Recording January 2022 - 51

I am a big fan of impedance switching
preamps because they offer the ability to
milk more textures from your mic collection.
I purposely use the word 'texture' rather
than 'tonality' because while altering the
reactive load, a microphone will change its
sound; it's not the same as an EQ, and all
mics will react a little differently.
So many mics, so little time
I tried the T12 with classic condensers
like the AKG C414 XLS, Neumann
TLM103 (acoustic guitars), and a Neumann
KM84 (hi-hat). For tube mics, it
was the Pearlman TM-47 (percussion)
and newer modern specimens like the
clean and neutral Peluso P-280 and the
just-released Warm Audio WA-8000
(vocals). On the dynamic side, I reached
for a Telefunken M80 (snare), Audix D6
(kick) and of course, the venerable Shure
SM7B (vocals). I rounded out my tests
with a Royer R-121 on a guitar amp.
Thanks to a Teknosign Box Line DPS
mic splitter, I simultaneously compared
all of the above with one channel of the
T12 set clean and the other driven hard,
alongside an API 512c, a Chandler
REDD.47 tube preamp and the tube preamp
section of a Manley VOXBOX. This
was a great exercise to remind me that
the overall difference in quality/boutique
preamps is measured in feet rather
than miles, and I could achieve stellar
results with them all. As a tube preamp,
I noticed that the breakup and overdrive
are more pleasant and varied than its
solid-state 512c sibling.
Tones and textures
The T12 separates itself from the pack
because it exhibits a very broad throw
of sonic options, from clean to driven,
combined with the impedance choices.
While typically more noticeable on dynamic
and ribbon mics, the impedance
variations on the T12 were nicely apparent
on the condenser and tube mics as
well. In general, 500 ohms was a touch
laid back and soft sounding. Switching
to 1500 ohms snapped the sound to
life and pushed the upper mids nicely
to attention. At 2000 ohms, the sound
becomes more neutral and fuller, while
2500 ohms made almost every mic
sound thicker, grittier, and bolder; if you
Recording_PSI_HalfPage_Horizontal_June_2021_PRINT.pdf
1 6/25/21 12:08 PM
are craving a romanticized vintage tube
tone, 2500 ohms combined with hefty
gain fits the bill nicely. 2000 and 2500
ohms are both great for taming harsh
transients and brighter mics. If the lowend
blooms too much, the effective lowcut
is your friend.
I also tried various levels of input
drive on my Rickenbacker 4003 bass
to great effect.
Final thoughts
If you get the impression that I enjoyed
having the API Select T12 in my studio,
you would be abso-freakin-lutely correct.
From sonics to build, the T12 is
API quality all the way. Even without the
impedance switching and three levels
of low-cut, this is a top-notch tube preamp
that sits proudly alongside similarly
styled heavy hitters. As mentioned, the
quality of sound, coupled with the broad
tonal offerings, puts it into a league of
its own. Welcome to the world of tubes,
API! What took you so long?
Price: $2085
More from: apiaudio.com
http://www.apiaudio.com http://www.psiaudio.com

Recording January 2022

Table of Contents for the Digital Edition of Recording January 2022

Fade In
Fast Forward
Soundware Showcase: Toontrack Fields of Rock SDX
A Family of Microphones Compared: The AKG P Series
Austrian Audio CC8
Stewart Copeland: Don’t kill the talent with the technology…
Akai MPC Studio Controller and MPC 2 Software
Soundware Showcase: Boz Digital Labs Claps, Stomps and Snaps Bundle
Inside the Box with Joe Albano: Drum Plugins and Processing
Avantone Pro: Gauss 7 Two-way Powered Reference Monitor
Plugin Outlet: PSP Audioware Saturator
Inside the Studio with Mark Hornsby: The Memphis Drum Sound
Soundware Showcase: Spitfire Audio Hammers
API Select T12 Tube Mic Preamp
Session Log: Frank Kimbrough tribute recording session
Audio-Technica AT2040
Plugin Outlet: IK Multimedia T-RackS TASCAM Tape Collection
Readers' Tracks
sE Electronics V Pack Arena Drum Microphone Package
Plugin Outlet: BABY Audio TAIP
Fade Out: Both Sides of the Glass Things
Recording January 2022 - Intro
Recording January 2022 - Cover1
Recording January 2022 - Cover2
Recording January 2022 - 1
Recording January 2022 - 2
Recording January 2022 - 3
Recording January 2022 - Fade In
Recording January 2022 - 5
Recording January 2022 - 6
Recording January 2022 - 7
Recording January 2022 - Fast Forward
Recording January 2022 - 9
Recording January 2022 - Soundware Showcase: Toontrack Fields of Rock SDX
Recording January 2022 - 11
Recording January 2022 - 12
Recording January 2022 - 13
Recording January 2022 - A Family of Microphones Compared: The AKG P Series
Recording January 2022 - 15
Recording January 2022 - 16
Recording January 2022 - 17
Recording January 2022 - 18
Recording January 2022 - 19
Recording January 2022 - 20
Recording January 2022 - 21
Recording January 2022 - 22
Recording January 2022 - 23
Recording January 2022 - Austrian Audio CC8
Recording January 2022 - 25
Recording January 2022 - Stewart Copeland: Don’t kill the talent with the technology…
Recording January 2022 - 27
Recording January 2022 - 28
Recording January 2022 - 29
Recording January 2022 - 30
Recording January 2022 - 31
Recording January 2022 - 32
Recording January 2022 - 33
Recording January 2022 - Akai MPC Studio Controller and MPC 2 Software
Recording January 2022 - 35
Recording January 2022 - Soundware Showcase: Boz Digital Labs Claps, Stomps and Snaps Bundle
Recording January 2022 - 37
Recording January 2022 - Inside the Box with Joe Albano: Drum Plugins and Processing
Recording January 2022 - 39
Recording January 2022 - 40
Recording January 2022 - 41
Recording January 2022 - Avantone Pro: Gauss 7 Two-way Powered Reference Monitor
Recording January 2022 - 43
Recording January 2022 - Plugin Outlet: PSP Audioware Saturator
Recording January 2022 - 45
Recording January 2022 - Inside the Studio with Mark Hornsby: The Memphis Drum Sound
Recording January 2022 - 47
Recording January 2022 - Soundware Showcase: Spitfire Audio Hammers
Recording January 2022 - 49
Recording January 2022 - API Select T12 Tube Mic Preamp
Recording January 2022 - 51
Recording January 2022 - Session Log: Frank Kimbrough tribute recording session
Recording January 2022 - 53
Recording January 2022 - 54
Recording January 2022 - 55
Recording January 2022 - Audio-Technica AT2040
Recording January 2022 - 57
Recording January 2022 - Plugin Outlet: IK Multimedia T-RackS TASCAM Tape Collection
Recording January 2022 - 59
Recording January 2022 - Readers' Tracks
Recording January 2022 - 61
Recording January 2022 - 62
Recording January 2022 - 63
Recording January 2022 - 64
Recording January 2022 - 65
Recording January 2022 - sE Electronics V Pack Arena Drum Microphone Package
Recording January 2022 - 67
Recording January 2022 - Plugin Outlet: BABY Audio TAIP
Recording January 2022 - 69
Recording January 2022 - 70
Recording January 2022 - 71
Recording January 2022 - Fade Out: Both Sides of the Glass Things
Recording January 2022 - Cover3
Recording January 2022 - Cover4
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