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I decided to get something decent but not too expensive.
![2 brent averill 1073 2 brent averill 1073](https://images.reverb.com/image/upload/s--v1b7H95z--/a_exif,c_limit,e_unsharp_mask:80,f_auto,fl_progressive,g_south,h_620,q_90,w_620/v1513736835/wgtbwvoincynviwnri7e.jpg)
The only high end brand I knew was the Avalon 737 which in France everybody swears by. I started off thinking exactly like you "who needs to spend a lot on a pre-amp?" I purchased basic bluetube pre-amp but it sounded really harsh and gave me distortion on high volume. We are filming a musical and I wanted to record the artists right in the editing suite. When you get into the rarified realm of great euphonic gear, it becomes more a question of taste and personal sense of aesthetics than anything else. PS: Something you may find out later is that a 1073 is not the "Holy Grail" either, all this shit is relative. now that I can afford something like a Chandler TG2, a Germanium pre etc., I found that I don't have to fight as much while mixing, using tons of plugs to beefup the sound.
![2 brent averill 1073 2 brent averill 1073](https://shop.funky-junk.com/it/wp-content/uploads/sites/2/2021/04/bae-1073-dmp-rear-side.jpg)
I have been recording (good sounding instruments) with basic but decent stuff like RME for years. That said, as you now understand, a great preamp makes things easier. Those extra 10% will cost you 400% more.Sure, many great records have been done with cheap equipment and today you can get more than decent sounding record with budget and prosumer gear. If you want to get "great sound" but don't nee the best then don't even think about spending 2000 Euros on any pre amp. This said, if you're going to go all the way, then go with the 1073 rather than with some other product in the same pricerange. I would never spend 2000 Euros on a pre amp just to get the "perfect sound" when I can get "great sound" for 600 euros. You can not say that when you're on a tight budget the audio difference justifies the price. What does he use for transformers?Īctually, I stand by my original post. In fact I even think the reissue AMS units sound as good as the BAE maybe better. once you go 1073, you don't go back.a real one beats it. A lamp pre is totally unecessary if you have a 1073. The beauty of it is you don't even need to wait for it to warm up. I have singers and veteran professionals comming to my studio and all are impressed whenever they hear themselves through the 1073. Just go for the 1073 vintage design and you will never regret it. I'm not even sure the 1073 variants will do the same. Meanwhile don't think the 1272 will do the same thing. The Brent Averill 1073 will handle anything you can throw at it (Voices, guitars, drums. I don't even know what I could possibly be missing out on. No distortion clean sound ready for listening. It does not matter what I run through it, it all sounds great. It's classic, it's big, and it is beautiful when used correctly and musically. the Neve sound (just as a general statement for me, of course) is irreplaceable. Glad to hear the BAE was the right find for you. if they make it sound good in the end, then they must be using the right tools for themselves. I can't imagine recording on many pieces that some find to be golden in their setups, but gosh. The point is that it's all about finding tools that work for each individual. So if the BAE works for you or anyone, than that is awesome. right off the bat, it's a bit like changing a microphone: the capturing of sound is going to be altered.īut as for who's Neve version is the best or which API pre is the best, while I know the options are many, I really think that there are many GREAT and certainly "pro" options out there. Neve sounds, for example) can really change the presentation of an instrument within a mix. I am a believer that preamp changes (such as API vs. I think other pre's (such as the Aurora GTQ) and the MA5 hold their own.