New Recoding Studio (pics)

Volitions Advocate

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Hello Everyone.
The University finally finished the main Studio that I'll be able to work in for the next 3  1/2 years,  and it's very exciting.

There are 2 rooms that I can use, the first has been available to me all year so far and they call it the Audio Research Lab,  I've done a few assignments and for fun on my own I grabbed a friend and we recorded some drum loops so that we've got something in case we're unable to track for whatever reason.

Unfortunately everything is running on ProTools but at least we've got the HD system rather than the consumer level stuff.  The ARL has a C|24 surface too, which is fun to use.  I might be getting a Mackie control universal for home, but having this in a place I can use anytime is great.  Really control surfaces are just glorified mice, but they can make a difference in your mixes if you use them wisely.

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Its fun to use but THIS is the new crown jewel of the University:
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They've spent the last 8 months frantically getting this place constructed.  i got to see it a few times during its construction and see what went into the walls and such.  The entire studio has a lead curtain behind the walls. My cell phone doesn't work at all inside.  It was designed by Jay Kauffman who is apparently the fellow who designed Danny Elfman's home studio.  the doors are like bank vault doors and this place is so isolate the walls are about 3 feet thick.
The board is a Solid State Logic Duality and its 48 channels.  It can run in full analog mode, which is nice because If I want to I can just run ProTools as a glorified tape machine.

I can't get in to use it yet because the Faculty is still working out how to use it.  But there are a few of us students that actually live here so we're staying over the summer, and we might get in for some workshops over the summer to learn how to use it.

I'm not entirely sure how much all of this costs.  but the rumours on the cost of the SSL board are ranging from $350K to $650K.  Not sure which end is closer, but i'm told that SSL gave the school a discount and basically gave us the 48 board for the price of a 24.  I also know that those cherrywood horns each cost $3000 and the drivers in each was another $3000, and that's a 5.1 room so just horns alone was 30K.  I don't think I'll ever know the total price but for sure it was a few million dollars.

AND I GET TO USE IT!

so expect some wonderful recordings out of me in the coming years.  They even have a Telefunken U-47 ( LINK: http://www.telefunken-elektroakustik.com/products/show_product.php?item=20&cat=mics ) locked away somewhere that I could use with special permission. (I can't be sure but I think its the same mic Hitler used for his public speeches or something like that Debunked! it was developed in '46.  I've also seen pictures of Sinatra and Jimmy Carson using it, and a dozen others I can't think of ATM.) It's one of those microphones that deserves the "legendary" tag that shure like to slap on their ads.

I'm pretty excited.

And of course, all guitar tracks will be done with Warmoth  :headbang:
 
Exciting stuff.  I miss working in a studio, and all the fun work that comes along with that.  Keep us updated anytime... this is like recording porn.

-Mark
 
Interesting that you say "unfortunately, everything is running on ProTools".

While I was working in studios back in the days of 2" tape, and when ProTools was in its infancy (anyone remember Sound Designer II?), going backwards these days is not an option .... both from an economics and expectations point of view.  Ever try doing edits on 2"?  How about "window edits", where you cut the tape on just 1 or 2 tracks to get rid of an offending pop or click that you couldn't otherwise "punch out"?
Some of the best drum recordings I have ever done were on 2", running at 15 IPS with Dolby SR.  However, in our 24 bit, 192kHz world, you can still record some pretty massive sounding drums (amonst other things  :rock-on:).

The SSL is a sweet board.  I've only seen the specs on the Duality, but I've spent many a late night behind the wheel of a 6000.  Even SSL has gotten into the DAW game.  Their AWS board is recording console that can be used as a control surface.

And speaking of control surfaces, they are MUCH more sophisticated than a sophisticated mouse.  Ever try mixing 72 tracks with a mouse?  Trust me, you don't want to!!!!!    :toothy10:

 
yeah, you're right, I have. it sucks lol

When i say ProTools I don't mean unfortunately its digital.  I'm talking about Digidesign software as a whole.  ProTools is such a huge proprietary mess and i really don't like it.  it's in there only because so many people use it that it's become a standard.  I personally use Cubase  at home and I'm just getting into Ardour on linux.  Logic tends to be pretty popular on the mac platform and there are others.  But to get Pro Tools HD you need spend around $50K just for the PCI cards to put in your computer.  and the software wont run without the hardware attached.

We might be getting a Studer in the studio, but only for mastering I think.

I'm not harping on Digital, just ProTools.
 
Well, I've used several other digital boxes as well.  One of the better ones was the Otari RADAR.  A stand-alone, 24 track hard disk recorder.  It sounded pretty darned good as well, for a 16 bit, 48kHz machine.

* disclaimer ... I am NOT a Digidesign rep!!!!! *
ProTools (and Digidesign in general) have made their stuff proprietary so that they know everything will work with everything else they make.  Just like the Mac vs PC debate.  Having said that, the software (not including the plug-ins) has nothing to do with the way stuff sounds.  It is an interface; a glorified tape machine, as you said.  Logic, Cubase, Soundtrack Pro, et al, all work exactly the same way.  You just have to get familiar with the editing tools and shortcuts.

Where the difference lies is how the sound gets into the machine.  Mic choices, mic preamps, compressors and EQ's going into the Didigesign hardware are what shape the sound.  Don't like the 192's?  Get the digital I/O box, and buy some Apogee converters.  Where digital shines (or sucks) is HOW the sound becomes 1's and 0's.  The box that's doing that is your best friend.  The software is just the razor blade you use to slice and dice your tracks.
 
That's what I took him to mean regarding Protools/digital.  I worked in a studio with 2" tape as the main medium, and while I do miss it, I don't, hahaha.

-Mark
 
I should actually clarify one thing ....

I do work with ProTools on a daily basis, as I make my living doing post-audio for television.  As an all-in-one recording/mixing/layback solution, it has ideed become industry standard.

I use ProTools at home for music strictly due to the comfort level.  I have nothing against any other software, and in fact, up until recently, I would have said that Cubase or Logic were better than ProTools for MIDI-based setups.  Really, the hardware you choose is key.  Digidesign made the choice that their software would only work with their hardware to ensure compatibility back in the day, and stuck to those guns.  These days, MOTU, Apogee, and a host of others make great boxes to get the sound into your computer.
 
Yeah, i hear you on everything you're saying.  I know that they don't use digidesign converters in the new studio, I don't recall what they are, but I'll get a picture next time i'm in there of the room with all the gear.

I just find that i can get more value for my money using something other than pro tools as my main software.  Because I can run my interfaces directly in rather than having to buy something extra I wouldn't need to begin with.  I plan on getting PT LE so that I have it to work with.  But that also means I have to buy a piece of hardware I will never use.  Be it an Mbox or something.  I realize you can get the little dongle to use kind of like an iLok but it only gives a stereo 1/8" output @ 44.1 or something like that.  which is also not very useful to me.  I don't want to put anybodies preferences down or anything, pro tools just isn't for me.  I go to school here with a guy that has his set up all done.  He uses HD in his studio, and even has one in his home for mixing.  and he's often complained about how he spent  something like 80 thousand in digidesign gear to do nearly the same thing he can do in logic which he spent 400 dollars on.  He was also talking about perhaps getting a Nuendo rig going for other functionality (this is all not including the non digidesign gear of course, like you said).  and then of course there is the software restrictions.  I believe in the main studio even on that SSL we're restricted to 48 tracks in ProTools,  which is entirely a software limitation.  I dont have that limitation at home using Cubase. 

BUT! I want pro tools because who knows whom i may get a job from, that requries the use of pro tools?  So I plan on going out and getting LE on my own, and I'll have my Mbox sitting there as a big fat plastic dongle so that i can use my software.  It just doesn't seem terribly fair.  That and I'm not terribly fond of the graphical interface.  But you're absolutely right that the software isn't what changes the sound.  not that I want to debate on it with you,  you're the pro and i'm the one just learning so I'm glad you're joining the discussion.

the point is. Pro Tools or not, i'm excited to work in here.  I just wish I had a choice, that's all.  Especially because I'll be restricted on what I can use when looking back at all of my session files at a later date and i don't have an HD rig to do it on.
 
Volitions Advocate said:
the point is. Pro Tools or not, i'm excited to work in here.  I just wish I had a choice, that's all.  Especially because I'll be restricted on what I can use when looking back at all of my session files at a later date and i don't have an HD rig to do it on.

All is not lost!!!

If you do happen to get an LE rig at home, the HD sessions will open on them.  You won't have access to the TDM plug-ins, but you will be able to use any RTAS plugins that the systems share.
The other wonderful thing about file-based recording software is that just because you recorded something on ProTools doesn't mean you can't mix it somewhere else.  You just export the tracks as files, then import them into the software of your choosing.  The export can happen in a variety of ways ... with or without processing, and with or without edits.  (with the latter option, you have to be careful of the start times of all of your regions so that stuff remains in sync when you import).

Good luck with your learning.  I can tell you that this is a tough industry to break into, but talent IS recognised by those hiring.  ProTools is not the b-all and end-all, but for the time being, knowing it will certainly increase your chances of getting a gig.
 
Very cool stuff man.   Always love seeing an SSL.     It's been a couple years since I worked on one since i've been doing the digital thing for so long, but man, I still know what pretty much every knob on that baby does. :)    

Back in college I used to have a 9000J as my desktop background.  Oh what a music geek I was (am). ;-)
 
The drum loops I recorded in the ARL I'll be mxing at home in cubase ( i have limited time at the school so that seems to be the best bet )
The thing with this program is that I think it is a little bit more robust than a lot of audio engineering courses.  Technically, this isn't an audio engineering course.  Engineering is just one of the paths you can take.  I'm actually in it for the degree. I'll be getting a B. Music degree with a major in "Digital Audio Arts".  So aside from the technical and physical classes I'm also learning all of my Theory and History as well as oral skills (which is tough).  But even on the technical side of things it isn't just "learn how to be an engineer".  Which is nice.  We're doing a great deal of things that involve audio as a whole.  Next semester. along with my advanced engineering class,my on-site audio capture class, I"ll be taking a physics class about the physics of sound, and a computer science oriented class about sound synthesis.  We've also been doing some work with MaxMSP and the like and as my General Liberal Education Requirement classes I've been taking computer programming fundamental classes.  In the future there is also classes that tie in with new media. like composition for film and stuff like that, as well as mroe intensive computer related classes like programming in Csound and understanding data structures and algorithms and applying them to audio and such.

I think I'm in a better position than a lot of my peers so far because they get a little upset when they have to do anything with math or computer science.  On more than one occasion from several different students I hear stuff like "I just want to move mics around and record music".. Which is all well and good, but there is so much more to learn that is useful.  I have no idea what my profession will be coming out of this.  I some how doubt that I'll end up having my own "Record Studio" complete with label and clients that write pop and rock music, but I'm not necessarily gearing towards that either.  There are thousands of studios out there that are independently owned that could do it much better than I could anyway i'm sure. (plus they have the captial I don't).

My plan is to learn everything I possibly can.  Because it's all about tools.  I keep joking about how I want to be the Dr. House of audio.  Which doesn't sound like a bad job to me, being able to fix whatever issue or problem may arise.  And this whole ProTools vs. Whatever else debate is part of having the tools right?  I've just got into Linux and I've been playing around with Ardour and a lot of the other little open source plugins and programs that the community has created, and while they may not be professionally endorsed by anybody... I've got them if I need them, and I think that will make me a more powerful technician and more valuable to whomever may be hiring.  And that includes my knowledge of theory and history, and my ability to code etc.

I get really tired of hearing a lot of the people I'm around close doors on themselves because they don't want to expand their understanding.  But I suppose it's all the better for me.

Its all about the tools you can use.  And right now I have a Duality board, a million dollar isolation room, Pro Tools HD, and a couple dozen AKG, Neumann, and Telefunken microphones.  I'm sitting pretty at the moment.
 
I love SSL stuff. I once turned down a job offer from them as I'd just moved house. Too far to travel. Wouldve been an installtion engineer, so I would likely have installed your very desk. My best mate from uni, Andy works for them, and we are allowed to go up and record in the demonstration rooms. I've recorded some tracks on Duality serial number 001.

Love the ssl gear. All of it.
 
No booze, drugs or groupies?  What kind of studio is this?  How do you expect to get any work done?
 
Liking SSL as well.  For all the broadcast consoles out there, I like it the best.

And they've just announced that they have integrated with our Switchers!  Now when you use a Ross switcher we can control your broadcast SSL right from the switcher or our automation system.  Very nice.

P.S. - "Switcher" in the UK is "Vision Mixer".  Kinda like an audio console for Digital Video.
 
mayfly said:
Liking SSL as well.  For all the broadcast consoles out there, I like it the best.

And they've just announced that they have integrated with our Switchers!  Now when you use a Ross switcher we can control your broadcast SSL right from the switcher or our automation system.  Very nice.

P.S. - "Switcher" in the UK is "Vision Mixer".  Kinda like an audio console for Digital Video.

Not to start another online arguement ('cause I love SSL gear as well), we went with a Studer Vista here where I work.  We compared the Studer to an SSL C300, and for the price, we got a fully loaded Porche instead of a bare-bones Ferrari.
And just about any switcher/mixer can be programmed for fader-starts.  The question is WHY?  Would you trust a switcher to do your broadcast mix?  I wouldn't!!!!!
 
AndyG said:
mayfly said:
Liking SSL as well.  For all the broadcast consoles out there, I like it the best.

And they've just announced that they have integrated with our Switchers!  Now when you use a Ross switcher we can control your broadcast SSL right from the switcher or our automation system.  Very nice.

P.S. - "Switcher" in the UK is "Vision Mixer".  Kinda like an audio console for Digital Video.

Not to start another online arguement ('cause I love SSL gear as well), we went with a Studer Vista here where I work.  We compared the Studer to an SSL C300, and for the price, we got a fully loaded Porche instead of a bare-bones Ferrari.
And just about any switcher/mixer can be programmed for fader-starts.  The question is WHY?  Would you trust a switcher to do your broadcast mix?  I wouldn't!!!!!

People do it all the time all over the world.  But, that's a discussion that's not for this forum.

Oh - Studer is pretty good too  :icon_biggrin:
 
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