#104

This is the big feature of fabfilter’s pro-q 3 if you wanted to explore with a trial on that. I do find it quite useful…but I find that it works best when you take control over the threshold, something the Hi-Lo doesn’t seems to have. Your euro idea with an envelope follower would allow more control too.

#105

I totally fell asleep last night listening to a bunch of DIYRE podcast episodes so I could have a better understanding of what’s being discussed in this thread.

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#106

Can you tell me more about the RN 551? I eyeing on SSL EQ because those Lo Mid and Hi Mid bands seem more versatile for different kinds of sound. What will it be for 2 bands EQ like 551? How is your application on this device?

I’m grateful to have opinions from you, you are one of the labels I love the most.

#107

I’ve been keeping an eye to the CAPI’s pre amps for quiet a while now. Was it hard to assemble? I’m not a pro at soldering…

#108

I found the preamps very easy to solder (I had only made cables before, and a couple repairs on old synths)—plenty of space between the components, and the instructions were great. The opamps are a bit harder, though, to solder if it’s your first project, as they’re pretty cramped in there (you can buy a pre-made one if you’re worried about that). CAPI’s EQs and compressors are more dense than the preamps (like the opamps). But the preamps: ideal first build.

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#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.

4 Likes
#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 ?

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#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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