Rackmount Console Strip
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After the equalizer is the compressor section. All controls are continuously variable over an exceptional range. Ratio goes from 1:1 all the way to 40:1. Similarly, threshold can be set anywhere from -40 to +20 dB, while the attack control range is 0.3 to 300 ms. Release time also has a wide range, from 0.1 to 10 seconds. An “And Much More” button (marked &MM) changes the compression curve from hard to soft knee. Output or makeup gain is adjustable from -6 to +18 dB.
Normally, the compressor is in the Mic path with the mic signal presented to the sidechain input. Pushing the Line switch flips the compressor to the Line path with line signal presented to the sidechain. Pushing the Key switch re-routes the sidechain to whichever path is not selected for the compressor. All of this routing could get a little confusing, and I think Rupert Neve has done a good job of indicating what is going where through the use of lighted buttons. A Link button will link two or more CIBs together via a rear panel jack. Finally, an LED VU meter measures gain reduction only. It must have been quite a design problem to fit all of this on a single-rackspace panel, which might explain why the lighted Amek and Pure Path logos ended up on the rack ears!
Output Section
Both the Mic path and Line path have their own rotary output trim faders that range from off (mute) to +10 dB, with a detented 0dB point. It seems that Neve has done a few sessions in his day, because he knows that no engineer would be happy riding level using these necessarily small knobs. So, the CIB has a rear panel facility for connecting external faders (standard 5k or 10k linear law tapers) for both the Mic and Line paths.
Finally, three overload LEDs are set to light up 4 dB before clip at the following points in the signal chain: after the mic trim (Mic O/L), after the line trim (Line O/L) and in the Sidechain. Small as these LEDs are, they offer important cues for the optimal operation of all three signal paths.
In The Studio
Using the CIB as a microphone preamp, I found it easy to get levels (LEDs gave immediate indication of overload) and enjoyed super-low noise floors and no distortion. A good preamp for Foley work, the CIB never sounded bad, even when the clip LED blinked, and the mic gain rotary switch produced no clicks or pops while stepping up and down, which allowed for gain changes on-the-fly during recording. However, I’d recommend muting the output when switching in phantom powering. And wait about ten seconds.
When using the Line path, I had to remember to push not only the In button but also the Line button. For an acid test, I ran a hot, +10dBm SMPTE timecode feed into the Line path and then used 66 dB of mic gain on a Neumann U67 microphone through the Mic path. Though so much gain nearly caused acoustic feedback, I could detect no crosstalk from one path to the other.
My first line level job for the CIB’s Line path was de-essing a prerecorded vocal track. A typical recording problem, the vocal sound was dull and lacked top end, plus the singer had a big “S” problem. First, I wound on some high frequencies with the HF section of the equalizer and then used two bands of upper midrange frequencies with the LMF/HMF section for de-essing. A little higher Q would have helped in this application, but being able to cover two different “S” frequencies put the CIB ahead of most dedicated de-essers. Another good sidechain application was a bass guitar track on which the “slaps” were too loud, especially after I got the sound up and pumping in the mix with the CIB. At first, I set the compressor to fast attack and release, which worked okay, though I got some distortion due to the fast release time on certain sustaining notes. However, by finding the center of the slap frequencies and routing them to the compressor sidechain, I was able to control them instantly and maintain a cleaner, overall tone by compressing the bass less. Because any signals in the sidechain are added to the main signal presented to the compressor, you may want to use faster attack times when using sidechain processing.
The Amek Pure Path CIB’s clever design offers a unique approach to the mic preamp/equalizer/compressor combination, and its high-quality sonic performance and overall functionality will allow you to solve a wide range of recording problems. The Amek Pure Path Channel in a Box sells for $3,250.
Thanks go to Lex Marasek and Dan Vacari at LAFX Rentals in L.A. for letting me use their studio for my evaluation. Also, thanks go to Rupert Neve, Kim Templeman-Holmes and Dave Rochester at Amek, Nashville. The main Amek U.S. office is at 1449 Donelson Pike, Airpark Business Centre 12, Nashville, TN 37217; 615/360-0488; www.amek.com or www.purepath.co.uk.
Barry Rudolph is an L.A.-based recording engineer. Visit his Web site at www.barryrudolph.com.
Reprinted with
permission from 
Magazine, November, 2000
© 2000, Intertec Publishing, A Primedia Company All Rights Reserved
