analog to DAW x-fer, should I use preamps?

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Hi_Flyer

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OK, I'm not exactly sure where this topic belongs, but this forum seemed the most appropriate so here goes...

I'm tracking this band on a Tascam 688 and I'm planning to transfer to DAW via a pair of M-Audio Delta 44s to mix on a PC with N-Track. So during the transfer to the PC, would it be a good idea to run some of the channels through a preamp to improve the sound? Unfortunately I don't have great preamps, during tracking I used an ART Pro MPA on few channels which at least sounded better than the pres in the 688...

For example, I didn't have an available pre channel for the snare drum, so I'm thinking what if I run the snare drum track coming out of tape out into a preamp before it goes to the soundcard?

I realize that if it sounds good, it is good etc... but I haven't had a chance to experiment with this yet (but I will!). I was wondering if anybody else out there has tried something like this and if so, have they been satisfied with the results? Is there a reason why this would just be a bad idea? It would probably make more sense if I had a better preamp, right?

thanks for the input.
 
While preamps can make big differences in sound (good or bad), that is not the reason they exist, that is just a side effect of their main job. Their main job is to boost low-level microphone voltages to "standard" line-level voltages so that all signals are playing on the same level playing field. The key part of the name "preamplifier" is the "amplifier" part :)

As such, since you already have line levels coming out of the Tascam, there is no preamplification needed or desired; it would be wrong to use a preamp at that stage. If you're looking for circuitry to add some color to the signal, use something (if you have it) that does not act as an amplifier like a tube or optical compressor or limiter with little-to-no actual compression or limiting added; the idea would be just to run the signal through the circuitry for coloration without applying any actual purposeful processing to the signal.

But even that I might not recommend (and it might not do much for you anyway.) I might prefer getting the tracks into nTrack clean and then processing them as desired in the mix.

G.
 
you would only want to do that to boost the volume, which may or may not be necessary based on how good your levels are to begin with.
 
Hi_Flyer said:
...I'm planning to transfer to DAW via a pair of M-Audio Delta 44s...
Click to expand...
Are you sure the Delta 44 is the best choice for this application? There is no way to synchronize the two cards -- so the clocks will drift out of sync over time.
 
Thanks for the input, I guess this isn't even worth trying.

I am thinking about trying an outboard compressor on the way in. Unfortunately I'm limited with channels and budget. I guess I could rent a compressor or two for the transfer to DAW. Would an outboard comp sound better than the comps in n-Track or just different? I don't know the specific models for rent at my local shop, I think they had some dbx comps...

I haven't had any trouble with the Delta 44s, and I have transferred entire tapes from the 688, which are around 22 minutes I think. If there is any drift, its not noticeable, to my ears at least. You're supposed to be able to synch multiple Delta 44s, but I guess there is some debate about whether they are really locked. Like I said, it has worked so far...
 
I wouldn't say it's not worth trying. If you've already transferred tracks using your dual-44 setup, I guess you're doing OK. The 44 has no way to sync to external sources (i.e., wordclock or S/PDIF input), but apparently the Delta driver can manage to sync multiple cards internally. Interesting....
 
Hi_Flyer said:
Thanks for the input, I guess this isn't even worth trying.

I am thinking about trying an outboard compressor on the way in. Unfortunately I'm limited with channels and budget. I guess I could rent a compressor or two for the transfer to DAW. Would an outboard comp sound better than the comps in n-Track or just different?
Click to expand...
Just different. "Better" is an entirely relative term. It could easily be said that your tracks will sound "better" with no comp at all on the way in.

Without hearing your actual tracks, it's impossible to give specific advice on exactly which brand of tool to use or whether you even need or want to use a particular tool. The original preamp question as an exception because that is on an actual physical electronic level an inappropriate place to chain a preamp.

But to tell you something closerto what you actually want to hear: A great analog compressor will sound "better" to most tastes than any plug-in. A great plug-in will sound "better" to most tastes than a cheap outboard, but a great outboard will still usually be preferable.
 
hmm... maybe I should just rent an outboard comp and experiment a little. I plan on using at least a little bit of compression when mixing, its typical punk/hard rock, and a fair bit of compression seems to be the rule of thumb when mixing this kind of stuff, although I need to be careful not to overdo it... I was thinking about renting a comp for recording vox, so maybe I'll pick one up for the DAW transfer. So if I was gonna use a preamp & a comp when tracking vox, which would I put first in my signal chain?

mic->comp->preamp->soundcard?
or
mic->preamp->comp->soundcard?

If I use a condensor, then I would have to go from the mic into the preamp, then into the compresser, because it needs phantom power from the preamp, right?

The tracks we have so far sound decent already though, the guys had decent gear, and I was able to get everything pretty isolated even though we tracked drums/bass/guitar at the same time.
 
DonF said:
I wouldn't say it's not worth trying. If you've already transferred tracks using your dual-44 setup, I guess you're doing OK. The 44 has no way to sync to external sources (i.e., wordclock or S/PDIF input), but apparently the Delta driver can manage to sync multiple cards internally. Interesting....
Click to expand...

right, there is a "multiple card synch lock" option (or something like that). But I'm not sure if its "sample accurate". Regardless, it seems to get the job done. However, I suspect that if you were recording for a very long time then eventually the drift would be noticeable...
 
You always want to go mic into preamp first, regardless of whether you need phantom power or not. The preamp is required to bring the mic-level voltage up to the same levels as the rest of the equipment.

G.
 
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