Here's what I use and why it's the best for me:

• DAW: Digital Performer. Why is it the best for me? 'cause I cut my teeth and Performer (the MIDI predecessor) so my learning curve was minimal. Frankly, it's one of about ten programs that are all ridiculously endowed with killer features. I'd much rather spend my time making music than learning a new and allegedly improved software program.
• Monitors: DynAudio BM-15s. Why are they the best for me? I wanted something I could crank and they'd still sound magnificent. They are not reliable however and have had to have a tweeter replaced a month after warranty expired. A buddy who has them had a power amp blow shortly after warranty ended. Repair logistics are murder, so I did it myself.
• Boutique Mics: Neumann U89i and a pair of Peluso P12s. Why are they the best for me? Love, love, love the Neumann, but I needed something brighter without hype. The P12s are perfectly that, ideal for drum overheads, acoustic guitar and anything that needs the high end to shimmer beautifully. The U89i is darker and great for lead vox and other things that need to sit in the track more comfortably. The three together on a jazz drum kit is heaven (two P12s as high overheads and U89 out in front of the kick the same distance from the snare as the OHs)
• Preamps: Seventh Circle Audio N72, 2 X A12s and a Demeter HM1. Why are they the best for me?: These are affordable and all sound fantastic. N72 is a highly regarded Neve clone that imparts a delicious dark richness. A12s are API clones with a shimmery high end. Great for drums. The Demeter is a nice tube stereo pair for warmth and love
• AD: Apogee Symphony I/O. Why is it the best for me? Software bugs me and it doesn't always play well w others, but it just sounds fantastic, likely truly fantastic
• My Room: 16' X 23' detached studio with 14' cathedral ceilings, treated with lots of OC703 panels shrouded and offset from the walls by a couple inches, alternating with Ethan Weineresque panel style bass traps. Why is this the best for me? I can crank shit 24/7 without disturbing family or neighbors. Room sounds great, high ceilings really capture drums well. It's only one room, but most of what I do is totally solo anyway.

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My emphasis on all this gear is to have a phenomenal front end, great room and great monitors. Everything else matters a whole lot less. I have carefully researched before I purchase, so I'm quite happy, although boutique gear is more maintenance intensive than solidly built pro-sumer grade stuff.

Next purchases: more channels for my Apogee, a pair of nice 1176s or equivalent and a set of vibes.... I mean a romantic vacation in Paris with my lovely wife.

i like that you have included your room as part of the equation. a lot of people miss that. tu

Oh yeah! When wifey and I built our dream house, our builder (a bass player) convinced her that a detached studio would be cheaper and less intrusive for her and then wee one. Freed from the constraints of shared verticality with the main house, I went for the cathedrals.

I could never go back to 8 foot ceilings.

Another nice thing about the Ns10's is being able to use them in a smaller room due to their lack of response.

ChrisH, post: 430797, member: 43833 wrote: Another nice thing about the Ns10's is being able to use them in a smaller room due to their lack of response.

And vice-versa. I a large well designed room the chances of them creating any kind of well managed tonality is low so they sound exactly like they sound in a small room.

Thus the translation thingy....

The term "best" isn't a dirty word to me. I like to think of so many things as the best for that moment in relation to the worst of something I would never do again.
The best mixes I've done are also with good songs. The best solo's I've done were also when I was feeling really empowered.
The best vocal compressor that constantly puts a smile on my face is an LA2A / 1176 combo.
The best choir recordings I have done had a Royer SF24 in front of the choir.
the best mobile converter out of a group of products was a Lavry Black.
the list goes on.
I think its really interesting hearing what people claim to be the best, which I take it with the consideration that they aren't saying its the best in the world and because they like it best, so should I. I appreciate the relationship with other combinations and scenarios.. That's where the best gets interesting to me and where questions get better answers.

"Best" for me is a vocalist who knows about control while still being able to reach for the emotional delivery.
I think my standard vocal chain is pretty damned good. I have four really wonderful condensers, a killer ribbon, and Shures of all sorts.....thru the Groove Tubes ViPre> LA2A> new generation Avid converters(REALLY good BTW)> Mac w/PT HD2 10.3.6
Best is my Conrad Tweed Deluxe...nicely broken in at this point
"Best" is my ability to recognize a part that isn't working and have enough confidence to get the artist to understand why and then be able to choose

Everything else is a crap shoot

We don't hear much about the ViPre, can you say a bit about how you came to this choice ?
Did you try many. If so, how the ViPre compares to the others?

pcrecord, post: 430826, member: 46460 wrote: We don't hear much about the ViPre, can you say a bit about how you came to this choice ?
Did you try many. If so, how the ViPre compares to the others?

I have had the luck to experience a lot of different pres on vocals...especially vocals...I have 16 channels of pres in my studio...24 if you count the 8 channels of Toft...I own Manley, Phoenix, True, ADK AP2, ISA...and the ViPre. I had the opportunity to use one several years ago and since then have had it on my list. I've had this one for about three years now. When I finally get sick of doing this I'll keep it as my only preamp. How does it compare with others? Its a large full range sound that has old school audiofile sort of clarity with lots and lots of iron and an amazing array of adjustments to sort of craft it to whatever is best for the mic and the source. Unlike a lot of pres with "variable impedance" at the input, this has a multiwound transformer with taps at all the stops instead of resistors adjust the impedance. You can switch the transformers at the input to a 'bridged' position that makes it sound like a modern pre or switch in the transformers and use the impedance matching circuitry for ANY mic...old ribbons to modern fet condensers, they all sound better through this. And then theres the slew rate adjustment. Slow like 'vintage' tube gear or fast like a modern preamp. This is just a part of the magic of this thing. No potentiometers anywhere....all huge switches for the routing and control of the signal....8 tubes for a mono pre.....No capacitors in the path....frequency range is 7 to 100K...etc.

Once you work with one you'll be spoiled for life. Sure....others pres sound incredible...I have several that do....Nothing sounds like this for every source. I use this as my primary vocal pre since it lets every mic do its thing....I have said this before for many years on here..."You should hear an SM57 through this...."

An amazing description Dave, Thanks !! If one comes by my way, I won't let it go.. ;)

Seems like such a loss, why no one has jumped in on remaking it again. I've read all good about the ViPre.

Davedog, post: 430830, member: 4495 wrote: When I finally get sick of doing this I'll keep it as my only preamp.

I feel the same way about the Millennia M-2b . Not the same as ViPre but there is nothing I've used that puts a smile on my face like this one. SM58 sounds great as well.

Its my new passive summing pre the for Folcrom.

The M-2B gets a lot of kudo's. My next piece will be an all-in-one strip. Maybe an STT-1.

i have one i'll sell ......

At this time just a blip on the future radar. Its something I don't need anytime soon. Now a new car.....better choice

The ViPre certainly looks badass