The $5,000 Outboard Mixing Dream

Did someone get a great refund this year?

It depends on what you are trying to do - everything from microphones to preamplifiers to dynamics processors to filters/equalizers seems fair game to me. Still not sold on the summing mixers, but my Avatar demonstrates that I have not given up completely on analog mixers<G>!

Maybe tell us more about your workflow?

hate to do the me-too things, but listen to Jim, he speaks the truth!
 
If you don't track live instruments then you can move on to the monitors/amplifiers/processors - in roughly that order.

Interesting perspectives guys, thanks! :)

I think for me maybe an actual LA-2A and/or 1176 would be a step up for me.
 
Given that I'm
a) a self project only studio (no clients)
b) not that great of a singer
 
I feel that this list covers all my vocal needs without stepping up to "world-class" stuff:
AEA R84 Ribbon Mic
AKG C414 B-ULS (circa 1984 with a Transformerless mod)
AKG SolidTube
Grace M101 Mic Pre
dbx 266xs Stereo Compressor/Limiter/Gate
dbx 160a Compressor
 
For my bass needs I either use:
Alembic F2-B Pre-Amp (for my Series I or Rick 4003S basses)
Universal Audio LA-610 MKII (for my mono basses)
 
For guitars I use:
True System P-Solo Mic Pre
 

Of course, the room is #1. We all know that yet keep going on with subpar acoustics. Well, I do anyway.
 
Actual Faders and real inline eq manipulation would be nice.
I don't know or understand fully the logistics of using a controller such as Mackie control or something but, in my mind, if I got something like that, it would need to be at least 16-24 channels and "just work". And from the various threads I've read over the years, it just seems more of a pain in the ass than what it's worth. Sure would be nice though.
 
Then there's always, good references, and practice, practice, practice.
 
Or, somehow turn the $5k into $100K and get a real mixer with full automation.

As much as I luve my software Maag EQ I wonder if  hardware version would be a big step up?

I haven't loved my Audient ASP880. I wish I had shelled out the extra for this...
https://www.sweetwater.com/store/detail/OctaMicXTC
 
Bapu has great thoughts. One of the DBXs he mentions has expanders. I will say, I use the expanders on the RME channels way more than I thought I would to reduce feedback when the band stops playing. I often can get a band dialed in without feedback and with fairly good vocal levels while they are jamming. When they stop, it can get dodgy. Using expanders on the vocal mics helps quiet them when the band pauses after a song.
 
I like Ribbon Mics coupled with KM184s. Everyone likes them coupled with dynamics. Dynamics are probably better for really loud stuff, but a ribbon and a small diaphragm condenser make a nice combination for quieter recordings. 
 
I've wanted a lunch box for a long time (nod to Pragi) and haven't pulled the trigger because it wasn't my top priority.
 
If you do much live, you might consider a channel strip...
https://www.sweetwater.com/store/detail/ShelfordCH
I've wanted to try this one.

smallstonefan

bapu
I mean... you were asking so you'd know what to get me, right?

Just like Santa Clause, but without elves to help me...
 
:)

So Imma stay home every day from now until it all arrives (don't want to miss USPS, FedEx or UPS).

 James,
the Warm Audio Pultec Eq´s also  come into consideration ,
when I´m thinking about a studio upgrade.
I´m not sure if the Lunchbox 500 format is right 
cause it seems to be  a little uncomfortable  in handling .
 
 

If it was for the stuff I do (symphonic and hybrid), I'd probably look into a good hardware reverb...

The question "what would you buy if you had the money?" is something I would answer differently at different times, depending on which aspects of the music making process I had been focusing on recently.