Recommendations for a high quality dual input interface for singer/songwriters

camf

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 elsewhere. I'm wondering if I should upgrade to something like an Apollo, Audient, SSL or even a Neve 88M. It would be good to know I've recorded it as well as I can, so that the mix engineer won't be able to blame that for it sounding terrible.

I really don't need me needing more than 2 inputs, and while I like the idea of the Neve 88M, chances are I just need something clean and detailed for all processing to be done by a grown-up. 

Thanks for any input.

cam f

Stuckfast

I doubt you'd notice much difference with the Audient or the SSL, though they are both good products. With the Neve 88M you have the input transformers which can add some roundness to the sound. It's extremely subtle on most miked things but more audible eg. on DI'd bass guitar. The Apollo would give you the choice of using Unison preamp modelling, which opens up a lot more sonic possibilities as long as you're willing to commit to a sound (and fork out for extra plug-ins).

Axe_meister

TBH what you have already is absolutely good enough, i.e. a very transparent mic pre-amp.
With today's plug-in if the mix engineer wants it to sound like a Neeve pre-amp channel they just bring up the plug-in.

thermionic

Spend the money on a decent condenser mike.

camf

Thanks, @Stuckfast and @Axe_meister I suppose I'm just wondering what a mix engineer would want to get as the basic recordings. I think what my current setup sounds fine to me, but then you could also say I'm not hearing what I can't hear. Is there a transparency or detail in a better interface that I'm not hearing, but then, even if there is, maybe that's digital information that isn't required to get this pig's ear sounding as silky as I'm thinking it should. 

I like warm, analogue-sounding, lofi things. I'm a big fan of rough-as-**** Dylan, 'Tonight's the Night'-style Neil Young and the early Felice Brother's stuff. Truth is a cheap cassette recorder and a £5 mic could be as likely to get the best results... but that's hard to plan for,  

camf

thermionic said:

Spend the money on a decent condenser mike.

I've an OK condenser mic (Aston) but not a great recording room. I'm currently using an M88 on the guitar (which I like a lot) and a SM-7B on my vocals which works okay and is a safe bet, I guess. However, I was fortunate enough a while ago to spend a few hours 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. (The best match was the Sennheiser MD 441 - I just can't afford one just now... I don't think).

camf

But I think I read something like a MD-441 (which is also the coolest looking mic ever IMHO) benefits from a good preamp. But I guess if what I've got works fine, maybe I could blow my budget on buying a used/refurbished one. 

Wazmeister

Ive tried a few, and im still a newbie learning, but the Arturia Audiofuse Studio sounds great and is very versatile and easy to use - vital for me !

camf

Wazmeister said:

Ive tried a few, and im still a newbie learning, but the Arturia Audiofuse Studio sounds great and is very versatile and easy to use - vital for me !

Just looking at the Mini Fuse 4 which looks pretty good and looks like it would do all I’d need. Definitely adding it to the list. 

octatonic

camf said:

Thanks, @Stuckfast and @Axe_meister I suppose I'm just wondering what a mix engineer would want to get as the basic recordings. I think what my current setup sounds fine to me, but then you could also say I'm not hearing what I can't hear. Is there a transparency or detail in a better interface that I'm not hearing, but then, even if there is, maybe that's digital information that isn't required to get this pig's ear sounding as silky as I'm thinking it should. 

I like warm, analogue-sounding, lofi things. I'm a big fan of rough-as-**** Dylan, 'Tonight's the Night'-style Neil Young and the early Felice Brother's stuff. Truth is a cheap cassette recorder and a £5 mic could be as likely to get the best results... but that's hard to plan for,  

You probably won't hear a *night and day difference* upgrading your converters.
You will if you upgrade your room acoustics and perhaps your monitoring.
What are you using for monitoring?
Is your room treated in any way?

I advocate spending money on acoustic treatment first, then on transducers (microphones and monitors).

Preamps are great- I have a bunch here, but I reckon that 90% of people wouldn't be able to tell the difference between a Neve 1073 and the preamp in your Focusrite. Good preamps make it easier to get a good sound but they are down the list of priorities.

'Silky' is a subjective term but a lot of it comes down to skill and technique, not gear.
Andrew Scheps sometimes mixes records on an Apollo.

On conversion: most of the affordable interfaces use the exact same converters.
When you *upgrade* from a £200 to a £400 unit you don't usually get better quality, you get different features.

To get better conversion you want to be looking at a high end 2 channel audio interface.
The sort of thing I am talking about here is a Prism Sound Lyra 2, Lynx Hilo, Apogee Symphony Desktop. 
I'm not recommending them, per se, I think you can get better results doing something other than upgrading your converters.

It just won't make as much difference as fixing your room acoustics and become a better engineer.

camf said:

But I think I read something like a MD-441 (which is also the coolest looking mic ever IMHO) benefits from a good preamp. But I guess if what I've got works fine, maybe I could blow my budget on buying a used/refurbished one. 

MD441 is a great mic but not one I'd suggest as your main microphone.
Under £500 there are a load of large diaphagm condenser microphones- Rode, Audio-Technia etc.

Depending on what you are recording, I'd suggest getting a good LDC, a pair of SDC's and a dynamic.
It is how you use them that matters.

Stuckfast

Agreed. As a mix engineer I can work with sounds that are clean and plainly recorded no problem. What does cause problems is bad room sound on the tracks -- or, conversely, things that have been miked too close in an effort to avoid getting bad room sound on the tracks. So, fix the room first.