The only downside to this version of the LA-610 is it has limited headroom, meaning anything pushed past -18db on your DAW meter is going to result in distortion. I bought this LA-610 11 years ago, and it’s Universal Audio’s first design of the LA-610. The Universal Audio LA-610 is a channel strip, all-tube vintage mic preamp design that has high and low shelf EQ options and a Teletronix T4 optocompressor (similar to an LA2A-style compressor). Here are the results: Preamp 1: Universal Audio LA-610 I know we’re splitting hairs here, but hey, that’s part of the fun! There are two preamps (and a close third) that stood out to me as the winners, and I’ll chime in with my thoughts for each preamp. I used the following plugins on just the bass guitar track: Manny Marroquin Distortion -> UAD Pultec EQ (slight boost at 1.5k) -> UAD 1176LN (12:1, slow attack, fast release, -3 to -6db gain reduction). Warning! This track is a little louder overall than the “Unmixed” version above. Turn down your volume if you’ve got it cranked!
For each preamp take, I gain matched them as close as my ear perceived it.For each preamp, I played enough time to get into the groove of the song, then chose the best 4-bar chunk for consistency.There are five microphone preamps, each from a different manufacturer.
I used a Fender Road Worn P-Bass with fresh D’Addario strings and a Monster instrument cable.Before we get started, here are the details: So I thought it’d be fun to do a microphone preamp shootout for DI bass guitar recording and share the results. The bass for this song is such an important part of the groove and vibe that even something as small as changing microphone preamps could take it to awesome! or meh. I recently finished writing a song with my good friend and client Daniel Crane, and the track that we built during the writing process really got me thinking about Direct Input (DI) bass tone.
0 kommentar(er)
