Real-world preamp use

[underworld]

I was hoping to find some real-world references for some preamps I am looking at. In other words, can anyone provide a reference to a real, commercial, recording using the following preamps:

1) John Hardy M-1
2) Great River Me-1NV
3) Sebatron ??
4) D.W. Fearn
5) Martech
6) Seventh Circle (N72, A12, J99)
7) Pendulum
8) Millenia HV-3B
9) Speck
10) Avalon M5
11) Brent Averill Neve/API
12) Vintech

I'm mostly interested in use for Vocals; I am also interested in the API and UA pres as well as Manley - but I have some references for those already.

Also, if you have other recommendations for good Vocal pres, please include a commercial reference if possible.

And just for example, here's what I'm looking for:

xx) Manley tube pre - vocals for Norah Jones' debut album

Thanks!

[natpub]

Ya might try Lynn Fuston :-)

http://www.3daudioinc.com/catalog/pr...2733a251c3b22f

Web site is kind of out of data and confusing, but dig around. Pretty sure he has a volume II coming out, and includes higher resolution recordings, raw tracks, and many, many more preamps. If you do a search he posted some very nice pics of stacks and stacks of preamps during his tests.



-KT

[bap]

http://www.3daudioinc.com/cgi-bin/ul...ubb=forum&f=22



(Was fishing around was beat to it!)

[underworld]

yeah- i've seen the pre-cd stuff. looks very interesting- but not exactly what i'm looking for. i was hoping to find references to "real" albums/singles done using specific mic pres for vocals.

[steins]

Given all the opportunities to destroy a well-recorded track in the mixing process, I'd go for Lynn Fustons CD instead of real-world recordings.

Stein Tore

[toledo3]

I agree and disagree with the previous comments...

Listening to a final mix that uses a particular piece of gear tells you how it can sit in certain kinds of mixes, how it complements other gear, and how it takes processing.

The 3D stuff has benefits as well, but- I occasionaly you run into an example on these kinds of compilations that gives a completely wrong impression, due to the way the gear is on a particular singer or instrument.

The reality is, for me at least, that the most sound examples you can get, the closer you will have an idea to what the thing sounds like- but none of that compares to using the gear yourself for even a few minutes.

If you want to get an idea of what gear is used on album "x" you can certainly find a lot of that online- does Mix Magazine have online archives? (at the same time, unfortunately, this kind of info is not always accurate).

[brownmouse]

the problem with 'what preamp for which record' (even though the exercise would be fun) is that there is no way to tell what the preamp is contributing to 'that' sound after you take into account it is mostly that particular singer (on that day, that song, arrangement, etc..) coupling with that mic and signal chain. that chain may sound stellar on your voice (or clients voice) or it may not be the best tool for the job. after that, there is no telling how much the track was moulded/mangled with eq and compression, etc... really, a good tool is a good tool and with mic preamps there are a bunch of them that will perform the tasks thrown at them with dignity. from your list the preamps that i own (or would *love* to own) are ..
great river mp-2nv
d.w. fearn
martech
pendulum mdp-1a
speck 5.0
those are my picks of the litter.... but then again your taste may be different. the most educating thing you can do is find a dealer (like mercenary audio) that is committed to getting you the right tool for your needs. one that will help you narrow down your choices to a few and allow you to hear (in your studio) which flavor you want.
good luck to ya,
joshua
p.s. other than that the lynn fuston cd will give you general idea of the tone of the preamps and maybe help narrow the list down a tad....

[underworld]

While I agree with the concept of "mic pre sound" does not equal "final mix sound", I do believe you can hear the character of the mic pre in the final mix. Listen to anything recorded through an API mic pre, and it's usually pretty obvious that it's an API mic pre. Same thing, in general, with the various "Neve" flavors.

I'm particularly interested in how the pres sound in the final mix, not just how they sound on their own. For example, I think a Marshall JCM900 sounds like dirt for a guitar amp - but you can't help but love the way it sounds for a good hard rock mix.

[seriousfun]

Since you asked...

The Martech MSS-10 can be heard on lead vocals:

Paul Simon - You're the One
Diana Krall - Last three albums
Linday Ronstadt - new album
Brad Paisley - last few albums, Frank Rogers productions
Wynona, Faith Hill, Lonestar, Jewel - Jeff Balding productions
Elton John , etc. - Joe Chicarelli productions
Bad Religion - Greg Graffin vocals
Blink 182 - Jerry Finn productions
Foo Fighters new album

orchestral score and game recordings - Bruce Botnick and Chris Stone

etc.