Best preamp to use for Late-Night style talk show

[Bouncing Account needs new email address]

I know the I’ll invoke the raining fire of dissension, but…

Why do you think its the “pre-amps” that make the Tonight Show “sound good”?

If that was the main reason, it would not sound good “at home” on most setups.

I would venture that its the combination of mics, placement, studio, EQ, and (MOST LIKELY) some carefully chosen and adjusted “processing units” that involve level compression at well-chosen frequencies.

A clean pre-amp should be basically “transparent” and not affect the tonal quality one way or the other.

(I’m strapping on my rain-helmet, even as we speak.)

😉

[Ryan Wyse]

We have a pro tools hd|2 rig for mixing and have been doing all of that to the best of our abilities, I admit that we are inexperienced and it could be that we just aren’t processing it right. However, I also know that 8 channels of preamp for $800 probably isn’t giving us the best quality sound to work with. Basically we want to eliminate any problems caused by our equipment while we continue to learn how to produce a better mix.

Ryan

[Frank Nolan]

[Matte] “I would venture that its the combination of mics, placement, studio, EQ, and (MOST LIKELY) some carefully chosen and adjusted “processing units” that involve level compression at well-chosen frequencies.”

I am going to put on an even bigger rain-helmet and venture to add that it is also, more than likely, a lot to do with talent, both in front of and behind the microphones.

[Ryan Wyse]

Seeing as I can’t fire everyone and higher better on/off stage talent, does anyone have any useful equipment suggestions.

Ryan

[Peter Perry]

Aw, you guys don’t need helmets, you are right on the money.
I’ve been doing syndicated TV in NYC for over a decade and a half. This coming season is my 4th on Montel. I have done dozens of talk shows and pilots. I have never, ever,
used an outboard preamp for anything, always the onboard preamps on the console. And believe me, some of those consoles sucked.
Having read what I just wrote, it occurs to me….are you guys even using a console?
You said you guys are inexperienced…do you have a dedicated experienced audio person? If not, you should try doing it with one and then you could save hours in your edit. I know Leno and Letterman are done Live-to-tape. You shouldn’t have to go back and mix a whole show from the multitracks, that’s just a waste of time and money.
Don’t make the mistake of thinking that fancy equipment will make up for inexperience. It won’t. And anyway, your Focusrite Octopre’s are more than fine. You won’t hear much of a diff with pricier pre-amps.
I guess I should put my helmet on now.
Peter

[Frank Nolan]

[Peter Perry] “Don’t make the mistake of thinking that fancy equipment will make up for inexperience.”

Agreed! In fact it can have quite the opposite effect. The more gear an inexperienced operator has to put the signal through, the more chance there is of them F*#%ing it up!

Without actually seeing what your engineer is doing and hearing the results it is very difficult to offer any advice as to what you need. My suggestion would be to hire an experienced engineer, even if it is just for a day or two, to come in and help your current engineer to achieve the best possible sound with what you have and then advise you on any future upgrades as needed.

[David W]

On a related note, what would be the best lapel/lav mic to use in a situation like this?

[Peter Perry]

Hi David,
I like the Sankens that Ryan is using, but I find that they don’t stand up to heavy everyday usage.
I am partial to the Sennheiser MKE-2 myself.
Peter