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Post by stribor1 on Nov 8, 2015 2:00:45 GMT -6
I´m GASing for a FD312 but the high $ rate (or low €) and VAT/import duties are a no go for me at the moment. To bad it is not available as a kit like the other CAPI stuff.
I have built several CAPI modules over the past 3 years (pairs of VP26, VP312,VC528, FC526) and am wondering if modifying the 312 and the Missing Link and using them in series would get me close to the Heiders.
Obviously I would have one more transformer in the chain, but maybe putting the cinemags in the ML and trying to figure how to modify the VP312 circuit (remove AC coupling caps) would get me there.
The new SL1731 and a litz-wire tranny on the 312 would probably also make a step into the direction regarding the sonic qualities I would like to hear (smoother more extended top end, get a more flattering tone for vocals, something between a 312 and a 1073).
Any thoughts/experience?
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Post by cowboycoalminer on Nov 8, 2015 4:14:18 GMT -6
Sounds like you're describing a Warm Audio Tone Beast. This is a very overlooked amplifier because it's in the "prosumer" category. But it's every bit a hoss. There's a song on my Soundcloud page called Orher Side Of Town written by our own Martin Butler which recorded using only the TB. Check it out if you like. The link to my SC is in my signature.
C
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Post by jeromemason on Nov 8, 2015 4:39:29 GMT -6
This Litz is pretty subtle, my FC526 is a Litz and I can notice a little difference with it. Scotts 1731 are incredible for sure. I'd do VP26>ML should be a really nice tone for vox.
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Post by Guitar on Nov 8, 2015 8:38:05 GMT -6
I was considering doing something like this. What I would do is skip the EA transformers completely, and order direct from Cinemag the exact same transformers that the Heider uses. Then set them up in the circuit the same way. Adding a Missing Link seems like it would be a cherry on top.
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Post by EmRR on Nov 8, 2015 9:09:49 GMT -6
The biggest thing about the Heider to me, on paper, is the low input impedances and the nickel content transformers. I can't find the nickel comment anymore, but I think I remember that. Textbook descriptions of matching impedances with dynamic mics say it creates a 6dB/oct low pass filter as well as causing heavier loading losses. I'd be curious to know if that is part of the reality here. Some mics will love it, some won't. Condensers tend to experience a loss of headroom with greater loading.
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Post by Bob Olhsson on Nov 8, 2015 10:19:58 GMT -6
FWIW the transformers Frank used were what became Jensens.
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Post by Johnkenn on Nov 8, 2015 11:10:28 GMT -6
I tend to choose the LW VP28 over the Heider...Heider is a little brighter and can be even brighter with the HiQ in.
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Post by Bob Olhsson on Nov 8, 2015 13:08:02 GMT -6
I'm really happy with the Daking Mic Pre One partnered with a KM 84. It just works.
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Post by jsteiger on Nov 8, 2015 21:35:31 GMT -6
FWIW the transformers Frank used were what became Jensens. On the 312 cards from the Heider Studio 4 console that the FD312 pre's are based on, the inputs were Reichenbach's and the outputs were standard AP2503's. It seems that DeMedio never did the exact same thing for very long. I believe the 312 cards in the Sunset Sound boards were totally different. David Geren found Ed's original winding notes when I asked him to recreate the input for my version. |
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Post by Bob Olhsson on Nov 9, 2015 10:42:18 GMT -6
Reichenbach was owned by the company (Electrodyne?)Deane Jensen was the chief engineer of. The very first transformers he sold under his own name were upgrades for API gear made by Reichenbach. They parted company over Reichenbach not wanting to invest in some new Swiss winding equipment that could make better quality transformers.
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Post by EmRR on Nov 11, 2015 10:17:33 GMT -6
Ed Reichenbach worked on Peerless transformer designs at Altec early on, so it's a fine lineage.
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Post by Bob Olhsson on Nov 11, 2015 12:02:17 GMT -6
Indeed it is!
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