 9:37 AM

trock wrote:
When I started the other thread about purging gear I realzied I am a bit different than most of you who do this for hire as a home or project studio

I have always loved reading what people would dream there ultimate setup to be

we are all constrained by money, time, and place but in the place you are in right now. how would you outfit if money and time were no object? and how far along are you?

I am fortunate. I already have my dream setup at home (less the 8 1073s I'm about to loose). The trouble I have is finding talent worth putting the time into making records for. 

These days I mostly record me. 

----
Dusk Bennett
Engineering/Production/Educator
Los Angeles Ca
Award Winning Engineering
www.duskbennett.com

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.

Posts: 1,503 Member Since:28/11/2011

#4 [url]

Jun 20 15 11:38 AM

A space where outside noise (or my own) is not an issue, for starters. Nothing kills my mood more quickly than picking up the lawn mower or getting a noise complaint.

 "Real People, Real Performances."

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chance

Aqua Marine

Posts: 2,628 Member Since:30/01/2011

#5 [url]

Jun 23 15 3:28 PM

scullyfan wrote:
I started putting a studio together in the late 1970s. I wanted to create a commercial studio that could pay its own way and permit me to record my own stuff when time allowed. It started with a Scully 284 1" 8-track and ended with a Scully Model 100 2" 16-track. By 1982 I had amassed a bunch of Neumann and Sony tube mics, RCA ribbons, Sennheiser, Sony, Altec and AKG solid state condensors, and the typical Shure and EV dynamics, as well as various professional quality limiters, compressors, reverb and delay units. I got so busy recording bands and TV commercials that I seldom had time to record my own songs. After running the studio for 25 years I decided to call it quits. I sold off the only assets that were worth anything (a pretty amazing collection of microphones) to pay off the bank loans. I ended up with everything else. The 16-track spent two decades in storage, mostly in my living room. The other stuff was packed in boxes and Rubbermaid containers stuffed into every available space I could find.

Fast forward to today. I built a new studio space in 2008 to house what was left of the commercial studio. It has a 20' by 21' studio, a 20' by 12' control room and a trapezoidal iso-booth that is approximately 7' by 10' by 8'. The 16-track still works, as do a lot of the processing equipment (Lexicon, AKG, Valley People). I kept all of the mics that weren't considered 'valuable' when I liquidated and have some great ones, including a pair of C414EBs, Sennheiser MKH404s and a few old RCA ribbons. I even have the KM84 I bought 35 years ago, although I'm not sure how it survived the purge. I still have the Altecs and some oddballs (a pair of consecutively numbered Syncron AU7a mics). I have picked up some additional tube mics (Neumann & AKG) in the past 20 years to round out my collection, but I REALLY miss the U47 and U67 mics I used to have during the studio years. I've also picked up some API 500 series stuff and other 'high end' outboard pieces that I have mixed feelings about.

I have always enjoyed working with analog machines and I continue to do so. In addition to the 16-track I have two 1/4" 2-track machines that I mix down to. I had to take parts from three different machines to get a usable second mix down recorder, but everything works. Tape is expensive, but I am frugal. I have a lot of old Scotch 2" tape that I continue to use and it has held up admirably. The Ampex 456 tape I have has proven to be pretty much useless. I have been having pretty good luck with the newer RMGI 1/4" tape for stereo reduction.

I have recorded a few tunes of my own as well as dozens of different song ideas with this set up. I've recorded a few solo artists and a few friends. I haven't opened things up for mass consumption, I haven't even told all my old colleagues that I have built a facility. I spend quite a lot of time dubbing old 2-track masters to CD, sometime for friends and past customers who lost their cassette dub or 1/4' safety. Sometimes I just make CD copies to reminisce.

While others may wish for an HD Pro Tools rig or a Trident A Range board, I have chosen a different path. It may be relatively humble, but I am truly in my glory. It is the ultimate set up for me.

My story is much like yours.Living the dream and having fun

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spiritwalker

Aqua Marine

Posts: 3,641 Member Since:14/02/2011

#6 [url]

Jun 23 15 4:09 PM

I have some Scully parts if you want em PM me.

I would just like to have a space that is warm, energy efficient and sounds good acoustically. I like working all in one room so I would be fine with that. I would also like a small board with good pres and a few ribbon mics. And some more talent in my area to make music with.

OK who is next on Santa's lap?

OK it's cold here

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morespaceecho

Platinum Blonde

Posts: 2,244 Member Since:29/01/2011

#7 [url]

Jun 24 15 3:55 PM

if i could just move the space i'm in now out to the country and be surrounded by trees instead of city, i'd be mostly good to go. i have a good size mastering room, a huge living room for recording drums (and very occasionally a whole band), an office and more extra rooms than i need.

i suppose in a perfect world, a space maybe 1/2 or 2/3 as big as this and a separate smallish house for me and ms mse.  warm and energy efficient would be a miracle. my current place is neither. 

i'd have thomas northward design the studio, my contractor friend build it, i'd get some bigger b+w's and some more fancy outboard. a projector and screen for the computer monitor, just because it seems cool. i'd have a nice stylish comfy couch in the back, instead of the one that came with the van my band bought in 1998 and is still hanging in there in my current room.

the live room would be super isolated and sound proofed so i could make an ungodly racket at 2am and not bother anyone.

i'd get some coles. some nicer pres. some brady snares and maybe a black beauty. i'd have a drum tech on retainer to come over and tune drums for me. 

a rhodes, a wurlie, a b3 and a leslie. all in perfect condition. a b15 and an svt. a nice p bass or two. a bunch of cool guitars and amps. i don't know what's good. i'd hire soapfoot as a consultant and he can tell me what to get. 

www.oldcolonymastering.com

morespaceecho.bandcamp.com

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adam brown

Gold Finger

Posts: 300 Member Since:23/02/2011

#8 [url]

Sep 14 15 4:26 PM

Mics & pres

Primary Vocals & Featured Percussion, Wood Wind, Brass Horn or String Instrument:
*Must Haves
1-AEA KU4*
1-Coles 4040
1-Royer R122V
1-AEA R44*
1-Rode NTR
1-Audio Technica AT4080
1-sE Electronics RNR1*
1-Audio Technica 5040*
1-Bock 507*
1-Manley Reference Gold
1-Wunder CM67*
1-Telefunken C12*
1-Nordic Audio SWE#1*
1-Lucas CS4*
1-Neumann M50*
1-Sennhieser MD431 mkII
1-ElectroVoice RE16*
1-Shure SM7B
1-Beyerdynamic M88TG*
1-Earthworks QTC50
1-Mojave 301fet
1-Shure KSM44*
1-Miktek C7
1-Audio Technica AT4047MP
1-Rode NT2000

Primary Electronic Instrument Cab & Cab Room Mics & Acoustic Drum Spot Mics & Room Mics & Secondary Mics On Primary Sources:
2-Coles 4038*
2-AEA N22
2-Shure KSM313*
2-Royer R122V
2-Beyerdynamic M160*
2-Miktek CV4*
2-Mojave MA300*
2-Telefunken Copperhead*
2-Rode K2
2-Audio Technica 5045*
2-Gefell M940*
2-Gefell M960
2-Miktek C5*
2-Josephson e22S
2-sE Electronics RN17/C*
2-Gefell M295/HC
2-Schoeps CMC641/SC*
2-Electrovoice RE27ND*
2-Electrovoice RE20*
2-Audix D6
2-Miktek D11*
12-Beyerdynamic M201TG*
2-Audix D4
6-Miktek D10
14-Sennhieser e906*
6-ElectroVoice ND468
2-Shure Beta56
8-Advanced Audio CM414*
2-Advanced Audio CM47FetCE
2-Shure KSM141*
16-Earthworks P30HC*

Shadow Hills Quad Gama with iron mod
GML 8304 S2
Manley Mic Maid

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