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Cool, just googled images of much of my gear. Used a screen capture to snap a picture and then save them as .jpg files into the folder. 
Yep, that's how I got all the little generic images I included in the folder. I didn't bother getting the exact images for my diagram; just representative ones.
I gotta have the exact images, where possible. Thats just the way I role...hehe 
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I gotta have the exact images, where possible. Thats just the way I role...hehe
ROLL, even.... just as big a
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If and when you do try putting the mics directly into the saffire, I think you will find that you'll forget the mixer pretty quickly!
I gotta ask this question of you Scott because 95% of your comments refer to getting rid of equipment.
Do you enjoy running cords? Plugging and unplugging stuff all day long? I much prefer running cables just once and leaving them there forever. Of course, doing it that way makes for a room that looks like a science project gone horribly wrong, but most of the spaghetti is hidden away. And I keep a lot of people employed producing all those cables I have to buy.
Of course I can only speak for myself but I would rather chew broken glass than be changing cabling all day. All my analog stuff runs into a patch bay so when I want to change from sampler to ESQ-1 to Line6 amp to vocal mic to vocoder I only have to change ONE cable: the one that runs from the patchbay to the interface. I keep a drum machine, a vocoder, 4 keyboards, 2 analog sound devices and my guitar amp plugged into a patch bay so just one cable swap sends the right thing to the M-Audio. Personally I don't like soft synths. I gathered the synths and sampler I wanted and I know where my sounds are every time.
I truly AM enjoying using a control surface for mixdown, but for the way I do things I can never get rid of analogs completely. 20 years later I STILL think the Ensoniq synths are the best thing going (gone?) and when one dies (as happened with my EPS 16+ sampler) I will hunt down another one from some other old school rocker who never grew out of what he knows works for him. I prefer to NOT key in MIDI events in favor of actual analog notes that are magnificently created by the additive synthesis in my old Ensoniq boards (6 in total).
Digital absolutely has it's place in manipulation of the sound, but for the creation, I prefer analog.
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At home the soundcard is fed from the mixer subgroup outs (8).
At Barry's they are connected to a patchbay. Either works fine. Using both would seem redundant.
When doing vocals at home I often pull a cable from the mixer end and use a dedicated preamp instead, and when I do that it sits that way until I need all the mixer outs again. Taking a second to swap a cord to get the desired signal path isn't a waste of time in my eyes.
Less devices in the signal path = less noise and often a cleaner, clearer signal.
I do not work here, but the benefits are still awesome
Make your sound your own!
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Less devices in the signal path = less noise and often a cleaner, clearer signal.
@eddie
This quote from rharv was my point - particularly for mic'ing. I go for minimal active electronics between my source signal and the computer - always. That's just the way I roll.
I guess the difference is that I don't do much multi-tracking of audio signals. The most I have ever recorded at my home 'studio' is 3 channels at once, vocals and stereo mic'ing of my acoustic guitar. I did that one time.
I also don't have room for a mixer in a convenient way, in the room that I record in. In fact, you can see me and my recording room (which doubles as the spare/guest bedroom/son's drum room/etc.) in a video I posted last night. http://youtu.be/NuEU2awyRU4
The wooden thing in the background is the most expensive piece of 'music' gear I have ever bought - a Murphy Bed. "A bed?" you say. Yes, because it folds up against the wall, I can use that room for other purposes (music) some of the time. But no room for a proper mixer/rack/etc. I do have a desk that has rack spaces in both sides and some up on the top (I think there are something like 24 spaces) but nothing racked because I just don't have it on hand. My only rack gear is my Behringer Bass V-Amp pro, but I gig with that a couple times a month, so I don't have it mounted.
The stereo acoustic guitar track for that video was recorded in my living room with a Samson Q2U mic (not in usb mode) and an EV PL80a mic. Neither were intended for instrument micing, but they have pretty tight patterns so they are very forgiving for background noise and what not. I won the EV mic, and I paid $39 for the Samson mic on a clearance shelf at Target, of all places. It is actually a USB mic that can be used purely analog - and it came with some pedestrian circumaural headphones. The pre-amps in my interface give lots of gain with very minimal background noise - it's the main reason I've stuck with that interface and not put it up for sale - because I will tell you the drivers for it stink. Tascam dropped the interface rather than try to do a better job with the drivers. I got it for $99 at Musician's Friend. GREAT preamps - subjectively evaluated against my PreSonus Firebox preamps and my standalone dbx mini pre.
My audio interface (Tascam US-800) has the main 1/2 inputs right on the front. So I'm not crawling around behind something plugging/unplugging - it sits right there on the desktop.
One thing I have considered is an entirely passive patch bay. That could be handy. Then again, that would be a couple hundred dollar investment in good quality cables and the bay. I can get a way cool guitar from rondo for $200. Guess which I would pick?
In my possession have 3 XLR cables, and 3 good quality 15' 1/4 instrument cables. That's it. Two of the 1/4" cables stay in the gig bag. The 'gig' that I have is at church, where I plug in to direct boxes or just plug in one of the church's XLR to the XLR out of the Bass V-Amp Pro.
So, to me, the rather small inconvenience of plugging/unplugging into the interface is worth the clean signals and the money savings. I guess it's because that's just how I grew up recording - starting with an SB Live Platinum card with front-panel inputs in the drive bay thing. I've never even considered putting a mixer into the mix.
It's just a different way that's all. I do think it offers a lower noise signal path in general.
-Scott
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One key point is the concept of "people do things different ways". I am a gearhead from the 60s. I have instruments that I can not play and won't likely ever bother learning how, but they are cool to have. I have a King flute that my father would have a hand in building since he worked at King band forever. I don't play flute. I have a 1910 era autoharp. I have no idea the usefulness of an autoharp, but it looks cool. I have some ridiculous brass instrument that is too small for a trumpet and too big for a cornet. (Matt? Little help?)
And this concept filters down to the things we buy as well. You mentioned a Rondo guitar. From my old school brain, guitars say "Gibson", "Fender" or "Martin" on them, no other options. I don't even know what Rondo is. They might make THE best sounding guitar out there, but BB King, Clapton, Beck, Allman, Hendrix, Howe, Christian, Montgomery, Tufnel (LOL)... none of them used Rondo, so I can only make the assumption that if the masters did not choose Rondo, they made that choice for a reason, and I would be more likely to follow their lead. However, that opinion is just mine and does NOT translate to "Scott is a chump because he'd buy a Rondo guitar". (Of course Rondo was not around when Wes Montgomery was alive, but you get the idea.)
I get taken to task a lot for the length of my songs, too. Well, at 4 days short of 61, who did I come up listening to? Pink Floyd, Todd Rundgren, Moody Blues, Yes, Chicago, BS&T, Rush... all of whom wrote a lot of "theme" albums that were close to being ONE 60 minute song.
One of my best friends is constantly harping on me to use soft synths. He told me all about the Hammond soft synth. And my reply was "Okay that costs $300. I then have to sit here and learn how to use drawbars. For $150, I bought my Ensoniq ESQ-1 with 119 other sounds, and when I want a perfectly acceptable Hammond sound, I go to INTERNAL and select sound number 2 and I have what I want. I run it through a phase shifter and have Leslie like control." I mean, geeze, I like brunettes but that doesn't mean I don't like his blonde wife....
It all comes down to what you know best and like most, and are comfortable using. In teh end though.....
MORE GEAR!!!!!
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@Eddie
If chosing between having a mic goiung straight into a focusrite pre-amp & recording OR going throught the same & then into a mixer & then recording then there is really no choice. Apart from having an SSL mixer then the focusrite will ALWAYS be better than going through a mixer afterwards which will always degrade the sound.
If you have the luck to have focusrite pre-amps, why would you want to degrade that?
Last edited by bupper; 06/23/12 11:16 AM.
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Why would I go into a focusrite (whatever that may be) and then to a mixer? I wouldn't. My mics are plugged into a Mackie mixer mounted into a 44 space rolling rack with the 4 digital reverbs, the 31 band stereo EQ, the compressor, the vocoder, etc..... and that mixer's outputs go to a patch bay (1L and 1R if you are keeping score), which gets patched to my M-Audio (24L and 24R) when it's time to sing. Most of the time, I let RB compose EVERYTHING and just sweeten some with manual parts. RB plays better than I ever did, so why mess it up with MY playing? The whole idea of my post is that I don't want to ever touch cables if it isn't absolutely necessary. Other than jumpers to route stuff through the patch bay, I never have to cable anything. When I want the sampler for a track, I run 2 short red jumper cables from 22 to 24, which sends 22 (the sampler) to 24 (the M-Audio interface). All the synths, the drum machine, the vocoder.... everything... all routed through the patch bay. Other than those 2 12 inch red patch cords, I never plug anything in. The M-Audio is wired permanently to the powered Wharfedale near field monitors so I never touch those. There's also a bunch of MIDI routing in there but that's boring. And honestly, all the "adds noise" talk falls on deaf ears to me. One more step in my signal chain doesn't take my signal from "cemetery at night dead quiet" to "bulldozer pushing gravel across a corrugated metal runway". I take that kind of thread with the same shaker of salt as the "I only use Monster Cable because...." bandwagon nonsense. Those people couldn't tell Monster Cable from the Monster Mash if they didn't know in advance it was or wasn't Monster Cable. I DO find a great deal of comic relief from those people though. Like the guy years ago who I let use my Les Paul one night while his was in the shop. He went on and on about how he LOOOOOVED the sound of Dimarzio pickups. Wouldn't play a guitar with ANYTHING ELSE. Told him the were Dimario. He was happy as a clam. Right up until the end of the night when I broke his heart and told him they were Seymour Duncan pickups on my Les Paul. While he THOUGHT they were Dimarzio, he loved them. I LOVE doing stuff like that to people! And if they get mad at me, I blame rharv.
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Eddie, bupper's comment was going through mixer preamps and then the focusrite.
I'm not saying that it's the cemetery vs. bulldozer thing.
However, with 24 bit recording, with a really clean signal path (I'm not talking just copper here, I'm talking about active electronics that have a real 'self-noise' aspect - just so you know, my speaker cables have always been bulk lamp cord from the hardware store!)
I'm talking cheapskate factor here as well. Let's not forget that.
BTW - my VFX-SD took a dump back in February. It's probably repairable, but right now I'm saving for a Casio XW-P1. Almost there.
-Scott
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Quote:
BTW - my VFX-SD took a dump back in February. It's probably repairable, but right now I'm saving for a Casio XW-P1.
You have any idea WHAT is bad on it? I have a dead one as well. If you could Frankenstein one good one out of the 2 I would give it to you. I have NO clue what is wrong. It won't boot and a hard reset did nothing. The only good guy I know of that fixes Ensoniq gear is in Philadelphia, but by the time I would send it there and he would send it back, the shipping alone would make it way short economically wise. I also factor in that cheapskate factor. In fact, I am so tight I squeak.....
I remember once when I had a background check done and the investigator asked one of my best friends "Can you describe his drinking habits?" and the reply was "Well, he never buys...." 
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BTW - my VFX-SD took a dump back in February. It's probably repairable, but right now I'm saving for a Casio XW-P1.
You have any idea WHAT is bad on it? I have a dead one as well. If you could Frankenstein one good one out of the 2 I would give it to you. I have NO clue what is wrong. It won't boot and a hard reset did nothing. The only good guy I know of that fixes Ensoniq gear is in Philadelphia, but by the time I would send it there and he would send it back, the shipping alone would make it way short economically wise. I also factor in that cheapskate factor. In fact, I am so tight I squeak.....
I have yet to crack the top open. I'm guessing is the joint between the two main PCBs. That was a common failure on those boards - the edge connector they used didn't cut it - so the repair was to hard wire/solder across every 1-1 connection in the edge connector. I'm guessing one of those went bad. Problem description is that the LED display gets one VERY bright character and the rest are blank.
-Scott
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Apart from having an SSL mixer then the focusrite will ALWAYS be better than going through a mixer afterwards which will always degrade the sound.
If you have the luck to have focusrite pre-amps, why would you want to degrade that?
I remember being at a session many years ago when the vocal was recorded through a Neuman U87 mic (around $2000) and an SSL G-series mixer. The producer then put some distortion on it because it "didn't sit right in the mix". It's the same as recording in digital and then bolting a tape-saturation plug-in across the main output buss.
I reckon there are no rules - you've just got to keep an open mind.
Just sayin....
ROG.
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Quote:
I have yet to crack the top open. I'm guessing is the joint between the two main PCBs. That was a common failure on those boards - the edge connector they used didn't cut it - so the repair was to hard wire/solder across every 1-1 connection in the edge connector. I'm guessing one of those went bad. Problem description is that the LED display gets one VERY bright character and the rest are blank.
Yours at least boots up then?
I had to do that solder thing on mine. On yours, every now and then, whenever it feels like, the thing freezer playing notes as if you laid a piece of 2x4 across the keys, right?
Before I soldered the pins I used to pop the keyboard out, pull that ribbon cable, spray it well with tuner cleaner and reseat everything and that worked for a while, but eventually.... WAAAAAAAAHHHHH! So I did the tedious solder job. Wire wrap tool, low voltage gun... grrrr....
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I reckon there are no rules - you've just got to keep an open mind.
Just sayin....
ROG.
I agree but was just pointing out that if you have focusrite pre-amps on your soundcard then basically there is no point in putting it through a mixer!
a little aside here ROG, I'm living in France but I have family in Beverley 
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Bupper.
You were quite right, of course. I just enjoy being controversial. Also, I love my Focusrite Scarlett.
Hey, I know Beverley well - lovely town and not more than an hours drive from here.
How long have you been in France and what's your French like? I've just started contributing to the French Forum, because they're trying to build up a bit more interest there and they're happy for anyone to post, as long as it's in French. They're a friendly lot and they don't seem to mind me using it to improve my terrible French!
ROG.
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My French is pretty good, my missus is French. I've been here 23 years. My father lives in Beverley & I lived there for 10 years  I remember having a good few nights out around York (only 40 moles) & almost never missed a race meeting. I'll have a look at the french forum The Focusrite Scarlett is the best value for money on the market.
Last edited by bupper; 06/24/12 11:15 AM.
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Just curious Bupper, does the French version of "Bande Dans Une Boîte" include comments in the help files like "You Ameree-cons are so steu-peed...."?
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@ Eddie
I wouldn't know, I have the english version. I do hope thats just a feeble attempt at humour rather than an attempt to antagonize.
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You don't know me well if you have to ask that question.....
Between me and Silvertones, we are always the first to send out the wise crack....
This reminds me of the time I walked the 285 circular steps to the top of the Arc de Triomphe. As I sat at the top, gasping for air and pretty sure that this was the place I would finally have a stroke and die, my ex wife comes walking up to me and said "Why didn't you take the elevator?" And I said, between gasps, "There's an ELEVATOR????" to which she replied "What did you think you were paying that 8 bucks for?"
Note.... EX wife..... I don't think she knows to this day, 10 years later, how close she came to becoming road debris on the Champs-Élysées.... and there was a trash can RIGHT there....
Elevator....
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"Bande Dans Une Boîte"
Eddie, my old pal. You've obviously got a good grasp of French, including a French QUERTY keyboard by the look of things! Can we count on you to answer the complicated computer queries?
ROG.
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Ask sales and support questions about Band-in-a-Box using natural language.
ChatPG's knowledge base includes the full Band-in-a-Box User Manual and sales information from the website.
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We've been hard at it to bring you the latest and greatest in this 9th installment of our popular XPro Styles PAK series! Included are 75 styles spanning the rock & pop, jazz, and country genres (25 styles each) that fans have come to expect, as well as 25 styles in this volume's wildcard genre: funk & R&B!
If you're itching to get a sneak peek at what's included in XPro Styles PAK 9, here is a small helping of what you can look forward to: Funky R&B Horns, Upbeat Celtic Rock, Jazz Fusion Salsa, Gentle Indie Folk, Cool '60s Soul, Funky '70s R&B, Smooth Jazz Hip Hop, Acoustic Rockabilly Swing, Funky Reggae Dub, Dreamy Retro Latin Jazz, Retro Soul-Rock Fusion, and much more!
Special Pricing! Until July 31, 2024, all the XPro Styles PAKs 1 - 9 are on sale for only $29 ea (Reg. $49 ea), or get them all in the XPro Styles PAK Bundle for only $149 (reg. $299)! Order now!
Learn more and listen to demos of XPro Styles PAKs.
Video: XPro Styles PAK 9 Overview & Styles Demos: Watch now!
XPro Styles PAKs require Band-in-a-Box® 2025 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
New! Xtra Styles PAK 20 for Band-in-a-Box 2025 and Higher for Windows!
Xtra Styles PAK 20 for Windows & Mac Band-in-a-Box version 2025 (and higher) is here with 200 brand new RealStyles!
We're excited to bring you our latest and greatest in the all new Xtra Styles PAK 20 for Band-in-a-Box! This fresh installment is packed with 200 all-new styles spanning the rock & pop, jazz, and country genres you've come to expect, as well as the exciting inclusion of electronic styles!
In this PAK you’ll discover: Minimalist Modern Funk, New Wave Synth Pop, Hard Bop Latin Groove, Gospel Country Shuffle, Cinematic Synthwave, '60s Motown, Funky Lo-Fi Bossa, Heavy 1980s Metal, Soft Muted 12-8 Folk, J-Pop Jazz Fusion, and many more!
All the Xtra Styles PAKs 1 - 20 are on special for only $29 each (reg $49), or get all 209 PAKs for $199 (reg $399)! Order now!
Learn more and listen to demos of the Xtra Styles PAK 20.
Video: Xtra Styles PAK 20 Overview & Styles Demos: Watch now!
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 20 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
New! XPro Styles PAK 9 for Band-in-a-Box 2025 and higher for Windows!
We've just released XPro Styles PAK 9 for Windows & Mac Band-in-a-Box version 2025 (and higher) with 100 brand new RealStyles, plus 29 RealTracks/RealDrums!
We've been hard at it to bring you the latest and greatest in this 9th installment of our popular XPro Styles PAK series! Included are 75 styles spanning the rock & pop, jazz, and country genres (25 styles each) that fans have come to expect, as well as 25 styles in this volume's wildcard genre: funk & R&B!
If you're itching to get a sneak peek at what's included in XPro Styles PAK 9, here is a small helping of what you can look forward to: Funky R&B Horns, Upbeat Celtic Rock, Jazz Fusion Salsa, Gentle Indie Folk, Cool '60s Soul, Funky '70s R&B, Smooth Jazz Hip Hop, Acoustic Rockabilly Swing, Funky Reggae Dub, Dreamy Retro Latin Jazz, Retro Soul-Rock Fusion, and much more!
Special Pricing! Until July 31, 2024, all the XPro Styles PAKs 1 - 9 are on sale for only $29 ea (Reg. $49 ea), or get them all in the XPro Styles PAK Bundle for only $149 (reg. $299)! Order now!
Learn more and listen to demos of XPro Styles PAKs.
Video: XPro Styles PAK 9 Overview & Styles Demos: Watch now!
XPro Styles PAKs require Band-in-a-Box® 2025 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
Video: Band-in-a-Box® 2025 for Mac®: VST3 Plugin Support
Band-in-a-Box® 2025 for Mac® now includes support for VST3 plugins, alongside VST and AU. Use them with MIDI or audio tracks for even more creative possibilities in your music production.
Band-in-a-Box® 2025 for Macs®: VST3 Plugin Support
Video: Band-in-a-Box® 2025 for Mac®: Using VST3 Plugins
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