EQ Magazine - December 2008 - (Page 54)

GEAR HEAD “LUNCHBOX” 500 SERIES PREAMP ROUNDUP by Jay Matheson Although many analog tape machines and analog mixing consoles are still in use, it’s safe to say most musicians now record in the digital domain. However, one crucial console element can’t be virtualized in a DAW: the microphone preamp. The preamp amplifies the mic’s signal by approximately 30–60dB to line level (normally referenced as 0dB); however, amplification is never totally transparent. Any preamp imparts certain characteristics to the signal—particularly regarding transient response and tonality—so the quest for quality mic preamps is part of the path toward pro-quality recordings. It doesn’t take long for the average engineer to realize that the inexpensive mic pres built into a $300 interface may not be up to capturing powerful, dynamic sounds. In fact, the quality and sonic characteristics of mic pres can be as influential as mic selection. Even a high-end condenser mic can sound thin, cheap, and boring when subjected to an inferior preamp. Yet it’s a fact of life that high quality mic pres require costly parts (transformers, tubes, chassis, potentiometers, etc.) and manufacturing techniques; they also usually require a significant investment. With price tags of $1,000 and up per channel, bang for the buck is crucial. Enter the 500 series modular system, introduced by API many years ago. This consists of a metal frame with an internal power supply, along with input and output connectors that hold up to six of the company’s modular products. After this initial investment, you can purchase additional preamps, EQs, and compressors without the added cost of a chassis and power supply. THE 500 SERIES FORMAT: HERE TO STAY Companies other than API started creating products that would fit into the already existing “lunchboxes,” as the frame came to be called, and use the same power supply and connectors. As the format’s popularity increased, these manufacturers even began production of their own housings for 500 series devices. These units hold from two to 11 devices and come in portable, tabletop, and rackmount configurations. But before you pull out the checkbook for a lunchbox, consider the format’s pros and cons. Pros include: • A significant per-unit savings over comparable stand-alone preamps. For more, go to eqmag.tv. SAVE MONEY WHILE GETTING GREAT GEAR • Up to ten can fit into a three-space 19" rack—that’s a lot of gear. • Cabling the units is neat and easy. • The widespread acceptance of the format guarantees more offerings from manufacturers in the future. • Portability—you can transport your favorite 500 series devices from one studio to another in a neat, lightweight package. And for equal time, here are some limitations: • The initial investment in a rack/power supply is between $300–$700. • Due to their small size, features such as 1/4" inputs, EQ, and high pass filters are often not included. • Their size also limits the size of internal components—you won’t find large numbers of tubes or bulky transformers. TESTING 1-2-3-500 The opportunity to compare large numbers of top-shelf pres is both a great privilege and sometimes a dreaded task. For our tests we acquired a Pro Tools|HD rig (with 192 interface), 14 pres, and two API lunchboxes—all tested using ace musicians. Our first test tried each pre on kick, snare, and overhead. We used an 54 EQ DECEMBER 2008 www.eqmag.com http://www.eqmag.tv http://www.eqmag.com

Table of Contents Feed for the Digital Edition of EQ Magazine - December 2008

EQ Magazine - December 2008 Contents Talk Box Sounding Board Punch In My Morning Jacket Guitar Trax Bass Management Key Issues Drum Heads Vocal Cords Mix Bus Cheat Sheet Cakewalk Sonar 8 Propellerhead Reason 4 Indie 500: Lunchbox Pres and Compressors 500 Series Preamps 500 Series Compressors Gadgets and Goodies Sounds Room with a Vu

EQ Magazine - December 2008

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