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Old 20th May 2012
  #10
Lives for gear
For me tracking in a good room to a digital platform it is hard to beat either V72 or V76. I have tracked more then one project, though they tend to primarily be 'all acoustic' (DI on bass depending on room, content group, etc.), via V72s & V76s.

I do not have a lot of experience with 610s but initial reaction is that they are not particularly similar. For lack of a more accurately exhaustive comment I'd say 610s feel more 'brittle' (not calling 610s 'brittle' merely saying in memory comparison 610s tend more in that direction).

Even in less then stellar rooms I have found V72s to be very complimentary to a whole host of keyboards . . . swamp-honkytonk-to-classical piano . . . on more then one occasion (generally when piano was playing a supporting not featured roll) I hand a single ribbon on a baby Steinway (in a room I'd typically find to be to small for elegant piano) run it through a V72 . . . & sonically only need a single take, single pass. As 'arrangement' of the tune(s) evolved the original pass supplied all the information needed. (ribbon, V72 (for that piano) was kind of the equivalent of Glyn Johns approach to trap set recording)

As to V72 vs V76, can't comment on how 'Beatles' one is vs the other (& to tell you the truth it would be hard to care less) but as a more general purpose unit the V76 tends to edge the V72 (that said the all 'Vs' projects tended to be tracked with 6 V72s and 2 V76s). But (& this is the huge caveat) these things are old enough that almost none of them are pristine originals . . . how much any unit performs like it and/or its kin did in 1950s is an unanswerable question. They have all been modified in some way . . . auditioning a unit in your environment (& work flow) becomes important. That said you do seem to have enough other decent pre's that going for a pair of as close as possible 'un upgraded' V72s might be best compliment for what you have

good luck