Sorry - another single RU 8 channel preamp thread

[RobAnderson]

Howdy folks

I hate to be the guy starting a thread like this, but I would like to hear some informed opinions.

I am in the market for a mid-level 8-channel single RU mic amp. I have narrowed my choices to a True P8, an API 8MX2 and, because of some slutz whose opinions I highly respect, the DAV B.G.8. I am personally familiar with the P8 and the MX2, not so with the BG8.

My own thoughts yield the following:
True P8
Pro's: continuously variable gain; dual outputs - a real asset for me; and the on-board MS encoder might end up being useful
Con's: 16 dB is the lowest gain setting; no on-board pad; it runs really hot, so it ends up being a 2RU box since you have to leave space above and below;

API 8MX2
Pro's: on-board mixer; limiters on every channel; pretty good sound when I've used it on classical stuff
Con's: single DB25 output; fan; stepped gain pots which are not really calibrated; and these units don't stand up so well to abuse

DAV B.G. 8
Pro's: robust pad on every channel; light weight; stepped gain that is measurable; perhaps the biggest selling point to me - respected classical guys seem to be very pleased with the sound;
Cons: it only has a single DB25 output - I'd hate to use Y-cables with a DB25; I don't know about the heat or if there is a fan; or if there are any issues with build quality/durability.

To put this all in context - I don't often need full 24-track capability - these mic amps won't get used all that often and will probably be most often used on DI's and background vocals, BUT I do want the best possible sound quality in this price range since it will probably end up being used on more than a few classical and jazz dates.

On the other hand, I already have 20 channels of mic amps, so I am tempted to just get another 4 channels of Hardy or API, but it would be nice to have a few additional channels over 24 in case I need it for talkback or if something goes out for repair.

I'd be interested in anyone's firsthand experience with these boxes and any pro's or con's I might be missing.

Whaddya think?

[surflounge]

and...
8 pack of transformer Mic Pres

[Audiop]

I'm all for clean and transparent gear since I record classical and opera. The Line Audio 8MP is nice.

Discrete klass A input, -20dB pad, polarity switch, 48V. XLR outs. 1HE unit producing little heat. Ext. transformer.

Spec is very god and my measurements mirror manufacturers spec.

I don't think there is anything that match this piece at that price.


/Peter

[studer58]

Originally Posted by RobAnderson

Howdy folks.......

DAV B.G. 8
Pro's: robust pad on every channel; light weight; stepped gain that is measurable; perhaps the biggest selling point to me - respected classical guys seem to be very pleased with the sound;
Cons: it only has a single DB25 output - I'd hate to use Y-cables with a DB25; I don't know about the heat or if there is a fan; or if there are any issues with build quality/durability......


Whaddya think?

A pretty high output from my BG8 for most location purposes, so much so that I'm often running at 0 or first notch only of gain on the DAV even for quiet chamber music concerts. So if you have a sensitive next item after the BG8 in your signal chain you may need to use the pads frequently. Great sound, not clinical or transparent but plenty of weight and realism...it doesn't sound thin or veiled or coloured to my ears. I'm curious tho...why a Y ? It doesn't generate much heat at all, there's no fan and no need for one. It would probably do justice to even quiet mics such as low output ribbons, if that's a direction you'd like to move in ?
Ray

[DannyL]

I have been using the ATI 8MX2's for years. I find them to be of fairly robust construction. The power supply and architecture are really quite impressive. Sonically they are similar to the API's. I have used them in classical, jazz, world music, rock, theatrical, spoken word and just about anything else imaginable. I have used them all over the world, and they have survived shipping and various climates without a hiccup. As all of my gear uses DSub-25 connectors for i/o I find this to be an advantage rather than a disadvantage.
In the Plus column: Continuously variable limiter threshold. Plenty of headroom on the pre's. Line level Tape returns!
The units are bussable in a master/slave configuration for monitoring, so that all the stereo monitoring, and solo logic functions can be daisy-chained using the 9 pin connectors. There is a control room out in addition to a 2Mix out which is handy for performer's headphone mixes, while the engineer can still solo channels. The 2Mix return is also quite useful.
Minus: Fan noise, which I can accept, as I am seldom in the same room where the music is being played.

I have also used the True P8, which I found to be quite sterile. The same mic seemed to have more depth using the ATI's. The dual outs are useful,
but I would rather have better monitoring. And they do run hot.

Originally Posted by RobAnderson

Howdy folks

True P8
Pro's: continuously variable gain; dual outputs - a real asset for me; and the on-board MS encoder might end up being useful
Con's: 16 dB is the lowest gain setting; no on-board pad; it runs really hot, so it ends up being a 2RU box since you have to leave space above and below;

API 8MX2
Pro's: on-board mixer; limiters on every channel; pretty good sound when I've used it on classical stuff
Con's: single DB25 output; fan; stepped gain pots which are not really calibrated; and these units don't stand up so well to abuse

Whaddya think?

[RobAnderson]

Thanks for all the input guys.

and...
8 pack of transformer Mic Pres

Aww man. Just when I thought I had it all figured out. I love transformers...

Does anyone else have any experience with this JLM TMP8?

I'm curious tho...why a Y ?

Whatever preamp I get will need to feed two recorders simultaneously.

I have been using the ATI 8MX2's for years. I find them to be of fairly robust construction. The power supply and architecture are really quite impressive. Sonically they are similar to the API's.

Hi DannyL - ATI's do sound great, but the plastic knobs and shafts don't take well to a good bump, which can happen from time to time. The line level tape returns are a big plus, but I am often in the same room as the musicians so the fan is a real downer to me, as is the fact that I would have to use a DB25 Y (as with the DAV).

Does anyone have a good solution to multing a DB25 connector?

[Legacy]

Hi Rob,

I hope all is well. I've only used the True so I don't have much to add, but on mult-ing a DB25 Charlie Post showed me these the other day:

Redco Audio

They're just straight pin-to-pin wiring so are transparent to different wiring standards. They are also not an isolated split but I don't think that matters in your application.

-Silas

Originally Posted by RobAnderson

Does anyone have a good solution to multing a DB25 connector?

[API Sez...]

Originally Posted by RobAnderson

but the plastic knobs and shafts don't take well to a good bump, which can happen from time to time.

Just for clarity - there are no plastic shafts in the 8MX2.

[Rick Sutton]

Originally Posted by Legacy

but on mult-ing a DB25 Charlie Post showed me these the other day:

Redco Audio

Silas, I normally build custom splitters for DB25 use in my remote rig but after seeing the Redco box, that's a thing of the past. Nice to find a quality solution at a very fair price!
Thanks for the "heads up".

[Legacy]

Hi Rick,

Yes, I thought they were a no-brainer considering the price and the RedCo build. I've always had good experiences with that company.

Props to Charlie for discovering them.

-Silas

[rumleymusic]

I've always had good experiences with that company.

+1 Great company, very good quality cables, fantastic service.

[RobAnderson]

Hi Silas

Good to "see" you - hope all is well with you too.

Thanks for the tip on RedCo - do you happen to know (approximately) what the dimensions are on those smaller boxes?

I also beg to differ about you not having much to add - I'd be curious to know your own impression of the P8, considering the other mic amps you have access to.

[noiselab]

Yamaha HA8 - high gain(74db) clean and detailed. Some says it's too sterile, but sometimes it is an advantage. But usually hard to find.

[JonesH]

My (limited) experience with the HA8 is that of a gray haze coating everything
Plus it's 2U and a bit heavyset, which in our mobile workflow I feel is a distinct disadvantage. I'd go for any of the other choices rather than the HA8.

[noiselab]

I also use it in mobile setup, but it was really cheap around 220GPB, and what can you buy for this price except the Behringer?

[jabney]

I believe the folks that make the True Precision 8 offer an attenuator for the db25 output. As for True sounding 'sterile,' a hundred hours or so of burn-in time seems to help a lot (I know some people don't believe that burning-in makes any difference at all, but comparing a well burned-in class T amplifier with an ultra-low hours class T amplifier convinced me.)

best,

john

[Remoteness]

The folks at True Systems do make an attenuator for the DSUB25 outputs, but (IMHO) you don't necessarily need to attenuate the output. I usually need to attenuate the input stage of those P8s.

[Daniel Stark]

The True and Dav sound pretty different..... I think you will be happiest if you can listen to them! Really just as different as the Dav from my Sebatron (the other "high" end pre I had at about the same time). I would say the True sounded more sterile which is not a bad thing depending on the mic. YMMV