Just a correction: Marshall electronics is NOT related to the amp company. Now I'm gonna go clean this egg off my face...
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Originally Posted by Shilohaura
You can still pull audio from mpeg, but it will lose quality. Try it to see if it's acceptable. I wouldn't do this, but if you used the cam mic and the quality isn't great anyway... it's up to you.
So..... If I just hook up the left and right sound jacks into the capture card, and don't hook up the video in any way, it SHOULD just make a .wav file, right? Or will the system just tell me I don't have everything hooked up?
I learn a lot here, though. Even gave my 'puter guru some info I learned here that help him out! And I appreciate your taking the time - and your patience - to help me out when you can! -
Originally Posted by lowlow42
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Originally Posted by lowlow42
Now, here's the part where I talk too much...
The Shure 57 is more favored in the studio than the 58 for various reasons. It's got a bit different presence peak, and no heavy windscreen. It IS used in the studio a lot for guitar amps, drums, etc. And once in a long while for vocals, too. Voices are a very individual thing - this is why big studios have several >$1000 mics available. It isn't that one's always "better" than another, it's that different voices sound better on different mics. If you weren't so limited financially I'd say go to a store and record YOUR voice on several good mics and pick the best one. In fact, with the variability of the chinese mics, you could still do that anyway! But back to the point - sometimes a voice comes along that sounds best on a 57, or a Sennheiser 441, or some other non-condensor mic. That's all fine. But if you're just starting out, and you're strapped for cash, and you want to record vocals in a home studio - the Chinese mics are the best starting point, IMO. -
The Behringer 802 Mixer, it says this in the product description:
"Switchable +48 V phantom power for condenser microphones".
Is that what I need then? -
Originally Posted by lowlow42
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But as I said earlier, if I pull the old card out, then I have no speaker outputs with the new card. Unless I buy an adapter, which I guess I'll have to do, in order to get the best sound out of my speakers.
Ok, well thank you for all of your help.
I decided I'm going with:
Behringer UB802 Mixer
Audiophile 2496 Soundcard
and the MXL mic -
It's great that finally the consensus was reached but I do have some weird feeling in my stomach. The advise and discussion was very good and informative. I'm just kind of wondering. We are talking about DVD commentary not recording Pavarotti live. Good mic, yes, it's great to have it but as it was suggested: test a few. Soundcard? absolutely, but I'd rather borrow a decent card (or bought for testing) and check what could be called a staring point. From there I would know which way to move, which card and which mic.
It was said: this card and this mic and at the same time the argument was brought up that "studios have several mics as you never know which one would be the best" (more or less, my "made up" "quote"). I couldn't agree more and that's why the conclusion that: here's my shopping list, is kind of surprising.
Until now we don't know what distortion made first recording terrible.
In my student years I worked with a radio station and was a freaquent witness how, using the same equipment, people could sound totally different. Lowlow42 do you know what sound you are after? I don't think so, at least not yet. Remember you will be recording not 3 tenors but jus a commentary where your room acoustics is at least as important as your mic. And to close my post I've heard and made band live recordings using inexpensive Yamaha and SB Live cards. Very impressive. Though I don't have a great mic to prove it to myself but I'm more then convinced that these cards could handle commentary more then adequately just as they handled the whole band (few years ago) with ease. So let's not get crazy and pull out 120mm cannon to kill a mosquito. -
Originally Posted by lowlow42
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Originally Posted by proxyx99
It was said: this card and this mic and at the same time the argument was brought up that "studios have several mics as you never know which one would be the best" (more or less, my "made up" "quote"). I couldn't agree more and that's why the conclusion that: here's my shopping list, is kind of surprising.
Until now we don't know what distortion made first recording terrible.
Lowlow42 do you know what sound you are after? I don't think so, at least not yet. Remember you will be recording not 3 tenors but jus a commentary where your room acoustics is at least as important as your mic.
Though I don't have a great mic to prove it to myself but I'm more then convinced that these cards could handle commentary more then adequately just as they handled the whole band (few years ago) with ease. So let's not get crazy and pull out 120mm cannon to kill a mosquito. -
Thanks so much for the info, Jester! I believe I have a new project for this weekend, thanks to you! And I appreciate the info on the firewire transfer. I'm the only one I know that's into this capture and DVD stuff, even my computer guru is lost in this area, so no one knew the answer. And amazing that it's never mentioned in the instruction books or help menus!! Like I said, I guess they figure that's just basic knowledge everyone already knows - but, unfortunately....... Someone could make a mint writing a book for people like me (and We Are Many!). "Things People Don't Tell You Cuz Every Fool Already Knows It". Yup! There's a fortune to be made!
I'll let you know how it goes! -
As questioned earlier, I wanted the upgraded equipment for recording songs, not commentary. Jester backed me up, and has mostly everything right about my point of view.
I was originally planning on buying the pieces of hardware at different times, and trying each piece before I ordered the next, just to see if my problem went away. Starting with the mixer, then the mic, and finally the soundcard.
My speakers are not powered through the soundcard though, I have pretty good speakers, but the subwoofer plug is the 1/8" kind. So I'd have to get the "Y" cable that splits that (1/8") into right and left analog in order to use it on the new card. Right? -
Originally Posted by lowlow42
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Ok, it seems as if I'm all set. Once again thanks for all your help!!!
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Oh, I meant to ask this:
If I plug the output of the Audiophile to my speakers, then when I go to record, how do I hear the instrumental? Not through the mixer, because I'll only hear the microphone. So how do I go about listening to the instrumental? -
Originally Posted by lowlow42
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Hmmm... its just kind of weird now that I think of it...
Alright, I'll just read the instruction manual. -
Originally Posted by lowlow42
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Wow.
Lots of good comments here. (Housepig)
I'm guessing the "static" is a soundcard problem.
Won't a cheapo $25 soundblaster work just fine for this
guy?
A Shure sm57 is a great choice. Probably better than he
needs, but if he gets serious, it's good enough for higher
level recording and yet inexpensive.
No need for a mixer, slap a Rad shack Low to High impedance
coupler on it, then down to 1/8, and he's there.
Hopefully the weight won't yank out the soundcard plug. Lol.
But this should get him sounding very good, very cheaply.
Talent and mic technique(most important) are another matter
entirely. Talent always transcends the equipment.
LowLow42 is fortunate for all the good comments here,
i.e., at a DVD forum.
He should be reading some Homerecording websites. -
Yes, beleive me, I appreciate all the help everyone has given me.
I figured I'd probably have to get a splitter for the headphones and speakers. Unfortunately my speakers dont have a headphone output. I wasnt planning on playing it through the speakers, as you said there would be feedback.
I got a question, the more splitters I use, does that decrease the amount of quality in the speakers, or headphones? Or does the quality just stay the same. I still want to enjoy the good quality my speakers put out, and if its being shared with the headphones, I dont want the quality to decrease. But if it doesn't happen, I have nothing to worry about.
I guess its better to find a switch box of some sort, because when I want to listen to my headphones, I dont want to have to keep unplugging my speakers, and what not. -
Originally Posted by vcdforme
2. That's just exchanging one set of problems for another - the impedence matching adapter and the 1/8" adapter are going to add noise, and would not address what I suspect to be the main problem - the lack of gain and headroom in the soundcard's mic preamp.
3. so true, so true....- housepig
----------------
Housepig Records
out now:
Various Artists "Six Doors"
Unicorn "Playing With Light" -
How would I go about looking for one of these switch boxes. I typed it in Google, and I cant find something that resembles what I need.
I'm just trying to avoid so many cables. I could get "2 rca to 1/8 adapter", and a "1/8 to 2 1/8 adapter", but I dont want so many cables, and to keep going back and forth to unplug and plug is a hassle. Please look at my diagram I've made (dont mind the sloppiness).
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Unfortunately, this may be how you'll need to set it up. I don't think the headphones in parallel will do too much to mangle the sound from your speakers, but I'd check anyway - you may want to unplug them when using the speakers.
I don't know of any 1/8" splitter/switcher boxes (though with all the stuff using that connector these days, there SHOULD be!), but you could wire this up with a RCA switcher and a bunch of adapters.
OK. I found a few, but they're insanely priced at $21. For a plastic box, three 1/8" jacks, and a small switch. http://electronicsusa.com/productsswitches.html -
Oh ok, well nevermind... I'll just use the adapters, its not that big of a deal. Or maybe I'll look around at a local Radioshack. They probably would have one. If not, so what, I just have to plug it in when I need to use it. Thanks for the link, and thanks for your help!!
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Whats the difference between 24 bit/96 khz and 16 bit/44.1khz? Is it quality or what?
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you want pro sound? Think about spending around $1000 for mic, then a mic-modeller, pro-tools soundcard, pro-tools software, dbx drive-rack (monitor speaker modeller), proper monitoring system, proper pre-amp.
Think $6K (minimum).
None of the above advice will yield real pro sound.
plus isolation booth, proper digital mixing board, clean power supply for all the gears.
I have to correct myself. think $10K minimum.
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