Most design engineers strive to design the most accurate and transparent circuitry possible. In a way, digitized audio is the result of such pursuits, the reactions to same forced many designers to reinvestigate vintage analog technology. Was it really better? Increasing the sample rate and bit depth alone will not make digital sound more like analog. It's analog's idiosyncrasies that everyone waxes romantically about, the intense study and ultimate emulation of which is essential to the progress of digital audio technology.
Both Dave Hill at Crane Song (in Superior Wisconsin) and Dan Kennedy at Great River (here in the Twin Cities) realized that recording engineers need a full-spectrum sonic palette. Sometimes this means going against their instincts. Yes, there are times when transparent-clean is the best and only choice. Other times a little grunge helps bring a more aggressive "street" feel to studio tracks that can sometimes be too sterile, especially now that analog tape has become more a piece of outboard than a standard part of the recording process.
Fletcher commented that many input and output transformers were auditioned before landing on the combination in the MP-2NV. Prototypes were passed between Massachusetts and Minnesota before commiting to the final set, chosen because they were clearer, deeper and "punchier" than those found in the original 1073 design.
Just as television and print exaggerate the warmth of flesh-tones (think distressed furniture, acid-washed jeans and a broken-in pair of sneakers); analog's artifacts are used to saturate sonic colors to reproduce sounds more vivid than reality.
GEAR SPECIFICS
The Great River MP-2NV "Mercenary Edition" stereo microphone preamplifier, http://www.mercenaryaudio.com/greatrivelmp.html
Inputs: Transformer-Balanced Microphone via rear-panel XLR connectors and instrument inputs via front quarter inch jacks.
Input Impedance: 300 and 1200 ohms (to accommodate 50- and 200-ohm mics), greater than 1-megohm (instrument). ß a guess)
Insert: Unbalanced TRS in between preamp and output amplifiers for outboard such as compression and equalizers.
Outputs: 600-ohm Transformer-Balanced line level via rear-panel XLR connectors. Maximum Output level +27dBm, terminated.
Controls: Input Impedance switch, output termination switch, Input Gain rotary switch, Output Level rotary pot, Polarity Reverse, Phantom Power.
Price: 2,499.00 list.
The Crane Song HEDD 192
http://www.cranesong.com
On the Rear Panel: Balanced Analog Inputs and Outputs via XLR connectors. AES and SPDIF I/O via XLR and RCA connectors, respectively. Word Clock in and out. Power.
Controls: Sample Rate, Bit Depth (also inserts DSP in the correct signal path), AES / SPDIF, Word (internal and external) DSP Bypass.
List Price: $3495.00 list
See these links:
http://www.tangible-technology.com/test_equip/NeutrikML1.html
http://www.nt-instruments.com/splash.html
Reprinted with
permission from Eddie Ciletti, Tangible
Technology, 2001
October modifications © 2000 by Eddie Ciletti, All Rights Reserved
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