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How could I connect an outboard mic pre-amp to Logic?


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Hey Guys,

 

I've been looking at the Presonus BLUETUBE, and am wondering...

 

 

1) How can I connect that to Logic? Could I plug the outputs from the BLUETUBE into channels 1 -2 on my audio interface to record that way? Or is there another way?

 

2) The BLUETUBE is £155, are there any other Units out there that are of better quality for roughly the same price?

 

 

 

I'm also interested in the Behringer T1953 TUBE ULTRAGAIN Tube Microphone / Line Preamplifier and am wondering if this will give me more for my moneys worth?

 

 

thankyou guys! :)

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1) Yup, connect the output of the preamp to LINE inputs on your interface.

 

2) Honestly, sorry but any mic preamp below $500 is a waste of time - you'll probably get a better sound out of your interface's built-in transparent preamps and tweaking the sound with some plug-ins. Don't bother with any kind of "special" audio unit: you need an EQ and a compressor. Learn those, keep learning, learn some more, listen, compare, user your ears, listen closer, tweak, listen again, compare again.

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Thankyou for that David :)

 

I find that at the minute, my mic sound is quite dull. There's no real clarity in the signal until I play around with it in Logic a bit. I'm using an AKG C1000s for everything, acoustic instrument and vocal recording since at the moment I cant afford anything else.

 

The 'not so good' sound is probabily due to the fact I'm rockin a £100 condenser, do you think?

 

 

 

Cheers

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I don't think it's the gear. Nowadays you can get at least a decent clear sound out of almost any cheap mic and interface. I didn't say "Great", but I said decent. So if your sound is very good, but you need incredibly great, then you need new gear. But if your sound is not that good, then you need to first figure out how to get a good sound out of what you have.

 

What I mean is - if someone with a Honda Civic said he couldn't get the Honda to go above 30mph, so he wanted to buy a Porsche.... well that wouldn't make sense -see what I mean?

 

The easiest next step for you is to play with instrument placement (in the room), and mic placement.

 

The not-so-easy next step would be to treat the room, or find a better sounding room. If your room is "live" (very little absorbtion, lots of reflections), and if it's small (let's say around 10' x 12'), then you're in trouble. If it's also kinda square (10' x 12' being a good example), then you're in even bigger trouble. It's pretty much impossible to make ANY recording sound good in that situation. So that's where I would look first.

 

Since small square rooms never sound good, the only solution left is to get big absorbing panels and place them in the corners, where the bass frequencies seem to be reinforced the most.

 

Once you can get a very good recording out of your "el cheapo" recording gear, then you can focus on going from very good to truly great by getting better recording gear.

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Yeah your 110% right!

 

My room isn't square, slightly rectangular! ha about 10' X 18'/20'.

 

The quality of my recordings aren't amazing in terms of Vocal's or recorded acoustic instruments, but they turn out well considering the room conditions I work with :)

 

My gear is ok too, recording/composing music is just a hobby to me, although after University I hope to work in a studio somewhere :)

 

 

Could I ask a small favour? Would you care to quickly listen to my latest track and just give me some advice on my vocal sound ad possible ways to improve it?

 

Here is the track:

http://www.speedyshare.com/973696939.html

 

basically, Ive created 4 channels in logic and recorded the same vocal line 4 times in a row to give the vocal sound some more texture. In terms of mic placement, I have limited space so theres not many option available to me! :)

 

If you dont want to have a quick listen, then thats no problem! Your 'free' input is greatly recieved never the less!

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You have a serious popping issue. I think that's what I was hearing in the mix. You typically want to address this while recording, either with a pop filter, mic technique, or both. Now that you can't do that, you may want to try filtering the very low frequencies out of your vocal tracks to get rid of that.

 

I personally think your recording sounds totally decent. However, as you said yourself, the doubling is shaky: in some places it sounds flangy and disturbing, while in other places it sounds amazing, lush and rich. I noticed it tends to sound flangy when there's a lot of activity, and to sound great when you sustain notes.

 

At first I was tempted to say "4 vocals tracks is too many, just use 2". But now I see the sound you're going for. Still I would suggest: have ONE main vocal track. Have one second supporting vocal track that's not as important in the mix and make it sound different (in EQ, or add a bit of overdrive or exciter or something). And for the two remaining tracks, experiment with only bringing them up in parts when you sustain notes.

 

Just giving you ideas to experiment with - it's all your choice - and it might sound like crap - but that's what I would try.

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Yeaaah, some really great advice there!

 

I know exactly what you mean in terms of the flanging sound. I did use a pop shield, but I have no clue about mic technique what so ever really!

 

I'll definitely try out your ideas, in terms of having one main vocal track, another supporting one and two other tracks that are used when the notes are sustained.

 

How's best for me to do that? Should I automate a mute on the vocal tracks so that they're only audible when I'm sustaining notes?

 

or, should I just automate a quick fader movement or something like that? :)

 

 

thanks!

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