![]() Once you make your final decision and implement it then simply resell the JBL unit and you should break even on it. You are looking at less than $10 in parts and very little time to make them so the JBL unit's gain range is ready for the studio. You will have to make a small exterior mod to make the unit work in the studio better which is detailed in the threads and it's simply plugging in a DB connector to the back of each card that has some resistors and jumper wires soldered to it. They have an API mid forward voicing and are decent pres with individual I/O on the back of each card. These are 4 preamps per card with 6 cards going into it's rack frame for a total of 24 mic pres in 3 rack spaces. You should be able to find a used fully loaded one for under $800. Look up the threads here on the JBL 7510A and 7510B units. Well you can buy some time to inform yourself about and audition the myriad of options available to you using this strategy. The disadvantage is that you've got something the size of twin bed between you and your monitors. The advantage of a real console, digital or analog, is that the cue mix can quickly become your session rough mix. But it's got EQ on every channel and I can actually ride a fader if I need to "tune" a vocalist who's over- or under-singing something. It's not a "console", just a Mackie 1604 in the same rack as the preamps. Ultimately, I ended up mult-ing my preamp outputs to a separate analog cue mixer. Another concern for my interface was that I had two identical boxes connected to my DAW, but they couldn't share channels for foldback. There's a latency tradeoff between doing it your DAW (higher latency) or using your interface's low latency foldback mixer which often has no EQ or dynamics processing available. I'd want everything within arm's reach in the same rack, so probably three eight-channel units normalled into my converter set and perhaps a few "specials" available in the same patch bay.Īn important question to consider is how easy it's going to be to get multiple cue mixes together during tracking. I'm an outboard preamp guy myself, but if I were dealing with 24 or 32 channels on a session I'd want most of them to be the same thing so I didn't need to think so hard. 8 mono in on the mixer and 11 other preamps shown. ![]() I have other stuff not in the pictures, but most of it's lower end. 500 series puts a limitation on how much voltage is available vs. How many voltages and how high a voltage is being used for the preamps. +28 is really really good (Often called headroom). What is the hottest level the input can take. You better like the EQ's or it's not worth having. Do you want to spend $1K+/channel to get a good mixer with preamps and EQ?ĭo you want to have a few great preamps, then a bunch of OK preamps for say toms mic's and the 3rd guitar mic?īuying a mixer, you are basically buying a bunch of preamps with EQ's and routing. The alternative is to have EQ's/compressors to into an attenuator before A/D.ĭo you like mixing and matching preamps with mic's or prefer that all preamps have the same sonic signature?ĮQ's ITB or OTB should make your decision. The preamp turns it up, the fader turns it down. Running a compressor or EQ hot is a good way to achieve saturation. You gain EQ and inserts on every channel. Upside of mixer: Monitoring and speaker control becomes handy. If you really want 24-32 great preamps, it will be cheaper and easier to use on a mixer.ĭownside of mixer: Space, cost, the signal has to go through the pan stage of the mixer, most mixers weak link. Depending on your budget you could go with anything from Audient, to a rack Camden 500s, to a couple of Neve 10730 plus some lunchbox units for variety. We are coming from 8 channel studios so these are new considerations.Consoles with good preamps are very expensive new, and buying second hand consoles is often a route to endless trouble, so if you are not planning to make full use of it - ie, eq, summing, routing, foldback mixes and what not, you’d be better off with the two UAD 16s and some nice stand alone preamps. ![]() If we went without the console, could someone recommend a good device for master volume control, sending cue mixes to the live room, etc? Also, I assume we will need a patchbay. We have no history with consoles, so we have no nostalgia or loyalty to the format. Is it worth considering a console simply for the collection of preamps into two UAD x16s, or should we go with 3 or 4 x8ps and use Unison preamp models? I know there's a major cost difference, but let's not consider that in this context. Hi - we're building a studio and we will be looking for 24-32 channels.
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