ACM & ACMP Reviews by Nuemes

Snare with ACMP73 & ACMP84

Shure SM57 on cheap snare with a light leather wallet on top to reduce ring.

Preamps: Avalon M5, UA610, Pacifica, ACMP73 & ACMP84

Avalon M5: Most quiet, tight, controlled sounding, least ring, almost muffled sounding compared to the ACMP's (though not necesarily in a bad way). Has been my main snare preamp for a few years now. Somewhat dull compared the UA610 & ACMP's.

Pacifica: Less low end than the M5, slightly extended high end (just slightly) compared to the M5, gets a little more ring

UA610: Much extended high freq compared to the M5 or Pacifica. Picks up more ring, more metallic sounding, not so pleasing.

ACMP73 (no EQ): Similar to the UA610 but not as tight. Looser. A little more open high freq than the UA610 yet doesn't pick up quite as much ring as the UA610.

ACMP84 (no EQ): Same as ACMP73 but I think I hear a little more punch(?) Yeah. A little more high-midrange punch than the 73. Slightly better than the 73 on snare for that reason.

ACMP73 (with EQ): a very small bit of hiss (very small, totally useable though) is introduced. I didn't have time to dial in proper EQ but sounds very useable.

ACMP84 (with EQ): Ugh. There's that loud, hissy, noise floor from the 84 once the EQ is engaged. I extended the high freq in the EQ which may be adding to it a bit but this hiss is clearly a problem with the EQ engaged on the ACMP84. Enough so that I would not buy this unit again unless this issue was resolved, in fact I'd return if I'd only bought it for the purpose of recording snare.

The winner? It would depend on the session. If I had a drummer that was heavy on HiHat's I'd go with the Avalon M5. However, I always find myself adding high EQ to the snares recorded with the Avalon, which makes me think that the ACMP84 would be the answer with a Q cut in HiHat territory. However, due to the inability to use the EQ on the 84 without introducing a fair amount of hiss, the 73 would be the best bet as the 73 with EQ engaged would allow a low cut to keep kick out, a cut to keep HiHats tamed and not introduce hiss. I plan to record the entire kit in the next few days, I imagine the ACMP73 could replace the M5 for snare entirely; won't know until hearing in full kit context.

If someone figures out how to reduce the hiss on the ACMP84 while the EQ is engaged I'm all ears.
 
mshilarious said:
Here y'go:

ACVST

On time and under budget!

Functions:

Buzz: adds 60Hz hum with lots of harmonics! If there is demand, I will do an international version at 50Hz :p

Distort: adds distortion (duh). Mostly second harmonic up to about 1/3 the knob; above that higher order distortion grows rapidly.

Hiss: adds hiss!

Pop: does nothing unless in the midrange, where it will drop out all audio and replace with a constant stream of maximum values. WARNING! This control may cause a nasty pop if operated, and if left in the midrange, will cause illegal output to your converter, potentially destroying headphones, amplifiers, speakers, and your ears! USE AT YOUR OWN RISK!!!
Click to expand...

ROTFL. If you make the source available, I'll port it to an Audio Unit for Mac folks. :D
 
dgatwood said:
ROTFL. If you make the source available, I'll port it to an Audio Unit for Mac folks. :D
Click to expand...

It was done in SynthMaker; I don't think they are going to do a Mac version anytime soon. It's a pretty small shop . . . great program though!

You know, I need to play with that distortion function a bit, that could really be useful. I need to cut off the overdrive before it hits higher-order distortion, and loop the output back to generate some fourth-order. Maybe also add an asymmetry control. It has possibilities.

I was spinning some Miles through it, and the bass did get punchier from the extra second--added harmonics in the 150-250Hz range. Just goes to show I think a lot of these early reactions are being caused by a generous helping of second order distortion, which is really easy to generate--analog or digital. Most amp designers spend their time trying to get rid of it . . .

Another example, with my mics I have different circuits, both high- and low-SPL. I could probably do a comparison where the low-SPL circuit is overloading--it's still dominated by second-order--and see how many people prefer that to the cleaner version.

To me this stuff is like ear candy; eventually the desire for a clean signal comes back again. Stuff like bass DI is an exception; that's why a lot of people--me included--like (modded) starved-plate tube gear for that. In the long run these things will be viewed like guitar pedals for microphones.
 
ACMP's with 335/Twin

1974 Ibanez lawsuit 335 > 1974 Fender Twin with gain mod > SM57 > Pre > Lynx Aurora 8 AD/DA

Amp was mildly distorted. Think CCR with both pickups engaged, Clash with bridge(?)

Keep in mind the mic has everything to do with this test. Used an SM57 because it's easy for everyone to reference.

Avalon M5: Sounds good, has clarity and detail but sort of dull with both pickups engaged. With bridge humbucker it really picks up the bark of the 335 nicely - really, really good on the bridge humbucker.

Pacifica (pad on): More vibe than the M5 with both pickups on, scooped, more highs than the M5, maybe a little too much when getting humbucker bite from a Twin. Tight sounding. I might use this for a thrash or funk band.

UA610: Sounds cheesy but it's more classic sounding than the Pacifica or M5. Loose, rugged. More depth, not as scooped, more realistic sounding than the Pacifica and more high end and all-around more fun sounding than the M5 with both pickups. Doesn't quite beat the M5 in bridge humbucker, though - too much high freq for that. This has always been my main preamp for recording elec guitar amps.

ACMP73 (no EQ): High freq is there but almost too much. Lacks the bass or depth of the UA610, doesn't even come close to the UA610 in fact. Not as good as the Pacifica either nor the M5. But not particularly bad, either; just not as good as the others. I'd use this on an amp that needed increased high end or with ribbon or dull mic that needed extra high freq push.

ACMP84 (no EQ): Pretty much the same as the 73 but with what sounds like a little more midrange. I like it better than the 73 for guitar but the 84 is still a far cry from the UA610.

ACMP73 (with EQ): No noise issues with EQ engaged. I only use EQ for cutting on Elec Guitar, seems to do this ok, nothing special. Will depend on the guitar within a mix.

ACMP84 (with EQ): Hiss was not a big issue with EQ engaged as the amp already had a bit of distortion. Sounds a little better than the 73 but again depends on the guitar within a mix.

Final thoughts...
Eh. This is tough. Which pre is most suitable is pretty dependent on amp/guitar/pickup/mic combination. I feel like the Avalon is the only pre that isn't hyping the high freqs. On that note, the UA610 has a depth I like on certain pickup combinations more than the Avalon. Considering the price point the ACMP's are very good but not quite up there with the other 3 in this case. I don't expect to use them on amps unless some serious EQ sculpting would be needed for a not-so-great amp.
 
Pops from Gain knob

Both my pre's (73 & 84) have a pop that sets off the overload LEDs right around the center detent on the gain knob. Looks like this is an issue with every single unit according to the forums.

Keep your speaker levels low when adjusting the gain :cool:
 
mshilarious said:
Here y'go:

ACVST

On time and under budget!

Functions:

Buzz: adds 60Hz hum with lots of harmonics! If there is demand, I will do an international version at 50Hz :p

Distort: adds distortion (duh). Mostly second harmonic up to about 1/3 the knob; above that higher order distortion grows rapidly.

Hiss: adds hiss!

Pop: does nothing unless in the midrange, where it will drop out all audio and replace with a constant stream of maximum values. WARNING! This control may cause a nasty pop if operated, and if left in the midrange, will cause illegal output to your converter, potentially destroying headphones, amplifiers, speakers, and your ears! USE AT YOUR OWN RISK!!!
Click to expand...

LOL! That's mshilarious!

When ya gonna make a VST theremin I can play with my mouse?
 
nuemes said:
Both my pre's (73 & 84) have a pop that sets off the overload LEDs right around the center detent on the gain knob. Looks like this is an issue with every single unit according to the forums.

Keep your speaker levels low when adjusting the gain :cool:
Click to expand...

Yep...mine too, along with everybody else.

My 73's have become my favorites on bass and drums...absolutely fantastic on both. Very API-ish in both cases.

Frank
 
ACMP73/84 with full kit

Here we go:

ACMP73 (EQ engaged) w/ i5 on snare
ACMP84 (EQ engaged) w/ RE20 just outside kick
UA610 w/ TLM49 outside kick
Avalon M5 w/ C414 as room mic
Pacifica w/ SM81's on OH's
Digi002 pres w/ SM57's on toms

This is what I've been waiting for since May... 6 high quality pre's. Enough to have a room mic and a 2nd kick. Best drum sounds I've gotten as of yet. My previous sound was always dead-room light 70's rock (which I like) but now with the room mic any degree from small to HUGE can be dialed in (I have a long basement studio - kit on one end room mic on the other end).

I noticed the ACMP73 couldn't give the snare the lower-mid punch I usually get from the Avalon, and the ACMP73 comes close, but not quite, to sounding thin, but hangs in there enough to make it a good snare preamp. I'll likely keep the pre's set up from now on as listed above, unless recording a quiet group where I'd switch out the 84 on kick and put the UA610 in its' place.

The ACMP's have helped round out my pre's, adding different color. They've replaced pre's I have that cost $800+ as bass DI, kick and snare. Even with their flaws they are pretty darn good.

Will try vocals tomorrow.
 
In the little bit of playing around i've done, Both the ACMP's (73 & 84) seem to over hype the low end a little. But not in a bad way. I did mess the the knobs a bit on my 84, and don't notice any additional hiss when i engage the EQ. i actually have the opposite. There is a slight hum, almost like a ground hum that goes away when i turn on the EQ.

I've only run guitars through them thus far, utilizing an ACM-3 for the test. (My favorite mic I have for guitar) I have no high end preamps... Only an ART TPSII, a Joe Meek MQ3, and the onboard preamps in my Mackie. These are a very nice addition... but where I am really happiest, is with the EQ. Messing just a bit with the guitar and the 84's EQ. i dialed in a sound I really liked. For comparison I tried EQ'ing the same guitar/mic via the Mackie as well. There was nothing I could do in twice the time that came close to the "life" the tone had through the ACMP-84.

I really want to try running a Line 6 Pod through the DI to see what that might do... of course some vocals, and then gotta get the bass out. So far they're what I was hoping for and I'm Very happy pending one big fluke problem that I hope can be resolved.
 
eyeteeth said:
Both the ACMP's (73 & 84) seem to over hype the low end a little.
Click to expand...


:D:D

Agreed!!! After using them on Kick, it's the only time in recent memory that I thought the kick was too "punchy and bottom end heavy". LOVED IT!!! But on a couple of the songs, I'll need to tame down the punch just a tad. Easier than trying to put bottom and punch on a wimpy track!!!! Totally digging the ACMPs.

THANKS CHANCE!!!!!!!

bp
 
Man...as luck would have it I'm just not doing much tracking work right now. It's all mixing. I'm supposed to be tracking a couple of albums in January and February, so I'll post clips as I go along. Neither band will care...they'll be happy for the exposure I imagine.

Frank
 
eyeteeth said:
Both the ACMP's (73 & 84) seem to over hype the low end a little.
Click to expand...

Interesting, I haven't found that - but I've also been more concerned (for my recording purposes) with the top end of the spectrum moreso. Will listen a little more for that.
 
ACMP73/84 on vocals with Shure SM7

Ok, I pulled out nearly every preamp from Mackie on up that I had available for comparison. Exact same cords used for each test.

None of the preamps actually ran out of juice but many of them introduced distortion when pushed. For folks not familiar with the SM7 it requires a good clean 55dB+ of gain and this will impact the preamp comparisons accordingly. Mics requiring less gain will have a different interaction with the preamps.

All units produced an audible hiss when played within a mix. Only the Pacifica (without pad engaged) was low enough not to consider gating.

Chain: Male vocal (quiet/breathy intimate pop tune) > SM7 > pre > Lynx Aurora 8 AD/DA

In order of preference, most to least liked:

Avalon M5: Smooth sound by way of deep yet controlled bass. Bass is deep and full. Intimate sound. Some people say the M5 sounds dull bit I think the M5 is just more true to the source in not hyping the high end like many of the other pre's I have. I am appreciating the M5 more & more through these tests. Noise floor sounds equal to the UA610 & Digi 002.
Verdict: Best vibe, noise floor could be better.

Pacifica: Thinner than the M5 but still nice bass. Not quite as grainy as the UA610. Has that slightly Quad 8/Neve-ish sound. Lowest noise floor of all preamps.
Verdict: Best noise floor, second best vibe.

Universal Audio M610: More high freq response than the M5, noticeable on T's & P's where the UA sounds grainier compared to the smoothness of the M5. This is not necessarily bad but did not suit the particular song so much compared to the M5. Frankly, the UA610 doesn't have enough clean gain to get the maximum benefit from the SM7. Noise floor sounds equal to the M5.
Verdict: Useable but can't compete with the M5 & Pacifica.

Digi 002: Not too shabby. Has a smoothness that's nice. Gain was nearly maxed yet didn't distort. The Digi 002 sits right in the middle in regards to the SM7 between the good sounding pre's and the non-contenders.
Verdict: Useable, more impressed than I expected.

Spirit M8: Deeper bass than the ACMP's and more clean gain than the ACMP's. But also a less controlled sound than the M5, Pacifica, Digi 002, etc. Second lowest noise floor - WOW! Keep in mind the Spirit M8 has 8 pres and is a mixer that goes for $400 used...when you do the math... but then, who's going to be using 8 SM7's at the same time, etc?
Verdict: Not terrible, good bang/buck if you need many pre's.

Spirit M8 (with EQ engaged): Hiss on par with Avalon M5 becomes apparent.
Verdict: Not terrible, good bang/buck if you need many pre's.

It's all downhill from here:

Pacifica (pad on): Well, this is a bit unfair because when are you going to engage a pad on an SM7? So take this one as a lark not to be held against A-Designs. Gain had to be almost totally maxed and the resulting hiss rendered the track useless. However, it did impart a nice distorted low midrange that you hear on the stuff they play by Nat Cole around this time of year. If the hiss weren't an issue I'd find many uses for this combination though not necessarily on this particular track.
Verdict: unacceptable

Maickie 1202VLZ: More clean gain than the ACMPs, less bass and a raspy high end full of siblance compared to the Spirit M8.
Verdict: unacceptable

ACMP84 (no EQ): Whoa! Distortion! All the sudden I sound like The Strokes. Tons of consonants and sibilance distorting. Not cool. I maxed the output (the 'clean' volume) and set the gain to an acceptable level for tracking and it's quite clear that the ACMP73 can't give enough clean juice to the SM7 without distorting. It distorts considerably more than the UA610. And the distortion (dare I even say color?) is not nearly as nice as the Pacifica with pad engaged. It sounds cheap, yet it does have an ok bass response. Anyway, I see no use for the ACMP73 with the SM7 given the other pre's I've got. Interestingly the noise floor sounds slightly more quiet than the M5 but not as quiet as the Pacifica or Spirit M8.
Verdict: unacceptable

ACMP73 (no EQ): very similar to the ACMP73 though the 84 has what sounds like a very slightly better midrange. Again, I won't find uses for it with an SM7.
Verdict: unacceptable

ACMP73 & ACMP84 (with EQ engaged): Garbage. There is not only hiss (that I can deal with) but a loud hum when the EQ is engaged on both of the units when the output is maxed.
Verdict: totally unacceptable, I'd return this unit if I'd purchased it for use with the SM7 alone. Bad, bad, bad... :mad:

Well, in regards to the SM7 and preamps I'd say it's fairly safe to say you get what you pay for.

Too bad nobody tested the ACMP's with an SM7 before putting them into production (ahem...)

(On the bright side, again, I've found the ACMP73 good for bass DI, kick & snare and the ACMP84 good for kick & snare so take this review in context)
 
...hey thanks man...I knew that driving the SM7 would be a bit of a challenge, but I did not expect the level of results you experienced...the reason I chose to ask for the SM7 was that since many of the members here are recording in untreated or modestly treated spaces (myself included), dynamic mics offer much better performance without the obvious sensitivity to ambient room noise...over the past few years we tend to find the SM7, RE20, Heil PR40 and other dynamics to be better overall performers under these kind of circumstances...I recently sold many of my pres, (GT Brick, Art Tube Channel, Eureka, etc...) due to the fact that they didn't perform well when paired with the SM7 (my vocal mic of choice these days)...I was even offered a LA610 at a "gimmee" price point but passed on it fearing exactly what you found in your shootout...I have an original vintage rebuilt Neve 1290 (1073 w/o EQ) which has 80dB of gain, but when driving some of these dynamics the noise floor also becomes a bit of a problem...I appreciate your time and effort...seems like the "SM7 test" is not one easily aced by many of the less expensive pres as well as a few of the high end models as well...;)
 
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