"soundhaspriority" wrote

In response to your question, it is mainly with respect to the choice of
large diaphram condenser
mikes that the specifications are almost useless. Some of these devices
are famous in and of themselves, such as the Neumann U87, but only by the
sound.

Ok.

With respect to the rest of the chain, there is, of course, a school of
thought complimentary to the hifi "high end", in the form of exotic
preamps, some using transformers and tubes. Some are very quiet. Some are
noisy and distinctive. Auxilary pieces, such as tube compressors, are
frequently patched in. However, none of this stuff is convenient to carry
around.
Ok.


Furthermore, the current prevailing opinion of professionals, as opposed
to the "project studio" crowd, the inexpensive stuff, under $1K, that has
such an allure, and has a tube, is not neutral.
True. Funny how the "professionals" base that opinion
on driving the pre-amp to distortion. Maybe that a factor
explaining why so much music sounds like junk. I don't
record to distortion levels, myself.


In contrast to audiophile thinking, professionals seem to want "clean", or
"neutral", as opposed to "
subjectively good."
More of the do-as-I-say, not-as-I do.


You may have followed a previous thread, in which I asked for opinions
about the ART DMPAII:
http://www.stratcollector.com/scn/re...al_Outs.h tml
To an audiophile, this might seem a very attractive piece. It has a tube.
It has a switch that enables a mode of "tubey" sound. The pros trashed me
for it. The simple fact that it has a mode of deliberate distortion was
offensive to them.
In regards to a ART MPA Pro to M-Audio Delta 192, for
example, the tube can provide some flexibility in sound
shaping. The flexibility comes from the interplay between
the microphone traducer and the tube pre-amp on one hand
and the variable pot located on the line output in the other.

The installed tube is somewhat tolerant of overloaded but
I don't think that's the selling point/application for most
users. Replacing the stock Penta-China tubes, for example,
with highly sorted RAM Sovtek 12AX7 a usable dB gain
was added before it tips to distortion. The usable fidelity
gain before the distortion and then trimming the line level
pot to the optimum setting the sound card desires.


Ultimately, in respect of their collective wisdom, I dropped it from
consideration. At least it's 12 lbs I don't have to carry

Professionals seem to think about equipment choices differently from
audiophiles. One aspect that I particularly admire is the lack of concern
for appearance. You can sell a mic preamp to the pro crowd in a ****ty
plastic box with wiggly connectors on the back for $500,
http://www.fmraudio.com/RNP8380.htm. It just has to sound accurate.

Yea, I looked at that model, too. In addition to other
issues I wouldn't purchase any mic pre-amp that
didn't have a output level control.