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What pre should I get: Daking or API
Old 28th June 2005
  #31
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insomnio's Avatar
 

Quote:
Originally Posted by Jay Kahrs
Ehhh...the problem with any shootout is if your not there and haven't heard the quality of the source or the context in which the whole thing was do well on.

So I dunno...as EQ's they're cool. As pre's the Dakings are ok IMHO. I'm glad I have a pair and they get a workout on every record I make, but if I had to pick a dedicated preamp, I'd look into API's or something else.
C'mon man, I was having a happy day!
However you're right about the tracks in a 24-40 channels mix. And what about the style and many other considerations?

Is good to know that some people chose your preamp thou...

I
Old 28th June 2005
  #32
Lives for gear
For me, it's a total toss up between those two excellent mic pres .

I use both regularly and happily.

What I DON'T usually do is mix preamp types on a record unless I have to.

So if you're deciding on 2 channels of API or 4 channels of Daking for the money, i'd recommend the Dakings.
But either will serve you well.

as far as the loading resistor, couldn't you make up an XLR that has the resistor and try it to see if you prefer it?
I have to admit that I almost always use API's in an actual desk, rather than in lunhboxes so I have no strong feeling about this...
but it makes some sense.
Although I definitely don't think the stock lunchbox sounds bad in any way; it does sound different from the desks.. so perhaps that's a good answer. John Klett is a smart guy.
Old 28th June 2005
  #33
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Thanks a lot, your opinion is always well apreciated.

I
Old 28th June 2005
  #34
Quote:
Originally Posted by wwittman

as far as the loading resistor, couldn't you make up an XLR that has the resistor and try it to see if you prefer it?
This exactly what i do.
Old 28th June 2005
  #35
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Quote:
Originally Posted by wilcofan
I'm thinking you could just make a dedicated XLR patch cable with the 1200 ohm resistors soldered onto the pins of the female end. Same effect, right? Load it differently on the way to the next box or DAW. This seems to me a better solution anyways for the racks since then you can load only the last output of your lunchbox in case you were hitting a few API modules in a chain.
So soldered to each output pin? Could anyone enlight me more?

Insomnio
Old 28th June 2005
  #36
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Quote:
Originally Posted by insomnio
So soldered to each output pin? Could anyone enlight me more?
Yes, three resistors of the same value, one on each pin. Just unsolder the hot, cold, and ground from the XLR connector and solder a resistor between them and their original pin.

You'll do well to put some heat-shrink over the new pin-resistor-wire connection since shorting is much more likely with so much open wire in the cable. It's super easy and takes about 10 min and $1 to modify a cable.
Old 29th June 2005
  #37
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Thanx

I
Old 29th June 2005
  #38
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Quote:
Originally Posted by wilcofan
Yes, three resistors of the same value, one on each pin. Just unsolder the hot, cold, and ground from the XLR connector and solder a resistor between them and their original pin.

You'll do well to put some heat-shrink over the new pin-resistor-wire connection since shorting is much more likely with so much open wire in the cable. It's super easy and takes about 10 min and $1 to modify a cable.

That ****'s wrong.

Solder a resistor between pins two and three of the output xlr.

Also, I seem to remember seeing a space on the API 3124 circuit boards for ~1k resistor for each preamp. API doesn't mention this.
Old 29th June 2005
  #39
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Quote:
That ****'s wrong.

Solder a resistor between pins two and three of the output xlr.
You mean a resistor strapped across pins 2 and 3 (hot and cold) connecting them?
Old 29th June 2005
  #40
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What the hell!

ORIGINALLY POSTED BY YOU!



What the hell!
Look here!
https://www.gearslutz.com/board/showthre...esults+favorite

heh
Old 29th June 2005
  #41
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Your link doesn't work for me.
Old 29th June 2005
  #42
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jpupo74's Avatar
WHAT THE HELL!

Quote:
Originally Posted by Jay Kahrs
Ehhh...the problem with any shootout is if your not there and haven't heard the quality of the source or the context in which the whole thing was done...the final information is of little value. You can say anything you want to with statistics by only putting part of the story up. Plus you need to keep in mind what your record will sound like when you have 20-40 tracks of cutting everything through the same micamp. Meaning...what sounds good in isolation might not translate too well to a real record when sounds have to cut through everything else.

In that shootout the main source was acoustic guitar and vocal which are two things that IMHO, the Dakings handle pretty well and that puts them near the top of my list for those tasks. On the flip side there are a bunch of things that I don't like them on and I feel like overall they're better EQ's then preamps. As preamps...they're versatile enough to never sound horrible on anything and are sometimes amazingly cool for overheads, misc percussion like shakers or taking some wool off a vocal that's too beefy but there are too many things they don't do well on.

They don't have a solid or deep enough low-end to handle things like kick drum or bass guitar which was mighty apparent later in the day when we put some mics up on a drum kit. Electric guitars (with dynamic mics, ribbons are different) usually don't have enough beef to them for rhythm stuff for my tastes. They can sound great on a Leslie high rotor, but don't have enough weight in the low end to handle the low rotor, nor can they capture the true fundamental of a dejembe with any kind of authority.

So I dunno...as EQ's they're cool. As pre's the Dakings are ok IMHO. I'm glad I have a pair and they get a workout on every record I make, but if I had to pick a dedicated preamp, I'd look into API's or something else.

SO WHY DID YOU POSTED YOUR "CHORALE" SHOOTOUT?

Old 29th June 2005
  #43
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jpupo74's Avatar
API´S

HEY IMSOMNIO,

I THINK YOU SHOULD GO FOR THE 3124, OR, FOR BETTER REPLACEMENT OR MAINTENANCE, 512C ON LUNCHBOX!

SIMPLY CLASSICS. DOT

PUPO

HABLAS ESPAÑOL?
COMPRA API, EL OTRO BIEN PERO QUE, AUN NO ES UN CLÁSICO!
Old 29th June 2005
  #44
Gear Nut
 

Quote:
Originally Posted by wilcofan
You mean a resistor strapped across pins 2 and 3 (hot and cold) connecting them?


Yes.
Old 29th June 2005
  #45
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wilcofan's Avatar
 

Hmm, OK thanks.

I used my example for a simple Y-cable into a Tube Tech CL1B. The resistors were on the summed mono XLR output of the Y-cable like I described above. The resistors were required for summing but also to change the load to 600ohms for the CL1B to see.

I assumed the same idea would work. Of course it was a summing circuit (being a Y-cable, 2 into 1) but seeing how the load was managed into the CL1B I've assumed it applied to loads in general. Apparently I need to understand "loads" better.

OT: Now I'm wondering if I have the right resistor network for my simple Y-cable. Back to more reading...
Old 29th June 2005
  #46
Gear Nut
 

Quote:
Originally Posted by wilcofan
Hmm, OK thanks.

I used my example for a simple Y-cable into a Tube Tech CL1B. The resistors were on the summed mono XLR output of the Y-cable like I described above. The resistors were required for summing but also to change the load to 600ohms for the CL1B to see.

I assumed the same idea would work. Of course it was a summing circuit (being a Y-cable, 2 into 1) but seeing how the load was managed into the CL1B I've assumed it applied to loads in general. Apparently I need to understand "loads" better.

OT: Now I'm wondering if I have the right resistor network for my simple Y-cable. Back to more reading...
When summing two or more outputs you will need the series resistors that you initially were using. Otherwise, you will short the outputs.
Old 29th June 2005
  #47
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OK, so to two different applications. Thanks for the advice.
Old 29th June 2005
  #48
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Cool I'm trying this experiment with my 512c this week! Thanks for the knowledge.
Old 29th June 2005
  #49
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pieter's Avatar
 

I currently have a Daking mic pre/eq unit which I really dig. I would say that for your application (accoustical stuff) it would be the better choice over the API (but as always, this is a matter of tatse).

In general tersm I would say the API is more punchy and extremely thigh whether the Daking combines that punchiness with a more delicate edge.

You won't believe it actually but I did try it on Cajon last week and it worked great.
Old 29th June 2005
  #50
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Quote:
Originally Posted by pieter
I currently have a Daking mic pre/eq unit which I really dig. I would say that for your application (accoustical stuff) it would be the better choice over the API (but as always, this is a matter of tatse).

In general tersm I would say the API is more punchy and extremely thigh whether the Daking combines that punchiness with a more delicate edge.

You won't believe it actually but I did try it on Cajon last week and it worked great.
Cool. What mics did you used?

Quote:
Originally Posted by pupo
COMPRA API, EL OTRO BIEN PERO QUE, AUN NO ES UN CLÁSICO!
It's about the budget. Four channels vs. two for the same $. I don't know what's
gonna happen in Spain, so I better keep my options opened.
However you're right, I've promised to myself buying the classics first (for a bunch of reasons).
Insomnio

Soy caribeño, isleño y latino...
Old 29th June 2005
  #51
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Quote:
Originally Posted by wilcofan
Your link doesn't work for me.
Results on “your 3 favorite mic pres”

(Is an old thread of mine about a poll.)



I'm telling you all I never thought I was going to learn so much in this trhead.

Insomnio
Old 29th June 2005
  #52
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I used 2 channels: a Vintage C451 as overhead and an Audix D6 near the sound hole on the back.

I did not have the opportunity to experiment with other mics but might give it a try next week (I'll try a blue Kiwi large diaphragm).
Old 29th June 2005
  #53
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jpupo74's Avatar
Quote:
Originally Posted by insomnio
Cool. What mics did you used?



It's about the budget. Four channels vs. two for the same $. I don't know what's
gonna happen in Spain, so I better keep my options opened.
However you're right, I've promised to myself buying the classics first (for a bunch of reasons).
Insomnio

Soy caribeño, isleño y latino...

Vintage King:

Dakings´s U$1899

Api 3124 U$2350

The difference is not that much...

U$112.5 more per API channel...

I think in Spain it would be easier to sell an API than a Daking, and people will know an API over a Daking.

I AM NOT AN API RESELLER and I have heard wonderfull things about Daking.

Is just that slutz in the US has a bunch more possibilities that in other countries due the the vast amount of audio products and opportunities.

Just trying to help...

By the way, does someone knows about that little BLACK BOX you locate on the output of the API´s to control de the output gain and work API¨S to the red?

PUPO
Old 29th June 2005
  #54
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pieter's Avatar
 

If you are located in Europe, try contacting Raf Lennssens from Joystick audio in Belgium. He's the distributor for Daking in the Benelux and is a great guy (I am not in any way affiliated with his company, just a happy customer).

Joystick Audio bvba
c/o Raf Lenssens
Luchterenstraat 25 A
9031 Drongen
Belgium

Telephone Number
+32 (0) 9 236 37 18

Fax Number
+32 (0) 9 236 37 19

[email protected]

www.joystick.be

I know he wants to launch Daking stuff in Europe and is offering some very competitive pricing.
Old 29th June 2005
  #55
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Pieter:
Thanks, but I am far, far away from you. I live in the Caribean Islands. I love Europe thou.


Pupo:
You have a point there with your math. But I'll not sell it in Spain...

My girlfriend is mad with me because she thinks the Avalon brang me some clients. She finds Dakings and APIs ugly... Anyhow, as I've said before, back here the 737 is a requirement (I don't know why) so my studio bodies can't believe I'm leting it go for an API on a Daking.
For me, this is a graduation...

I
Old 29th June 2005
  #56
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I'm not a commercial studio so I can get away with ugly gear I guess !!!

In Europe, all commercial studios have a Focusrite Red and Neumann U 87 to attract clients.
Old 29th June 2005
  #57
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Oh yes, I forgot that one, the U87. Here too.

I know a "mostly rock" studio here, where they have only Avalon gear...it's always booked!
...whatever...

Insomnio
Old 6th December 2008
  #58
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Rev. JimBo's Avatar
 

I love all this discussion about the Nuances
of different Preamps -- but if I may cynically
inject --- it all ends up on Mp3's and if you
can not hear that sounding like a warm turd
then really I can not take seriously any of your
Golden Eared opinions .
Until this format gets the dump why bother --
go down to Radio Shack and buy a couple of hundred pres
for the money . Audio is Dead -- you can all go home now .
Old 7th December 2008
  #59
Gear Addict
 

Quote:
Originally Posted by Rev. JimBo View Post
I love all this discussion about the Nuances
of different Preamps -- but if I may cynically
inject --- it all ends up on Mp3's and if you
can not hear that sounding like a warm turd
then really I can not take seriously any of your
Golden Eared opinions .
Until this format gets the dump why bother --
go down to Radio Shack and buy a couple of hundred pres
for the money . Audio is Dead -- you can all go home now .
I'm no golden ear, but I think you're wrong on this one. Great mixes seem to preserve themselves much better after conversion to mp3 than poor mixes do. Sure, you lose detail, depth, etc., but they don't have the same brutally harsh edges and flat sound that make badly recorded mp3s nearly unlistenable.

I have dozens of albums that still sound pretty damn good as mp3s, enjoyable even! They were great mixes to begin with, and quality pres are part of that equation.
Old 7th December 2008
  #60
Gear Guru
 
RoundBadge's Avatar
[QUOTE=Rev. JimBo;3711131Audio is Dead -- you can all go home now .[/QUOTE]

Tell that to guys like T bone.,etc
they seem to be doing pretty ok.

..
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