thank you for your reply. This is been said about the 2-610 preamp. But - as I said - there is a review in the ua-review area where it is said that the LA-610 is different in the upper mids to compensate a possible loss in the compressor stage. And therefor there is a statement about just using the preamp stage and a TLM-103 and getting results with problems with the emphazised sibilance area.
so, here is the part of the review, I'm refering to:
...Setting the LA610 up is very straightforward and the controls are easy and obvious to adjust. I would imagine the majority of users would employ this channel strip to handle vocals, so I started off
plumbing in a Neumann TLM103 and set the gain control to suit a competent male vocalist. The immediate first impression was of a large and open sound quality, but with a very slight overemphasis
on the sibilance region. Depending on the mic in use this could be a blessing or a pain — and with the TLM103 I leaned
towards the latter opinion! In the right circumstances, though, the LA610's slightly forward character would help to emphasise transient detail and presence, but when partnered with a bright mic the combination can sound a tad edgy on its own. Having said that, when the vocal was auditioned within a complete mix I found it did tend to retain a clarity and presence which helped it to cut through easily and without the need for further EQ tweaks on the console. However, few people will ever use the preamp on its own, and it could be argued that the slightly brighter character of the preamp helps to compensate for the inherently darker
tonality of the compressor. Since most people will make use
of the compressor all the time, this swings and roundabouts
approach works extremely well, and the overall sound
character is more or less neutral when the compressor is active.
Swapping the Neumann for the ultra-flat Sennheiser MKH40 revealed the precise spectral balance of the LA610. While it obviously boasts a more 'modern' sound than its forebear, the extra brightness is
relatively subtle and, I think, well judged to balance the compressor's slightly subdued character. The benign equaliser can be used to tailor the sound very easily if necessary, as can careful positioning of
the mic, of course. As I suggested earlier, trading input gain against the output level allows the amount of valve coloration to be adjusted, a balancing act which provides a useful range of characteristics from ultra-clean to obviously distorted — although the latter always sounds musical
and appealing. The distortion character is rich and rounded, adding extra weight and mid-range body in that characteristic way of overdriven triodes. ...
But as I will use the compressor all the time, I guess, this should be no problem.
Thanks
Klaus
BTW: Does anybody know what Bruce Springsteen used on vocals (Mic, Micpre, Comp) on the release \"The Rising\"?
