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Post by bricejchandler on Jan 27, 2021 3:01:30 GMT -6
I haven't read the whole thread But Wunder CM7 into the Mercury M72 was my main vocal chain for a long time. Had to sell it for financial reasons but they were amazing coupled together. The CM7 tended to be a little too bitey with some of my other preamps and the Mercury really helped. It's also the best bass DI I've ever heard. You can also drive it into a great 60s sound, It's really a wonderful preamp and it weighs a ton.
I've only heard the Coil in a store, and from demoing it just a couple minutes I could tell it was something special.
I used the CM7-Mercury along with an LA2A and a Adesigns Hammer boosting the Highend a bit on the EP of one of my old bands.
You can also hear it here in this record I engineered, though Youtube compression really sounds horrible
These tracks were done about 10 years ago and my engineering skills weren't quite what they are today but I think you can still hear the vibe. I can even find some raw vocal tracks to send your way if you want.
Anyway, all I can say is when I first got the CM7 ( bought James Lugo's CM7 that was the talk of GS for about 2 months in 08 haha), I was a bit underwhelmed, UNTIL I paired it with the Mercury and my eyes just lit up and I finally heard a sound that I'd heard on a ton of records.
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Post by thehightenor on Jan 27, 2021 3:30:16 GMT -6
I haven't read the whole thread But Wunder CM7 into the Mercury M72 was my main vocal chain for a long time. Had to sell it for financial reasons but they were amazing coupled together. The CM7 tended to be a little too bitey with some of my other preamps and the Mercury really helped. It's also the best bass DI I've ever heard. You can also drive it into a great 60s sound, It's really a wonderful preamp and it weighs a ton. I've only heard the Coil in a store, and from demoing it just a couple minutes I could tell it was something special. I used the CM7-Mercury along with an LA2A and a Adesigns Hammer boosting the Highend a bit on the EP of one of my old bands. You can also hear it here in this record I engineered, though Youtube compression really sounds horrible These tracks were done about 10 years ago and my engineering skills weren't quite what they are today but I think you can still hear the vibe. I can even find some raw vocal tracks to send your way if you want. Anyway, all I can say is when I first got the CM7 ( bought James Lugo's CM7 that was the talk of GS for about 2 months in 08 haha), I was a bit underwhelmed, UNTIL I paired it with the Mercury and my eyes just lit up and I finally heard a sound that I'd heard on a ton of records. It sounds really good, the vocal has a lot of weight in a really nice way. The reason I'm interested in the M72 is a want a slighter darker sounding pre as my tenor voice is quite bright in tone but I still want the mid reedy push of the CM7 (U47) tone. I hear you on the CM7 being a touch pokey at times, to be fair to it, I find 47's in general get a bit "telephonic" so to speak when hitting them hard a certain way. When I'm in my lower baritone sounding range it never happens and the CM7 just has that reedy 50's 60's Santra sound. I remember reading Jame's thread when he first got the CM7 - I thought he was going to start sleeping with it he was so taken with it
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Post by thehightenor on Jan 27, 2021 3:40:21 GMT -6
I haven't read the whole thread But Wunder CM7 into the Mercury M72 was my main vocal chain for a long time. Had to sell it for financial reasons but they were amazing coupled together. The CM7 tended to be a little too bitey with some of my other preamps and the Mercury really helped. It's also the best bass DI I've ever heard. You can also drive it into a great 60s sound, It's really a wonderful preamp and it weighs a ton. I've only heard the Coil in a store, and from demoing it just a couple minutes I could tell it was something special. I used the CM7-Mercury along with an LA2A and a Adesigns Hammer boosting the Highend a bit on the EP of one of my old bands. You can also hear it here in this record I engineered, though Youtube compression really sounds horrible These tracks were done about 10 years ago and my engineering skills weren't quite what they are today but I think you can still hear the vibe. I can even find some raw vocal tracks to send your way if you want. Anyway, all I can say is when I first got the CM7 ( bought James Lugo's CM7 that was the talk of GS for about 2 months in 08 haha), I was a bit underwhelmed, UNTIL I paired it with the Mercury and my eyes just lit up and I finally heard a sound that I'd heard on a ton of records. It sounds really good, the vocal has a lot of weight in a really nice way. The reason I'm interested in the M72 is a want a slighter darker sounding pre as my tenor voice is quite bright in tone but I still want the mid reedy push of the CM7 (U47) tone. I hear you on the CM7 being a touch pokey at times, to be fair to it, I find 47's in general get a bit "telephonic" so to speak when hitting them hard a certain way. When I'm in my lower baritone sounding range it never happens and the CM7 just has that reedy 50's 60's Santra sound. It's the more full on higher register tones I'm looking to find the right pre for - without having to change mics that is - as I'm so keen on the sound of the CM7 otherwise. I remember reading Jame's thread when he first got the CM7 - I thought he was going to start sleeping with it he was so taken with it
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Post by bricejchandler on Jan 27, 2021 4:12:17 GMT -6
It sounds really good, the vocal has a lot of weight in a really nice way. The reason I'm interested in the M72 is a want a slighter darker sounding pre as my tenor voice is quite bright in tone but I still want the mid reedy push of the CM7 (U47) tone. I remember reading Jame's thread when he first got the CM7 - I thought he was going to start sleeping with it he was so taken with it That's exactly why I bought the Mercury. You also have the BAE I see which I always thought was a nice combo with the CM7. The LA2A really worked well with the Mercury combo. Towards the end I stopped using the Hammer as I felt it brought back a little edge to the CM7 that it didn't really need. On some female vocalists the CM7/Mercury combo could be too dark and if that happened, I'd often swap the Mercury for the Voxbox. I still think the Wunder misses out a tiny bit of that U47 magic in the top end, I've never really needed to tame the hi mids on the well maintained U47s I use occasionally but then I also sometimes liked the slightly more modern sound of the CM7. I've actually been looking for a U47ish mic recently because I listen to some Acoustic guitars tracks ( Omni!! ) and Vocals I tracked with the Wunder and it's a step up from my current setup but right now I don't have 4k for a used one. I just tried a Flea and it sounds like a U47 with a sock on it, maybe I've been unlucky with the Fleas I've tried I don't know, they're just too dull. Sorry back to the OG conversation! Here's the CM7 in omni into the Merc on acoustic ( the player and edits were very rough haha) www.dropbox.com/s/p322mn6pl9kpvc1/CM7-MERC-%20acoustic.mp3?dl=0and here it is on Bass DI www.dropbox.com/s/ndwj1ayfqizu9qk/MERC%20BASS%20DI.mp3?dl=0
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Post by thehightenor on Jan 27, 2021 8:41:36 GMT -6
It sounds really good, the vocal has a lot of weight in a really nice way. The reason I'm interested in the M72 is a want a slighter darker sounding pre as my tenor voice is quite bright in tone but I still want the mid reedy push of the CM7 (U47) tone. I remember reading Jame's thread when he first got the CM7 - I thought he was going to start sleeping with it he was so taken with it That's exactly why I bought the Mercury. You also have the BAE I see which I always thought was a nice combo with the CM7. The LA2A really worked well with the Mercury combo. Towards the end I stopped using the Hammer as I felt it brought back a little edge to the CM7 that it didn't really need. On some female vocalists the CM7/Mercury combo could be too dark and if that happened, I'd often swap the Mercury for the Voxbox. I still think the Wunder misses out a tiny bit of that U47 magic in the top end, I've never really needed to tame the hi mids on the well maintained U47s I use occasionally but then I also sometimes liked the slightly more modern sound of the CM7. I've actually been looking for a U47ish mic recently because I listen to some Acoustic guitars tracks ( Omni!! ) and Vocals I tracked with the Wunder and it's a step up from my current setup but right now I don't have 4k for a used one. I just tried a Flea and it sounds like a U47 with a sock on it, maybe I've been unlucky with the Fleas I've tried I don't know, they're just too dull. Sorry back to the OG conversation! Here's the CM7 in omni into the Merc on acoustic ( the player and edits were very rough haha) www.dropbox.com/s/p322mn6pl9kpvc1/CM7-MERC-%20acoustic.mp3?dl=0and here it is on Bass DI www.dropbox.com/s/ndwj1ayfqizu9qk/MERC%20BASS%20DI.mp3?dl=0Did you feel the M72 was very effective in dealing with the CM7 edginess? - I mean your recordings do sound smooth - so I guess the answer is yes? Those clips are very good too - the bass sounds very clear and detailed.
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Post by bricejchandler on Jan 27, 2021 9:59:10 GMT -6
That's exactly why I bought the Mercury. You also have the BAE I see which I always thought was a nice combo with the CM7. The LA2A really worked well with the Mercury combo. Towards the end I stopped using the Hammer as I felt it brought back a little edge to the CM7 that it didn't really need. On some female vocalists the CM7/Mercury combo could be too dark and if that happened, I'd often swap the Mercury for the Voxbox. I still think the Wunder misses out a tiny bit of that U47 magic in the top end, I've never really needed to tame the hi mids on the well maintained U47s I use occasionally but then I also sometimes liked the slightly more modern sound of the CM7. I've actually been looking for a U47ish mic recently because I listen to some Acoustic guitars tracks ( Omni!! ) and Vocals I tracked with the Wunder and it's a step up from my current setup but right now I don't have 4k for a used one. I just tried a Flea and it sounds like a U47 with a sock on it, maybe I've been unlucky with the Fleas I've tried I don't know, they're just too dull. Sorry back to the OG conversation! Here's the CM7 in omni into the Merc on acoustic ( the player and edits were very rough haha) www.dropbox.com/s/p322mn6pl9kpvc1/CM7-MERC-%20acoustic.mp3?dl=0and here it is on Bass DI www.dropbox.com/s/ndwj1ayfqizu9qk/MERC%20BASS%20DI.mp3?dl=0Did you feel the M72 was very effective in dealing with the CM7 edginess? - I mean your recordings do sound smooth - so I guess the answer is yes? Those clips are very good too - the bass sounds very clear and detailed. Once I got the Mercury I stopped looking! Now tbh that was about 12 years ago and there were less options than now but still. Before that I was using a Pacifica, a BAE 312, my Audient console preamps and a Neve and I wasn't 100% satisfied and then I got the Mercury and I was like ok this is my main preamp for the CM7. Some guys would come in occasionally and use the CM7 with the Pacifica, but it just sounded too bright and modern for my taste. The Mercury still has a forward character but it just doesn't push the same frequencies as a lot of transistor preamps, it just sounds like a record. Follow it with a nice Opto and you're done. Now the Coil is pretty stunning I'm sure. It's at the top of my list of things to try in my place.
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Post by thehightenor on Jan 27, 2021 10:50:30 GMT -6
Did you feel the M72 was very effective in dealing with the CM7 edginess? - I mean your recordings do sound smooth - so I guess the answer is yes? Those clips are very good too - the bass sounds very clear and detailed. Once I got the Mercury I stopped looking! Now tbh that was about 12 years ago and there were less options than now but still. Before that I was using a Pacifica, a BAE 312, my Audient console preamps and a Neve and I wasn't 100% satisfied and then I got the Mercury and I was like ok this is my main preamp for the CM7. Some guys would come in occasionally and use the CM7 with the Pacifica, but it just sounded too bright and modern for my taste. The Mercury still has a forward character but it just doesn't push the same frequencies as a lot of transistor preamps, it just sounds like a record. Follow it with a nice Opto and you're done. Now the Coil is pretty stunning I'm sure. It's at the top of my list of things to try in my place. Thanks for that - great info and feedback - I really appreciate it.
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Post by bricejchandler on Jan 27, 2021 11:00:13 GMT -6
Thanks for that - great info and feedback - I really appreciate it. You bet!
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kcatthedog
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Post by kcatthedog on Jan 28, 2021 6:07:39 GMT -6
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Post by Ward on Jan 28, 2021 6:15:29 GMT -6
OH, another thing about CA/SA-70, I said it somewhere else also, on max level, 6dBm (anything from -12 to -18dBFS on various converters) is already almost 2% distortion at 10kHz, 0.5% at 3kHz, 1% at 30Hz. There's yer warm and fuzzy! The way you say this, I believe you and think that you must have conducted tests of your own or have reliable ones to draw your numbers from. Ok, fair enough. Do you know what the numbers are like at say -24dBfs or -27? If the tone could be achieved without that much fuzz, it would be great and of course make-up gain can be easily increased from your following compressor's output stage. I'm not recommending that as the method of usage, I am simply speculating at this point. Not a fan of too much distortion in my mic preamps.
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Post by EmRR on Jan 28, 2021 6:28:06 GMT -6
OH, another thing about CA/SA-70, I said it somewhere else also, on max level, 6dBm (anything from -12 to -18dBFS on various converters) is already almost 2% distortion at 10kHz, 0.5% at 3kHz, 1% at 30Hz. There's yer warm and fuzzy! The way you say this, I believe you and think that you must have conducted tests of your own or have reliable ones to draw your numbers from. Ok, fair enough. Do you know what the numbers are like at say -24dBfs or -27? If the tone could be achieved without that much fuzz, it would be great and of course make-up gain can be easily increased from your following compressor's output stage. I'm not recommending that as the method of usage, I am simply speculating at this point. Not a fan of too much distortion in my mic preamps. Yeah I have an Audio Precision test set and have run the numbers myself, on top of using these for 20+ years. Have racked a number for others with varying feature sets. Almost none of the old old stuff was designed to run over 0 VU, expectations were for more like -10 with bus amps making up the rest. Getting into the mid 50’s pre’s start putting out 18dB but still weren’t envisioned running at those levels. Distortion will certainly be lower at lower levels.
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Post by thehightenor on Jan 28, 2021 15:27:44 GMT -6
OH, another thing about CA/SA-70, I said it somewhere else also, on max level, 6dBm (anything from -12 to -18dBFS on various converters) is already almost 2% distortion at 10kHz, 0.5% at 3kHz, 1% at 30Hz. There's yer warm and fuzzy! Really .... yikes! I track at those kind of dBFS level so 2% distortion sounds like a lot (and it is compared to my Millennia STT-1 spec. sheet) but what is the distortion % of the output of a BAE 1073 or Retro STA Level or Mercury M72 for that matter? What's the desirable baseline % - I'm trying to understand if 2% is unusually high for tracking pre or comp?
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Post by EmRR on Jan 28, 2021 19:17:28 GMT -6
The thing is it’s almost entirely 2nd harmonic so not really audible as distortion. Remember I said you can square wave drums with one and it doesn’t really sound like distortion. The other types with higher feedback amounts have less distortion....until they make far more, with more obvious nasty harmonics.
My main point is you gotta learn how to drive antique technology properly or you’re gonna think it sucks or is broken.
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Post by Bat Lanyard on Jan 28, 2021 23:00:07 GMT -6
My main point is you gotta learn how to drive antique technology properly or you’re gonna think it sucks or is broken. Excellent point!
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Post by thehightenor on Jan 29, 2021 3:10:47 GMT -6
The thing is it’s almost entirely 2nd harmonic so not really audible as distortion. Remember I said you can square wave drums with one and it doesn’t really sound like distortion. The other types with higher feedback amounts have less distortion....until they make far more, with more obvious nasty harmonics. My main point is you gotta learn how to drive antique technology properly or you’re gonna think it sucks or is broken. I'll be honest and say I had never considered that the gain structure of the Coil pre's would need special consideration, being a modern take on an old design. I know my Retro STA Level needs to be gained carefully, so what you say does make sense. Thanks for sharing all this great information.
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Post by EmRR on Jan 29, 2021 11:04:59 GMT -6
The thing is it’s almost entirely 2nd harmonic so not really audible as distortion. Remember I said you can square wave drums with one and it doesn’t really sound like distortion. The other types with higher feedback amounts have less distortion....until they make far more, with more obvious nasty harmonics. My main point is you gotta learn how to drive antique technology properly or you’re gonna think it sucks or is broken. I'll be honest and say I had never considered that the gain structure of the Coil pre's would need special consideration, being a modern take on an old design. I know my Retro STA Level needs to be gained carefully, so what you say does make sense. Thanks for sharing all this great information. Sure thing. It ties in with the other thread about gain staging in mixes, in that levels would have been expected to be in the 0dB to -20dB range, to feed a master bus with a -20dB operating level. You CAN run a pre at max output, but then you're pulling the fader almost all the way down to avoid overdriving the bus. If you put 8 channels of maxed pre's into a -20 optimized bus, you then have to turn the bus down too, and then everything is non-optimal. If you're chasing 'classic tone', you have to be cognizant of expectations and modify approach as needed. If you're 'classic tone' is The Sonics, blow it up and know that a lot of people won't like the harshness of it. Some of the Leon Bridges songs seem to be chasing the way old 45's sound; much later in the chain than just the recording part, including inner diameter distortion, old car radio artifacts, etc. On the Coil "modern take on an old design", it's pretty much a straight clone as I understand it. The EQ and feedback controls are fairly minimal enhancements, the basic circuit constraints around headroom are the same, and that's also true of most other recreations.
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Post by thehightenor on Jan 29, 2021 12:41:53 GMT -6
Thanks again Doug, I'm soaking it up all :-)
Also, interesting to know the Coils are basically a straight clone - I must say the idea of using a pre-amp design from 1913 does seems a bit odd in a modern studio setting but great design is great design - it never ages.
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Post by EmRR on Jan 29, 2021 17:13:05 GMT -6
Thanks again Doug, I'm soaking it up all :-) Also, interesting to know the Coils are basically a straight clone - I must say the idea of using a pre-amp design from 1913 does seems a bit odd in a modern studio setting but great design is great design - it never ages. Hahahaha! It’s 1947. I could get in a serious argument about that 1913 biz....makes no sense to me. There is no preamp design from 1913 or 1923 or 1929 that bears much resemblance. Preamps as we mostly know them exist starting with ribbon mics in 1932.
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Post by thehightenor on Jan 29, 2021 17:27:18 GMT -6
Thanks again Doug, I'm soaking it up all :-) Also, interesting to know the Coils are basically a straight clone - I must say the idea of using a pre-amp design from 1913 does seems a bit odd in a modern studio setting but great design is great design - it never ages. Hahahaha! It’s 1947. I could get in a serious argument about that 1913 biz....makes no sense to me. There is no preamp design from 1913 or 1923 or 1929 that bears much resemblance. Preamps as we mostly know them exist starting with ribbon mics in 1932. But it says 1913 on the Coil website .... so it must be true Either way, I was born in 1963 so it's definitely older than me even if it's 1947.
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Post by jcoutu1 on Jan 29, 2021 21:44:49 GMT -6
Thanks again Doug, I'm soaking it up all :-) Also, interesting to know the Coils are basically a straight clone - I must say the idea of using a pre-amp design from 1913 does seems a bit odd in a modern studio setting but great design is great design - it never ages. Hahahaha! It’s 1947. I could get in a serious argument about that 1913 biz....makes no sense to me. There is no preamp design from 1913 or 1923 or 1929 that bears much resemblance. Preamps as we mostly know them exist starting with ribbon mics in 1932. I appreciate and am in awe of your knowledge.
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Post by dreamsambas on Jan 30, 2021 11:52:53 GMT -6
Also, interesting to know the Coils are basically a straight clone - I must say the idea of using a pre-amp design from 1913 does seems a bit odd in a modern studio setting but great design is great design - it never ages. Hahahaha! It’s 1947. I could get in a serious argument about that 1913 biz....makes no sense to me. There is no preamp design from 1913 or 1923 or 1929 that bears much resemblance. Preamps as we mostly know them exist starting with ribbon mics in 1932. Really interesting point about preamps and ribbon mics! Isn't it true that Western Electric and RCA had a monopoly on audio equipment until the late 40s when their patents began expiring? Gates would have to have borrowed from a WE or RCA circuit in their preamp designs, right?
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Post by Ward on Jan 30, 2021 12:04:01 GMT -6
Hahahaha! It’s 1947. I could get in a serious argument about that 1913 biz....makes no sense to me. There is no preamp design from 1913 or 1923 or 1929 that bears much resemblance. Preamps as we mostly know them exist starting with ribbon mics in 1932. Really interesting point about preamps and ribbon mics! Isn't it true that Western Electric and RCA had a monopoly on audio equipment until the late 40s when their patents began expiring? Gates had to have borrowed from a WE or RCA circuit in their preamp designs, right? Almost all Leo Fender's amp designs from 1946-1962 came straight out of the Western Electrics circuit diagram book. So patents or not, every body copied them anyhow.
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Post by EmRR on Jan 30, 2021 15:04:15 GMT -6
It's misleading to say they copied circuits universally as a blanket statement. The patent pool which was WE/RCA/Westinghouse/GE and maybe a few others owned all of the most basic concepts. For instance they wouldn't license transmitting related patents to Collins Radio so they had to prove previous art and start making their own alternative tube types for a while until they won the suit. These situations were akin to someone owning the rights to water, with everyone else having to pay for it. Now, you can do a lot of different things with water, and that would not imply that anyone working with water was copying every aspect of the visions held by the people who owned the rights to water.
There is no Gates/Collins/Amertran/Remler/Techrad/Amperite/etc anything that is a straight copy of an RCA or WE circuit. RCA and WE were part of the same patent pool, RCA was a child of WE anyway, and there is no RCA that is a straight copy of a WE thing either. Engineers followed their own paths to making circuits based on the needs they envisioned. Their hands and finances were tied to be the constraints of patent licensing, but the basic information is there for anyone to see in the countless radio related trade magazines from 1920 on. Large numbers of men came home from WWI with electronics and radio training, went home and built their first DIY radios from freakin' scrap materials they scrounged from their homes. England tried to license radio receiver usage, and that failed as they could not control materials supplies. There was a manufacturers monopoly in England for the purpose of launching the industry under controlled terms, and they ran behind the US because of it. There were many small companies making audio equipment in the US from the early 1920's on, with a handful of independents supplying radio stations with broadcast equipment. There were countless inventors who came up with really unique approaches, which failed for lack of finance.
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Post by Ward on Jan 30, 2021 18:23:59 GMT -6
It's misleading to say they copied circuits universally as a blanket statement. The patent pool which was WE/RCA/Westinghouse/GE and maybe a few others owned all of the most basic concepts. For instance they wouldn't license transmitting related patents to Collins Radio so they had to prove previous art and start making their own alternative tube types for a while until they won the suit. These situations were akin to someone owning the rights to water, with everyone else having to pay for it. Now, you can do a lot of different things with water, and that would not imply that anyone working with water was copying every aspect of the visions held by the people who owned the rights to water. There is no Gates/Collins/Amertran/Remler/Techrad/Amperite/etc anything that is a straight copy of an RCA or WE circuit. RCA and WE were part of the same patent pool, RCA was a child of WE anyway, and there is no RCA that is a straight copy of a WE thing either. Engineers followed their own paths to making circuits based on the needs they envisioned. Their hands and finances were tied to be the constraints of patent licensing, but the basic information is there for anyone to see in the countless radio related trade magazines from 1920 on. Large numbers of men came home from WWI with electronics and radio training, went home and built their first DIY radios from freakin' scrap materials they scrounged from their homes. England tried to license radio receiver usage, and that failed as they could not control materials supplies. There was a manufacturers monopoly in England for the purpose of launching the industry under controlled terms, and they ran behind the US because of it. There were many small companies making audio equipment in the US from the early 1920's on, with a handful of independents supplying radio stations with broadcast equipment. There were countless inventors who came up with really unique approaches, which failed for lack of finance. You've heard of euphamisms, poetic license, verbosity, hyperbole and other linguistic tools, right?
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Post by thehightenor on Feb 6, 2021 3:31:32 GMT -6
I've been using a Retro STA Level for my vocal tracking compressor (which might be the same generation design wise with the SA-70?) so maybe a 47 > CA-70 > STA Level is a tough too much colour for my vocal sound. STA is VERY different, some would say actually complementary. It's almost a decade later, FWIW. CA-70 is single ended low feedback so distortion is heavy 2nd harmonic. STA is push-pull so very little 2nd harmonic, predominately 3rd harmonic (like tape, or transformers). The Q is prob whether ANY vari-mu is suitable with a tube pre for what you want. The other pre's in question are also single ended, but much more feedback so mainly 2nd harmonic but at a greatly reduced level, with a sharper transition into overload. Cleaner closer to transition into overload than CA-70. So I ended up going for a Coil CA-70s and you were right on two fronts, 1. To my surprise the CA-70 really is very complementary to the STA Level, it's like they were made for each other! I would of thought a CM7 tube mic into a tube pre into a tube comp with a total number of tube and transformers getting into double figures would be just fuzz city but it's quite the opposite the resulting sound is like liquid gold but absolute clarity and detail - it just goes to show tubes do not have to = distortion. 2. The CA-70 is kinda like a Fender Champ (as I read you put it) if you have -6dB input and dial down the output the tone is really thick then change to -12dB input and dial up the output and it gets thinner and a bit brighter. Combined with the negative feedback variable control the range of tones you can dial is truly amazing - thicker/ thinner - brighter/darker. I'm now looking as my solid state pre-amps thinking they're a bit boring and not very flexible! I just wish I could afford more Coil pre's!
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