If you had your choice between the Manley dual-mono or the API 3124,
which would you take and why?

The mics likely to be paired with these would be U87, C414B-ULS,
and/or Schoeps CMC64. It would be used on mainly acoustic and/or
orchestal instruments,and is just as likely to serve as a vocal
pre.

Thanks for your input!

locosoundman wrote:
If you had your choice between the Manley dual-mono or the API 3124,
which would you take and why?

The mics likely to be paired with these would be U87, C414B-ULS,
and/or Schoeps CMC64. It would be used on mainly acoustic and/or
orchestal instruments,and is just as likely to serve as a vocal
pre.

I wouldn't pick either. I'd go for something more transparent, like the
original Great River, the Hardy, or the Millennia Media. The Manley
and the API are both great sounding preamps, but I'd much rather have a
clean-sounding preamp for acoustic and orchestral work than either one.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

locosoundman wrote:
If you had your choice between the Manley dual-mono or the API 3124,
which would you take and why?

The mics likely to be paired with these would be U87, C414B-ULS,
and/or Schoeps CMC64. It would be used on mainly acoustic and/or
orchestal instruments,and is just as likely to serve as a vocal
pre.

I wouldn't pick either. I'd go for something more transparent, like the
original Great River, the Hardy, or the Millennia Media. The Manley
and the API are both great sounding preamps, but I'd much rather have a
clean-sounding preamp for acoustic and orchestral work than either one.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

I did a shoot out recently between an avalon ad2022, a manley voxbox and an
api 512. We liked the api best
--Lou Gimenez
The Music Lab
2" 24track w all the Goodies
www.musiclabnyc.com



From: (locosoundman)
Organization: http://groups.google.com
Newsgroups: rec.audio.pro
Date: 15 Jul 2004 08:19:06 -0700
Subject: API or Manley?

If you had your choice between the Manley dual-mono or the API 3124,
which would you take and why?

The mics likely to be paired with these would be U87, C414B-ULS,
and/or Schoeps CMC64. It would be used on mainly acoustic and/or
orchestal instruments,and is just as likely to serve as a vocal
pre.

Thanks for your input!

I did a shoot out recently between an avalon ad2022, a manley voxbox and an
api 512. We liked the api best
--Lou Gimenez
The Music Lab
2" 24track w all the Goodies
www.musiclabnyc.com



From: (locosoundman)
Organization: http://groups.google.com
Newsgroups: rec.audio.pro
Date: 15 Jul 2004 08:19:06 -0700
Subject: API or Manley?

If you had your choice between the Manley dual-mono or the API 3124,
which would you take and why?

The mics likely to be paired with these would be U87, C414B-ULS,
and/or Schoeps CMC64. It would be used on mainly acoustic and/or
orchestal instruments,and is just as likely to serve as a vocal
pre.

Thanks for your input!

I've been recording acoustic instruments recently using a Forssell JMP-6.
Absolutely wonderful piece of kit.

www.forsselltech.cm


"locosoundman" wrote in message
om...
If you had your choice between the Manley dual-mono or the API 3124,
which would you take and why?

The mics likely to be paired with these would be U87, C414B-ULS,
and/or Schoeps CMC64. It would be used on mainly acoustic and/or
orchestal instruments,and is just as likely to serve as a vocal
pre.

Thanks for your input!

I've been recording acoustic instruments recently using a Forssell JMP-6.
Absolutely wonderful piece of kit.

www.forsselltech.cm


"locosoundman" wrote in message
om...
If you had your choice between the Manley dual-mono or the API 3124,
which would you take and why?

The mics likely to be paired with these would be U87, C414B-ULS,
and/or Schoeps CMC64. It would be used on mainly acoustic and/or
orchestal instruments,and is just as likely to serve as a vocal
pre.

Thanks for your input!

My fiend Al Schmitt prefers his Martech mic pres with Neumann M50s for
LCR orchestra mics. They really do sound lovely.

locosoundman wrote:
If you had your choice between the Manley dual-mono or the API 3124,
which would you take and why?

The mics likely to be paired with these would be U87, C414B-ULS,
and/or Schoeps CMC64. It would be used on mainly acoustic and/or
orchestal instruments,and is just as likely to serve as a vocal
pre.

Thanks for your input!

--
Stephen Anderson

~At the end of the day, it's all about
the music

My fiend Al Schmitt prefers his Martech mic pres with Neumann M50s for
LCR orchestra mics. They really do sound lovely.

locosoundman wrote:
If you had your choice between the Manley dual-mono or the API 3124,
which would you take and why?

The mics likely to be paired with these would be U87, C414B-ULS,
and/or Schoeps CMC64. It would be used on mainly acoustic and/or
orchestal instruments,and is just as likely to serve as a vocal
pre.

Thanks for your input!

--
Stephen Anderson

~At the end of the day, it's all about
the music

(Scott Dorsey) wrote in message ...
locosoundman wrote:
If you had your choice between the Manley dual-mono or the API 3124,
which would you take and why?

The mics likely to be paired with these would be U87, C414B-ULS,
and/or Schoeps CMC64. It would be used on mainly acoustic and/or
orchestal instruments,and is just as likely to serve as a vocal
pre.

I wouldn't pick either. I'd go for something more transparent, like the
original Great River, the Hardy, or the Millennia Media. The Manley
and the API are both great sounding preamps, but I'd much rather have a
clean-sounding preamp for acoustic and orchestral work than either one.
--scott

I finally got to hear the original Great River---on a piano.
Absolutely gorgeous. It's my favorite so far for that application. It
sounds nothing like the 2NV--which is also a great preamp but an
entirely different flavor. I've only used the Manley once so I have
too little experience with it to have an opinion. I own a 3124 and
while it kills for manny applications, I'd agree with Scott and try
something more neutral if you're leaning towards primarly acoustic
instruments.


bob

(Scott Dorsey) wrote in message ...
locosoundman wrote:
If you had your choice between the Manley dual-mono or the API 3124,
which would you take and why?

The mics likely to be paired with these would be U87, C414B-ULS,
and/or Schoeps CMC64. It would be used on mainly acoustic and/or
orchestal instruments,and is just as likely to serve as a vocal
pre.

I wouldn't pick either. I'd go for something more transparent, like the
original Great River, the Hardy, or the Millennia Media. The Manley
and the API are both great sounding preamps, but I'd much rather have a
clean-sounding preamp for acoustic and orchestral work than either one.
--scott

I finally got to hear the original Great River---on a piano.
Absolutely gorgeous. It's my favorite so far for that application. It
sounds nothing like the 2NV--which is also a great preamp but an
entirely different flavor. I've only used the Manley once so I have
too little experience with it to have an opinion. I own a 3124 and
while it kills for manny applications, I'd agree with Scott and try
something more neutral if you're leaning towards primarly acoustic
instruments.


bob

Bob Chandler wrote:

I finally got to hear the original Great River---on a piano.
Absolutely gorgeous.

Yes, indeedy, that preamp is really something in the area of what you
get for what you give. It remains my favorite.

--
ha

As much of a fan of api sounds as I am, I'd have to agree with Scott
here. For any form of pop music, be it rock,country, blues,
etc....API, API, API.....
But for acoustic stuff....get a more neutral pre. Not that you'd have
a bad sounding recording with either of these, but for the money, if
that's your main goal...you can do better. Like mentioned
above....great river, millenia and probably a few dozen more that
should be researched.
later,
m

Sorry, only used the 3124, can't compare...
But I am interested in what you consider the "colour" of a 3124 to be?
I found it to be quite clean, maybe a bit bright?

Curious
Adam B - SNJ Studio
http://snjstudio.cjb.net

Adam B wrote:

Sorry, only used the 3124, can't compare...
But I am interested in what you consider the "colour" of a 3124 to be?
I found it to be quite clean, maybe a bit bright?

Compared to Great River or Millennia, there's a little extra meat, a
slight thickening or addition of "body" to the sound via an API preamp.
This is a fabulous thing for lots of rock, blues, r&b work, on all kinds
of sources. Sometimes it's not so fine for work where one seeks greater
transparency.

This isn't something you necessarily notice right off, especially if you
have no other cleaner pre around for direct comparison. I had a bunch of
312's in a board for years and didn't consider this aspect of the
preamps. There is nothing obviously distorted about an API's delivery,
this is a thing of marvelous subtlety; but it's there. And it's often
not a bad thing at all.

--
ha

Stephen Anderson wrote in message link.net...
My fiend Al Schmitt prefers his Martech mic pres with Neumann M50s for
LCR orchestra mics. They really do sound lovely.

locosoundman wrote:
If you had your choice between the Manley dual-mono or the API 3124,
which would you take and why?

The mics likely to be paired with these would be U87, C414B-ULS,
and/or Schoeps CMC64. It would be used on mainly acoustic and/or
orchestal instruments,and is just as likely to serve as a vocal
pre.

Thanks for your input!

So this Al Schmitt fella, is he like Famous or something? g

Analogeezer

Analogeezer wrote:
Stephen Anderson wrote in message link.net...
My fiend Al Schmitt prefers his Martech mic pres with Neumann M50s for
LCR orchestra mics. They really do sound lovely.

locosoundman wrote:
If you had your choice between the Manley dual-mono or the API 3124,
which would you take and why?

The mics likely to be paired with these would be U87, C414B-ULS,
and/or Schoeps CMC64. It would be used on mainly acoustic and/or
orchestal instruments,and is just as likely to serve as a vocal
pre.

Thanks for your input!

So this Al Schmitt fella, is he like Famous or something? g

Yeah, but I still don't like M-50s. The Martech is another good choice if
your goal is transparency, though. The M-50 really isn't.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

Millennia Media HV-3.

Also remember the HV-3 is solid-state, and if you are doing location
recording you don't want a tube to fail on you at a bad time.

the preamp seriously rules.

Stephen Anderson: My fiend Al Schmitt prefers

Al is your personal fiend?


Jim Kollens: Some people have a studio in a room in their home. I have a
bedroom in my studio. As my tech said the first time he visited my house:
"Well I can see right away you ain't married."

Actually, yes. I was showing off a bit, but I got to know him pretty
well during the time I was on the tech staff at Capitol Studios in LA,
where he did and does a lot of work.

Jim Kollens wrote:

Stephen Anderson: My fiend Al Schmitt prefers

Al is your personal fiend?


Jim Kollens: Some people have a studio in a room in their home. I have a
bedroom in my studio. As my tech said the first time he visited my house:
"Well I can see right away you ain't married."



--
Stephen Anderson

~At the end of the day, it's all about
the music

Scott Dorsey wrote:


Yeah, but I still don't like M-50s. The Martech is another good choice if
your goal is transparency, though. The M-50 really isn't.
--scott

Everyone is truly entitled to their opinion. IMHO, the M-50s have a
really special "thing" that no other mic has, due to the unique capsule.
If you look at the polar patterns, the mics start off fairly omni at low
freqs, then become increasingly more directional as the freq. rises.
Thus the imaging has a character that no other mic has.

Al also has been known to use U67s for orchestra, too.

On the other hand, Dan Wallin, who has scored a film date or two, uses
his personal arsenal of TLM170s (2 suitcases full, all chrome!)
exclusively, and his mixes sound pretty OK.

--
Stephen Anderson

~At the end of the day, it's all about
the music

Stephen Anderson wrote:
Scott Dorsey wrote:

Yeah, but I still don't like M-50s. The Martech is another good choice if
your goal is transparency, though. The M-50 really isn't.

Everyone is truly entitled to their opinion. IMHO, the M-50s have a
really special "thing" that no other mic has, due to the unique capsule.
If you look at the polar patterns, the mics start off fairly omni at low
freqs, then become increasingly more directional as the freq. rises.
Thus the imaging has a character that no other mic has.

Right. It doesn't sound like an orchestra, it sounds like a tree of M-50s.
That's the exact opposite of what I want. I want to sit in front of the
monitors and imagine that the front wall has opened up and there is an
orchestra in front of me. I don't want to say, "Wow, that's a nice M-50
sound."
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

Stephen Anderson: My fiend Al Schmitt prefers ...

Jim Kollens: Al is your personal fiend?

Stephen Anderson replies: Actually, yes. I was showing off a bit, but I got
to know him pretty
well during the time I was on the tech staff at Capitol Studios in LA,
where he did and does a lot of work.

Actually, I got a chuckle from your spelling. But you're fortunate to have
worked with a hero of mine.

Jeez, is Dan still alive? My brother was married to his daughter (second
wife) and his son was a roommate of mine back in 1980.

Small world.

Jerry Pillsbury


"Stephen Anderson" wrote in message
.net...
Scott Dorsey wrote:


Yeah, but I still don't like M-50s. The Martech is another good choice
if
your goal is transparency, though. The M-50 really isn't.
--scott

Everyone is truly entitled to their opinion. IMHO, the M-50s have a
really special "thing" that no other mic has, due to the unique capsule.
If you look at the polar patterns, the mics start off fairly omni at low
freqs, then become increasingly more directional as the freq. rises.
Thus the imaging has a character that no other mic has.

Al also has been known to use U67s for orchestra, too.

On the other hand, Dan Wallin, who has scored a film date or two, uses
his personal arsenal of TLM170s (2 suitcases full, all chrome!)
exclusively, and his mixes sound pretty OK.

--
Stephen Anderson

~At the end of the day, it's all about
the music

I haven't seen Dan in a couple of years, and he's kinda trying to
retire, but he still gets calls. He scores and mixes everything Elmer
Bernstein does, as well as a few others. He's truly a legend, and a very
cool guy.

Jerry P'bury wrote:
Jeez, is Dan still alive? My brother was married to his daughter (second
wife) and his son was a roommate of mine back in 1980.

Small world.

Jerry Pillsbury


"Stephen Anderson" wrote in message
.net...

Scott Dorsey wrote:


Yeah, but I still don't like M-50s. The Martech is another good choice

if

your goal is transparency, though. The M-50 really isn't.
--scott

Everyone is truly entitled to their opinion. IMHO, the M-50s have a
really special "thing" that no other mic has, due to the unique capsule.
If you look at the polar patterns, the mics start off fairly omni at low
freqs, then become increasingly more directional as the freq. rises.
Thus the imaging has a character that no other mic has.

Al also has been known to use U67s for orchestra, too.

On the other hand, Dan Wallin, who has scored a film date or two, uses
his personal arsenal of TLM170s (2 suitcases full, all chrome!)
exclusively, and his mixes sound pretty OK.

--
Stephen Anderson

~At the end of the day, it's all about
the music





--
Stephen Anderson

~At the end of the day, it's all about
the music

Now that's really sad...I knew exactly what I was trying to say, so it
scanned perfectly for me. I didn't get it until this reply from you.

Sheesh, sometimes the fingers just can't keep up with the brain, or is
it the other way around?

Funny thing about Al is that no one can figure out what he does. I mean,
he keeps no secrets, is happy to let anyone watch what he's doing. You
look at the console, and nothing stands out; a bit of EQ here and there,
a little verb, no big deal.

But I've seen his assistant (two of them) set up mics, get a rough mix
on the console, sounds pretty good, then he comes in and massages it for
a while, and when you listen, it's just magic. Nothing big has happened,
just a lot of attention to detail. And a truly amazing sense of balance;
everything occupies its own space, nothing masks anything else, just
flippin' magic.

Jim Kollens wrote:

Stephen Anderson: My fiend Al Schmitt prefers ...

Jim Kollens: Al is your personal fiend?


Stephen Anderson replies: Actually, yes. I was showing off a bit, but I got
to know him pretty
well during the time I was on the tech staff at Capitol Studios in LA,
where he did and does a lot of work.

Actually, I got a chuckle from your spelling. But you're fortunate to have
worked with a hero of mine.




--
Stephen Anderson

~At the end of the day, it's all about
the music

"Stephen Anderson" wrote in message
ink.net...
...I was on the tech staff at Capitol Studios in LA,

Is John Sands still around?

--
Bob Olhsson Audio Mastery, Nashville TN
Mastering, Audio for Picture, Mix Evaluation and Quality Control
Over 40 years making people sound better than they ever imagined!
615.385.8051 http://www.hyperback.com

Hi Bob,

John had left before I came to Capitol, I was told he had moved to the
East coast, was doing something in audio, not sure what.

By the way, I recently spent 2.5 years af Chief Tech at one of the
Larrabee Studios facilities here in LA where we had several Motown EQs,
that had been purchased from Hitsvill West when it went belly-up. Do
you, or anyone that you know, have schematics for these lovely pieces?
Just thought I'd ask. I figured that if anyone did, it would be you.

Bob Olhsson wrote:
"Stephen Anderson" wrote in message
ink.net...

...I was on the tech staff at Capitol Studios in LA,


Is John Sands still around?


--
Stephen Anderson

~At the end of the day, it's all about
the music