VASI Posted October 2, 2014 Report Posted October 2, 2014 I see a lot of people carry about the amount of mic preamps on XYZ mixer / recorder. Personally I use at least two mic preamps and the others are wireless (so the mic preamp is the transmitter). I see and read a huge amount of sound mixers to worry about "how many mic preamps have this". Curious to see the results. You must not be confused with "how many tracks". Quote
Eric Toline Posted October 2, 2014 Report Posted October 2, 2014 I would never consider any mixer that didn't have a mic pre & 48vp for all the XLR inputs. Quote
Constantin Posted October 2, 2014 Report Posted October 2, 2014 There are often occasions when I need more than one mic preamps. E.g. to record ambiences in surround, or when I do music recordings. In fact, the 8 preamps many recorders offer these days are regularly not enough for me. Quote
studiomprd Posted October 2, 2014 Report Posted October 2, 2014 this is a major: "it depends", and the marketplace has plenty of options. Quote
VASI Posted October 2, 2014 Author Report Posted October 2, 2014 "it depends" does not fit well in this topic. I am asking how many preamps you use in your workflow. Quote
Jim Feeley Posted October 2, 2014 Report Posted October 2, 2014 For me 90% time it's 1 or 2. Same. The other times are recording music (rare for me..and then on a desk not bag mixer) or when recording atmos using plant mics etc (also rare). But I think like others here, I don't think I'd buy a mixer with only one or two preamps. Quote
pkautzsch Posted October 2, 2014 Report Posted October 2, 2014 "it depends" does not fit well in this topic. I am asking how many preamps you use in your workflow. Still It Depends. On a feature I might use no recorder/mixer preamp at all, using a wireless boom and seven wireless lavs (EN 2). On another feature someone else would use eight preamps for the same task, because their RX only output higher mic level (2040). On a documentary I might use two channels for an MS boom, and a few lavs as needed. On a small-scale music recording I might use eight P48 mics. And that last bit is the reason I use a 788T and not a 664. Quote
studiomprd Posted October 2, 2014 Report Posted October 2, 2014 vas: " "it depends" does not fit well in this topic. I am asking how many preamps you use in your workflow. " yes it does. my workflow setup very much depends on the gig; sometimes I may have 12+ mic's in use, though that is not a typical ENG/EJ/EFP gig; on "traditional" (old style!) sitcoms it is not unusual to have a dozen or more mic inputs to the board, which is usually more of a concert mixer than what folks use on carts!. In my career, I have on a number of occasions used all 8 mic pre-amps (with wired mic's!) on my Cooper Quote
Joshua Anderson Posted October 2, 2014 Report Posted October 2, 2014 I normally have all mics coming in through wireless receivers, but depending on the mix, I'll adjust which faders I'd like to use. That helps me mix. Since there is the occasional time I might hardline a mic, I want mic pres, 48v, and my EQ accessible on all faders. That way a hardline mic isn't s deciding factor on how I set up my board. It's kind of corny, but just like you can play the same scale on different strings of an instrument, you can play your mix from different faders in a way that feels better for you in that scene. Quote
VASI Posted October 2, 2014 Author Report Posted October 2, 2014 vas: " "it depends" does not fit well in this topic. I am asking how many preamps you use in your workflow. " yes it does. my workflow setup very much depends on the gig; sometimes I may have 12+ mic's in use, though that is not a typical ENG/EJ/EFP gig; on "traditional" (old style!) sitcoms it is not unusual to have a dozen or more mic inputs to the board, which is usually more of a concert mixer than what folks use on carts!. In my career, I have on a number of occasions used all 8 mic pre-amps (with wired mic's!) on my Cooper So, your average rate is 8+ mic preamps Quote
VASI Posted October 2, 2014 Author Report Posted October 2, 2014 Still It Depends. On a feature I might use no recorder/mixer preamp at all, using a wireless boom and seven wireless lavs (EN 2). On another feature someone else would use eight preamps for the same task, because their RX only output higher mic level (2040). On a documentary I might use two channels for an MS boom, and a few lavs as needed. On a small-scale music recording I might use eight P48 mics. And that last bit is the reason I use a 788T and not a 664. Peter I know workflows different from project to project. In conclusion and as I understand you need 6+ mic preamps. Quote
Jim Feeley Posted October 3, 2014 Report Posted October 3, 2014 Same. The other times are recording music (rare for me..and then on a desk not bag mixer) or when recording atmos using plant mics etc (also rare). But I think like others here, I don't think I'd buy a mixer with only one or two preamps. Oh... I might make an exception for the PSC Solice Mini. If I did (or start to do) some small cart jobs... http://professionalsound.com/specs/solicemini.html Quote
Marc Wielage Posted October 3, 2014 Report Posted October 3, 2014 Although technically, every condenser microphone needs a preamp, even if it's the one inside a wireless transmitter... I think the advantages of a dedicated studio level preamp, like a $2500 Avalon, would be lost on location dialogue. It's one thing if you're recording vocals for a big hit album in a very, very quiet studio, but for average scripted dialogue, I think the preamps in modern recorders and location sound mixing consoles sound fine. Quote
soundtrane Posted October 3, 2014 Report Posted October 3, 2014 I think this poll is inconsequential. It is not the number but the type of preamps if at all... As is evident - the number of preamps used differs from time to time - i could be using ONE boom for a scene in a feature and nothing else, or maybe 2 booms, 2 plant mics, 6 wireless (which CAN be used with preamps and not just the line outs), etc etc etc... I think the idea here is to explore how many people use standalone preamps versus built-in recorder preamps or how many use a front-end mixer and therefore a different set of preamps. Quote
VASI Posted October 3, 2014 Author Report Posted October 3, 2014 It is not the number - The title of poll says about the number. Not the type. Maybe a new topic with poll about how many use standalone preamps versus built-in preamps or how many use a front-end mixer it is a good idea. Quote
pvanstry Posted October 3, 2014 Report Posted October 3, 2014 When Ron and I were going back and forth on the phone about the solice mini features, a lot of time was spent on line level, mic level and numbers of inputs. Obviously not one mixer can do everything and certainly not one can please everyone. The idea behind the decision was as follow, since the mixer was meant to be used with the 664 or nomad, units that have some mic pres and some line level inputs, the idea was to give a fader mixer for all your wireless and then two wired booms going back into line level input of the recorder. In that thinking, you still have a couple of mic preamps available ( not on fader of course ) on the recorder directly for the couple of times you might need more. Of course if someone as a need for a lot of mic pres most of the time, the solice mini might not be for him. But it needs to be noted that the line level input actually have some gain and willost likely accommodate a "not exactly line level" wireless receiver. My two cents. Quote
Rick Reineke Posted October 3, 2014 Report Posted October 3, 2014 Many of us input wireless receivers at line level, so those inputs are not an issue. (see recent post) However, bypassing a mic preamp on most budget gear not possible. Quote
Michael Wynne Posted October 3, 2014 Report Posted October 3, 2014 Although technically, every condenser microphone needs a preamp, even if it's the one inside a wireless transmitter... I think the advantages of a dedicated studio level preamp, like a $2500 Avalon, would be lost on location dialogue. It's one thing if you're recording vocals for a big hit album in a very, very quiet studio, but for average scripted dialogue, I think the preamps in modern recorders and location sound mixing consoles sound fine. +1, also if you flip the scenario I think you'd find that the typical dialogue production type preamps used on location may not work so well in a studio environment. Every piece of gear has it's home. Quote
Philip Perkins Posted October 3, 2014 Report Posted October 3, 2014 I need one or two or I need about 20 or more, there never seems to be anything in between. Like most people on this forum I might have a wired boom or a plant, but the rest of the inputs (if not ALL the inputs) are line-outs from RX. The design of the mini-PSC mixer makes sense to me for its intended application--although I'd be happy to use one with a rack of external pres if the job called for it. On the music side the whole preamp deal is kind of a snob-con-job, with brand names etc very important to mixer image in a way that isn't true in movie sound (this is a good thing). philp Quote
John Blankenship Posted October 3, 2014 Report Posted October 3, 2014 I need one or two or I need about 20 or more, there never seems to be anything in between. Like most people on this forum I might have a wired boom or a plant, but the rest of the inputs (if not ALL the inputs) are line-outs from RX. The design of the mini-PSC mixer makes sense to me for its intended application--although I'd be happy to use one with a rack of external pres if the job called for it. On the music side the whole preamp deal is kind of a snob-con-job, with brand names etc very important to mixer image in a way that isn't true in movie sound (this is a good thing). +1 Quote
studiomprd Posted October 3, 2014 Report Posted October 3, 2014 PP: " I need one or two or I need about 20 or more, there never seems to be anything in between. " sorta' me too... Quote
Cameron Alexander Posted October 7, 2014 Report Posted October 7, 2014 I need one or two or I need about 20 or more, there never seems to be anything in between. Like most people on this forum I might have a wired boom or a plant, but the rest of the inputs (if not ALL the inputs) are line-outs from RX. The design of the mini-PSC mixer makes sense to me for its intended application--although I'd be happy to use one with a rack of external pres if the job called for it. On the music side the whole preamp deal is kind of a snob-con-job, with brand names etc very important to mixer image in a way that isn't true in movie sound (this is a good thing). philp There are products out there that have a very definitive sound. A good Neve 1073 or API 512 has a certain sound and will be chosen to deliver just that. I don't think this is snob-con-jobbery. Quote
Philip Perkins Posted October 7, 2014 Report Posted October 7, 2014 There are products out there that have a very definitive sound. A good Neve 1073 or API 512 has a certain sound and will be chosen to deliver just that. I don't think this is snob-con-jobbery. I do! I've been at this a long time, and have found that the recordings that really move me were usually made with very straightforward gear. Those recordings glowed because the music, the talent, the room, and the mics and their positions were really happening. Above what is a fairly basic quality level anymore, the preamp used is way down (or off) the list of what really matters in a location recording. In a studio setting, given the time to get tweaky, why not, if the rest of your shit is together. In the real world of of location recording, both music and dialog, there are way more important things to focus on. philp Quote
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