Presonus D8 vs Similar products

[MikeV]

I was looking at the Presonus D8 preamp, it seems like a nice value, they are going for as little as $350 on ebay for 8CH of the XMAX mic pres and analog out on each channel as well as ADAT optical (48k). They also have word-clock input.

I was wondering if anybody has used these for live recording and how they liked it. I was particularly interested in this product vs similar higher priced products, such as the focusrite ocotpre and the mackie 800r as well as the DigiMax LT and 96K products.

Any input would be greatly appreciated!

- Mike

[mixedupsteve]

Originally Posted by MikeV

I was looking at the Presonus D8 preamp, it seems like a nice value, they are going for as little as $350 on ebay for 8CH of the XMAX mic pres and analog out on each channel as well as ADAT optical (48k). They also have word-clock input.

I was wondering if anybody has used these for live recording and how they liked it. I was particularly interested in this product vs similar higher priced products, such as the focusrite ocotpre and the mackie 800r as well as the DigiMax LT and 96K products.

Any input would be greatly appreciated!

- Mike

I bought one to expand my Firestudio. Its not a high end pre but it does just fine. It only goes to 48K though and the phantom power switches are on the back and a real pain to get to if you rack mount it.

[MikeV]

Originally Posted by mixedupsteve

I bought one to expand my Firestudio. Its not a high end pre but it does just fine. It only goes to 48K though and the phantom power switches are on the back and a real pain to get to if you rack mount it.

How is the headroom on the D8? Have you had the opportunity to compare it to the Digimax 96k for example? I am concerned about unexpected overload during live tracking.

The 48k isn't a concern as this will be my recording resolution for a number of reasons including channel count due to optical bandwidth availability. I need 32 tracks available and using 96k only gives me 16. So for as for comparing the D8 to the other pres mentioned, please keep in mind that the units will all be operating at 48k regardless of their capabilities.

Thanks for the input!

[HobbyCore]

Originally Posted by MikeV

How is the headroom on the D8? Have you had the opportunity to compare it to the Digimax 96k for example? I am concerned about unexpected overload during live tracking.

The 48k isn't a concern as this will be my recording resolution for a number of reasons including channel count due to optical bandwidth availability. I need 32 tracks available and using 96k only gives me 16. So for as for comparing the D8 to the other pres mentioned, please keep in mind that the units will all be operating at 48k regardless of their capabilities.

Thanks for the input!

headroom on the d8 is absolutely fantastic IME.

The pre's naturally are at quite low gain, so you have a lot of room to work with. I've found the unit to be absolutely excellent overall except for the phantom power switches on the back.

[MikeV]

Originally Posted by HobbyCore

headroom on the d8 is absolutely fantastic IME.

The pre's naturally are at quite low gain, so you have a lot of room to work with. I've found the unit to be absolutely excellent overall except for the phantom power switches on the back.

From your experience with the D8, have you had the opportunity to A/B it against any of these other preamps? I curious about tone, I have a FireStudio for my project work and have noted the low gain, as you mentioned, but those preamps seem to lack warmth and give a slightly harsh sound when compared to the pres in my SoundTracs console I use with clients; I wouldn't expect this from the Digimax 96k for example, which seems the most logical choice due to the limiters, but just wanted to confirm before purchase.

- Mike

[thedoner]

I have 3 Digimax 96's as the front end of my remote rig. I've never heard the D8, an I don't know if the pres are the same or not. The combo of analog and digital outs was a natural choice to feed both my primary and backup recorders.
The 96's are solid, fairly neutral sounding workhorse pres, which I tested and prefered to the Octopre, Onyx, SP etc. Not high end by any means, but pretty good...they actually give your quite alot for your money.
The limiters are very brick wall-ish, and while not particularly musical, can be a big help safegaurding you levels on remotes, when you have a short or non existant sound check. There are pads on every channel so you need not worry about overloading them. My only complaint is that they don't have a ton of gain, and struggle with low output mics like the SM7 and certain ribbons...and of course the ass end placement of the phantom power buttons
IMHO, for a better 8ch pre, you'd need to step up in price to a True, Audient, or JLM (RME maybe??)
Best
-GD

[MikeV]

The True is certainly a better pre, I have used True systems on a number of orchestral recordings and they were amazing; however, we are looking at double the price to record corporate presentations and rock shows; so, for now, I think the Digimax 96k level is probably most reasonable.

I also have a few Eurekas and would like to be able to integrate them, as well as other single or dual-channel pres into this system. This would be nice for vocals, drum overheads and any other hi-gain/quality requirements. A big plus on the Mackie 800R is the ability to switch to a direct line input. Now as far as integrating a channel strip with this setup such as a DigiMax 96k, would I be able to plug the line level signal into the pre, our would a DI of some sort be required?

Again, I am unfamiliar with systems that don't use mixers so this a whole new world for me.

- Mike

[Nityananda_SCSM]

So Thedoner, would it be correct to say that a SM7B is unusable with a Digimax 96k due to the lack of gain?

I have bought a Digimax96k and would like to buy a SM7B but not if it will be unusable. Does "struggle" mean just don't try it, or that it's workable?
Thanks

[cheu78]

I've used the Digimax 96k with an SM7b and with a 441 several times..
I never encountered gain shortage..

I've recorded jazz trumpets through the 441 (which you have to push the preamps a bit)..but even the subtle notes were recorded without problems..and without hiss
and some vocals through the SM7b, and no problem for me...
I've never used those preamps with a ribbon though..

I agree, the digimax 96k it's a great product for the money, and for a better pre you have to go in another price point...like the ATI 8mx2 or higher..(but you loose the nice adat option..)

The Digimax it's a good, clean and honest preamp... nothing fancy, but you could get some nice results. (I never tried the new ones D8 and so from presonus, but I have a feeling that the quality it's not like the 96k...but I could be wrong..)
He get very hot though...

just my 0.02$



Bests,

Cheu

[mixedupsteve]

The D8 and the 96 appear to be very different. My regular D8 which only goes 48k usually ends up between 2/3 and 3/4 up on the gain knob except for drums and amps where it usually ends up below 1/2. I like the sound alot but I never heard the 96k so I can't compare either.

[Nityananda_SCSM]

Well I got one now and hopefully I'll receive my SM7B soon (UPS lost my shipment!) and I will report some tests. I really appreciate the info Cheu, glad you've had good results with the Digimax 96k. Did recording at 48khz bother you? Also, I will be using this unit in hot and humid environments in India, do you think the preamp could overheat and die..?

Anyway happy to hear some good 96k experiences, I bought it used on a bit of faith!

[cheu78]

I always recorded to 48/24 so far without any problems into nuendo.(use 2 digimax 96k, and using them at 48 in order to have 16 channel in the rme multiface 2).
I'm planning to record to the Alesis HD24XR modded by Jim Williams.. Ditching the pc.
Btw 48 always was great to my ears, and I didn't have any problems with my clients with that. When do you record a live, a lot of others thing are more important than record at 96 vs 48. (first that comes to my mind is mic placements, after the artists of course..)
And I record even (few times) in the studio at 48/24.. It was always good. still there the placement had more influence that 96 or 48 to me..
I recorded in the summer as well as in winter ( which could be very cold and humid) here in Switzerland. The Digimax 96 gets hot quite a bit, but always worked flawlessly.
Going from the van, to the -10 Celsius outside, to the 30 humid degrees of fully fitted club without any problems. I think that it's built like a tank, but if you want to be safer, regarding the humidity, you could add some small "salt" bags to your rack.
Another plus it's that it completely silent not having a fan is great sometimes.
I remember using an 8mx2 (the older version) and the fan sometimes was annoying..I know that the new 8mx2 units have a more quiet fan..and yes they sound better than the digimax 96k. The price is different and no adat..
The Digimax 96k (always IMMO) have better pre than the rme fireface, I don't know if other units have better pres.. Like mackie,focusrite and rme (1RU speaking), never tried them.

Just my 0.02$,

Bests,

Cheu