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Old 18th July 2002
  #4
Lives for gear
 

I've spent cumulative stinkin' years of my life sitting around, forgetting to eat, with a sonic magnifying glass on this sort of quest.

IMO, the answer to "Is it better?" is "It depends".

When people talk about this mic pre or that mic rulez, then are contradicted by somebody else, it's not just different ears. It's the combinations involved.

Mics and pres are like guitars and amps. Very interactive, based upon impedence, capacitance, phase of the moon, etc. That's why something like the GT Vipre "should" sound cool, though the one I had did not. Don't know why.

The same way Strats and Les Pauls like different amps, C12s, U47s and SM57s do as well. I mean, what mic or mics was the designer using to audition with as he built the prototype? That had to influence him. It's the mic and pre combo that counts, IMO.

All that to say this. I guarantee there are mic/pre combos where the difference between 5' and 75' of cable (which cable while we're at it) would be obvious. But there are others where there would be little or no audible difference.

The only way to know is to try it in your room with your gear, IMHO.

Plus, I often find myself working the mic pre gain and a compressor against each other, looking for a certain sweet spot. Can't do that without a remote control pre. Losing that in your case (assuming traditional mic pres) might pick up a little bit of absolute fidelity with the mic pre close to the mic, but lose the bigger plus of freedom to twiddle at will.


Regards,
Brian T