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omtayslick
New member
That's gettin' your 10 bucks worth! I've seen a handful of threads speaking favorably about the pres in the PV mixers. Are they really any good? If so, that's quite a bargain.
That's gettin' your 10 bucks worth! I've seen a handful of threads speaking favorably about the pres in the PV mixers. Are they really any good? If so, that's quite a bargain.
dgatwood
is out. Leave a message.
Probably all posts by me. I don't think I've convinced anybody else to try them yet.
IMHO, they're cleaner than the pres in either the FIREPOD or the M-Audio FW1814. They really are remarkably good for the price. Spec-wise, they outperform the DMP3 in EIN and THD, but they cost half as much per channel....
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omtayslick
New member
Probably all posts by me. I don't think I've convinced anybody else to try them yet.
IMHO, they're cleaner than the pres in either the FIREPOD or the M-Audio FW1814. They really are remarkably good for the price. Spec-wise, they outperform the DMP3 in EIN and THD, but they cost half as much per channel....
Interesting indeed. Thanks for the reply.
J
jeffree
New member
Really looking forward to your results, Richie, especially since I plan to pick up a new pre this summer (have been eyeballing the DMP-3). Thanks again for taking on this very interesting but time-consuming project! I've always enjoyed shoot-outs.
Speaking of shoot-outs, maybe you saw Future Music's monitor shoot-out a couple of years ago. A small group of engineers did the blind-test thing with monitors in 3 price categories, and the some of the winners were surprising. I believe their top low-end models were the small Yammies (strongest overall and a big surprise even to the engineers), Samson Rubicons, and M-Audio BX5s.
Good luck with the test,
J.
Speaking of shoot-outs, maybe you saw Future Music's monitor shoot-out a couple of years ago. A small group of engineers did the blind-test thing with monitors in 3 price categories, and the some of the winners were surprising. I believe their top low-end models were the small Yammies (strongest overall and a big surprise even to the engineers), Samson Rubicons, and M-Audio BX5s.
Good luck with the test,
J.
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TomT
New member
Well, considering the name of this thread I don't see how my point could be missed.
My point was that using a 150 dollar mic through a really great mic pre makes it sound great. More so than the other way around in my experiences.
mshilarious
Banned
Yeah? How about if you record an orchestra with a 520DX through any preamp you want. Then record the same orchestra with any mic you want through an ART Tube MP. Which recording is better? I suppose if the intended market is AM radio, option #1 might win
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Richard Monroe
Well-known member
A Green Bullet? Why didn't I think of that? If only I had one. I'll bet that would rock on harp through the Avalon! Somebody told me it was a harp mic....Richie
mshilarious
Banned
I hadn't heard that. I use it on pretty much everything. I have a friend with an Avalon though, I'll have to try that sometime . . .
I think any mic through the Avalon would be pretty good on harp. Any Chinese LDC with a really big presence peak through the Avalon, I bet that sounds great on harp
PhilGood
Juice box hero
When did anyone say anything about the mic being expensive or that it had to cost a lot to be a good mic?
It isn't about the price of the mic, its whether its a good mic or a bad mic.
The point should be that a crappy sounding mic can't possibly be helped by an awesome preamp. A Nuemann will still have the same general qualities no matter what you run it through. So will a 58. The problem is that an inferior preamp will add artifacts to the signal that can't be changed once its recorded. A good preamp just makes a good mic sound as good as it can. You have to start with something good before the preamp is of any use.
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TomT
New member
I prefer to record Harp with the a special DIY mic, it has 2 dixie cups and a string in between.
I voted that they were both equal in the poll, but a good pre-amp and a few different and varied mics would be my choice. 150 dollars for a mic is not a lot to me, and I don't see why you would care if it was. I am not someone who knows how to build mics or do mods, but I am very glad that their are people who do.
I cant argue with that.
Correct, and good affordable mics seem to be easier to find than affordable pre-amps.
I voted that they were both equal in the poll, but a good pre-amp and a few different and varied mics would be my choice. 150 dollars for a mic is not a lot to me, and I don't see why you would care if it was. I am not someone who knows how to build mics or do mods, but I am very glad that their are people who do.
I cant argue with that.
Correct, and good affordable mics seem to be easier to find than affordable pre-amps.
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PhilGood
Juice box hero
darrin_h2000
Banned
There are exellent preamp options for under $500...we have a banner at the top of the page...some industry guys like the hell out of them...and nobody here is using them.
darrin_h2000
Banned
As much as I like that Idea...John Popper used a SM58 through a bassman 100...I like mine through a supro tube combo with that 58...is the bullit really any better?
mshilarious
Banned
Kidding aside, it's actually just a lot different. The capsule has a different operating principle; it's also omni and has a much different, very bandwidth-limited response.
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Richard Monroe
Well-known member
Wow. Some of you guys are so obtuse, I can't even tell whether you got the joke or not. I assure you a Green Bullet will *not* rock on harp, no matter what preamp you plug it into. It's not too bad on harmonica, though. And who was it that first referred to a mouth organ as a harp? Beats me, but sometimes I think I'm so old that nobody but Harvey remembers my slang words. Oh well. I'm coming home, mom.-Richie
mshilarious
Banned
Another reason why preamps are unimportant: it's entirely possible with the right mic and source to plug a mic into a phantom power supply and then straight into a converter, no preamp required. I don't think it's quite as easy to use a preamp without a microphone . . .
darrin_h2000
Banned
You have to be a real bluesman to call it a harp...that takes years of hookers and cheap wine to be a blues guy...something you white kids from the burbs wont understand
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Richard Monroe
Well-known member
You have to be a real bluesman to call it a harp...that takes years of hookers and cheap wine to be a blues guy...something you white kids from the burbs wont understand
You're not really a Bluesman until the hooker is your ex-wife- that you still live with.-Richie
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TomT
New member
I got the joke about the harp, but refrained from a reply since sarcasm when you are new to a forum will get you pounced on.
I am going to look into the pre-amps you are mentioning at the top of the page. I need a 2 channel pre-amp for sound design recording, and will not be spending a $1,000 or more on it!
I am looking for a clean pre that can offer some good harmonic saturation when driven hard. Maybe one of the tube pre's considering what I would like.
Any suggestions from the list of tube pre's based on that banner link Darrin_h2000? Or anyone else? Behringer and Avalon (etc) need no introduction, but some of thos I have never had any experience with.
I am going to look into the pre-amps you are mentioning at the top of the page. I need a 2 channel pre-amp for sound design recording, and will not be spending a $1,000 or more on it!
I am looking for a clean pre that can offer some good harmonic saturation when driven hard. Maybe one of the tube pre's considering what I would like.
Any suggestions from the list of tube pre's based on that banner link Darrin_h2000? Or anyone else? Behringer and Avalon (etc) need no introduction, but some of thos I have never had any experience with.
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