Just got my DMP3...not what I expected...

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Warhead said:
Behringer to a DMP3 doesn't exactly strike me as a long journey towards sonic excellence, but that might just be me.

War
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I don't think it's just you.
 
omtayslick said:
I'm a DMP3 user. Please tell us what would put us on that journey.
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If you think that the DMP3 is a good pre, than all the power to you and it's not for me to place anyone on a journey.
 
CCS said:
If you think that the DMP3 is a good pre, than all the power to you and it's not for me to place anyone on a journey.
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Hey CCS,

I wasn't being a smart aleck. It was a serious question. I don't know how to assess the situation myself because I seldom get to see the good stuff. What would be the next logical step up from DMP3 land? Sytek maybe?
 
stanjanssen said:
This is great stuff. I know I should have not been recording to md to test it. I am certainly going to stick with it, it IS a very nice unit :)

I gueass I was a little over-reacting and I shouldn't have expected it to outshine the behringers on the tests I did with it. I'm glad I made an improvement to my signal chain, and let's face it, it wasn't all that expensive...even for a 16-year-old like me.

Stan.
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The more you listen to these two units the more of a difference you will notice. No, the DMP3 is not a Millennia, but you will start noticing a much bigger difference when you compare stereo tracks (acou guit, e.g.) recorded on the DMP3 and the Behringer. The DMP3 stereo field will be much more pronounced and three-dimensional. This is where I noticed a big difference. You'll also notice a difference in the smoothness of the high end. The Behringer can be very strident, depending on the mic and the source.
 
ROblows said:
It's also possible that an inexperienced ear doesn't know what to listen for.
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Which begs the question, will little Billy hear it on his iPod?

I wonder how many folks asked themselves and us "what preamp should I buy for guitars" while they stuck it out with their Peavey Bandit and didn't seek out 3 cool ass used amps for $1,000 before dropping it all on one preamp.

I don't know, instruments and mics mean so much more than preamps but many make it a big deal. A mic can mean everything in some cases, and turning the mic 5% to the side might make it sound like your next $1,500 preamp.

"Hey wow, that's warm!"

War
 
Tim Brown said:
Will Oldham!?!
His Grandpa was the Doctor who delivered me. :D
My Brother is good friends with Will's brother Paul, who is an excellent recording engineer.


Tim
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Wow, you floored me with that Tim! Will's one of my heros. Yeah I've seen Paul credited on a lot of Will's stuff. Their other brother Ned has released some stuff as well recently but I haven't got around to checking it out yet. I'm heading to the festival with some friends who are in a band on the same label as Will (Domino) so I'm hoping I might get to meet him.

Lurgan Liar- the best price I've seen in Europe for the DMP-3 is €155 from Thomann:

http://www.thomann.de/index.html?pa...info.html?sn=21892801e46ca286a1b4c77862c347d3

You'd pay quite a bit more from any shops in the UK, I think DV does them for around €250!
 
omtayslick said:
What would be the next logical step up from DMP3 land? Sytek maybe?
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the sytek is supposed to be really clean, i have not heard it...like the dmp3, its gonna be useful on lots of things, but will do better on clean recordings, especially classic strings, acoustic guitars, certain vocals, etc..

the next logical step from a dmp3, if you're using it as an all around pre - in my opinion - would depend on the kind of music you're planning to record...

rock n roll - API

classical and acoustic intruments mainly, clean vocals - Sytek

etc...

this is just common sense, i have not used sytek or api, or neve or whatever, but its the advice ive been getting for years...i can tell you one thing though, i dont think the RNP should be the next logical step from a DMP3 though, and i've used the RNP. for me, the logical step from my DMP3 will be the new Electro Harmonix tube pre for vocals and acoustic guitars, while the DMP3 will still be used for the multiple layers of electric guitars i make.

then again i only record my stuff so, ymmv, especially if you need versatility.
 
oh yea, I noticed a lot more useable gain than my other pres because it's quiet even way up at the top end, not that I even need to be up that far, but good to know.
 
I think the Grace 101 might be a nice step up from the DMP3. :)
 
omtayslick said:
Hey CCS,

I wasn't being a smart aleck. It was a serious question. I don't know how to assess the situation myself because I seldom get to see the good stuff. What would be the next logical step up from DMP3 land? Sytek maybe?
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In answer to your question, the next logical step up for me would be the Grace 101. It will pay for itself over the long run, especially once you stack tracks and listen to how each event sits in the mix. There's nothing wrong with the DMP3 if it's a hobby. But when it's not, than it's simply not an option, at least not in my book.
 
Samantha C. said:
I think the Grace 101 might be a nice step up from the DMP3. :)
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thats a $400 jump....for that much it better be more than a step...a few flights of stairs maybe
 
DMP3 to Sytek is the way I've progressed thus far and I've been happy with the change. I've been doing some recording lately in my new house and I'm amazed at how much better everything sounds just being in a better room (I'm going to be moving to my basement soon). I think the DMP3 is a really good entry level product and even with a few $100 mics you should be able to get a really nice sound. Before dropping more cash on a different pre, try spending some money on the room if you can. It can make a profound difference. You may find a whole new respect for your gear like I did.
 
Middleman said:
Yeah, I have some grave concerns about comparing anything with headphones. Put them on on some decent monitors so you can hear the full range. Headphones scoop and push frequencies.
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I Agree...... :)
 
thanks

The Axis said:
I have directly compared Behringer pres, the DMP2, Earthworks, and Great River.
There was not a "jaw dropping" difference among any of them. In fact, it was all extremely subtle, bordering on "imagined". :)

But do you think anyone who has spent $4000 on a pre is going to admit that there is very little audible difference ?
Think again, Batman ! :)
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Thanks for an unbiased opinion. Sometimes it's hard to know what'll give me the biggest "bang for my buck". The advice about improving the room is good. Some of us don't have the ear to appreciate "subtle differences bordering on imagined" or the money to put into gear that isn't going to make an obvious difference.

This G.A.S. is painful stuff.
 
Like I have stated many many time before, the Transducers at both ends of the signal chain make enormous differences to the sound. The electronics as long as it is of competent design makes very little.

Behringer mixer pre's have NEVER sounded like shit, not the best by a huge margin but competent. If you cannot get a good sound with them you stink not them.

Probably the best way to A/B equipment is thru a pair of high quality headphones. My Senn HD580's have resolution and transparency that goes way beyond any speakers that I could afford.

"Loud creaking noise as he gets off his soap box"

Tony

p.s. In making this claim about electronics I obviously do not mean compressors, fx units etc. these basically are all distortion devices so their ability or suitability is more to do with an artistic choice than anything else. Also the only place for mastering compressors should be in a sealed concrete enclosure dropped into the worlds deepest ocean.
 
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wilkee said:
Probably the best way to A/B equipment is thru a pair of high quality headphones. My Senn HD580's have resolution and transparency that goes way beyond any speakers that I could afford.
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Aaah there we are ;);)
 
wilkee said:
Also the only place for mastering compressors should be in a sealed concrete enclosure dropped into the worlds deepest ocean.
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hahaha

my thoughts exactly...damn this industry and its over compressed shit :D
 
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