Great talent, very reasonable conference fee
The AES Nashville Section has developed a two-day recording workshop and gear expo focused on getting the most from your studio environment. With multiple Grammy Award winner, musician and studio owner Ricky Skaggs as the keynote address speaker, the AES Nashville section, in conjunction with Audio Engineering Society, Inc., is offering this two-day program on Friday to Saturday, February 20 to 21, 2009, at the Musician's Hall of Fame and Museum. Whether you are a recording musician, a songwriter laying down demos, or a professional engineer working in a personal production space, the Nashville Recording Workshop and Expo will provide essential insight and information geared to boost your career.
Affordable and more powerful technology has made for a burgeoning market in recording equipment as songwriters, musicians and engineers create their own personal production spaces. Nashville has long been touted to have more personal studios per capita than anywhere in the country, and never has this been truer than in today's DAW-centric recording environment. NRW+E presents a unique opportunity for personal studio owners to learn from the pros who put the Music in Music City, to check out the latest tools of the trade in the exhibition space and to network with their peers.
NRW+E presenters will include leading producer/engineers Ricky Skaggs, Jeff Balding, Russ Long, Pat McMakin and Gary Paczosa, and Lynn Fuston of 3D Audio, to name but a few of the high-profile participants. Subjects planned for the two-day event include vocal and acoustic instrument mic'ing, a singer/songwriter production roundtable, producing a dynamite demo, arrangement and recording for better mixes, adding rhythm and spice with virtual tracks, collaboration across time and space, work environments that enhance creativity, practical acoustic and room treatment, when to call in a pro, a beats and loops workshop, and many more.
Mike Porter, Chairman of the Nashville section of AES states, "The Nashville community has long hoped to host an AES event, with enthusiastic support from many outside our area. While this isn't as big an event as New York or San Francisco, it will certainly be a mini AES for area people to attend. AES conventions usually are geared more toward engineers; this workshop will have much more to offer songwriters, musicians, home and small studio owners and recording enthusiasts, as well as the studio professionals."
Early Bird registration for AES members and members of participating professional songwriter, performance, musician and engineering organizations is $79, non-members is $99, student members is $39, and non-member students is $59. Early registration is open through January 12, 2009. For the full program listings, information on registering or to book an exhibition space visit Nashville Recording Workshop.
Friday, December 26, 2008
Monday, December 22, 2008
Manley Dual Mono Microphone Preamplifier
Check out Steve Beckett's review of one of our favorite mic preamps
In recent memory, a lot of gear seems to get made over online hype. And, without disparaging the makers of that gear, usually these are simple pieces that put out ear candy sounds right of the box.
The Manley Dual Mono Microphone Preamplifier does not get a lot of online hype. I thought about this as I have used it. It is a versatile unit that features different sounds. The construction is on par with the best in the industry. I finally came to the conclusion that the Dual Mono Mic Pre was overdue for its own online hype, which probably would not be coming as too many people neglect to read the manual. Although the Dual Mono Mic Pre is a fairly simple to control unit, review of the manual is necessary to get full use of the pre.
The Manley Dual Mono Mic Pre features quality components and workmanship. The front faceplate appears to be 10 gauge steel with an engraved faceplate. The sides appear to be adonized extruded aluminum, which is an expensive touch not common in pro audio gear. The aluminum sides help dissipate heat.
The top and bottom of the Dual Mono Mic Pre feature perforated 24 gauge steel panels, which allow more than adequate cooling of the internal components. This unit does get warm when left on for long periods. I would not pack it solid in a rack but rather leave a space above and below to allow some air circulation.
The top and bottom panels remove with one screw and slide toward the back. I work with metal often and found myself impressed with this aspect of the Manley Dual Mono Mic Pre. The sides feature guide rails which hold down the perforated panels allowing for the one screw design.
The front of the unit features a power switch, a gain control which controls the gain for both channels, a phantom power switch for each channel, 1/4 inch direct input plugins for each channel, and an input attenuate control for each channel. Each channel also features a switch that controls polarity. The same switch features a setting for DI that disconnects the mic input and mic transformer.
The rear of the unit features XLR inputs and outputs for each channel. It also features unbalanced 1/4 inch outputs.
The Manley Dual Mono Mic Pre's gain knob works on both channels. It runs from 40 to 60 dB. It sets the amount of negative feedback. Even though one gain control affects both channels, the gain stage comes before the input attenuate stage. Each channel has its own input attenuate control. As the gain increases -- no matter the setting on the input attenuate stage -- the Dual Mono Mic pre gives you a more aggressive sound. The input attenuate knob controls the output level but does not really affect the color of the sound.
I found 60 dB, for example, on the gain control to be too aggressive for most sources. The sweet spot of the unit tended to be 45 to 50 dB in my experience.
If sound were lighting, then the 40 dB gain setting would be a soft light. The 45 to 50 dB would be a pleasing natural light. The 55 to 60 dB would be unfiltered halogens. And, 60 dB is sort of like when you are driving down the road and the oncoming car flashes its brights on you.
The Dual Mono Mic Pre features input and output transformers as well as input and output tubes. The output transformer is bypassed in the signal path when you use the unbalanced outputs. The balanced XLR output for each channel is bypassed anytime something is plugged into the unbalanced 1/4 inch output for that particular channel.
The direct inputs excel at synths. They are adequate for guitar and bass. You might prefer to use an additional DI box such as the Radial JDI which you plug into the XLR inputs for guitar or bass. Needing to add an outboard DI for guitar and bass perhaps was the only blemish I found from my time with the Manley Dual Mono Mic Pre.
On mic'ing electric guitar amps, the Dual Mono Mic pre at setting of 45 dB gave me a warm but natural representation of the amp's sound. I used both a ribbon and dynamic and got goods results with both.
I tracked an accordion with a Baby Bottle at 45 dB and the combination softened the harshness of this problematic instrument giving me useable results.
I tracked a cello with a Blue Dragonfly at 50 dB. The player commented that what she heard in the room was exactly what she heard in the headphones.
I plugged a keyboard workstation into the DI inputs. The gain at low settings softened the sounds. At high settings, the gain created thick tones. I like the versatility the Manley Dual Mono Mic Pre gives to keyboards and synths and I consider it my go to DI for these instruments.
The Bottom Line: The Manley Dual Mono Mic Pre is versatile. It's well made. It's one of the best mic pres to be reviewed at Mojo Pie. Highly recommended.
--Steve Beckett
Manley Laboratories
In recent memory, a lot of gear seems to get made over online hype. And, without disparaging the makers of that gear, usually these are simple pieces that put out ear candy sounds right of the box.
The Manley Dual Mono Microphone Preamplifier does not get a lot of online hype. I thought about this as I have used it. It is a versatile unit that features different sounds. The construction is on par with the best in the industry. I finally came to the conclusion that the Dual Mono Mic Pre was overdue for its own online hype, which probably would not be coming as too many people neglect to read the manual. Although the Dual Mono Mic Pre is a fairly simple to control unit, review of the manual is necessary to get full use of the pre.
The Manley Dual Mono Mic Pre features quality components and workmanship. The front faceplate appears to be 10 gauge steel with an engraved faceplate. The sides appear to be adonized extruded aluminum, which is an expensive touch not common in pro audio gear. The aluminum sides help dissipate heat.The top and bottom of the Dual Mono Mic Pre feature perforated 24 gauge steel panels, which allow more than adequate cooling of the internal components. This unit does get warm when left on for long periods. I would not pack it solid in a rack but rather leave a space above and below to allow some air circulation.
The top and bottom panels remove with one screw and slide toward the back. I work with metal often and found myself impressed with this aspect of the Manley Dual Mono Mic Pre. The sides feature guide rails which hold down the perforated panels allowing for the one screw design.
The front of the unit features a power switch, a gain control which controls the gain for both channels, a phantom power switch for each channel, 1/4 inch direct input plugins for each channel, and an input attenuate control for each channel. Each channel also features a switch that controls polarity. The same switch features a setting for DI that disconnects the mic input and mic transformer.
The rear of the unit features XLR inputs and outputs for each channel. It also features unbalanced 1/4 inch outputs.
The Manley Dual Mono Mic Pre's gain knob works on both channels. It runs from 40 to 60 dB. It sets the amount of negative feedback. Even though one gain control affects both channels, the gain stage comes before the input attenuate stage. Each channel has its own input attenuate control. As the gain increases -- no matter the setting on the input attenuate stage -- the Dual Mono Mic pre gives you a more aggressive sound. The input attenuate knob controls the output level but does not really affect the color of the sound.
I found 60 dB, for example, on the gain control to be too aggressive for most sources. The sweet spot of the unit tended to be 45 to 50 dB in my experience.
If sound were lighting, then the 40 dB gain setting would be a soft light. The 45 to 50 dB would be a pleasing natural light. The 55 to 60 dB would be unfiltered halogens. And, 60 dB is sort of like when you are driving down the road and the oncoming car flashes its brights on you.
The Dual Mono Mic Pre features input and output transformers as well as input and output tubes. The output transformer is bypassed in the signal path when you use the unbalanced outputs. The balanced XLR output for each channel is bypassed anytime something is plugged into the unbalanced 1/4 inch output for that particular channel.
The direct inputs excel at synths. They are adequate for guitar and bass. You might prefer to use an additional DI box such as the Radial JDI which you plug into the XLR inputs for guitar or bass. Needing to add an outboard DI for guitar and bass perhaps was the only blemish I found from my time with the Manley Dual Mono Mic Pre.
On mic'ing electric guitar amps, the Dual Mono Mic pre at setting of 45 dB gave me a warm but natural representation of the amp's sound. I used both a ribbon and dynamic and got goods results with both.
I tracked an accordion with a Baby Bottle at 45 dB and the combination softened the harshness of this problematic instrument giving me useable results.
I tracked a cello with a Blue Dragonfly at 50 dB. The player commented that what she heard in the room was exactly what she heard in the headphones.
I plugged a keyboard workstation into the DI inputs. The gain at low settings softened the sounds. At high settings, the gain created thick tones. I like the versatility the Manley Dual Mono Mic Pre gives to keyboards and synths and I consider it my go to DI for these instruments.
The Bottom Line: The Manley Dual Mono Mic Pre is versatile. It's well made. It's one of the best mic pres to be reviewed at Mojo Pie. Highly recommended.
--Steve Beckett
Manley Laboratories
Toft ATC-2
Toft ATC-2 dual channel strip a tweakers delight
I became initially interested in the Toft ATC-2 to track toms. I have a variety of Daking, Neve, Summit, Telefunken and Manley preamps but none of them seemed flexible enough to carve out the right tom sound. I record drum kits every week and the toms sometimes come up a little short. I sort of thought the problem not enough EQ bands, wrong bandwith and wrong frequencies. I purchased the Toft ATC-2 and found it the ultimate piece for this job. It imparts a distinct 1970s classic rock sound to the drums as well.
The Toft ATC-2 is a dual channel recording strip with mic pre, EQ and compression. I used the unit exclusively for recording toms for a number of months. All of the engineers here and the clients were impressed by the improved tom sound. The only problem that popped up from time to time seemed to be my cutting a little bit too much in the low mids. If the drummers played hard (and I mean very hard), then the sound came up a bit thin. Once I became more careful in where I cut the low mids the problem disappeared.
After I decided to write a review of the Toft ATC-2, I decided to try it on some other instruments and vocals. I first ran a DJ’s turntable mixer into the front panel inputs. The source came across solidly with no input clipping and the compressor set the tracks correctly in the mix with no other compression necessary.
I then used it on a vocal tracked through my Manley Reference Cardioid Microphone. The compressor on the Toft grabbed the vocal in a way similar to an old DBX 160. The Toft imparts a definite retro rock sound at four to five dB of compression. Higher amounts of compression seemed unnecessary due to the way it grabbed the vocal and held it. Higher amounts of gain reduction proved to have too much color for normal vocals.
I found that using small amounts of compression and a little low mid boost on electric guitar put across an Allman Brothers type lead guitar sound. I then used the ATC-2 on a variety of odd percussion instruments played by an experimental music band. I used unusual EQ boosting, overcompression, and forced preamp distortion to the delight of the band. The band wanted some unusual treatment of the sounds and the ATC-2 delivered.
I tried plugging a Fender Precision Bass into the front panels inputs and didn't like the results. These inputs seemed to be optimized for line level inputs. I plugged the bass into the mic pre XLR input on the back through a direct box and was delighted by a fat 1970s bass sound using a little low boost and compression.
If someone wants to carve up sounds with EQ and wants a compressor that can be heard, then the Toft ATC-2 should be considered. It can be a bit touchy to use but if you don’t over EQ or overcompress it sounds great. It does lack phase reverse. The low cut filter is sometimes too noticeable. But, I've been able to work around those limitations. If you’re looking for the 1970s sound that you heard on countless classic rock songs, then you should give the Toft ATC-2 a try.
The Bottom Line: It's retro. It can be a little touchy. But, damn, the EQ and compression sound great. Recommended.
--Jay Matheson
Toft Audio Designs
I became initially interested in the Toft ATC-2 to track toms. I have a variety of Daking, Neve, Summit, Telefunken and Manley preamps but none of them seemed flexible enough to carve out the right tom sound. I record drum kits every week and the toms sometimes come up a little short. I sort of thought the problem not enough EQ bands, wrong bandwith and wrong frequencies. I purchased the Toft ATC-2 and found it the ultimate piece for this job. It imparts a distinct 1970s classic rock sound to the drums as well.
The Toft ATC-2 is a dual channel recording strip with mic pre, EQ and compression. I used the unit exclusively for recording toms for a number of months. All of the engineers here and the clients were impressed by the improved tom sound. The only problem that popped up from time to time seemed to be my cutting a little bit too much in the low mids. If the drummers played hard (and I mean very hard), then the sound came up a bit thin. Once I became more careful in where I cut the low mids the problem disappeared. After I decided to write a review of the Toft ATC-2, I decided to try it on some other instruments and vocals. I first ran a DJ’s turntable mixer into the front panel inputs. The source came across solidly with no input clipping and the compressor set the tracks correctly in the mix with no other compression necessary.
I then used it on a vocal tracked through my Manley Reference Cardioid Microphone. The compressor on the Toft grabbed the vocal in a way similar to an old DBX 160. The Toft imparts a definite retro rock sound at four to five dB of compression. Higher amounts of compression seemed unnecessary due to the way it grabbed the vocal and held it. Higher amounts of gain reduction proved to have too much color for normal vocals.
I found that using small amounts of compression and a little low mid boost on electric guitar put across an Allman Brothers type lead guitar sound. I then used the ATC-2 on a variety of odd percussion instruments played by an experimental music band. I used unusual EQ boosting, overcompression, and forced preamp distortion to the delight of the band. The band wanted some unusual treatment of the sounds and the ATC-2 delivered.
I tried plugging a Fender Precision Bass into the front panels inputs and didn't like the results. These inputs seemed to be optimized for line level inputs. I plugged the bass into the mic pre XLR input on the back through a direct box and was delighted by a fat 1970s bass sound using a little low boost and compression.
If someone wants to carve up sounds with EQ and wants a compressor that can be heard, then the Toft ATC-2 should be considered. It can be a bit touchy to use but if you don’t over EQ or overcompress it sounds great. It does lack phase reverse. The low cut filter is sometimes too noticeable. But, I've been able to work around those limitations. If you’re looking for the 1970s sound that you heard on countless classic rock songs, then you should give the Toft ATC-2 a try.
The Bottom Line: It's retro. It can be a little touchy. But, damn, the EQ and compression sound great. Recommended.
--Jay Matheson
Toft Audio Designs
tfpro P10
Come experience the Mighty Twin
Do you like recording channels? A recording channel to me contains a mic pre, a compressor section and an equalizer section. As part of Ted Fletcher's resurgence as an audio designer and manufacturer, tfpro brought out the P10, which is also designated as the Mighty Twin. It's a dual recording channel. It features extensive controls (somewhat over the top at times), an effects loop for each channel and switchable stereo linkage for the compressor section.
What's over the top about it? Let's think 30 knobs, the nice aluminum ones. Let's think about a knob that switches input from line, instrument, dynamic and condenser microphones. And, please note the utter coolness of the condenser mic switch slicing 15 dB off the gain. Has anyone else noted the problem with certain mic pres giving you so much gain on condenser mics that you've got to turn the gain control all the way down to try to avoid clipping on condenser mic placements on loud sources?
Even though the P10 gives you lots of control, most users will find it easy to navigate with its logical layout and easy to read print on the faceplate.
The Mighty Twin features a variable phase control. It allows the engineer to adjust the phase of a mic from 0 to 180 degrees (instead of the usual one or the other button). It allows control and correction of slightly to severely misaligned microphones.
The compressor section attempts to emulate four different flavors of compressor. Ted Fletcher, of course, successfully emulates his famous compressor sound with one of the settings. He doesn't achieve complete success with the other three settings which mimic certain characteristics of other famous compressors. However, you get four distinct flavors of compression. Use of the four compressor settings over a long period of time revealed all four settings to be useful. The large VU meters can be switched from input mode to gain reduction at the push of a button.
The EQ section features a four band semi-parametric layout with a 12 dB cut or boost range. Each channel finishes off with a master channel output control and LEDs to indicate the presence of signal and overload.
Many people find it easy to get acoustic guitar sounds to tape yet find it difficult to fit into the mix. The P10 allows the user the opportunity to use compression and EQ when tracking to get an acoustic sound more in line with where it'll be when mixed. Some people disagree with this approach and say don't compress or don't EQ until final mixdown. The talent seems to perform better when it sounds like a record in the headphones. That's just an observation.
Using a Peluso 2247 microphone, a Martin D1936 acoustic guitar sounded huge with the compression selection set to position three. The engineer set the compressor with a fairly fast response and slow release time. He set the EQ to roll off the low end and a slight roll off of the high end as well. He used his ears to dial in the sound. The session ended with two keeper tracks for an indie film.
Next, the P10 saw duty on an old Ventura Classic guitar tracked with a modded Oktava MK319. Again, another keeper track to be featured in the above mentioned indie film.
On electric guitar amps, the P10's variable phase control allowed multiple mic'ing of the guitar amp without need to precisely set the distances. The P10 allows a lot of flexibility. You can put a condenser on channel one and a dynamic on channel two. You can give one compressor and EQ treatment to channel one and yet another to channel two. It's almost as if you got channels from a quality recording console with the added feature of the variable phase.
As a DI, the P10 performed well on both synth and bass tracks. Again, dial in the sound. The DI did not exhibit any obvious coloration or unpleasant artifacts.
The P10 got more use for drum overhead channels than anything else while being evaluated. The engineers used these mostly in the context of the three-mic drum technique. While some of the most famous drum tracks in Rock music feature this often debated recording technique it's more difficult to get the overheads to work than most assume. Regardless of the mics used over the kit, the P10 always allowed for a superlative picture of the kit. The toms came across as powerful and articulate. The cymbals rang true and clear. The P10 put across the sound of each mic without trying to imprint its own sound in place of that of each mic.
If only used for drums, then the P10's performance makes its price a good value and a worthwhile investment. It's been missed at both studios in which it was evaluated when it comes time to record drums and acoustic guitar.
An engineer rigged the P10 up as a master mixdown device strapped on the backend of a summing unit. The P10 outperformed its in the box counterparts and did so easily in A/B listening tests. It exudes "power" in this application.
The unit, while well received by the evaluators, also features a niggle or two. One evaluator wanted a compression makeup gain before the EQ section. Everyone also found it possessed that English self noise. It's not something you'd be troubled with for 99.9 percent of popular music tracking. However, if you wanted to record some quiet passages of Classical music, then you might want something quieter. However, if you're doing that sort of work, then you likely own something extremely quiet. Another evaluator wanted to see a switch that changed the signal path to allow the EQ to come before the compression.
One thing about Ted Fletcher that you should note. His pieces always seem to possess some sort of flaw of one kind or another. The test unit seemed to confirm this reputation. Despite how much everyone liked this piece, it did possess shortcomings that normally would place it beyond the possibility of a recommendation. First, the XLR outs on the test unit did not function. Second, the high band on the EQ just squealed and hissed when engaged. The former American distributor told us that he never experienced this before with any P10 and thought it due to prior evaluators opening the box and messing around. Yes, this does happen. The evaluators for Mojo Pie gave him the benefit of the doubt.
The evaluators were asked about the mic pre section as it compared to top end standalone mic pres. The answer is that the mic pre section by itself is not a top end pre. It's sort of mid range in quality. However, with the other parts of the unit engaged (compressor and EQ), the evaluators never thought of the unit as mid range or disadvantaged in anyway.
The Bottom Line: All in all the tfpro P10 should be considered for inclusion in many studios. It possesses a good mic pre with a quality compressor section and a good EQ section. The added features such as the variable phase make it stand out from its competition. Recommended.
--Ken Morgan and Steven Langer
tfpro
Do you like recording channels? A recording channel to me contains a mic pre, a compressor section and an equalizer section. As part of Ted Fletcher's resurgence as an audio designer and manufacturer, tfpro brought out the P10, which is also designated as the Mighty Twin. It's a dual recording channel. It features extensive controls (somewhat over the top at times), an effects loop for each channel and switchable stereo linkage for the compressor section.
What's over the top about it? Let's think 30 knobs, the nice aluminum ones. Let's think about a knob that switches input from line, instrument, dynamic and condenser microphones. And, please note the utter coolness of the condenser mic switch slicing 15 dB off the gain. Has anyone else noted the problem with certain mic pres giving you so much gain on condenser mics that you've got to turn the gain control all the way down to try to avoid clipping on condenser mic placements on loud sources? Even though the P10 gives you lots of control, most users will find it easy to navigate with its logical layout and easy to read print on the faceplate.
The Mighty Twin features a variable phase control. It allows the engineer to adjust the phase of a mic from 0 to 180 degrees (instead of the usual one or the other button). It allows control and correction of slightly to severely misaligned microphones.
The compressor section attempts to emulate four different flavors of compressor. Ted Fletcher, of course, successfully emulates his famous compressor sound with one of the settings. He doesn't achieve complete success with the other three settings which mimic certain characteristics of other famous compressors. However, you get four distinct flavors of compression. Use of the four compressor settings over a long period of time revealed all four settings to be useful. The large VU meters can be switched from input mode to gain reduction at the push of a button.
The EQ section features a four band semi-parametric layout with a 12 dB cut or boost range. Each channel finishes off with a master channel output control and LEDs to indicate the presence of signal and overload.
Many people find it easy to get acoustic guitar sounds to tape yet find it difficult to fit into the mix. The P10 allows the user the opportunity to use compression and EQ when tracking to get an acoustic sound more in line with where it'll be when mixed. Some people disagree with this approach and say don't compress or don't EQ until final mixdown. The talent seems to perform better when it sounds like a record in the headphones. That's just an observation.
Using a Peluso 2247 microphone, a Martin D1936 acoustic guitar sounded huge with the compression selection set to position three. The engineer set the compressor with a fairly fast response and slow release time. He set the EQ to roll off the low end and a slight roll off of the high end as well. He used his ears to dial in the sound. The session ended with two keeper tracks for an indie film.
Next, the P10 saw duty on an old Ventura Classic guitar tracked with a modded Oktava MK319. Again, another keeper track to be featured in the above mentioned indie film.
On electric guitar amps, the P10's variable phase control allowed multiple mic'ing of the guitar amp without need to precisely set the distances. The P10 allows a lot of flexibility. You can put a condenser on channel one and a dynamic on channel two. You can give one compressor and EQ treatment to channel one and yet another to channel two. It's almost as if you got channels from a quality recording console with the added feature of the variable phase.
As a DI, the P10 performed well on both synth and bass tracks. Again, dial in the sound. The DI did not exhibit any obvious coloration or unpleasant artifacts.
The P10 got more use for drum overhead channels than anything else while being evaluated. The engineers used these mostly in the context of the three-mic drum technique. While some of the most famous drum tracks in Rock music feature this often debated recording technique it's more difficult to get the overheads to work than most assume. Regardless of the mics used over the kit, the P10 always allowed for a superlative picture of the kit. The toms came across as powerful and articulate. The cymbals rang true and clear. The P10 put across the sound of each mic without trying to imprint its own sound in place of that of each mic.
If only used for drums, then the P10's performance makes its price a good value and a worthwhile investment. It's been missed at both studios in which it was evaluated when it comes time to record drums and acoustic guitar.
An engineer rigged the P10 up as a master mixdown device strapped on the backend of a summing unit. The P10 outperformed its in the box counterparts and did so easily in A/B listening tests. It exudes "power" in this application.
The unit, while well received by the evaluators, also features a niggle or two. One evaluator wanted a compression makeup gain before the EQ section. Everyone also found it possessed that English self noise. It's not something you'd be troubled with for 99.9 percent of popular music tracking. However, if you wanted to record some quiet passages of Classical music, then you might want something quieter. However, if you're doing that sort of work, then you likely own something extremely quiet. Another evaluator wanted to see a switch that changed the signal path to allow the EQ to come before the compression.
One thing about Ted Fletcher that you should note. His pieces always seem to possess some sort of flaw of one kind or another. The test unit seemed to confirm this reputation. Despite how much everyone liked this piece, it did possess shortcomings that normally would place it beyond the possibility of a recommendation. First, the XLR outs on the test unit did not function. Second, the high band on the EQ just squealed and hissed when engaged. The former American distributor told us that he never experienced this before with any P10 and thought it due to prior evaluators opening the box and messing around. Yes, this does happen. The evaluators for Mojo Pie gave him the benefit of the doubt.
The evaluators were asked about the mic pre section as it compared to top end standalone mic pres. The answer is that the mic pre section by itself is not a top end pre. It's sort of mid range in quality. However, with the other parts of the unit engaged (compressor and EQ), the evaluators never thought of the unit as mid range or disadvantaged in anyway.
The Bottom Line: All in all the tfpro P10 should be considered for inclusion in many studios. It possesses a good mic pre with a quality compressor section and a good EQ section. The added features such as the variable phase make it stand out from its competition. Recommended.
--Ken Morgan and Steven Langer
tfpro
Sytek MPX-4Aii
The four-channel mic preamp that gets 'Respek'
A local church asked me if I would be able to record a few Classical music concerts for them. I was happy to accept the challenge. However, I realized that I would have to upgrade my signal chain, especially my microphone preamps. I normally used a small outboard mixer for recording Rock music but knew it would be too noisy to track Classical music.
I did not know much about mic preamps, so I spent some time talking to recording engineers. They suggested the following characteristics: Low noise, neutral, and transparent. I quickly compiled a list of four recommendations. Two of the preamps sold for $500, and I auditioned them locally through two different music retailers. Although both of these units were better than my mixer preamps, I could easily hear sonic flaws in them and I did not find them to be neutral.
At a friend's studio, I heard an Earthworks Lab 102. I found the sound impressive and it met all my criteria. However, it exceeded my planned budget. Finally, someone suggested the Sytek MPX-4Aii preamp, which I had never heard of before. I researched these and found that Steve Albini recommended them.
The MPX-4Aii is a four-channel, single rack space unit with a solid state transformerless class A discrete input. The manufacturer offers different configurations including optional Burr-Brown ICs on two of the channels, for “silky-smooth” sound, according to the sales literature. The listed specs are +75 dB gain, noise -96dBm, 0.0015% THD at 65dB gain, and a bandwidth of 10 Hz to 85 kHz +/-0.25 dB.
The front panel controls appear minimalist but straight forward, all black buttons, knobs, and lettering, on a brushed aluminum face plate. Each of the four channels has a gain knob, marked from 1 to 9, a peak led, and three buttons for mute, phase, and +48v phantom power. The only other control is an led illuminated rocker switch for power, on the far right side.
I contacted Mike Stoica, the designer of the preamp and owner of Sytek. He told me that the Chicago, Houston and Seattle symphony orchestras owned the MPX-4Aii as well as Steve Albini and Aerosmith. And, they were paying customers. So, I placed my order for an MPX-4Aii with the optional Burr-Brown ICs on channels three and four.
Unpacking the shipping box, I found the MPX-4Aii felt hefty and solid. The back panel contains only a male and female XLR connector for each channel, and an IEC power cord connector with an integrated fuse holder. On the front, the gain knobs feature stepped potentiometers, which also felt smooth, but sturdy. I counted 40 individual clicks. I patched the unit into my DAW, and was immediately pleased.
By just talking into a dynamic mic and adjusting the gain control, I could hear that the unit was dead quiet, and there was headroom to spare. I found the signal clarity to be exceptional. Switching over to a Burr-Brown channel, I discovered a richness that it added to my voice. I excitedly called my friend at his studio to tell him what I had just heard. He asked if I could bring the preamp over, so he could hear it for himself, and compare it against his Earthworks Lab 102.
I went right over, and we set up some mics, to recorded a series of tests with both preamps, using the acoustic guitar, a bass amp, a flute, a saxophone, our singing voices, and a crash cymbal. The results seemed to be a toss-up. The Earthworks seemed fuller on the lower midrange and bass. The Sytek possessed a more pleasing smoothness on the high frequency content. Our preferences bounced back and forth depending on the source material we used. Both units sounded very good.
The final, but most revealing test, was the crash cymbal. I played a series of loud fast staccato hits on the bell, followed by a series of loud crashes, letting the tone fully decay. The playback surprised me. The Sytek was cleaner on the bell hits, with a faster attack and tighter dynamics, while the other mic pre seemed slow, strident, and choppy. On the crash hits, the Sytek again had a faster and clearer attack, and was smoother on the decay with more detailed overtones. Afterwards, I felt really thrilled with my purchase. It met my requirements and was a more economical solution for critical audio recording.
After owning the Sytek for a few months, I consider it a joy to own. I think of the sound of the standard channels as quiet, transparent, clear, and ultra fast. The top end is exceptionally smooth, with no solid-state brittleness at all. I never seem to run out of headroom. The Burr-Brown channels share all of the same sonic advantages, but add a darker thicker flavor.
Initially, I did not find many musical uses for the Burr-Brown channels besides vocals. However, I found that large condenser mics pair nicely with the Burr-Brown channels on a variety of sources.
I've talked to other Sytek owners online. And, yes, we have some minor complaints. I would like to have a low cut filter on my preamp, since not all of my microphones have this. Some people would like to see an input attenuator pad, and it has also been noted that even when the gain is set all the way down, the unit is still passing signal at +12 dB of gain. This does not bother me, since there is also a mute button. A calibrated gain knob would also be nice, instead of being marked 1 through 9.
However, no one complains about the sound quality. My friend who hosted the preamp test in his studio bought two units for himself. One other sticking point: My unit did not come with an audition. I see no possibility of someone buying this preamp and not wanting it. However, a reasonable return policy would be nice. Mike Stoica seemed more than happy to respond to any of my email questions. You can order the Sytek preamps directly through him. Sometimes, he sells dealer returns on Ebay, which is where I bought my MPX-4Aii.
The Bottom Line: At a little over $200 per channel, this mic pre features exceptional sound and lots of headroom. Recommended.
--Art Douglas
Sytek Audio Systems
A local church asked me if I would be able to record a few Classical music concerts for them. I was happy to accept the challenge. However, I realized that I would have to upgrade my signal chain, especially my microphone preamps. I normally used a small outboard mixer for recording Rock music but knew it would be too noisy to track Classical music.
I did not know much about mic preamps, so I spent some time talking to recording engineers. They suggested the following characteristics: Low noise, neutral, and transparent. I quickly compiled a list of four recommendations. Two of the preamps sold for $500, and I auditioned them locally through two different music retailers. Although both of these units were better than my mixer preamps, I could easily hear sonic flaws in them and I did not find them to be neutral. At a friend's studio, I heard an Earthworks Lab 102. I found the sound impressive and it met all my criteria. However, it exceeded my planned budget. Finally, someone suggested the Sytek MPX-4Aii preamp, which I had never heard of before. I researched these and found that Steve Albini recommended them.
The MPX-4Aii is a four-channel, single rack space unit with a solid state transformerless class A discrete input. The manufacturer offers different configurations including optional Burr-Brown ICs on two of the channels, for “silky-smooth” sound, according to the sales literature. The listed specs are +75 dB gain, noise -96dBm, 0.0015% THD at 65dB gain, and a bandwidth of 10 Hz to 85 kHz +/-0.25 dB.
The front panel controls appear minimalist but straight forward, all black buttons, knobs, and lettering, on a brushed aluminum face plate. Each of the four channels has a gain knob, marked from 1 to 9, a peak led, and three buttons for mute, phase, and +48v phantom power. The only other control is an led illuminated rocker switch for power, on the far right side.
I contacted Mike Stoica, the designer of the preamp and owner of Sytek. He told me that the Chicago, Houston and Seattle symphony orchestras owned the MPX-4Aii as well as Steve Albini and Aerosmith. And, they were paying customers. So, I placed my order for an MPX-4Aii with the optional Burr-Brown ICs on channels three and four.
Unpacking the shipping box, I found the MPX-4Aii felt hefty and solid. The back panel contains only a male and female XLR connector for each channel, and an IEC power cord connector with an integrated fuse holder. On the front, the gain knobs feature stepped potentiometers, which also felt smooth, but sturdy. I counted 40 individual clicks. I patched the unit into my DAW, and was immediately pleased.
By just talking into a dynamic mic and adjusting the gain control, I could hear that the unit was dead quiet, and there was headroom to spare. I found the signal clarity to be exceptional. Switching over to a Burr-Brown channel, I discovered a richness that it added to my voice. I excitedly called my friend at his studio to tell him what I had just heard. He asked if I could bring the preamp over, so he could hear it for himself, and compare it against his Earthworks Lab 102. I went right over, and we set up some mics, to recorded a series of tests with both preamps, using the acoustic guitar, a bass amp, a flute, a saxophone, our singing voices, and a crash cymbal. The results seemed to be a toss-up. The Earthworks seemed fuller on the lower midrange and bass. The Sytek possessed a more pleasing smoothness on the high frequency content. Our preferences bounced back and forth depending on the source material we used. Both units sounded very good.
The final, but most revealing test, was the crash cymbal. I played a series of loud fast staccato hits on the bell, followed by a series of loud crashes, letting the tone fully decay. The playback surprised me. The Sytek was cleaner on the bell hits, with a faster attack and tighter dynamics, while the other mic pre seemed slow, strident, and choppy. On the crash hits, the Sytek again had a faster and clearer attack, and was smoother on the decay with more detailed overtones. Afterwards, I felt really thrilled with my purchase. It met my requirements and was a more economical solution for critical audio recording.
After owning the Sytek for a few months, I consider it a joy to own. I think of the sound of the standard channels as quiet, transparent, clear, and ultra fast. The top end is exceptionally smooth, with no solid-state brittleness at all. I never seem to run out of headroom. The Burr-Brown channels share all of the same sonic advantages, but add a darker thicker flavor.
Initially, I did not find many musical uses for the Burr-Brown channels besides vocals. However, I found that large condenser mics pair nicely with the Burr-Brown channels on a variety of sources.
I've talked to other Sytek owners online. And, yes, we have some minor complaints. I would like to have a low cut filter on my preamp, since not all of my microphones have this. Some people would like to see an input attenuator pad, and it has also been noted that even when the gain is set all the way down, the unit is still passing signal at +12 dB of gain. This does not bother me, since there is also a mute button. A calibrated gain knob would also be nice, instead of being marked 1 through 9.
However, no one complains about the sound quality. My friend who hosted the preamp test in his studio bought two units for himself. One other sticking point: My unit did not come with an audition. I see no possibility of someone buying this preamp and not wanting it. However, a reasonable return policy would be nice. Mike Stoica seemed more than happy to respond to any of my email questions. You can order the Sytek preamps directly through him. Sometimes, he sells dealer returns on Ebay, which is where I bought my MPX-4Aii.
The Bottom Line: At a little over $200 per channel, this mic pre features exceptional sound and lots of headroom. Recommended.
--Art Douglas
Sytek Audio Systems
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