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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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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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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Blue Microphones Ball Dynamic Instrument Microphone Review

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(More customer reviews)Blue can be trusted all the way down (or up) the line, from some of the least expensive consumer mics to some of the most expensive audiophile designs. And in their literature, they take a refreshingly light-hearted approach to the whole business of transmitting and recording sound.
But I could have used a bit more clarification before ordering this one. I was ignorant enough to believe that a "Dynamic Instrument Mic with phantom power" meant that the mic came WITH the phantom power (duh!?). Now, after reading the accompanying instructions, I see that the actual meaning (no doubt understood by most readers) is that the mic REQUIRES phantom power. Without it, it's a glorified soft-ball, little else (I guess it's big enough to qualify for kick-ball).
At that point I should have quit on it, but I added the A.R.T. preamp to supply phantom power. Suddenly the Blue Ball became less of a soft ball and more of a bomb, whining to high heaven and protesting with squeals and penetrating screams. Either it's the most sensitive dynamic microphone out there, or the phantom power supplied by the A.R.T. pre-amp is enough to run every condenser microphone in Madison Square Garden. When I backed way down on the sound, my voice sounded full, pleasant, natural, but I was still experiencing minimal hum and feedback. Moreover, when I substituted a Shure SM-58 without phantom power, everything was once again loud and clear but without any gratuitous cacophony or electronic complaints.
I'd recommend the mic possibly for recording purposes or to sound engineers who know how to provide just enough (but not too much) phantom power. It's definitely an attention-getter--bigger (and perhaps more ungainly) than the picture would imply. And the weight of this thing is proportionate to the size (the circuitry and materials contributing to the mass of this curious object is a conversation starter in itself). But perhaps there are more important considerations. For any singer who wants to cover up a set of yellowing teeth or, for that matter, a face that puts talent before beauty, this globe-sized UFO may be just the ticket. And what more perfect mic for a blues belter? (As the picture reveals, it practically announces the familiar 12-bar form with no help from the vocalist.) The instructions, unlike Amazon's description, describe the mic as all-purpose, or as equally appropriate for voice and instruments. (I suspect that sluggish sales have led to the "instrument" designation, as it simply looks and feels rugged enough to take on the most blistering guitar solo or, for that matter, Billy Cobham's entire drum kit.)
It's just a darn shame that this mic wasn't available when David Lynch filmed Isabella Rossellini singing "Blue Velvet." No way Lynch could have resisted a curious, off-kilter attraction such as this.

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The hand-built Ball uses a Class A balancing circuit in its output section. This circuit maintains a constant pure-resistive 50-ohm load across the useable frequency spectrum yielding an exceptionally smooth and open sound previously unheard-of in a dynamic mic.The Ball is capable of handling extremely high SPLs from sources like bass drums, snares, and horns without distortion for extremely clean signals. Ideally suited for studio, stage, broadcast, film or any other applications where reliability, versatility and the utmost sound quality is require. Frequency response: 35Hz - 16kHz. Requires 48V phantom power.

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Amplivox SW610A 50-Watt Wireless Half Mile Hailer Review

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(More customer reviews)We bought one of these Amplivox units about a year ago for our nonprofit organization to use at public educational demonstrations. As an electrical engineer, I had spent quite a bit of time reviewing specifications and prices, and finally settled on this one. It isn't the cheapest on the market, but you get what you pay for.
The cone speaker is fairly directional, allowing you to control the direction in which it projects sound. In particular, you can stand to one side to avoid feedback. Surprisingly, however, the unit is not prone to feedback even if you are standing in front of the speaker, as long as you are not too close. I found that I can stand 10 meters or so in front of the speaker, with volume at reasonable levels, and still not have a feedback problem. Ideally, you are off to the side, but that's not always feasible in all locations.
Sound quality is in my opinion quite good for a public address system, but you should understand that this is a *public address system* and not a music system. You can certainly play music through the amplifier, but it is optimized for human speech and lacks the frequency response and dynamic range for high-fidelity music reproduction. In engineering design, there are always tradeoffs, and the designers were able to make this device work better for speech by intentionally limiting its response range. I have also been very pleased that the speaker has plenty of headroom, and I have not heard any clipping or overdrive.
One very nice feature of this model is that it has inputs for an extra wireless or wired microphone as well as a line-level input for connection to an external source such as an MP3 player for sound effects or background music. This feature is hard to find on equipment in this price range.
The battery life of the unit is surprisingly good. I was skeptical of the manufacturer's claim of how long it can run on "D" cells, but I have to admit it really does run a long time. We bought the 12 volt adapter (and I recommend this if you're going to run it all day), but for most short presentations (up to 3 or 4 hours) I just use the inboard "D" cells.
The manufacturer calls this a "half mile hailer". I haven't tested it at that range, but I would believe the claim based on what I have observed. With the volume at about 40% to 50%, we are able to give educational presentations in very crowded outdoor venues such as a town festival.
The wireless microphones are of very high quality, with no discernable difference in fidelity between wired and wireless in my tests. They operate on different radio frequencies and have so far been immune to crossover in our usage. These are expensive microphones, but as with the amplifier you get what you pay for. My only caveat is that using the wireless microphones properly does require some training. Anyone can learn it, but audio novices may need some practice to get the mic placement right.
My overall opinion is that this PA system does exactly what its manufacturer claims, and does it very well. I would not recommend it to professional musicians because its sound quality is not optimized for that application. But within its intended application -- public address -- it is a high-quality, rugged, reliable performer that is well worth the money.

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Wireless Lapel Microphone Kit Review

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(More customer reviews)I teach a weekly non-denominational adult Bible study, and as the group grew larger it became difficult for some to hear me speak. I purchased an AmpliVox Buddy amplifier but found the hand held microphone to be quite cumbersome. My wife then ordered the AmpliVox S1600 wireless microphone system (with lapel mic)for me. It is an excellent product and picks up the sound easily. Even persons sitting at the opposite end of the large room (some of whom are "hard of hearing") report that they can hear and understand every word. I would highly recommend this product.
Dr. Don Shockey

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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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Shure Beta 98H/C Clip-On Cardioid Instrument Microphone Review

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(More customer reviews)I've been using this microphone for a number of professional performances over the last seven or eight years. The Shure Beta has one of the best quality sounds and pick up of any microphone I've ever used. Clamping it to the bell of my saxophone allows movement without being tied to stationary microphone stand. The only issue has been the thin cable that connects it from the clip to the XLR connector. It doesn't take much to damage it (this is the second one I own) and over the years, it obviously wears faster than an ordinary microphone/cable. The result is that the longer you own it, the more careful you have to be or else you'll have a crackle and pop everytime you move the wrong way. It's a shame they can't improve on the design of the otherwise amazing microphone. I've tried to compensate by leaving the cable wrapped in the reel (taped up) with only enough length required to get the clip from my waist to the bell of the saxophone which has helped extend the life this long. I'm getting ready to replace it again and I'm thinking about shifting to a wireless.

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The Beta 98H/C premium cardioid condenser instrument microphone that clamps onto the bell of wind instruments or onto the rim of percussion instruments, and its transformerless preamplifier circuitry improves linearity across the full frequency range. The pickup pattern of the BETA 98H/C provides high gain-before-feedback and excellent rejection of unwanted noise. Its high maximum sound pressure level (SPL) enables it to handle the extreme demands of brass, woodwind and percussion instruments.
The integrated gooseneck and ratcheting swivel joint allows the mic to be easily positioned and secured, and an isolation shock-mount reduces the transmission of instrument "key noise" and other mechanical noise. A gooseneck angle brace is included to provide better retention of the microphone placement during more active performances.

Key Features
Transformerless preamplifier circuitry that improves linearity across the full frequency range.
Pickup pattern provides high gain-before-feedback and excellent rejection of unwanted noise.
High maximum sound pressure level (SPL) enables it to handle the extreme demands of brass, woodwind and percussion instruments.
10-foot high-flex cable with attached preamplifier (XLR connection)
Tailored frequency response for open, natural sound reproduction
Compact, lightweight construction provides a low degree of visibility
Gooseneck, ratcheting swivel joint and gooseneck angle brace allow for optimum placement and fixed positioning

Applications and Placement The most common BETA 98H/C applications and placement techniques are described below. Keep in mind that microphone technique is largely a matter of personal taste; there is no one "correct" microphone position.
Saxophone Placement: Clamp the microphone onto the bell of the saxophone, so the microphone is a few inches from and facing into the bell. This will produce a bright tonal balance while minimizing feedback and leakage.
Soprano Saxophone Placement: Clamp the microphone onto the bell of the saxophone and adjust the gooseneck so the microphone is facing the keys of the instrument, a few inches from the lower keys. This will produce a warm and full tonal balance. For a brighter tone, adjust the gooseneck so the microphone is facing into the bell, a few inches away.
Trombone Placement: Clamp the microphone onto the bell of the trombone and adjust the gooseneck so the microphone is facing directly into the bell, a few inches away. This will produce a bright tonal balance while providing maximum isolation.
Trumpet Placement: Clamp the microphone onto the bell of the trumpet and adjust the gooseneck so the microphone is facing directly into the bell, a few inches away. This will produce a bright tonal balance while providing maximum isolation.
Drum Placement: Clamp the microphone onto the drum rim and adjust the gooseneck so the microphone is aiming a few inches above the drum head and an inch from the rim. This provides a full tonal balance.

Specifications
Type: Condenser (electret bias)
Polar Pattern: Unidirectional (cardioid)
Frequency Response: 20 to 20,000 Hz
Output Impedance: 1200 ohms
Output Level (0 dB = 1 volt per Pascal): Open Circuit Voltage: -56.5 dB (1.5 mV)
Output Clipping Level (at 1kHz, THD < 1%): -9 dBV (0.35 V)
Maximum SPL: 143.5 dB
Dynamic Range: 112.5 dB
Signal-to-noise Ratio: 63 dB at 94 dB SPL (IEC 651)
Polarity: Positive pressure on microphone diaphragm produces positive voltage on pins 3 and 4 with respect to pin 1 (ground).
Weight: 2.3 ounces

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Blue Microphones Robbie Microphone Preamplifier Review

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(More customer reviews)I ordered this after reading several reviews, but no one mentioned the size of this thing! You will need two hands to tote it so don't expect to take this into the field with you. That said, it is a very worthwhile addition to a broadcast level recording setup. If you are not using top quality mics, you are are not going to get full value from this piece of hardware, and it is not cheap. Add half a star to my rating as feel I have to dock it half a point for being so pricey. Performance is full five star, so have no fear on that score.
Read other reviews. This is not going to mellow your input through the magic of a tube modeled preamp. Not at all. What it will do, and do flawlessly, is boost the record levels very nicely without adding any additional noise to the signal. Yes, it will smooth out the sound, but not dramatically.
I do voice only, so I am not going to comment on using this as DI device. For voice, with a top line dynamic mic, I've found that the voice comes across very pure, with no additional color added and just a hint of smoothing on the rasps. With a condenser, there is no detectable noise added when the phantom power is used, a problem I had when using the phantom power from my mixer.
Before buying this unit, I'd tried mic preamps from Behringer (tube) and Audio Buddy (non-tube). The Berhinger was the closest to what I was looking for, but it did not sound as clean as Robbie does. Yes, the price does make a difference.
Is it worth the price difference? Only your ears can answer that. For me, the answer is YES!

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