TECHNOLOGY FOCUS MIC PREAMPS Mic Preamps
Choosing the best mic for your recording is crucial, but the importance of finding the right mic pre for your sonic palette shouldn’t be underestimated either. We take a look at some current offerings.
Launched in 1970, the big, punchy sound of the Neve 1073 Classic complements any musical genre – from rock to rap to classical. Designed and built in England, the modern-day 1073N is produced to the exact specifications of the original, matching components to ensure the sound remains true. The Class A design 1073N microphone preamplifier has three-band EQ (fixed HF plus two switchable bands with cut/boost capability) and a high pass filter. The Neve 1073N mic pre and EQ combination adds warmth and depth to recordings, brings out subtle ambience, maintains spatial positioning, and captures a more precise image. Building on the 1073 classic module features, the 1073N introduces extra functionality with an integrated DI input, I/O connectors for direct connection of microphones, instruments, and other equipment, phantom power for powered microphones, and a PSU for standalone use. It can also be fitted into compatible racks/housings or retrofit into 80 Series Neve Classic consoles.
www.ams-neve.com
Inspired by the manufacturer’s flagship 1788A remote mic pre, The Aphex J PRE 500 is an ideal professional front-end for DAWs, digital recorders, and digital consoles. The J PRE 500 is equipped with a Jensen nickel input transformer and output-balancing transformer, with 65dB of gain available for comfortably operating dynamic, condenser, and ribbon microphones, while a 26dB pad helps when recording very loud sources. An input meter on the front panel enables levels to be easily viewed, while a three- way switch provides the option of +16, +20, or +24dBu output levels. Illuminated buttons control phantom power, phase reverse, a 75Hz high pass filter, and mic limiter on/off. Aphex’s Mic-Limiter technology, which is placed before the preamp itself, minimises the risk of clipping on input making the module highly reliable for live situations and for voiceover applications involving sudden or unpredictable changes in level. For studio applications, a 0.25in jack input on the front panel makes it easy to directly connect instruments such as guitar or bass without the need for a DI box. The J PRE 500 is VPR appliance compliant and is compatible with Aphex’s new USB500 rack that will ship shortly.
www.aphex.com
The DirectOut
Andiamo.MC is a 2U 32-channel microphone preamp, D-A converter, audio router, and MADI interface fitted with dual-redundant power supplies. The 32 remote controllable mic preamps with reference 24-bit A-D converters connect to a 96 x 96 routing matrix allowing each of the 32 channels of mic audio to be routed to any MADI output channel for delivery to the console or recorder. This is particularly valuable for fast-turnaround events such as festivals where particular channels of the console are often pre-configured for each type of instrument or vocal style. The MC also features 32-channel line level outputs for splitter outputs of the mic inputs or fold-back or monitoring returns from the MADI input. At its simplest, the MC can be controlled from the front panel. However, connecting a PC to the MC itself or to another DirectOut interface in the same MADI loop adds control of the routing matrix and gives more accessible control of all the other functions and set-ups.
www.aspen-madi.com
The Earthworks 521 ZDT preamplifier for 500 series racks is based on David Blackmer’s Zero Distortion Technology with
unmeasureable distortion (less than .0001 percent) and ultra-wide bandwidth (2Hz to 200kHz). The 521’s signal path is made of all discrete components, with no electrolytic capacitors and is fully differential (balanced) from input to output, topped with an impressive output level of +28dBu, providing substantial headroom for high transient signals. The high current Class A output stage is able to drive long cable runs without loss of quality. All of this is coupled with outstanding common mode rejection, excellent overload margin, and a low noise floor. This level of performance is maintained over an extensive range of impedances applied to the input, making the 521 ideal for any microphone – ribbon, dynamic, or condenser.
www.earthworksaudio.com
36 December 2013
Thirty years on from its inception by Ivor Drawmer in 1983, the 1960 mic pre/compressor is still in demand and in full production. The Drawmer 1960 combines eight active tube stages with solid-state electronics. It is a two-channel unit with each channel comprised of a low-noise microphone preamplifier with switchable 48V phantom power and a natural sounding ‘soft knee’ vacuum tube compressor. A further auxiliary instrument preamp with two-band EQ is also provided. The VU meters may be switched to monitor either the amount of gain reduction taking place or the output signal level, and the two channels may be used either independently or as a stereo pair, depending on the setting of the stereo link switch.
www.drawmer.com
www.audiomedia.com
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52