In Summary

Although a mic preamplifier’s influence on sounds is less transformative than some might think, the right one can still complement everything else. Here we list some of our top choices from pristine to less-than-clean.

Going Deeper

Like so many things in our industry, the question of which pre to use can be the source of tonnes of chin-stroking and discussions about sounds, specs and components. Reading some opinions could have newbies convinced that our humble mic amps are pivotal to the success of a recording. What is true is that when everything else is right, the front-end needs to reflect and support great performances, captured well.

No-one is pretending that most engineers won’t just use what is already there, and in days gone that would have been the inputs on the console. Many outboard pres owe their existence to the DAW and the rise of the console-less studio. The interface with built-in pres comes from the same place. Whether you’re speccing out a small setup or large space with choices abound, here is our roundup of the best pres for the right results.

1 - For Any Occasion - SSL PURE DRIVE QUAD

SSL know a thing or two about making mic signals bigger. With heritage stretching back to the 1970’s, their consoles that followed ruled the airwaves for decades more. For some time, the company’s range has included the standalone four channel VHD pre, however it is the company’s latest consoles that provide the DNA of our next choice.

PURE DRIVE QUAD offers four channels of SSL’s SuperAnalogue PureDrive circuit pulled from the Origin large format console plus digital options to expand existing rigs. PureDrive is enhanced by three available colours, with its Clean mode joined by switchable Classic and Asymmetric Drive modes. With the former delivering edgier 3rd harmonic flavours, the new Asymmetric 2nd harmonic infusion offers an altogether more valve-like sound. Being of SuperAnalogue design, PURE DRIVE QUAD is also more than capable of telling it like it is for sources that need transparency. For those who need more channels, PURE DRIVE OCTO drops the sweepable HPF to fit twice the number of channels into the same footprint.

2 - The Valve One - Chandler Limited REDD.47

The next one comes from an age where record labels owned their own studios, complete with in-house R+D departments cooking up all kinds of future classics. In this mould was EMI’s Abbey Road in the 1960’s, who became pretty good at modding existing gear, or just starting with a clean sheet to get what they needed. Following their use of the TAB/Telefunken V series mic amps, EMI set about making their own variant that eventually ended up being a big part of the studio’s sound for most of the decade.

Unlike the original’s ‘cassette’ format that could be slotted directly into the REDD consoles, Chandler Limited’s REDD.47 is a 2U-shaped recreation of EMI’s famous valve-powered mic preamp. Evoking the sounds of The Beatles and countless other acts to pass through the studio during the 1960’s, this one can offer more obviously cooked sounds that still manage to sound hi-fi despite the extra edges.

3 - The Most For Your Money - Audient ASP 880

For those who want a box that does affordable quality, Audient’s ASP 880 is hard to beat. This packs 8 channels of the company’s console front end into a very nicely engineered 1U box with features to match. Switchable impedance is a nice touch for coaxing subtle differences from dynamic mics, and variable HPF on each channel sets the ASP 880 apart from many others. A dedicated AD mode overrides the mic amps for converter-only operation or for those who want to insert their other favourite toys in-between the mic amp and DAW. This device also has an added bonus if you like illuminated buttons: pressing all of them at once makes it look like something from the last reel of Close Encounters Of The Third Kind.

4 - The Studio Classic - Neve 1073 DPA

Yes the classic 1073 has built-in EQ - this 1U shaped box doesn’t. No roundup of mic preamplifiers would be complete without a 1073 variant of some kind. Rupert Neve’s classic transformer coupled input module is famed for its finely-etched midrange balanced with refined top and subtle bottom end complexity, all thanks to its classic discrete Class A-and-transformer design. For any studio looking for a front end with the sound from tonnes of classic records, the 1073 has to be on any shortlist. The 1073 DPA delivers 2 channels of this classic flavour without any bells and whistles.

They say that imitation is the greatest form of flattery, and there are plenty of 1073 homages out there to choose from. Since its inception, others have followed, with some manufacturers laying claim to products can actually ‘out-Neve’ the company’s new units in the authenticity stakes, such as Julian’s favourite, the BAE 1073MPF.

5 - The Hidden Gem - Cranborne Audio Camden EC1

This list includes some of the most revered names in studio pro audio, however hiding in plain sight is a bone fide modern classic in the form of Cranborne Audio’s single channel Camden EC1. This unassuming half rack box hides some seriously high-quality design with flawless tech specs to match, shared with its 2 channel rack and single 500 series siblings.

This unit is notable not only for its pristine tones when required, but also for its Mojo circuit with tunable character for the ultimate flexible front end. Not only that, but this pre happens to have a very high quality headphone amp and source mixer built right in, making it almost unique aside from the odd competitor costing a lot more (that reportedly is no match for the mighty EC1’s world-beating performance). Russ loved this little box when he took it for a spin, and quite simply, putting this thing in front of virtually any audio interface makes stellar recordings there for the taking.

6 - The Ultimate One? GML 8304

We close with a box that is as close as you can get to just a wire with built-in gain. If you’re looking for something that lets you hear the source and mic with nothing else added, this, by all accounts is it. George Massenburg’s updated 8304 is a hand built 4 channel discrete transformerless pre that doesn’t use any chips in the audio path. This sets it apart from ‘cookbook’ products that use common components; the only catch is that this box weighs in at around the £1k per-channel mark. The updated version has the added decadence of flip switches for phantom power and polarity, however the biggest pay-off from the 8304’s hefty price tag is resolution so good you can hear the carpet pattern.

How About You?

Anyone who has tried out a few mic pres side by side might have noticed that they can be the smallest influence on the flavour of any recording- the smart money is on using anything that is quiet enough with a decent amount of gain on tap for the quieter things in life. It could even be said that we’ve reached a point where they are all so good that the decision will be which one not to use…

We’ve talked about some of our favourites, but what are your trusted devices? Have we missed any box that no studio should be without? Let us know in the comments.