How's Your Topology?īefore getting into some audio examples with mic preamp plug-ins, it's instructive to talk a little bit about what preamps do and why they differ. But because that's less common, we'll focus in this article on using plug-in preamps as mix effects. The only way you'd record through a preamp plug-in on input is if have an interface likea UAD Apollo or Antelope Audio models-to name a couple of examples-which allows you to process the input signal with a preamp emulation plug-in. The Customized Console at Welcome to 1979 lets you switch between its own mic pres and API versions, for each channel. You can use the plug-in preamp for color, EQ and saturation. Because of the way most DAWs handle plug-ins, you're most likely going to use your preamp plug-in as an insert effect for mixing on a track that's already been recorded (and already impacted sonically by whatever preamp was used in the recording process). There are plenty of emulations of classic hardware preamps available in plug-in form.
If you've got a home studio, it's less likely that you'll have multiple channels of vintage mic pres to experiment with, like Fab and Chris have in the video, but you can use their digital equivalents. The mic setup on the drums stays the same, only the preamps change.Īfter demonstrating the simple-but-effective four-mic arrangement they're using for the drum recording, they start recording, and then compare and analyze the differences between the various mic preamps they're using. They have a drummer in the studio and are recording her playing through a variety of preamps including the MCI and added API preamps in the studio's MCI mixing board. This time, the subject of their listening tests is vintage mic preamps.
"How To Listen: Vintage Gear Edition, Episode 2: Mic Preamps," finds Fab once again at Welcome To 1979 Studios with Chris Mara, the producer, engineer, and owner of the Nashville-based studio.
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