Thanks a bunch, I will have to see what it will take to get a week or two on
a few pre amps and go from there. I currently use a Ureka presonas or GT
brick. I sold my Avalon because I just wasn't getting the tracks recorded on
it to sink into the mix at that time, but I have more experience now and am
ready to invest again. I will look into those companies you suggested for
rental.
Thanks, and to Chuck, I checked out that PA-4, but can't get too much
current information on it to make an informed decision.
----- Original Message -----
From: "Slau Halatyn" <[email protected]>
To: <[email protected]>
Sent: Monday, February 18, 2013 6:39 AM
Subject: Re: Thoughts on Preamps
While the topic doesn't really have anything to do with Pro Tools and
VoiceOver, I'll add in my two cents for what it's worth.
Under normal circumstances, there's little difference between preamp
topologies. when I say "normal circumstances," I mean loading them with
nominal signal levels. Every preamp is designed to amplify sound and not to
change it. That said, people realized that if they pushed the signal path in
the tube and transformer-based consoles, they broke up in a pleasant way.
With Class A discrete designs, the goal was to be clean and uncolored
throughout its functional range. Clip a high-voltage pre and it sounds like
crap.
Depending on the application, one may or may not necessarily take advantage
of the extreme characteristics of the tube and transformer-type circuits.
Some people like to mix and match and a lot of people think that's a
mistake. I guess I pretty much count myself among those who keep it
straightforward. when you start to mix topologies within the same
production, one can potentially run into subtle problems—nothing that's a
deal breaker but things can begin to sound a little out of whack. For
decades, recordings were made on all tube or all transformer consoles (and
of course, the tube consoles had transformers as well). There was a cohesive
sound to the recordings. It's only in the last two decades that we've seen a
proliferation of outboard mic pres. I myself have gone the route of many
channels of high-gain, several channels of transformer-based 3124 and the
tube UA 2-610. With those pres at my disposal, I tend to stick with one type
throughout an entire project. If it's a rock band, I'll go with the APIs, if
it's a jazz or classical project, I'll go Millennia. The 2-610 is good for
just about anything but one must consider the trade-offs of tube circuits.
Actually, both the tube and transformer paths are going to be somewhat
noisier in general so, if it's going to be an intimate singer/songwriter
tune, be prepared for a little noise. Hey, some people love the sound and it
doesn't matter to them. frankly, ultimately, the noise and the sound really
doesn't matter. What matters is the emotional impact and whether that's
conveyed and as long as the recording equipment and process stay out of the
way, it's all good.
If you're doing hip-hop, to me, the obvious choice would be to go for a Neve
or API style They have tons of clean gain before they break up, at least the
better specimens. I'd stay away from Golden Age unless you want gritty
throughout its range. Don't spend too much money for now. It's not worth it
unless you're doing a ton of projects that'll pay for it. For my money, the
API 3124 is a phenomenal piece of kit for the price. It's worth trying out
two or three pres via rental before committing. Check out DreamHire or
blackbird. they'll ship anywhere.
OK, enough.
Slau
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