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Post by Johnkenn on Feb 22, 2014 22:49:31 GMT -6
I have tried the LaChapell pre with eq but having compared it with my Edwards Audio pres and my Telefunken V-72's, they just didn't hold up for what I was looking for. They sure didn't sound bad, but they didn't have that thing I was hoping that they did. I ended up buying a mono and stereo preamp from Edwards Audio instead. These are great preamps if anyone is looking. edwardspreamp.com/R Never heard of those...they look cool... |
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Tube Pres
Feb 22, 2014 22:54:17 GMT -6
via mobile
Post by jcoutu1 on Feb 22, 2014 22:54:17 GMT -6
If love to be in position for an $1800 single pre.
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Post by Randge on Feb 22, 2014 23:09:08 GMT -6
If you hear them, you might sell gear and get yourself one. I love them. I am fortunate to have the preamps I do. Lots of sweat and blood to acquire them over many years.
R
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Post by cowboycoalminer on Feb 23, 2014 22:27:40 GMT -6
I have tried the LaChapell pre with eq but having compared it with my Edwards Audio pres and my Telefunken V-72's, they just didn't hold up for what I was looking for. They sure didn't sound bad, but they didn't have that thing I was hoping that they did. I ended up buying a mono and stereo preamp from Edwards Audio instead. These are great preamps if anyone is looking. edwardspreamp.com/R Bet this thing does sound good. That frequency response chart is as linear as it gets. |
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Tube Pres
Feb 24, 2014 11:28:19 GMT -6
via mobile
Post by noah shain on Feb 24, 2014 11:28:19 GMT -6
I sold a 2-610 this year. Had it for about 8 years. The only thing I miss it on is bass DI. I kept my pair of old akai/Roberts tube pres racked by Old World Audio though I don't use them as pres anymore. I pad em down about 40db and use am as line amps. Pretty cool slight drive/color boxes.
I forgot to pad em once and smoke came out the vents but they soldier on.
I am the epitome of an end user...abuser.
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Post by littlesicily on Feb 24, 2014 14:31:19 GMT -6
I sold a 2-610 this year. Had it for about 8 years. The only thing I miss it on is bass DI. I kept my pair of old akai/Roberts tube pres racked by Old World Audio though I don't use them as pres anymore. I pad em down about 40db and use am as line amps. Pretty cool slight drive/color boxes. I forgot to pad em once and smoke came out the vents but they soldier on. I am the epitome of an end user...abuser. Ahh, the OWA Akai pres... I have stories :-) |
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Post by winetree on Feb 24, 2014 14:39:52 GMT -6
Jeff, I'm looking for that 4% myself. Almost there.  |
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Tube Pres
Feb 25, 2014 11:18:13 GMT -6
via mobile
Post by noah shain on Feb 25, 2014 11:18:13 GMT -6
I sold a 2-610 this year. Had it for about 8 years. The only thing I miss it on is bass DI. I kept my pair of old akai/Roberts tube pres racked by Old World Audio though I don't use them as pres anymore. I pad em down about 40db and use am as line amps. Pretty cool slight drive/color boxes. I forgot to pad em once and smoke came out the vents but they soldier on. I am the epitome of an end user...abuser. Ahh, the OWA Akai pres... I have stories :-) Good ones? Do tell. |
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Post by littlesicily on Feb 25, 2014 11:31:06 GMT -6
Ahh, the OWA Akai pres... I have stories :-) Good ones? Do tell. It sounded great but terribly unreliable. Back and forth to OWA two times with issues, breaking in shipping, etc. Not a fun experience. Another friend has one and has worked well so maybe I just had bad luck. Cool box though. |
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Post by Bob Olhsson on Feb 25, 2014 13:28:56 GMT -6
Unfortunately really good tubes have not been manufactured for decades.
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Post by popmann on Feb 25, 2014 14:11:00 GMT -6
While a valid point...I do know that guitar amp builders have worked around new tubes'sound to some degree. It's a particularly relevant issue when someone does a reissue or "clone" of an old circuit. Making a completely "accurrate" clone of a tube preamp and loading it with EH tubes is by very definition not accurate. Even in guitar amps...while all of them benefit from NOS (IME)--the circuits clones of old amps NEED them to not suck...where new designs aiming to get "that sound" but being slightly remodeled based on new tubes it's a much more subtle and not always amazingly better thing.
Speaking of...Cowboy...if you're reading--do yourself a favor and find a few good low noise ef86s for that 67. While you may never need to replace it...you do NOT want a modern tube in that mic.
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Post by Bob Olhsson on Feb 25, 2014 18:53:34 GMT -6
It's more a matter of reliability, noise level and lack of microphonics rather than "sound." Guitar amplifiers aren't nearly as critical an application as a mike preamp is.
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Post by popmann on Feb 25, 2014 22:26:17 GMT -6
Hey...speak for yourself...I think they're pretty critical.  ...but, I do understand what you're saying. |
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Post by cenafria on Feb 26, 2014 1:22:01 GMT -6
The preamp of choice during the late '50s, early '60s was the Langevin. We had six at Motown and at RCA and Bradley here each three track console had 12 of them. Columbia Records used them too. They didn't sound at all like today's boutique tube preamps. Would that have been the model 5116? |
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Post by gouge on Feb 26, 2014 1:33:21 GMT -6
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Post by Bob Olhsson on Feb 26, 2014 14:00:40 GMT -6
I disagree that it was ever about sound quality. It was about cost no object reliability because down time could cost thousands of dollars in labor.
The people designing the Western Electric gear that all of the rest were derived from were among the highest paid electrical engineers in the world. By the 1950s engineering talent at that level were only doing military work and computers.
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Post by Johnkenn on Feb 26, 2014 19:22:49 GMT -6
Hey...speak for yourself...I think they're pretty critical. ...but, I do understand what you're saying. Do not disagree with the Poobah! |
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Post by cowboycoalminer on Feb 26, 2014 19:25:45 GMT -6
While a valid point...I do know that guitar amp builders have worked around new tubes'sound to some degree. It's a particularly relevant issue when someone does a reissue or "clone" of an old circuit. Making a completely "accurrate" clone of a tube preamp and loading it with EH tubes is by very definition not accurate. Even in guitar amps...while all of them benefit from NOS (IME)--the circuits clones of old amps NEED them to not suck...where new designs aiming to get "that sound" but being slightly remodeled based on new tubes it's a much more subtle and not always amazingly better thing. Speaking of...Cowboy...if you're reading--do yourself a favor and find a few good low noise ef86s for that 67. While you may never need to replace it...you do NOT want a modern tube in that mic. Yep Yep. I put a NOS Mullard in it (checked for microphonic and noise). It had an Electro in it when I got it. My guess is, the dude that sold it to me kept the good tube that was in it. So be it. This one sounds wonderful. The Electro was brighter. Much brighter. |
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Post by Bob Olhsson on Feb 26, 2014 22:38:23 GMT -6
Back in the '60s and '70s I never saw anything used but Telefunken miniature tubes. Lots of gear couldn't meet factory specs with any other brands. My experience, learned the hard way, has been that guitar amps sound way better with somewhat microphonic tubes.
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Post by Martin John Butler on Feb 26, 2014 23:26:05 GMT -6
I wonder if any of these are really good, they're hiding in my closet. Attachments:
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Post by sceneofdarhyme on Feb 27, 2014 17:06:44 GMT -6
Good tube gear is usually really clean. Not chunky and tubby sounding like some of the lower end tube gear I have used. When you drive high end tube gear the saturation sounds even better. This. I have a GT Vipre and in bridged mode it is pretty clean, imo. I doing mostly vocals and I havent compared this beast to another tube pre yet, so I might be off. Buddy once brought a 1073ish pre, and I think it sounded more coloured. But where the Vipre really makes a difference soundwise is the variable impedance and slew rate. With my U47/M49ish mic and my CMV563/M7s, its like going from a Brauner to an unmodded U67 in 1 minute. Oh - did I mention ribbons? If this gem ever breaks, I think I am going to replace it with a Dave Hills Europa1. |
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Post by nico on Mar 18, 2014 12:16:43 GMT -6
Agreed with popmann, I have a 1st edition LA610, stock tubes and this thing gets as much use as M72, API, Pacifica, GTQ-2 here. It sounds great on horns, DI for bass, guitar amps...dare I say..." lead vocals ", there, I said it I do not understand what it is with the 610 or LA610 that generates so much controversy, quick dismissal, negative descriptions of the sound....or perhaps it is a niche product only liked by a minority? But common, a classic design, tried and tested on a lot of real records, before there even was an internet forum hype, handmade, in the US of A, tuned to today's standards....and for ten years now it becomes a s*cker? Please educate me here  On another note : big M72 lover here, gets used on absolutely anything, big sound, tons of gain, very useful pads for adding color, only thing missing is a hpf. Use it on Steinway, overheads, stereo acoustic guitar, electric guitar, sax, vocals, percussion, bass..... And just for the sake of being thorough: can be distorted a bit too easily with high output microphones and wide dynamic singers/horns, even with the pad at -28dB, so -10dB plugs on some mics output here. Regards Nico |
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