You really have to listen to the transients and decay to hear it.Īll quite true but the beauty of the unison technology is that you push the emulation hard with out getting the actual UA mic pre out of it's comfort zone. I also did the comparison on various percussion instruments and didn't drive the tubes and transformers quite so hard and it got even more subtle.
But I don't think you really want to push the Apollo pres into breakup and that makes it a bit apples and oranges. The break-up of a tube pre and to some degree, an input transformer pre like the Phoenix has a signature, even if it's subtle, compared to a unit like the EL or Apollo. It really wasn't that hard to hear differences on the female because she is really powerful and is expert at working a mic. The guy couldn't hear anything significantly different but I don't think he's a real critical listener. I did my best to equalize the volumes, etc., then gave comparisons to the singers. I used the Grace m-201, the Apollo, the UA 610, the Phoenix DRS-8, the Toft ATC-2 and the EL Mike-E. One singer was a 50-something male rock singer, the other a lady in her 30s that is an incredible blues/jazz singer. I was doing a bunch of vocal overdubs and had a couple of willing victims, err, I mean singers, and we played around with it over the course of a few weeks.
I read it and was a bit skeptical because I believe I can hear a signature for the different classes of pres I own. They had a hard time hearing differences between the contestants. There was a Sound On Sound article a while back where they did a shoot-out with a bunch of mic preamps.
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