Recording - November 2015 - 42

B Y PA U L V N U K J R .

Locomotive Audio

Model 286A Dual-Channel Mic Preamp / DI

Locomotive Audio is a new St. Louis-based audio company that
I had the pleasure of learning about at last year's AES Convention.
Currently Locomotive offers two products: the Model 286A microphone preamp on review here, and the Model 14B compressor
(review forthcoming, I hope!). Both units are tube designs and are
heavily inspired by the studio gear of yesteryear. I love the company statement on its website: "A trip to Sun Studio in Memphis
changed everything..."
The 286A
The 286A is a 2-channel microphone preamp in a 2U 19"
rackmount enclosure. It's housed in an 18-gauge steel box finished
in a stunning retro gray-blue with the company logo in white.
(Great logo, by the way!)
The center of the unit is dominated by a large old-school Sifam
VU meter with a 2-position switch for selecting between the output
levels of channels 1 or 2. Each channel's controls flank the VU
meter in a mirror image on each side.
The 286A is a 2-stage vintage design where you can push the
input gain into the output stage and add grit, harmonics and
weight. That's controlled by a small black gain knob with the larger level knob diagonally below it. Both are continuously variable
rather than stepped controls.
Each channel also offers +48V phantom power, 20 dB pad,
polarity reverse, 100 Hz low cut filter, impedance switching
between 500 Ω or 1800 Ω, and a Mic/DI switch that selects
between each channel's rear XLR input or its front-panel 1/4"
DI/instrument input.
As on many vintage designs, the 286A's front panel is connected to a big bottom hinge. When a pair of set screws are
released, the faceplate flips down for inside access. This harks
back to a time when units had to be easily fieldserviceable, often without leaving the rack.
The 286A is a completely hand-wired affair, with all wires,
capacitors, resistors and more laid out on an old-school turret
board (a forerunner of the modern circuit board). The organization and internal craftsmanship are some of the most meticulous
and clean I have seen. Also old-school: the back of the unit contains each channel's XLR ins and outs, plus all of the tubes, input
and output transformers, and power transformer.
Tubes and trannies and specs oh my!
The input stage of each channel uses an EF86 tube and a
Cinemag CMQEE-3440A transformer. The outputs use a 12AY7
tube and Cinemag CM-27101 transformer.
Its specs are as follows: Mic input load impedance of 500Ω or
1800Ω, output impedance of 300Ω, 1/4" DI impedance of 169
kΩ, maximum gain of 72 dB, and signal/noise ratio greater than
70 dB. Its maximum input level (measured at 20 Hz and at 1 kHz
42

RECORDING November 2015

New firm, old inspiration, exquisite results
at 1% THD) is -18 dBu (+2 dBu with the pad engaged) and its maximum
output level is +26 dBu.
Sound and use
The 286A is modeled on the microphone preamps found on old
portable Ampex tape units (see the sidebar interview with designer Eric
Strouth for more background). It is equal parts clean, warm, and smooth,
but can also get driven and gritty when pushed.
For a clean, open, and slightly creamy sound, keep the input set low
and the output on the higher side. This unit has gain for days and can very
quickly be roughed up with drive and harmonics, especially if you engage
the 20 dB pad and really crank the input. The 286A has one of the broadest throws of clean to driven that I have used in a tube preamp.
In my studio I have a pair of Chandler REDD.47 preamps (reviewed
January 2015), and a Universal Audio SOLO/610 that I reviewed back
in January 2007 and have since modified with a vintage 1950s RCA
Black Plate tube. In our October 2015 issue, I also reviewed the tubebased Manley CORE channel strip. It was great to compare and contrast
all of them side by side with the 286A.
Overall the CORE is a clean, hi-fi audiophile box, the REDD.47 has a
wide sonic throw of its own from wide, clean and hi-fi to beautifully
aggressive, and the SOLO/610 is the most overtly thick and vintagesounding with a low threshold for overdrive. I would place the 286A
between the REDD.47 and the SOLO/610, leaning toward the latter. It's
more open and clean up top than the 610, and yet rounder than the
REDD.47. To romanticize it a tad, it's a British Invasion sound vs. the
American sound of Phil Spector and the 1950s/60s.
I have been tracking an Americana-flavored pop record for the past few
months, and the 286A has handled room mic duties on guitars and drums
for pretty much every song. Aside from solid-state Chandler TG2 preamps
used on drum tracking, the rest of the album has been an all-tube affair.
On one song, a swampy lap steel and reverb laden reading of the old
hymn "Come Ye Sinners", I used the 286A and ribbon mics exclusively.
In the end the track is warm, clear, and round, just dripping with vibe.
Conclusion
There is much to appreciate in the 286A. It is visually stunning, handmade with love, and sounds fantastic. While its price tag isn't trivial, it's
actually priced quite competitively when you consider that many companies charge a similar price for a single-channel unit.
Locomotive Audio accomplished the rare feat (at least in the audio
world) of launching a Kickstarter campaign, reaching its goal, and delivering precisely what was promised and then some. Congratulations on a
great launch, guys-I can't wait to see what's next.
Price: $2495
More from: Locomotive Audio, www.locomotiveaudio.com


http://www.locomotiveaudio.com

Table of Contents for the Digital Edition of Recording - November 2015

Contents
Recording - November 2015 - Intro
Recording - November 2015 - Cover1
Recording - November 2015 - Cover2
Recording - November 2015 - 1
Recording - November 2015 - 2
Recording - November 2015 - 3
Recording - November 2015 - 4
Recording - November 2015 - 5
Recording - November 2015 - Contents
Recording - November 2015 - 7
Recording - November 2015 - 8
Recording - November 2015 - 9
Recording - November 2015 - 10
Recording - November 2015 - 11
Recording - November 2015 - 12
Recording - November 2015 - 13
Recording - November 2015 - 14
Recording - November 2015 - 15
Recording - November 2015 - 16
Recording - November 2015 - 17
Recording - November 2015 - 18
Recording - November 2015 - 19
Recording - November 2015 - 20
Recording - November 2015 - 21
Recording - November 2015 - 22
Recording - November 2015 - 23
Recording - November 2015 - 24
Recording - November 2015 - 25
Recording - November 2015 - 26
Recording - November 2015 - 27
Recording - November 2015 - 28
Recording - November 2015 - 29
Recording - November 2015 - 30
Recording - November 2015 - 31
Recording - November 2015 - 32
Recording - November 2015 - 33
Recording - November 2015 - 34
Recording - November 2015 - 35
Recording - November 2015 - 36
Recording - November 2015 - 37
Recording - November 2015 - 38
Recording - November 2015 - 39
Recording - November 2015 - 40
Recording - November 2015 - 41
Recording - November 2015 - 42
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Recording - November 2015 - Cover3
Recording - November 2015 - Cover4
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