Focusrite ISA828 vs. API 3124

[B-Muzik]

I dunno guys...my brother just got that ISA828 and that pre sounds great!

Anyone know anything about this pre and can speak on its behalf?

[dangoudie]

I've got an ISA 428 on it's way to me now (4 channel version)

they are totally different pre's - ISA is super clean and API gets really crunchy. Both very high standard in their own way though

[Roc Mixwell]

Not sure I would consider the API "crunchy", unless your overdriving the preamp, (which of course is not a "wrong" way to run the pre, if thats what your going for)

The API is extremely fast and clear, and it has a very forward midrange and extremely punchy lower octave with nice sheen, round top end reach in the upper octaves.

It works extremely well for everything under the sun, as it has a very "real" tonality, and it tends to sound exactly like the source, but with nice character and a good deal of size.

I use the 3124 pretty much religously for keyboards, drum machines, vocals, drum applications, kick, snare, toms, overheads, bass, GTR's, room tracks...............it goes on, and doesn't stop.

Can you say the same for the ISA???

[edcampos]

I don't find ISA pres clean necessarily. Neither do I find the 312 to be crunchy, unless they're being pushed hard (as stated above). The 428 isn't bad, but the 312 will leave it in the dust in nearly every single application. Go ahead, try it out.
I have both the ISA 428 and API 3124MB+, and the only thing I'd say the 428 has going for it (which the 3124 does not) is it is more versatile (NOT sound wise) i.e. three different input impedance settings, variable high pass, 3 different input types (two direct and one microphone), and the ability to add a A/D converter.
Even with all these added features, I would pick the API over the Focusrite. Oh, and did I mention that my Focusrite has died on me a couple of times?

Ed

[Kronos147]

I have a Focusrite Red 1 and API 512c's. I had the Focusrite first, and I wish it had been the other way around.

I could almost see selling the Red 1 someday.

I likey my 512's. Wish I had some 312's!

[SeanG]

I also have a Red 1 and a four pack 512c's.

I would never consider selling either, both are awsome.

[B-Muzik]

Yeah my bro has the Red 1 and it is really clear! He uses that it is a really great preamp. I just like the ISA now and I was wondered how it compares to the API. The ISA is a really great pre for the C414 for some reason. I am really considering the ISA just becuz it really sounds great I think...but maybe just for my style of musik...

[skygod]

This thread should be in a stciky called: British vs American preamps with the caveat: Where were your ears hatched then educated at? This is almost as bad as reading guitar/amp forums and listening to the tripe back and forth about 6L6 ve EL34 vs KT88 vs 6550T tube preamps. The camps are so vehement about what they believe in that it is almost hysterical to read .... "Oh how much I hate that sound, or Oh how much I love that 6L6 American, or how much I crave that KT88 Zakk Wylde metal whatever with EMG 81/85 ad nauseum, and yet, it is quite simple Holmes ....

Fendery clean high headrom slow breakup: 6L6
Pop - blues - TS9+ slam the front end for days etc

Marshally/Voxy Bluesbreaker: EL84
Fast breakup sweet smooth high end

Marshally British Classic EL34:
That sweet tone

British Blues: No pedals
Budda 30 -- EL34

American Blues: No pedals
Budda 45 -- KT88

American Heavy: 6L6 (6-7 12AX7As in the pre gain stage)
Rectumfication, 5150 EVH Brown, Engl Lineup
Heavy saturated tube [Home of the 666BEAST666]

Guess what? You need one of each in your studio.
Why?
Because I said so damit!

Same with pro audio preamps. American vs British ears. For some reason folks don't like the ISA line because their ears are not used to a British clean? Yet the same ears can understand a British Colored 1073? Very strange stuff indeed huh? Maybe these are the same ears that grew up on Mackie 24x8 or 32x8 mixers and grew into maturity into that famous lifeless/tasteless American EQ LOL? Then they tried a British EQ desk one day and freaked out because a slight turn of any knob altered the sound so drastically that they panicked and said way too much juice for me because just I like to keep it simple stupid, so then the Onyx came along with that "world famous Perkins EQ" and although it is quite musical in its own right, yet still leaves something to be desired, and all I can describe it as is what? Maybe a mix with seran wrap over the top? I just can't exactly put my finger on it, but that's it to me. Always sounds slightly muffled for some reason. Hmmm, maybe needs some Vince and Heinz Headers witha Para-Commander fuel module and a High Intake Air Element huh? Naagh, that would add another $1900.00 USD to each Mackie Onyx. Not very cost effective ... anyway ...

The ISA Line is like comparing a Bluesbreaker combo or a Vox AC30TB with a Fender Deluxe or Twin. You got so used to that Fendery slound that that became your central "Clean" point of reference maybe? And because you cannot get over that hump, you will never realize how amazing a Fuchs Plush Drive or a Keeley TS9or a TS-10 modded or an SD-1 Burr Brown modded sounds slamming the front end of the first two above. Hmmm. Too bad. You'll just never get it, because you cannot think nor hear out of the box, and I'm not using that as ITB vs OTB rather generically speaking. But then again, if you grew up ITB and never learned OTB analog recording, it is also understandable. Your ears are where they are at. But this is the same forum where tha majority on that thread could not tell the diff between RME FF800 converters, Apogee, and Aurora LOL ... Its a fools market baby ... oh well ... onward

The ISA Line rocks. They get hot, but the mic you use at the front door will make a world of difference. These are great on acoutsic instruments, pianos, wind instruments etc. Try these mics at the front:

Audix SCX25-A Transducer Type Cardioid Condenser Microphone; Audio-Technica AT4051 Cardioid Studio Capacitor Microphone with Phantom Power; Crown PZM-30D Small Diaphragm Condenser Pressure Zone Microphone 20 Hz-20 kHz frequency Response Max SPL 150 dB SPL Hemispherical polar pattern, Sennheiser e901 Boundary Microphone with Built-in XLR Plug and Slip-free Rubber Pad, Sennheiser MKH800-P48, Shure KSM44 Multi-pattern Dual-diaphragm Condenser Microphone, Shure KSM141/SL Stereo Pair Switchable Omnidirectional Cardioid Condenser Microphone - Stereo Pair just for starters .... Not designed for drumkit work, but will shine on acoustic and wind and brass instruments with amazing grace and I luv'em to def! In a mix with 3124s you kidding me? Yo bro wazzup! Seeeat m'fu'gga!

And finally, to ease your woes, and ameliorate the communication process when all else fails in the ongoing saga of the Great Intercontinental Trans-Atlantic Colonials versus the Redcoats saga ...

British vs. American English

And in the eternal words of George Herbert Bush Senior to his dear son George Walker Bush Junior:

"Son, your are making the same mistake in Iraq I made with your mother ... I didn't pull out in time!"

~skygod~

[deve]

Api is very cool

[jmarkham]

i'm a broken record on this topic .. i love my 828 ;-)

jeff

[ScumBum]

Originally Posted by Roc Mixwell

Not sure I would consider the API "crunchy", unless your overdriving the preamp, (which of course is not a "wrong" way to run the pre, if thats what your going for)

The API is extremely fast and clear, and it has a very forward midrange and extremely punchy lower octave with nice sheen, round top end reach in the upper octaves.

It works extremely well for everything under the sun, as it has a very "real" tonality, and it tends to sound exactly like the source, but with nice character and a good deal of size.

I use the 3124 pretty much religously for keyboards, drum machines, vocals, drum applications, kick, snare, toms, overheads, bass, GTR's, room tracks...............it goes on, and doesn't stop.

Can you say the same for the ISA???

I agree , good description .

[ScumBum]

Originally Posted by skygod

This thread should be in a stciky called: British vs American preamps with the caveat: Where were your ears hatched then educated at? This is almost as bad as reading guitar/amp forums and listening to the tripe back and forth about 6L6 ve EL34 vs KT88 vs 6550T tube preamps. The camps are so vehement about what they believe in that it is almost hysterical to read .... "Oh how much I hate that sound, or Oh how much I love that 6L6 American, or how much I crave that KT88 Zakk Wylde metal whatever with EMG 81/85 ad nauseum, and yet, it is quite simple Holmes ....

Fendery clean high headrom slow breakup: 6L6
Pop - blues - TS9+ slam the front end for days etc

Marshally/Voxy Bluesbreaker: EL84
Fast breakup sweet smooth high end

Marshally British Classic EL34:
That sweet tone

British Blues: No pedals
Budda 30 -- EL34

American Blues: No pedals
Budda 45 -- KT88

American Heavy: 6L6 (6-7 12AX7As in the pre gain stage)
Rectumfication, 5150 EVH Brown, Engl Lineup
Heavy saturated tube [Home of the 666BEAST666]

Guess what? You need one of each in your studio.
Why?
Because I said so damit!

Same with pro audio preamps. American vs British ears. For some reason folks don't like the ISA line because their ears are not used to a British clean? Yet the same ears can understand a British Colored 1073? Very strange stuff indeed huh? Maybe these are the same ears that grew up on Mackie 24x8 or 32x8 mixers and grew into maturity into that famous lifeless/tasteless American EQ LOL? Then they tried a British EQ desk one day and freaked out because a slight turn of any knob altered the sound so drastically that they panicked and said way too much juice for me because just I like to keep it simple stupid, so then the Onyx came along with that "world famous Perkins EQ" and although it is quite musical in its own right, yet still leaves something to be desired, and all I can describe it as is what? Maybe a mix with seran wrap over the top? I just can't exactly put my finger on it, but that's it to me. Always sounds slightly muffled for some reason. Hmmm, maybe needs some Vince and Heinz Headers witha Para-Commander fuel module and a High Intake Air Element huh? Naagh, that would add another $1900.00 USD to each Mackie Onyx. Not very cost effective ... anyway ...

The ISA Line is like comparing a Bluesbreaker combo or a Vox AC30TB with a Fender Deluxe or Twin. You got so used to that Fendery slound that that became your central "Clean" point of reference maybe? And because you cannot get over that hump, you will never realize how amazing a Fuchs Plush Drive or a Keeley TS9or a TS-10 modded or an SD-1 Burr Brown modded sounds slamming the front end of the first two above. Hmmm. Too bad. You'll just never get it, because you cannot think nor hear out of the box, and I'm not using that as ITB vs OTB rather generically speaking. But then again, if you grew up ITB and never learned OTB analog recording, it is also understandable. Your ears are where they are at. But this is the same forum where tha majority on that thread could not tell the diff between RME FF800 converters, Apogee, and Aurora LOL ... Its a fools market baby ... oh well ... onward

The ISA Line rocks. They get hot, but the mic you use at the front door will make a world of difference. These are great on acoutsic instruments, pianos, wind instruments etc. Try these mics at the front:

Audix SCX25-A Transducer Type Cardioid Condenser Microphone; Audio-Technica AT4051 Cardioid Studio Capacitor Microphone with Phantom Power; Crown PZM-30D Small Diaphragm Condenser Pressure Zone Microphone 20 Hz-20 kHz frequency Response Max SPL 150 dB SPL Hemispherical polar pattern, Sennheiser e901 Boundary Microphone with Built-in XLR Plug and Slip-free Rubber Pad, Sennheiser MKH800-P48, Shure KSM44 Multi-pattern Dual-diaphragm Condenser Microphone, Shure KSM141/SL Stereo Pair Switchable Omnidirectional Cardioid Condenser Microphone - Stereo Pair just for starters .... Not designed for drumkit work, but will shine on acoustic and wind and brass instruments with amazing grace and I luv'em to def! In a mix with 3124s you kidding me? Yo bro wazzup! Seeeat m'fu'gga!

And finally, to ease your woes, and ameliorate the communication process when all else fails in the ongoing saga of the Great Intercontinental Trans-Atlantic Colonials versus the Redcoats saga ...

British vs. American English

And in the eternal words of George Herbert Bush Senior to his dear son George Walker Bush Junior:

"Son, your are making the same mistake in Iraq I made with your mother ... I didn't pull out in time!"

~skygod~

I'm on the British guitar tone side , Give me extra midrange !!!

[edcampos]

Originally Posted by skygod

This thread should be in a stciky called: British vs American preamps with the caveat: Where were your ears hatched then educated at? This is almost as bad as reading guitar/amp forums and listening to the tripe back and forth about 6L6 ve EL34 vs KT88 vs 6550T tube preamps. The camps are so vehement about what they believe in that it is almost hysterical to read .... "Oh how much I hate that sound, or Oh how much I love that 6L6 American, or how much I crave that KT88 Zakk Wylde metal whatever with EMG 81/85 ad nauseum, and yet, it is quite simple Holmes ....

Fendery clean high headrom slow breakup: 6L6
Pop - blues - TS9+ slam the front end for days etc

Marshally/Voxy Bluesbreaker: EL84
Fast breakup sweet smooth high end

Marshally British Classic EL34:
That sweet tone

British Blues: No pedals
Budda 30 -- EL34

American Blues: No pedals
Budda 45 -- KT88

American Heavy: 6L6 (6-7 12AX7As in the pre gain stage)
Rectumfication, 5150 EVH Brown, Engl Lineup
Heavy saturated tube [Home of the 666BEAST666]

Guess what? You need one of each in your studio.
Why?
Because I said so damit!

Same with pro audio preamps. American vs British ears. For some reason folks don't like the ISA line because their ears are not used to a British clean? Yet the same ears can understand a British Colored 1073? Very strange stuff indeed huh? Maybe these are the same ears that grew up on Mackie 24x8 or 32x8 mixers and grew into maturity into that famous lifeless/tasteless American EQ LOL? Then they tried a British EQ desk one day and freaked out because a slight turn of any knob altered the sound so drastically that they panicked and said way too much juice for me because just I like to keep it simple stupid, so then the Onyx came along with that "world famous Perkins EQ" and although it is quite musical in its own right, yet still leaves something to be desired, and all I can describe it as is what? Maybe a mix with seran wrap over the top? I just can't exactly put my finger on it, but that's it to me. Always sounds slightly muffled for some reason. Hmmm, maybe needs some Vince and Heinz Headers witha Para-Commander fuel module and a High Intake Air Element huh? Naagh, that would add another $1900.00 USD to each Mackie Onyx. Not very cost effective ... anyway ...

The ISA Line is like comparing a Bluesbreaker combo or a Vox AC30TB with a Fender Deluxe or Twin. You got so used to that Fendery slound that that became your central "Clean" point of reference maybe? And because you cannot get over that hump, you will never realize how amazing a Fuchs Plush Drive or a Keeley TS9or a TS-10 modded or an SD-1 Burr Brown modded sounds slamming the front end of the first two above. Hmmm. Too bad. You'll just never get it, because you cannot think nor hear out of the box, and I'm not using that as ITB vs OTB rather generically speaking. But then again, if you grew up ITB and never learned OTB analog recording, it is also understandable. Your ears are where they are at. But this is the same forum where tha majority on that thread could not tell the diff between RME FF800 converters, Apogee, and Aurora LOL ... Its a fools market baby ... oh well ... onward

The ISA Line rocks. They get hot, but the mic you use at the front door will make a world of difference. These are great on acoutsic instruments, pianos, wind instruments etc. Try these mics at the front:

Audix SCX25-A Transducer Type Cardioid Condenser Microphone; Audio-Technica AT4051 Cardioid Studio Capacitor Microphone with Phantom Power; Crown PZM-30D Small Diaphragm Condenser Pressure Zone Microphone 20 Hz-20 kHz frequency Response Max SPL 150 dB SPL Hemispherical polar pattern, Sennheiser e901 Boundary Microphone with Built-in XLR Plug and Slip-free Rubber Pad, Sennheiser MKH800-P48, Shure KSM44 Multi-pattern Dual-diaphragm Condenser Microphone, Shure KSM141/SL Stereo Pair Switchable Omnidirectional Cardioid Condenser Microphone - Stereo Pair just for starters .... Not designed for drumkit work, but will shine on acoustic and wind and brass instruments with amazing grace and I luv'em to def! In a mix with 3124s you kidding me? Yo bro wazzup! Seeeat m'fu'gga!

And finally, to ease your woes, and ameliorate the communication process when all else fails in the ongoing saga of the Great Intercontinental Trans-Atlantic Colonials versus the Redcoats saga ...

British vs. American English

And in the eternal words of George Herbert Bush Senior to his dear son George Walker Bush Junior:

"Son, your are making the same mistake in Iraq I made with your mother ... I didn't pull out in time!"

~skygod~

Valid analogy with the guitar tones. However, I am neither American nor British. The day I heard API was the day I heard Focusrite. "Grew up" on both of them. Just happen to like the 312 better than the ISA stuff.

Ed

[Aurora T.]

Originally Posted by Roc Mixwell

Not sure I would consider the API "crunchy", unless your overdriving the preamp, (which of course is not a "wrong" way to run the pre, if thats what your going for)

The API is extremely fast and clear, and it has a very forward midrange and extremely punchy lower octave with nice sheen, round top end reach in the upper octaves.

It works extremely well for everything under the sun, as it has a very "real" tonality, and it tends to sound exactly like the source, but with nice character and a good deal of size.

I use the 3124 pretty much religously for keyboards, drum machines, vocals, drum applications, kick, snare, toms, overheads, bass, GTR's, room tracks...............it goes on, and doesn't stop.