DI tube preamp into mic preamp

[Kavakon21]

First off, a DI and a preamp are two different things. Sometimes they are combined but that usually only happens when a preamp adds a DI as a feature.

I've recorded into Neve channel strips a lot; both 1073 and 1084. My typical signal path is a plain, uncolored DI (usually a Countryman Type 85, sometimes a Radial) into the channel strip. I don't drive the input too hard into clipping but I hit it hard enough to saturate. From there I go to an 1176 compressor for rock or an LA-2a compressor for all other styles, usually around 4:1.

If there's a Pultec at the studio and time to play I might put it between the Neve and the compressor for the "Pultec trick" but that only happens every once in a while.

Interesting. The Country man 85 looks pretty sweet too. Especially for a less colored sound. I wish I had a pultec. I do have the UAD plugin and the logic vintage eq that I think is based on that. Might have to play around with that

As for the 1176, I see a lot of people mentioning it in their bass chain. I mostly use the fab filter c2 plugin. No space for more hardware, but might check the purple 1176 based fet compressor

 

[silky smoove]

or an LA-2a compressor for all other styles, usually around 4:1.

How do you manage that, considering the LA-2A has no ratio control, and is entirely program-dependent?

 

[GR7G5TER]

How do you manage that, considering the LA-2A has no ratio control, and is entirely program-dependent?

I'm not Compression expert, but doesn't t he peak reduction act as a kinda ratio, ie the more you the turn the greater the compression.

TBH I used LA types more for the time they impart than the compression.

 

[silky smoove]

I'm not Compression expert, but doesn't t he peak reduction act as a kinda ratio, ie the more you the turn the greater the compression.

TBH I used LA types more for the time they impart than the compression.

The peak reduction control lowers the threshold and increases the total ratio, but since the LA-2A is program-dependent the ratio is not constant. Put more signal above the threshold and the ratio increases, put less above the ratio and the ratio decreases.

 

[Lo-E]

The Country man 85 looks pretty sweet too. Especially for a less colored sound.

There’s a reason the Type 85 has been an industry standard for more than 40 years. Sure, there are plenty of other, sexier options but the Type 85 does what it does extremely well, which is to sound like it isn’t there at all.

I wish I had a pultec. I do have the UAD plugin and the logic vintage eq that I think is based on that. Might have to play around with that.

The “Pultec trick” is very cool but it isn’t for everything. Having a Pultec available is a nice luxury but it’s not a necessity by any stretch. I’ve done far more recording without it than with it.

How do you manage that, considering the LA-2A has no ratio control, and is entirely program-dependent?

Sorry…. 1176 set to 4:1, LA-2a set by ear in the “4:1-ish” neighborhood; typically below halfway.

FWIW, all compressors are program-dependent for the most part, but I underst What you’re talking about.

I like the LA-2a for its subtlety and its slow engagement. I tend to hit it lightly. Based purely on estimation, I doubt I’ve ever pushed an LA-2a much past 8:1 and, by the time I’ve gone that far I’m much more likely to switch to a different compressor.

 

[silky smoove]

FWIW, all compressors are program-dependent for the most part, but I underst What you're talking about.

With respect to reactivity relative to the threshold I would agree. I would not agree that all compressors are program-dependent in the way that an LA-2A is. Few compressors have true program-dependent changes to attack, release and ratio depending on the input signal in the way an LA-2A does. It's a big part of why it sounds the way it does, and also why it's better-suited to certain tasks than others. I can't think of another compressor where the ratio will change over the course of a single note's envelope based on the input program-dependency in the way it does with an LA-2A.

 

[GR7G5TER]

The peak reduction control lowers the threshold and increases the total ratio, but since the LA-2A is program-dependent the ratio is not constant. Put more signal above the threshold and the ratio increases, put less above the ratio and the ratio decreases.

Thank you, would you mind expanding on what you mean by programme dependent?

I think you're covering this in the second sentence.

 

[smatanovic]

How do you manage that, considering the LA-2A has no ratio control, and is entirely program-dependent?

According to UA, the default ratio in an LA-2A compressor is 4:1.

 

[silky smoove]

According to UA, the default ratio in an LA-2A compressor is 4:1.

If you dig deeper you'll see that UA has also stated 3:1 and 2:1 in various places including certain manual versions. This is all because the original Teletronix design provides a continuously variable ratio that changes over the course of the note envelope along with the attack and release times. It's more easily expressed as db/ms relative to the program-dependent input signal as opposed to a fixed ratio applied to all signal crossing the compression threshold.

 

[smatanovic]

If you dig deeper you'll see that UA has also stated 3:1 and 2:1 in various places including certain manual versions. This is all because the original Teletronix design provides a continuously variable ratio that changes over the course of the note envelope along with the attack and release times. It's more easily expressed as db/ms relative to the program-dependent input signal as opposed to a fixed ratio applied to all signal crossing the compression threshold.

Helpful, thank you. I based the statement about 4:1 on the literature for the la-2a pedals. Thanks for expanding on that.

 

[Krisfield]

Lately I've been using my RME UCX II Hi Z (DI) input and recording through a UADx LA 6176 plugin in Logic Pro. Tube emulation is amazing and worth considering for recording projects, or maybe live. 1176 distortion is something else. I got it for $39, usually it's $299.

 

[smatanovic]

I’ve recorded into Neve channel strips a lot; both 1073 and 1084. My typical signal path is a plain, uncolored DI (usually a Countryman Type 85, sometimes a Radial) into the channel strip.

Do you do this over XLR or over an instrument cable? I ask because I use a Sushi Box Finally and I record into an Apollo interface, so I can send either signal.

 

[Lo-E]

Do you do this over XLR or over an instrument cable? I ask because I use a Sushi Box Finally and I record into an Apollo interface, so I can send either signal.

Bass > instrument cable > DI > XLR cable > Neve

 

[smatanovic]

Bass > instrument cable > DI > XLR cable > Neve

Perfect, thank you!