robnokshus06 said:
...I brought my AKG in and it sounded just marvelous through that PRE module. I could never quite capture that fat, warm sound with the 528e. Any suggestions?
I sure did like the Pacific Recorders boards too, but I was always hearing it thru some type of processing, whether in production or on-air.
But I can tell you generally that a "fat, warm sound" usually comes from transformer coupling. The old Symetrixes all used transformerless designs. Going transformerless has a couple of benefits to marketing departments and manufacturers: less bass distortion (warmth) and lower manufacturing cost. Good transformers are expensive components, a good $50 and up.
Back before amplifiers on chips became popular, everything was transformer coupled, and the bass distortion (warmth) built up with every one the signal passed thru. So figure one on the mic, then the preamp input, pre output, EQ in, EQ out, compressor in and compressor out, board module in, board out, line processor in and out, STL in and out, and transmitter in, and ya got some serious mojo going there.
There are still many fantastic transformer-coupled preamps available now, because recording engineers love that sound on certain things. The Most Transformers In a Box Award probably goes to the API 7600 channel strip, which I think has 5. The 7600 also has a REALLY cool compressor, which is switchable between the feed-forward DBX sound and the feed-back UREI 1176 sound. Which one is better is a matter of taste and your application.
I suggest that if you're SERIOUSLY trying to get that warm transformer sound, take the money that you want to spend on a whole channel strip and spend it on just one really good transformer coupled preamp, like a Great River NV. The Great River essentially lets you "dial in" the mojo, and several other preamps fall in that category as well, such as the Atlas Pro Audio Juggernaut. Compression is essential, so for now get a good cheap compressor like an FMR Really Nice Compressor. Later, when you've got more money, invest in a quality, say 20-year, compressor like an 1176 or LA-3A. EQ is not such a big deal, in my opinion; you can get a standalone Presonus for $100.
I've spent a lot of money over the years on very mediocre gear. I now advocate buying only the
best quality gear, piece by piece, as you can afford it. It will save you much frustration with your sound, and good gear will last your entire career. Consider the API Lunchbox system. Several fantastic manufacturers make components for the API-500 series module system that you can mix and match to your heart's content. There are preamps as transparent or as colored as you want, including tube preamps. There are several choices of EQ, all fantastic. And there are compressors of every flavor. Just slide the module in, tighten down the screws, and make your connections on the back via XLRs. The Lunchbox provides module power and phantom power for your mics. A 6-unit Lunchbox can get you covered for two complete mic chains. And you only have to pay for ONE power supply, so in the end you save money -- just like a channel strip, only YOU get to choose everything that goes in it. No more crappy compressors in an otherwise good box!
I always hated the compressor in the Symetrix 528. It's also in the wrong place in the chain. Compression should come after EQ, not before. I will say having the expander was nice, but your room really should be quiet enough that you don't need it. Some problems shouldn't be fixed with gear.
Just as a sidenote, for all who are otherwise happy with the Symetrix, but are having problems with dirty pots, Jim Williams of Audio Upgrades will go thru and replace all weak components for a very reasonable price. See
http://www.audioupgrades.com. He also has a VERY transparent retrofit preamp module that he can install which has probably the lowest distortion of any pre on the market under $2000. It's like $200 installed. The stock preamp in the Symetrix is about a $5 chip.
Consider that, in production, you don't have to do all your processing on the way in. You'll get much better sonic satisfaction from spending $500 - $700 on a really good preamp, and adding EQ and compression in software (Audition or whatever), than getting a mediocre channel strip simply because you think that's all you can afford. Check out the True P-Solo and the Grace M101, both cleaner than a mountain spring, and about $500. How many reads will it take you to come up with $500 bucks?
Right now, I'm using MY
LAST $5 preamp. And just think, even that's an improvement over the pre in a Mackie.
JJ
