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#390813 - 02/09/00 02:54 AM Mic Pre Shootout
3D Audio
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Registered: 01/19/00
Posts: 1032
Loc: Franklin, TN, US

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Roger,

First off, we miss you here in old NashVegas. Hope you're enjoying your new home.

Secondly, we are considering doing a massive mic pre shootout in Nashville and I would love to have your input on the best procedure for doing this. We're going to line up about 30-40 pres and compare them. We're probably going to make a CD of the results so people can hear the results for themselves.

Can you check out the thread at http://www.3daudioinc.com/wwwboard/wwwboard.shtml and offer your suggestions?


------------------
Lynn Fuston
3D Audio Inc
Music Mixing and Mastering
on a scenic hilltop overlooking historic
Franklin, TN
http://www.3daudioinc.com
email: go3daudio@aol.com
_________________________
Lynn Fuston
3D Audio Inc
Home of 3dB

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#390814 - 02/09/00 08:08 PM Re: Mic Pre Shootout
Roger Nichols
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Registered: 12/13/99
Posts: 1249
Loc: Miami, Florida

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Lynn

I've done a few mic pre shootouts in the past. The last time Walter Becker and I did it, the Avalon won. We had Dean PArks come into the studio and play acoustic guitar for the major part of the test. The playing did not change over time (important when one preamp is heard 30 minutes after the first one).

I did a mic pre shootout with Bela Fleck, and the mic pre used depended on the mic and the instrument being recorded. Keep this in mind.

Make sure the levels exactly match. If one mic pre is louder, it will always sound better. Use some acoustic tone source with a measured distance from the mic (not too close to avoid proximity effect if it is not omni) and set all of the preamps to give the same level output.


Just for the hell of it, try one of the new Beyer MCD-100 digital mic (really an analog mic with the converter in the mic) no mic preamp needed. See how it stacks up

Good luck

Roger
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#390815 - 02/09/00 09:07 PM Re: Mic Pre Shootout
3D Audio
Platinum Member


Registered: 01/19/00
Posts: 1032
Loc: Franklin, TN, US

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Roger,

Thanks for the input. I am also concerned about the different impedances of the front-ends of the preamps and how they respond differently to different mics. But we are trying to check a lot of preamps on a variety of instruments.

Absolutely the best way to do a shootout is with the right player and the mics all lined up, but we are trying to figure out some general characteristics. And this shootout is as much for all my recording comrades who don't have the luxury of getting 30 preamps together in the same room. Most people don't have the luxury of shooting out 5 or 10 different preamps, like you and I can do.

I hear frequently "how does a 1272 compare to an API?" So hopefully we can answer some of those questions.



------------------
Lynn Fuston
3D Audio Inc
Music Mixing and Mastering
on a scenic hilltop overlooking historic
Franklin, TN
http://www.3daudioinc.com
email: go3daudio@aol.com
_________________________
Lynn Fuston
3D Audio Inc
Home of 3dB

Top
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