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I'm looking at purchasing a new pre/cmp for our room, and the choices are many. We generally track acoustic instruments (guitar/mando/ukelele), drums/precussion (congas/djembe/etc), vocals, and strings (violins mostly). As I learn more about the mid/high end of these pieces of gear, I'm finding making a choice somewhat difficult. (Like... am I right in paying attention to ohms on a pre with regards to ribbon mics, which we'll be using a bit of?) I'd love to shoot from the hip, buy everything, but... reality awaits. So...

Does anyone use the UA LA-610 MkII pre/cmp?
How does the T4 on this unit stack up relative to the 1176? The LA-2A?

What about the Chameleon Labs 7602 MKII? I hear good things about it and know I can get one fairly. Any users of this unit here?

Other options on the table are the John Hardy mic pre's, and the Vintech X73i's, despite my budgeting considerations.

Any other recommendations?

I'm digging into gearslutz/other on this stuff currently, but always love to hear taxi opinions.

If you are thinking vintech, then you would do well to check out the BAE stuff, both their Neve inspired stuff and their API 312 inspired ones too. Formerly Brent Averill Engineering.

T4 comp in LA-610 is fairly close to LA-2A.

Ribbon mics generally need a lot of clean gain. But nowadays, the cloud lifter will boost the lower output mics nicely. Dynamics or passive ribbons.

Uuh, that cloudlifter looks great, Andy. Never knew about that one, what a tool!
http://www.sweetwater.com/store/manufac ... icrophones

I'm drooling thinking SM57 on an amp, and silky ribbon mics for vocals!
Here's a test http://www.youtube.com/watch?v=38GXSQmalvc

Have you tried them?

thesongcabinet wrote:Uuh, that cloudlifter looks great, Andy. Never knew about that one, what a tool!
http://www.sweetwater.com/store/manufac ... icrophones

I'm drooling thinking SM57 on an amp, and silky ribbon mics for vocals!
Here's a test http://www.youtube.com/watch?v=38GXSQmalvc

Have you tried them?

no, but I think Mojobone has one. or has used one at least.

For acoustic instruments you'll absolutely love a 1073 type preamp.

I use a Neve myself and it sounds outstanding. Someone mentioned BAE which is also
a great choice.

Good luck

andygabrys wrote:

thesongcabinet wrote:Uuh, that cloudlifter looks great, Andy. Never knew about that one, what a tool!
http://www.sweetwater.com/store/manufac ... icrophones

I'm drooling thinking SM57 on an amp, and silky ribbon mics for vocals!
Here's a test http://www.youtube.com/watch?v=38GXSQmalvc

Have you tried them?

no, but I think Mojobone has one. or has used one at least.

At home, I use a Presonus TubePre to bump up an SM57 on quiet sources like dreadnought acoustic guitars, dulcimers and such. I've used the Cloudlifter in other studios, with both SM57-58 and with a range of modern low-output non-active ribbon mics. (mostly from Cascade and Avantone)

I love the focused sound of dynamic mics; they tend to make any source a bit easier to mix, but the trick is getting the typically low dynamic mic levels above a typical project studio's relatively high noise floor. The trick is to find an outboard preamp with a ton of very clean gain, or something like the Cloudlifter, which works with the preamps on your computer interface, while drawing phantom power in a manner that can't hurt vintage-style ribbons, a kinda best-of-both worlds solution. There's not much an SM57 can't do, given enough clean gain so that the signal is robust enough to blend with say, a very loud snare picked up by the same mic; it's just that the snare is loud enough not to need preamp help.

If you like a bit of compression on input, there are lots of good channel strips to choose from, and in a number of formats, it just depends on your budget. I like the UA LA 610, but I also like Presonus' new ADL channel strip, it's like how everybody loves egg cream, but every neighborhood has its own joint, with its own flava/brand of chocolate syrup. If I could pick just one, it might be an API, if I do mainly rock; a jazzer might choose Great River or Summit. Generally, the more percussive the instrument, the faster the preamp needs to be, to accurately translate fast transients. HTH

I have API512C in lunchbox. Very happy with it. Mellinia( not sure if that's spelled right) is top of the line for acoustic instr.
When I was shopping I called my engineer friend here in Nash. who has spent years recording acoustics and he told me I couldn't go wrong with API for all around workhorse pre. and he mentioned the mellinia. Plus Miktek here in Nash make one he likes. Also API has a sister company JDK that make great stuff a little cheaper. Added some links
http://www.jdkaudio.com/v10.html
http://www.sweetwater.com/store/detail/ ... nQodr0kA9w
http://www.miktekaudio.com/products/mpa ... eamplifier
http://www.sweetwater.com/store/detail/ ... nQodr0kA9w

I have the 200 series API mic pre and compressors. I bought them several years ago when there were far fewer choices for high end on a budget. The 500 series gives you more versatility because now everyone seems to make 500 series modules. I've never seen anything but high praise for API products. I've used it with a cascade ribbon mic. I'm very satisfied.

http://www.apiaudio.com/212l.html
http://vintageking.com/catalogsearch/re ... i#isPage=1