fito_88, post: 383466 wrote: Understood boss :)
so which 1 is faster and more reliable for midi , PCI or ff400?

PCIe is faster but its in the pro audio world. More money. It locks you into a high level which isn't where you need to be right now. The Apollo is going to be a round $2100.00 . Half your budget is gone.
The Babyface will work for you too. Its cheap but works and will save you a pile of money but, BUT.... if you are serious, you will be happy you got the best thing one piece at a time so you don't waste money. Take your time. We've fed you a lot here.

Watch the http://www.puremix.net/ videos NOW!

I'm not trying to discourage you just trying to keep it grounded and realistic.
So don't take offense.....if you are talented and ambitious, don't let some forum post stop you!

You can make a demo for half what you want to spend....really.
People are spending $1000 and doing it. Some even less....
Spending $4500 gets you in a better place with nicer higher quality audio gear...sort of like buying a $1000 stereo or a $5000 one...they'll both do the same thing but the expensive one is better and nicer in almost every aspect.
The UFX or this new Apollo are right there in terms of new technology for digital computer audio interfaces. They are very good computer sound cards and you'll love the audio quality!
Not just for recording music but everything you listen to from this point on will be stellar!

If you were still thinking "high-end" I would be looking at Burl....but your out of your budget already.
I'm sure audiokid will give you some more "high-end" equipment suggestions, but your going to another level and once you go beyond your going to want or need to make money with stuff like that as an engineer recording other people as a business or maybe you have a trust fund. IDK
UAD is a well respected plugin DSP audio company so I don't think you would be disappointed with that.
The con is...it's really new on the market and you never know about problems and bugs unexpectedly popping up and then it ends up being a bad decision. I think there needs to be a little flush out time with any new piece of gear especially new electronics and technology before I commit.
RME UFX has been pretty well reviewed and established as a solid unit, hence my recommendation.
I've been using RME for a few years now (FF800) and it does the job everyday....which in the music making world is what you want....something you turn on and it works everytime all the time.
I'm not interested in spending my time trying to fix some ridiculous software problem or the hardware doesn't work right and then realize you just wasted your entire day f'in around with your tools instead of using them. Like a crappy piece of canvas that tears or cheap brush that breaks.....again that's why people buy better tools....not because it will somehow magically build something for them or paint a beautiful portrait, becasue they can trust the fact it will do the job reliably. To me that's the real professional approach.

djmukilteo, post: 383454 wrote: Well just to be bluntly honest and realistic....with your budget of $4500 your not getting professional recording studio equipment. That would be more in the $100,000+ realm and that is a business....who are making commercial recordings for record labels, television or film.
Most mixing consoles in a professional recording studio are worth 100's of thousands of dollars alone and the same in the cost of a building and control room and then filled with instruments and outboard gear worth the same amounts again.
You're in the low/mid budget minded recording hobby realm where you have a lot of digital interfaces with suitable preamps, conversion for your personal computer to get a sound quality that will get you a pretty decent noise free recording.....just so you know and aren't being naive about this. And I'm not trying to discourage you in any way from doing what you want to do...

I agree with this, but it ignores an important distinction. A "pro" studio needs to be prepared to record just about everyone who comes in the door. A "project" is very specialized to record one performer or one type of music. A project studio doesn't need a dozen vocal mics to fit all kinds of singers. A project studio needs one or two vocal mics to fit one singer. Fewer mics means fewer preamps to match, etc. Doing two-mic singer/songwriter stuff requires very little gear. But, as has been said repeatedly "high-end" is still more like adding another zero.

Let me put a big red flag up here. Don't know how much experience you have with recording. Learning to record a "commercially competitive" song takes about as long as learning to play a "commercially competitive" song on an instrument. Your recordings will sound amateurish for a long time. If you think you are saving money - forget it. Buy a Zoom hn4 and make some demos to take to pro studio. $4500 buys a lot of studio time from people who know a lot more than you. If you are really excited about the process of recording read on. But remember - someone who really knows what they are doing can make very nice recordings on a $4500 rig. Someone who is just learning will make amateurish recordings on a $100,000 rig. If you are just starting out YOU will be the limiting facotr for a long time. (That's not to say you should not by good gear. Just don't expect miracles.)

So you've already been raked over the coals for the term "high end." Let me quiz you about the term "commercially competitive." That means a lot of different things in a lot of different contexts. Are you talking national airplay on a Clear Channel station? Local airplay on college and independent stations? Demos to get bar gigs? Demos for a publisher? CDs to sell at live gigs?

For a lot of these commercial situations, a good $4500 starter rig would be fine if it was run by someone who knew what they were doing. So make a choice. Either go with a Zoom for yourself and hire a pro when you are ready, or pick a budget, buy the best you can afford and get into it. If you have talent and work hard, you will be pretty good in a couple of years.

audiokid, post: 383467 wrote: Yes and no. The Apollo has fine preamps, converters, interface and is loaded with world class plug-in for processing sounds. Having that will free up the processing drain on your computer giving you headroom for sound libraries and so on. It may be the ticket. It certainly will be the hottest product on your block for some time. If you don't find it useful, you will be able to sell it fast.

I'd get that, and kick ass software and make sure your CP ( computer) is up to par. See PCAudioLabs on the kind of computers pros use.

great great , iv got a pc exactly like

but with even more higher speed ram , so i think this machine would handle recording in a low latency pretty well,
last thing that i cant settle on till now is the interface , should i get the most expensive PCI interface in the world in the hope it will help for latency in the lowest buffer sizes ? or should i just get the babyface or ff400....... dilemma dilemma

audiokid, post: 383469 wrote: PCIe is faster but its in the pro audio world. More money. It locks you into a high level which isn't where you need to be right now. The Apollo is going to be a round $2100.00 . Half your budget is gone.
The Babyface will work for you too. Its cheap but works and will save you a pile of money but, BUT.... if you are serious, you will be happy you got the best thing one piece at a time so you don't waste money. Take your time. We've fed you a lot here.

Watch the [[url=http://[/URL]="http://www.puremix…"]PUREMIX[/]="http://www.puremix…"]PUREMIX[/] videos NOW!

yes i am more than serious here and i would like to buy that one piece at a time unit that would suite all my needs :)

ok boss im on that site now :)

djmukilteo, post: 383470 wrote: I'm not trying to discourage you just trying to keep it grounded and realistic.
So don't take offense.....if you are talented and ambitious, don't let some forum post stop you!

You can make a demo for half what you want to spend....really.
People are spending $1000 and doing it. Some even less....
Spending $4500 gets you in a better place with nicer higher quality audio gear...sort of like buying a $1000 stereo or a $5000 one...they'll both do the same thing but the expensive one is better and nicer in almost every aspect.
The UFX or this new Apollo are right there in terms of new technology for digital computer audio interfaces. They are very good computer sound cards and you'll love the audio quality!
Not just for recording music but everything you listen to from this point on will be stellar!

If you were still thinking "high-end" I would be looking at Burl....but your out of your budget already.
I'm sure audiokid will give you some more "high-end" equipment suggestions, but your going to another level and once you go beyond your going to want or need to make money with stuff like that as an engineer recording other people as a business or maybe you have a trust fund. IDK
UAD is a well respected plugin DSP audio company so I don't think you would be disappointed with that.
The con is...it's really new on the market and you never know about problems and bugs unexpectedly popping up and then it ends up being a bad decision. I think there needs to be a little flush out time with any new piece of gear especially new electronics and technology before I commit.
RME UFX has been pretty well reviewed and established as a solid unit, hence my recommendation.
I've been using RME for a few years now (FF800) and it does the job everyday....which in the music making world is what you want....something you turn on and it works everytime all the time.
I'm not interested in spending my time trying to fix some ridiculous software problem or the hardware doesn't work right and then realize you just wasted your entire day f'in around with your tools instead of using them. Like a crappy piece of canvas that tears or cheap brush that breaks.....again that's why people buy better tools....not because it will somehow magically build something for them or paint a beautiful portrait, becasue they can trust the fact it will do the job reliably. To me that's the real professional approach.

+1 for that , that was really helpfull

BobRogers, post: 383471 wrote: I agree with this, but it ignores an important distinction. A "pro" studio needs to be prepared to record just about everyone who comes in the door. A "project" is very specialized to record one performer or one type of music. A project studio doesn't need a dozen vocal mics to fit all kinds of singers. A project studio needs one or two vocal mics to fit one singer. Fewer mics means fewer preamps to match, etc. Doing two-mic singer/songwriter stuff requires very little gear. But, as has been said repeatedly "high-end" is still more like adding another zero.

Let me put a big red flag up here. Don't know how much experience you have with recording. Learning to record a "commercially competitive" song takes about as long as learning to play a "commercially competitive" song on an instrument. Your recordings will sound amateurish for a long time. If you think you are saving money - forget it. Buy a Zoom hn4 and make some demos to take to pro studio. $4500 buys a lot of studio time from people who know a lot more than you. If you are really excited about the process of recording read on. But remember - someone who really knows what they are doing can make very nice recordings on a $4500 rig. Someone who is just learning will make amateurish recordings on a $100,000 rig. If you are just starting out YOU will be the limiting facotr for a long time. (That's not to say you should not by good gear. Just don't expect miracles.)

So you've already been raked over the coals for the term "high end." Let me quiz you about the term "commercially competitive." That means a lot of different things in a lot of different contexts. Are you talking national airplay on a Clear Channel station? Local airplay on college and independent stations? Demos to get bar gigs? Demos for a publisher? CDs to sell at live gigs?

For a lot of these commercial situations, a good $4500 starter rig would be fine if it was run by someone who knew what they were doing. So make a choice. Either go with a Zoom for yourself and hire a pro when you are ready, or pick a budget, buy the best you can afford and get into it. If you have talent and work hard, you will be pretty good in a couple of years.

im trying to make demos for my friend to sing on them , and then find a publisher, and hopefully sell CDs in the future..
and im not a newbie iv been recording my own music for 3 years nw but on a shitty gear like the saffira6usb , i still get a great composing and arrangements but not good enough quality thats competitive to a market song or a movie soundtrack, u still feel that the sound at the end lacks quality and is lower than market quality.

and since im never exposed to prof studios since i had no time due studying full time and working str8 after , thats why i needed u guys to point at the best equipment that would help me improve the quality of my arrangements and composing, because if i decide to pay big bucks , id rather pay for the best rather than pay half for a slighlty improvement quality.

So you need something very good for recording your friends voice. And you need a quality microphone? and something that will interface MIDI. The only thing I know that has very high quality that is a two channel pre and converter (entry level mastering quality) is the Lavry AD11. Its has two very high quality preamps and better converters than all mentioned so far. It plugs into USB and you are done. But it doesn't interface with MIDI so you would need an additional interface which brings you up to the cost of the Apollo. ( well maybe not) How much is a midi interface?

You can get this for $1700.00 that will do everything you need.

[[url=http://[/URL]="http://www.rme-audi…"]RME: Fireface UCX[/]="http://www.rme-audi…"]RME: Fireface UCX[/]

Or, you could buy something used. The ff800 are excellent but the preamps are pretty weak.

audiokid, post: 383479 wrote: So you need something very good for recording your friends voice. And you need a quality microphone? and something that will interface MIDI. The only thing I know that has very high quality that is a two channel pre and converter (entry level mastering quality) is the Lavry AD11. Its has two very high quality preamps and better converters than all mentioned so far. It plugs into USB and you are done. But it doesn't interface with MIDI so you would need an additional interface which brings you up to the cost of the Apollo. ( well maybe not) How much is a midi interface?

You can get this for $1700.00 that will do everything you need.

[[url=http://[/URL]="http://www.rme-audi…"]RME: Fireface UCX[/]="http://www.rme-audi…"]RME: Fireface UCX[/]

Or, you could buy something used. The ff800 are excellent but the preamps are pretty weak.

thanks for ur recommentions thats very helpful , but iv decided to only worry about my own composition and midi related gear and let my vocal buy his mic and pres on his own later on , so i wont worry about any i/os for now , so iv been researshing all day and i came up with RME hdsp 9652 pcie interface which is said to have a very solid ASIO drivers and the best for latency out there with the infamous rme solid drivers , and then i might add external preamps later on to that interface , which will be better than any built-in pres in any interface even the ucx (in my opinion).what do u think of that set-up?

i know uv helped me alot today but that would be my last question for u, if u think this set-up is in inadequate then ill go for an ff400 or ucx (which ever i can afford) instantly. thanks

Get your friend to invest half way with one of the systems we mentioned and that will be the cost for him doing business with you. Plain and simple. Then, its a win win.

fito_88, post: 383475 wrote: im trying to make demos for my friend to sing on them , and then find a publisher, and hopefully sell CDs in the future..
and im not a newbie iv been recording my own music for 3 years nw but on a shitty gear like the saffira6usb , i still get a great composing and arrangements but not good enough quality thats competitive to a market song or a movie soundtrack, u still feel that the sound at the end lacks quality and is lower than market quality.

and since im never exposed to prof studios since i had no time due studying full time and working str8 after , thats why i needed u guys to point at the best equipment that would help me improve the quality of my arrangements and composing, because if i decide to pay big bucks , id rather pay for the best rather than pay half for a slighlty improvement quality.

If you do MIDI and no actual audio why do you need an interface?
Any MIDI converter will get your little keyboards going into Cubase or Ableton?
What kind of music have you been making for 3 years?
Maybe you can post something....
Why not get a really nice D/A for outputting the DAW to your monitors...Lavry, Great River, Weiss etc etc.
Let your friend buy an audio interface, mic and preamps for doing the audio....
No sense spending money on an interface if your not actually using it for analog audio.
The other problem I have is if your using VSTi's in your DAW for your compositions and you don't like the sound maybe you should spend the money and buy some better VSTi's....an expensive interface isn't going to change that part of the sound....right?...you understand that right?.....what the interface does right?....did we all miss something?

My gut feeling from the OP on was, I don't think he understands this, Don.

djmukilteo, post: 383482 wrote: If you do MIDI and no actual audio why do you need an interface?
Any MIDI converter will get your little keyboards going into Cubase or Ableton?
What kind of music have you been making for 3 years?
Maybe you can post something....
Why not get a really nice D/A for outputting the DAW to your monitors...Lavry, Great River, Weiss etc etc.
Let your friend buy an audio interface, mic and preamps for doing the audio....
No sense spending money on an interface if your not actually using it for analog audio.
The other problem I have is if your using VSTi's in your DAW for your compositions and you don't like the sound maybe you should spend the money and buy some better VSTi's....an expensive interface isn't going to change that part of the sound....right?...you understand that right?.....what the interface does right?....did we all miss something?

yes i understand that ! :D hahaha i need an interface well because i had a hard time with high latency with the saffire6usb and with adding couple more vsts i start hearing these drop outs and buzzes which makes me increase the buffer rate which ends up with higher latency :S i used to get 8-10ms latency under the lowest buffer size which is shit and really noticeable for me

i need an interface with a very top ASIO drivers and delivers lowest latency as much as it can (with midi and vsts not monitoring latency , u understand that right? :P) and for the interface to have a solid drivers , and with the option to add an external professional pres in the future..

thatssssssssss all what i am looking for in an audio interface :)any help?

audiokid, post: 383483 wrote: My gut feeling from the OP on was, I don't think he understands this, Don.

i do understand everything :P

bare in mind im gona be using a very heavy vst3 plugins with a plugin as big as 20 gigs , and yes i am investing alot to buy software already :) like around 3k

Ok well I guess you don't understand what an Audio interface does then and the difference between that and MIDI tracks using VSTi's and MIDI latency. Two completely different things.
Sounds like you want fast MIDI triggering going in which most audio interfaces don't do very well. MIDI is just an afterthought feature. You would be better off getting a MOTU MIDI channel interface or MIDI PCIe....something fast and seamless with zero latency.
The latency and dropouts for digitzing audio signals is different than MIDI triggering and latency.
I take it your using USB for your MIDI keyboards?
Using USB ports for MIDI is usually the problem with that. They end up being very slow on a computer with even a coule other USB devices. Mice, keyboard. ext drives etc etc all fight for time on your USB bus. No amount of RAM or CPU speed can fix that!
The sound quality of any VSTi is completely dependant on the quality of the plugin itself and then the output D/A coming from your DAW. The A/D part on say the UFX going in....well your not using that part.....

Spend your money on better VSTi's and a nice D/A to get a better sound....no amount of money on any interface will fix your MIDI sound.
Hope that helps....

djmukilteo, post: 383486 wrote: Ok well I guess you don't understand what an Audio interface does then and the difference between that and MIDI tracks using VSTi's and MIDI latency. Two completely different things.
Sounds like you want fast MIDI triggering going in which most audio interfaces don't do very well. MIDI is just an afterthought feature. You would be better off getting a MOTU MIDI channel interface or MIDI PCIe....something fast and seamless with zero latency.
The latency and dropouts for digitzing audio signals is different than MIDI triggering and latency.
I take it your using USB for your MIDI keyboards?
Using USB ports for MIDI is usually the problem with that. They end up being very slow on a computer with even a coule other USB devices. Mice, keyboard. ext drives etc etc all fight for time on your USB bus. No amount of RAM or CPU speed can fix that!
The sound quality of any VSTi is completely dependant on the quality of the plugin itself and then the output D/A coming from your DAW. The A/D part on say the UFX going in....well your not using that part.....

Spend your money on better VSTi's and a nice D/A to get a better sound....no amount of money on any interface will fix your MIDI sound.
Hope that helps....

nope im using midi connections for the keyboard , directly connected to the saffire6usb which is connected to the pc via USB .. so im pretty sure its the interface's issue dude :) my bet would be if i get an rme pcie audio interface it would solve that issue (ofcourse with a powerful computer with 16gb of ram) ps, im using 64 bits so that u dont come telling me i will only need 4 gb ram :)

Ok, sounds like you have it all figured out then!
Good luck....:cool:

djmukilteo, post: 383491 wrote: Ok, sounds like you have it all figured out then!
Good luck....:cool:

thank u for all ur help :)

You just KNOW I had to drop in on this thread... (excellent responses I pretty much agree with.)

Personally, I don't care if your studio is geared up with a 2 track reel 2 reel or a Neve 8088... a handful of 57's or a mic locker the size of Blackbird... Your tracking and mix environments are far more important than ANY gear, IMHO.

Sonic character of a tracking environment can be whatever you want, and a bit of "odd duck" can actually be quite nice, as it provides you with a sonic signature that's unique.

Your mix environment, however, can (and should) be the place where you concentrate the most on getting "right" from the get go... gear can come along in the picture later.

$5k isn't to be sneezed at for a decent project shop... but why spend it if you take 20-30 times longer to get a decent mix, than necessary? If you even spend $1000 on making the mix environment at least reasonably accurate, your mix time could be cut in half or more.

MadMax, post: 383502 wrote:

Your mix environment, however, can (and should) be the place where you concentrate the most on getting "right" from the get go... gear can come along in the picture later.

$5k isn't to be sneezed at for a decent project shop... but why spend it if you take 20-30 times longer to get a decent mix, than necessary? If you even spend $1000 on making the mix environment at least reasonably accurate, your mix time could be cut in half or more.

yup.

When I paint a picture I start with a clean, well sealed canvas that holds paint evenly right to the edges. Not a slippery smooth cold white canvas, it has to be just the right texture and colour of white.
I don't want it coloured so it effects my colours or the manufacturers colours. I want Cobalt blue to be cobalt blue in everyones house.
I don't want the canvas frayed or any dirt on it.
I don't want it missing thread count around the edges or anywhere in its entirety that could effect how paint looks and sticks to any part of the canvas.
I want it as wide and high as the frame around it.

Converters are basically this to me. The gear is the paint and the monitors are the light I see it all in.

Then of course I need a room that doesn't have weird lighting or shadows that effect my interpitation of what Cobalt Blue looks like too.

I've read these 7 pages of postings while LMAO. Firstly, if you want to have a professional studio & control room, you need to be a professional engineer first. You're not. You need to have a knowledge base that other professional engineers have. You don't. Any equipment in the hands of a professional will yield a professional product. Yours won't. I create a professional sounding product regardless of the equipment placed before me. In the land of personal preference, I wanted the best. So I saved up my paper route money and purchased a + $150,000 studio which I built myself. And since I only wanted the best, only Neve & API would do. So maybe you need a 36 input all transistor Neve? Maybe you need 20 API 312 series microphone preamps also? Maybe you also need some actual hardware like Universal Audio LA 2 A/1176's, etc.. Some professional studios are all Avid equipped so maybe you need a Avid Icon console? Maybe you need ProTools HD 3? Maybe you need 3 different types & sizes of control room speakers? Maybe you need some Neumann & AKG, high-end microphones?

Oh... maybe you just want to be a decent project studio with the junk everybody is talking about that you already basically have. That's not high-end. That's basement. Bargain-basement. Wait till you've spent enough money to have paid off a small house and then you'll have a professional studio. Of course you might also need 20 additional years of experience? So hurry up.

I only want to be able to record 48 simultaneous tracks at once. Yet, all I can record are 32. I won't need any MIDI as I will only be recording real musicians & singers.
Mx. Remy Ann David

RemyRAD, post: 383563 wrote: I've read these 7 pages of postings while LMAO. Firstly, if you want to have a professional studio & control room, you need to be a professional engineer first. You're not. You need to have a knowledge base that other professional engineers have. You don't. Any equipment in the hands of a professional will yield a professional product. Yours won't. I create a professional sounding product regardless of the equipment placed before me. In the land of personal preference, I wanted the best. So I saved up my paper route money and purchased a + $150,000 studio which I built myself. And since I only wanted the best, only Neve & API would do. So maybe you need a 36 input all transistor Neve? Maybe you need 20 API 312 series microphone preamps also? Maybe you also need some actual hardware like Universal Audio LA 2 A/1176's, etc.. Some professional studios are all Avid equipped so maybe you need a Avid Icon console? Maybe you need ProTools HD 3? Maybe you need 3 different types & sizes of control room speakers? Maybe you need some Neumann & AKG, high-end microphones?

Oh... maybe you just want to be a decent project studio with the junk everybody is talking about that you already basically have. That's not high-end. That's basement. Bargain-basement. Wait till you've spent enough money to have paid off a small house and then you'll have a professional studio. Of course you might also need 20 additional years of experience? So hurry up.

I only want to be able to record 48 simultaneous tracks at once. Yet, all I can record are 32. I won't need any MIDI as I will only be recording real musicians & singers.
Mx. Remy Ann David

LMAOO at ur comment .. no1 needs ur attitude buddy and congratulations for the big bucks u spent LOL

Well, you know you are asking clueless newbie questions. A few books on this subject wouldn't kill you. You must obviously still be in high school? Because high school kids are always looking for easy answers, easy ways out, drive-through gratification. Will it isn't like that. And it won't be like that. Being a professional in this business means reading everything you can get your hands on, everything. Every book, every trade publication, every professional audio show and conventions. Building a simple kit audio device, to start. Learning good soldering technique. Building hundreds of microphone cables. Wiring your studio 5 different ways. Utilizing one microphone for everything. And every microphone on one thing. This is a lifelong educational process. If you don't like my answers, go play in the sandbox with the other children. I'm not talking to you like your mother, your father. I'm talking to you like a grand parent who's got way more experience than your mommy or daddy or any of your friends. You can be a rude little so-and-so thinking you are so smart. It's better when you have an experienced mentor who is willing to share years of experience and knowledge with you. Unfortunately, Ron White, the redneck comedian that has been seen on national television many times has a great saying... YOU CAN'T FIX STUPID. I'm not trying to fix your stupidity only guide you to better audio. But if you know it all, what the heck are you doing here? You need to listen to professionals since you ain't one of them.

Stupid is as stupid does.
Mx. Remy Ann David

RemyRAD, post: 383602 wrote: Well, you know you are asking clueless newbie questions. A few books on this subject wouldn't kill you. You must obviously still be in high school? Because high school kids are always looking for easy answers, easy ways out, drive-through gratification. Will it isn't like that. And it won't be like that. Being a professional in this business means reading everything you can get your hands on, everything. Every book, every trade publication, every professional audio show and conventions. Building a simple kit audio device, to start. Learning good soldering technique. Building hundreds of microphone cables. Wiring your studio 5 different ways. Utilizing one microphone for everything. And every microphone on one thing. This is a lifelong educational process. If you don't like my answers, go play in the sandbox with the other children. I'm not talking to you like your mother, your father. I'm talking to you like a grand parent who's got way more experience than your mommy or daddy or any of your friends. You can be a rude little so-and-so thinking you are so smart. It's better when you have an experienced mentor who is willing to share years of experience and knowledge with you. Unfortunately, Ron White, the redneck comedian that has been seen on national television many times has a great saying... YOU CAN'T FIX STUPID. I'm not trying to fix your stupidity only guide you to better audio. But if you know it all, what the heck are you doing here? You need to listen to professionals since you ain't one of them.

Stupid is as stupid does.
Mx. Remy Ann David

dont bring my parents to this conversation as i didnt bring urs in it ! and believe mee u dont want that to happen buddy !!! :)

second of all .. i will tell u one more thing ! i would listen to u "mr professional" if only u deliver the advice neatly without making fun or being sarcastic ! which is something i believe ur parents totally oh man TOTALLY failed to teach u !!!!

at last , i dont want ur advices if ur gona continue talking with this attitude mate , there r many other professionals here who are happy to help and teach me with out being cocky like u !!!

Ps: only the STUPIDS think of others as stupids :) i think ud be STUPID if u didnt get what i mean :)

Ms Remy Ann is just calling it like she see's it Fit0_88!
She is by far the most experienced and the most professional moderator here!
So everything she has said to you is exactly how she knows it is...as we all do.
You have posts all over the other forums like GS etc and you're getting the same advice any newbie gets that doesn't know one end from the other.
We all know you want it all professional, mixed, mastered with audio interfaces, preamps, headphones and you want it to all sound commercial....right now....we get it.....but you have to realize there are people in the world who've been doing this for 30-40 years....in radio, TV, film and they do this everyday as a job and profession.
Whenever you come on a forum and start out with "I'm building a $4.5K mixing and mastering studio" we all get it!
We all know how ridiculous that is! So your going to get it from all sides...I'm actually surprised how nice people over on GS have been to you....which is really not their style....they're usually animals!
So try and not get too defensive or offended too much with people you don't know and maybe listen to what's being said and maybe you might learn something. There's no reason why your thread has gone 7 pages other than it's sometimes fun to educate a newbie with high expectations and ambitions.....it's all fun and games with nothing better to do and some of us like to talk about gear anyway and we learn things ourselves.
Your not the first, you won't be the last and whatever music you've made or trying to make right now is a wash in a sea of music out there with no place to dock. Keep that in mind while your buying your bits and pieces.

djmukilteo, post: 383618 wrote: Ms Remy Ann is just calling it like she see's it Fit0_88!
She is by far the most experienced and the most professional moderator here!
So everything she has said to you is exactly how she knows it is...as we all do.
You have posts all over the other forums like GS etc and you're getting the same advice any newbie gets that doesn't know one end from the other.
We all know you want it all professional, mixed, mastered with audio interfaces, preamps, headphones and you want it to all sound commercial....right now....we get it.....but you have to realize there are people in the world who've been doing this for 30-40 years....in radio, TV, film and they do this everyday as a job and profession.
Whenever you come on a forum and start out with "I'm building a $4.5K mixing and mastering studio" we all get it!
We all know how ridiculous that is! So your going to get it from all sides...I'm actually surprised how nice people over on GS have been to you....which is really not their style....they're usually animals!
So try and not get too defensive or offended too much with people you don't know and maybe listen to what's being said and maybe you might learn something. There's no reason why your thread has gone 7 pages other than it's sometimes fun to educate a newbie with high expectations and ambitions.....it's all fun and games with nothing better to do and some of us like to talk about gear anyway and we learn things ourselves.
Your not the first, you won't be the last and whatever music you've made or trying to make right now is a wash in a sea of music out there with no place to dock. Keep that in mind while your buying your bits and pieces.

ur surprised ppl on gs were nice to me ?? LOL thats not supposed to be the exception mate !!being a DH is the exception !! remember u guys were all newbies before !!!

and i guess we all know who's the ANIMAL now !!

and no im not going to accept any cocky insulting comment just cuz im not experienced enuf .. NO !
insult me ? ur gona get loads in ur mouth!

ur 1 of the nicest guys the taught me alot ! and i assure that in every post i post to u that u r way patient and nice to me ! so please dont justify this attitude to any1 else even if he/she is the most experienced engineer in the world !!!

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How are things going aftwer a few years? Anything you want to add to this post? We'd love to hear from you.