Recording - October 2011 - 50

Harrison 32EQ Module

the pristine Millennia NSEQ and surgical Empirical Labs Lil Freq on the other. The Harrison 32EQ fits nicely in between both groups. What struck me most about the 32EQ was the way it boosts and attenuates frequencies in an almost imperceptibly sweet way, especially when compared to the bold and obvious nature of most of the above-mentioned units. In contrast to those units, you will need to push a frequency hard if you want it to really stick out, and you will also need to make sure you are not attenuating it at the same time with an adjacent band. I tried the 32EQ on pretty much every source I could think of. My two standouts would be lead vocals where it could best be described as “butta”, and bass guitar. While those were my personal favorites, this is one of those “works-on-anything” type eq’s.

The filters deserve a mention of their own! As much as I liked the eq section, these filters would be worth the price of admission alone if they came by themselves in a separate module! If, as I have, you have been relying on plug-ins for your high- and lowpass duties, you are in for a treat with these filters, as they sound much more natural and not as pinched as some plug-ins do, especially in the highs. The only word of warning: unlike the throw of the eqs, these guys are extreme and can be a bit touchy to set. I changed the internal jumper on one of the units for some side-by-side comparisons. It is a minimal effect, a subjective sound that cannot be described in terms of “better or worse”, only in terms of taste. If the unit had been hard set to either, I would not have been disappointed, although my preference was finally for the original feedback design.

Conclusions Anything I did not like? Are they really this nice? Well, it’s hard to be critical of a piece of gear that lives up to its design this well, and delivers on its classic sound, as well as being this useful regardless of its heritage. The only thing I missed was the ability to hard-bypass individual bands to see how the overlap really affects adjacent bands. Also a power indicator LED would have been nice, but these are all minor issues. While I often work with channel eqs on large-format desks for live sound, in the studio I usually rely on plug-ins for channel eq duties and save my outboard units for those tracks that need something extra. The 32EQ reminded me what a joy it was to have a classy, utility eq out of the box, and the problem now is that I would like to have 4 to 8 of these little buggers! Yep, they really are that nice. Price: $775 MAP More from: Great River Electronics, www.greatriverelectronics.com

Great River MP-500V
When Dan Kennedy at Great River sent me the pair of Harrison eqs for review, he also included one of his 500-Series mic pres as a special surprise, so without further ado here is a quick look at the MP-500V ($795 MAP). The MP-500NV is essentially Great River’s well-known ME-1NV microphone preamp, but in a no-compromise 2-slot 500-Series form factor. It’s also available as a 2-channel unit in a single 19" rack version. This mic pre is based on the original schematics of the Neve 1073, but it is not merely a clone (although it is often portrayed as such on the message boards). Dan took those schematics and modernized the design to his own tastes. This includes better noise-floor specs, a custom-wound Sowter transformer, and some other handy features and improvements. Like many vintage-style preamps this one uses an input stage that feeds into an output stage, each with its own control. As such you can choose how hard to drive the unit for added girth and harmonic saturation. The input goes from 0 to 60 dB in 5 dB stepped increments while a smaller fully variable knob offers –25 to +10 dB of output for a maximum of 70 dB of output. A great feature of the unit, not often found on mic pres, is a pair of 6-stage signal/clipping LED meters to monitor both input and output at the same time; in fact, the only other unit I have seen that comes close to this feature is the switchable metering on UA’s 710 mic pre, and that is still an “either-or” choice.
50
RECORDING OCTOBER 2011

Additional controls include +48 Phantom power and Polarity as well as switches for loading and impedance. The loading places a 600 Ohm resistor into the circuit, which adds a pinch of extra high end and simulates what happened in the 1970s when mic preamps started to be ripped from consoles and rack mounted as standalone devices. The impedance switch changes the mic pre’s impedance between 1200 and 300 Ohms, which can alter the sound of dynamic and ribbon mics by changing the load it takes to drive them. My Chandler TG-2 offers this feature, and it is an effect I use often with my Shure SM7 and SM57 dynamic mics on guitar amps for an added tonal shift. The last feature of this unit is a selfswitching 1/4" Hi-Z input which, unlike those on many other mic pres, is FET buffered and takes full advantage of the mic pre’s input transformer. This thing is awesome for DI-d bass. The one debate I won’t get into is how close it is or isn’t to a real 1073; for one, I don’t have a real 1073 on hand for comparison, and, two, I would rather take this pre on its own merits. What you get sonically with the MP-500NV is a weighty forward sound that can be thickened or thinned out slightly depending on how you drive the input stage. It’s definitely a preamp that stacks well and does not play favorites in regard to source. Vocals, electric guitars, drums, and more... they all sound solid and great with this mic pre, and it would be hard to argue with an established modern classic such as this.—PV


http://www.greatriverelectronics.com

Recording - October 2011

Table of Contents for the Digital Edition of Recording - October 2011

Recording - October 2011
Fade In
Contents
Talkback
Fast Forward
Postcards From The World Of Recording
Grace Design m103
Adobe Audition CS5.5
Radial Engineering Workhorse and 500-Series Modules: JDV-Pre, Shuttle, EXTC, and PhazeQ
Blue Reactor Multi-Pattern Condenser Mic
Great River Electronics / Harrison 32EQ 500-Series Equalizer Module
Millennia Media HV-35 500-Series Mic Preamp
Telefunken Elektroakustik AK-47 MkII Tube Condenser Mic
Pulse Techniques EQP-1A3
Audix CX212B Multi-Pattern Condenser Mic
A-Designs HM2 Compressor “The Nail”
It’s Your Music—Know Your Rights. Chapter 19: Album Release Checklist
Electro-Voice RE320 Dynamic Mic
Alesis iO Dock
Putting Together The Pieces
Reviewed & Revisited: Fable Sounds Broadway Big Band Kontakt Edition and Broadway Lites
Readers’ Tapes
Advertiser Index
Fade Out
Recording - October 2011 - Recording - October 2011
Recording - October 2011 - Cover2
Recording - October 2011 - 1
Recording - October 2011 - Fade In
Recording - October 2011 - 3
Recording - October 2011 - Contents
Recording - October 2011 - 5
Recording - October 2011 - Talkback
Recording - October 2011 - 7
Recording - October 2011 - Fast Forward
Recording - October 2011 - 9
Recording - October 2011 - 10
Recording - October 2011 - 11
Recording - October 2011 - Postcards From The World Of Recording
Recording - October 2011 - 13
Recording - October 2011 - 14
Recording - October 2011 - 15
Recording - October 2011 - 16
Recording - October 2011 - 17
Recording - October 2011 - 18
Recording - October 2011 - 19
Recording - October 2011 - 20
Recording - October 2011 - 21
Recording - October 2011 - 22
Recording - October 2011 - 23
Recording - October 2011 - 24
Recording - October 2011 - 25
Recording - October 2011 - Grace Design m103
Recording - October 2011 - 27
Recording - October 2011 - 28
Recording - October 2011 - 29
Recording - October 2011 - Adobe Audition CS5.5
Recording - October 2011 - 31
Recording - October 2011 - 32
Recording - October 2011 - 33
Recording - October 2011 - 34
Recording - October 2011 - 35
Recording - October 2011 - 36
Recording - October 2011 - 37
Recording - October 2011 - Radial Engineering Workhorse and 500-Series Modules: JDV-Pre, Shuttle, EXTC, and PhazeQ
Recording - October 2011 - 39
Recording - October 2011 - 40
Recording - October 2011 - 41
Recording - October 2011 - 42
Recording - October 2011 - 43
Recording - October 2011 - 44
Recording - October 2011 - 45
Recording - October 2011 - Blue Reactor Multi-Pattern Condenser Mic
Recording - October 2011 - 47
Recording - October 2011 - Great River Electronics / Harrison 32EQ 500-Series Equalizer Module
Recording - October 2011 - 49
Recording - October 2011 - 50
Recording - October 2011 - 51
Recording - October 2011 - Millennia Media HV-35 500-Series Mic Preamp
Recording - October 2011 - 53
Recording - October 2011 - Telefunken Elektroakustik AK-47 MkII Tube Condenser Mic
Recording - October 2011 - 55
Recording - October 2011 - Pulse Techniques EQP-1A3
Recording - October 2011 - 57
Recording - October 2011 - Audix CX212B Multi-Pattern Condenser Mic
Recording - October 2011 - 59
Recording - October 2011 - A-Designs HM2 Compressor “The Nail”
Recording - October 2011 - 61
Recording - October 2011 - It’s Your Music—Know Your Rights. Chapter 19: Album Release Checklist
Recording - October 2011 - 63
Recording - October 2011 - 64
Recording - October 2011 - 65
Recording - October 2011 - Electro-Voice RE320 Dynamic Mic
Recording - October 2011 - 67
Recording - October 2011 - 68
Recording - October 2011 - 69
Recording - October 2011 - 70
Recording - October 2011 - 71
Recording - October 2011 - 72
Recording - October 2011 - 73
Recording - October 2011 - Alesis iO Dock
Recording - October 2011 - 75
Recording - October 2011 - Putting Together The Pieces
Recording - October 2011 - 77
Recording - October 2011 - Reviewed & Revisited: Fable Sounds Broadway Big Band Kontakt Edition and Broadway Lites
Recording - October 2011 - 79
Recording - October 2011 - Readers’ Tapes
Recording - October 2011 - Advertiser Index
Recording - October 2011 - 82
Recording - October 2011 - 83
Recording - October 2011 - 84
Recording - October 2011 - 85
Recording - October 2011 - 86
Recording - October 2011 - 87
Recording - October 2011 - Fade Out
Recording - October 2011 - Cover3
Recording - October 2011 - Cover4
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