two different pres or two pres the same?

[dobro]

Okay, help me sort out my thinking on this one...

I track with two mics through two different channel strips simultaneously. Call me a folk singer, I don't care, that's just the way I do it.

Am I right in thinking that the two tracks are more distinct from each other than they would be if both preamps were the same brand and model?

One part of my head's thinking that two identical pres would hold everything together, and another part of my head's thinking that different pres would make both the vocal and the guitar more distinct from each other.

Or is this another case of Blue Bear 'it depends'?

 

[sonusman]

Yup, "it depends"....

You can try:

Same mic, two different pre's.

Same pre, two different mics.

Two different mic through two different pre's.

Or my favorite! One mic for both. Perform both vocal and guitar at the same time!!!

The studio I work at used to only have one class A preamp, a Focusrite Red. The only would use it on EVERYTHING he could. When I used to just work in their occasionally, I found myself NOT using it that much, preferring the ART Pro sitting in the rack.

Then he got a Drawmer 1960 pre/compressor. Nice! I found myself liking that bad boy over the ART in stuff that needed to be quite clean and VERY open sounding.

The, after I started working their 5 months ago as a staff engineer, we purchases an Oram MWS. Found myself wanting to use that bad boy like he used to use the Focusrite. I use it on as many things as I can think of. VERY nice sound, and the "Magic EQ" on it is wonderful going to tape.

After the initial "gee whiz" of the Oram, well, I find myself liking combinations of things. Hell, we have 32 tracks in the studio, so for most productions, I have more than enough tracks to play with. On acoustic guitar for example, I have been using a AT 4050 on the neck, and a AKG 414 to the left (as you face the guitar) of the soundhole. If I want a very clean, sort of sharp sounding acoustic, I run both mics to the Oram. If I want a very smooth, sort of silky sound, I run one mic to the ART Pro, and the other to the Drawmer.

For voice, many options available there! ADK TC 51. AKG 414. AT 4050 and 4033. Nuemann U87 (believe it or not, we seldom use the pair of U87's at the studio!!! They just don't have the clean, open, brilliant sound some of the other LD condensors have....such a shame of a pair of mics that cost $5k!!!). Which pre I use really depends on what I need in the sound. I could try to list all the combinations, but that would take a while.

The point is dobro is that variety is cool for sure. But, you STILL need an idea of the type of sound you are after. You still need a "production goal". EXPERIMENTATION is the key word here! Having a variety of pre's and mics means you chances of finding a combo that works are much better. But, this doesn't mean that your production can't sound top notch with less variety. Me and the owner of the studio sit around and talk a lot about what kinds of micing techniques and what gear we used for tracks on certain clients. Of course, we are always listening to the stuff. I admit, I get some very good ideas from him, and I am sure he could say the same. This helps because we both have in our minds, the memory of all these sounds, and when faced with a new client, can approach the mic/preamp/micing technique stage with a much better "guess" at the very first. This helps save the client a bit of money, and of course makes us look pretty good....

Anyway.............Good luck.

Ed

 

[sjoko2]

It depends

 

[tdukex]

I'm in the same boat, and I'm going for two different pres. I want variety, options. Soon, something clean like a Davisound TB-6 or Grace 101, then maybe an Art or Meek.

Since you already have a nice Envoice, I would look for something with a different character.

 

[dobro]

Ed, thanks, that helped. I don't really have 'production goals' in the sense of trying to get a particular sound. I'm still at the 'avoid-the-obvious-pitfalls-and-let's-see-what-this-sounds-like' stage. I read interview after interview with pros who, when asked if they know what direction they want to move a mix in as soon as they hear it first time, say 'sure'. Blows me away.

sjoko - thanks for the ditto

tdukex - I've got a mindprint envoice and a meek vc6q. I like the mindprint better than the meek every time. I'm putting my acoustic through the mindprint because of its detail and transparency compared to the meek. I'd like the same detail and transparency on my voice, but I don't know whether to get another mindprint, get a different but equally transparent pre, or just stick with the meek. Ed's post helps me see things better.

 

[sjoko2]

At least your hearing is good --- the meek sucks, much to colored.
If you don't like the Meek, but like the Mindprint, you would love the new small Grace 101, which is an amazingly transparent new pre which stands above all in its price of around $500

 

[Track Rat]

Hey Doby,
How do you like the Mindprint? I just fell into a deal on a brand new one with the digital output option for $150. I haven't even fired it up yet. I'm getting ready to go down to the studio and wire it into the rack and patch bays. How would you describe its character?

 

[The Green Hornet]

YO Dobro & guys/gals:

One name always seems to be left out of the mic pre discussions:

that name is MARTINSOUND. They make, at my last info sheet, two pres. Transparent is supposed to be THEE WORD on this mic pre.

I don't have one yet but think about it.

Just ordered the new Yam 4428 16 track box with CD built in.
But, I won't get to toy with it for at least two months unless my supplier gets lucky.

I think 24 bit sound will eliminate my Yam MD8.

Green Hornet

 

[dobro]

Track Rat - see above

O Hornet of Green - thanks for the heads up on Martinsound. They're probably pricey - you have to email them to get prices. Let us know what they sound like when you get one.