This has several different impedance selections, but they're not numeric...Low, ISA110, Med and High. Wondering what you guys would suggest for my AKG 414 EB's ?
pcrecord audiokid Boswell dvdhawk Kurt Foster kmetal @Makzimia (or anyone).

good for you Donny! happy festivus!:)

AKG states the impedance as 200 ohms. Recommended load impedance: >= 2,200 ohms. i would go through the settings while you speak into it. monitor on headphones. what ever sounds the fullest or best is the right selection.

Wow! That's fantastic!! I look forward to hearing that killer combo.

Kurt Foster, post: 454668, member: 7836 wrote: good for you Donny! happy festivus!:)

AKG states the impedance as 200 ohms. Recommended load impedance: >= 2,200 ohms. i would go through the settings while you speak into it. monitor on headphones. what ever sounds the fullest or best is the right selection.

Same on all counts. When all science fails, trust the ears. You'll hear where it shines. What a great gift.

A wonderful gift!

Selectable input impedance is most effective with dynamic microphones (moving coil and ribbons), but you can get subtle character change with condensers as well. I have noticed this when using the Audient ASP880, especially with transformer-output condenser mics.

Try it and see. Start at the highest impedance setting and work downwards. Tune your ears for small changes. Write down a few words of description for each setting. Then go through the exercise again using an SM57.

According to SOS, the impedance settings are as follows:
Low-600Ω, ISA110-1.4kΩ ,medium - 2.4kΩ and hi - 6.8kΩ).

DonnyThompson, post: 454667, member: 46114 wrote: This has several different impedance selections, but they're not numeric...Low, ISA110, Med and High. Wondering what you guys would suggest for my AKG 414 EB's ?
.

Yes I too recommend going by ears
Congratulation on the great addition to your arsenal.
I can't wait hearing some samples and reading your comments since I've been raving alone about the ISAs for years... ;)

medium is 2.4. akg drives a 2.2 load. lo is for ribbons? like 600 ohm or lower perhaps?

perhaps you can get different tones out of it by switching the loads on the mic?

Grats Donny, I’ve never had the pleasure of a multi impedance preamp, just different headphone impedances, I would have thought suck and see too though :). Enjoy!!

pcrecord, post: 454681, member: 46460 wrote: Yes I too recommend going by ears
Congratulation on the great addition to your arsenal.
I can't wait hearing some samples and reading your comments since I've been raving alone about the ISAs for years... ;)

Mon Ami'... what's the total available gain rating on the ISA?
It has several gain settings, I'm assuming they are "pads" (?) but from what I've read so far, according to SOS, the typical gain is 60db, with the "Trim" pot adding up to an additional 20db if needed - did I read that right? is that correct? Is this pre really capable of 80db of gain? If it is, this is a monster and would be awesome for low output dynamics/ribbons! And, being able to match the impedance load on moving coils (or at least getting damned close) could result in even more gain, no?
Or am I wrong?
Also tagging Boswell
Here's a link to the SOS review:
https://www.soundonsound.com/reviews/focusrite-isa-one

The 80dB max gain is available when using a zero-Ohm source. A real microphone is going to have a non-zero output impedance, so the actual achievable gain will appear to be a little less than that. For example, if the pre-amp input loading were to be adjusted to equal the microphone output impedance, it would result in a 6dB attenuation, giving an apparent maximum gain of 74dB, this being an actual 80dB gain applied to an input signal reduced to half amplitude by the loading.

It's interesting that, from your photo, it looks as though you have been given one of the original ISA One models, i.e. before the sloping front was introduced. There are reports that these models were a few dB quieter in noise terms than the later ones, but I've not had any confirmation of this.

I'm looking forward to playing with it more seriously after the smoke clears from the holidays. I've already tried an SM58 through it, just for fun, and it sounds fantastic. :)

Remember when “plug and play” meant plug it in and play with it, rather today’s meaning of, ‘theoretically no software/driver configuration required’?

Have fun!

Congrats on the present and, more importantly, on having such an awesome friend.

I've had one of these on my desk for the last few years and love it. Having such a high level of gain works magic on the SM7B I have it coupled to, and being able to use the impedance loading for such mics allows you access to a few different flavour options on the way in. As others have mentioned, the impedance options don't offer much when used with active, buffered mics.

The coolest part of the design (by Rupert Neve, no less) is having two independent gain stages. This allows you to set the bulk of the gain on the main control (keeping the noise at that stage to the minimum) and adding the remaining on a clean driven second stage.

It is a well designed and built piece of gear, with an impressive feature set.

ronmac, post: 454691, member: 24337 wrote: I've had one of these on my desk for the last few years and love it.

The more people I hear from on this mic pre, whether it's here or online reviews, the more I'm impressed by it. I've yet to read or hear anything negative about the ISA at all.
I too love that it has the second clean gain stage. I'm also impressed that it has inserts, should I ever get the chance to add something like an LA2 to the gain chain.
And, just this morning, found out that it provides L and R inputs for a cue/2 mix from my DAW.
So far, and as you've mentioned, I've not heard any noticeable differences yet switching through the impedance settings using condenser mics... but a HUGE difference when using a Ribbon mic. Like, REALLY noticeable.
I'll put the ISA through more use after this weekend... but so far I'm blown away by this mic pre. Makes me wanna go back and retrack some vocals I did recently. ;)

dvdhawk, post: 454690, member: 36047 wrote: Remember when “plug and play” meant plug it in and play with it, rather today’s meaning of, ‘theoretically no software/driver configuration required’?

Have fun!

I think you and I are gonna have fun with this pre when we fire up the OASIS sessions again.
I can't wait to hear your SM7 through this pre. ;)

DonnyThompson, post: 454692, member: 46114 wrote: I'm also impressed that it has inserts, should I ever get the chance to add something like an LA2 to the gain chain.

Well, I can’t afford an LA2A, but I did pick up one of those Klark 1176 clones, we’ll have to try that on the insert to see what you think.

DonnyThompson, post: 454692, member: 46114 wrote: I'm also impressed that it has inserts, should I ever get the chance to add something like an LA2 to the gain chain.

that's a cool feature. it gives you the option of placing processing gear between the pre amp and the gain amp or you can patch from the output. my MCI console had patches both between the pre and post eq as well as pre fader. there can be a big difference in the how a processor works depending where you patch in.

DonnyThompson, post: 454686, member: 46114 wrote: Mon Ami'... what's the total available gain rating on the ISA?

I never went to the maximum gain even with ribbon mics.
But you must activate the 30-60 button which will give up to 60db on the selector then you get an extra 20db on the trim pot...

I'm glad you are getting excited about the ISA as I am.. Yes they are not millennia's but they have their own thing !
I'm so glad I have 8 of them !

pcrecord, post: 454703, member: 46460 wrote: Yes they are not millennia's but they have their own thing !

i'd take an ISA over any Millennia any day. really.

Well, apples/oranges, I think. I've used a Millenia in the past at a few different studios (never actually owned one myself) and I consider them to be a very "big" sounding but very clean pre. They didn't have any color or "character", of which I think the ISA does, because it uses a Lundhall XFO, (which happens to be one of my favorite trannies, it's a go-to choice for me with my ADK) and there is some "vibe" there. I've also used the Grace 101 and I think it's very similar to the Millennia, very clean.
I find it difficult to compare the transformer-less Preamps to those that have them.
I think the ISA has more warmth and sheen than the much cleaner transformerless Preamps. I think there's occasions to use both kinds, as well as tube gear. To me they're all just different pallets.
IMO
-d

DonnyThompson, post: 454705, member: 46114 wrote: I think. I've used a Millennia in the past at a few different studios (never actually owned one myself) and I consider them to be a very "big" sounding but very clean pre. They didn't have any color or "character",

Not to distract from the OP but since this was mentioned ;)

Kurt Foster, post: 454704, member: 7836 wrote: i'd take an ISA over any Millennia any day. really.

Really? There are a few Millennia products, all of them are outstanding but they are indeed not one trick ponies..
A favourite chain of mine includes the incredible $5,719.00 2 channel Millennia M-2b pre, stacked with tube and tranny mojo. Example: 251 flavour mic, UA LA2A/ 1176 combo > M-2b

Stacking big rail transformerless pre's with transformer processing gear creates huge silky character I've never once NOT gone WOW. Millennia pre's are the kind of pre's that work exceptionally well for acoustic music and even better ,when used in combinations with other fine finishing tools to create big custom sounding tracks. They are without question, clean, as in BIG BLOCK HEMI lol! You still need the fuel, carburetor, tranny, wheels, chassis etc make the dragster motor. The preamp is the block of a motor.

As an example: The above combination used for vocals makes vocals mix with rich sounding VSTi, world class libraries etc.
Having big captures translates not having to shrink to fit smaller sounding channels with example: big sounding bass and drums.
Some preamps produce smaller recordings and some produce big so, picking and choosing counterparts enables the recordist or producer to pic and choose what gear helps things fit into the grand scheme of things.
A common thing we hear all the time today are great sounding VSTi and libraries (instrumentation) mixed with below average sounding vocals. Thus, the result of endless battles and questions of people trying to "glue" low end with high end channels of a mix.

If I was to describe what combinations of transformerless with transformer gets, I think today's big vocals fitting around slamming kick and bass music. The vocals don't get over taken by the beat because the Vox is huge to begin with.

I kind of look at too much of one thing yields the unidentifiable smear. However, "stacking clean preamps with mojo" is like starting out with a clean canvas. Those who want a certain mojo to sound like it was designated to sound... appreciate transformerless products for a very good reason.
Are we adding black pepper or cayenne pepper to the mix for flavour or just for heat?

That looks to be a pretty cool pre, Donny! I think you are going to like it a lot.

Update...

I have a cheap MXL 860 Ribbon mic that I bought from GC a few years ago; it was around $50 ( I know, I know, you guys are all rolling your eyes here, and that's fine, go ahead ... but hear me out, too)...
I figured that maybe at some point, I might have someone like Michael Joly do a mod on it... he does ( or did) have a mod available for this 860 model that included tightening the ribbon tension, and replacing the cheap XFO that it comes with, with a Lundhall 1538... I just never got around to doing it.

I've had some "okay" results with it, using it for things like as a secondary mic on guitar amps, (paired with a dynamic in-tight).

Anyhoooo...
I connected it to the ISA this morning, to see how it would sound, just for fun - I sang a bit of White Christmas, channeling my best Bing Crosby imitation, LOL - - and I was shocked at the immediate difference I heard.
It's like a totally different mic now. I wouldn't go as far as to say that it sounds like a Royer, ( which I've used many times in the past) because of course, it doesn't.

BUT - it does sound remarkably better than it ever did before.
And, the differences between impedance settings on the ISA were not subtle, either... I mean, the differences were like night and day, an obvious "in-your-face" kind of noticeable. We're not talking about "subtle vibe" here...
I'm now looking forward to trying this mic/pre combo on a guitar amp, or perhaps even as a drum room mic at some point, when our OASIS sessions fire up again after the New Year.
(dvdhawk )

Although now, it really does make me want to hear something like a Royer, or Coles, or a Shure ribbon through this pre!
FWIW
:)

DonnyThompson, post: 454713, member: 46114 wrote: I connected it to the ISA this morning, to see how it would sound, just for fun - I sang a bit of White Christmas, channeling my best Bing Crosby imitation, LOL - - and I was shocked at the immediate difference I heard.
It's like a totally different mic now.

I had the same experience when I got my first ISA Two. At the time the only external preamp I had was a DBX Silver 576. So I tried all the mics I owned at the time and went wow at most of them because of the difference in sound. Since then, every time I buy a preamp, I make a point of trying all my mics again. So when a customer comes in I know what mic with what pre may sound like.
Before having a ISA preamp, I would never consider a Sm57 on vocal ;)

If it does wonders for the MXL (which is not a bad sounding mic to begin with) I’ll be anxious to hear my KSM313 through it then, to see if the difference is as dramatic. The SM7b should really shine through it. My old Focusrite green range stuff does a nice job with it, but their impedances are fixed. The Eureka has variable impedance, but I’ve never had much of an opportunity to play with it and the KSM on the same project.

What a great gift, you lucky man!!!! Have a nice XMas and a great 2018!!!!

UPDATE:

I had the first opportunity to use the DI on the ISA today, on a bass guitar. Wow! Big, full but incredibly clean and clear, and with loads of headroom, too.
Yea... I think I'll keep it. ;)

The ISA DI and a bit of low end focus with a PuigTec EQP-1A plugin !
That's one of my favorite bass chain... ;)

pcrecord, post: 454818, member: 46460 wrote: The ISA DI and a bit of low end focus with a PuigTec EQP-1A plugin !
That's one of my favorite bass chain... ;)

I have the Acústica Audio Pultec ( includes the MEQ5 mix band as well)...and the IK T-Racks Pultec ( lows and highs only as was traditional on the LPQ)...
I love THE AA but it's a cpu HOG. Lol.

I haven't tried either one with this latest bass DI test yet (I didn't even print the test, I just monitored it) but now you've got me really curious and I'm gonna have to try that chain! :)
Is there a particular starting point I should look at on the Pultec? Like 60hz with an even boost/attenuate blend? Or would you go higher, at 100hz? And perhaps boost more than cut?

pcrecord, post: 454714, member: 46460 wrote: Before having a ISA preamp, I would never consider a Sm57 on vocal

I have a Question, Mon Ami .... Do you have an impedance setting that you like or that is your "go-to" for using a 57/58 on an instrument such as an amp or snare?
So far, I've only tried vocals with a 58, on the "ISA 110" setting, (thought it sounded great) ...Or, does that setting vary for you depending on the rig or volume? Like, In terms of energy, inherent tone or dynamics?
The biggest difference I've noticed so far, the most "night and day" kind of difference, has been vocals on a ribbon mic...that one had a real "wow factor" for me from setting to setting....(I've also got an RE20 out for repair at the moment, I'm really looking forward to hearing it through the ISA as well. )
:)
-d.

DonnyThompson, post: 454824, member: 46114 wrote: Like 60hz with an even boost/attenuate blend?

Yes that's my spot.. for my bass anyway..

DonnyThompson, post: 454825, member: 46114 wrote: Do you have an impedance setting that you like or that is your "go-to" for using a 57/58 on an instrument such as an amp or snare?

I usually start with the ISA110. It is said that going to a higher impedance will give a thighter sound with a thinny bit less dynamics and a bit more HF.. but this is so subtle you can miss it because while switching the impedance, the volume also change a bit.
In the end, trying is the key.
This gives me the idea that a video on this might be welcome. I'm gonna put it on my list. Since my drum kit is all setup, I will use it more in the next productions...

DonnyThompson, post: 454825, member: 46114 wrote: The biggest difference I've noticed so far, the most "night and day" kind of difference, has been vocals on a ribbon mic...that one had a real "wow factor" for me from setting to setting....

So many people have no clue how their mics can sound with a good preamp. It's a shame that the trend is »''cheap is the best'' these days (specially with young people).

pcrecord, post: 454826, member: 46460 wrote: This gives me the idea that a video on this might be welcome. I'm gonna put it on my list....

YES!!! :) Let me say that again for effect: YES!!

Interestingly, the one thing that's taken me the longest to get to know, is the incredible gain range on this thing. I love that there are 4 selectable input gain ranges, along with the 4 selectable impedance settings.
Oh...upon reading the manual yesterday, I also found out that the HPF on the ISA has a listed corner frequency of 75hz, BUT... the manual goes on to explain that 75hz is already down by -3db when the HPF is engaged, so it may be that the corner frequency is a bit higher than that, maybe at more like 80hz (?) ... not that 5hz in either direction on the corner frequency is gonna matter much, but thought I'd mention it in case you weren't aware... which you probably already were. ;)
The slope is stated to be fixed at 18db per octave, so it's definitely an HPF and not a shelf. I mention this, because I've seen other preamps state that their "HPF" has a -6db per octave slope... which is traditionally not what we would consider to be a "true" HPF.
I understand you are probably already aware of these things, pal. I'm mentioning it more for those who might be doing research, or who have recently bought one, and perhaps don't know these things yet.
FWIW
:)

The upper or lower cut-off frequency of a filter is usually specified as the -3dB point, because this represents "half-power" in an impedance-matched network. Where the curve actually starts to deviate visibly from the flat passband is dependent on the type and order of the filter, but all filters have one or more half-power points.

Being picky about another thing, the "true" HPF on XLR microphone inputs is a 6dB/octave low cut, as this can be implemented with a simple passive network. Passive networks do not introduce noise (other than resistor thermal noise), have amplitude limits (within reason) or introduce distortion. Higher-order filters (12dB/octave and more) normally require active components, with their own associated electronic noise and distortion.

DonnyThompson, post: 454829, member: 46114 wrote: I also found out that the HPF on the ISA has a listed corner frequency of 75hz, BUT... the manual goes on to explain that 75hz is already down by -3db when the HPF is engaged, so it may be that the corner frequency is a bit higher than that, maybe at more like 80hz (?) ... not that 5hz in either direction on the corner frequency is gonna matter much, but thought I'd mention it in case you weren't aware... which you probably already were. ;)

Your right I didn't know this about the HPF on the ISA one.
But remember I don't own a ISA one.
I have 2 x ISA two and a ISA 428 mkI. They all have sweepable HPF frequencies... ( from 16 to 420hz)
For an unknown reason they removed that option on the 428mkII and didn't implement it on the ISA one

I want one of these so bad.... I want the MK 1 right?

pcrecord
Mon Ami...
With the exception of the rotary/continuous HPF that your model has, both models appear to be essentially the same in the mic pre section. Functions like Insert on/off, pre/post, impedence selection for both mic and DI, 30-60db button with rotary 20db gain, Mic/Line/DI... Etc.
On the rear of the ISA One, there are separate outputs for Line and DI. The Line out (XLR) is what I've been using to get the ISA's signal to the Apogee's +4 converters-only input.
There are also insert Send and Return Jacks (1/4") and a 2 Mix input for bringing in Audio from the DAW (or other source). I'm assuming that your ISA's have all of this, and maybe additional features that the ISA One doesn't.
I'm positive the entire ISA range all have the same architecture and components of the Focusrite 110 mic pre, including the Lundhal 1538 XFO.
Your models have the EQ section, yeah? I would like to have that section... Everything I've heard and read about the 110 EQ has been that it's awesome.

DonnyThompson, post: 455602, member: 46114 wrote: Your models have the EQ section, yeah? I would like to have that section..

Only the channel strip 220 and 430 have a full EQ section. Mines only have a sweepable HPF.
I thought about changing one of my LA610 for a ISA220 or 430 for a while...
But I think, I'm going to wait for the $$ to buy a manley core or Millennia STT1 one day (if I ever get that $$ to throw in to my small studio)
I'd like to upgrade my RME FF800 for a newer model some day too..
Those things are expensive.. lol

Yeah, it never really stops for us, does it? Lol

Lately I e been looking at Heritage Audio's line of Neve knockoff clones. I'm seeing nothing but great reviews for both their rack mount and 500 Series mods... I don't have a 500 Series rack anymore though. Sold it a long time ago.
Probably a dumb move on my part. At the time I never imagined the number of modules that would eventually become available in that format from so many different manufacturers.

Warm Audio just released a new line of Neve-ish stuff. 1073 based pre amps and EQ's .... druuuuullllllll.