PreSonus ADL600 2-Channel High-Voltage Vacuum Tube Mic Preamp Review

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(More customer reviews)If you're thinking of purchasing this hi-end pre, I'm sure you have googled it. So, I won't bother with all the tech stuff. Many reviews say the ADL is great. It is. Everything that you read is true. If you record at home, it will breath new life into your rig. Truly amazing preamp!
If you haven't found this review yet, give it a read. It's long, but very comprehensive and well done.
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The ADL 600 is a high voltage two-channel original microphone preamplifier designed by world-renown analog tube circuit designer Anthony DeMaria. The ADL 600 utilizes a unique high voltage, Class A discrete design with three vacuum tubes per channel for maximum headroom and tonality. The ADL 600 is built by hand in the USA by PreSonus and utilizes the finest components in the world including switched attenuators, military-grade vacuum tubes, analog VU and LED meters, custom-designed proprietary transformers, and the list goes on. No expenses are spared with the ADL 600 down to the last polypropylene film capacitor. The ADL 600 is big, warm, smooth, and clear; a sound like no other.

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Nady SPM-4250 Stereo Powered Mixers Review

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(More customer reviews)I bought this Nady SPM-4250 mixer for small venue gigs. It drives two 4 ohm speakers to a good volume with no noticeable distortion using stringed instruments and vocals as the source. The whisper of the fan can be heard near the mixer, but is not objectionable to me. All in all, I would give the mixer five stars by itself; but considering what I found after it arrived on my doorstep, I must knock my review down a star. The first thing I noticed, upon opening the shipment, was that the serial number on the box did not match the serial number on the mixer. The second thing I noticed was a missing manual. There was a notice in an enclosed unsealed plastic bag that stated I should read the included instruction manual before operating the mixer. Since my search turned up no manual anywhere, I downloaded a manual from the Internet, and continued unpacking. The third thing I noticed was that, upon powering up the mixer for the first time, it stunk like it had been used in a south-side beer joint. In my better than 50 years of purchasing new equipment and gizmos, I'm quite familiar with the various fragrances and odors that new electronic gear can emit. However, for brand new gear, this stale-beer and cigarette smoke smell is a new one to me...and I might add, a bit suspicious. However, the odor was apparent to me only before using it for the first gig. It seems to smell like all my other gear now...poor thing.To sum up: This mixer is everything I expected it to be...so far. It's a nice size and weight; the controls are intuitive enough to use without a manual and do what they are supposed to do; it has power enough to fill a reasonable sized room (or beer joint!) with music; and finally, this Nady SPM-4250 has features enough to do the job where my Yamaha EMX-5000 is overkill. I'm happy with it. What else can I say?

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ART MPA Gold Microphone Preamp Review

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(More customer reviews)Changed the tubes to new tung-sol 12AX7'S.....quiet as a mouse...A great product for the money. The impedance knob alone makes it worth the price. (Ghastly color tho'). highly recommended for beginning project studios. Makes a wonderful Bass guitar DI too!

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Phonic Firefly 808 Universal Studio Recording Preamp with 192 kHz USB 2.0 + FireWire Interface Review

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(More customer reviews)When I saw the 1 bad review for this product, I had to post MY review to counter act.
to the other reviewer: you are calling for a firewire interface, but using USB?.. did you know there are 2 drivers for this, 1 for USB and 1 for Firewire? You cannot install both on the same system. If you read the manual...
I've been using the Firefly 808 since the first revision that didn't include USB. You CAN pair the older non-USB revision with the Universal and they play together well. I admit, when I first got the second interface (you can daisy chain up to 8 to octuple your inputs and outputs.. maybe more) They were going out of sync, I kept getting clips and pops, but THAT WAS MY FAULT - I didn't set 1 to be the clock source and the other as the slave (CS...and something... I don't have my rig on at the time of writing this) It was the customer service at Phonic's main page that helped me with this. They responded in less than 24hours!
Using Reason and VST's I get near zero - at the most 2ms latency which is not really detectable when using Midi instruments. ALSO there is a direct monitoring fader (within driver software) that allows for direct monitoring for your singer/drummer. I've plugged guitars directly into the firefly and used VST amp modelers with ease.
My main DAW at this moment is Ableton Live for all the built in instruments, VST compatibility, composition and recording capabilities. I have used the Firefly 808 Universal successfully with Reaper, Sony Acid, Sony Soundforge, and Native Instruments bundles. I created a box with two of these units, headphone distribution amp, SM Pro Audio EP-84 Multichannel Microphone Preamplifier with ADAT add-on (you can use the Behringer ADA8000 8-Channel Converter also) to add 8 more mic preamps for individual recording channels, 1 space mixer and a couple compressors. It is portable and was set-up for stage use. My computer is a Windows 7 x64bit machine.
The set-up is quite unique as I have tied my turntables into the mic inputs directly. I then rout my turntables to use in Tracktor Pro 2 and use my Numark Omni control as my mixer - this might sound complex, the set-up takes a moment to wrap your head around, but it works! I also use it to record drums (phenomenal results - I use a rack compressor, but there is no need, you can do it with software if you need), guitars, vocals and whole live sessions. Preamps are very low noise... I can't say enough good things about it.
The only features I would add to the driver software, is the ability to save your presets. Every time I boot for a new session, I have to set the Master Clock/Slave and also pan the direct monitor mixer. Something simple to do, but something that should be done once with a preset. And maybe tone controls (can be software) for the headphones.
Upon researching; I found the price of this unit is so low because they are OEM builders for the other major brands you see. They get their parts in bulk, no advertising, totally invest in the product.
I was not new to recording when I made the purchase for the first Firefly 808 nor new to computing.
A suggestion: DEDICATE a computer for audio capture - slim down your operating system by using a fresh install, without graphical candy, no internet connection or virus detector program running; as they have the potential to 'erk' your recordings.
There are many topics the novice should research before delving in. ASIO (this unit has low latency ASIO... that's what you want), DAW (start with REAPER, it is free), VST, MIDI, compression (or learning to record below the RED +0db)... I can go on for days... better yet, get this unit (it is best price/feature unit you'll find)

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Shure KSM 137/SL End-Address Cardioid Condenser Microphone Review

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(More customer reviews)I had been looking around for a good condenser microphone for recording acoustic guitar and a sales representative recommended this one. I absolutely fell in love with this microphone the first time I pushed in the 48v button for my Pro Tools rig. It's a great price for an excellent microphone, Shure has always made affordable go to microphones especially for live performance ie the 57 or the 58. I really like the roll off switches, I don't use the db switch because on my pre I have a pad that I rarely use on an acoustic guitar. I usually place this mic at the 12 fret and use a vocal condenser as a room mic for the stereo effect, so far the work has turned out very well. I would recommend this microphone to someone looking above maybe that entry level or would like to produce there own music.

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Versatile, durable, and precise, the Shure KSM137 end-address condenser microphone is an outstanding microphone for instruments ranging from percussion to wind, strings to brass, and piano to guitar. Designed for studio use, yet rugged enough for live applications, the KSM137 can withstand extremely high sound pressure levels (SPL). Its low self-noise and extended frequency response make it ideal for recording musical instruments.

Key Features
A highly consistent cardioid polar pattern
Ultra-thin, 2.5 micron, 24 karat gold-layered, low mass Mylar diaphragm for superior transient response
Class A, discrete, transformerless preamplifier for transparency, extremely fast transient response, no crossover distortion, and minimal harmonic and intermodulation distortion
Premium electronic components, including gold-plated internal and external connectors
Subsonic filter eliminates low frequency rumble (less than 17 Hz) caused by mechanical vibration
Switchable 15 dB pad for handling extremely high sound pressure levels (SPLs)
Three-position switchable pad (0 dB, 15 dB, and 25 dB) for handling extremely high sound pressure levels (SPLs)
Three-position switchable low-frequency filter reduces background noise and counteracts proximity effect

Performance Characteristics
Extended frequency response
Low self-noise
Exceptional reproduction of low-frequency sounds
Can withstand high sound pressure levels (SPL)
High output level
No crossover distortion
Uniform polar response
Superior common mode rejection and suppression of RFI (radio frequency interference)

Applications Some typical applications for the KSM137 are listed below. Microphone use is a matter of personal taste and the KSM137 may be used for a variety of applications other than those listed.
Acoustic instruments -- such as piano, guitar, drums, percussion, strings
Wind instruments -- brass and woodwind
Low frequency instruments -- such as double bass, electric bass, kick drum
Overhead miking -- drums or percussion
Ensembles -- choral or orchestral
Room ambiance pick-up -- guitar amplifier or drums

Specifications
Type: Permanently Biased Condenser
Frequency Response: 20­ to 20,000 Hz
Directional Polar Pattern: Cardioid
Output Impedance: 150 ohms (actual)
Attenuation Switch: 0 dB, 15 dB, or 25 dB attenuation
Low Frequency Response Switch: Flat; ­6 db/octave below 115 Hz; -18 dB/octave below 80 Hz
Phantom Power: 48 Vdc +/- 4 Vdc (IEC­268­15/DIN 45 596), positive pins 2 and 3
Current Drain: 4.65 mA typical at 48 Vdc
Common Mode Rejection: ≥50 dB, 20 Hz to 20 kHz
Sensitivity (typical, at 1000 Hz; 1 Pa = 94 dB SPL): -37 dBV/Pa
Self­noise (typical, equivalent SPL; A-weighted, IEC 651): 14 dB
Polarity: Positive pressure on diaphragm produces positive voltage on output pin 2 relative to pin 3
Weight: 3.5 ounces

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PreSonus Eureka Pro Recording Channel Review

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(More customer reviews)The Eureka has gotten a lot of buzz. The box feels solid and substantial. It comes with gain, hard/soft compression, three band parametric eq, and master volume. The patch order of the eq and compresion can be switched, depending on your needs. Other useful features include phase inversion, variable impedence, and a saturation knob. A backlit analog meter can display incoming signal level or gain reduction. Inputs and outputs are both TRS and XLR. An effects insert point is included. An optional digital output card is available.
I bought the Eureka on the recommendation of a trusted music salesperson (yes, they exist) to power my Royer 121 ribbon mic. There were no preamps anywhere close to this price that he would consider recommending. As it turns out, he did me a great favor. The Eureka does a very solid job with the Royer mic (although I haven't heard the Royer on anything else, so I can only speak to the pairing of the two). Better yet, it gives me new options for almost every other piece of gear I own. I have an inexpensive Precision bass that really benefits from this box - the compression and preampe give it the fullness of a better instrument, while the eq helps to control the noisiness and unevenness between strings. The variable impedence allows users to try those DIY tricks on Shure SM57 mics without pulling out a soldering iron. Other budget-to-midrange mics also benefit. I run my Mojave tube mic through the Eureka to control peaks with good results. I haven't found anything that doesn't benefit at least a bit from the Eureka. I have even heard of mixes being run through the Eureka (one side at a time) to remove the dreaded "digital chill". Between the quiet operation and the versatility of the Eureka, it is no wonder that it is quickly becoming a "best kept secret" among many home recordists and even sine professionals.
Downsides: The knobs are close together and seem vulnerable to being bent. Three sweep eq's with no shelving eq are less than I'd prefer, but they do their job. The optional digital card can take signals from two Eurekas run in tandem, but the signal from the second Eureka must pass to the card in the "analog domain" before it is converted to a digital signal. As with any analog gear, favorite settings must be written down instead of being saved to memory for instant recall. None of these issues is a deal-killer - they just illustrate how hard I had to work to come up with any complaints at all.
If you're looking for a way to bring your home recording quality up a notch, or a way to give old gear a new lease on life, the Eureka may be just the ticket. Its quality sound, versatility and bang-for-the-buck put it in a niche that will make many bugdet-minded recordists very happy.

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Avalon VT737SP Class A Tube Channel Strip Review

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(More customer reviews)I use this channel strip during nearly every recording session I run. The sound is amazing for vocals (in combination with a good mic), producing a warm and yet extremely clean sound.
I have used the unit on acoustic guitar, kick drum, electric guitar and even bass. I was able to get stunning sound from all sources, with a little tweaking of the settings and mic placement.
This unit is capable of immaculate results. Well worth the money.

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FMR RNP Microphone Preamp Review

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(More customer reviews)Don't let the look of this thing fool you. This is pro audio gear done right. No hype, no hoopla, no BS. It just works. Awesome sound. If you are just getting started in recording or you are a seasoned vet looking for something new and special, this is the preamp to get. Match it up with the Really Nice Compressor and/or Really Nice Limiter and you'll have a heavyweight signal chain that will handle anything and make it sound better than ever.
Thanks FMR Audio! I wish there were more companies like this!

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PreSonus DigiMax D8 8-Channel Mic Preamp w/ Digital Output Review

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(More customer reviews)I'm not overly impressed with the PRE's on this, but they ARE better than my 002 racks PRE's. Overall though it's a great bang for the buck.

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The DigiMax D8 is an 8 channel preamplifier featuring 8 award-winning class A XMAX mic preamps with 24-bit ADAT digital output. All eight preamps include variable trim control, 48V phantom power, ultra-fast acting LED metering and 20 dB pad. In addition, 2 instrument inputs are located on the front panel for direct Hi-Z instrument input. Balanced TRS direct analog outputs are located on the rear panel for routing and flexibility.The DigiMax D8 also includes word clock sync input for ultra-low jitter and robust synchronization. The DigiMax D8 is the perfect solution to add eight professional microphone preamplifiers to any digital recording system with ADAT optical lightpipe expansion capability including Digidesign's HD and 003 systems, RME, YAMAHA, Alesis, Mackie, and many others.

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ART Pro MPAII Microphone Preamplifier Review

Average Reviews:

(More customer reviews)Can you find a better sounding mic pre with more functionality than the ART Pro MPAII? Absolutely. Can you find a better mic pre anywhere near this price range? Not in my experience.
The controls are intuitive and the sound is excellent. My only two complaints are:
1.) The stock tubes that come with this unit are CHEAP. If you get this, I would recommend ordering a pair of high quality tubes as well. I went with TungSol 12AX7 Gold Pin tubes, and the difference in sound was substantial. l'd probably have bumped my rating up to 5 stars if the stock tubes had been better.
2.) It would have been nice if ART had put the XLR inputs on the front of the unit next to the 1/4 inch inputs. As it stands, the XLR inputs are on the rear. I have my components mounted in a stationary rack integrated into a desk, and hooking up mics can be a bit of a chore. This is a small complaint, but it's something to be considered.
Beyond that, this is a great buy for someone looking to see big improvements in their sound without spending vast sums of money.

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