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anapurna
Published on 07/02/05 at 00:50
Little wonder, little gem from the past, 70's delight
- It does not rack, but it is portable which is very convenient to adapt to working environments quickly
- There are two versions: the 169 and 269 respectively (10 channels 2 to bus 1, lanes 2 to 4 14 to return bus + limit + 4)
- Fully modular
- Mine uses a pin to the output of the block master, mic input + line grafted XLR direct out stereo jack
- The equalizer has a low shelf, a semi, a hi shelf
- S / N ratio excellent
- Clipping point 26 / 27 db (huge twist to your little mackie 16 db!)
- Limit very interesting, they are real walls! ideal to break your cretes
UTILIZATION
Let's go into detail ... I owned a 169 first. I fell in love. The only drawback really is "too small" size for the front end really the summation. We dream of breaking more leads to better isolate and to enjoy the clarity of the preamp to the mix .... 10 for me was too little too frustrating ... So I was the happy owner of a 269 (pretty rare, after all), my console of choice ... then it's better 14 tracks + 4 supllémentaires (line level) + double limit ... general configuration is fairly simple to a small detail: the quadraphonic sound. Designed in 4 bus it is actually a dual quad master: so it's pretty weird to settle panos early because you have to understand how to disable quad resimuler a stereo ... The Pan button is a double button ... it becomes an advantage with the creators of the imagination can make excellent use
For a broadcast console, it must be said, it is rather well designed, There are all you need to talk backn two steps returns, departures auxillaires ... CAUTION: While checking for out requiring direct intervention by a technician because originally they did not all!
SOUNDS
Ahhhh ...
20/20 and even more if possible !!!!!
ALL IS FOR ON!
I do not do the drawing ... you have to say one thing: most of these were small boneless crazy consoles by brokers who sell refurbished preamps to the unit ... that's a shame, especially considering the price .. the stereo is usually broke refurbished to $ 1,500, it's expensive, but given the sound quality and demand (c highly sought after by the sound engineer states ).... but now !!!!!
and I'm picky, I bought a series of preamps in different colors, as the high end of 1073 through the Telefunken (I love !!)... but ... people here are really good too
Studer was the color, clarity, warmth ... test ... I love how you describe it: it's pretty close to the Neve melbourne in fact, the sound is "smoothy" precise energetic but "not hard", excellent for projects types jazzy, acoustic and vocal ... very well to treat a variety of micro batteries, one can find the dough to own batteries 60/70 's atmosphere WHITE ALBUM Beatles .... the circuit invented by Studer is very particular about this series besides 169/269 961/962 following models are interesting month, less innovative, more traditional
In fact for me to use the strategy is simple: I made my (usually 16 microphones) I use 12 channels of preamps studer + some color to contrast well and I started working and puff in the tools with very good plugs ... Then I run the whole mix (or subs) in the lexicon with two studer wired in there ... Heavenly! artists that I produce are all very happy, the Studer really lets break this 'paste' digital and restore electrical power to sound
Therefore
- S / N ratio of madness (much better than in Neve 70's) the preamps have a crazy fishing due to the presence of op-amp 301 in the circuit that brings a big fishing
- Colored on the mic, transparent line, overall very musical
- Equalizer is quite simple the shelf are very powerful, can finish the half shooting a good eq or modify musical timbre, super
- Bus summation very clean very transparent, it twists too far (26 db) by clipping point, it leaves a headroom and thus enables to air and really have a real output level to attack your GP9!!
OVERALL OPINION
I'm a fan for several reasons:
- The console is very practical, not too heavy, mobile, ideal for back to live, or to register groups directly in their studios ...
- It does take advantage of 14 modules equ preamps to his mortal of the 70's inimitable miles terminals to all the crap like amek or tla, similar to melbourne, musical, smooth, very good signal / noise
- Effective miking but equally in that mix of dual purpose
- Mad behind the front end tools, sufficient, providing all you need to really give a more realistic analog to a digital work and do the summing etc. ..
I use it (169 269) for 6 years
- I love the preamps and sound clarity
- Ideal for the summation
- Very useful, since meters, tape return, departure auxillaires, no need to patch or DI etc ...
I worked on many pro consoles (Lafont, bcm10 neve, trident, mci) I love the Studer is very competitve and the same size but has the advantage of existing in a small version at affordable prices and to have on hand plenty of preamps to record and mix ... Ideal for my setup .. I tried the Snow 542, more expensive, only 8 tracks, not to, no direct out, poor sound quality (the worst of Neve preamp equ class B) ...
For the record, in fact, the 169 is not a broadcast console at the origin (it later became) Studer was put up for sale to meet demand for many working Inges sounds of music classical or jazz bands ... the idea was to place a console nearby, in the choir orchestra ... Today bnon number of studios dedicated to making sound symphony or philharmonic still have their 269 ... Save the number of Wagner is no longer counted with: dedicated to the world of classical, Studer has developed an impeccable console in terms of audio quality ... Then, with this reputation, the radios of the 70 boards (eg radio frequency) needed to read some small brackets to broadcast tapes, but they sought to have the highest quality, best sound (but it only existed in 40 / 60 channels) so they bought the 169, which was not broadcast at the base, it has become in spite of herself !!!!! The 90 and the reign of digital has caused a resurgence of the 169 on the second hand market because the radios are now covered 100% digital and have rid their old stuff ... brokers are having a field day and destroy the consoles to sell their gloreiux preamp for gold! HELP ENDANGERED SPECIES
Here
- It does not rack, but it is portable which is very convenient to adapt to working environments quickly
- There are two versions: the 169 and 269 respectively (10 channels 2 to bus 1, lanes 2 to 4 14 to return bus + limit + 4)
- Fully modular
- Mine uses a pin to the output of the block master, mic input + line grafted XLR direct out stereo jack
- The equalizer has a low shelf, a semi, a hi shelf
- S / N ratio excellent
- Clipping point 26 / 27 db (huge twist to your little mackie 16 db!)
- Limit very interesting, they are real walls! ideal to break your cretes
UTILIZATION
Let's go into detail ... I owned a 169 first. I fell in love. The only drawback really is "too small" size for the front end really the summation. We dream of breaking more leads to better isolate and to enjoy the clarity of the preamp to the mix .... 10 for me was too little too frustrating ... So I was the happy owner of a 269 (pretty rare, after all), my console of choice ... then it's better 14 tracks + 4 supllémentaires (line level) + double limit ... general configuration is fairly simple to a small detail: the quadraphonic sound. Designed in 4 bus it is actually a dual quad master: so it's pretty weird to settle panos early because you have to understand how to disable quad resimuler a stereo ... The Pan button is a double button ... it becomes an advantage with the creators of the imagination can make excellent use
For a broadcast console, it must be said, it is rather well designed, There are all you need to talk backn two steps returns, departures auxillaires ... CAUTION: While checking for out requiring direct intervention by a technician because originally they did not all!
SOUNDS
Ahhhh ...
20/20 and even more if possible !!!!!
ALL IS FOR ON!
I do not do the drawing ... you have to say one thing: most of these were small boneless crazy consoles by brokers who sell refurbished preamps to the unit ... that's a shame, especially considering the price .. the stereo is usually broke refurbished to $ 1,500, it's expensive, but given the sound quality and demand (c highly sought after by the sound engineer states ).... but now !!!!!
and I'm picky, I bought a series of preamps in different colors, as the high end of 1073 through the Telefunken (I love !!)... but ... people here are really good too
Studer was the color, clarity, warmth ... test ... I love how you describe it: it's pretty close to the Neve melbourne in fact, the sound is "smoothy" precise energetic but "not hard", excellent for projects types jazzy, acoustic and vocal ... very well to treat a variety of micro batteries, one can find the dough to own batteries 60/70 's atmosphere WHITE ALBUM Beatles .... the circuit invented by Studer is very particular about this series besides 169/269 961/962 following models are interesting month, less innovative, more traditional
In fact for me to use the strategy is simple: I made my (usually 16 microphones) I use 12 channels of preamps studer + some color to contrast well and I started working and puff in the tools with very good plugs ... Then I run the whole mix (or subs) in the lexicon with two studer wired in there ... Heavenly! artists that I produce are all very happy, the Studer really lets break this 'paste' digital and restore electrical power to sound
Therefore
- S / N ratio of madness (much better than in Neve 70's) the preamps have a crazy fishing due to the presence of op-amp 301 in the circuit that brings a big fishing
- Colored on the mic, transparent line, overall very musical
- Equalizer is quite simple the shelf are very powerful, can finish the half shooting a good eq or modify musical timbre, super
- Bus summation very clean very transparent, it twists too far (26 db) by clipping point, it leaves a headroom and thus enables to air and really have a real output level to attack your GP9!!
OVERALL OPINION
I'm a fan for several reasons:
- The console is very practical, not too heavy, mobile, ideal for back to live, or to register groups directly in their studios ...
- It does take advantage of 14 modules equ preamps to his mortal of the 70's inimitable miles terminals to all the crap like amek or tla, similar to melbourne, musical, smooth, very good signal / noise
- Effective miking but equally in that mix of dual purpose
- Mad behind the front end tools, sufficient, providing all you need to really give a more realistic analog to a digital work and do the summing etc. ..
I use it (169 269) for 6 years
- I love the preamps and sound clarity
- Ideal for the summation
- Very useful, since meters, tape return, departure auxillaires, no need to patch or DI etc ...
I worked on many pro consoles (Lafont, bcm10 neve, trident, mci) I love the Studer is very competitve and the same size but has the advantage of existing in a small version at affordable prices and to have on hand plenty of preamps to record and mix ... Ideal for my setup .. I tried the Snow 542, more expensive, only 8 tracks, not to, no direct out, poor sound quality (the worst of Neve preamp equ class B) ...
For the record, in fact, the 169 is not a broadcast console at the origin (it later became) Studer was put up for sale to meet demand for many working Inges sounds of music classical or jazz bands ... the idea was to place a console nearby, in the choir orchestra ... Today bnon number of studios dedicated to making sound symphony or philharmonic still have their 269 ... Save the number of Wagner is no longer counted with: dedicated to the world of classical, Studer has developed an impeccable console in terms of audio quality ... Then, with this reputation, the radios of the 70 boards (eg radio frequency) needed to read some small brackets to broadcast tapes, but they sought to have the highest quality, best sound (but it only existed in 40 / 60 channels) so they bought the 169, which was not broadcast at the base, it has become in spite of herself !!!!! The 90 and the reign of digital has caused a resurgence of the 169 on the second hand market because the radios are now covered 100% digital and have rid their old stuff ... brokers are having a field day and destroy the consoles to sell their gloreiux preamp for gold! HELP ENDANGERED SPECIES
Here