Hey, I'm thinking of getting better preamps. I'd like to use them to record nylon string guitar both classical stuff and pop/jazz, but I'd also like them to be as "all purpose" as things can be ranging from vocals to drums from the aforementioned classical to alt.rock or blues rock or trippy acid rock a la Jefferson Airplane or popressive pop stuff. I might also to use them out to record gigs mostly just a stereo pair out in the audience those seem to turn out the best-- for me, anyway. I was looking at the John Hardy mic pres (M1), API 3124, and even the focusrite 428 without the AD. I've searched a lot and saw some opinions on these. I also know that there is alot of variation on what a good classical guitar recording sounds like. I have some CD that sound horrible, and my reference for great sounding might be Pepe Romero's Flamenco! CD, Neuman/Oltman duo's Tango Suite, and double CD by Manitas de Platas I think they're called. Most Segovia's recordings-- recordings, I'll not knock the playing-- are like "middle of the road" for me. My current pres are not so good: UA 6176, dbx 376, 386, focusrite green dual pre, and ART dual MP. They work for me, and I'm not knock any of them for what they do but I'd like to make the jump into the good stuff starting now. Next will be mics but for the stereo stuff I'll be using unmatched dragonflys for drum overheads classical guitar and on location stuff. Where they fall short I'll start to consider options but I'm not there yet. I'm fairly happy with my mics for most stuff (1 blueberry, sm 81, 57, 421, m88, ev re20, senn 602, AKG c 4000b, akd c 3000, 2 akg c 1000, and the two dragonflys). As always any insight would be useful. On a final and very different note, has anyone found any kind of gentle compression/limiting going in on stereo mic set ups for live shows. The toughest thing for me to dealt with is the quite banter by singer songwriters and the peaks durig performance. I don't often get to set up in ideal spots and have to make it happen in less than ideal places. I'd like to find a way to handle the peaks/really low level banter with out any pumping or noticable artifacts from too much compression but for this kind of recording I've been afraid to do it on the way in. My thinking here is that this might actually serve me better if done judiciously on the way in than after during mixing. Any insights? Thanks in advance.