Pre Amp Tube
Posted in Uncategorized on 08/10/2005 01:09 pm by admin
Pre Amp Tube
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 Dynaco PAS 2 Stereo Tube Preamp NR  US $152.50
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 ADA MP 1 TUBE PRE AMP w 4 x 4 FOOT SWITCH US $325.00
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 Studio Projects VTB1 Microphone Preamp Excellent Shape Smooth Tube Sound US $76.00
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 ART TUBE PAC Microphone Preamp US $13.50
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 Presonus ADL 600 Tube Mic Preamp Excellent Condition US $1,295.00
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 dbx 576 Vaccum Tube Preamp Compressor 2 US $51.00
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 dbx 576 Vaccum Tube Preamp Compressor 1 US $39.99
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 ART Professional Tube Mic Preamp TS US $.99
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 Bellari Tube Phono Preamp VP129 UP GRADED US $229.95
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Review of Cascade X-15 Stereo Ribbon Microphone - Salt Lake City Recording Studio Review
For sometime I have not been super satisfied with the electric guitar sound that I have been getting. My recording studio, Studio 5.1 in Salt Lake City, has been targeted at acoustic oriented bands. Heavy Distorted guitars, rap music, these are things that I record, but not because I have felt the strongest with these genre's. For that reason I have felt that there is a need for some improvements in these areas. While not terrible, the sound is missing the aggressive but not abrasive, smooth without being muddy, and open without sounding hyped in the higher frequencies sound that I hear in other recordings. I used a Royer r-121 to record a Hammond B-3 on Chantelle Riches jazz pop album April Fooled and loved the way it sounded. In fact it was perfect. I fell in love with ribbon mics from there on out, maybe not on all sources, but certainly on most.
However, the Royer is a bit out of my price range at the moment. After researching other alternatives including the BLUE Woodpecker, the new Shure Ribbons (not any cheaper than the Royers), and some of the of the lower cost alternatives like Cascade, I decided it was high time to get a ribbon mic. But which one, and what price, and in what applications would I use these mics?
After visiting Cascade Microphone's site and being fond of stereo micing, I checked out the X-15 as an option. While the site claims the X-15 to be good for guitar cabinet micing I was not finding anyone else on the internet who had used the microphones this way. Most of the use that was demo'd on the site were for horns, and acoustic guitar samples. When I heard the Disney Jazz group samples they have on their I was instantly sold for that application. In fact I am not sure what you could even do to improve on it. I thought, for $399 with the stock transformer, this mic was worth it just for horn recording. But I don't do much with horns right now so there was no immediate need for that.
After trying the X-15 on acoustic guitar I felt that while the tone was good, this is one of the sources that having a good high gain pre-amp would be needed. I had to crank my Trident s-20 to max and still didn't get the volume I wanted, but I did get some predictable pre-amp his as a side effect. However, the tone was really good. Which made me think that with the right pre-amp this mic would sing!
Then I tried it on a clean electric guitar. I used my Supro S6625 100 watt tube head going through my home made 2 X 12 cab using Celestion Vintage 30's. The guitar player played on a fender jaguar and I loved the clean tones this mic picked up. Again, practically perfect in my opinion. It was exactly what the tone needed and should have been and it sit just right in the mix without and additional eq'ing.
Distorted electric Gguitar has been a slightly different story. While the Cascade x-15 sounds okay, it is missing something still. I think I am going to blame it on my pre-amp at this point and not the mic but it still could be the mic to some degree. The reason being is that the tones are pretty close to what I hear from he amp, however, some of the harsh characteristics I didn't want are starting to come through some. Additionally, there is a presence that this mic seems to be lacking when used on electric guitars. The openness I was experiencing with other recordings seemed to be missing. Perhaps I need to play with positioning some more and with different cabs and set ups. But beyond over driving or vintage distortion tones, the modern heavy, scooped mids type of guitar tones that we hear so much in today's recordings... it just wasn't there for me. Perhaps with the right pre-amp this would be fixed. Time and experimenting will tell.
On drums I was surprised how much I liked this. I placed the mic about 4-5 feet in front of the drum set aimed at the rack tons and it picked up just the right amount of room sound and drum tone. Even the kick drum took on a really nice punch to the sound. I think this has become a permanent part of my drum micing as a result. I still use overheads (earthworks drum kit system is my preferred set up) I like having it even if I don't end up using it because the tones can be mixed in as needed after the fact just in case.
Overall, the X-15 has really pleased some of my recording clients, and in 85% of the applications that I have used it on, the mic has done amazing. While I hate using this phrase, for the price, I am extremely happy with the Cascade X-15. This mic has now become one of my few go-to first mics as a result. I look forward to trying it out with choirs and other organic instruments to take in a more honest sound. Just make sure that if you are using it on anything other than drums, or amplified instruments, you want to have a pre amp with some good headroom on it.
About the Author
Nick Galieti is the owner, engineer and producer at Studio 5.1, a recording studio in Salt Lake City, UT. Specializing in acoustic, indie, LDS, jazz, and pop music recording.
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Used Demeter Vtb-201S Tube Bass Pre Amp $549.99 In Store Used USED DEMETER VTB-201S TUBE BASS PRE AMP |
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Used Demeter Vtbp-120 Bass Tube Pre-Amp $375 In Store Used USED DEMETER VTBP-120 BASS TUBE PRE-AMP |
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Used Orion 12Bh7 Pre Amp Tube Nym $4.99 In Store Used USED ORION 12BH7 PRE AMP TUBE NYM |
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Used Hughes Amp; Kettner Tube Factor Pedal Tube Pre $149.99 In Store Used USED HUGHES amp; KETTNER TUBE FACTOR PEDAL TUBE PRE |
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Drawmer 1969 Mercenary Edition Mic Pre Amp/Tube Compressor $2343.25 Drawmer 1969 Mercenary Edition Mic Pre Amp/Tube Compressor |
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Summit Audio MPC-100A Tube Pre-Amp and Compressor/Limiter $1955.59 Summit Audio MPC-100A Tube Pre-Amp and Compressor/Limiter |
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Summit Audio Mpc-100A Tube Pre-Amp And Compressor/Limiter $1955.59 Summit Audio MPC-100A Tube Pre-Amp and Compressor/Limiter |
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Used Phillips Jan 6Au6wc Pre Amp Tube Nym $4.99 In Store Used USED PHILLIPS JAN 6AU6WC PRE AMP TUBE NYM |
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Used Electro Harmonix 12Bh7 Pre Amp Tube Nym $4.99 In Store Used USED ELECTRO HARMONIX 12BH7 PRE AMP TUBE NYM |
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Used Electro Harmonix 12Dw7 Pre Amp Tube Nym $4.99 In Store Used USED ELECTRO HARMONIX 12DW7 PRE AMP TUBE NYM |
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Used National Elect 6X8/6X8a Pre Amp Tube Nym $4.99 In Store Used USED NATIONAL ELECT 6X8/6X8A PRE AMP TUBE NYM |
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Used Groove Tubes Gt12au6 Pre Amp Tube Nym $1.99 In Store Used USED GROOVE TUBES GT12AU6 PRE AMP TUBE NYM |
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Used Drawmer 1969 Mercenary Edition Mic Pre Amp/Tube Compressor $2343.25 The 1969 Mercenary Edition, derived from a collaboration between two of the audio industry's most established names, Drawmer (UK) and Mercenary Audio (USA), Fletcher - Producer/Engineer, Mercenary Audio incorporates new tube circuits designed to add warmth to mic/line signals, and the instrument (DI) pre-amp has its own tube stage enabling classic overdrive effects when inserting guitar, bass and other instruments. Retaining the concept of twin mic pre-amps, the 1969 uses 'Burr-Brown'op amps for a silkier sound - and a phase reverse switch available in instrument, mic and line modes increases versatility. The 1969 employs true stereo link operation with channel one's threshold, attack and release controls becoming master to both channels. Stereo link also offers a BIG position which retains bass frequencies by rolling off the detection signal at 100 Hz minimizing undesirable pumping during compression. Output gain make-up can be independently controlled on each channel. 2 mic/line pre-amps with variable gain, 48V phantom power, filters and phase reverse Instrument tube pre-amp with variable gain, EQ, phase reverse and brightness boost 2 soft-knee tube compressors with variable threshold, attack, release and output gain True stereo link operation with BIGposition for retaining bass frequencies Side chain access and side chain listen facility VU metering of gain reduction and output levels Individual +4dB/-10dB inserts Balanced +4dB XLR input/output connectors |
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Used Presonus Tube Pre $49.99 In Store Used USED PRESONUS TUBE PRE |
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Ibanez TSA15 Tube Screamer 15W 1x12 Tube Guitar Combo Amp $449.99 The Ibanez Tube Screamer is one of the best overdrive pedals ever produced, hands down, and the TSA15 tube combo amp features a true Tube Screamer circuit that delivers that same legendary overdrive. The TSA15 combo features a 12" Celestion Seventy 80 speaker and can deliver everything from natural clean sounds; fat crunch tones; and even warm, smooth overdriven tones with the modified TS9 circuit built right into the amp.Guitarists normally have to depend on a separate effect pedal to get the distinctive, warm overdrive sounds of a tube amp. No more! The new TSA15 Tube Combo Amp has a genuine Tube Screamer circuit built right into the front end for all the warm tube overdrive punch and crunch youll need. Includes footswitchable functionality with Tube Screamer Overdrive, Tone, and Level controls. IFS2G footswitch sold separately.15W all-tube combo2 x 12AX7 tubes (Pre)2 x 6V6 tubes (Power)Genuine Tube Screamer circuit built into the front endControls: Tube ScreamerOverdrive, Tone, Level; AmpTreble, Bass, VolumeModes: Pentode15W; Triode5W12" Celestion Seventy 80 Speaker |
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Ibanez Tsa15 Tube Screamer 15W 1X12 Tube Guitar Combo Amp $449.99 The Ibanez Tube Screamer is one of the best overdrive pedals ever produced, hands down, and the TSA15 tube combo amp features a true Tube Screamer circuit that delivers that same legendary overdrive. The TSA15 combo features a 12" Celestion Seventy 80 speaker and can deliver everything from natural clean sounds; fat crunch tones; and even warm, smooth overdriven tones with the modified TS9 circuit built right into the amp.Guitarists normally have to depend on a separate effect pedal to get the distinctive, warm overdrive sounds of a tube amp. No more! The new TSA15 Tube Combo Amp has a genuine Tube Screamer circuit built right into the front end for all the warm tube overdrive punch and crunch youll need. Includes footswitchable functionality with Tube Screamer Overdrive, Tone, and Level controls. IFS2G footswitch sold separately.15W all-tube combo2 x 12AX7 tubes (Pre)2 x 6V6 tubes (Power)Genuine Tube Screamer circuit built into the front endControls: Tube ScreamerOverdrive, Tone, Level; AmpTreble, Bass, VolumeModes: Pentode15W; Triode5W12" Celestion Seventy 80 Speaker |
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Used Summit Audio Mpc-100A Tube Pre-Amp And Compressor/Limiter $1955.59 The single channel Summit Audio MPC-1OOA tube preamplifier and compressor/limiter accepts line, microphone, and Hi-Z input signals. Using both tubes and solid state technology in synch with the Jensen mic transformer, the MPC-100A lends a detailed sound with harmonically complex overtones. The ultra-fast compressor is ideal for optimizing signals prior to entering the digital domain. Other details include impedance matching (loading) control on the Hi-Z input so passive guitars and bass pickups have a whole new level of tone control, true VU metering, and multiple outputs. And with the Summit Audio MPC-100A tube preamp's 3 separate gain controls, you have endless tonal variations from clean to saturated for whatever sound you need."Clean" to "Saturated" valve soundsSoft Clipping LED indicatorsHI-Z instrument input with impedance matching controlTwo stages of vacuum tube gain controls3 Position attack and release controlsHigh quality VU meter for output and gain reduction meteringContinuously variable output level control+4 dB balanced and -10 dB unbalanced outputStereo linkable with a second MPC-100AJensen mic transformer |
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Ibanez TSA15H Tube Screamer 15W Tube Guitar Amp Head $299.99 Guitarists normally have to depend on a separate effect pedal to get the distinctive, warm overdrive sounds of a tube amp. Not anymore. The Ibanez TSA15H tube amp has a genuine Tube Screamer circuit, built right into the front end, for all the warm tube overdrive punch and crunch you'll need. The all-tube amp head features 2 - 12AX7 preamp tubes and 2 - 6V6 power tubes. The result is loud, balanced sound that cuts through the mix with plenty of full, meaty guitar tone. Built with rugged Ibanez craftsmanship, this guitar amp head is sure to last for many years, able to stand up to the toughest conditions of heavy gigging. Includes footswitchable function with Tube Screamer Overdrive, Tone, and Level controls. Ibanez TSA112C speaker cabinet and IFS2G footswitch sold separately.15W All-tube head2 x 12AX7 tubes (Pre)2 x 6V6 tubes (Power)Genuine Tube Screamer circuit built into the front endControls: Tube ScreamerOverdrive, Tone, Level; AmpTreble, Bass, VolumeModes: Pentode15W; Triode5W |
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Ibanez Tsa15h Tube Screamer 15W Tube Guitar Amp Head $299.99 Guitarists normally have to depend on a separate effect pedal to get the distinctive, warm overdrive sounds of a tube amp. Not anymore. The Ibanez TSA15H tube amp has a genuine Tube Screamer circuit, built right into the front end, for all the warm tube overdrive punch and crunch you'll need. The all-tube amp head features 2 - 12AX7 preamp tubes and 2 - 6V6 power tubes. The result is loud, balanced sound that cuts through the mix with plenty of full, meaty guitar tone. Built with rugged Ibanez craftsmanship, this guitar amp head is sure to last for many years, able to stand up to the toughest conditions of heavy gigging. Includes footswitchable function with Tube Screamer Overdrive, Tone, and Level controls. Ibanez TSA112C speaker cabinet and IFS2G footswitch sold separately.15W All-tube head2 x 12AX7 tubes (Pre)2 x 6V6 tubes (Power)Genuine Tube Screamer circuit built into the front endControls: Tube ScreamerOverdrive, Tone, Level; AmpTreble, Bass, VolumeModes: Pentode15W; Triode5W |
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ART USB Dual Tube Pre $119 ART USB Dual Tube Pre |
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Art Usb Dual Tube Pre $119 ART USB Dual Tube Pre |
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Used Presonus Tube Pre Mic Pre 052612 $89.99 In Store Used USED PRESONUS TUBE PRE MIC PRE 052612 |
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Used Presonus Tube Pre 900Tp $79.99 In Store Used USED PRESONUS TUBE PRE 900TP |
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Used Presonus Tube Pre @334 $59.99 In Store Used USED PRESONUS TUBE PRE @334 |
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Used Behringer Tube Ultragain Pre $99.99 In Store Used USED BEHRINGER TUBE ULTRAGAIN PRE |
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Used Behringer Ultragain Tube Pre $99.99 In Store Used USED BEHRINGER ULTRAGAIN TUBE PRE |
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Drawmer 1960 Mic Pre/Tube Compressor 889406476844 $1125 Combining eight active tube stages and the low noise and reliability of solid state electronics, the Drawmer 1960 provides the ultimate direct interface between the sound source and the recording medium. The Drawmer 1960 is a two channel unit with each channel comprised of a completely natural sounding "soft knee" vacuum tube compressor and an extremely low noise microphone pre-amplifier with switchable 48 volt phantom power. A further auxiliary instrument pre-amp with EQ is also provided. This powerful combination of the classic valve circuit, offering unsurpassed tonality, and the low noise balanced microphone input with up to 60dB of gain has allowed engineers throughout the world to exploit the full potential of high performance condenser microphones. An example of this would be the direct to digital stereo recording of live classical music without the necessity of a mixing console. The Compressor: Because the compressor is a soft knee type, it requires few controls. Strictly speaking, a soft knee design does not have a rigidly defined threshold but the title 'Threshold' has been retained for the "amount of compression" control for the sake of familiarity. The Threshold range is continuously variable between infinity and -24dB, the theory being that signals below the threshold are essentially unprocessed and the signals exceeding this threshold are subjected to increasing amounts of gain reduction dependent on by how much they exceed the threshold._The attack and release times are switchable rather than being continuously variable and this method of operation falls into line with that of its all valve predecessors. Attack simply offers a-choice of slow, medium and fast whilst release has six settings. Positions one to four have fixed release times whilst positions five and six are two different programme dependent release time modes making the unit ideally suited to programme material with complex dynamics such as complete stereo mixes and vocals. Interestingly, the attack times are further modified by the choice of release setting so the range of choices are wider than it might first appear. Because compression is a form of controlled gain reduction, a stage of make-up amplification follows the compressor section giving a range of +20dB. The VU meters may be switched to monitor either the amount of gain reduction taking place or the output signal level and the two channels may be used either independently or as a stereo pair, depending on the setting of the stereo link switch. The side chain access points may be used to patch in equalisers to enable the compressor to act as a de-esser. As with other Drawmer products, the by-pass switch offers a choice of Normal. By-pass and Side Chain Listen modes so that if you have patched in any additional side chain processing, you can easily monitor what effect it is having. In addition to the balanced microphone and line inputs on the rear of the unit an auxiliary input on the front panel gives dir |
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Drawmer 1960 Mic Pre/Tube Compressor $2250 Combining eight active tube stages and the low noise and reliability of solid state electronics, the Drawmer 1960 provides the ultimate direct interface between the sound source and the recording medium. The Drawmer 1960 is a two channel unit with each channel comprised of a completely natural sounding "soft knee" vacuum tube compressor and an extremely low noise microphone pre-amplifier with switchable 48 volt phantom power. A further auxiliary instrument pre-amp with EQ is also provided. This powerful combination of the classic valve circuit, offering unsurpassed tonality, and the low noise balanced microphone input with up to 60dB of gain has allowed engineers throughout the world to exploit the full potential of high performance condenser microphones. An example of this would be the direct to digital stereo recording of live classical music without the necessity of a mixing console. The Compressor: Because the compressor is a soft knee type, it requires few controls. Strictly speaking, a soft knee design does not have a rigidly defined threshold but the title 'Threshold' has been retained for the "amount of compression" control for the sake of familiarity. The Threshold range is continuously variable between infinity and -24dB, the theory being that signals below the threshold are essentially unprocessed and the signals exceeding this threshold are subjected to increasing amounts of gain reduction dependent on by how much they exceed the threshold._The attack and release times are switchable rather than being continuously variable and this method of operation falls into line with that of its all valve predecessors. Attack simply offers a-choice of slow, medium and fast whilst release has six settings. Positions one to four have fixed release times whilst positions five and six are two different programme dependent release time modes making the unit ideally suited to programme material with complex dynamics such as complete stereo mixes and vocals. Interestingly, the attack times are further modified by the choice of release setting so the range of choices are wider than it might first appear. Because compression is a form of controlled gain reduction, a stage of make-up amplification follows the compressor section giving a range of +20dB. The VU meters may be switched to monitor either the amount of gain reduction taking place or the output signal level and the two channels may be used either independently or as a stereo pair, depending on the setting of the stereo link switch. The side chain access points may be used to patch in equalisers to enable the compressor to act as a de-esser. As with other Drawmer products, the by-pass switch offers a choice of Normal. By-pass and Side Chain Listen modes so that if you have patched in any additional side chain processing, you can easily monitor what effect it is having. In addition to the balanced microphone and line inputs on the rear of the unit an auxiliary input on the front panel gives dir |
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Markbass Little Mark Tube Bass Amp Head $679.99 The Markbass Little Mark tube amp head gives the warmth and richness of a tube preamp, the clean attack of a solid state preamp, or a mix of both. The bass amp head features a mix control for mixing between a solid state preamp and tube preamp. The result offers a range of sounds, from the crisp, Markbass sound in the solid state, to a heavy tube sound in the tube state, and anything in between. On the front panel there are 2 inputs with separate gain controls: one 1/4" jack, and one combo jack that accepts either an XLR or 1/4". The Vintage Loudspeaker Emulator (VLE) and Variable Preshape Filter (VPF) allow access to a wide array of timbres, from classic tones to modern hi-fi sound. A phantom power switch accompanies the XLR input, for using a microphone on a double bass. Mute control is as simple as a push and a pull on the master volume switch. The Markbass Little Mark has 4 bands of equalization, line out control, and pre/post EQ switch for the XLR out (on the rear panel). Rack ears not included. The bass amp head features a single 6205 miniature tube.1 1/4" input1 XLR or 1/4" input300W RMS @ 8 ohms, 500W RMS @ 4 ohmsGain controls for each inputMaster VolumeLine Out LevelGround Lift switch (rear)Pre/Post EQ switch (rear)Mute KnobLow, Mid, High EQVariable Preshape FilterVintage Loudspeaker EmulatorBalanced XLR line out |