Scott ODell
New member
- Joined
- Jul 24, 2013
- Messages
- 4
Hello everyone! I'm an Electrical Engineer that is dusting off my analog electronics knowledge after several years in a software-related job. I recently completed a slightly modified version of the "Weak Joe" optical compressor and am very happy with it. For the first time, I feel like I can find a setting that transforms the audio into the best version of itself, unlike the DAW plugins I've used previously.
After this personal triumph, I've started scoping out future projects to beef up my home recording studio. However, I've come to realize I need the (mostly subjective) advice of more experienced DIYers before I can confidently select which projects to pursue. I'm currently limited by resources- both money, and especially time - and would like to focus on projects that add versatility to my setup, but to save time and money by not focusing on that "last 1%" that people talk about so much. I'm mostly interested in preamps (Neve, API, Tube, FET), EQs (Pultec mostly), and compressors (SSL G-series, 1176, LA-2A).
So now for the real questions I need your advice on:
1) How much do input/output transformers contribute to that "vintage sound" as compared with the electronics between them? For example, say I was in a recording situation where a vintage Neve 1073 would get me 100% of the sound I wanted, but instead I used a vintage Neve with the input and output transformers swapped out with a couple properly implemented THAT Corp. chips. By your subjective estimation, how close to 100% would that be?
2) How do cheap transformers compare to more expensive ones? Is the distortion they produce less pleasing? Or do they produce too much distortion? Using the same Neve 1073 example, if I had a clone with the replica Carnhill transformers, then switched them out with roughly equivalent Edcor transformers, how close to the original would it sound?
3) In general, how much does circuit topology define the sound in relation to the selected amplifying component? From listening to demos of Hamptone preamps, it seems that circuit topology is more important. The Class-A, no-feedback JFET preamp certainly sounded much closer to the character of a tube preamp than a JFET-based OpAmp circuit with feedback. Is this your experience as well?
4) In classic equipment (especitally Pultec EQs, 1176, Fairchild 670), how much of the magic comes from the actual utility (the way it boosts/cuts frequencies or the character of the compression envelope) and how much comes from the gain stages/transformers? I'm particularly interested in what you think of Pultecs (are the filters part of the magic?) and the 1176, because I'm fairly sure equipment like the SSL G-series compressor is all about the utility, as there doesn't seem to be much color added by the gain stages.
5) In your opinion, would it be reasonable to separate the utility and gain stage components of classic equipment so you could mix and match them? For example would it be worth it do build a Pultec with the same passive filters, but then use a transparent OpAmp to provide makeup gain. Then you could also build a line amp based on the original Pultec's tube gain stage and plug it in afterward. Would this type of system or separating EQ filters, compression elements, and colorful gain stages sound pleasing, or would the magic of the classic equipment be lost? Obviously with only this equipment, the example is overly complicated, but if there was a situation that you wanted Pultec filters with API color, you would have the flexibility to use an API line amp instead.
Sorry for the long post . I know all these questions are extremely subjective and that many of the example are contrived and impossible to answer without me testing them myself. But I'd appreciate any opinions or wild guesses that would help me figure out what projects are worth pursuing and in which order I should pursue them.
Thanks,
Scott
After this personal triumph, I've started scoping out future projects to beef up my home recording studio. However, I've come to realize I need the (mostly subjective) advice of more experienced DIYers before I can confidently select which projects to pursue. I'm currently limited by resources- both money, and especially time - and would like to focus on projects that add versatility to my setup, but to save time and money by not focusing on that "last 1%" that people talk about so much. I'm mostly interested in preamps (Neve, API, Tube, FET), EQs (Pultec mostly), and compressors (SSL G-series, 1176, LA-2A).
So now for the real questions I need your advice on:
1) How much do input/output transformers contribute to that "vintage sound" as compared with the electronics between them? For example, say I was in a recording situation where a vintage Neve 1073 would get me 100% of the sound I wanted, but instead I used a vintage Neve with the input and output transformers swapped out with a couple properly implemented THAT Corp. chips. By your subjective estimation, how close to 100% would that be?
2) How do cheap transformers compare to more expensive ones? Is the distortion they produce less pleasing? Or do they produce too much distortion? Using the same Neve 1073 example, if I had a clone with the replica Carnhill transformers, then switched them out with roughly equivalent Edcor transformers, how close to the original would it sound?
3) In general, how much does circuit topology define the sound in relation to the selected amplifying component? From listening to demos of Hamptone preamps, it seems that circuit topology is more important. The Class-A, no-feedback JFET preamp certainly sounded much closer to the character of a tube preamp than a JFET-based OpAmp circuit with feedback. Is this your experience as well?
4) In classic equipment (especitally Pultec EQs, 1176, Fairchild 670), how much of the magic comes from the actual utility (the way it boosts/cuts frequencies or the character of the compression envelope) and how much comes from the gain stages/transformers? I'm particularly interested in what you think of Pultecs (are the filters part of the magic?) and the 1176, because I'm fairly sure equipment like the SSL G-series compressor is all about the utility, as there doesn't seem to be much color added by the gain stages.
5) In your opinion, would it be reasonable to separate the utility and gain stage components of classic equipment so you could mix and match them? For example would it be worth it do build a Pultec with the same passive filters, but then use a transparent OpAmp to provide makeup gain. Then you could also build a line amp based on the original Pultec's tube gain stage and plug it in afterward. Would this type of system or separating EQ filters, compression elements, and colorful gain stages sound pleasing, or would the magic of the classic equipment be lost? Obviously with only this equipment, the example is overly complicated, but if there was a situation that you wanted Pultec filters with API color, you would have the flexibility to use an API line amp instead.
Sorry for the long post . I know all these questions are extremely subjective and that many of the example are contrived and impossible to answer without me testing them myself. But I'd appreciate any opinions or wild guesses that would help me figure out what projects are worth pursuing and in which order I should pursue them.
Thanks,
Scott