One can drastically improve upon the sound of any studio by paying attention to the details, good quality cables and connectors for example. Below are some of the projects we have built to solve the common audio problems in an intelligent way.
Passive Summing Box In the quest to improve upon the limitations posed by Digital Audio Workstations (DAW’s), we built a “passive summing box”. Funneling multiple tracks together in the digital realm is far from perfect. However, doing it with a substandard mixer instead of a pro audio mixing desk - properly maintained - can pose many problems as well. Among them, crosstalk, colorization, noise floor, phasing anomalies, noisy switches and pots. We also believe consoles are “unbalanced” internally, necessitating the use of transformers upon input and output. Good quality transformers are expensive, and so it simply follows that most low budget modern mixers use inferior ones. All of these problems can be conveniently avoided by building a passive box.
The concept is simple. We keep all the basic tasks like volume automation and panning decisions “in the box”, in other words handled by the computer and it’s software. Then we have a “passive” device where balanced stereo “stems” can be sent. This can be done in the final mix stage, or as preliminary “submixes”, or in some combination. An example is to take a collection of drum tracks, once their levels have been set, and dump them down to a stereo pair.
The only problem posed turns out to be a blessing in disguise. When one takes a bunch of tracks optimally recorded at close to unity (0db), it follows that the “sum” of these tracks will overload the output. The solution is to use resistors on each of the two “hot” wires comprising a balanced signal, attenuating the signal. Then we need to make up the gain, and this can be done with any stereo pre-amp that suits our taste. If we want an API sound, we can use API’s, a tube sound, a stereo tube pre amp like the Hamptone HVTP. www.hamptone.com
Direct Box One of the most common studio problem is how to convert an unbalanced signal (like a direct signal from a bass, guitar or keyboard) to the higher level, lower noise, balanced signal. Most modern pre-amplifiers have one built in, but in a multi-tracking situation where even a great studio can run out of the best pre-amps, having a good direct box is essential. In our studio, we have some vintage preamps with no DB. So we built one for this purpose. A good DB necessitates a good transformer. We used a Jensen. Jensen Transformers is a great source for sonic problem solving of all kinds. www.jensen-transformers.com
Step Down Box The opposite of a direct box is a device allowing one to convert a high level balanced signal to an unbalanced signal. Often these devices are called “re-amp” boxes, because they can be used to take a balanced signal, for example a direct bass track, and convert the signal so it can safely be plugged into a standard amplifier accepting only unbalanced signal. Again the use of a transformer is necessary.
Tube Distortion Box Getting distortion, usually but not always for a guitar sound, is another job that can be handled well, or not so well. Most guitar players use a solid-state (transistor) device. Tubes are better. The vacuum tube circuit, when over-driven, is much more appealing to the ear. The reasons for this are somewhat complicated. In essence, it’s because an overdriven tube circuit “squashes” rather than “clips”. A “clipped” waveform is “squared off”, a phenomena one can see on an oscilloscope. A squashed signal is much more natural and sonically pleasant. Also, lower order and more musical even harmonics are generated. Lastly the “squashing” phenomena “sags”, or “compresses” in a subtle way that is much more pleasing, not only to the ear, but to the brain.
(See our blog for more discussion on this topic).
We built a box using a 12AU7 tube, a lower noise, lower output version of the common 12AX7. 12AU7’s and 12AY7’s (6072’s) are often used in tube mic circuits for this reason.
Pads Another common problem in the studio is a signal that is simply too hot, for example a very loud drum sound. No matter how low one sets the pre-amp, it is still too loud. Some microphones and pre-amps have “pads” built in. We leave this circuitry out of our tube mics because our philosophy is to keep the circuit as pure as possible; this type of circuitry is used only occasionally, why clutter up the circuit with something that is rarely used? A pad is a voltage divider, and all it consists of is a network of resistors. In an unbalanced signal the most common is an “L”pad, which consists of 2 resistors. In a balanced signal, a 3rd resistor is used and the resulting configuration is a called a “U” pad. This can be built into an inexpensive XLR tube, called a “bullet”.
We strive to utilize only the very best components available. That being said, here are some potential changes that can be made and the reasons for so doing.
Chassis
Our mics start from any number of pre-existing chassis bodies. Unfortunately, this means starting with pre-fabricated Chinese manufactured metal work. Any number of mic bodies will work, and we are happy to build within the body of any microphone a customer may have. Doing our own metalwork is possible, but it would increase the price of a microphone drastically, and for the time being, our mission is to put professional, studio quality microphones into the hands of people who - until now - couldn't afford them.
Capsules
Again, these days we are talking about Chinese made capsules. The cost of the microphone chassis and capsule “component” is $50-$100. We would be happy to build with any customer provided capsule, such as a vintage Neumann or AKG capsule, or start with a quality US-made capsule, such as the Peluso capsules: http://www.pelusomicrophonelab.com/
Tubes
The tubes we use are NOS (New Old Stock) sub-miniature tubes. They are out of production, but still fairly common and inexpensive. Although it is possible the internal construction of one tube variety may make it sound better than another, our experience has been that if a tube sounds good, it is good. When we hear one that does not, we simply discard it.
Tube Options Currently Available:
Telefunken/Raytheon These tubes were made in America by Raytheon, then handpicked by Telefunken and printed with Telefunken markings.
Raytheon We have stock of several different vintages of Raytheon Tubes; 70’s, 80’s and Unmarked 80’s.
Sylvania Several different vintages dating back to the early 1950’s.
RCA Again, several different vintages.
Resistors
We generally use vintage carbon composition resistors, the kind you might see in a Vintage 50’s Tweed Fender Amplifier. Some folks prefer modern metal film resistors, and we are happy to use those as well. They are cheaper, and typically closer to spec. One can even find resistors within .1% tolerance. Indeed we used these on the summing box, where having resistors with identical values is crucial.
Coupling Capacitors
These components have made such a huge difference that we are not going to settle for anything less than the best we can find. Because of size constraints the best we offer for the Large Diaphragm mics are Auricaps. For the Small Diaphragm cathode follower mics, we offer arguably the best capacitors ever made, Dynamicaps. For other high end capacitor options, check the following link and read about what is available.
We can also build with vintage capacitors, like Sprague, on a limited basis if someone is interested in hearing that option.
Transformers
This component is probably the single biggest factor in the sound of our mics. Again we will not settle for anything less than the best. We will build with the following transformers:
Jensen (mu metal cores)
Lundahl (mu metal, and cobalt amorphous cores available)
Cinemag (mu metal cores)
Power Supply Options
We are currently building our power supplies in a relatively attractive powder blue aluminum box, but we are willing to work with any suitable customer provided box, or into a rack mountable unit. In the future, we plan to design and offer a custom McCormick Audio box. Again, metal work is expensive, and this may or may not be cost effective, but it is the longterm plan. Other power supply options where the customer can help create their own unique look include different types of switches, pilot lights, and AC power cords/power receptacles.
