A-Designs Audio has announced the launch of the manufacturer's latest 500 Series-compatible mic pre, the EM-Gold.
Designed to bring more 'mids' to the lower end of the sonic spectrum, the EM-Gold combines the output transformer of the EM-Silver (custom all-steel winding) and the input transformer of the EM-Red (custom winding with different ratio input/output). Particularly well-suited for drum recording--especially capturing floor toms--the new preamp also excels on various guitar, bass and vocal tracks.
According to A-Designs Audio's Peter Montessi, "The EM-Gold was not designed to replace the EM-Red or EM-Silver but to complement the other modules and further expand the sonic palette with its own unique frequencies. In fact, the whole range of these new modules is particularly nice for recording drums--the P-1 is excellent for overhead duties, EM-Blue for snare, EM-Silver for kick, EM-Red for rack-mounted toms, and, now, EM-Gold for capturing that perfect floor tom sound."
Montessi is quick to point out, however, that the EM-Gold and other new mic pres are not exclusively for drums. "By applying different microphones to the equation, each preamplifier will obviously produce different tonal characteristics. And by exploring various mics with these pres, engineers will no doubt have a veritable cornucopia of 'colors' to pick from."
Like all of the other 500 Series-compatible preamps from A-Designs Audio, the new EM-Gold features a 1/4-inch Hi-Z direct inject input for instruments, switches for 48-volt phantom power (with LED indicator), -20dB pad and phase, a large aluminum cast knob for gain, custom wound input and output transformers, two thumb screws for easy installation, and an extremely solid build quality. Like the EM-Red, the EM-Gold also offers 62dB of gain.
The EM-Gold is also similar to its siblings in terms of price, listing for $850.00 in the US.
“It isn't about equipment and software -
If you're a Sparks fan, you'll want to own this live album. If you're a live album fan, you'll want to show your support for the format. Are live albums about to make a comeback? Read more...
Many a great record has been made using only 24 tracks. But how can you expand a 24-track recorder to 25, 26 tracks or even more? Read more...
What do you need to know to earn a living by recording music? Who will pay for your music? How should you market your music? How much can you earn? Read more...
We know very well the most-covered song of all time, with its lush string quartet backing. But it was nearly given the electronic treatment. Read more...
David Mellor argues that knowing how to position a microphone can make a far bigger difference to the quality of your work than which microphone you choose. Read more...
What's good for master producer Quincy Jones should probably be good for the rest of us. But what about atheists? Read more...
The mastering loudness war is not yet over, yet the casualties are piling up. Yet here is convincing proof that it is all so wrong... Read more...
Some things about Apple's iPad are great. Some things are, er, missing. But how useful is it in the studio right now? Read more...
A RecordProducer.com reader wonders what he can do about the bass in a TV mix. Will viewers be able to hear it? Read more...
AKG makes some of the best mics in the world. AKG also makes a USB mic. A great USB mic? Read more...
Filters are useful tools in a DAW, and they are essential in a synthesizer. But how are they different? Read more...
In the future, microphones won't be like the microphones we use today. We won't have to hook them up to a preamplifier. Whoa this is heavy... Read more...
Any noise that is present in your multitrack recording will probably be unnoticeable until the end of the song. But when the instruments fade away, noise might become embarrassingly audible. Read more...
If your microphone sizzles like a frying pan full of eggs, bacon and sausages, clearly there is a problem to be solved. Read more...
This surely is a mixing console to desire, to long for, to yearn after, to pursue until you have one in your very own studio. Or does it leave you absolutely, deathly stone-cold? Read more...
If a tree falls in the woods, does it make a sound (if no-one is around to hear it?) If you can't hear hum, then is there no hum? Read more...
Q: When is a ribbon tweeter not a ribbon tweeter? A: When it's an eXtended Accelerating Ribbon Technology tweeter in an ADAM Audio loudspeaker. Read more...
A RecordProducer.com reader wants to know how to place his microphone for this peculiar item of brassware. Here's how... Read more...
Go to a piano teacher and they will tell you to practice every day. But the one thing they hardly ever tell you is *how* to practice. But the cure for 'wrongnoteitis' might be simpler than you think. Read more...
You've tried all the usual microphones and are tired of their sound? Why not try something that is really over the edge... Read more...
Can an $89 pair of monitors really be an effective tool in the recording studio? Or are they only good for 'media creation?
A wrong note that has resonated for more than half a century is fixed - without the aid of a time machine.
An RP reader finds that a certain combination of microphone and preamp works much better than he expected...
Anyone with a home recording studio now has the means to create a hit. So why haven't you yet?
What sounds good to the electric guitar player doesn't necessarily sound good to the audience. A live sound engineer explains...
So you're setting yourself up in the voice over business. What should you think about before anything else?
Amazingly, the answer to this question is - almost - yes!
If you're miking one of the finest violinists in the world, should you point the mic at the double bass instead?
An RP reader fears losing cabinet resonances if the backline of his band is miked up through the PA. But perhaps it is innovation in live sound that has been lost over the years.
Any theatre would have tielines from the stage to the sound control booth. But from one side of the booth's window to the other?
A major producer has 'stolen' a song from a pair of unknowns. A crime, or normal everyday life in the music business?
AKG makes some of the best mics in the world. AKG also makes a USB mic. A great USB mic?
Two singers, one microphone. Could it cause an Internet sensation?
If a tree falls in the woods, does it make a sound (if no-one is around to hear it?) If you can't hear hum, then is there no hum?
Are you planning on getting your tracks mastered? Then the first rule of preparation is not to master the tracks yourself.
You can get a plug-in to emulate virtually any analog audio process these days. But what about hum? Where's the plug-in for that?
Take a 300-year old bass line, a cello player with just seven days' experience, and some highly uncool-looking musicians... and make a recording that is really top of the pops for weird!
Sometimes unusual microphone placements can capture an interesting sound. In this instance, the sound is completely wrong.
Clicks occur for all kinds of reasons - imprecise editing, random noises, gremlin infestation. But when do you need to do something about them?
There are so many decisions to be made during the process of recording. Should you make them one at a time as you go along, or let them pile up so that you have a mass of decisions to make in the mix?