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#1
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8 Channel Tube Mic Pre and Console Tube Mixer
Do we actually need more gear in the marketplace? Maybe. Since I
couldn't find exactly what suited my needs best for the type of recording work I do, I've spent parts of the last year creating a couple of "new" products for my own use which might be of interest to some of you fellow RAPPER's. Having been a long-time lurker and sometime contributor to this forum as well as a contributor of a couple of tracks on the Fifth of RAP CD collection, I've come to know and love many of you (from a respectable distance) and have very much appreciated the continued stimulation this forum provides. The technical info is great as are the words and opinions regarding many of the off-topic subjects. At any rate........................... I like tubes and have all kinds of them at work for me - from those in the pair of U-47's I lucked onto several years ago to the array of EL 34's on my home built monitor amps to those in a couple of MXL's Dave Royer graciously helped me mod with parts of his kit and personal advice on how I could use them with an on-hand Groove Tube dual power supply (works great!). So it would follow that I also would want some tubes in my mic pre's and certainly if possible in the studio mixer. Don't like to spend money, though, and couldn't see my way clear to owning a Manley 16-2 or any of the more expensive but well designed and built tube preamps we all appreciate but may not be able to afford. Furthermore, most of my work is on-location live or at least quasi-live where we take the group to a performance hall vs. a recording studio. Therefore the gear has to be portable and rugged. And if I need more than a few tracks which happens with certain types of groups like big bands, etc. then hauling a bunch of two channel mic pre's and the required mixer for playback doesn't get it. So using info from many sources including where threads from this site have taken me, I've managed to design, build, and am now using a couple pieces of what are turning out to be excellent tools in all respects with fine reviews from the few clients so far. The first is an 8 channel full 250v B+ tube mic pre in a standard 19" wide by two high rack enclosure. The kicker here is that an op-amp driven-from-the-tube-output mixer system is also installed so that there are pan pots on each channel along with the mixing headphone amp. Further there are line inputs on each channel so that not only can you monitor with panning while you're recording (doesn't affect the direct outs to the recorder) you can listen to mixed and panned stereo playback on the spot when recording is stopped or finished for the night. The second is a 10 Channel (only because the parts price breaks usually start at 10) console type mixer with a tube output section a la the Manley 16-2 and the exact parametric EQ circuit on each channel used on the Calrec Polar board from days of yore. All the other standard features as well (100mm faders,etc.) Rather than go on any further taking up bandwidth here, take a look at this stuff on my band's Web site: www.wallysjazz.com/wallys_new_web_site_002.htm This address will take you directly to the Miller Analog Studios pages where many photos and info now reside. If you wind up just on the band site, click "Contact" on the Home page, and then "Miller Analog Studios" on the Contact page. Feedback of all types, negative and positive appreciated. Thanks for looking. Regards, Dave Miller Miller Analog Studios |
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#3
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nice looking stuff - congrats on the major work involved - hope it pays off.
-- John Marsden Little-Big Sound audio for video, film & digital media; graphics & software solutions www.lbsound.com "Dave Miller" wrote in message om... Do we actually need more gear in the marketplace? Maybe. Since I couldn't find exactly what suited my needs best for the type of recording work I do, I've spent parts of the last year creating a couple of "new" products for my own use which might be of interest to some of you fellow RAPPER's. Having been a long-time lurker and sometime contributor to this forum as well as a contributor of a couple of tracks on the Fifth of RAP CD collection, I've come to know and love many of you (from a respectable distance) and have very much appreciated the continued stimulation this forum provides. The technical info is great as are the words and opinions regarding many of the off-topic subjects. At any rate........................... I like tubes and have all kinds of them at work for me - from those in the pair of U-47's I lucked onto several years ago to the array of EL 34's on my home built monitor amps to those in a couple of MXL's Dave Royer graciously helped me mod with parts of his kit and personal advice on how I could use them with an on-hand Groove Tube dual power supply (works great!). So it would follow that I also would want some tubes in my mic pre's and certainly if possible in the studio mixer. Don't like to spend money, though, and couldn't see my way clear to owning a Manley 16-2 or any of the more expensive but well designed and built tube preamps we all appreciate but may not be able to afford. Furthermore, most of my work is on-location live or at least quasi-live where we take the group to a performance hall vs. a recording studio. Therefore the gear has to be portable and rugged. And if I need more than a few tracks which happens with certain types of groups like big bands, etc. then hauling a bunch of two channel mic pre's and the required mixer for playback doesn't get it. So using info from many sources including where threads from this site have taken me, I've managed to design, build, and am now using a couple pieces of what are turning out to be excellent tools in all respects with fine reviews from the few clients so far. The first is an 8 channel full 250v B+ tube mic pre in a standard 19" wide by two high rack enclosure. The kicker here is that an op-amp driven-from-the-tube-output mixer system is also installed so that there are pan pots on each channel along with the mixing headphone amp. Further there are line inputs on each channel so that not only can you monitor with panning while you're recording (doesn't affect the direct outs to the recorder) you can listen to mixed and panned stereo playback on the spot when recording is stopped or finished for the night. The second is a 10 Channel (only because the parts price breaks usually start at 10) console type mixer with a tube output section a la the Manley 16-2 and the exact parametric EQ circuit on each channel used on the Calrec Polar board from days of yore. All the other standard features as well (100mm faders,etc.) Rather than go on any further taking up bandwidth here, take a look at this stuff on my band's Web site: www.wallysjazz.com/wallys_new_web_site_002.htm This address will take you directly to the Miller Analog Studios pages where many photos and info now reside. If you wind up just on the band site, click "Contact" on the Home page, and then "Miller Analog Studios" on the Contact page. Feedback of all types, negative and positive appreciated. Thanks for looking. Regards, Dave Miller Miller Analog Studios |
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#4
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So are you selling any of this stuff or just showing it to us? I ask
because I don't see any prices listed anywhere. -- Neil Henderson Progressive Rock http://www.saqqararecords.com "Dave Miller" wrote in message om... Do we actually need more gear in the marketplace? Maybe. Since I couldn't find exactly what suited my needs best for the type of recording work I do, I've spent parts of the last year creating a couple of "new" products for my own use which might be of interest to some of you fellow RAPPER's. Having been a long-time lurker and sometime contributor to this forum as well as a contributor of a couple of tracks on the Fifth of RAP CD collection, I've come to know and love many of you (from a respectable distance) and have very much appreciated the continued stimulation this forum provides. The technical info is great as are the words and opinions regarding many of the off-topic subjects. At any rate........................... I like tubes and have all kinds of them at work for me - from those in the pair of U-47's I lucked onto several years ago to the array of EL 34's on my home built monitor amps to those in a couple of MXL's Dave Royer graciously helped me mod with parts of his kit and personal advice on how I could use them with an on-hand Groove Tube dual power supply (works great!). So it would follow that I also would want some tubes in my mic pre's and certainly if possible in the studio mixer. Don't like to spend money, though, and couldn't see my way clear to owning a Manley 16-2 or any of the more expensive but well designed and built tube preamps we all appreciate but may not be able to afford. Furthermore, most of my work is on-location live or at least quasi-live where we take the group to a performance hall vs. a recording studio. Therefore the gear has to be portable and rugged. And if I need more than a few tracks which happens with certain types of groups like big bands, etc. then hauling a bunch of two channel mic pre's and the required mixer for playback doesn't get it. So using info from many sources including where threads from this site have taken me, I've managed to design, build, and am now using a couple pieces of what are turning out to be excellent tools in all respects with fine reviews from the few clients so far. The first is an 8 channel full 250v B+ tube mic pre in a standard 19" wide by two high rack enclosure. The kicker here is that an op-amp driven-from-the-tube-output mixer system is also installed so that there are pan pots on each channel along with the mixing headphone amp. Further there are line inputs on each channel so that not only can you monitor with panning while you're recording (doesn't affect the direct outs to the recorder) you can listen to mixed and panned stereo playback on the spot when recording is stopped or finished for the night. The second is a 10 Channel (only because the parts price breaks usually start at 10) console type mixer with a tube output section a la the Manley 16-2 and the exact parametric EQ circuit on each channel used on the Calrec Polar board from days of yore. All the other standard features as well (100mm faders,etc.) Rather than go on any further taking up bandwidth here, take a look at this stuff on my band's Web site: www.wallysjazz.com/wallys_new_web_site_002.htm This address will take you directly to the Miller Analog Studios pages where many photos and info now reside. If you wind up just on the band site, click "Contact" on the Home page, and then "Miller Analog Studios" on the Contact page. Feedback of all types, negative and positive appreciated. Thanks for looking. Regards, Dave Miller Miller Analog Studios |
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#5
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So are you selling any of this stuff or just showing it to us? I ask
because I don't see any prices listed anywhere. -- Neil Henderson Progressive Rock http://www.saqqararecords.com "Dave Miller" wrote in message om... Do we actually need more gear in the marketplace? Maybe. Since I couldn't find exactly what suited my needs best for the type of recording work I do, I've spent parts of the last year creating a couple of "new" products for my own use which might be of interest to some of you fellow RAPPER's. Having been a long-time lurker and sometime contributor to this forum as well as a contributor of a couple of tracks on the Fifth of RAP CD collection, I've come to know and love many of you (from a respectable distance) and have very much appreciated the continued stimulation this forum provides. The technical info is great as are the words and opinions regarding many of the off-topic subjects. At any rate........................... I like tubes and have all kinds of them at work for me - from those in the pair of U-47's I lucked onto several years ago to the array of EL 34's on my home built monitor amps to those in a couple of MXL's Dave Royer graciously helped me mod with parts of his kit and personal advice on how I could use them with an on-hand Groove Tube dual power supply (works great!). So it would follow that I also would want some tubes in my mic pre's and certainly if possible in the studio mixer. Don't like to spend money, though, and couldn't see my way clear to owning a Manley 16-2 or any of the more expensive but well designed and built tube preamps we all appreciate but may not be able to afford. Furthermore, most of my work is on-location live or at least quasi-live where we take the group to a performance hall vs. a recording studio. Therefore the gear has to be portable and rugged. And if I need more than a few tracks which happens with certain types of groups like big bands, etc. then hauling a bunch of two channel mic pre's and the required mixer for playback doesn't get it. So using info from many sources including where threads from this site have taken me, I've managed to design, build, and am now using a couple pieces of what are turning out to be excellent tools in all respects with fine reviews from the few clients so far. The first is an 8 channel full 250v B+ tube mic pre in a standard 19" wide by two high rack enclosure. The kicker here is that an op-amp driven-from-the-tube-output mixer system is also installed so that there are pan pots on each channel along with the mixing headphone amp. Further there are line inputs on each channel so that not only can you monitor with panning while you're recording (doesn't affect the direct outs to the recorder) you can listen to mixed and panned stereo playback on the spot when recording is stopped or finished for the night. The second is a 10 Channel (only because the parts price breaks usually start at 10) console type mixer with a tube output section a la the Manley 16-2 and the exact parametric EQ circuit on each channel used on the Calrec Polar board from days of yore. All the other standard features as well (100mm faders,etc.) Rather than go on any further taking up bandwidth here, take a look at this stuff on my band's Web site: www.wallysjazz.com/wallys_new_web_site_002.htm This address will take you directly to the Miller Analog Studios pages where many photos and info now reside. If you wind up just on the band site, click "Contact" on the Home page, and then "Miller Analog Studios" on the Contact page. Feedback of all types, negative and positive appreciated. Thanks for looking. Regards, Dave Miller Miller Analog Studios |
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#6
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Well, if the performance is as good as the looks (and given the information
you provide, it oughta be), you got yourself a couple of real winners here. And the ergonomic design seems very nice too. Congratulations. One question: How long did it take you to design it, and to build it? Peace, Paul |
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#7
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Well, if the performance is as good as the looks (and given the information
you provide, it oughta be), you got yourself a couple of real winners here. And the ergonomic design seems very nice too. Congratulations. One question: How long did it take you to design it, and to build it? Peace, Paul |
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#8
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wrote in message om...
So are you selling any of this stuff or just showing it to us? I ask because I don't see any prices listed anywhere. -- Neil Henderson Progressive Rock http://www.saqqararecords.com Neil: Would like to sell some of it since it seems a shame to put in all the design effort and then make only prototypes for our own use. However, as you well know, moving from prototype to profitable production is a giant leap. Let me turn the question around and ask what you would be willing to pay for either or both of these products on the assumption that they are in reality top notch pieces of gear with no corners purposely cut to keep the price down - such as done by all the phony "warm tube" people who need to sell large numbers of pieces and have their stuff made in China? Ballpark numbers acceptable. Thanks for your interest. Dave |
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#9
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wrote in message om...
So are you selling any of this stuff or just showing it to us? I ask because I don't see any prices listed anywhere. -- Neil Henderson Progressive Rock http://www.saqqararecords.com Neil: Would like to sell some of it since it seems a shame to put in all the design effort and then make only prototypes for our own use. However, as you well know, moving from prototype to profitable production is a giant leap. Let me turn the question around and ask what you would be willing to pay for either or both of these products on the assumption that they are in reality top notch pieces of gear with no corners purposely cut to keep the price down - such as done by all the phony "warm tube" people who need to sell large numbers of pieces and have their stuff made in China? Ballpark numbers acceptable. Thanks for your interest. Dave |
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#10
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Wow! Nice job.
The first is an 8 channel full 250v B+ tube mic pre in a standard 19" wide by two high rack enclosure. The kicker here is that an op-amp driven-from-the-tube-output mixer system is also installed so that there are pan pots on each channel along with the mixing headphone amp. Further there are line inputs on each channel so that not only can you monitor with panning while you're recording (doesn't affect the direct outs to the recorder) you can listen to mixed and panned stereo playback on the spot when recording is stopped or finished for the night. My question is, are the stereo outs just for monitoring? Or are there high quality summed stereo outputs for recording directly to two-track? Rob R. |
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#11
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Wow! Nice job.
The first is an 8 channel full 250v B+ tube mic pre in a standard 19" wide by two high rack enclosure. The kicker here is that an op-amp driven-from-the-tube-output mixer system is also installed so that there are pan pots on each channel along with the mixing headphone amp. Further there are line inputs on each channel so that not only can you monitor with panning while you're recording (doesn't affect the direct outs to the recorder) you can listen to mixed and panned stereo playback on the spot when recording is stopped or finished for the night. My question is, are the stereo outs just for monitoring? Or are there high quality summed stereo outputs for recording directly to two-track? Rob R. |
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#12
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I'm wiping the drool off of my keypad. Very impressive looking, indeed.
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#13
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I'm wiping the drool off of my keypad. Very impressive looking, indeed.
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#14
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I'd pay $2000 easy for both with out batting an eye. You probably want
more, tho. And it probably is worth more. (Dave Miller) wrote in message . com... wrote in message om... So are you selling any of this stuff or just showing it to us? I ask because I don't see any prices listed anywhere. -- Neil Henderson Progressive Rock http://www.saqqararecords.com Neil: Would like to sell some of it since it seems a shame to put in all the design effort and then make only prototypes for our own use. However, as you well know, moving from prototype to profitable production is a giant leap. Let me turn the question around and ask what you would be willing to pay for either or both of these products on the assumption that they are in reality top notch pieces of gear with no corners purposely cut to keep the price down - such as done by all the phony "warm tube" people who need to sell large numbers of pieces and have their stuff made in China? Ballpark numbers acceptable. Thanks for your interest. Dave |
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#15
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I'd pay $2000 easy for both with out batting an eye. You probably want
more, tho. And it probably is worth more. (Dave Miller) wrote in message . com... wrote in message om... So are you selling any of this stuff or just showing it to us? I ask because I don't see any prices listed anywhere. -- Neil Henderson Progressive Rock http://www.saqqararecords.com Neil: Would like to sell some of it since it seems a shame to put in all the design effort and then make only prototypes for our own use. However, as you well know, moving from prototype to profitable production is a giant leap. Let me turn the question around and ask what you would be willing to pay for either or both of these products on the assumption that they are in reality top notch pieces of gear with no corners purposely cut to keep the price down - such as done by all the phony "warm tube" people who need to sell large numbers of pieces and have their stuff made in China? Ballpark numbers acceptable. Thanks for your interest. Dave |
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#16
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"Dave Miller" wrote in message
om... wrote in message om... Neil: Would like to sell some of it since it seems a shame to put in all the design effort and then make only prototypes for our own use. However, as you well know, moving from prototype to profitable production is a giant leap. Let me turn the question around and ask what you would be willing to pay for either or both of these products on the assumption that they are in reality top notch pieces of gear with no corners purposely cut to keep the price down - such as done by all the phony "warm tube" people who need to sell large numbers of pieces and have their stuff made in China? Ballpark numbers acceptable. Thanks for your interest. Hi Dave... What I'd be willing to pay for it has absolutely no bearing on what you would need to charge for it, IMO. If I were to say (and this is, obviously, just an arbitrary figure for the sake of the analogy): "I'd be willing to pay $2,500 for one", but it takes you 100 hours to build each one, and you value your time at $50 an hour, then it wouldn't make sense for you to sell one to me. If you're asking what I think it's worth on the "street", based on the competitive factors that are out there, then I'd have to say you might be able to possibly get away with $500 per channel list price for the miniconsole, perhaps? Anyone else? Whaddya think? -- Neil Henderson Progressive Rock http://www.saqqararecords.com |
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#17
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"Dave Miller" wrote in message
om... wrote in message om... Neil: Would like to sell some of it since it seems a shame to put in all the design effort and then make only prototypes for our own use. However, as you well know, moving from prototype to profitable production is a giant leap. Let me turn the question around and ask what you would be willing to pay for either or both of these products on the assumption that they are in reality top notch pieces of gear with no corners purposely cut to keep the price down - such as done by all the phony "warm tube" people who need to sell large numbers of pieces and have their stuff made in China? Ballpark numbers acceptable. Thanks for your interest. Hi Dave... What I'd be willing to pay for it has absolutely no bearing on what you would need to charge for it, IMO. If I were to say (and this is, obviously, just an arbitrary figure for the sake of the analogy): "I'd be willing to pay $2,500 for one", but it takes you 100 hours to build each one, and you value your time at $50 an hour, then it wouldn't make sense for you to sell one to me. If you're asking what I think it's worth on the "street", based on the competitive factors that are out there, then I'd have to say you might be able to possibly get away with $500 per channel list price for the miniconsole, perhaps? Anyone else? Whaddya think? -- Neil Henderson Progressive Rock http://www.saqqararecords.com |
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#18
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#19
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#20
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Rob Reedijk wrote in message ...
Wow! Nice job. The first is an 8 channel full 250v B+ tube mic pre in a standard 19" wide by two high rack enclosure. The kicker here is that an op-amp driven-from-the-tube-output mixer system is also installed so that there are pan pots on each channel along with the mixing headphone amp. Further there are line inputs on each channel so that not only can you monitor with panning while you're recording (doesn't affect the direct outs to the recorder) you can listen to mixed and panned stereo playback on the spot when recording is stopped or finished for the night. My question is, are the stereo outs just for monitoring? Or are there high quality summed stereo outputs for recording directly to two-track? Rob R. Hi Rob: The stereo outs are currently designed just to drive the on-board IC headphone amp. But it wouldn't be difficult to provide a high quality mixed stereo output suitable for the outside world as well. In fact the same tube mix amp and output circuit used on the Mixer could be put in the Pre box - at additional cost of course. Necessary power supply voltages are already there, though, so that part of the problem is already solved. Since we're obviously at an early stage of trying to figure out what the market may be for these two pieces of gear, we're definitely interested in hearing what would make them the most attractive. Thanks for your input. We'll keep you posted one way or the other. Regards, Dave |
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#21
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Rob Reedijk wrote in message ...
Wow! Nice job. The first is an 8 channel full 250v B+ tube mic pre in a standard 19" wide by two high rack enclosure. The kicker here is that an op-amp driven-from-the-tube-output mixer system is also installed so that there are pan pots on each channel along with the mixing headphone amp. Further there are line inputs on each channel so that not only can you monitor with panning while you're recording (doesn't affect the direct outs to the recorder) you can listen to mixed and panned stereo playback on the spot when recording is stopped or finished for the night. My question is, are the stereo outs just for monitoring? Or are there high quality summed stereo outputs for recording directly to two-track? Rob R. Hi Rob: The stereo outs are currently designed just to drive the on-board IC headphone amp. But it wouldn't be difficult to provide a high quality mixed stereo output suitable for the outside world as well. In fact the same tube mix amp and output circuit used on the Mixer could be put in the Pre box - at additional cost of course. Necessary power supply voltages are already there, though, so that part of the problem is already solved. Since we're obviously at an early stage of trying to figure out what the market may be for these two pieces of gear, we're definitely interested in hearing what would make them the most attractive. Thanks for your input. We'll keep you posted one way or the other. Regards, Dave |
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#22
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What is the calrec"polar" console.As in polar studios?
(Dave Miller) wrote in message . com... Do we actually need more gear in the marketplace? Maybe. Since I couldn't find exactly what suited my needs best for the type of recording work I do, I've spent parts of the last year creating a couple of "new" products for my own use which might be of interest to some of you fellow RAPPER's. Having been a long-time lurker and sometime contributor to this forum as well as a contributor of a couple of tracks on the Fifth of RAP CD collection, I've come to know and love many of you (from a respectable distance) and have very much appreciated the continued stimulation this forum provides. The technical info is great as are the words and opinions regarding many of the off-topic subjects. At any rate........................... I like tubes and have all kinds of them at work for me - from those in the pair of U-47's I lucked onto several years ago to the array of EL 34's on my home built monitor amps to those in a couple of MXL's Dave Royer graciously helped me mod with parts of his kit and personal advice on how I could use them with an on-hand Groove Tube dual power supply (works great!). So it would follow that I also would want some tubes in my mic pre's and certainly if possible in the studio mixer. Don't like to spend money, though, and couldn't see my way clear to owning a Manley 16-2 or any of the more expensive but well designed and built tube preamps we all appreciate but may not be able to afford. Furthermore, most of my work is on-location live or at least quasi-live where we take the group to a performance hall vs. a recording studio. Therefore the gear has to be portable and rugged. And if I need more than a few tracks which happens with certain types of groups like big bands, etc. then hauling a bunch of two channel mic pre's and the required mixer for playback doesn't get it. So using info from many sources including where threads from this site have taken me, I've managed to design, build, and am now using a couple pieces of what are turning out to be excellent tools in all respects with fine reviews from the few clients so far. The first is an 8 channel full 250v B+ tube mic pre in a standard 19" wide by two high rack enclosure. The kicker here is that an op-amp driven-from-the-tube-output mixer system is also installed so that there are pan pots on each channel along with the mixing headphone amp. Further there are line inputs on each channel so that not only can you monitor with panning while you're recording (doesn't affect the direct outs to the recorder) you can listen to mixed and panned stereo playback on the spot when recording is stopped or finished for the night. The second is a 10 Channel (only because the parts price breaks usually start at 10) console type mixer with a tube output section a la the Manley 16-2 and the exact parametric EQ circuit on each channel used on the Calrec Polar board from days of yore. All the other standard features as well (100mm faders,etc.) Rather than go on any further taking up bandwidth here, take a look at this stuff on my band's Web site: www.wallysjazz.com/wallys_new_web_site_002.htm This address will take you directly to the Miller Analog Studios pages where many photos and info now reside. If you wind up just on the band site, click "Contact" on the Home page, and then "Miller Analog Studios" on the Contact page. Feedback of all types, negative and positive appreciated. Thanks for looking. Regards, Dave Miller Miller Analog Studios |
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#23
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What is the calrec"polar" console.As in polar studios?
(Dave Miller) wrote in message . com... Do we actually need more gear in the marketplace? Maybe. Since I couldn't find exactly what suited my needs best for the type of recording work I do, I've spent parts of the last year creating a couple of "new" products for my own use which might be of interest to some of you fellow RAPPER's. Having been a long-time lurker and sometime contributor to this forum as well as a contributor of a couple of tracks on the Fifth of RAP CD collection, I've come to know and love many of you (from a respectable distance) and have very much appreciated the continued stimulation this forum provides. The technical info is great as are the words and opinions regarding many of the off-topic subjects. At any rate........................... I like tubes and have all kinds of them at work for me - from those in the pair of U-47's I lucked onto several years ago to the array of EL 34's on my home built monitor amps to those in a couple of MXL's Dave Royer graciously helped me mod with parts of his kit and personal advice on how I could use them with an on-hand Groove Tube dual power supply (works great!). So it would follow that I also would want some tubes in my mic pre's and certainly if possible in the studio mixer. Don't like to spend money, though, and couldn't see my way clear to owning a Manley 16-2 or any of the more expensive but well designed and built tube preamps we all appreciate but may not be able to afford. Furthermore, most of my work is on-location live or at least quasi-live where we take the group to a performance hall vs. a recording studio. Therefore the gear has to be portable and rugged. And if I need more than a few tracks which happens with certain types of groups like big bands, etc. then hauling a bunch of two channel mic pre's and the required mixer for playback doesn't get it. So using info from many sources including where threads from this site have taken me, I've managed to design, build, and am now using a couple pieces of what are turning out to be excellent tools in all respects with fine reviews from the few clients so far. The first is an 8 channel full 250v B+ tube mic pre in a standard 19" wide by two high rack enclosure. The kicker here is that an op-amp driven-from-the-tube-output mixer system is also installed so that there are pan pots on each channel along with the mixing headphone amp. Further there are line inputs on each channel so that not only can you monitor with panning while you're recording (doesn't affect the direct outs to the recorder) you can listen to mixed and panned stereo playback on the spot when recording is stopped or finished for the night. The second is a 10 Channel (only because the parts price breaks usually start at 10) console type mixer with a tube output section a la the Manley 16-2 and the exact parametric EQ circuit on each channel used on the Calrec Polar board from days of yore. All the other standard features as well (100mm faders,etc.) Rather than go on any further taking up bandwidth here, take a look at this stuff on my band's Web site: www.wallysjazz.com/wallys_new_web_site_002.htm This address will take you directly to the Miller Analog Studios pages where many photos and info now reside. If you wind up just on the band site, click "Contact" on the Home page, and then "Miller Analog Studios" on the Contact page. Feedback of all types, negative and positive appreciated. Thanks for looking. Regards, Dave Miller Miller Analog Studios |
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#24
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(curtis mathewson) wrote in message . com...
What is the calrec"polar" console.As in polar studios? Curtis: Go to: www.gyraf.dk/gy_pd/calreq/calrec.htm Scroll down through all the stuff and you'll see a picture of the Calrec Polar Desk and other info. Thanks, Dave |
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#25
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(curtis mathewson) wrote in message . com...
What is the calrec"polar" console.As in polar studios? Curtis: Go to: www.gyraf.dk/gy_pd/calreq/calrec.htm Scroll down through all the stuff and you'll see a picture of the Calrec Polar Desk and other info. Thanks, Dave |
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#26
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wrote in message om...
"Dave Miller" wrote in message om... wrote in message om... Neil: Would like to sell some of it since it seems a shame to put in all the design effort and then make only prototypes for our own use. However, as you well know, moving from prototype to profitable production is a giant leap. Let me turn the question around and ask what you would be willing to pay for either or both of these products on the assumption that they are in reality top notch pieces of gear with no corners purposely cut to keep the price down - such as done by all the phony "warm tube" people who need to sell large numbers of pieces and have their stuff made in China? Ballpark numbers acceptable. Thanks for your interest. Hi Dave... What I'd be willing to pay for it has absolutely no bearing on what you would need to charge for it, IMO. If I were to say (and this is, obviously, just an arbitrary figure for the sake of the analogy): "I'd be willing to pay $2,500 for one", but it takes you 100 hours to build each one, and you value your time at $50 an hour, then it wouldn't make sense for you to sell one to me. If you're asking what I think it's worth on the "street", based on the competitive factors that are out there, then I'd have to say you might be able to possibly get away with $500 per channel list price for the miniconsole, perhaps? Anyone else? Whaddya think? Neil: What you've said above is the more specific feedback info we're looking for in this little RAP "market research" exercise. The responses so far have certainly been positive in regard to what the products look like and the principles on which they're designed. The assumptions have also apparently been that they must sound good as well. Thus we have a start. Certainly some formal testing for spec. determination should now be done and we'll probably be getting into that next. Stay tuned and thanks again. Dave |
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#27
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wrote in message om...
"Dave Miller" wrote in message om... wrote in message om... Neil: Would like to sell some of it since it seems a shame to put in all the design effort and then make only prototypes for our own use. However, as you well know, moving from prototype to profitable production is a giant leap. Let me turn the question around and ask what you would be willing to pay for either or both of these products on the assumption that they are in reality top notch pieces of gear with no corners purposely cut to keep the price down - such as done by all the phony "warm tube" people who need to sell large numbers of pieces and have their stuff made in China? Ballpark numbers acceptable. Thanks for your interest. Hi Dave... What I'd be willing to pay for it has absolutely no bearing on what you would need to charge for it, IMO. If I were to say (and this is, obviously, just an arbitrary figure for the sake of the analogy): "I'd be willing to pay $2,500 for one", but it takes you 100 hours to build each one, and you value your time at $50 an hour, then it wouldn't make sense for you to sell one to me. If you're asking what I think it's worth on the "street", based on the competitive factors that are out there, then I'd have to say you might be able to possibly get away with $500 per channel list price for the miniconsole, perhaps? Anyone else? Whaddya think? Neil: What you've said above is the more specific feedback info we're looking for in this little RAP "market research" exercise. The responses so far have certainly been positive in regard to what the products look like and the principles on which they're designed. The assumptions have also apparently been that they must sound good as well. Thus we have a start. Certainly some formal testing for spec. determination should now be done and we'll probably be getting into that next. Stay tuned and thanks again. Dave |
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