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Post by Ward on May 23, 2023 6:09:44 GMT -6
Speaking of using a quad preamp for drums.... I've been trying to tell this to manufacturers (but to no avail) for almost two decades now. If you're going to build a quad preamp and want it to appeal to AEs for drum rec, put this simple option on each channel. A simple push button that does this, cleans up the mud! It is so easy. It doesn't have to be exactly this, but this is my recommendation. View AttachmentCan you consider doing this, Pueblo Audio? Hi Ward, Thanks for the suggestion. Alas, implementing that kind of filter in the analog domain, which would also perform at the same quality level as the preamp, would increase the size and price of the product beyond sustainability. Sorry. Grab a Telefunken M82, open it up and examine the circuit around the kick drum notch switch.  High quality and doesn't require a separate circuit board. P.S. I follow the adage - Never ask a question you don't already (sorta) know the answer to. |
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Post by Pueblo Audio on May 23, 2023 14:08:16 GMT -6
Love these specs for your JR clean pres. I would think they would be great with DPAs and Schoeps on a Steinway, orchestral, etc. puebloaudio.com/jr-series-preamps.htmlSince you have the DC inputs, how is the impedence for ribbons? Is a higher impedence desired there? Thank you for your great work and thank you for posting on this awesome forum! Hey, thanks for the kind words. Indeed, the JR-Series is happily used under those circumstances all the time. It so happens that JR started out life as a ribbon-specific preamp. After much experimenting I found 3k ohms to be a sweet spot. I never cared much for higher impedances with ribbons or other passive mics. It under-damps the mic’s transformer which causes mild ringing and distortion. I find this too unnatural and the sound feels off the center of it’s note. However I do recognize that this effect is useful to some people in their sound design efforts. Therefore LAGUNA will offer a Lo/Hi Zin option. Switching between 3k and 88k. The Hi setting is also practical when splitting signals, as it prevents the parallel impedance from dropping below a level the mic can’t drive well. |
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Post by ab101 on May 23, 2023 14:14:28 GMT -6
Scott - Wow! Fantastic. I will love to try these out with my AEA 44s and Samar VL37s. Also, sometimes these pres are the best solution with tube mics, if you want to comment about that.
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Post by Ward on May 23, 2023 15:46:33 GMT -6
Scott, are your preamps compatible with any else's power supplies (example, Vintech)? Or vice versa?
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Post by Pueblo Audio on May 24, 2023 9:59:08 GMT -6
Scott, are your preamps compatible with any else's power supplies (example, Vintech)? Or vice versa? I don’t believe so. PS34 produces +\-28v and +60v rails. And I can’t officially support mixing and match supplies for safety reasons. |
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Post by Pueblo Audio on May 24, 2023 12:51:41 GMT -6
Scott - Wow! Fantastic. I will love to try these out with my AEA 44s and Samar VL37s. Also, sometimes these pres are the best solution with tube mics, if you want to comment about that. An advantage of having the phantom channels and preamps channels segregated is that tube mics connect directly into the pre without the extraneous phantom caps and resistors still “hanging on”. This purist approach aids to preserve those small, delicate elements of a signal. Probably why JR is so popular with orchestral and film score engineers who often use Neumann M50’s in their Decca Tree main arrays. |
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Post by Johnkenn on Jun 28, 2023 14:58:32 GMT -6
This sounds pretty awesome.
“ Laguna is a variation with studio tracking in mind. It’s pretty bad ass. Detailed and resolved with the right feel of iron. Gives subtle and the nicer flavor of vintage without the noise or blur. Center of the note.”
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