I'm not sure I totally agree with you on the "pre" sound thing. The ISA 110
has a sound and its one of my favorites. I guess if your talking about mid
range quality pres that applies, but top shelf stuff, I'm not really
confident I can agree.


"Don Pearce" wrote in message
...
On 23 Jan 2006 07:19:30 -0800, "Ken Winokur"
wrote:

OK, I guess I really don't understand. Please forgive me, but I'm
going to ask the most basic question - one that I'm sure others really
don't get either. I have been reading this newsgroup a while, and have
even done a search on "Mic pre" in this group (42,000 results). The
answer still isn't clear.

What's so important about good mic pre's? Is there something intrinsic
in an excellent mic pre that can't be made up with the proper choice of
mic (with a decent mic pre)?

What are the components that make up the sound of a mic p frequency
response, distortion, noise, slew rate? Are there others?

I have been using a Soundcraft Ghost for 8 or 9 years. I'm quite happy
with the results. I bought a Bellarri mic pre a few years ago,
thinking it would radically improve the sound I was getting (I know now
that it's not one that this group recommends very highly) and found
that I didn't like it as much for most things as the mic pre's in the
Ghost. There didn't seem to be anything special about it. It's harsh
on the top end, and slightly fuller in the bottom end. I don't notice
any particular harmonic distortion or clarity.

I have a large selection of mics from most of the best manufacturers.
When I find that I'm not getting what I want out of a recording, I
switch mics. I almost always have something tucked away that will
solve any problem I have. I am getting a very full and defined low end
(using a variety of nice bassy mics) and a crisp and clean high end.

I have always thought that the combination of mic and mic pre (as well
as other components in the system) was what really counted, not that
there was anything special in the mic pre itself.

Please set me straight.

And thanks for your patience with this basic question.

Ken

A good pre is very easy. It is a flat amplifier - hardly rocket
science.

It needs two qualities to go along with that - a low noise floor, and
high overload margin. The first is really quite easy, because the
first stage of amplification, the most critical, is already handled
within the microphone. For the second, it is really just a matter of
competent design and a high rail voltage. It should also have a
reasonably high input impedance, but for most mics that isn't quite so
important.

In terms of features, a good range of gain should be available, with a
nice, high quality pot that gives good repeatability.

If you find that a pre-amp has a "sound", there is something wrong
with it. A decent pre should be totally self-effacing. You deal with
sound in the choice of mic, and on the desk.

d

Pearce Consulting
http://www.pearce.uk.com