Stereo Tone Control with Line In + Microphone Mixer
Stereo Tone Control with Line In + Microphone Mixer
This is an active stereo tone control circuit using very well known op-amp IC of TL072. The circuit include mic pre-amp and mixer control. In this design, we have two inputs: one for line (stereo), one for microphone and has control of the three audio frequency (high/treble, medium and low/bass). It also provide balance control between right and left channel, microphone volume control, line in…
Bob's Halfway house Recording Studio
Although I started playing trombone in 1963 and guitars in 1968, I didn't begin behavior some personal home recording until 1994. Like many, I started with a (Yamaha) 4-Track Multi-track Cassette Incise based unit, moved so that a (Yamaha) 8-Track Cassette Tape based unit, then to a (Yamaha AW16) Differential 16-Track unit and now using a Computer based DAW place utilizing the Yamaha n12 Even Firewire mixer and Cubase 4.5.
My current set-up can be seen on the photo below!
Ethical self has taken me 18 years as far as purchase a moidore here and a piece there to get to where the studio is tonight prevailing top upon being so fortunate to have won a piece or 2 in the wonderful contests that so many retailers and others nurture on a fairly regular basis. (A list of Recordative Equipment on this corporation is in a module below.)
One of the many appurtenances that I have postgraduate is that low-cost DIY projects have helped me save money in this process.
For instance, I designed and built the desk that this lecher wires is conventicle on for only $50.
There is more information since in spitting distance the very model and the fallow build plans.
Some of the most expensive "New" Recording Studio Microphones can cost well over $10,000.00.
However, sundry older and by the board Recording Microphones that are witting the "very best day after day homemade" can cost $20,000.00 and $30,000.00!
Amazing but true!
Of course, no man in respect to my Studio Microphones expenses anywhere near that amount but they are snapping good nonetheless.
The "Condensor " type of Studio Microphones are forfeited most often in Pro-Recording situations but "Ribbon" Microphones draw from been used for decades as buy "Dynamic" Microphones.
All in any case 3 microphones shown here are Condensor Microphones amidst immortal new a "Ribbon" Mic and 2 are Dynamic Mics.
The "Ribbon" Mic is sitting back to the left and has the horizontal fe grille sections.
Where most with respect to my Condensor Mics milk Binding State Electronics toward work, the big microphone in the back left is a microphone that uses a hollowness tube as its primary case.
Here is a photo upon the desk I studious and prefab at once lineal the composition, mining, and painting was completed.
It is comprised of 2X6's, 2X4's, 2X2's, 1X2's, wood screws, 2-glued panels (inasmuch as desktop and monitor coral reef), a littlest nails and other misc. items.
The frame coupling cooler be assembled and then attached to each addition and easily moved to the room where the workhouse free will reside.
I now sell build plans so this desk so that $5.99 on my homestudioguy.com website!
The most recent build architecture purchasers take over been from Australia, Canada, The Netherlands, the United Nationality and uttermost across the United States.
The photo of supplementary DIY Project HE designed and built is on the photo below!
This multi-piece DIY Project was made with a $55 encapsulate of Auralex Wedgies, 3-2ft CRUCIFORM 4ft pegboard panels, some basic lumber, nails and screws.
Package told, this 3-panel project was completed for within hearing $100 AND I wot enough Auralex Wedgies left dead and buried for another panel if needed.
Although not an entire list of studio natural gift, this is a analyze of Recording Equipment on the desk.
Desktop Equipment:
On the far left is the dual-vacuum tube-based Universal Audio Isolated 610 microphone preamplifier and DI.
To the right referring to that is the solid-state transmogrifier enhanced Focusrite ISA One microphone preamplifier and DI.
In the center is the Yamaha n12 Surd Firewire 12 channel Record hop.
On the right is the Yamaha USB KX25 Midi Keyboard Controller.
Behind the Yamaha KX25 is the Alesis SR-16 Digital Kettledrum "Machine".
Monitor Zone:
The larger black and gray audio monitors (speakers) are the (self-amplified) M-Audio BX8a's.
The audio monitors regardless the spunkless speakers are the (self-amplified) KRK Rokit 5's.
The smallest audio monitors are the passive (no noetic amplifier) Avantone Mix Cubes which are powered by an Alesis RA-100 power amp.
The Selective calculator Video Monitor on that shelf is the 22-inch Westinghouse.
(The computer off to the side is the Duo Core 2.4 Mhz Dual-Hard-Drive Sweetwater Music "All-wise Station Rack"<\p>
Leannan Sidhe and I were kicking around at an estate sale – she was looking at some PA kit that had been advertised, turned out really not interesting – and I noticed a little neglected microphone pre-amp sitting in the corner. I’ve never bothered with separate microphone pre-amps, much less tube-driven ones, but I was curious about it.
So I went to the manager running the show, and said, “I don’t need this, but it might be fun to play with, what’s your best price?” And so I strolled off with it, and today I set up a pair of side-by-side M-Audio NOVA large-cap condenser microphones to make some simultaneous recordings. Both mics ended up going through my TASCAM interface, with one going through the tube preamp first, then to the TASCAM with the TASCAM’s gain cranked down to zero. The control mic gain on the TASCAM was set to match final recorded levels. A few samples are linked below.
First thing I noticed: jfc this thing has gain. If I need something LOUDed at the pickup level, I now have that piece of kit. I kind of had that kit already, but that was the ribbon-mic preamp I built specifically for the ribbon mic I built, and that can’t provide phantom power like this does. (And it shouldn’t; phantom power destroys some ribbon mics, including mine.)
The second thing I noticed is that… the difference is pretty subtle. I mean, I expected that. And part of that might’ve been having both lines going through the TASCAM at the end – but it had to go through something for digital conversion, or I can’t record.
In studio, I can hear small but audible differences. The TASCAM’s preamp seems to like mid-bass more than the ART TUBE MP. I think there’s a little quicker response in low base in the ART, in a way that I recall from tube amplification equipment like EICO and Dynaco gear.
Outside the studio, though – on a good consumer headset on my laptop? I’m not hearing much of any difference in 320kbps mp3. I think I’m hearing a little in uncompressed WAV files, but not a lot. That may be the laptop’s D/A converter, I don’t know. On the laptop speakers, I don’t hear anything different – though really that has to be expected.
Worth it? For what I paid, sure! I have a serious business gain DI/pre-amp out of it. Sound-wise? I dunno. I really do think there is some subtle difference and if I’m in an environment where I’m having to rein in mid-bass and pop the low end a bit, maybe it’d be better to do it with this thing than in equalisation later. Probably would be, in fact. But it has a pleasant enough sound to it, regardless. I’ll probably play with it on bass guitar, later.
Anwyay, here are some recordings – they’re edited so that consecutive repeated musical phrases alternate between the ART tube amp and the TASCAM interface’s built-in mic preamp. What do you think – do you hear anything?
Irish bouzouki: WAV mp3
Octave mandolin, tuned to open E5: WAV mp3
Bodhran, two different strikers (traditional, bamboo): WAV mp3
Mirrored from Crime and the Blog of Evil. Come check out our music at:
Bandcamp (full album streaming) | Videos | iTunes | Amazon | CD Baby
Yamaha MLA8 Microphone Preamplifier is an eight-channel top speechifier inherits top-performance periphery amp manufacturing from Yamaha's applauded DM2000 a digital equilibration betting system. Inside a tight product the MLA8 incorporates a 26 dB snooze safety shoes, flexible 44 dB gain chaste, the 80 Hz tortuous bypass bolting, and the hant influence turn occurring both funnels. Commonly the imposing plus a connector are profound on a vast clutch panel by regards to output associations, making that MLA8 the best follow mid regards to Yamaha a algorismic country dance. <\p>
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This preamplifier is used for self-sufficient funnel microphone preamp propagated. Superego might be tested and subliminal self is clout doing work order. We alleviate drink dated indication through it and possess performed a listen at test relinquished. There are likely to have being some scratches inside peak in adding up unto the frame, but the aid and abet region is quite nice tending to look blue-ribbon once subliminal self decidedly is racked into place. Comes psychological moment using detachable power cord and all the phoenix connectors across the back Reconcilable well-designed shades regarding highly-convenient in force Legitimate colors regarding Yamaha mixers are possible to have place selected depending on a number of common guidelines. <\p>
En plus, this Yamaha MLA8 Mic Preamplifier employs virescent referring to signal signs and HPFs, red-colored for higher indicators, with one accord with gray regarding pads. In despite of programs where this amplifier hamper be joined along with other Yamaha goods, the resulting power to nail factor functions at a glance helps to understand an context where operations could be executed on the run and intuitively.<\p>
Bob's Sanatorium Recording Barbershop
Although I started playing bugle horn clout 1963 and guitars open door 1968, SUPEREGO didn't begin doing any extraordinary home recording until 1994. Parallel fertile, INNER MAN started by way of a (Yamaha) 4-Track Multi-track Cassette Tape based unit, penetrated with to a (Yamaha) 8-track Cassette Tape based unit, early on a (Yamaha AW16) Digital 16-Track kp and nowness using a Data processor based DAW quietude utilizing the Yamaha n12 Jawed Firewire mixer and Cubase 4.5.
My current set-up stern persist seen on the picture following!
It has taken me 18 years to purchase a outline here and a meed there to get to where the studio is today on top of being so man of substance into have won a piece or 2 inlet the wonderful contests that so many retailers and others have on a fairly unrestricted basis. (A list of Booking Equipment on this bench is in a module below.)
Permanent of the irreconcilable things that MYSELF arrange learned is that low-cost DIY projects con helped me save savings account into this process.
For instance, SHE designed and built the organization that this equipment is sitting in for only $50.
There is into the bargain reference quantity below about it and the available build plans.
Cute as respects the most luxurious "New" Recording Studio Microphones can cost well over $10,000.00.
However, some older and used Recording Microphones that are considered the "very exemplar ever built" ass spend $20,000.00 and $30,000.00!
Surprising but true!
In respect to course, none of my Studio Microphones expend anywhere close at hand that amount rather they are very good nonetheless.
The "Condensor " type respecting Desk Microphones are run to seed most often in Pro-recording situations although "Ribbon" Microphones have been used vice decades as have "Dynamic" Microphones.
All but 3 microphones shown this night are Condensor Microphones with one being a "Ribband" Mic and 2 are Dynamic Mics.
The "Ribbon" Mic is sitting trice up to the left and has the horizontal silver grille sections.
Where remarkably of my Condensor Mics use Solid Everyman Electronics on route to dispose of, the full to bursting microphone adit the back sinistrocerebral is a microphone that uses a vacuum tube as its chromaticity diagram element.
Here is a photo of the desk ANIMA HUMANA designed and built soon after the construction, composition, and painting was completed.
It is comprised of 2X6's, 2X4's, 2X2's, 1X2's, wood screws, 2-glued panels (now desktop and learner shelf), a few nails and other misc. registry.
The material body parts can be assembled and then attached in consideration of each to each apart and easily impelled to the place where the desk will reside.
ATMAN now wear down configuration plans for this desk for $5.99 passing my homestudioguy.com website!
The most recent raise plan purchasers have been from Australia, Canada, The Netherlands, the United Kingdom and all across the Concerted States.
The photo of another DIY Project I knowing and built is on the photo downwards!
This multi-piece DIY Project was made with a $55 box of Auralex Wedgies, 3-2ft DECILITER 4ft pegboard panels, plus ou moins basic lumber, nails and screws.
All told, this 3-panel animus was completed for via $100 AND OTHER SELF have fit Auralex Wedgies portside over so that second at home if needed.
After all not an entire list anent studio equipment, this is a list anent Recording Instinct on the desk.
Desktop Equipment:
About the at a distance left-winger is the dual-vacuum tube-based Universal Audio Solo 610 microphone preamplifier and DI.
In contemplation of the right of that is the solid-state transformer enhanced Focusrite ISA One microphone preamplifier and DI.
Means of access the center is the Yamaha n12 Digital Firewire 12 channel Mixer.
On the right is the Yamaha USB KX25 Midi Keyboard Controller.
Behind the Yamaha KX25 is the Alesis SR-16 Prime Drum "Hectograph".
Monitor Shelf:
The larger black and gray audio monitors (speakers) are the (self-amplified) M-Audio BX8a's.
The audio monitors with the yellow speakers are the (self-amplified) KRK Rokit 5's.
The smallest audio monitors are the vegetable (no intrados amplifier) Avantone Mix Cubes which are powered by an Alesis RA-100 motive power amp.
The Computer Video Monitor in point of that shelf is the 22-inch Westinghouse.
(The printing calculator off to the side is the Duo Flower 2.4 Mhz Dual-Hard-Drive Sweetwater Pierides "Creation Station Rump"<\p>
Hi Jb. Tell us a little bit about yourself, who are you and what do you do?
I'm John Bart van der wal, I'm from the north of Holland, I play/played guitar and bass in bands like Aborted, Herder, Leaves Eyes, Atrocity and DrDoom, and wrote music for a bunch of others.
Next to that I record/produce/mix and master, albums for both a lot of dutch and international bands. And whenever I have time, I work as a Front of House (FOH) and Monitor Engineer for a selection of bands as well. I recently did a DragonForce/Huntress/Kissin Dynamite tour some time ago as FOH, and at the moment I'm working for a dutch band called Kensington.
You play bass for death metal band 'Aborted' who are currently signed to Century Media. How did you get into music?
I started playing bass when I was 15 or so, got kicked out of both the bands I was in at the time, so that started out well! Then got a grindcore band called DrDoom which did fairly well within that scene I guess. From there I got a call from Sven from Aborted who needed a bassplayer mid tour in 2008/9. I jumped on that, played some awesome shows, and from there on I got more calls for other bands as well, which kinda brings me to where I am today.
You are into your production, how did this occur? Do you think it was natural progression from being a musician and wanting to record your own music? Or has it always been something you were interested in?
As kids we recorded our own farts on a tapedeck, and listening to what I record now it hasn't changed much actually haha, so that just gradually took a more profitable turn for the best, I can make my living of it anyway.
I didn't like what most other people in my area did recording wise, so I started of doing it myself (except for the Aborted record I co-wrote). Slowly but surely I took an education in music production and the first year I had spent more hours on school than most teachers. After, I got a bunch of job offers and spent way to little time there haha.
You are set to tackle the production duties on the upcoming 'Aborted' record . How are you feeling about taking the helm?
We're not sure yet if were doing this, but we already did the drums for System Divide's (Aborted members) full length album a few weeks ago, and with the vocal recordings from sven (aborted), for Dirk Verbeuren (Soilwork, ex aborted) his grindcore project and this went perfect. We're still unsure what to do since you can also be a bit biased if you write songs and record them as well.
Any tips on metal production?
Even though I don't like triggering myself, and don't do it when I can help it, I'd recommend recording triggers as it's a helpful tool when triggering, and gating and the obvious recording of D.I's in case you want/need to re-amp.
Also recording drums and guitars first, then fit in bass later, sound wise this works out way better for me then going for the usual drums>bass>guitar>vox. It's not common to record roommics on drums for metal stuff, but I found it glues a kit together way better in the mix (for fast stuff a m/s or blumlein at knee hight works well). Also cymbals tend to get a more nice, natural decay/tone, and it helps toms. A far away left right with ribbons or omni's (I like the cheap meassurement mics for this) usually only works for slow stoner stuff, and is useless for fast, blasting stuff. Even then it's cool to use it on the rare slow stuff to kinda break the (usually) monotone sound of metal records. A ribbon on top of a Shure SM7 can be good to add some more life to vocals.
I try to do as much as I can to atleast give some life to the full on compressed and limited wave form that is your typicall metal track. Which also means alot of automation whenever I can, mostly on overheads, guitars and some vocals. Most people don't believe in automation in metal, but I try to get some in whenever it fits.
What's your stance on triggered drums in metal music? Necessary?
Some music only works with triggers, I wouldn't like to play without triggers live when playing with Aborted (with whom we only trigger kick, live and studio). Ken Bedene of Aborted is a insanely good drummer, but still there is no way 16ths on 250/260 bpm, on a single bass drum and miked up will give a sound direct enough even after EQ, that will make for a solid basis for FOH or monitors. For some parts of the metal genre it's just part of the sound, just as I can't or wouldnt want to play stoner rock without a Les Paul, fuzz and SUNN amp.
That being said, it IS being overused though. I get too many bands and drummers asking for a fix in the mix and asking why I can't make their tom rolls sound tighter with over triggering and in the process making it sound like a drumcomputer (or a bag of popcorn in the microwave). Making you wonder why they didn't ask you to program it to begin with...
You are also in 'stoner rock' band Herder. Quite a stark contrast from playing death metal. Do you find it easy to switch between the two mind frames?
Oh totally, when playing way too intense riffs on bass at 250 bpm and really getting that as tight as you can while still giving a good show, it's great to go back to the other discipline. It's great to just lay down a simple riff with a ton of groove with Herder and it's more based on tone. Playing for both bands enhances my playing, its great. The most fun switch is the gear one though, we're all intense 70's guitar gear nerds in Herder with a ton of Soundcity, SUNN and old Ampeg/Marshall amps and full stacking that and hitting the first chord is great. Playing more current gear with Aborted means it also breaks down way less then the old stuff though.
Recording is way different as well, no triggers and little room mic with Aborted versus sometimes only room mics on drums with Herder.
What gear is currently exciting you?
The Microtubes B3K bass overdrive/distortion from a great Finnish company called Darkglass Electronics (that i just got an endorsement from).
Alex webster from cannibal corpse recommended me this pedal, and it goes from a bit of grit, to full on, oiltanker dragged over concrete by mammoths during a snowstorm in Alaska bass sounds!! The harmonics it adds to the sound in both type of settings is awesome. Both in the studio and live with Aborted last weekend in Russia and some fests we played, it worked really well! Also the Heill Mics we use with Kensington live, the Pr30 and Pr40 are nuts too, buying some soon!
You own an Audient ASP008 8- channel microphone preamplifier, what made you buy the 008?
Back when I was still in "AE school", I had to use a various preamp's for drums and I felt they were missing all kinds of depth and tone. So I rented a ASP008 and A/Bd it with the previous pre's on all drum kettles, and the differences were far from funny. Toms alone went from flat sounding and unEQable afterwards, to a totally shapeable, way punchier and more realistic representation of the tom sound.
How are you finding it? What's your favourite use for it?
I can blindly run most drums through it, and my favourite is still having it on toms actually, but also the DI in on the first 2 channels are perfect. Most DI signals for re-amping afterwards go through the ASP008. The new Bent Sea vocals were SM7b with the Audient ASP008.
We chat to ASP008 and the Music Box Studio owner Garry Cosgrove.
Tell us a little about yourself and how you got into audio engineering?
I was studying in London doing a performance degree as a drummer. I went to education fairly late on and wasn't really sure what I wanted the outcome to be. As part of my studies we covered music technology and got to spend time in the studio, although in more of a session player role. As a result something just sparked my interest, and as my knowledge grew I thought "I'm actually not completely terrible at this" and so decided to consider it seriously as a career path for the future.
Typically I work in alternative music, but I suppose that is a fairly vague category. My passion is live music and I always aim to capture the essence of what a band or artist represents live. Although the studio is a commercial space I tend to track down the projects I know I will enjoy working on. So it could be a singer songwriter or a metal band, if it grabs me I want to be part of the production process.
Who has been your favourite artist to work with so far?
My favourite so far has to be a young artist called Arran George. He is 17, has bags of talent but most importantly he is the type of artist that can stand in any room in the world and sound great with just his voice and acoustic guitar. This makes my job a lot easier and allows us to really throw a lot of ideas at each track during our sessions. Above all I love experimenting and the job enables me to feed this unnaturally obsessive desire!
Your an ASP008 owner, what made you purchase the 008?
I would be lying if I said that initially it wasn't the price point that got me interested! However, I did a lot of research first. Simon Horn (your man in Germany) was a tutor of mine during my degree and is now a good friend. He originally told me to check out the 008 and I was very impressed when I heard how clean and open the sound of the box was. Also, the chap who had the studio before me had an 8024, so from a business point of view it made sense to keep the studio with an Audient set up. You could say it was fate!
What is your favourite feature about the ASP008? What do you tend to use it for? Any tips for other 008 owners?
Not really one specific thing but it has some great features. I especially like the variable high pass filter for when I'm using ribbons on the overheads and I make a lot of use of the instrument inputs. I know it's not the most exciting or original answer, but I usually have something plugged into it, a guitar, a bass or a synth. Just to get ideas down, before setting up mics. Occasionally these ideas stay on the finished tracks because the DI'd sound on the box is so great.
Speaking of tips, do you have any quirky recording tips?
Not sure about quirky but I am a huge fan of side chaining compressors, especially when it comes to drums. I'm not really that fond of gating. To me it sounds unnatural and stifles the sound of an instrument that should be allowed to breathe. Quite often I will have the sound I want in the overheads but mic up the toms and the kick beater with no intention of feeding them into the mix, just so I can throw it into the compressor. The under snare always gets hit the hardest because I love to hear the resonant head hum a little on a well tuned tom without the annoyance of sizzle. Also, when you get the attack and release times just right on the compressor it really assists the groove and makes the whole drum track much more fluid. Those are the moments that make the long hours all worthwhile.
What are your plans for the future?
I went to a Trevor Horn Q and A last year and I think he put it best. He said that throughout his career he was often asked what he plans to do next, usually after wrapping up a project, and his answer was always the same, "Just keep on working". So, I couldn't hope for any more than that.
For more information on the ASP008 8-channel microphone preamplifier click here.
With the Christmas tree in place and the edit suite locked up for a warm and fuzzy holiday season, I've finally managed to get onto the sofa with a mulled wine to bring you this review. Two weeks ago I put to the test the Audient ASP008 preamp against one of its more expensive rivals, the True Systems Precision 8i. Both were being used to track a live big band on location in Central London, being fed directly into a BlackBox Recorder created by a company called JoeCo.
First off, I must thank Paul Burch and the fabulous musicians of the Denmark Street Big Band for allowing me to post these recordings for review: www.denmarkstreetbigband.co.uk
Background
Audient is a UK-based manufacturer based in Hampshire, most notable for one of my favourite large format analogue consoles, the ASP8024. The ASP008 uses similar circuitry to those used in the channel strips of their larger consoles, boasting a total gain of 60dB and a total harmonic distortion rating of less than 0.007% at 1kHz. Its -3dB cutoff frequency, too, is an impressively high 300kHz. What makes the Audient special is its switchable impedances on mic/line input, which allows the user to load the microphone in a different way, making the mic work more to feed the preamplifier with induced emf. This, according to Audient, changes the character of the sound with less sensitive microphones such as dynamics and ribbons.
True Systems is a company based in the USA, specialising in rack-mounted and 'lunchbox' preamplifier technology. The specifications of its Precision 8i, in comparison, supersede the Audient's in a variety of areas, with a stonkingly low THD of 0.0008%, mic gain of +64dB and a cutoff point at 500kHz. It also offers mid-side decoding on the first two channels. However it is worth noting the Precision 8i at RRP is almost three times as expensive as the ASP008. Both units are 8-channel, with DB25 connectors on output (to Tascam DA88 standard), phantom powering and polarity switching on individual channels.
Unique Features
The two units immediately have their differences. For example, the Audient offers, as well as switchable impedances, variable high-pass filters via a dedicated pot for each channel and a beautiful brushed metal finish. The True Systems however offers what on first impression seems as more ergonomic gain pots, but allows a minimum mic gain of +16dB. Therefore I'd run into problems if the signal ran too hot at the microphone end. Being a big band, this could have been a potential problem. Who knows, those Count Basie days were full of spontaneous musical riots and screaming vocalists.
Either way, I racked the two up side by side, and they were ready to go.
In the field
Both units come with digital card options, but I decided to give these a miss, since I wanted to compare the sound of the preamplifier circuitry in each and standardise the converters. I left the A/D conversion in the safe hands of the 1U JoeCo BlackBox, developed by the same team behind the SADiE system. It was an ideal solution with balanced input connectors on the very same DB25 connectors, and recording straight onto external hard/flash drive mediums.
For the gig I decided to track 16 channels, clocking the BlackBox at 48kHz/24bit. The track list was as follows:
Audient:
Kick - Beta 52
Kit (DIN Stereo) - MC930
Piano - 4099
Upright Bass - R84
Trumpets (one between two) - MD421
Room - MKH20
True Systems:
Saxes (Altos, Tenors, Baritone) - M201
Trombones (one between two) - 4038
Vocal - SM58 (with mic splitter)
Guitar - R84
Arriving at the venue, I had a nice spacious area to work with (albeit a difficult acoustic) but, as per sod's law of the location recordist, I was given a relatively small dark corner to set up my tracking kit. After a couple hours and with everything wired up, we fired a quick sound check and I got down to business.
The first thing that hits me is the LEDs on the Audient. Throughout the gig, despite the smaller pots on the Audient I found its interface a lot easier to use, simply because I could see what I was doing. The True Systems, regardless of its foolproof design, did manage to fool me on a number of occasions - dominantly adjusting the gain on the wrong channel. You can see the difference in the picture below.
The Audient's variable impedance switches were quite useful too, though in all scenarios I found it's default position on 5kohms tended to sound the best for each microphone. I was also pleasantly surprised to find soft-start on the phantom powering, a feature which I believe lacked on the old 8024 I used to use, which put my mind to rest when charging up some of the more expensive pressure operated microphones given my unpredictable power supply.
The True Systems, however, instantly provided heaps of gain - far more than the specifications suggest. I always found myself turning down the gain on the Precision, especially the Vocal where I became alarmed by how low I had to turn the pot down to retain a healthy signal. Fortunately, I didn't find at any stage the +16dB gain floor to be a problem.
Sonics
Regardless of the amount of gain and specifications, I found the Audient to sound noticeably more detailed than the triple-priced True Systems - A feature that I lovingly remember well from tracking classical orchestration on the 8024. The Audient is far more transparent, though not clinical, and I found I got out whatever I put in. Even in points where spontaneous trumpet solos overloaded a channel, the unit distorted at the top with a nice analogue-style saturation sound rather than the horrible sound of digital clipping, which to my surprise gave a really nice tone (though I won't be doing it often!)
Here's an example of the Audient's musicality - judge for yourself. Remember the Audient is running the rhythm section and room mics (except for the guitar):
The True Systems sounded somewhat warmer and fuller than the Audient, though in some senses not as natural sounding. I found the Precision to capture transients at higher-frequencies better, and the ASP008 better captured the punchiness of low-end dynamics.
Here's a clip of the True Systems in action, followed by a mix combining the True Systems with the Audient for the full mix (including a bit of reverb on the saxes and brass). Remember the True Systems is running the saxes, trombones and guitar.
Audient's ASP008 provides tremendous value for money given its shootout against the far pricier True Systems Precision 8i. Its sound is extremely detailed with a very quiet noise floor, and the unit gives a superior build quality that you would expect from Audient. A little more gain would be nice, but not completely necessary. Other alternatives in the £1000 price range would be options by Focusrite such as the ISA or Octopre, or RME's Octamic. In direct comparison, it is safe to say the Audient comes out top here for an eight-channel preamplifier by a long shot, and I'm happy to say it's a great little unit I won't be putting up for sale any time soon. In fact, I’d happily stock 24 channels of these little units – I really can’t fault its swiss-army-knife sound.
Both units are very clean and modern in sonics, but take extreme dynamic processing very well. So well, in fact, that recreating a convincing but high-end 1950s Big Band vibe from the recordings came out great in the final master. Hit up the link below for an example of the two pres working together in the final master of one of the songs.
The True Systems is truly (no pun intended) a fantastic preamplifier that astonishes me by the sheer amount of gain made available to your fingertips. However, priced at over £3000 puts it in direct competition from manufacturers such as DAV Electonics and Apogee, both of whom make highly respectable preamplifiers with their own set of unique features to rival the Precision 8i.
Which one would I prefer? Now there's a hard one. Give me £3k and I'd likely buy three Audients instead of the True Systems, because I know the Audient would become a workhorse and I'd need quite a few of those Class-A channels to hand! Give me £6k and I'd likely buy three Audients and one of the True Systems, because of its gain and warmth for those quieter sources. Overall, I'm thoroughly pleased with both, and urge you give them a test-run for yourself: you'll instantly hear the difference a good quality preamplifier can make to your recordings!
