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With all my mic pre-amps, I connect the signal output directly to the input of the recording device, bypassing any other amplification or signal processing. This allows the cleanest, punchiest, most dynamic signal possible to be recorded. When you route a signal through a recording console, it passes through multiple gain stages and amp sections, adding unwanted noise and diminishing the sound quality.
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I use this box a lot - my Millennia HV-3D. It features eight fully matched
microphone channels of uncompromising sonic character and stunning clarity, optimized
towards capturing the subtlest detail of music and ambience. You will find these in use by organizations such as The Metropolitan Opera House / Lincoln Center, The New York Philharmonic,
and The National Symphony Orchestra and Kennedy Center in Washington DC.
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My collection includes six channels of legendary API 512c mic pre-amp - one of the most sought after and emulated mic pre's in recording. Crushing punch, loads of headroom, big bottom, silky top end - what's not to love? Use them a couple of times and you'll see why most big studios have a rack of them in the control room, or save the trouble of patching them in and just buy an API console. |
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I own the first production model of the stereo Demeter VTMP-2 (Vacuum Tube Mic Pre-amp,) which was originally manufactured in 1986. I bought this one when they
first came out (serial #237,) but I have replaced the stock tubes with vintage
Telefunken "smooth plate" tubes, and it really makes a wonderful
improvement in this already great sounding mic pre.
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This is the Earthworks LAB 102 stereo solid state mic-pre. As
close to the audio purity of solid wire as a mic-pre can get, but this
thing has gain! Frighteningly clean and accurate. Great
alternative to the Demeter. I love to use it on upright bass - it captures very
clean midrange which helps provide excellent definition for the entire instrument.
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The Focusrite Red 1 is a 4-channel mic pre-amp designed by the legendary Rupert Neve. The sound is revealing and accurate, and yet has a smooth character to it. I bought this
around 2002, used it on hundreds of sessions, and it's still sounding great!
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Following Rupert Neve through his audio equipment design and manufacturing
career, I have added a Neve Portico 5012 to my rack of mic pre's. This unit
is another wonderful sounding option. Loads of headroom, clean and quiet, with a
"Silk" switch to add in a little extra top end sheen to emulate the older
Neve console mic pre's.
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In my office mixing suite, I use the Dangerous Music 2Bus LT for analog
buss summing of mixes. Using an analog summing amp preserves stereo imaging and width,
prevents loss of punch and sonic detail, and noticeably improves the overall sound quality when compared to "mixing in the box." This incredible sounding unit has 16 inputs summed down to a stereo output, and the sonic improvement is very noticeable.
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You can see a listing of some of the components in my mobile digital recording system on the RECORDING page, and additional gear I use for MIXING. |
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Recording System | Mixing | Credits | Home Recording Mics | Home Studio Consulting/Lessons | Bio | Home |
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Contact me at: Cell:  ©2017 RHL Audio |
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