Microphone Preamps

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MIX AES SURVIVAL GUIDE

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A-DESIGNS EM-GOLD: The EM-Gold is designed to bring more mids to the lower end of the sonic spectrum. It combines the output transformer of the EM-Silver (custom all-steel winding) and the input transformer of the EM-Red (custom winding with different ratio I/O). Well-suited for drum recording, various guitar, bass and vocal tracks. AES booths #1427 and #1322.

www.adesignsaudio.com

AEA TRP (THE RIBBON PRE): Now shipping, this high-gain, dual-mono ribbon mic (no phantom) preamp offers 84 dB of quiet gain with mic and instrument inputs. Features +4dBu balanced/-10dBV unbalanced outputs; phase and highpass controls; LED level metering; half-rack chassis; and 9 to 12-volt AC or DC external supply. AES booth #1022.

www.ribbonmics.com

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API AUDIO APR A2D: The A2D digital converter features a pair of 312 discrete mic amplifiers combined with proprietary A/D converters in a 19-inch rackspace. Priced at $1,995, more than 200 units have been delivered since its May 1, 2006, introduction. AES booth #918.

www.apiaudio.com

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DW DRUMS/MAY IN EX: The MAY IN/EX blend module is a 2-in/1-out, high-headroom, Class-A mic preamp designed by PreSonus Audio. The module is designed to mix one internal snare mic and any external mic into one channel to achieve the ultimate tone for live performance and recording.

www.dwdrums.com

GROOVE TUBES SUPRE: Stereo microphone and instrument preamplifier that uses a high-resolution tube signal path. Designed for tracking and stereo mastering. Features variable transformer impedance settings on each channel (300/600/1,200 ohms), four high-quality, nickel-core I/O transformers and 72 dB of gain on each channel using four specially selected GT pentode/triode dual-element vacuum tubes. AES booth #1505.

www.groovetubes.com

MANLEY TNT: Here’s a twist—two different and discrepant mic pre’s in one box for two different colors. One channel is the same mic pre found in our SLAM!, with tubes and transformers. The second preamp is a fresh “no tubes” design inspired by old British console preamps. With the Manley TNT, you’ll have two qualified candidates in one chassis. AES booth #1302.

www.manleylabs.com

MATRIX AUDIO SYSTEMS TO-2: The TO-2 two-rackspace, dual-channel preamp has all-discrete (no IC chips!) circuitry with transformer-balanced I/Os. Based on our all-discrete op amp, it comes with switchable 48V phantom power, pad and polarity inversion. It is not a vintage preamp clone; it has clarity and detail with that “all-discrete, big and punchy” sound. MSRP: $1,495.

www.matrixaudiosystems.net

MERCURY GRAND PRE: Available in 1- and 2-channel versions, these preamps feature 0 to 60dB input gain control in 12dB steps, a ±8dB fine-gain control, 48VDC phantom, polarity reverse, output control fader and a newly designed FET direct input. I/Os are balanced using the original Sowter transformers. Internal power supply uses a toroidal transformer and is regulated for superlow noise and stable performance. Each amplifier channel is locally regulated to eliminate crosstalk between channels. AES booth #1325.

MERCURY M72s/1: A single-channel version of our M72s, the M72s/1 offers a selectable -16/-28dB input pad, even handling line-level signals for a warm, rich path. Features 48VDC phantom, polarity reverse and direct input for bass/guitar. Our M72s/1 has the rich low/punchy mids of vintage V72 modules, but a more open high end. The preamp has that vintage tone and “breaks up” like the original modules, but is a bit more musical. AES booth #1325.

www.MercuryRecordingEquipment.com

MILLENNIA MEDIA HDOE: The HV-3D output expansion option provides two additional buffered line-driver outputs for the HV-3D microphone preamplifier. It uses the same drive circuit design as the standard outputs. HDOE is capable of driving difficult loads, such as the hundreds of meters of cable typically found in remote situations. The additional outputs terminate on a pair of DB-25 connectors, providing three outputs per mic channel. The HDOE is a factory-installed option. AES booth #628.

MILLENNIA MEDIA HROE: The HV-3R output expansion option provides two additional buffered line-driver outputs for the HV-3R preamp. It uses the same drive circuit design as the standard outputs. This field-installable option is capable of driving difficult loads, such as the hundreds of meters of cable found in remote situations. Additional outputs terminate on a pair of DB-25 connectors, providing three outputs per mic channel. AES booth #628.

MILLENNIA MEDIA HV-3R: The HV-3R 8-channel, remote-controllable preamp employs the same HV-3 circuit found in the HV-3C and HV-3D. Gain control is achieved via ultra-quiet, high-performance 4th-generation relays employing gold-plated contacts rated at 50 million operations. MIDI and Ethernet are its primary remote protocols. The MIDI interface allows plug-and-play compatibility with Pro Tools systems. The Ethernet interface, coupled with Millennia’s HV-3DR control software, offers a wide range of features unachievable with proprietary hardware. AES booth #628.

www.mil-media.com

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PRESONUS DIGIMAX FS: An 8-channel, Class-A mic pre with optical Lightpipe (ADAT/96k SMUX) I/O and work clock I/O. AES booth #432.

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PRESONUS FIRESTUDIO: A 26x26, 24-bit/96k FireWire recording system with eight preamps and ADAT/96k SMUX optical I/O, word clock output, 36x18 matrix routing mixer, optional Monitor Station Remote, and recording and production software. AES booth #432.

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PRESONUS FADERPORT: FaderPort is a USB controller designed to enhance creativity and enhance music creation. The FaderPort features a touch-sensitive, motorized fader for writing fades and automation. Additional features include PAN control, record-enable, solo, set and move to marker points, as well as toggle between the Mix, Edit and Transport windows. Compatible with both Mac and Windows systems, FaderPort works with all major DAW software, including Pro Tools, Nuendo, Cubase, Logic and more. AES booth #432.

www.presonus.com

RME MICSTASY: The Micstacy features high-end converters and combines a number of RME features with groundbreaking innovations. With Micstasy, not only are conventional analog mic preamps and A/D converters a thing of the past, but a lot of applications will change. In short, Micstasy is the high-end, multi-analog input device for live, studio, installations and mobile recordings, and makes surround recordings a breeze. AES booth: #1615.

www.synthax.com

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SHADOW HILLS INDUSTRIES GOLDEN AGE MICROPHONE AMP
Made from the finest possible parts, Shadow Hill’s GAMA 8-channel mic preamp uses switchable output transformers to shape any channel’s characteristics with the flick of the switch. All preamps are based on all-discrete 24-volt op amps, and feature engraved panels, Bakelite knobs and detented switches for the same solid feel of the finest vintage gear. AES booth #1329.

www.shadowhillsindustries.com

THERMIONIC EARLYBIRD 2.2: The hand-built Earlybird 2.2 stereo valve mic/line preamp has revised output transformers, selectable mid and bass EQ frequencies. The unit now boasts ultralow distortion, 0.007% @ 1 kHz and 115dB signal-to-noise. Onboard dedicated XLR inputs and front panel input selector for the optional Thermionic Culture Pullet stereo mini passive EQ are also included. AES booth #1134.

www.thermionicculture.com

TOFT AUDIO DESIGNS AFC-2: The AFC-2 is a 1-unit, dual-channel EQ with mic preamps ideal for recording, mastering and sound reinforcement. With extremely musical 4-band EQ, the AFC-2 has balanced I/O, 48V phantom power and phase reverse. An attractive, sculpted and brushed-aluminum panel. AES booth #1411.

www.toftaudio.com

TONELUX/GENEX 48-CHANNEL MIC PRE, A/D: Tonelux and Genex team up to release the remote-controlled Tonelux/Genex 48-channel mic pre, A/D converter in a 4U rackcase that can fit up to six cards with eight channels each of a combination of the standard mic pre, the Tonelux mic pre, the Genex reference mic pre or a D/A card. AES booth #532.

www.tonelux.com

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