Gear Cheapness, Pt. 1
When it comes to buying stuff for the studio, I generally gravitate towards the kind of gear that can get the job done for as little as possible (as in under $100, in many instances). Why pay more when you don’t have to?
I really hate spending money on just about anything, even when the fundamentals of the economy are really strong like they are today (heh, heh). So when it comes to buying stuff for the studio, I generally gravitate towards the kind of gear that can get the job done for as little as possible (as in under $100, in many instances). On that note, for the next several installments I’ve compiled a list of some of the most reputable low-priced mics, effects and other audio aides, including both analog relics and brand new knock-offs, suitable for beginners and veterans alike. Why pay more when you don’t have to?
The “X” Factor
There’s nothing like having a good compressor on hand for adding bite to instrument tracks as well as handling basic leveling functions when mastering a mixed demo. Unfortunately, good compressors often fetch top dollar, and/or require that the user have above-average technical skills.
There are a few notable exceptions, however, including one of my personal favorites: the DBX 163x. This small, ultra-basic mono compressor/limiter, a popular item from the early ‘80s well into the ‘90s, is as simple as it gets when it comes to getting decent compression without all the mucky muck. Just two controls handle all of the unit’s functions: an adjustable trim knob for increasing/decreasing signal output, as well as an “over easy” slider for raising and lowering the compression threshold, both conveniently located on the front of the unit. Want more compression? Just move the slider to the right. Want less? Move it to the left. That’s it.
Along with standard in/out patches in the rear for “inserting” the compressor using a mixer, the DBX 163x also sports a hi-Z jack on the front panel, allowing you to easily direct-patch individual instruments such as bass, guitar or keyboard (the unit also has an XLR connection for attaching a vocal mic).
Though DBX ceased production of the 163x years ago, its reputation lives on. Many engineering professionals consider the 163x on par with pricier compressors when it comes to leveling vocals, punching up kick drum, or adding fullness to direct-input bass. Best of all, the 163x can often be found for as little as $50 on usual haunts like eBay, Craigslist and online retailers. These are rugged little units with solid metal enclosures (the oldest versions had a slightly more stylish wood trim); I’ve picked up a bunch of them over the years, and they all continue to work flawlessly. For compression fans, it just doesn’t get much easier—or cheaper—than this.
Nady, Baby
Ribbon or “velocity” microphone - which operate using a tightly strung length of ribbon-shaped aluminum - are well known for their ability to deliver smooth, natural tone when used for vocals, horns and other applications. Unfortunately, vintage ribbon mics typically fetch a few grand and are also quite fragile, requiring frequent maintenance and re-ribboning.
Luckily there are a few budget knock-offs that are well worth checking out, including those made by Nady, a company that specializes in authentic replicas at decent prices. A little while ago I decided to try out the RSM-4 “lollypop” model, a vintage-styled ribbon mic highly recommended by a number of sources - and, as it turns out, with good reason. Because its frequency response is relatively flat, the RSM-4 is particularly well suited for capturing brighter sound sources such as certain amplifiers (Fenders, for instance), in addition to horns, piano, strings and vocals. The mic’s figure-of-8 pickup pattern (front and rear sides) makes it a decent choice for basic room-miking situations as well. A major concern when using any ribbon mic in front of a high-pressure sound source is the potential to cause permanent damage to the ribbon itself. Nady, however, has outfitted the RSM-4 with a particularly rugged 6-micron thick aluminum ribbon, which, according to Nady, can handle up to 165dB, ostensibly tough enough to withstand most forms of volume punishment. Bottom line, the RSM-4 costs a mere $80 these days (or even less used), making it a pretty compelling case for anyone looking to augment their mic collection without weakening their own economic fundamentals.
Posted Oct 02, 2008
Member Comments
You know us songwriters very well don’t you Dave!? My biggest hang-up is recording. I spent years learning songwriting and music but when I stepped into my own newly built studio I was clueless. My studio was the first recording studio I had ever been in. I had my songs finished, music written and shiny new recording equipment with a bunch of knobs and buttons looking at me as if to say, “Now what stupid?” There is nothing wrong with owning the inexpensive, or the simple. There “IS” a best of both worlds. You just can’t be afraid to save a little money. You get what you pay for, and you pay for what you get. Right on Dave.
Well, my “secret” is out… I’ve used a couple of these (dbx 163X) compressors for years and people wondered how I got “just the right sound”. The way I used them were in tandem with a dbx 262 at the end of the signal path. I used the two 163’s inline on stereo bus mixer channels which I could assign whatever drums (or bass, etc.) I wanted to compress also keeping in mind that I had the dbx 262 at the end of the chain for “overall” compression of the entire mix for mastering. They were great and I’m looking to pick up a couple more.
Dave:
With the internet access, you can use search engines to locate which manufacturers make similar products that produce the same sonic effects you’re looking for in the recording studio and PRICE RANGE becomes a lot more flexible.
Just because some big bad NAME brand is a “state of the art” microphone, doesn’t mean you have to pay top dollar and watch your budget disappear. There’s even (shudder) USED equipment that is now available that’ll “get ‘er done” for less loot.
The more you know about comparitive products that accomplish the same mission in your studio
the better off you are in the long run.
How about checking factory specs, endorsements
and reading music biz trade magazines to find out
what the “Major League” honchos are using ?
Knowledge is power. Another solid article DS !
I’m writing this due to the influx of computer based recording and its inherent costs,it can boggle the brain with bells and whistle.What I did was purchased an old PC for $1 at auction(it was going to be scrapped,bad for the enviroment),it is loaded with USB ports,upped its memory($50),insalled a M-Audio soundcard($100)that does all the work(its bigger than the cpu)at96khz,run a DAw($125)into it,couple with an inexpensive Tascam analogue machine and a Peavey mixer and a QSC power amp for outbound(real feel)and a couple of moniters(these work live as well).Since its age is a bit old,I can use older and less expensive software for dedicated recording work.
Dave.
I don’t know any other way to contact you. So please excuse this post if it’s out of line.
I want to say “Thank You” for being a part of Songwriter101. I’ve learned a lot from you, and I believe that education is priceless. After reading you articles for several years, I think my recording has improved and I credit you for that? I always had the equipment, just didn’t know how to use it. If you’re inclined to take a listen here’s a link to a new recording titled “Arizona Sunrise Eyes”.
http://www.arizonaboulevard.com/arizonasunriseeyes.php
George
DS:
Case in point:
The “hype” of a industry standard acoustic guitar cable versus an English import that does the same thing for
almost HALF the price.
DS:
My latest CD - “Six Lazzeri Lane” is now available on iTunes, cdBaby etc. You’ll love the vintage vibe on some of the tracks. The title cut made the Oasis Acoustic Radio CD sampler. I don’t know how to act.
Hey Dave,
I have learned to appreciate the gear tech talk, but more as a necessity as a songwriter to be able to do quick, cheap demos from home, and not because I neccesarily love the tech gear (except the gear that can compensate for my lack in ability.. looove that).
But I would really love to read a thorough article on a laptopstudio that but for a few exceptions exclusively uses digital equipment. Personally I play guitar, program my drumtracks, record piano, strings and more with my guitar synth. So I am able to record a full demo solely by playing the parts on guitar, using guitar synth and vst’s.
I know from all I read, that the digital stuff supposedly does not have the quality of the analog equipment, but I feel it is getting closer. And as many songdemos these days are distributed on computers as mp3’s, I find the digital equipment sufficient but for a few exceptions.
I’d love to read about the best digital stuff for the laptopmusician, and where you absolutely have to supplement with analog hardware to produce competitive demos, based on the weknesses of the digital gear.
Are you up to the challenge, Dave?
DS & Crew:
Isn’t there a website that does what Magne needs ?
Recording magazine may have some articles archived
that should help.
George—-thanks so much for the compliment, I’m really glad that you’ve gotten something out of my sometimes incoherent drivel. Really nice tune, thanks for the link—-keeping it simple, always the best approach..
Magne—-Duly noted. Though have you had a chance to read the “Everything You Need to Know About Computer Recording” columns (Pts 1 & 2) from a while back? I admit it’s probably time for an update, so thanks for the suggestion. (in case you haven’t seen the prior articles, Pt. 1 can be found here: http://songwriter101.com/articles/2794_0_6_30_M/)
Lem is right, there’s a lot of existing stuff online and in print pertaining to laptop recording that could help as well. Sound on Sound magazine (http://www.soundonsound.com)is a pretty good place to start, they always seem to have timely articles (and, since they’re Brits, they’re very well written)
—DS
Lem—saw your note about your new stuff, I’ll check it out. Made the Oasis AR sampler? Mazel tov!
DS
DS—
Its the ACOUSTIC sampler. The title track is # 10
on the compilation. In Vietnamese slang, #10 is the
absolute worse. So it truly it is a BAD instrumental.
If only Performing Songwriter could give the new
CD a print “thumbs up”. Breath not held.
HAPPY HOLIDAYS !
I’ve found that compressors and reverbs/effects from Behringer are a great price value, whether new or used. I’ve got a number of their effects. I also have some DBX compressors which work fine too.
You can’t always tell by the price, but by performance.
Its all about the research and whether you can find a dealer or studio with the same or comparable gear for
evaluation Wayne.
i would strongly recommend the mxl 990 condenser mic. i got mine on sale for 35 bucks… they usually around 50-60 bucks normally. you can get the 990 991 package for 100 bucks :D if you’ve got some money the emu- 1212m interfaces are amazing but i personally use a firepod :D
