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| There's a new preamp in town [message #63805] |
Wed, 25 January 2006 22:47  |
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Deej [1]
Messages: 2149
Registered: January 2006
|
Senior Member |
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|
I'm demo'ing one of the new Anthony DeMaria/Presonus ADL 600 preamps here. I
used it on a vocal session tonight. This thing reminds me of my first time
behind the wheel of a 1968 Camaro Z28/302 V8. The thing is soooo fast and
torquey.....absolutely massive amounts of gain available. It was sort of a
glued to the seat (or the clip LED) experience to get this thing under
control for the initial level check. I couldn't believe how sensitive and
powerful this pre was. Once I rethought my gain staging, it was very smooth,
big and open. I can see how this could take ribbon mics into whole new
realm. It wouldn't even breathe hard with a 77DX, I'm sure. It ws very easy
to stand 10 feet away from the mic in the room with the mic settings at
12:00 and have an extremely hot signal when speaking at normal levels. A
closer look revealed that 12:00 settings, though only half the available
gain, are really sending some signal out of this thing. The only ribbon I
have here is a NADY RSM2 at the moment. Not the most stellar example of a
ribbon mic, but great on fiddles and guitar cabs (my primary use for it)
I'll be giving it a spin soon. Tonight I mic'ed a femme vocalist with the SE
Gemini through this preamp.
http://www.heathersullivan.com/
She's used to working in the big studios on the big toys in LA and NYC. She
was completely floored by the Gemini (I didn't tell her how much it cost
;o). I had to be really careful with it on this preamp due to the
sensitivity and low level detail of the mic and the incredibly fast rise
time of the ADL 600, but the result was wonderful. This is a big, heavy
tube preamp with 600V rails and vents all over it and cooling fins on the
back panel. This preamp seemed to increase the audible frequency range of
the mic. There were comparisons made tonight by folks at the session who
have some pretty extensive experience with the AKG C12 and the ELAM 251.
I've got very little experience with these old mics so I wouldn't know. What
I do know is that depending on how the preamp was gainstaged and the
impedance was set, the timbre of the signal through the mic could change
pretty noticably and I didn't dial in anything that sounded bad to my ears.
..
I can't wait to try this preamp on some other mics. I've got a fairly decent
rack of high end pre's here and I thought I was set for life as far as
preamps go. Now I'm not so sure.
Deej
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| Re: There's a new preamp in town [message #63806 is a reply to message #63805] |
Thu, 26 January 2006 00:25  |
gene lennon
Messages: 565
Registered: July 2006
|
Senior Member |
|
|
Sounds very promising. I saw it at AES in October, but I haven’t heard anything
recorded through it yet. Any chance you can post something?
This should be a monster with bass on the instrument input.
gene
"DJ" <animix_spam-this-ahole_@animas.net> wrote:
>I'm demo'ing one of the new Anthony DeMaria/Presonus ADL 600 preamps here.
I
>used it on a vocal session tonight. This thing reminds me of my first time
>behind the wheel of a 1968 Camaro Z28/302 V8. The thing is soooo fast and
>torquey.....absolutely massive amounts of gain available. It was sort of
a
>glued to the seat (or the clip LED) experience to get this thing under
>control for the initial level check. I couldn't believe how sensitive and
>powerful this pre was. Once I rethought my gain staging, it was very smooth,
>big and open. I can see how this could take ribbon mics into whole new
>realm. It wouldn't even breathe hard with a 77DX, I'm sure. It ws very easy
>to stand 10 feet away from the mic in the room with the mic settings at
>12:00 and have an extremely hot signal when speaking at normal levels. A
>closer look revealed that 12:00 settings, though only half the available
>gain, are really sending some signal out of this thing. The only ribbon
I
>have here is a NADY RSM2 at the moment. Not the most stellar example of
a
>ribbon mic, but great on fiddles and guitar cabs (my primary use for it)
>I'll be giving it a spin soon. Tonight I mic'ed a femme vocalist with the
SE
>Gemini through this preamp.
>
>http://www.heathersullivan.com/
>
>She's used to working in the big studios on the big toys in LA and NYC.
She
>was completely floored by the Gemini (I didn't tell her how much it cost
>;o). I had to be really careful with it on this preamp due to the
>sensitivity and low level detail of the mic and the incredibly fast rise
>time of the ADL 600, but the result was wonderful. This is a big, heavy
>tube preamp with 600V rails and vents all over it and cooling fins on the
>back panel. This preamp seemed to increase the audible frequency range of
>the mic. There were comparisons made tonight by folks at the session who
>have some pretty extensive experience with the AKG C12 and the ELAM 251.
>I've got very little experience with these old mics so I wouldn't know.
What
>I do know is that depending on how the preamp was gainstaged and the
>impedance was set, the timbre of the signal through the mic could change
>pretty noticably and I didn't dial in anything that sounded bad to my ears.
>.
>
>I can't wait to try this preamp on some other mics. I've got a fairly decent
>rack of high end pre's here and I thought I was set for life as far as
>preamps go. Now I'm not so sure.
>
>Deej
>
>
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| Re: There's a new preamp in town [message #63807 is a reply to message #63806] |
Wed, 25 January 2006 23:58 |
Deej [1]
Messages: 2149
Registered: January 2006
|
Senior Member |
|
|
Gene,
I'll get some clips posted in the next day or so.
"gene lennon" <glennon@NOSPmyrealbox.com> wrote in message
news:43d87951$1@linux...
>
> Sounds very promising. I saw it at AES in October, but I haven't heard
anything
> recorded through it yet. Any chance you can post something?
> This should be a monster with bass on the instrument input.
>
> gene
>
>
> "DJ" <animix_spam-this-ahole_@animas.net> wrote:
> >I'm demo'ing one of the new Anthony DeMaria/Presonus ADL 600 preamps
here.
> I
> >used it on a vocal session tonight. This thing reminds me of my first
time
> >behind the wheel of a 1968 Camaro Z28/302 V8. The thing is soooo fast and
> >torquey.....absolutely massive amounts of gain available. It was sort of
> a
> >glued to the seat (or the clip LED) experience to get this thing under
> >control for the initial level check. I couldn't believe how sensitive and
> >powerful this pre was. Once I rethought my gain staging, it was very
smooth,
> >big and open. I can see how this could take ribbon mics into whole new
> >realm. It wouldn't even breathe hard with a 77DX, I'm sure. It ws very
easy
> >to stand 10 feet away from the mic in the room with the mic settings at
> >12:00 and have an extremely hot signal when speaking at normal levels. A
> >closer look revealed that 12:00 settings, though only half the available
> >gain, are really sending some signal out of this thing. The only ribbon
> I
> >have here is a NADY RSM2 at the moment. Not the most stellar example of
> a
> >ribbon mic, but great on fiddles and guitar cabs (my primary use for it)
> >I'll be giving it a spin soon. Tonight I mic'ed a femme vocalist with the
> SE
> >Gemini through this preamp.
> >
> >http://www.heathersullivan.com/
> >
> >She's used to working in the big studios on the big toys in LA and NYC.
> She
> >was completely floored by the Gemini (I didn't tell her how much it cost
> >;o). I had to be really careful with it on this preamp due to the
> >sensitivity and low level detail of the mic and the incredibly fast rise
> >time of the ADL 600, but the result was wonderful. This is a big, heavy
> >tube preamp with 600V rails and vents all over it and cooling fins on
the
> >back panel. This preamp seemed to increase the audible frequency range of
> >the mic. There were comparisons made tonight by folks at the session who
> >have some pretty extensive experience with the AKG C12 and the ELAM 251.
> >I've got very little experience with these old mics so I wouldn't know.
> What
> >I do know is that depending on how the preamp was gainstaged and the
> >impedance was set, the timbre of the signal through the mic could change
> >pretty noticably and I didn't dial in anything that sounded bad to my
ears.
> >.
> >
> >I can't wait to try this preamp on some other mics. I've got a fairly
decent
> >rack of high end pre's here and I thought I was set for life as far as
> >preamps go. Now I'm not so sure.
> >
> >Deej
> >
> >
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| Re: There's a new preamp in town [message #63819 is a reply to message #63805] |
Thu, 26 January 2006 07:21 |
jef knight[1]
Messages: 201
Registered: October 2005
|
Senior Member |
|
|
do any of you get the www.record-producer.com stuff? over the last
couple of week the guy there has been doing, what I consider, a phoney
shoot out of preamps and mic's. he puts up blind files of a shure sm58
in a $5 home made pre agains a U-87 in UA-LA610 and behringer ultragain.
the conclusion? you can't tell the good from the bad so don't bother
spending the money. sheesh. http://www.record-producer.com/learn.cfm?a=3071
I could wrong, but this site is full of bad info
DJ wrote:
>I'm demo'ing one of the new Anthony DeMaria/Presonus ADL 600 preamps here. I
>used it on a vocal session tonight. This thing reminds me of my first time
>behind the wheel of a 1968 Camaro Z28/302 V8. The thing is soooo fast and
>torquey.....absolutely massive amounts of gain available. It was sort of a
>glued to the seat (or the clip LED) experience to get this thing under
>control for the initial level check. I couldn't believe how sensitive and
>powerful this pre was. Once I rethought my gain staging, it was very smooth,
>big and open. I can see how this could take ribbon mics into whole new
>realm. It wouldn't even breathe hard with a 77DX, I'm sure. It ws very easy
>to stand 10 feet away from the mic in the room with the mic settings at
>12:00 and have an extremely hot signal when speaking at normal levels. A
>closer look revealed that 12:00 settings, though only half the available
>gain, are really sending some signal out of this thing. The only ribbon I
>have here is a NADY RSM2 at the moment. Not the most stellar example of a
>ribbon mic, but great on fiddles and guitar cabs (my primary use for it)
>I'll be giving it a spin soon. Tonight I mic'ed a femme vocalist with the SE
>Gemini through this preamp.
>
>http://www.heathersullivan.com/
>
>She's used to working in the big studios on the big toys in LA and NYC. She
>was completely floored by the Gemini (I didn't tell her how much it cost
>;o). I had to be really careful with it on this preamp due to the
>sensitivity and low level detail of the mic and the incredibly fast rise
>time of the ADL 600, but the result was wonderful. This is a big, heavy
>tube preamp with 600V rails and vents all over it and cooling fins on the
>back panel. This preamp seemed to increase the audible frequency range of
>the mic. There were comparisons made tonight by folks at the session who
>have some pretty extensive experience with the AKG C12 and the ELAM 251.
>I've got very little experience with these old mics so I wouldn't know. What
>I do know is that depending on how the preamp was gainstaged and the
>impedance was set, the timbre of the signal through the mic could change
>pretty noticably and I didn't dial in anything that sounded bad to my ears.
>.
>
>I can't wait to try this preamp on some other mics. I've got a fairly decent
>rack of high end pre's here and I thought I was set for life as far as
>preamps go. Now I'm not so sure.
>
>Deej
>
>
>
>
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| Re: There's a new preamp in town [message #63820 is a reply to message #63819] |
Thu, 26 January 2006 08:50 |
erlilo
Messages: 405
Registered: June 2005
|
Senior Member |
|
|
I was just smiling up to my ears when reading this. It really tell us some
"bad info" that we don't "wish" to hear. I remember our basplayer in the
early sixties. He had build a Heatkit amplifier-set(I believe it was only 10
watts) that he used on all concerts we had for three years, to feed two
twelve inches SEAS speakers. It costed him nearly nothing and sounded really
wonderful with his Fender Jazzbas. When playing places with over thousand on
the dancing floor, no one had problems to hear him. All the speaker stuff we
used in the sixties and seventies was homemade, for the most with English
and Danish speakers that we get imported, just to save big money.
Erling
"jef knight" <thestudio@allknightmusic.com> skrev i melding
news:43d8ea43@linux...
> do any of you get the www.record-producer.com stuff? over the last couple
> of week the guy there has been doing, what I consider, a phoney shoot out
> of preamps and mic's. he puts up blind files of a shure sm58 in a $5 home
> made pre agains a U-87 in UA-LA610 and behringer ultragain. the
> conclusion? you can't tell the good from the bad so don't bother spending
> the money. sheesh. http://www.record-producer.com/learn.cfm?a=3071
>
> I could wrong, but this site is full of bad info
>
> DJ wrote:
>
>>I'm demo'ing one of the new Anthony DeMaria/Presonus ADL 600 preamps here.
>>I
>>used it on a vocal session tonight. This thing reminds me of my first time
>>behind the wheel of a 1968 Camaro Z28/302 V8. The thing is soooo fast and
>>torquey.....absolutely massive amounts of gain available. It was sort of a
>>glued to the seat (or the clip LED) experience to get this thing under
>>control for the initial level check. I couldn't believe how sensitive and
>>powerful this pre was. Once I rethought my gain staging, it was very
>>smooth,
>>big and open. I can see how this could take ribbon mics into whole new
>>realm. It wouldn't even breathe hard with a 77DX, I'm sure. It ws very
>>easy
>>to stand 10 feet away from the mic in the room with the mic settings at
>>12:00 and have an extremely hot signal when speaking at normal levels. A
>>closer look revealed that 12:00 settings, though only half the available
>>gain, are really sending some signal out of this thing. The only ribbon I
>>have here is a NADY RSM2 at the moment. Not the most stellar example of a
>>ribbon mic, but great on fiddles and guitar cabs (my primary use for it)
>>I'll be giving it a spin soon. Tonight I mic'ed a femme vocalist with the
>>SE
>>Gemini through this preamp.
>>
>>http://www.heathersullivan.com/
>>
>>She's used to working in the big studios on the big toys in LA and NYC.
>>She
>>was completely floored by the Gemini (I didn't tell her how much it cost
>>;o). I had to be really careful with it on this preamp due to the
>>sensitivity and low level detail of the mic and the incredibly fast rise
>>time of the ADL 600, but the result was wonderful. This is a big, heavy
>>tube preamp with 600V rails and vents all over it and cooling fins on the
>>back panel. This preamp seemed to increase the audible frequency range of
>>the mic. There were comparisons made tonight by folks at the session who
>>have some pretty extensive experience with the AKG C12 and the ELAM 251.
>>I've got very little experience with these old mics so I wouldn't know.
>>What
>>I do know is that depending on how the preamp was gainstaged and the
>>impedance was set, the timbre of the signal through the mic could change
>>pretty noticably and I didn't dial in anything that sounded bad to my
>>ears.
>>.
>>
>>I can't wait to try this preamp on some other mics. I've got a fairly
>>decent
>>rack of high end pre's here and I thought I was set for life as far as
>>preamps go. Now I'm not so sure.
>>
>>Deej
>>
>>
>>
|
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| Re: There's a new preamp in town [message #63823 is a reply to message #63819] |
Thu, 26 January 2006 09:37 |
Deej [1]
Messages: 2149
Registered: January 2006
|
Senior Member |
|
|
There is much less difference between the sound of preamps than there is the
sound of microphones. On the 3D audio shootout, some of the less expensive
preamps stood up well against the more expensive variety. the differences
really come to light when pairing them with different mics or DI sources and
different situations involving source proximity. If a preamp doesn't have
headroom issues or noise issues, then, to me, preamps are a bit like
EQ's.and learning which preamps will work best with which mic on a given
source is the secret to getting your money's worth if you're spending big
money.
What's different about this preamp, to my ears, is it's smoothness and high
gain caabilities. It's also got a line in/out so that it can be strapped
across a mix bus. I'm going to experiment with it in this way inserted
pre-NoLimit.
Sould be inteesting.
"jef knight" <thestudio@allknightmusic.com> wrote in message
news:43d8ea43@linux...
> do any of you get the www.record-producer.com stuff? over the last
> couple of week the guy there has been doing, what I consider, a phoney
> shoot out of preamps and mic's. he puts up blind files of a shure sm58
> in a $5 home made pre agains a U-87 in UA-LA610 and behringer ultragain.
> the conclusion? you can't tell the good from the bad so don't bother
> spending the money. sheesh.
http://www.record-producer.com/learn.cfm?a=3071
>
> I could wrong, but this site is full of bad info
>
> DJ wrote:
>
> >I'm demo'ing one of the new Anthony DeMaria/Presonus ADL 600 preamps
here. I
> >used it on a vocal session tonight. This thing reminds me of my first
time
> >behind the wheel of a 1968 Camaro Z28/302 V8. The thing is soooo fast and
> >torquey.....absolutely massive amounts of gain available. It was sort of
a
> >glued to the seat (or the clip LED) experience to get this thing under
> >control for the initial level check. I couldn't believe how sensitive and
> >powerful this pre was. Once I rethought my gain staging, it was very
smooth,
> >big and open. I can see how this could take ribbon mics into whole new
> >realm. It wouldn't even breathe hard with a 77DX, I'm sure. It ws very
easy
> >to stand 10 feet away from the mic in the room with the mic settings at
> >12:00 and have an extremely hot signal when speaking at normal levels. A
> >closer look revealed that 12:00 settings, though only half the available
> >gain, are really sending some signal out of this thing. The only ribbon
I
> >have here is a NADY RSM2 at the moment. Not the most stellar example of a
> >ribbon mic, but great on fiddles and guitar cabs (my primary use for it)
> >I'll be giving it a spin soon. Tonight I mic'ed a femme vocalist with the
SE
> >Gemini through this preamp.
> >
> >http://www.heathersullivan.com/
> >
> >She's used to working in the big studios on the big toys in LA and NYC.
She
> >was completely floored by the Gemini (I didn't tell her how much it cost
> >;o). I had to be really careful with it on this preamp due to the
> >sensitivity and low level detail of the mic and the incredibly fast rise
> >time of the ADL 600, but the result was wonderful. This is a big, heavy
> >tube preamp with 600V rails and vents all over it and cooling fins on
the
> >back panel. This preamp seemed to increase the audible frequency range of
> >the mic. There were comparisons made tonight by folks at the session who
> >have some pretty extensive experience with the AKG C12 and the ELAM 251.
> >I've got very little experience with these old mics so I wouldn't know.
What
> >I do know is that depending on how the preamp was gainstaged and the
> >impedance was set, the timbre of the signal through the mic could change
> >pretty noticably and I didn't dial in anything that sounded bad to my
ears.
> >.
> >
> >I can't wait to try this preamp on some other mics. I've got a fairly
decent
> >rack of high end pre's here and I thought I was set for life as far as
> >preamps go. Now I'm not so sure.
> >
> >Deej
> >
> >
> >
> >
|
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| Re: There's a new preamp in town [message #63838 is a reply to message #63820] |
Thu, 26 January 2006 13:53 |
jef knight[1]
Messages: 201
Registered: October 2005
|
Senior Member |
|
|
I agree with that. around the same period my bass player had one of
those and it was pretty incredible.
erlilo wrote:
>I was just smiling up to my ears when reading this. It really tell us some
>"bad info" that we don't "wish" to hear. I remember our basplayer in the
>early sixties. He had build a Heatkit amplifier-set(I believe it was only 10
>watts) that he used on all concerts we had for three years, to feed two
>twelve inches SEAS speakers. It costed him nearly nothing and sounded really
>wonderful with his Fender Jazzbas. When playing places with over thousand on
>the dancing floor, no one had problems to hear him. All the speaker stuff we
>used in the sixties and seventies was homemade, for the most with English
>and Danish speakers that we get imported, just to save big money.
>
>Erling
>
>
>"jef knight" <thestudio@allknightmusic.com> skrev i melding
>news:43d8ea43@linux...
>
>
>>do any of you get the www.record-producer.com stuff? over the last couple
>>of week the guy there has been doing, what I consider, a phoney shoot out
>>of preamps and mic's. he puts up blind files of a shure sm58 in a $5 home
>>made pre agains a U-87 in UA-LA610 and behringer ultragain. the
>>conclusion? you can't tell the good from the bad so don't bother spending
>>the money. sheesh. http://www.record-producer.com/learn.cfm?a=3071
>>
>>I could wrong, but this site is full of bad info
>>
>>DJ wrote:
>>
>>
>>
>>>I'm demo'ing one of the new Anthony DeMaria/Presonus ADL 600 preamps here.
>>>I
>>>used it on a vocal session tonight. This thing reminds me of my first time
>>>behind the wheel of a 1968 Camaro Z28/302 V8. The thing is soooo fast and
>>>torquey.....absolutely massive amounts of gain available. It was sort of a
>>>glued to the seat (or the clip LED) experience to get this thing under
>>>control for the initial level check. I couldn't believe how sensitive and
>>>powerful this pre was. Once I rethought my gain staging, it was very
>>>smooth,
>>>big and open. I can see how this could take ribbon mics into whole new
>>>realm. It wouldn't even breathe hard with a 77DX, I'm sure. It ws very
>>>easy
>>>to stand 10 feet away from the mic in the room with the mic settings at
>>>12:00 and have an extremely hot signal when speaking at normal levels. A
>>>closer look revealed that 12:00 settings, though only half the available
>>>gain, are really sending some signal out of this thing. The only ribbon I
>>>have here is a NADY RSM2 at the moment. Not the most stellar example of a
>>>ribbon mic, but great on fiddles and guitar cabs (my primary use for it)
>>>I'll be giving it a spin soon. Tonight I mic'ed a femme vocalist with the
>>>SE
>>>Gemini through this preamp.
>>>
>>>http://www.heathersullivan.com/
>>>
>>>She's used to working in the big studios on the big toys in LA and NYC.
>>>She
>>>was completely floored by the Gemini (I didn't tell her how much it cost
>>>;o). I had to be really careful with it on this preamp due to the
>>>sensitivity and low level detail of the mic and the incredibly fast rise
>>>time of the ADL 600, but the result was wonderful. This is a big, heavy
>>>tube preamp with 600V rails and vents all over it and cooling fins on the
>>>back panel. This preamp seemed to increase the audible frequency range of
>>>the mic. There were comparisons made tonight by folks at the session who
>>>have some pretty extensive experience with the AKG C12 and the ELAM 251.
>>>I've got very little experience with these old mics so I wouldn't know.
>>>What
>>>I do know is that depending on how the preamp was gainstaged and the
>>>impedance was set, the timbre of the signal through the mic could change
>>>pretty noticably and I didn't dial in anything that sounded bad to my
>>>ears.
>>>.
>>>
>>>I can't wait to try this preamp on some other mics. I've got a fairly
>>>decent
>>>rack of high end pre's here and I thought I was set for life as far as
>>>preamps go. Now I'm not so sure.
>>>
>>>Deej
>>>
>>>
>>>
>>>
>>>
>
>
>
>
|
|
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| Re: There's a new preamp in town [message #63840 is a reply to message #63823] |
Thu, 26 January 2006 13:55 |
jef knight[1]
Messages: 201
Registered: October 2005
|
Senior Member |
|
|
That's how I hear it too. I've got everything from crap to gold but it
really comes down to the right tools for the job. I'm often suprised
when the really good gear makes something sound crappy.
DJ wrote:
>There is much less difference between the sound of preamps than there is the
>sound of microphones. On the 3D audio shootout, some of the less expensive
>preamps stood up well against the more expensive variety. the differences
>really come to light when pairing them with different mics or DI sources and
>different situations involving source proximity. If a preamp doesn't have
>headroom issues or noise issues, then, to me, preamps are a bit like
>EQ's.and learning which preamps will work best with which mic on a given
>source is the secret to getting your money's worth if you're spending big
>money.
>
>What's different about this preamp, to my ears, is it's smoothness and high
>gain caabilities. It's also got a line in/out so that it can be strapped
>across a mix bus. I'm going to experiment with it in this way inserted
>pre-NoLimit.
>
>Sould be inteesting.
>
>"jef knight" <thestudio@allknightmusic.com> wrote in message
>news:43d8ea43@linux...
>
>
>>do any of you get the www.record-producer.com stuff? over the last
>>couple of week the guy there has been doing, what I consider, a phoney
>>shoot out of preamps and mic's. he puts up blind files of a shure sm58
>>in a $5 home made pre agains a U-87 in UA-LA610 and behringer ultragain.
>>the conclusion? you can't tell the good from the bad so don't bother
>>spending the money. sheesh.
>>
>>
>http://www.record-producer.com/learn.cfm?a=3071
>
>
>>I could wrong, but this site is full of bad info
>>
>>DJ wrote:
>>
>>
>>
>>>I'm demo'ing one of the new Anthony DeMaria/Presonus ADL 600 preamps
>>>
>>>
>here. I
>
>
>>>used it on a vocal session tonight. This thing reminds me of my first
>>>
>>>
>time
>
>
>>>behind the wheel of a 1968 Camaro Z28/302 V8. The thing is soooo fast and
>>>torquey.....absolutely massive amounts of gain available. It was sort of
>>>
>>>
>a
>
>
>>>glued to the seat (or the clip LED) experience to get this thing under
>>>control for the initial level check. I couldn't believe how sensitive and
>>>powerful this pre was. Once I rethought my gain staging, it was very
>>>
>>>
>smooth,
>
>
>>>big and open. I can see how this could take ribbon mics into whole new
>>>realm. It wouldn't even breathe hard with a 77DX, I'm sure. It ws very
>>>
>>>
>easy
>
>
>>>to stand 10 feet away from the mic in the room with the mic settings at
>>>12:00 and have an extremely hot signal when speaking at normal levels. A
>>>closer look revealed that 12:00 settings, though only half the available
>>>gain, are really sending some signal out of this thing. The only ribbon
>>>
>>>
>I
>
>
>>>have here is a NADY RSM2 at the moment. Not the most stellar example of a
>>>ribbon mic, but great on fiddles and guitar cabs (my primary use for it)
>>>I'll be giving it a spin soon. Tonight I mic'ed a femme vocalist with the
>>>
>>>
>SE
>
>
>>>Gemini through this preamp.
>>>
>>>http://www.heathersullivan.com/
>>>
>>>She's used to working in the big studios on the big toys in LA and NYC.
>>>
>>>
>She
>
>
>>>was completely floored by the Gemini (I didn't tell her how much it cost
>>>;o). I had to be really careful with it on this preamp due to the
>>>sensitivity and low level detail of the mic and the incredibly fast rise
>>>time of the ADL 600, but the result was wonderful. This is a big, heavy
>>>tube preamp with 600V rails and vents all over it and cooling fins on
>>>
>>>
>the
>
>
>>>back panel. This preamp seemed to increase the audible frequency range of
>>>the mic. There were comparisons made tonight by folks at the session who
>>>have some pretty extensive experience with the AKG C12 and the ELAM 251.
>>>I've got very little experience with these old mics so I wouldn't know.
>>>
>>>
>What
>
>
>>>I do know is that depending on how the preamp was gainstaged and the
>>>impedance was set, the timbre of the signal through the mic could change
>>>pretty noticably and I didn't dial in anything that sounded bad to my
>>>
>>>
>ears.
>
>
>>>.
>>>
>>>I can't wait to try this preamp on some other mics. I've got a fairly
>>>
>>>
>decent
>
>
>>>rack of high end pre's here and I thought I was set for life as far as
>>>preamps go. Now I'm not so sure.
>>>
>>>Deej
>>>
>>>
>>>
>>>
>>>
>>>
>
>
>
>
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