Double Bass AMT mic question

[Bass Catcher]

I've been researching the AMT S25 mic and I'm confused as to what the difference between the different pre-amps is. I have read descriptions of both, but as my "gear vocabulary" is somewhat limited, I don't really understand. Can someone explain it in simple terms for me? Thanks!

 

[Ric Vice]

I've been researching the AMT S25 mic and I'm confused as to what the difference between the different pre-amps is. I have read descriptions of both, but as my "gear vocabulary" is somewhat limited, I don't really understand. Can someone explain it in simple terms for me? Thanks!

Bass Catcher,
The Super Pre amp has two mic outputs and one line output. It's more expensive but it has a little more flexibility.
The Standard Pre Amp has only one mic output.

Ric

 

[Bob Gollihur]

I've been researching the AMT S25 mic and I'm confused as to what the difference between the different pre-amps is. I have read descriptions of both, but as my "gear vocabulary" is somewhat limited, I don't really understand. Can someone explain it in simple terms for me? Thanks!

The S25B has just an interface box with an XLR output. One would usually choose that if you're running to an amp or to a PA board, or if your amp has the bells and whistles the SP25B preamp box has.

The SP25B has a more fully featured interface box; these are the details from my web site:The 'super pre-amp' has 3 outputs, including two XLR outputs. One is the regular output for standard use, the red one is the isolation transformer. If you are playing with a PA and start to hear a 'hum', move the connection from the standard XLR output to the isolation or red output. to eliminate this. The ¼ inch output is your line driver, normally used with a standard musical instrument amplifier, with the XLR signal to the house PA or recording device. The Pre-amp works with phantom power or a 9-volt battery; a battery is required by the circuitry even when phantom power is used.
The external volume control is for the line driver/¼ inch output. The preamp also has an internal volume control in the final gain stage that you can adjust with a screw driver, used only if more or less gain is required to match the gain on your amplifier

One might choose this if they wanted a simple and compact box from which they could send a¼ inch cable to their amp on-stage and also send a signal to the PA via XLR. However, many amps have features that would make the box superfluous.

Also, given the difference in price between models is $250+, we've often suggested players grab a D-TAR Solstice or similar preamp to pair with a S25B, instead of the SP25B. It's just a few more bucks for a lot more features, unless their gigging travels and stage situations are more appreciative of the smaller AMT SP interface box.

 

[PBrown]

Bob, is there an adapter for the mic cable to bypass the AMT SP25b pre to go into, say, a Headway EDB-1? Or simply into my amp which (SWR Natural Blonde) has Phantom power built in as well?

 

[Mark Gollihur]

Bob, is there an adapter for the mic cable to bypass the AMT SP25b pre to go into, say, a Headway EDB-1? Or simply into my amp which (SWR Natural Blonde) has Phantom power built in as well?

They now make an "Inline Preamp" which is a small, phantom powered "barrel" style preamp, which then terminates in an XLR jack. The output jack of the mic plugs directly into it. Price: $99 (special order)

That's the simplest preamp they make. The pre-amp also includes a dB cut and low roll off filter with a standard XLR (mic cable) output. It's compact and convenient, plugs in like a "regular" condenser mic for a minimum of hassle - but requires an external phantom power source.

 

[PBrown]

Thank you so very much!