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Walk away CDs PLUS archive recording
I do live audio recordings of concert band and choral events. I provide walk away CDs for each group that day as well as occasionally provide another copy at a later date. SO, my needs are as follows: I need a good quality/clean/unadulterated recording to archive/work on in post. I also need a good “hot”(the directors don’t need to have to turn their often lower quality systems up so high to hear it clearly) recording to hand off that day. I don’t have time to sit there with a laptop and even do the most basic post work. I have less than 5 minutes from the time they leave the stage to be done with that disc.
My current setup:
RODE NT5s -OR- AKG C414EBs
ART Digital MPA II (I hate it but it does offer good signal diversity)
A couple of Tascam CD recorders. (One for the walk away disc. One for archive redundancy)
A Tascam CF card recorder (for archive)I would REALLY like to replace the ART preamp. I feel as if this is the weak link.
From other products you’ve used, what would you recommend?
I’ve pondered the 1818VSL. I THINK I could use this to apply some light VSL effects to the walk away disc output while recording an unedited version to the other two recorders. I like the XMAX preamps from the Firestudio Project, so that is why I would like to stay in that realm, BUT I would certainly be willing to go to another preamp if I knew that it would be better than the ART I’ve got.
Any and all comments/suggestions/first-hand knowledge would be absolutely helpful and appreciated.
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5 Replies
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Hello Ross and welcome to the Cow Audio Forum.
Are you recording 24-bit to the Tascam?
(I hate it but it does offer good signal diversity)
Please explain “signal diversity.”
Thanks,
Ty Ford
Cow Audio Forum LeaderWant better production audio?: Ty Ford\’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford\’s Blog -
I am recording 24 bit to the Tascam, and that is a LARGE improvement from the 16 bit version of the same. The ART preamp has a Sample Rate/Dither selection knob on the front.
By “signal diversity” I mean that it gives a lot of different output possibilities (XLR, 1/4″, SPDIF, Optical, etc…).
That’s very important to me because I don’t want to run through one machine to get to another. I want them all to be independently connected to the preamp. I had a couple of machines tied together at one point, but then when one errors, you lose signal to the one downstream. -
Ross,
Sounds like the ART is the Weakest Link.
Would something like this be better: https://apiaudio.com/product.php?id=122
Regards,
Ty Ford
Cow Audio Forum LeaderWant better production audio?: Ty Ford\’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford\’s Blog -
The ART is without a doubt the weak link. It came along as a part of a package deal. I border-line loathe that piece of equipment. I’ve replaced the tubes in there and still don’t really care for it.
The API looks interesting (and expensive!!! wow!). Thanks for pointing me that way. I’ve read the manual regarding this, but can you explain the 2:1 feature on each input? Is that a compressor/limiter of sorts?
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It’s more of a gain staging feature.
Each circuit and/or device has a sweet spot – a level at which it’s more linear and better sounding (if you like it there).
Looks like this feature lets you change that a bit.
You can also amaze yourself with a John Hardy dual preamp mod of this design: https://www.johnhardyco.com/JTS9902ChDetails.html
$ 1715 M-1 plus output xformers ($350.)
So $2k for the finished piece.
Talk to John at 847-864-8060.
Regards,
Ty Ford
Cow Audio Forum LeaderWant better production audio?: Ty Ford\’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford\’s Blog
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