Pre amp opinion HELP!!

[JSR]

If you can afford it, try the Requisite Audio Pal Plus, you will never use another mic pre again on anything...same with the compressor in this unit...simply amazing. The "feedback" control on the unit does something amazing. I had to get one after trying it, I want another now. Try one.

http://www.requisiteaudio.com/produc...lus/index.html

[PTUser NYC]

I thought that the Great River was a Neve clone(?). So is it really "cleaner preamp"? Cleaner than AMS-Neve & Vintech-Audio? As clean as Red 8?

Great River has two (or more?) models. The NV version is supposed to be Neve-esque. A lot of people love it, I don't have enough experience with one to comment, although i wouldn't be surprised at all if it was really good.

They also make another model, which is a cleaner and more open design. This is the one I was talking about.

Where I like the presence of the Neve, and perhaps would like the Great River NV too, for lead vocals, I often like a more open sound for backgounds. If the lead vocal is slightly midrangy and honky (hopefully in a good way) then the open top of an M149, paired with a Focusrite Red preamp (for example) can peek out around and above the lead vocal, while still feeling like the back row of the choir, behind, and submissive to, the lead vocal.

For me, choosing a mic and preamp combination is often about playing one device off of another to create different spaces for the sounds. The biggest loudest most treble-y sound is not always the best choice.

The Neve preamp has such great guitar ampy mids. it sounds a bit like marbles, or a slight megaphone. The Focusrite sounds like the sheeny high quality transformers - sheeny, airy, breathy but not forward. Together they create a soundstage with depth, and contrast.

"it could well be transformerless." --> could you give me an example?

In the Neuman family, TLM 103, M147 and M149 are all popular non transformer microphones.

Generally I find these mics to be detailed and open. They don't often have the edgy focus and immediacy of their older transformered brothers, but that is also a strength in situations that require a more open and airy application.

[Tony Shepperd]

I think you also need to consider the style of music that you are recording.
Is the vocal supposed to sound light and airy up top or is it going to be squished beyond belief in a pop song?

Have a variety of mics that go with a variety of mic pre's that also go into a variety of compressors.
IMHO, the song dictates the weapon of choice for mic and pre.

Lately, I have been using the A Designs Audio Pacifica mic pre. It sounds great on acoustic guitar.
Then vary it a little and cut the vocals with a Neve 1073.
I tried the Tone Lux mic pres last week and they are really sweet as well.

If the mic is supposed to have a pop sheen, try the Sony C800G, works almost every time.
If it's a rounder less pop thing try the M149.

Bottom line... you really can't go wrong by having a variety of mics, pres and compressors.

[PTUser NYC]

I think you also need to consider the style of music that you are recording.
Is the vocal supposed to sound light and airy up top or is it going to be squished beyond belief in a pop song?

Have a variety of mics that go with a variety of mic pre's that also go into a variety of compressors.
IMHO, the song dictates the weapon of choice for mic and pre...

you really can't go wrong by having a variety of mics, pres and compressors.

Of course I agree entirely with this. This is why I said:

Well, first off, every situation is different. For instance, when you say background vocals, is it a whiny Beatle / Cheap Trick thing, or an airy 10cc thing?
Given that obvious caveat, I'll try to answer in a helpful way.

and also used words like "generally" and "often" and "usually".

I also wanted to be more helpful than just a general answer, so I took the plunge on some specifics, without hearing the song, the source, the key or anything else, all of which matter a LOT.

I mean, your point is the actually correct answer - that it depends on everything each time. It really does, and when I work, I am open to anything that sounds right, I work very hard to avoid equipment biases.

Still, and you probably agree, its a good thing to tell a less experienced engineer who is asking for advice to at least listen to a 57 on that snare drum?

7 times out of 10 the old stand bys are the right answer, so I was trying to help get that information across.

You are right, there is, of course, no "how to" recording.

[channelcatrecording]

I don't think anyone has mentioned the Hardy M-1s yet. I have the 4-ch. deluxe, but you can get 1-, 2-, or 3-ch. initially and add more later, which is what I did. Fortunately, I live in the Chicagoland area, and was able to pick-up and deliver directly to John's shop. It is very clean, extremely reliable, and definitely my go-to pre. The metering (which many mic pre manufacturers seem to be leaving off these days) is a very nice feature; they can be seen from across the room regardless of the lighting. Now they are not going to impart a sonic signature like many of the other pres mentioned above.

If you are looking for something with a little more coloration to it, check out the UA 2-610. I've used it on everything. I particularly like it on vocals and bass. I've also sent the bass through a Manley St. Tube DI and then into the 2-610 for that ultra-lush, full, round bass sound. It's amazing what those two can do for an Alesis SR-16 too! Currently, the 2-610 is being fed from my Folcrom, and I am very happy with the results.

I plan on expanding my pre selection with more M-1s, Vintech x73s and x81as, and A-Design Pacificas.

[PTUser NYC]

I don't think anyone has mentioned the Hardy M-1s yet...

Now they are not going to impart a sonic signature like many of the other pres mentioned above.

I agree and disagree all at once.

I agree that the Hardy's are really great preamps. They do deserve to be on this list.

I disagree that they aren't colored. I hear a "papery" top with them, kinda transistory or maybe its a transformer - I dunno. I do know that they seem to have a more affected top, than say, my API 312.

The color is not unpleasant, and can be an asset, so they definately belong on the short list of good mic preamps.

Still, I wouldn't compare them to a GML, Millenia, or Great River (non NV) which are all more neutral sounding in my opinion.

I'd love to own a pair tho.

[Erik Braund]

If you are looking for something with a little more coloration to it, check out the UA 2-610. I've used it on everything. I particularly like it on vocals and bass. I've also sent the bass through a Manley St. Tube DI and then into the 2-610 for that ultra-lush, full, round bass sound. It's amazing what those two can do for an Alesis SR-16 too! Currently, the 2-610 is being fed from my Folcrom, and I am very happy with the results.

Am I the only one who hated the UA 2-610? I found i just couldnt find a use for it on anything.. not to mention its slim options for input gain.
I returned that thing right away and got 4 channels of the Great River MP2NV 1073... and LOVE them. Nice compliment to the 4 channels of averill API 312. Talk about drum heaven! I love the Great River on overheads with Josephson Small diaphragm condensers.

Yes, offtopic, i know, but I hated the 2610.. (not trying to piss anyone off here)