Mic preamps

  • Thread starter Thread starter mrmrcoleman
  • Start date Start date
With tape, it's a completely different story -

HOWEVER: (A) Digital has no inherent noise... (B) Tape decks followed the same "rules" as everything else -- 0dBVU was 0dBVU.

0dBVU is usually around -18dBFS... Although I understand some Apogee converters are calibrated to -12dBFS. Personally, my tracking converters are at -20dBFS (and I "pretend" they're at -24).

If you're only compressing the peaks, that's less "nasty" than hammering on the whole signal. But it's when those peaks are being compressed - That's when you really need to know how hard your preamp is running. And if it's catching those peaks, there's no real way to tell.

In 24-bit, anything above -20dBFS or so is a "good hot signal" -- I just prefer to keep that signal as pristine and clean as possible for as long as possible. If the peaks are bringing you over nominal, the compressor is allowing it to stay there more often. Never a good thing.

(EDIT) Didn't we just mention what a POS the Eureka was a few posts back?
 
That's helpful, thanks. I may try to expirament more with this... tracking everything at a little lower level and bypassing the compressor entirely - then compressing during the mix and see how I like it.
 
More here if you're bored...

http://www.massivemastering.com/blog/html/blog_files/Proper_Audio_Recording_Levels.html

Seriously though - If you've been in the "hot without clipping" camp forever, your entire life (musically speaking) is about to change - drastically.

What you'll probably notice right off the bat -- Better sound (duh...), more clarity and focus between instruments, much more responsive EQ and dynamics, ease of mixing. For starters.
 
mrmrcoleman said:
Hey guys,

I am going to be doing some vocal recording soon. I have a Focusrite Saffire Pro 10 and a couple of SE 2200a's.

I was thinking it might be worth my while to spend some money on a proper vocal channel with built in compression and the like, but I have a question.

If I was to buy the Focusrite Voicemaster Pro, would it have a better preamp than my Saffire already contains? If not, can you recommend another preamp which might help?

I have around 500 euros (750 dollars/400 pounds) to spend.

Thanks!
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I have a VM pro and I love it. When I first got it I had the same problems most everyone else had. You have to spend time with it and learn the thing. The pre-amp is a clean no frills affair that stacks up well. I have used it accross 24 tracks and every track eq'ed and sat in the mix perfectly. The other functions work great BUT it is very easy to overdo with the touchy controls. I would suggest you pass on this if you are not experienced with other channel strips or don't want to spend the upfront time learning how to use it. But, if you really want to dive in, this channel strip is a good one.
 
i would definatly look into the grace m101 its ultra flexible and sounds amazing, i have one on loan from my local shop to check out and everything i have ran through it sparkles its even got a ribbon mode which i thought was cool and itll only run you 565 bucks! line in to your sapphire and you should have a wicked sounding front end
 
I guess I am old school in that I like the sound of an 1176 or LA2a on a vocal or bass on the way in..I don't do it for level purposes..I record to peak at -14 to -18 in 24 bit but I love what classic comps DO to a sound..I have enough expensive plugins to sink a ship but there is something about rattling some electrons around that still sounds good to me..that said I have 20+ years experience doing it so I know to be gentle since they can't be undone...

Cheers,
Ray
 
?HEY MASSIVE? and anyone else!

I have an apogee DUET with a Grace M101 running into it Im using an At 4047 and find the grace only a bit better than the DUETS pres.

Do you think it would be better to get a BETTER MIC, and sell the GRACE m101? I do notice that the signal on the grace is much stronger and a bit more detailed, but not shure if its a better 565 spend?

Would an AKG 414 going through the DUET, be a better set up than the
duet, GRACE, at 4047 combo?

I do spoken word with a rap flare ( I dont like the sm7b or dynamics on my voice).

LAST question are the API lunch box pres that much better than the grace, and the true? Some have tried to tell me that.
 
WhiteStrat said:
Let me put it this way: with my current set up, the 202's account for half of the tracks in a recording I make. If my recording blows--it's ain't the pres. :D
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I think its fair to say, that even with Behringer mic pres, if the recording blows--it aint the pres.

Better mic pres can go an extra few percent and can also make things easier
 
dtapper20 said:
Do you think it would be better to get a BETTER MIC, and sell the GRACE m101? I do notice that the signal on the grace is much stronger and a bit more detailed, but not shure if its a better 565 spend?
Click to expand...

The 4047 is a great mic, but I don't know that it's the best thing for what you're doing. Then again, I see that you don't like dynamic mics, so...maybe it is.

dtapper20 said:
Would an AKG 414 going through the DUET, be a better set up than the duet, GRACE, at 4047 combo?
Click to expand...

In my opinion, no. The 414 is a great mic, but I wouldn't reach for it given the kind of vocal you're trying to record.

dtapper20 said:
I do spoken word with a rap flare ( I dont like the sm7b or dynamics on my voice).
Click to expand...

Hmmm...that's the mic I'd suggest, actually. I think you'd have to move to a much more expensive mic than the 4047 to do better. Maybe you just need a change of flavor (see below)...

dtapper20 said:
LAST question are the API lunch box pres that much better than the grace, and the true? Some have tried to tell me that.
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They're apples and oranges. Both great, totally different flavors. The API pre's are punchier and a bit darker...that might be just the ticket.

Frank
 
Dam your YET Another person that is telling me how punchy and great those API PRES are! AHHHH<< I feel like the API is coming back to haunt me! it shows up everywhere.



DO you think
 
Hey guys!

Just a quick question, I don't want to open a new thread just to ask this, so I'm going to put it here, if the OP is okay with that...


Is it dangerous to take an ART pro Channel preamp on the road? I plan on buying one of those as my main Bass Rig, so before buying it I want to know if it is well-built enough to withstand ups & downs in my car.

Thank you very much!
 
anscari said:
Hey guys!

Just a quick question, I don't want to open a new thread just to ask this, so I'm going to put it here, if the OP is okay with that...


Is it dangerous to take an ART pro Channel preamp on the road? I plan on buying one of those as my main Bass Rig, so before buying it I want to know if it is well-built enough to withstand ups & downs in my car.

Thank you very much!
Click to expand...


I just sold one on here a few days ago, and it seemed to be built very well and even did a few remote location recordings with it without a problem. It's actually a fairly nice preamp for bass di. I used it many times to dirty up the signal and give the bass tone a little tube overdrive.
 
santiu said:
How would you guys rate the RNP vs. P-Solo vs. Grace M101?

Don't mean to hi-jack the thread, but I'm looking for a preamp in the same price range. I'm leaning towards the RNP since I love mic'ing things in stereo, and two M101's is too expensive for me. But if it's worth the price difference, then maybe i'll just hold my horses while I save up.
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I love my grace m101..and it works very well with my SE 2200a...
 
I have the voicemaster pro and love it, Not sure why ppl are knocking it but imo it has been a great addition to my chain.
 
A preamp that doesn't get enough mention is the ADK AP1 (or two channel AP2). It's similar to an API 3xx Series design with a Cinemag output transformer and has a API 2520/Hardy 990 op amp footprint. The neat feature is that you can change both the input transformer (they're on daughter boards - 5 different ones available) and op amp (about 10 available).

Plenty of clean gain and the textures and colors you can get with the various tranny/op amp combos creates a very versatile piece - from very clean and transparent (Jensen tranny - Hardy 990C op amp) to punchy (Cinemag tranny - DOP1A JFET op amp) to darker and slower (Sowter tranny - VinM (Melcor) op amp).

I have the AP2, the two channel version, with 4 different tranny pairs and 5 different op amp pairs. It's quite impressive. I sold a John Hardy M-2 because it is redundant (the Jensen/990C combo in the AP2 is very very close to the M-2). I also have tube and solid state Pendulum Audio preamps (MDP-1a and SPS-1). The AP2 hangs right in there. Different and complimentary, for sure.
 
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