New mic preamp

[Arpangel]

My Mike Skeet preamp is becoming extremely unreliable, and temperamental, I’ve taken it apart and done all I can, but every time now, that I use it, some issue crops up, I think it needs rebuilding and and a redesign of some of the construction to make it more reliable. But I think it’s time to retire it and keep it as a nice memento, I’ve persevered with it long enough.
I need something with enough gain to cover ribbons, and a good clean uncoloured sound. I've got two so far on the list, the Cranborne EC2, and the Broadhurst Gardens No2, I don’t need anything exotic, just a good basic amp with enough gain and low noise, anything anyone can ad to the list?

[Aled Hughes]

I don't have the EC2, but I have the EC1 and numerous Camden 500 modules. They are truly excellent, and great value for money too.

[Stuart79]

I also have an EC1 and some of the 500s here alongside some other bits. They are excellent. Very clean, I like the repeatability of the stepped gain control and the mojo feature is more useful and creative than you might think.

The EC1 lives permanently in the laptop sleeve of a rucksack and I use it when I have to record elsewhere. I regularly record a singer who only has an Audient id4 available. I use the EC1 as the front end of that and the difference is huge. Less noise, no gain bunching, and the headphone amp is significantly better. No buyer's remorse here.

[Drew Stephenson]

I think Hugh reviewed a two-channel pre-amp in the mag fairly recently made by a company with a ribbon mic connection whose existence otherwise escapes my memory.
Clean high gain was one of the features.

AEA! That was it. The RPQ3 I think. Will find the review.

[Drew Stephenson]

OK, not that recent... https://www.soundonsound.com/reviews/aea-trp3-rpq3

[The Elf]

I'll just offer my usual advice to consider a Focusrite Liquid Channel. They go for insanely low prices for what is a damned fine pre, regardless of any of the processing considerations.

[tacitus]

And I’ll just go a bit nearer Woolworths than heaven and say, since I followed advice from the good experts here on SoS and started recording on field recorders (Zoom F6 and F3) I’ve found it a lot easier. With my cheapo Recording Tools ribbon mikes, I just use a couple of FetHeads. I’m not saying I couldn’t do better and if I have to record to the computer again I’ll probably panic, but I haven’t been caught out on signal levels yet. Nothing like getting my fingers caught up between the black notes on an unfamiliar organ. The rest of my life flashed before me and it featured worse than that small but highly audible problem!

[Hugh Robjohns]

I need something with enough gain to cover ribbons, and a good clean uncoloured sound. I've got two so far on the list, the Cranborne EC2, and the Broadhurst Gardens No2, I don’t need anything exotic, just a good basic amp with enough gain and low noise, anything anyone can ad to the list?

Those are both highly recommended, but aren't directly comparable.

The DAV BG2 is four-channels, while the Cranborne EC2 is two channels plus two very good headphone amps.

The BG1U is the two-channel DAV equivalent — the rack mount version of the BG1 (but with 7dB more gain!).

The Cranborne EC2 has 2dB more gain (68dB vs 66dB) and has a lower noisefloor compared to the BG2/BG1U — both parameters matter with passive ribbons, of course.

The Cranborne EC2 also has the selectable Mojo control which is a genuine bonus and something you'll use much more often than you think to dial in a little musical character, especially on voices!

The DAV BG2 circuit design is quite similar to Mike Skeet's ITZA preamps, actually... but the EC2 is technically and musically superior IMHO — although the Broadhurst Gardens preamps are very good, too... just not quite as good!

The original Camden 500 preamp circuitry which the EC1/2 use was Cranborne's no-expense-spared flagship company launch design, and it's a real tour-de-force of design elegance and expertise. Few other preamps can beat it, and none at anywhere close to the cost!

[w oxo cube]

Focusrite Isa is always worth a look

[jxnWHITE]

a +1 for the EC2 here. the headphone amps are great for tracking vocals and the mojo options can be quite useful on a range of sources. quite pleased with this one.

[twotoedsloth]

For what it's worth, I have the Broadhurst Gardens BG01, and it is truly excellent. I also have an Audient Mico and ASP880, and a Benchmark MPA1, also have several Mackie mixers, an Allen & Heath SQ5, and several location recorders including Sound Devices MixPre 10T, Zoom F8N, two Tascam DAP1s, and a fistful other handheld recorders.

Sorry for the litany, all I wanted to say is that the BG01 holds up very well with all the mic preamps that I have.

From my observations over the last 25 years, the player, the instrument, the microphone, the room (with suitable treatment) are all more important than the mic preamp, providing it is not too obviously bad.

Hope that helps,

Peter

[Arpangel]

I think Hugh has underlined what I think here, and I did mean the BG1U.

From my observations over the last 25 years, the player, the instrument, the microphone, the room (with suitable treatment) are all more important than the mic preamp, providing it is not too obviously bad.

Hope that helps,

Peter

All your points there are taken as read, but the "basic" requirements of a good preamp should be ticked, that’s what I'm saying, more than adequate gain, for dynamics and ribbons, low noise, and good headroom.
So often on mixer pre's, and some stand alone units, you get gain bunching and noise, that's what I like about my ITZA preamp, it has none of those problems, and all I want is something similar.
A sideways move would be to replace my Behringer with a Focusrite Clarrett interface, or an Octopre, but not sure about those in comparison with something like the Cranborne or a dedicated preamp.

[Hugh Robjohns]

Gain bunching is a common problem on preamps with continuous analogue gain pots, just because of the slightly peculiar resistance law required and the resulting high cost of getting it right.

A switched gain control overcomes that problem neatly, while also providing repeatability and channel gain matching.

Both the DAV and Cranborne have switched gains (as does the Focusrite ISA that was also suggested above, or course).

If you were working with Coles 4038 ribbons — with their laughably low output level — I'd be suggesting a preamp with 75dB gain or more as essential. But you're not, so something over 65dB will be fine providing the noise floor is low enough.

And it is in all three of those preamps.

The ISA features an input transformer... while the BG and EC are electronically balanced.

The EC is the most versatile, soundwise. It can be as pure and transparent as the proverbial vestal virgin, or musically enhanced, to taste.

The ISA and BG are more 'one-trick' thorough-breds — you just get what you get (although the ISA has an input impedance selector which allows some small tonal variation with dynamic mics).

But they are all very capable, high-quality preamps.

I love the styling of the ISA Two.

I like the tonal versatility of the EC2.

And I like the simplicity of the BG1U.

I'd be very happy using any of them.

[Bob Bickerton]

Happy Focusrite ISA Two user here and I previously owned the 4 channel Broadhurst Garden Preamp which was also very good.

Despite having nice preamps on my UAD Apollo interface, my go to for mono or stereo tracking is the ISA Two. I love the layout and the 'hands-on' approach plus the sound is a little less 'clinical' than the BG. It's very subtle, but it's somehow more musical. I really like everything I put through it.

You also have the benefit of instrument inputs, a switchable insert and a useful high pass filter with the ISA, if any of that is useful to you.

Haven't tried the Cranbourne.

Bob

[Hugh Robjohns]

The DAV BG1U has a switchable high-pass filter (12dB/octave from 68Hz), and has a DI input option.
Max gain of 66dB.
£599 ish

The Focusrite ISA Two has a variable high-pass filter (18dB/octave between 16 and 420Hz) and mic, line and instrument input options. Adjustable mic input Z.
Max gain of 80dB.
£850 ish

The Cranborne EC2 has a switchable high-pass filter (12dB/octave from 80Hz), with mic, line and instrument input options. Mojo function.
Max gain of 68dB.
£1099 ish
... but includes two fully independent and high-quality headphone amps.

[James Lehmann]

I have a Cranborne EC-2 and a DAV BG2 MkIV here.

I'm using them with a range of different mics - dynamic, condenser and ribbons and in all honesty in terms of the straight-wire amplification of microphone signals they are similar to the point that I wouldn't think twice about using either on anything.

If you just want a decent 2-channel unit then at this level it's mostly the features that will separate your choices.

[Arpangel]

The DAV BG1U has a switchable high-pass filter (12dB/octave from 68Hz), and has a DI input option.
Max gain of 66dB.
£599 ish

The Focusrite ISA Two has a variable high-pass filter (18dB/octave between 16 and 420Hz) and mic, line and instrument input options. Adjustable mic input Z.
Max gain of 80dB.
£850 ish

The Cranborne EC2 has a switchable high-pass filter (12dB/octave from 80Hz), with mic, line and instrument input options. Mojo function.
Max gain of 68dB.
£1099 ish
... but includes two fully independent and high-quality headphone amps.

Hugh, I think I’m going to order an ISA Two today, I need something, reasons?
More than enough gain, I could use the insert, plus, totally stupid, but I prefer the look of it over the others.

[Luke W]

You won't go far wrong with an ISA. I've got the Two and I'm very happy with it.

I'm also not immune to its charm. It does look quite nice sat in the rack.

[Arpangel]

You won't go far wrong with an ISA. I've got the Two and I'm very happy with it.

I'm also not immune to its charm. It does look quite nice sat in the rack.

Absolutely, the clincher was when I found out Brian Eno likes Focusrite, all I need to record now is a hand-held SM58 and I'm all set for an Eno tribute act.

[Sam Inglis]

I have not yet had the pleasure of using the Cranborne preamps, but I'm a big fan of both the ISA and the DAV. That said, I would also throw into the mix the SSL PureDrive Quad. It gives you four very well specified channels of preamplification with a huge gain range, and can act as an ADAT expander without the need to add any optional cards.

[Arpangel]

I have not yet had the pleasure of using the Cranborne preamps, but I'm a big fan of both the ISA and the DAV. That said, I would also throw into the mix the SSL PureDrive Quad. It gives you four very well specified channels of preamplification with a huge gain range, and can act as an ADAT expander without the need to add any optional cards.

Sounds good, but 65dB of gain, may not be "that" important but I think I'll go with the 80dB of the Focusrite. More is more isn’t it?

[Hugh Robjohns]

Hugh, I think I’m going to order an ISA Two today, I need something, reasons?
More than enough gain, I could use the insert, plus, totally stupid, but I prefer the look of it over the others.

I like the looks too. Very distinctive and straightforward. And it is a quality design.

I have a 4-channel ISA428 mk1 which I use a lot (mostly as an input expander to my Nagra recorder) and I like it very much indeed as a straight preamp.

In terms of your justification arguments, Id say the insert points are, er, pretty pointless and really not a bonus feature. You can just as easily plug the preamp output into an EQ or compressor and have the same functionality as insert points. The only difference is the ISA meters showing only the mic level instead of the (insert) processed mic level... but you'd be monitoring processed levels on your DAW anyway, so there's really no practical benefit to that particular feature. It's just a hangover from its console origins.

The ISA2 does have more gain available than the others... but I've never used it anywhere close to maximum even with my passive ribbons. (In fact it's rare I even switch into high gain when using capacitor mics).

And while the variable HPF and input Z modes sound like useful features, youll probably never use them, either! I usually leave the HPF off and filter in the DAW where I can make more informed choices, and the input Z switch generally stays in the high setting.

But I can guarantee you won't regret owning an ISA Two. It's a good solid, reliable, sweet-sounding preamp.

[Wonks]

At least for a week...

[Arpangel]

Hugh, I think I’m going to order an ISA Two today, I need something, reasons?
More than enough gain, I could use the insert, plus, totally stupid, but I prefer the look of it over the others.

I like the looks too. Very distinctive and straightforward. And it is a quality design.

I have a 4-channel ISA428 mk1 which I use a lot (mostly as an input expander to my Nagra recorder) and I like it very much indeed as a straight preamp.

In terms of your justification arguments, Id say the insert points are, er, pretty pointless and really not a bonus feature. You can just as easily plug the preamp output into an EQ or compressor and have the same functionality as insert points. The only difference is the ISA meters showing only the mic level instead of the (insert) processed mic level... but you'd be monitoring processed levels on your DAW anyway, so there's really no practical benefit to that particular feature. It's just a hangover from its console origins.

The ISA2 does have more gain available than the others... but I've never used it anywhere close to maximum even with my passive ribbons. (In fact it's rare I even switch into high gain when using capacitor mics).

And while the variable HPF and input Z modes sound like useful features, youll probably never use them, either! I usually leave the HPF off and filter in the DAW where I can make more informed choices, and the input Z switch generally stays in the high setting.

But I can guarantee you won't regret owning an ISA Two. It's a good solid, reliable, sweet-sounding preamp.

If you like it Hugh, that's a good reason for getting one.
Wonks, a week? aren’t you being a bit optimistic?

[Spy1]

But they are all very capable, high-quality preamps.

I love the styling of the ISA Two.

I like the tonal versatility of the EC2.

And I like the simplicity of the BG1U.

I'd be very happy using any of them.

I don't own an ISA Two, yet, but I have one of each of the other two, and I'm more than happy using them both. Obviously, the EC2 is slightly more expensive, but it does offer quite a bit more than the BG1U, both in terms of tones and additional features.

For example, I use auxiliary inputs and headphone outputs for 'direct monitoring' when recording vocals. Very simple way to provide 'more me' (or 'less me') as required. Can't recommend it enough. YMMV.