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Published on 05/18/12 at 13:05This is one way a preamp, analog hybrid vacuum tube and transistor. The report input gain in the circuit in the tube and transistor circuit is adjustable.
In terms of connectivity it features:
- 2 inputs (Line and Mic) XLR
- 1 input jack 1/4 "Hi-Z (Instrument)
- 1 XLR Line output
- Support of standard power supply
This is a 2U rack-mount size, one peculiarity: its width is 9.5 "(half rack). The machine has an on / off switch.
Options include:
- Phantom power
- A pad to attenuate 15dB input gain
- A switchable low cut filter (75Hz, I have no slope at the top but it is pretty sweet)
- A meter (which displays alternatively the output level or saturation)
- A phase inverter
The input gain transistor between lamps and is adjustable.
It could have been interesting if the filter frequency is adjustable, however it seems to have been carefully studied and I was never embarrassed in my applications.
UTILIZATION
Configuration is very simple, all switches and knobs are located on the front, the Hi-Z input also. The input / output XLR on the rear.
My first comment is going to ergonomics, particularly successful: the half-rack allows you to view the whole machine at once, the choice of switches instead of buttons also improves the visibility of parameters.
Another plus point: three knobs (input gain, output gain and gain control transistor / lamps) are not serrated, allowing to be precise in handling.
I have only flipped through the manual - the machine is intuitive to use. What caught my attention is the page that contains diagrams to complete the facade. It has served me at the start to retrieve settings from previous sessions, when I was not yet familiar with the sound of the preamp.
SOUND QUALITY
Firstly I note that this is my first dedicated preamp.
Its sound quality is quite good, not surprisingly well above the mic preamps on audio interfaces or entry level consoles.
The sound of my microphones (RODE NT2000, and formerly AKG C-214) is much more pleasant means better grades in the delivery. Including the voices seem much more natural and the words stand out better, we work with a Squaller, a rapper or singer.
I do not think it introduces a color, the preamp does its job, works well as a couple with my microphones and all the better, I asked him for no less. And no more, that is to say no "heat", "color", or "analog sound". Catches of his ensuing correspond quite closely to my expectations.
The difference between lamps and more transistors are in the range of feelings, it is still audible when introducing sufficient saturation, the lights seem to have a softer sound (question is whether this impression is good to my ears, or the word "lamps". Find undoubtedly well studied: the mix knob, the transistor is on the left and right lamps, the lamps to go thus gives the impression of "increase" something, what treachery!)
However I must admit I do not saturate the preamp, when a need is felt crunch I use plugins or SPL Charisma.
In any case, my setting never changes, that it remains at 100% transistor, this way I find easiest to place her in a mix, it is better defined, it "overflows" less, while keeping its dynamics.
Very simplistic on tracks (without drums and without guitars) where you might want to "warm up" the voice, it seems more pure using only transistors.
Nags on pieces, we perceive more aggressiveness and expression of the singer, it does not make porridge.
Really, if we could turn even more to the left, "more than 100%," I think the machine would be even better.
Warning I am not criticizing the lights on this unit, I hope that on other instruments (guitar amp electrical outlet, acoustic guitar, piano, bass, for example), their presence is justified.
I just found that for my use-the only acoustic instrument recorded in my home studio is the voice-the difference is slight and in favor of the transistors.
OVERALL OPINION
I use it for ten months, are connected in the direct channel mic preamp, compressor dbx166 XL, and finally the Presonus Firestudio Project.
I had worked in the studio on the Avalon 737 Sp, the Tube Tech MP-1A and the Avalon AD2022, but on more expensive microphones, a frame grabber with converters far superior to mine, and listening on quality monitors, so talk about the role of the preamp seems a misnomer.
What I like, what are ergonomics, very successful, and his faithful to the original without overdoing it (it's the singer to give warmth, right?)
Overall I am satisfied with the device compared to what I used earlier, namely preamps built into entry-level machines, how can we not be?
Since in my case (voice recording), my main requirements are fidelity and clarity, I am not using the amplification tube, which on this model (not on those more expensive, cited above), not m 'brings nothing but a sense of marketing abuses.
With experience, I would opt for the X-SSL Alpha Channel, fully transistorized and slightly more expensive but more suitable for my use, and flexible (includes an EQ). At least I would have paid for THAT one transistor circuit quality, and not for "the best of both worlds" as it were.
It suits me, so no bitterness, just a lesson for the future. And yet there are more urgent to change in my environment (audio interface, monitors, sound) preamp that remains honorable.
In terms of connectivity it features:
- 2 inputs (Line and Mic) XLR
- 1 input jack 1/4 "Hi-Z (Instrument)
- 1 XLR Line output
- Support of standard power supply
This is a 2U rack-mount size, one peculiarity: its width is 9.5 "(half rack). The machine has an on / off switch.
Options include:
- Phantom power
- A pad to attenuate 15dB input gain
- A switchable low cut filter (75Hz, I have no slope at the top but it is pretty sweet)
- A meter (which displays alternatively the output level or saturation)
- A phase inverter
The input gain transistor between lamps and is adjustable.
It could have been interesting if the filter frequency is adjustable, however it seems to have been carefully studied and I was never embarrassed in my applications.
UTILIZATION
Configuration is very simple, all switches and knobs are located on the front, the Hi-Z input also. The input / output XLR on the rear.
My first comment is going to ergonomics, particularly successful: the half-rack allows you to view the whole machine at once, the choice of switches instead of buttons also improves the visibility of parameters.
Another plus point: three knobs (input gain, output gain and gain control transistor / lamps) are not serrated, allowing to be precise in handling.
I have only flipped through the manual - the machine is intuitive to use. What caught my attention is the page that contains diagrams to complete the facade. It has served me at the start to retrieve settings from previous sessions, when I was not yet familiar with the sound of the preamp.
SOUND QUALITY
Firstly I note that this is my first dedicated preamp.
Its sound quality is quite good, not surprisingly well above the mic preamps on audio interfaces or entry level consoles.
The sound of my microphones (RODE NT2000, and formerly AKG C-214) is much more pleasant means better grades in the delivery. Including the voices seem much more natural and the words stand out better, we work with a Squaller, a rapper or singer.
I do not think it introduces a color, the preamp does its job, works well as a couple with my microphones and all the better, I asked him for no less. And no more, that is to say no "heat", "color", or "analog sound". Catches of his ensuing correspond quite closely to my expectations.
The difference between lamps and more transistors are in the range of feelings, it is still audible when introducing sufficient saturation, the lights seem to have a softer sound (question is whether this impression is good to my ears, or the word "lamps". Find undoubtedly well studied: the mix knob, the transistor is on the left and right lamps, the lamps to go thus gives the impression of "increase" something, what treachery!)
However I must admit I do not saturate the preamp, when a need is felt crunch I use plugins or SPL Charisma.
In any case, my setting never changes, that it remains at 100% transistor, this way I find easiest to place her in a mix, it is better defined, it "overflows" less, while keeping its dynamics.
Very simplistic on tracks (without drums and without guitars) where you might want to "warm up" the voice, it seems more pure using only transistors.
Nags on pieces, we perceive more aggressiveness and expression of the singer, it does not make porridge.
Really, if we could turn even more to the left, "more than 100%," I think the machine would be even better.
Warning I am not criticizing the lights on this unit, I hope that on other instruments (guitar amp electrical outlet, acoustic guitar, piano, bass, for example), their presence is justified.
I just found that for my use-the only acoustic instrument recorded in my home studio is the voice-the difference is slight and in favor of the transistors.
OVERALL OPINION
I use it for ten months, are connected in the direct channel mic preamp, compressor dbx166 XL, and finally the Presonus Firestudio Project.
I had worked in the studio on the Avalon 737 Sp, the Tube Tech MP-1A and the Avalon AD2022, but on more expensive microphones, a frame grabber with converters far superior to mine, and listening on quality monitors, so talk about the role of the preamp seems a misnomer.
What I like, what are ergonomics, very successful, and his faithful to the original without overdoing it (it's the singer to give warmth, right?)
Overall I am satisfied with the device compared to what I used earlier, namely preamps built into entry-level machines, how can we not be?
Since in my case (voice recording), my main requirements are fidelity and clarity, I am not using the amplification tube, which on this model (not on those more expensive, cited above), not m 'brings nothing but a sense of marketing abuses.
With experience, I would opt for the X-SSL Alpha Channel, fully transistorized and slightly more expensive but more suitable for my use, and flexible (includes an EQ). At least I would have paid for THAT one transistor circuit quality, and not for "the best of both worlds" as it were.
It suits me, so no bitterness, just a lesson for the future. And yet there are more urgent to change in my environment (audio interface, monitors, sound) preamp that remains honorable.