Anyone here used the GML micpre/eq model 2032 ? I'm looking for a clean/modern sounding pre/eq to compliment my 1073's and I find most clean sounding pres very boring, the Amek channel in a box as an example. The GML is very appealing as I'm sure the eq is very useable but I have never tried the pres. The dealers here in Sweden don't have them hanging around and it's not a common brand here so I don't have a chance to give it a try. So, anyone used them ? How do they sound ? Any recordings you know they have been used on that I could listen to ? Although I'm pretty sure I could buy a pair without trying since GML seems to have a flawless reputation among big-name users all GML-related input would be very much appreciated to help me out, thanx.

As far as what it sounds like, go to past recordings George has tracked (which would be where he used lots of GML gear front to back). Earth Wind and Fire That's the Way of the World I think is the quckest way to get "georges' sound" in your head (he'd probably argue with me on this point because he's done better work since then). It used a bunch of proto GML gear and is very unique sounding, very clear and not much heavy tone or distortion in it. For a pop record its still quite unique. All his records have that signature "George Massenburg clarity" thing going on. For different sounds he seems to lean to different EQ curves or different compression rates/schemes, thresholds, rather than different mics, pres or effects. etc. Most engineers use far more dramatic changes/effects for their mixing (and this is not wrong, just not George).

George's work requires in depth listening to grasp I think. I remember when we were visting a young engineer once and George sat at the console demoing a vocal track on a GML 2030 mastering dynamics controller (sounds just like the 8900). The engineer could not hear it and it took a LOT of listens before he did-because the only change was pure dynamic range-no tone differences whatsoever. The enginner had gotten used to identifying compressors by the tone changes and artifacts. George was beside himself for the differences were "so dramatic" to him yet were quite subtle to the engineer. George could NOT understand how the guy could not hear it plain as day.

So the point is, if you understand and hear what GML gear does and appreciate it, there is no equal. But you might miss the whole thing and walk away scratching your head. The GML thing is "get in, get out, leave almost zero evidence you were there."
Brad

Brad, thank you for your nice reply. Sounds like it's just right for me since I need something clean and natural. Will listen to some recordings. Thanx again.

Listen to Joshua Judges Ruth by Lyle Lovett. Or Flim and the BBs record "New Pants."

Those are good examples of what George's gear sounds like.

BTW, I'm auditioning a 2032 right now. I'll post my impressions at 3D. (link below)

GML gear is very clean with a "diamond type" hi end.

By "diamond type" i mean hard(not brittle).

In my opinion you can't go by other people's recordings on how things sound because tracks in the mix can go through so many changes.

Its a better idea to try things onyour own.

I would like to throw in another contender!
The Buzz ARC1.1!
This unit is mighty fine and will set you back only $2800, which would put you into a position to buy more nice gear (like a SOC2.2). heh

George also did some Toto recordings. Like they said above, very clean, fresh sound. To me it's great. It is interersting that you have so many with the opposite approach who want color, warmth, and a so called tube sound. Then once they have that sound, they want to add more color with EQ and compressors.

With that being said, I would say it is even more important to have good converters with clean pre's, (if I can say that). At least at the Mytek, Apogee quality. Otherwise it would be more difficult to appreicate the GML sound.