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Pultec EQ, another compressor, or more channels? Condenser Microphones
Old 1 week ago
  #1
Here for the gear
 

Pultec EQ, another compressor, or more channels?

Long time reader here, looking for a little guidance. I have two spaces left in a mobile rack I use for tracking at home and as a live front end.

Here's what I have so far:

Microphones
Shure KSM353
Shure KSM313 (2)
Shure KSM9 wireless
Shure SM7b
Shure SM57

Preamps
Chandler REDD.47
Chandler TG-2
Chandler Germanium

Compressors
Tubetech CL1B

Converters
Lynx e44

This gives me four analog inputs/outputs. With this I can record vocals, guitar, and bass at home. Live I run the KSM9 + REDD.47 + CL1B for vocals, KSM353 + Germ for bass, and KSM313s + TG-2 for electric guitar. I play modern rock with big guitars, clean vocals, and electronic elements.

Option A
Pultec EQP-1A3. In my mind, this would complete my "money channel" for vocals and bass. I'm not sure how much sonic pleasure a Pultec would add, as I haven't worked with one before, but it seems like one of the best enhancers out there.

Option B
Compressor (1176 or Distressor/something else). This would be used for vocals and bass, either in tandem with the CL1B or dedicated to the live bass channel. I've read about how a faster compressor can be useful in series with an opto, but at the same time the CL1B does well on its own.

Option C
API 3124V or similar preamp to expand to eight channels. This would give me the ability to track drums, but would require a decent amount of additional gear. I do not have a room suitable for drums right now, but where there's a will, there's a way.

I would love to hear some thoughts as to which would move the ball further toward achieving high-end, crisp, detailed sounds... versatility and workflow are important to me. So, is it Pultec pizzazz, an extra layer of compression, or more channels? Or something else?
Old 1 week ago
  #2
Gear Maniac
 
bzone's Avatar
 

1A3 by Pulse Technique and a chandler RS124 or BG2
Old 6 days ago
  #3
Here for the gear
 

Quote:
Originally Posted by bzone View Post
1A3 by Pulse Technique and a chandler RS124 or BG2
Which of these would you buy first? How would you describe what they do?
Old 6 days ago
  #4
Gear Maniac
 
bzone's Avatar
 

I don’t know if you have worked with any varimu type compression. The 1A3 is very functional for many sources. Perhaps put a few plug-in’s up that mimic these hardware units and see how you like working with them. The real boxes are different in a better way. And I mean the manufacturer that copies the exact unit, not the guys who are making the stuff that just looks like it with a low price point. Research what these units do on line to see how eq and compression works, then experiment for you self on different sources, instruments vocals etc.

Here is an example of one of my mobil rigs
Attached Thumbnails
Pultec EQ, another compressor, or more channels?-img_9801.jpg  

Last edited by bzone; 6 days ago at 01:52 AM..
Old 5 days ago
  #5
Here for the gear
 

Quote:
Originally Posted by bzone View Post
I don’t know if you have worked with any varimu type compression. The 1A3 is very functional for many sources. Perhaps put a few plug-in’s up that mimic these hardware units and see how you like working with them. The real boxes are different in a better way. And I mean the manufacturer that copies the exact unit, not the guys who are making the stuff that just looks like it with a low price point. Research what these units do on line to see how eq and compression works, then experiment for you self on different sources, instruments vocals etc.

Here is an example of one of my mobil rigs
That's a beautiful, clean setup! I think I'll swing for the Pultec first. I can always build out another rig for tracking drums.

I appreciate the heads up about vari mu compressors too. I have some reading and listening to do.

Here's a picture of my rig so far:
Attached Thumbnails
Pultec EQ, another compressor, or more channels?-rack.jpg  
Old 5 days ago
  #6
Gear Nut
I can tell you about the api 312. It has higher sub-bass but lower high-bass. This makes it good on things like piano that have mud, but bad on things like bass guitar where you want more high-bass. It's kinda weak/attenuated around 700hz. It seems to work fine on bright instruments, but darker/deeper instruments will show that mid valley more prominently. the highs from like 10khz upwards are a bit soft. that can be good for reducing sibilance, but bad if you prefer breathy sounding stuff. It's funny that you have a CL1B, as I found that contrasts the api312 very well, since the openness of the cl1b gives the 312 more presence.

For the pultech, it's up to you. My dream EQ would be a GML, not a pultech o:

For the 1176, which revision would you be getting? I personally never found chaining comps together to be amazing. I like the LN1176C on dark sources, as it adds more dimension to it. It also can tame overly bright sources.

overall i'd order my choices with functionality over form. so either 1176 > PT eq > api312, or PT eq > 1176 > api312, depending on what you prefer more.
Old 5 days ago
  #7
Lives for gear
With that gear list, the first thing I would add a condenser or two. You have ribbons, and moving coils, but no condensers. At the cheaper end, a line Audio or Advanced Audio will make that flavor available to you.

A distressor would be a good tool to have. If you don't care to add a mic, that would be the rack unit to add. Versitile for the cash.

Any MU compressor would also be a good tool in the kit.

For 1176, there are many flavors out there, I went for the 1176KT because it was cheap. I think Revive Audio brand 76 would be the next step up. Retro flavors being the holy grail.

For La2A, Soundscape makes a great clone.
Old 4 days ago
  #8
Here for the gear
 

Quote:
Originally Posted by elegentdrum View Post
With that gear list, the first thing I would add a condenser or two. You have ribbons, and moving coils, but no condensers. At the cheaper end, a line Audio or Advanced Audio will make that flavor available to you.

A distressor would be a good tool to have. If you don't care to add a mic, that would be the rack unit to add. Versitile for the cash.

Any MU compressor would also be a good tool in the kit.

For 1176, there are many flavors out there, I went for the 1176KT because it was cheap. I think Revive Audio brand 76 would be the next step up. Retro flavors being the holy grail.

For La2A, Soundscape makes a great clone.
Thanks for the thoughts. I agree completely about not having any condenser options. I've just ordered a KSM44A and a KSM32 to cover that.

Regarding the distressor, that is probably my first choice if I go the compressor route. Can you comment on how you would use the distressor for tracking vocals, bass, or electric guitar? I assume primarily for grabbing peaks before hitting the CL1B on vocals and bass? Would the "nuke" option be of any use for these sources, such as a room mic on a guitar cab?
Old 4 days ago
  #9
Here for the gear
 

Quote:
Originally Posted by EisaMo View Post
I can tell you about the api 312. It has higher sub-bass but lower high-bass. This makes it good on things like piano that have mud, but bad on things like bass guitar where you want more high-bass. It's kinda weak/attenuated around 700hz. It seems to work fine on bright instruments, but darker/deeper instruments will show that mid valley more prominently. the highs from like 10khz upwards are a bit soft. that can be good for reducing sibilance, but bad if you prefer breathy sounding stuff. It's funny that you have a CL1B, as I found that contrasts the api312 very well, since the openness of the cl1b gives the 312 more presence.

For the pultech, it's up to you. My dream EQ would be a GML, not a pultech o:

For the 1176, which revision would you be getting? I personally never found chaining comps together to be amazing. I like the LN1176C on dark sources, as it adds more dimension to it. It also can tame overly bright sources.

overall i'd order my choices with functionality over form. so either 1176 > PT eq > api312, or PT eq > 1176 > api312, depending on what you prefer more.
Thanks for your thoughts. I would primarily use the API pres for close-micing drums, though I would certainly try experimenting with it on other sources. I figure the API flavor would complement the Chandler preamps nicely.

I'm not super familiar with 1176 variants, but will read up on them. How does it compare to the distressor? Are they both best used as fast compressors, or do they have different uses?
Old 3 days ago
  #10
Lives for gear
The distressor can be use on about anything. it has a pleasing plastic roundness (in a good way).

I often use the sound of materials to describe sounds. For example, I think of the Coles 4038 as paper sounding...in a very classy way. Older low end reverbs are metalic sounding, in a bad way.

One detail I would like to point out is you are only using one brand of Mic. Each company has a "sound" to them. You are all Sure.

For example, One Electro voice Moving coil (RE-20, EV666) will give you a new tone you don't have.

Japan made mic's are different sounding than German mic. Scandinavian mic's are different yet. USA mic's tend to be middle of the road. Britt mic's (like a Coles) are different yet.

Here are how I tend to group them:
This is a Gross and offending oversimplification. Each mic is different.
Japan: Smooth highs
German: Smooth mid-lows
Brit: Restrained highs
Scandinavian: Full spectrum
USA: middle of the road, nothing special

There are also "Era's" of Mic's. AKG made great stuff until about 1990. Sure made great mic's until manufacturing moved to Mexico. There ribbons were a buy out and a different case.

For example, I have some old UnidyneIII SM57's that kick ass over the new mexican SM57's that are better than the consigned Guitar center SM57's.

The old SM57's weight about twice that of new ones.

Taking a step back. My main point is there is a huge range of different mics. Mic's to music is like spices to cooking or Paint brushes to painting.

every company that comes out with a new good mic uses a great set of manufacturing standard to establish them selves as a producer of a quality product. Over time, as they grow, they have to re-tool for larger volumes and reduce the quality to make more money for profit. Overhead grows as you get larger. Eventually they go to far and make a crap product that sells on reputation only. Here are mic's that have been through many revisions, the earlier model are better than newer ones:
AKG414, SM81, SM57, U87, MD421.

The MD409U3 become too costly to make, they came out with the 609.....POS. They recovered with the e906. Not as good as the 409, but much better than the 609.
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