Recommendations for a pro-quality dual input interface
 

For those of you who engineer, mix or master at a higher level, how important is the quality of the digital interface and mic preamps on the finished results? I currently use a Focusrite 18i20 into Logic Pro X and mainly record using dynamic mics for vocals and acoustic guitar. I'm really starting to enjoy recording more and more but I'm only interested in singer/songwriter stuff as I'd otherwise take a band into a proper studio. With this in mind, I'm looking to step up and record to a higher quality, with a view to it being mixed and mastered elsewhere. I'm wondering if I should upgrade to something like an Apollo, Audient, SSL or even a Neve 88M. Do I need to do this or is my current setup adequate to get good finished tracks?

I really don't see me needing more than 2 inputs, and while I like the idea of the Neve 88M, I'm guessing that chances are I just need something clean and detailed for all processing to be done by a grown-up. Is there anything you'd recommend as a good, high-quality interface that you'd be pleased to see a client had used?

Thanks,

Cam

Maybe it would be better to determine if your interface/preamps is actually your weakest link. A full rundown of your gear would help.

Couple thoughts As singer/songwriter you may at some point want at least 3 mic inputs for stereo guitar and mono vocal all at the same time (or not)

As Jim noted an up graded interface may not offer as noticeable significant improvement a say better mics ?

Perhaps looking to a good mid tier condenser LDC for vocal and or maybe a pair of SDC for guitar

And there's also the one dreary guy who asks if your recording space sounds as good as it could. I realize that room treatment is about as fun as home improvements inside the walls or under the floor, but the facts are the facts.

Ah, brilliant stuff and much appreciated.

I'm kinda grungy by choice - in the way of early Dylan, Jeff Tweedy, Felice Brothers, Conor Oberst, Sparklehorse, etc etc. so I'm aiming more at a warm, intimate, organic sound (whatever these words might mean in this context). So far, I've been getting my best results with a SM7B on the vocals and a Beyer Dynamic M88 on the D35. (I do really like the pairing of the M88 and the D35.)

I've a couple of OK condenser mics (including an Aston Origin) but you're right, I've not got a great recording room and that tends to be why I stick more with dynamic mics. However, I was fortunate enough a while ago to spend a few hours with a producer and engineer in a very nice recording space trialling some very fine and expensive mics (including several Neumanns, Telefunkin, etc) into very good preamps and a classic old Neve desk and the clear consensus was that my voice seemed to suit dynamic mics more than the expensive condensers. The best match was the Sennheiser MD 441 - and if I don't have to do much upgrading I might just try and track one down.

Both mics straight into the Focusrite and into Logic Pro X with no processing at the front end. Does that help?

Good point regards the 3 inputs. I have a cheap but decent pair of SDCs (Rode M5s) but I like the results from the M88 quite a bit better. The overspill of the guitar on the SM-7B sounds okay too.

Have you also tried the EV RE20 for your voice? I found the Sennheiser 441 a little harsh in comparison. Another thing is the RE20's reduced proximity effect and lesser coloration if you are slightly off the axis.
(I have a small Scarlett 2i2 3rd, which I really like.)

Yes, I did try an RE20 and it was one of the best matches for my voice, but in my case the 441 just seemed a better fit.

I think that I'm picking up the impression that interface I've got might be fine. I presume that as long as original recordings are clean and to a decent standard, the mix engineer will probably have their own preferred thoughts on EQ, compression, reverbs, delays, etc. I just want to be able to offer up something properly workable to the mix engineer.

This is the way to go. :up: The 441 is a legend in its own right.

Other than the Neve, the other interfaces you mention aren’t really going to be that much of a difference, IMO.

My suggestion would be to get a handful of the ATS Acoustics Studio Stackers to help get as clean a recording as possible. No need to permanently install anything & they store in a closet/basement/attic when not in use.

Most people don’t realize how much room tone they’re getting in their recordings until they experience the difference. It’s usually the biggest factor in home recording quality.

I have yet to see (hear) a comparison of an entry-level interface’s mic preamps with a high(er) end preamp pair. I read a lot of generalized assertions that high end mic preamps are far superior to the kind you get in a Focusrite or an AudioBox. It’s hard to decide whether to be influenced by these accolades.

On another note, even as a low-level recording hobbyist I know that room limitations the first challenge I run into. For now, I’m relegated to close mic’ing. Once I build my gobos, I’ll be able to determine if they ameliorate some of the room flaws.

You might benefit from the guide in the stickied thread.
You can find it on the page linked below:

https://www.acousticguitarforum.com/...=594800&page=7

Yep, it's been super helpful, Jim, and a huge achievement on your part. So a big thanks! My main takeaway from it has been convincing me that I'm better limiting my role in the process and, when possible, trying to use proper studios or at least far more talented and experienced recording folks for anything serious.

This has also been a helpful thread, and I guess I'll just stick with what I have and have a trial run. I can send off some sample vocal and guitar takes and see if the unlucky victims feel able to do anything with them. If they are too bad, I think I trust the people I've worked with before to tell me straight that it's just not good enough to be useful and I'll look at a plan B.

Cheers.

I agree with others that the difference between Interfaces in the last few years is very very tiny, and not remotely on the scale as the environment in which you record in, your microphone, your technique, and of course the source.

I went on my own little journey with this stuff in the last few years. I had the Audient ID14, than had a little extra money for a minute and spent a couple grand on two channels of high-end 1073 style pre-amplification to go with my new Schoeps mic pair (livin’ large for a bit!).. only to quickly decide that at the clean settings that I typically use for acoustic music, I personally couldn’t hear much or really any difference, so I sent them back, and re-bought the Audient ID14ii

Almost a year later, even though I was very happy, I split the difference and got the Neve 88m. If I’m honest with myself and you, I’m still not hearing a tonal difference (or anything I would pass a blindfolded test with), but I don’t claim to have golden ears either.

But I’m sticking with the Neve 88M, just because it’s just a rock solid, it’s a beautiful and solid, beautiful piece of kit, and mainly just because, darn it, I deserve it :D And it has the right feature set for me, I like the layout, and if anything, I do feel like it maybe I’m hearing a slightly better headphone amplifier than I was on the Audient. But good conversion being as affordable, as it is today, for me personally if I could do it all over again, I probably would just stick with the Audient ID14 and spend the money on an alternate Schoeps capsul, nice bass traps, or upgrading our hotel rooms on this summer’s trip…