I can't get a straight answer re PREAMPS

[DamirBL]

You’d get better results splitting the mic and sending one signal to a Midas mic input and one to your color preamp, then that into a line in of the Midas. I’d use a transformer isolated splitter.

Do all splitters work with phantom power coming from a mixer?

[resistorman]

You’d get better results splitting the mic and sending one signal to a Midas mic input and one to your color preamp, then that into a line in of the Midas. I’d use a transformer isolated splitter.

Do all splitters work with phantom power coming from a mixer?

I’ve not seen one that hasn’t Typically, whichever preamp you connect to the direct side of the split will supply the phantom power.

[Drew Stephenson]

I've not tried them, but based on the price and reviews I'd definitely have a Cranborne Camden pre-amp on the auditioning list. Top class technical specs if you want clean and a simple mojo knob if you want to add character.

[Aled Hughes]

I've not tried them, but based on the price and reviews I'd definitely have a Cranborne Camden pre-amp on the auditioning list. Top class technical specs if you want clean and a simple mojo knob if you want to add character.

Cracking things. I have three, and a fourth is inevitable!

[DamirBL]

Either that, or using a "wurst" mic setup.

The 2 videos I posted here both have the wurst/crotch mic involved in the mix

[Hugh Robjohns]

Do all splitters work with phantom power coming from a mixer?

I’ve not seen one that hasn’t

You're quite right in that conventional transformer-based passive mic splitters have one direct connection through which phantom can be passed to the mic from a connected mixer or preamp.

However, just FYI, all active mic splitters provide phantom power themselves, such as the (legacy) Klark Teknik DN1248 range.

[resistorman]

Thanks, Hugh… I’ve suspected such beasts exist but have never seen one in the wild Out of curiosity I searched for active splitters and it seems Drawmer is still making a well specced one, though it’s kind of a specialty item. I can see it would be really useful for press conferences etc.

https://www.sweetwater.com/store/detail ... ickbox-4x4

[Terrible.dee]

Ok, I'll try to keep this as short as possible:
My gear is the following:
- Sonor Sq1 drumset
- A selection of various mics: Audix d2,d4,d6,i5, pair of adx51s
Shure: Ksm 137, 141, sm58
Earthworks dm20.
- A mixer that I recently ordered is midas m32r live.
- I have built a solidly dead drum room, though not too dead, but it resonates within my tastes for the drum sound.
- I got some small krk v4 monitors that I actually like, but probably gonna be looking into more monitoring options sooner or later

Now, I wanted to expand my equipment with (a) preamp(s). My longterm goal is to create something like a drum tracking room, that is specialized more for drum recording than to anything else (not really interested in recording other instruments if I really don't have to )
Let's say I am at the beginning of this endeavor and for the moment I am looking to expand on drum sound, want more broader sound, maybe a little more control and then more crack when needed.
I tried talking to several know-how-to-guys, but I did not end up with a straight answer when it comes to preamps. Where should I start in that department?
YT drummers have had some recording with focusrite clarett preamps, it caught my eye, but then some nay-sayers came and basically stated that kind of preamp and preamp price range is worthless according to their opinion.

So, yeah, how about a straight answer, WHAT PREAMP should I start with to add to this equipment? Or what would be the next logical step when building this small drum project studio?

BTW
Here is what I have accomplished so far with my drum recordings, the last two of them at least:
https://www.instagram.com/p/CONVTAmhcmC/
https://www.instagram.com/p/CPO9IlMhSoT ... B44eW_mCT8

Sure, I'll give you as straight answer.

Look for a GAIN and MASTER OUT knob.

What that allows you to do is DRIVE the preamps internal circuitry for color/dirt/mojo/blah..bash

YOU will have to decide for yourself which pre's provide the color that your ear finds appealing.

But those two knobs are the mark of a "Character' preamp.

(API fans....your stuff is OVERATED!)

[DamirBL]

An example or two?

[jaminem]

Hi There.
I will give you a straight answer.

1. The advice to record clean is prevalent across forums like SOS since it gives you options so you are not committed to a sound that you cant undo. This is good advice, but assumes you have the time to process afterwards to find the sound.
2. The 'process on the way in' school of thought comes from 'the old school' where you couldn't do as much post processing (cos you were recording to tape) and a lot of pro engineers come from that world hence they continue to work that way. Also in very busy studio's where there is a less time to process afterwards, getting a sound on the way in can be preferable. It can also help the 'vibe' of the session since invariably you are adding some sort of distortion. Distortion is exciting!
3. Getting 'a sound' on the way in is predicated by knowing what you're doing which comes from experience, hence in a forum where beginners are likely to be, the advice to record clean and process later is a good one. Again good advice, however I always thought (as I think you may be considering) how do I get that experience if I don't try it so I can learn what works and what doesn't!
4. Neither of these approaches are wrong, just different horses for courses. you don't have to record clean all the time, or via character amps all the time.
5. If you're going to record via a character preamp as stated above having an input and output control is preferable since you can then determine how much 'drive'(distortion) you add on the way in.
6. AFAIAC there are 4 basic type of preamp and although they can be used for anything that suits they tend to fall into categories (hence Hugh's API for drums comment) as they have characteristics that can bring out and enhance parts of the source instrument that you probably would end up eq'ing or transient designing in post. These are:
A. API Style preamps (see also the 'American sound') these have a tight punchy bottom end, really snappy transients ( aka fast), prominent mids and quite strong top end. This is why people like them on Rock and pop drums, as they bring out the 'hit' but control the resonances and give you a 'punchy' sound. Also those mids really help electric guitars cut through a mix and since you're probably high cutting the top end, so the strong top end can be less 'fizzy']
B. Neve Style (aka the 'British sound) Big round bottom, smooth, softer mids sweet top end. People like these on vocals - very forgiving for anything a bit harsh in the mids, take top end eq really well (because a 'modern' vocal sound tends to have a lot of 'top') can also work well on bass if you want something more expansive and keys. Having said that, if you want a softer or more 'vibey' less in your face drum sound some people love Neve stuff on drums
C. Valve Preamps. More saturated if driven, 'sparkly' 'silky' 'sheen' on the top end Nice on vocals (that top end again) acoustic guitars to bring them out of a mix without EQ'ing the crap out of it. Often have more presence. Can also work well on electrics if you're trying to build up a 'thick' sound
D. 'Clean' Preamps - Think SSL/Camden etc. Great allrounders, tend not to be pigeon holed into one thing or the other. Can sound great if driven - SSL especially has lovely saturation of you use the 4000 style circuits. The thing about SSL preamps and the like is that they always sound like they're not doing anything, until you swap for another subjectively 'clean' preamp, at which point it sounds like you've lost something.
7. Disclaimer - this is a guide only based on my experience, and does not mean this works for everything. More of starting point for getting a sound, sometimes on the right singer - Condenser>Neve Preamp>Opto compressor. Sometimes, SM7b straight into my 'clean' RME preamps. Sometimes on Bass, DI into Focusrite ISA one (god I love that DI) sometimes via passive Orchid DI.

Ignore 'you have to have an external preamp to sound good' - its nonsense, but I would say also ignore the 'don't bother just buy plugins' - If you have the means, the time and inclination to experiment with HW preamps, I say go for it, see what works for you. Not got a huge budget but still want to try - DIY! millions of DIY Preamps and 500 series racks out there (CAPI, AML, Fivefish, JML Audio, SoundSkulptor etc)

Hardware is fun, experimenting is fun, learning is fun

[Hugh Robjohns]

Nice post!

[resistorman]

Hi There.
I will give you a straight answer.

You certainly did!

[DamirBL]

Hi There.
I will give you a straight answer.

1. The advice to record clean is prevalent across forums like SOS since it gives you options so you are not committed to a sound that you cant undo. This is good advice, but assumes you have the time to process afterwards to find the sound.
2. The 'process on the way in' school of thought comes from 'the old school' where you couldn't do as much post processing (cos you were recording to tape) and a lot of pro engineers come from that world hence they continue to work that way. Also in very busy studio's where there is a less time to process afterwards, getting a sound on the way in can be preferable. It can also help the 'vibe' of the session since invariably you are adding some sort of distortion. Distortion is exciting!
3. Getting 'a sound' on the way in is predicated by knowing what you're doing which comes from experience, hence in a forum where beginners are likely to be, the advice to record clean and process later is a good one. Again good advice, however I always thought (as I think you may be considering) how do I get that experience if I don't try it so I can learn what works and what doesn't!
4. Neither of these approaches are wrong, just different horses for courses. you don't have to record clean all the time, or via character amps all the time.
5. If you're going to record via a character preamp as stated above having an input and output control is preferable since you can then determine how much 'drive'(distortion) you add on the way in.
6. AFAIAC there are 4 basic type of preamp and although they can be used for anything that suits they tend to fall into categories (hence Hugh's API for drums comment) as they have characteristics that can bring out and enhance parts of the source instrument that you probably would end up eq'ing or transient designing in post. These are:
A. API Style preamps (see also the 'American sound') these have a tight punchy bottom end, really snappy transients ( aka fast), prominent mids and quite strong top end. This is why people like them on Rock and pop drums, as they bring out the 'hit' but control the resonances and give you a 'punchy' sound. Also those mids really help electric guitars cut through a mix and since you're probably high cutting the top end, so the strong top end can be less 'fizzy']
B. Neve Style (aka the 'British sound) Big round bottom, smooth, softer mids sweet top end. People like these on vocals - very forgiving for anything a bit harsh in the mids, take top end eq really well (because a 'modern' vocal sound tends to have a lot of 'top') can also work well on bass if you want something more expansive and keys. Having said that, if you want a softer or more 'vibey' less in your face drum sound some people love Neve stuff on drums
C. Valve Preamps. More saturated if driven, 'sparkly' 'silky' 'sheen' on the top end Nice on vocals (that top end again) acoustic guitars to bring them out of a mix without EQ'ing the crap out of it. Often have more presence. Can also work well on electrics if you're trying to build up a 'thick' sound
D. 'Clean' Preamps - Think SSL/Camden etc. Great allrounders, tend not to be pigeon holed into one thing or the other. Can sound great if driven - SSL especially has lovely saturation of you use the 4000 style circuits. The thing about SSL preamps and the like is that they always sound like they're not doing anything, until you swap for another subjectively 'clean' preamp, at which point it sounds like you've lost something.
7. Disclaimer - this is a guide only based on my experience, and does not mean this works for everything. More of starting point for getting a sound, sometimes on the right singer - Condenser>Neve Preamp>Opto compressor. Sometimes, SM7b straight into my 'clean' RME preamps. Sometimes on Bass, DI into Focusrite ISA one (god I love that DI) sometimes via passive Orchid DI.

Ignore 'you have to have an external preamp to sound good' - its nonsense, but I would say also ignore the 'don't bother just buy plugins' - If you have the means, the time and inclination to experiment with HW preamps, I say go for it, see what works for you. Not got a huge budget but still want to try - DIY! millions of DIY Preamps and 500 series racks out there (CAPI, AML, Fivefish, JML Audio, SoundSkulptor etc)

Hardware is fun, experimenting is fun, learning is fun

Great, thanks a lot

[Arpangel]

The trouble is, if you’re not told what you are listening to, it’s difficult to hear a difference.
And very often, that "amazing" preamp turns out to be one that you don’t like, or is much cheaper than you expected which would affect you’re perception of it if you were told.
Take a cheap mic amp, put it in a 4U case with a nice retro paint job, big knobs, big meters, and it’ll sound wonderful, it has to!
I’d say don’t over think this, if you have a mic amp that’s got enough gain for your microphones, has a low enough noise floor, and sounds good to you, that’s all you really want to know about.

[hbrucejohnson]

Something to consider: a UAD Apollo audio interface like the Apollo Twin. It's a good interface in general, but I mention it specifically because of their Unison preamp feature, which lets you use a plugin that adjusts the analog preamp circuity. Like downloadable analog preamps. E.g. there's a Neve 1073 Unison plugin that makes the preamp perform (in analog) similarly to a real 1073. And so on...

Could be just right based on what you're saying.