7 Jul
2004
7 Jul
'04
5:35 a.m.
R Parker a écrit :
I used to own a Mackie 8bus but I sold it and bought a
Tascam DM-24. The DM-24 is about 1/4 the price of the
8bus.
Tascam's preamps have always sucked and that's why
their junk is so cheap. I Insert Avalon and Soundtrac
Solo preamps and skip those of the DM-24.
Because of my existing preamps, I do not regret
selling the Mackie. Here's some marketspeak for the
Mackie 8bus that I just found:
Mackie B248 Recording Console
The 8•Bus series was designed to eliminate the last
barrier between you and audio creativity -- the 32•8,
24•8 are capable of sound quality equal to or better
than that of $100,000 consoles. 8•Bus con
As far as I can tell, I don't feel any less creative
working on the DM-24 than I did on the 8bus. Maybe I'm
just not creative or some marketing people need to
stop selling and smokin' crack. :)
Humm, marketing, marketing. If you listen to those guy you will wonder
why pro studios spend hundred thousands Dollars in high end gear !!
Speaking of audio quality, the small mackie console are not so bad
compared to the 8 bus and the SR serie that have too much crappy
components in the signal path.
I don't know what preamps would be ideal for any
remote work I'd be interested in doing. Doesn't RME
have some nice 1U or 2U stuff and isn't there a
Focusrite producer pack or something that includes a
Blue mic? I imagine my strategy on a limited budget
would be to purchase 2 channels of something real nice
and eight more channels of whatever that I wouldn't
hesitate to toss in the garbage.
For sure but for 500 € (or $) it is difficult to have two channel of a
high end preamp. It is more around $1000 per channel for solid state
preamp (Great River, John Hardy, Avalon, Millenia Media) and even more
for tube preamps (Manley, DW Fearn). The only option is the FMR Really
Nice Preamp (RNP), $500 (in the US !!) for 2 really nice mic preamps
;-) and very portable.
Christophe