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Thiết Bị Mastering hàng nhập khẩu chính hãng giá tốt nhất tại VN
You've sort of answered yourself here - handle your monitoring first (includes room/amp/speakers/monitor control/DAC/cables).
We're at a pretty amazing time when a lot of great things can all happen while staying in digital. That said you still need the kind of reliability and insight great monitoring offers - not to mention skill and good taste.
Assuming your speakers and room are sorted out, something like a Crane Song Avocet IIA or Solaris + 2400 Audio Imperium (a combination I use and enjoy) will give you excellent DA conversion and monitoring control for a very reasonable price. The Imperium's fixed-level workflow is addictive and the mid/side listening function is fast and useful. It's also about as sonically invisible as you can get. Crookwood also offers completely custom systems that could handle these tasks as well as complex insert switching and routing.
You don't need to spend very much on plugins either - and whether you're staying totally digital or developing a hybrid workflow it's a great place to start building your toolset.
Weiss (co-developed by Softube), DMGAudio, Tokyo Dawn Labs and Leapwing Audio do my favorite ITB dynamics tools. Check them all out and see what features and workflow/UX in their plug-ins most appeal to you - sound quality is outstanding in all their offerings. In some cases buying multiple products from the same developer lets you enjoy discounted pricing. For example, you could pick up DMGAudio's Essence, Limitless, and EQuilibrium for about 385 GBP total and have a pretty minimul but powerful setup.
From there you may want plugins with more character or a different approach to EQing and compressing, or to add harmonic distortion. Acustica Audio EQs are as convincing as I've heard for getting a familiar analog EQ sound. Saturation is still somehow more effortless and satisfying in analog most times, but there are tons of clever and interesting digital options. Try them all and pick out a few you like that don't harshen and flatten the sound. In general I've found saturation tools with a wet/dry mix blend and separate mid/side amounts most useful. Take special care that anything using oversampling isn't changing the sound in a way you don't like.
If you'd like a hybrid/analog chain, you might well consider converters and furniture (yes really) as priorities. Going to analog and back to digital will always be a compromise, so make sure it's worth it and you're losing as little of the original sound as possible. Converters vary substantially in price and sound, number of IO, and some offer special features to add creative color to the sound. You'll have to listen yourself and compare since it's really a matter of taste. Lavry, Weiss, Forssell, Merging, Lynx, Prism, Crane Song, and Dangerous all have excellent ones. $4000-6000 is plenty for top stereo AD/DA conversion. Pacific Microsonics have a very celebrated but out-of-production ADC. If you ever have the chance, try one out and see how you rate the sound - and if you'd spend the money for it.
Furniture makes a difference since you'll want your gear arranged in a way that doesn't interfere too much with your listening position acoustics and is ergonomic. Having to stand up, bend down, lean over, or just turn one way or the other over and over again while working isn't ideal. Don't drive yourself nuts, and have EQs (especially for mid-side adjustment) as close to the center between speakers as possible. If you're fortunate enough to be very busy, you'll be sitting a lot. Long hours, every day. Do it comfortably and with support for your back. Take care of your wrists and neck too.
There's a ton of fantastic analog gear available and you'll really have to do your own research into it. The "right" gear is always a matter of taste and features, and keep in mind that gear interacts. Transformer-balanced gear can sound differently or give you level loss depending on placement between other gear. You'll want complimentary gear as well, and things without too much overlap in functionality or sonics. A popular combination is one very precise and tunable EQ (4-5 bands, two channel, shelves and bells, wide bandwidth range) and one or more simple/limited-feature specialists. A thick and rich sounding variable-mu compressor may be a great option with something clean, fast and stealthy, or a colored but firm and tight VCA design. There are no rules, these are just some basic examples. When I got my first outboard EQ, I wanted something that was as different to the plugins I was using as possible. I settled on a customized Hendyamps Michelangelo as it's simple, intuitive, sounds amazing, and offers very un-plugin-like sound and workflow.
It's prudent to be wary of online hype and recommendations. Sure, I read them and occasionally give them myself too. Just try to get to a point where you're confident, know what you want, and trust your own instinct and taste. The internet is unbeatable for finding objective information regarding new gear developments, features, prices, and build quality, but nothing beats personal hands-on experience with any piece of equipment within your own studio. Does it give you something sonically you like? Does it compliment the rest of your equipment and play nice? Is it fast and effortless to find good sounds with? Do you just simply LIKE working with it, or looking at it? I truly appreciate the people willing to lend time and energy to compare sonic qualities or post audio examples of gear - but sometimes the files or descriptions are not revealing in some way or able to do gear justice. Other times audio samples may present qualities you dislike, simply based on the settings, input level, converters, or something else about the user's gear chain. Someone can be a gifted and convincing writer with infectious enthusiasm but just have totally different taste or hearing than you. You may get caught up in the excitement and buy something that doesn't fit for you. Likewise you may skip over a total gem. I believe most people are aware of this all, but like "room and monitoring first" it's one of those things that may be worth repeating.
The more outboard you get, the more you also need to pay attention to routing methods, cabling, noise, and general signal flow order. It's much easier to have a balanced chain with just a few pieces of gear that you work efficiently with - let's say 2 complimentary EQs and 2 compressors - than with 5 or 6 of each. And will you have an insert router/switcher? The cost and routing complexity go up with one, and the flexible workflow may actually slow you down until you really know your gear inside and out.