Has anyone ever worked with the RME gear? A pro voiceover artist asked yesterday if I knew anything about the RME babyface Pro. She’s on a scarlet now and is having problems with the headroom on the preamp. The scarlets have noticeable noise issues. Lack of headroom usually isn’t a problem for musicians but it can get in the way for voice actors. The interface doesn’t have to have the preamp, but I think it would be handy if it did.
She’s only needs to record herself. She owns a TLM49. No music…which also means she needs a pre that won’t color the sound. Zero latency monitoring is real important. I was looking at Apogee, but I can’t see any real clear advantage that it has over the RME. The other things she’s up against is using a 2011 mac pro cheesgrater which means she doesn’t have thunderbolt.
Budget wise she wants to stay under $1000, and I think that’s reasonable for the type of work. As much as it would amuse the hell out of me if she bought a John Hardy or Pueblo Audio preamp then ran it to a CraneSong, Burl, or Weiss converter, I think for what she’s doing, a good sub $1k preamp is reasonable. Many times picking an I/O is about channel expandability, work clock compatibility, and scope of application. If she ever needs to get on a bigger system she’s got a key to my building.