Preamp For Rap

mithatsefa

Member
Joined
Mar 10, 2020
Location
Turkey
I have Rme Adi 2 Pro Fs and Black Hole BH1s mic.
I need preamp.
which preampi should i take? I am waiting for your suggestions.
 

Kurt Foster

Well-Known Member
Joined
Jul 2, 2002
Location
77 Sunset Lane.
ADI-2-ProFSr.png

see where it says analog inputs? that's where the mic plugs in.
 

paulears

Well-Known Member
Joined
Feb 7, 2014
Location
Lowestoft - UK
I'm very confused with your equipment. You've chosen a very expensive, boutique microphone and a wonderful mastering grade interface.

I'm totally mystified why you'd buy such lovely equipment and appear to not really quite understand what you have? I suppose I'm perhaps wondering if you just have money to burn? A pre-amp that is in the same league as these is going to also be a niche product, with a big price ticket.

May I ask what your situation is? Do you have a sound treated studio, quality studio monitors, and a vast collection of samples and synths? Buying the capture devices at this quality level is pointless without a pair of loudspeakers capable of resolving what they capture? Please tell me you have spent money on decent monitors - because if you have not, this equipment is very lop sided and you will never hear the difference between your equipment and more conventional studio items.

This seems a very unusual choice of equipment. It is not a bad choice - but frankly a pair of loudspeakers in the same league is probably the price of a good car! You then need acoustics to support the mics - most of us do not remotely have studios where we'd hear this level of fidelity.
 

pcrecord

Quality recording seeker !
Well-Known Member
Joined
Feb 21, 2013
Location
Quebec, Canada
Doesn't that rather suggest the preamp is doing far more than being transparent gain - and adding something special? Interesting point though.

I think it's the other way around.

Since the sm57 needs a lot of gain and is sentitive to impedance, a good preamp will just reveal it's full potential compared to cloudy results with cheaper preamps..
I did a few video with sm57 on vocals or guitar that gave nice results. (I was using Focusrite ISA preamps)
Of course in my evaluation, I'm taking in account noises. With a cheap preamp that you need to crank up, you'll get more noise which to me eliminate the combo as viable.. ;)
 

Kurt Foster

Well-Known Member
Joined
Jul 2, 2002
Location
77 Sunset Lane.
the 57 is ubiquitous. the notion we need a $5000 mic to cut vocals is silly. there are THOUSANDS of hit record vocals cut with inexpensive dynamic mics. not saying a good mic isn't nice but Woodstock was recorded with nothing but Shure Unidyne 545's, The Band used EV dynamics and Rocket Man was a 58.

the 610 is old school. a modern example of Bill Putnam's preamp from his earliest consoles.
the mic pres from Warm are clones / knock offs of Neve (British) or API (American).
the ISA is a pre from another Neve design, the Focusrite console. all of these designs employ transformers on the inzanouts. these are all classic designs that will deliver what we all have come to think of as "that sound". hard to go wrong with any of them.
 

Boswell

Moderator
Joined
Apr 19, 2006
Location
UK
A few years back I did a very short-notice gig for a well-known female singer. From her (studio) recordings that I listened to in the car on way, I guessed her voice could become a bit strident, so at the sound check I started her off with a Shure Beta58A (with foam pop filter) going through my API 3124+ pre-amps. I thought she sounded good, and it was obvious she was someone who could really work a microphone.

After the first number, she ripped the foam filter off and demanded to know the make and model of microphone, as she wasn't expecting to sound like that at a live gig. I indicated the nameplate on the mic, and she didn't seem particularly impressed. I then said "but you should be looking over here", pointing at the API on the sound desk. However, that name didn't mean anything to her. A few days after the gig, I got a message from her agent asking me if I could email him the make and model of all the equipment used that evening. Pre-amps do matter.
 

mithatsefa

Member
Joined
Mar 10, 2020
Location
Turkey
I'm very confused with your equipment. You've chosen a very expensive, boutique microphone and a wonderful mastering grade interface.

I'm totally mystified why you'd buy such lovely equipment and appear to not really quite understand what you have? I suppose I'm perhaps wondering if you just have money to burn? A pre-amp that is in the same league as these is going to also be a niche product, with a big price ticket.

May I ask what your situation is? Do you have a sound treated studio, quality studio monitors, and a vast collection of samples and synths? Buying the capture devices at this quality level is pointless without a pair of loudspeakers capable of resolving what they capture? Please tell me you have spent money on decent monitors - because if you have not, this equipment is very lop sided and you will never hear the difference between your equipment and more conventional studio items.

This seems a very unusual choice of equipment. It is not a bad choice - but frankly a pair of loudspeakers in the same league is probably the price of a good car! You then need acoustics to support the mics - most of us do not remotely have studios where we'd hear this level of fidelity.

I have
Dynaudio LYD-48.
and I don't understand why you speak like that. I'm working, buddy. I spend money on this job as much as I can. And I will not make money from it. Because I do it for myself. Not everything is money in life. And I am happy to do this for myself. If I had $ 100,000, I would spend it on this job.
 
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