#109

CAPI makes a really nice clone of the 550A, the BT50. Sounds closer to originals than the current API offering, there’s was a shootout on realgearonline.

I also like the Electrodyne preamps. Very nice transformer-coupled DI as well.

If I were getting a first bus compressor, I would prob not do 500 series.

I would either have a tech build and calibrate a gssl with sidechain options, or get the Overstayer VCA, or a class A 33609/diode bridge style compressor like the Heritage Successor (because seems like good value, haven’t heard) or BAE 10DCF pair (a lot more money but sounds good).

The RND 535 is very nice, though, sorta halfway in flavor.

#110

Thank you for this insight. It’s very valuable

#111

Been researching for the past few weeks, I’m now more lean toward to form a channel stripe. Understand that there are two camps on pre: API, Neve, both have different characteristics, so instead of having any one pair of either I think I would get two different pre:
API 512v or 312 (either one)
Heritage Audio 73 Jr. II (newly released)

On EQ, I really like Pultec EQP-500X. I used Softube Tube Tech plugin a lot, so I think I can’t go wrong with this (sadly I missed the Black Friday sale…)

On compressor, RND 535 looks versatile, think I will get that too.

#112

For compressors the FMR Audio 500 series units are a great deal. High quality and I was really surprised with how well they worked. Had one of each in a rack a while back, would recommend and I picked them up lightly used for ~$200 each.

#113

This is probably a done to death comparison but I’ll ask anyways: how did you find yourself using the two FMR comps differently? Were there situations where one was clearly more suited for a specific task than the other?

#114

I was thinking about getting a UA LA-610 but now i’m considering getting a lunchbox instead…

Anybody have experience/thoughts on tube preamps compared to transformer based pres for a first non digital audio interface pre?

#116

The 610 is one of my absolute favorite preamps. I have it as part of a 6176 and I love it on everything, especially bass.

But what’s right for you is whatever your own taste tells you. You won’t know until you’ve used it for awhile. There’s nothing like the 610 in 500 series. But there are many other lovely and wonderful preamps.

I think it’s best to pursue a pre for the sound it has (or because it’s clean) vs trying to see if it sounds like another piece of gear. If you get something that sounds kind of close you’ll still want to the original thing and eventually you’ll get it.

That said, the UA emulation of the 610 through their Unison gear is very very good. So that might be an option depending on what you use for converters.

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#117

The RNC worked well as an insert for single channels. Really transparent but solved a bunch of problems without changing too much. Good utility.

The RNLA made things really fat and added color. I used it on bass synth / drum samples.
Two linked RNLA would be perfect for a stereo bus, especially on digital content / synths.

I moved on to an SSL Six and sold the 500 gear. Someone else mentioned using a Six in this thread and it covers a lot of utility bases. A small stereo 500 series rack on the master inserts (something with Colour format modules etc) would be a killer setup.

This thread is making me want to get back into it! :money_mouth_face:

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#118

In a similar situation. Before I got my SSL Six, I was thinking about a collection of 500 format modules, but I was overwhelmed with the choices, and thought the Six was a better value proposition for starting. Glad I made that decision, I couldn’t be happier with the Six’s preamps, EQ’s and compressors. Everything is modern production quality, so I’m still thinking about some color modules, myself. I have a Boum, a White Instruments inductor-based EQ, and some RIPs for the cinemag transformers–so I’m trying to sort out what might be some appropriate 500 modules.

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#119

Mixbus EQ and compressors (though the built in SiX bus compressor is pretty rad), preamps for 3/4 and 5/6 (and alt 1 and alt 2 and ext 2). Reverb or effects for ext 1. Channel EQ for 3/4 and 5/6.

Those are the kinds of 500 series things I use with my SiX.

The SiX (with patchbay for the db25 stuff) is a supremely well thought out mixer.

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#120

i highly recommend checking out the SSL fusion or the Louder than Liftoff Silver Bullet. i wish i had gotten one of those instead of color modules to be honest.

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#121

Can I just roll back a bit and ask some really basic questions here?

People are using these 500 units preamp , compressions ( etc) in a home studio set up and then going into a computer?
what kind of signal would youtake out from this gear ?(balanced line level) and then go into a standard audio interface… or specific higher end stuff? I love the idea of some of this equipment but thinking in terms of the whole audio chain.
Love to hear a bit of context on how this stuff is used to the best advantage.

#122

Preamps bring the system up to line level. From there it goes wherever line level signals go: other hardware processors or recording media (converter or tape).

When mixing and mastering, I like to incorporate hardware processors so I use my converter to send out line level into 500 and 19” gear, then back in via the converter.

In practice this means that the signals are always hot enough that the converter’s preamps aren’t ysed very often. Though I do track with the converters directly sometimes when I want an ultra clean sound. Before, when my converter wasn’t as nice, it was cool to be able to skip the cheesy converter preamp and use just my clean 500 preamp.

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#123

interesting hadnt even considered the benefit of looping it out and then back in again. Was thinking more in terms of getting good input when recording.

When I upgraded my computer and went to windows 10 I couldnt work out how to keep my Mbox pro which is no longer supported and needs firewire. I got a presonus 1810 (usb c) but I cant get the warmth I had before with my new set up. Well it needs a few plugins to get there. The guy who recommended it said it was an improvement but think its a bit tinny. would a nice pre in front of it help me here ?

1 Like
#124

You might get better/broader feedback for that question in the Mixers and Interfaces topic or the Improving the Signal Chain topic, @Zedkah.

In my opinion (just an opinion!) the Mbox/Presonus/Focusrite gear is all at the same level of quality–completely acceptable starter gear. Lots of great recordings made on them and in terms of value they’re good; to improve on them requires spending quite a bit more (and knowing exactly what you want to improve).

If I had a recording that was tinny I would probably start by exploring EQ settings because that’s the cheapest and easiest. Then I’d be exploring mic placement (and if it was a stereo or multi-mic recording I would look at phase issues) because that’s the least expensive way to solve it. Then I would look at different mics (which can be expensive but a good mic doesn’t become obsolete and will likely hold resale value). After that I’d try sending the sound through anything with a beefy transformer.

Lots of mics and also lots of 500 series gear have transformers integrated in them. Mostly this is a sound/taste issue and you’re the only one who is going to know what’s right. You’ll have to experiment to find what kind of things you like. One person’s “tinny” is another person’s “clarity,” one person’s “warmth” is another person’s “mud” and so on. :slight_smile:

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#125

Thanks again, yes sure I dont want to off topic the thread, my signal chain issues more of an illustration of the issues with ‘starter gear’ in that you do come to feel its limits. Guess i see this 500 series stuff as next level up- but i could be wrong. Love the form factor the way some of it is modular and swapable and that there are good diy options.
Still genuinely interested where the 500 stuff sits and contexts where it excells.

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#126

Got another question that some of you may be able to help with. Looks like most/all 500 racks have XLR or DB25 connectors on them which isn’t terribly convenient for someone whose gear is all unbalanced 1/4" line level stuff… It doesn’t look like there are patchbays that have 1/4" unbal on the front to balanced on the back (which is sensible enough) but I can’t be the only person with a use case for connecting instrument cables into a rack via a patchbay?

Edit: the hypothetical ideal device would be 8x2 bay that offered impedance and bal/unbal conversion so I could mix and match my instruments, pedals and 500 modules.

#127

The absolute most advantageous use case is mobile/portable recording/mixing using hardware: bring your favorite hardware with you on the plane to wherever you’re working. 19” can’t compete with that.

Next is space-constrained work environments where having 19” racks is problematic. And/or grounding issue simplification advantage—advantages unique to the space one occupies.

There can be an economic advantage as the power supply is amortized across the collection of units.

Finally there are advantages of specific pieces which only exist in 500. There aren’t many of these though to be fair. Most of what is available in 500 is also available in 19” or in some cases as a pedal.

The overall advantage of 500 over 19” in this area is perhaps in flexibility for the given space. 500 is 3u high x 8-11 modules depending on the box you get. If you were to get 19” gear in that same space you have a choice of 1-3 manufacturers whereas with 500 every slot could be a different manufacturer.

If someone is unconstrained in terms of space and also has no mobile element to their work then 19” would likely make more sense. Maybe a small lunchbox for the unique items in 500 that a person likes.

Once any combination of space or mobility come into play 500 series becomes an attractive option. With things like the Cranborne or Titan lunchboxes additional economics and functionality start coming into focus as well in terms of workflow and saving money on cabling/patchbays.

Sonically there’s not much 500 can do that 19” doesn’t also do. But for many great utilitarian items the reverse is also true!

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#128

Many 500 series preamps have a DI built into the front (the A-designs, Cranborne, Electrodyne, Neve r88lb etc) which you can use to bring a TS signal up to line and balance it.

Radial makes a 500 series reamper that will get you out balanced line for your guitar pedals.

Many standalone DI and reamp boxes do this too, Little Labs has a couple great devices for this task.

#129

I had this same question - my understanding is that you can just use xlr to 1/4" for line in.

However, you don’t want to send mic input through the patchbay because sending phantom power through it can damage other units in your patchbay. I send everything through a mixer first then use direct outs to my patchbay so there is no need for phantom power on anything in the rack. Not sure what best practice is, but it works for me.