Recording - February 2018 - 21

of money! There are lots of other great
alternatives out there, but the NT2000
is sometimes overlooked and it's a mic I
have used to great effect.

What good is a mic
without a preamp?

The answer is no good at all... well,
unless you're talking about the HUM
Audio Devices RS-2 ribbon, which
actually comes with an external power
supply and remote-controlled preamp
so you can send a line-level signal
directly into your DAW!
One of the preamps I use very often
on vocals is the Sym-Proceed SMP4, it's
an amazing (but costly) 4-channel mic
pre that's made in Japan. If I am using a
ribbon mic, I often use my Ampex 351.
It was designed by Les Paul; I recorded
and mixed his last multi-Grammy-winning
Capitol Records album American Made
World Played with some of these very
mics and preamps at EastSide Sound in
New York City.
Another preamp I often use is the
Harrison Lineage 8-channel preamp,

which comes with four pairs of preamps
from four different eras of Harrison
consoles. It's surprisingly affordable,
considering you are getting 8 preamps
in one rack unit. If you can't get your
hands on any of these, I recommend
investing in some Neve preamps (from
Neve or from reissue companies like
Vintech), or in an API lunchbox with
some API 512 preamps. Both are classic
sounds heard on thousands of hits.
Figure 5 shows the Lineage and two
API 512 pres in an A-Designs 500HR
rack enclosure.

Anything else after
the preamp?

The choice is yours! Some people like
to compress to tape/DAW, others like
to do that stuff afterwards. I am a fan
of short signal paths-the shorter the
better. More often than not, my signal chain is Mic > Preamp > Pro Tools,
without even going through the board.
The DAW returns, of course, come back
into my console for monitoring, but the
recording path is as direct as can be.

FIGURE 4


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Table of Contents for the Digital Edition of Recording - February 2018

Contents
Recording - February 2018 - Intro
Recording - February 2018 - Cover1
Recording - February 2018 - Cover2
Recording - February 2018 - 1
Recording - February 2018 - 2
Recording - February 2018 - 3
Recording - February 2018 - 4
Recording - February 2018 - 5
Recording - February 2018 - 6
Recording - February 2018 - 7
Recording - February 2018 - Contents
Recording - February 2018 - 9
Recording - February 2018 - 10
Recording - February 2018 - 11
Recording - February 2018 - 12
Recording - February 2018 - 13
Recording - February 2018 - 14
Recording - February 2018 - 15
Recording - February 2018 - 16
Recording - February 2018 - 17
Recording - February 2018 - 18
Recording - February 2018 - 19
Recording - February 2018 - 20
Recording - February 2018 - 21
Recording - February 2018 - 22
Recording - February 2018 - 23
Recording - February 2018 - 24
Recording - February 2018 - 25
Recording - February 2018 - 26
Recording - February 2018 - 27
Recording - February 2018 - 28
Recording - February 2018 - 29
Recording - February 2018 - 30
Recording - February 2018 - 31
Recording - February 2018 - 32
Recording - February 2018 - 33
Recording - February 2018 - 34
Recording - February 2018 - 35
Recording - February 2018 - 36
Recording - February 2018 - 37
Recording - February 2018 - 38
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Recording - February 2018 - 40
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Recording - February 2018 - 42
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Recording - February 2018 - 80
Recording - February 2018 - Cover3
Recording - February 2018 - Cover4
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