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New! JR2/2-ADR
Old 22nd November 2020
  #1
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PuebloAudio's Avatar
 

New! JR2/2-ADR

COMING FEBRUARY 2021- PUEBLO AUDIO's NEW
JR2/2-ADR β€’ Dual Mic Preamp with Gain Pots & Limiters



This new variation of our standard JR2/2 mic preamp has been tailored for the needs of ADR stages. First, we replace the standard rotary gain switches with high quality potentiometers which move fluidly and are comfortable to the hand. The pot's gain range fits perfectly for riding vocal performances. Pot action does not introduce scrapping or other wiper noise while gain ramps smoothly without sudden, wild jumps at the top of its travel. Shooting extremely quiet talent can be a challenge so +15dB Gain Boost Switches bring total maximum gain to +75dB. This allows the capture of the faintest breathes and sighs with vanishingly low noise and great intelligibility. Integrated 35Hz high pass filters help control low frequency room tones without reaching up into the vocal range. The combo of this HPF with the JR2/2's low self-noise and outstanding EMI/EMF rejection mitigates structural and telecom based intrusions. Mixers report successful matching with production sound without fuss or extra work. The JR2/2-ADR's outstanding specifications are the same as the standard JR2/2​​.

In addition to these core features we will also offer a Limiter option. For practical ADR applications a "set it and forget it" approach was taken The limiter's peak ceiling is adjusted just below the recorder's clipping level. When the signal reaches that ceiling it is held there with low distortion, preventing overload of the recorder's ADC. What is special about our limiter option is that it does not introduce additional circuitry to the signal path. Instead, the preamp's existing gain structure is controlled without loss. This minimal signal path preserves more of the talent's nuances for heightened drama.

More information can be found HERE
Attached Thumbnails
New! JR2/2-ADR-jr22adr_frntpanel_21nov2020.jpg  

Last edited by PuebloAudio; 27th November 2020 at 08:29 PM.. Reason: improved clarity
Old 22nd November 2020
  #2
Deleted e479b20
Guest
Mixers had noise reduction plugins on their ADR tracks?! To get rid of 35Hz "roomtone"?!

ah the marketing speak....

Fixing problems I didn't even know existed...
Old 22nd November 2020
  #3
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dr.sound's Avatar
 

You do make a point but....Yes Mixers used Hi Pass EQ and some even used CAT 43 ,Cat 430 etc for noisy recordings. Having been the recipient of many ADR tracks from all over the world a lot could of used better monitoring to hear what they have down there. Most peoples monitors don't go down below 40hz so they don't know.
Old 22nd November 2020
  #4
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dr.sound's Avatar
 

Go to their website and see who their users are...
Dennis Sands
Shawn Murphy
The Foley Stages of
Skywalker Sound
Sony Pictures
Warner Brothers
The Burbank Foley Stage

Pretty Impressive list!

http://puebloaudio.com/index.html
Old 22nd November 2020
  #5
Deleted e479b20
Guest
Yeah, that wasn't my point. I wasn't questioning the reputation if their users. I think that PR doesn't really help even if the product is great. But then how to sell another mic pre these days. I get the dilemma.
It just sounded like the post world was waiting for the day that we can finally remove the de-noisers from our ADR tracks because of all the noise and room tone below 35Hz.
I'm sure it's a great pre but I think with that customer base they don't need those kind of odd claims. Not for a 2k+ pre.

Last edited by Deleted e479b20; 22nd November 2020 at 05:58 PM..
Old 22nd November 2020
  #6
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nucelar's Avatar
 

Well I think that an audio manufacturer with this track record and reputation has more insight regarding the use of preamps in ADR scenarios than anyone of us who are mostly isolated in our small universe. I am convinced this product and the particular functions are fruit of research and user feedback. I do dubbing (ADR) and the few features the release note highlight have immediately sparked my interest because Its clear that they know what they are talking about.
Notice not one word about warmth , vintage tone or other buzzwords
Old 22nd November 2020 | Show parent
  #7
Deleted e479b20
Guest
Quote:
Originally Posted by nucelar View Post
I do dubbing (ADR) and the few features the release note highlight have immediately sparked my interest because Its clear that they know what they are talking about.
Well that's the thing. For me personally it was rather the opposite. (hence my response). The text really sounds like it's an unsolved problem and having to use denoisers on ADR as been a standard issue in the industry for years that is now finally coming to an end thanks to this new pre.
At least that's how it sounded to me. Didn't want to spark a huge discussion. I'm sure it's a great unit and it's user base speaks for itself.
Old 23rd November 2020
  #8
Gear Addict
 
RecRoom's Avatar
I like the idea of a +15 dB boost switch. I imagine it comes in handy when an actor is alternating between screams and whispers. Now we just need a switch to automatically move the actor 2 feet closer/further to the mic.
Old 25th November 2020
  #9
Gear Nut
 
Dragomir's Avatar
 

How good it is for Foley work?
Old 26th November 2020
  #10
Gear Addict
 
rcutz's Avatar
Quote:
Originally Posted by PuebloAudio View Post
COMING FEBRUARY 2021- PUEBLO AUDIO's NEW
JR2/2-ADR β€’ Dual Mic Preamp with Gain Pots & Limiters



This new variation of our standard JR2/2 mic preamp has been tailored for the needs of ADR stages. First, we replace the standard rotary gain switches with high quality potentiometers which move fluidly and are comfortable to the hand. The pot's gain range fits perfectly for riding vocal performances. Pot action does not introduce scrapping or other wiper noise while gain ramps smoothly without sudden, wild jumps at the top of its travel. Shooting extremely quiet talent can be a challenge so +15dB Gain Boost Switches bring total maximum gain to +75dB. This allows the capture of the faintest breathes and sighs with vanishingly low noise and great intelligibility. Integrated 35Hz high pass filters help control low frequency room tone without reaching up into the vocal range. Mixers have reported that, after installing this preamp, they could removed most of their noise reduction processors which had previously been required. They also report very successful matching with production sound without fuss or extra work. The JR2/2-ADR's outstanding specifications are the same as the standard JR2/2​​.

In addition to these core features we will also offer a Limiter option. For practical ADR applications a "set it and forget it" approach was taken The limiter's peak ceiling is adjusted just below the recorder's clipping level. When the signal reaches that ceiling it is held there with low distortion, preventing overload of the recorder's ADC. What is special about our limiter option is that it does not introduce additional circuitry to the signal path. Instead, the preamp's existing gain structure is controlled without loss. This minimal signal path preserves more of the talent's nuances for heightened drama.

More information can be found HERE
@ PuebloAudio very nice!! Another of your pre-amps to my wishlist!! πŸ‘ŠπŸ‘πŸ»πŸ‘πŸ»πŸ‘πŸ»β€οΈ
Old 27th November 2020 | Show parent
  #11
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PuebloAudio's Avatar
 

Quote:
Originally Posted by Deleted e479b20 View Post
... The text really sounds like it's an unsolved problem and having to use denoisers on ADR as been a standard issue in the industry for years that is now finally coming to an end thanks to this new pre... I'm sure it's a great unit and it's user base speaks for itself.
Hi Deleted e479b20,

Thanks for pointing out that, in my attempt to be brief, the text may have been sending a wrong message. I shall edit in hopes it will not appear too outlandish. I'm primarily an engineer but I also serve as the unfortunate, de facto marketing officer. I'm sure a trained, professional PR person would be smirking in amusement when reading my feeble attempts.

But please believe that the text was written with sincerity and relays honest cases. My main area of sound is in music but I've had a long association with post-production folk going back 30 years to the old Hanna-Barbara studios. Many of the enterprise level stages I've been connected with are in legacy facilities or lots which sometimes have limitations in dealing with structural born noises and isolation from industrial strength telecom radiation. Hence the extraordinary measures sometimes found to alleviate these noises.

No single attribute is a magic wand. But when our preamp's HPF is combined with its ultra-low self noise of -131dB and extreme EMI/EMR rejection of 110dB (typically 100 times greater than the usual suspects), well, this adds up to a material improvement. Not all stages are dealing with issues like this. However, on real-world stages which do, the noises had been mitigated enough to allow removal of most or all noise reduction processors. This is a humble but desirable benefit, I think. Less is more.
Old 27th November 2020 | Show parent
  #12
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PuebloAudio's Avatar
 

Quote:
Originally Posted by Dragomir View Post
How good it is for Foley work?
Our preamps have, indeed, found great success on Foley stages. The JR2/2+ model is probably the most fitting for Foley work due to its wide gain range. Down to +7.5dBu for crowbars against trash lids. Up to +80dBu for mid-air cotton ball collisions. And it's nice to be able to switch in/out the HPF as needed.

Being a new product, I don't have any real-world reports about how fitting the ADR model might be in a Foley setting. There is the concern that the ADR's gain range of 18-75dB may not be as wide as one would like. Plus the HPF is fixed at 35Hz and I think one would want full spectrum audio for most cues. The HPF could be omitted if desired.

Having said that, I have been contacted by a number of Mixers recently who's techniques utilize regular riding of the gain. I have found most stages tend to use 3-4 channels of preamps. Since the Pueblo Audio JR-Series is a semi-modular system, I suppose one could combine one JR2/2+ with one JR2/2adr to make 4 channels and have the best of both worlds?

Last edited by PuebloAudio; 27th November 2020 at 08:29 PM..
Old 27th November 2020
  #13
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Mundox's Avatar
For foley, I find that a parametric EQ is a must to get the right colour to go to tape.
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