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How many channels of preamplification do you have? Single-Channel Preamps
Old 14th February 2019
  #31
Lives for gear
Quote:
Originally Posted by Unclenny View Post
1 Channel: Trident 4T

Oh, wait...you did say pro studio.

Sorry, guys. Carry on.

I missed that too.
Old 14th February 2019
  #32
Avid Omni 2
UA 610 1
Quad Eight 2
Phoenix DRS 3
Spectra Sonics 4
WA 412 4
TNC ACMP 73 2
Aphex 107 2


So, 20? Planning to lend out the Aphex box, it’s just sitting around.
Old 14th February 2019
  #33
Gear Addict
 
Blaine Misner's Avatar
 

how do you guys deal with all the different flavours of mic amp? does option paralysis set in? do set ups take longer?
I learned to track groups using a console so i find myself perfectly happy with one or two quality options (albeit it as many of them as i can get) and aim to get my "Character" from the microphone selection.

as i read this post back to myself it sounds a little ornery, not my intention. hopefully not too many will read it as such.
Old 14th February 2019
  #34
Gear Guru
 
Brent Hahn's Avatar
 

Quote:
Originally Posted by Blaine Misner View Post
how do you guys deal with all the different flavours of mic amp? does option paralysis set in? do set ups take longer?
I don't have a lot of different pre's. But I guess I allocate by these criteria:

• Loud enough?
• Too airy?
• Too clean?
• Too dirty?
• Too tubey with a tube mic?
• Worth using on something relatively unimportant?

That's for band/group stuff.

On my own DIY, one at a time things, I mostly use an API 512c for everything. Maybe 2 API's plus one of something else if the drum part is simple enough that I can play it all at once.
Old 14th February 2019
  #35
Lives for gear
 

I have 24 available, but to be honest, I rarely ever use more then 16. I may leave mics connected as a convenience so I'm not swapping wires around.

My studio isn't that big, I can get a 4 or 5 piece in there without becoming claustrophobic. I use 8 channels on drums, which is typically overkill. The studio set does have some extra percussion on a stand like cowbells, Chimes, rattles etc which I also mic and add allot to the recordings.

The other 8 I use 2 per guitar rig running dual guitar amps, one for bass, and the rest for scratch vocals.
I occasionally capture decent vocals as a live performance but can typically do much batter having those parts redone after the backing tracks are mixed and can run good vocal mics without the bleed from a band playing. I did at one time have a separate room for tracking vocals at the same time as the band, but over time I found it less desirable to work that way.

I do have the other 8 channels I could use. The room is extremely dead sounding however and room mics are of little use. I built the room to be sound proofed from the neighbors and succeeded so its very dry when recording. It eliminates the need for a separate vocal booth. You can set up a vocal mic anyplace and have no reflection. All sound in the room is a direct beam which eliminates all kinds of unwanted clutter in the mix. Drawback is there is practically no reflection so nothing worthwhile capturing with distant room mics and all reflection must be added artificially.
Old 14th February 2019
  #36
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Sigma's Avatar
i never had more than 24 at one time in 43 years in the studio
Old 14th February 2019
  #37
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thismercifulfate's Avatar
Quote:
Originally Posted by Blaine Misner View Post
how do you guys deal with all the different flavours of mic amp? does option paralysis set in? do set ups take longer?
I learned to track groups using a console so i find myself perfectly happy with one or two quality options (albeit it as many of them as i can get) and aim to get my "Character" from the microphone selection.
For a medium to large tracking session I always write out a pre-production plan. Source, mic, preamp, outboard gear, routing. I would never waste the clients money by not coming in prepared and deciding all that while the clock is running. I don’t always end up using exactly what’s in the plan, because once we get levels and I start hearing the tones we’re getting I won’t hesitate to swap out anything or everything in a chain until we’re happy that we’re getting the best pickup of the source.

Specifically with preamps I may decided that I like the mic that was chosen for the source, but I want to alter the sound in a subtle way. By switching pres I can take the mics sound and open up the top-end, add some thickness or weight, tame the midrange, add some crispness, etc...

I may like a ribbon mic the best on a vocal shootout, but miss some of the detail. I can run the mic into a pre with fast transient response and an open top-end to help achieve that. Or I can decide to use a darker condenser mic and run it into a slower, darker preamp and maybe also a vintage LA2A which will further round out the sound.
Old 14th February 2019
  #38
Gear Addict
 
Blaine Misner's Avatar
 

Quote:
Originally Posted by thismercifulfate View Post
For a medium to large tracking session I always write out a pre-production plan. Source, mic, preamp, outboard gear, routing. I would never waste the clients money by not coming in prepared and deciding all that while the clock is running. I don’t always end up using exactly what’s in the plan, because once we get levels and I start hearing the tones we’re getting I won’t hesitate to swap out anything or everything in a chain until we’re happy that we’re getting the best pickup of the source.

Specifically with preamps I may decided that I like the mic that was chosen for the source, but I want to alter the sound in a subtle way. By switching pres I can take the mics sound and open up the top-end, add some thickness or weight, tame the midrange, add some crispness, etc...

I may like a ribbon mic the best on a vocal shootout, but miss some of the detail. I can run the mic into a pre with fast transient response and an open top-end to help achieve that. Or I can decide to use a darker condenser mic and run it into a slower, darker preamp and maybe also a vintage LA2A which will further round out the sound.
That's great. can't say enough good things about being prepared for whatever session is coming through the door.
Old 14th February 2019
  #39
Gear Addict
 

I offer an optional hour in advance of a session, preferably a day before the session, and limit selection to my top 4 planned combinations of mic/preamp and preamp options/settings.

Usually takes 15 minutes and the decision has been obvious.

I disagreed with only one decision in three years but let the decision stand. Sold the mic after the session as I was not happy with the tone. Vocalists liked the mic but it did not sit well, for me, in a mix.
Old 14th February 2019
  #40
I want the ability to capture up to 32 different mics at once, if I'm doing a large session like a big band or an orchestra or a theater thing.

I get that through 24 channels on my X32 Rack and SD8 stagebox, plus access to a Grace M108 with Dante, plus other Neutrik and Audinate Dante inputs.

If I want color, or extra gain for ribbons, I can get various Warm, Midas, Neve, and API preamps in 500-series lunchbox format. They'll feed their line-level outputs to one of the above devices, all of which are completely transparent when set for zero gain. Generally I look for specific color when doing vocal or electric guitars, where I'll want a specific mic and a specific preamp to get the "sound".
Old 14th February 2019
  #41
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Unclenny's Avatar
Quote:
Originally Posted by Brent Hahn View Post
While we're down by the tracks making Hobo Stew. Delicious if you know what you're doing.
Julia Child had something to say about that.
Old 14th February 2019
  #42
Gear Maniac
 
TexasCat's Avatar
 

Quote:
Originally Posted by Blaine Misner View Post
how do you guys deal with all the different flavours of mic amp? does option paralysis set in? do set ups take longer?
I learned to track groups using a console so i find myself perfectly happy with one or two quality options (albeit it as many of them as i can get) and aim to get my "Character" from the microphone selection.

as i read this post back to myself it sounds a little ornery, not my intention. hopefully not too many will read it as such.
When I read threads like this one I wonder the same thing. Like you I learned to track using a console and using different mics.

I think "mic pre's" have become more popular as the technology has made the console unnecessary.

When I hear "Neve Sound" or "API Sound" I think of the whole console as that sound and not just the preamps...
Old 14th February 2019
  #43
Lives for gear
Quote:
Originally Posted by TexasCat View Post
When I read threads like this one I wonder the same thing. Like you I learned to track using a console and using different mics.

I think "mic pre's" have become more popular as the technology has made the console unnecessary.

When I hear "Neve Sound" or "API Sound" I think of the whole console as that sound and not just the preamps...
In fairness, the advent of better and better converters (and digital as a ubiquitous medium) means that we can hear subtleties and nuances in mic pres that may not have been possible before in a strictly tape/analog world, particularly when you couldn’t separate preamp from console as you mentioned.
Old 14th February 2019
  #44
Currently 24 pre's here in my modest project studio...

8 Hand Crafted Labs T8
2 Hamptone tube
2 Pultec MB-1 clones
1 Pultec MB-1 "inspired" clone
1 Roll Tubule
1 TAB 71DI (it gains like a mic preamp for instruments)
1 Gyraf G2
8 DA7 console pres, used only when I run out of the above but they do sound quite good
----------

I don't think I could fit enough musicians in to really need more and I don't top/bottom mic drums usually.
Old 14th February 2019
  #45
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fhames's Avatar
 

10 channels of a variety of mic pres and channel strips

Last edited by fhames; 4 weeks ago at 10:26 PM..
Old 14th February 2019
  #46
Quote:
Originally Posted by Blaine Misner View Post
how do you guys deal with all the different flavours of mic amp? does option paralysis set in? do set ups take longer?
I learned to track groups using a console so i find myself perfectly happy with one or two quality options (albeit it as many of them as i can get) and aim to get my "Character" from the microphone selection.

as i read this post back to myself it sounds a little ornery, not my intention. hopefully not too many will read it as such.
I barely think about it, to be honest. Most of what we have is fairly interchangeable to me, despite their differences. The 610 is the real outlier in terms of tonality. It lives on DI bass.
Old 14th February 2019
  #47
Gear Nut
 
lwetli's Avatar
 

How many channels?

Exactly 1,400!!!

I mean, 11.
Old 15th February 2019
  #48
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DougS's Avatar
 

1 ch Chandler REDD.47 rack
1 ch Chandler REDD.47 built into my REDD Mic
1 ch ADL600 pre (I have the 700 channel strip)
1 ch Grace M101
2 ch AEA TRP2
2 ch Neve or API flavor in the Silver Bullet
2 ch Personus Eureka

I run Dante and have 10 chl's of RedNet AD.

Theoretically i could add another 10 channels by patching in (via digital) a couple lower-end interfaces. A UH-7000 and a Focusrite 18i8 -- (the 18i8 BTW I ran to Guitar Center and bought quick when I was in a pinch. .)

However, I rarely use more than 4 channels at once.

...Thinking about picking up a John Hardy or M5.
Old 4 weeks ago
  #49
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kennybro's Avatar
If need be, I can conjure up 4 Neve 5024, 4 SCA N72, 4 SCA T15, 2 Grace 101, 8 Audient ASP880, 4 Sound Devices & 1 UA 610.

But when recording DIY, I've also been using just a few... just a Grace 101's and a Sound Devices USBPreD.

Work studio is Neve, Audient, UA and Sound Devices.

I love those 8 SCA preamps (the T15's are amazingly good, quite similar to Grace 101), but they've fallen into a lull around here lately, racked up in a studio I'm not currently using. I must exhume them and bring them to work, as they should be in use.
Old 4 weeks ago
  #50
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kennybro's Avatar
Quote:
Originally Posted by Unclenny View Post
Julia Child had something to say about that.
and here's what she'd say... "Plus de vin! Bon! Très bon!"
Old 4 weeks ago
  #51
Lives for gear
 

Quote:
Originally Posted by Blaine Misner View Post
how do you guys deal with all the different flavours of mic amp? does option paralysis set in? do set ups take longer?
I learned to track groups using a console so i find myself perfectly happy with one or two quality options (albeit it as many of them as i can get) and aim to get my "Character" from the microphone selection.

as i read this post back to myself it sounds a little ornery, not my intention. hopefully not too many will read it as such.
Here's a great article on that:
How the Pros Choose Microphone Preamps | Universal Audio
Old 4 weeks ago
  #52
din
Gear Maniac
 
din's Avatar
 

2 ch Chandler Germanium
2 ch Chandler TG-2
2 ch Stam 1073MPA(Sowter)
2 ch CAPI VP312
2 ch CAP VP28
2 ch Avedis MA5
2 ch Integer Audio RMP2
2 ch MOTU 828es
--
16

Last edited by din; 3 weeks ago at 09:51 PM.. Reason: just got the Stam!
Old 4 weeks ago
  #53
Lives for gear
 

Most will figure out how many channels they record at a time when figuring out number of channels needed for interface / converters. If you get stuck and need more then you could use a sub mixer.
Old 4 weeks ago
  #54
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OceanMan's Avatar
 

Quote:
Originally Posted by Aural Endeavors View Post
Not debating it at all. In fact I find it really interesting how some can get away with less than I can.
Ah. Well my apologies sir. It’s strange how internet communication can go south so fast✌️

Running a commercial facility catering to lots of clientele is an exercise in one way or the other in decadence. I have more now than I’ll ever need.
Old 4 weeks ago
  #55
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OceanMan's Avatar
 

Quote:
Originally Posted by elegentdrum View Post
1 Vipre
2 Channel Locomotive Audio
2 Channel Forsell Mellinia
4 Channel API clone M12
8 Channels of hand wired Jensen 110E transformers
2 Channel on SSL Nucleus
8 Channel Audient ASP008
1 Channel Grace 101
1 Channel Warm 12
2 Channel Black Lion Auture
2 Channel AEA TRP

Mixing and matching mic's with preamps is fun.

Nice. & It really is. I’ve spend many, many off days devoting hours upon hours trying out different combos of mics>pres to see what “sounds best” to me. Try explain that to a friend who’s not into audio like we are...
Old 4 weeks ago
  #56
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OceanMan's Avatar
 

Quote:
Originally Posted by lwetli View Post
How many channels?

Exactly 1,400!!!

I mean, 11.
Lol. You know.... I decided that I might as well match it to the typical sample rate I run. I now have 96,000 inputs. Sup bRaH?
Old 4 weeks ago
  #57
Lives for gear
 
OceanMan's Avatar
 

I may have already mention this but I run:

Neve 1073
Dizengoff DA2 (single tube pre)
API 3124+
Phoenix Audio DRS-8
(2) Audient ASP 880
Mostly covers it. If I need more:
(2) Focusrite Octopre
Apogee Ensemble (older generation. I use two pres for talkback. Other two available for tracking).
So 48 as stated before
Old 4 weeks ago
  #58
Lives for gear
 
OceanMan's Avatar
 

Quote:
Originally Posted by kennybro View Post
and here's what she'd say... "Plus de vin! Bon! Très bon!"
“Oui...apporter plus de vin, et vite!” I’m embarrased to say I have no idea who you are refering too. But living in Texas as a French speaker, I never miss a chance to chim in
Old 3 weeks ago
  #59
Lives for gear
 
kennybro's Avatar
Quote:
Originally Posted by OceanMan View Post
“Oui...apporter plus de vin, et vite!” I’m embarrased to say I have no idea who you are refering too. But living in Texas as a French speaker, I never miss a chance to chim in
Bonjour!
She is that French cook who dumped massive amounts of du vin into everything she makes. Je fais ça aussi!
Old 3 weeks ago
  #60
Gear Head
 

I currently have:
28 channels on the desk
15 outboard

more than I need.. at this point I am using the pres on console almost exclusively.. but can’t bring myself to sell all the fun outboard pieces.
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