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Originally Posted by JSVice Why did I get it? I was in a pinch. I actually had a Presonus Digimax for a few days. Second worst purchase ever, right behind my AKG C1000. The Focusrite is a passable pre, since all I use it for is toms. Unfortunately, I think the more I do this, the more I think like Wittman. You don't need all these colors, you need something good. Maybe that's the root of my problem with the 500 series. I don't want to drop 500-600 bucks to get a new pre that has the only the most subtle color differences from another in that range. Differences that probably won't even be noticed or appreciated by anyone else's ears. Will these color differences make or break a recording? I'm going to have to guess no. I think I understand your point about how, at this level, it's about color, not quality. So let's hypothesize that I want about 4 channels of API 512 quality. What are my options outside of lunchbox land, and would that be cheaper than just getting the 512s?
I'm not trying to dfegad 500 series. I just want to decide if this is something that's worth the money for the quality level you get. |
One of the reasons we jumped on the 500 Series bandwagon was so that people could obtain "the sound" of our preamps without spending a large amount of money. You are right, at only four channels, then maybe the format is not very cost effective, but once you go beyond that number, then the cost savings due to the global power supply starts to kick in.
And, we don't generally record every source with the same microphone do we, we have different types for different sources, the same can be said for mic preamps, how they pair up with different mics gives you differing results.
Tim.