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Thread: What Lynn learned in the Preamp Comparison

  1. #21
    Join Date
    Mar 2004
    Location
    PA
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    452
    Originally posted by electric cool acid studio:
    <STRONG>hello,
    I have tested 3 totaly different mic pre's. Millennia HV-3B, manley mono pre and a mackie 24/8 bus preamp.
    I played a R&B song with lots of hi-and low end frequencies tru one Mackie HR824 speaker. I did put my neumann M149 about 40" in front off the speaker in cardioid.I used the same cables on every recording.
    I used a motu HD 192 and I recorded everything at 24bit 192 kHz.I tryed to match the input level as close as possible and than normalized the 3 tracks.

    I don't hear the difference!!!.

    It is the second time I do a pre amp test an I beginning to think that I have a problem with my ears.
    I have a recording studio an I also work in a music gear shop, I hear the difference between speakers, mic's but not between different mic pre's.

    Can anybody give me some tips on how to compair mic pre's?</STRONG>
    Test them again on many instruments at once...or an entire drum kit. The low frequencies are where the biggest differences were, next were the highest frequencies.

    If you get Lynns new preamp comparison dvd, I am positive you will hear a difference between preamps. It's not a small one.

  2. #22
    Join Date
    May 2004
    Location
    UK
    Posts
    3
    Lynn
    Was there ever a DVD of this...
    Along with the Movies of the interviews and soundclips etc..
    Make it Region2 (for the UK) - put some of the other 3D goodies on there

    .. and you have a buyer right here..

  3. #23
    Join Date
    May 2004
    Location
    UK
    Posts
    3
    Sorry - can you put the Face to Face on there as well.

    We can all dream about our Christams presents

  4. #24
    Join Date
    Apr 2003
    Location
    Pennsylvania
    Posts
    710
    Originally posted by 3D Audio Inc.:
    <STRONG>Well, first let me say that I'm not naming names, so if you were expecting that (you shouldn't have), prepare to be disappointed.

    So here's a few things that I learned during this round of listening.

    1) You can never have enough preamps. Each one not only sounds different, but they each bring something special to the party.

    </STRONG>
    I have a question here for you.

    How do you get over 15 pre amps in a studio and know which one to use? Unless your doing it full time every day and know them so well, I can't imagine saying oh on this voice I want to use a Manley pre, or Great River, or Neve.

    My feeling is when you have a vocalist, find out what kind of sound they want. If they have an amazing voice, and don't need much help, use a GML pre, with a LA2 A, or Manley Optic limiter. IF you want a little smoothness, but clean sound maybe a Bret Averil, or Great River. Or a in your face full sound a Portico. On the other hand if you want clean with a little softness added maybe a Avalon 2022. Then if you want a tube sound a Manley, or Vipre. After a couple more pre's, I think I would get too over whelmed. The other thing is once you pick a pre, you had to also pick out a mic. Another daunting task.

    I don't know for me, having 6 different pre's and 6 different vocal mic's are just about all I would care to deal with. Besides dealing with the sound of pre's and mic's, you also have the option of throwing a Massive Passive, other EQ or tons of compressors to add flavor.

    So for me, get the pre's and mic's you need, and keep it simple. Lynn's CD's are great for checking out the gear that most stores don't carry. Maybe if I had the luxary of spending 12 hours a day in a studio it would be different, but for doing this part time, having a Langevin, Bret Averil or API, Portico, Great River and lets say a Manley pre and GML, I would be all set. There are tons of great pre's out there, but I think for many of us, getting the ones we know and love and sticking with them will keep us sane. I can't just run around looking and waiitng for new pre's. We got to do music, and focus on that, not forums, not reading reviews all the time. I am not saying to keep your head in the sand either. If you found your studio is lacking something you need, do the searching and testing. But once you read the reviews and are done with the testing focus back on the music and engineering.

  5. #25
    Join Date
    Aug 2001
    Location
    Fort Wayne, IN, USA
    Posts
    27,246
    Originally posted by Revelation:
    <STRONG>I have a question here for you.

    How do you get over 15 pre amps in a studio and know which one to use? Unless your doing it full time every day and know them so well, I can't imagine saying oh on this voice I want to use a Manley pre, or Great River, or Neve. </STRONG>

    OK. You caught me.

    I must admit that, given lots of options, sometimes it's daunting to just decide which mic to put where.

    Then after you decide that, you have to start a new list for the preamps. It can be nearly overwhelming.

    But you learn what works on what.

    Bones: R-122 or R-84 to the Great River. I've tried other things, nothing works as well for me.

    Tenor Sax: R84 to either Cranesong or ISA-110. Actually GR works well there too.

    Trumpet: R84 for mellow, R92 for bright. Flamingo is good here too or VIPre.


    It all boils down to experimenting and experience. Basically it's just a matter of making mistakes and learning from them.
    Lynn Fuston
    3D Audio

    Making beautiful music SEEM easy since 1979.

  6. #26
    Join Date
    Feb 2006
    Posts
    7

    Default

    Hi Folks,
    Apologies if this is a little off topic but just wanted to add my 2 cents.

    Character Vs Transparency

    Are you making a documentary or a fantasy film?
    I don't think that there can be a definitive answer to which pre-amp is best or if an old design can be improved. Many manufacturers would love to re-issue the classic pres i.e. Derrick Stodgard of Shep, but due to the parts being unavailable are forced to compromise the design with modern components.
    Yes the new "improvement" may have a better noise floor ratio, but maybe this sonic character was part of the appeal of the original unit.
    I own a 400 DAV pre that in many ways is technically superior to the ones in my 8078 console, but 9 times out of ten the Neve will blow it away because it has the sonic colour that I am looking for.
    I also see parallels in the film industry, all these years people struggling for visual perfection and now what do we see, HD 24 p (24 frame 35mm Emulation).
    If it is total sonic transparency that we are looking for then why even use compression?

  7. #27
    Join Date
    Jul 2005
    Location
    Lancaster, PA
    Posts
    1,767

    Default

    Quote Originally Posted by 3daudioinc View Post
    OK. You caught me.

    I must admit that, given lots of options, sometimes it's daunting to just decide which mic to put where.

    Then after you decide that, you have to start a new list for the preamps. It can be nearly overwhelming.

    But you learn what works on what.

    Bones: R-122 or R-84 to the Great River. I've tried other things, nothing works as well for me.

    Tenor Sax: R84 to either Cranesong or ISA-110. Actually GR works well there too.

    Trumpet: R84 for mellow, R92 for bright. Flamingo is good here too or VIPre.


    It all boils down to experimenting and experience. Basically it's just a matter of making mistakes and learning from them.
    May I ask how you had the GR set up and would it sound ok on trumpet as well? I understand you can go clean or into dirty with the unit. O.D. I guess some call it.

    thanks
    -je

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