Shootouts

In late 2017, FLEA Microphones released their version of the classic Neumann U47 FET microphone dubbed the 47 SuperFET. FLEA has taken much effort to match the sound characteristics of the tube U47, while offering the benefits of a FET circuit such as a higher signal to noise ratio.

With the release of the 47 SuperFET, FLEA has created a microphone that does a great job of matching the sound of its classic predecessor. While it might not sound exactly the same, the mic will allow engineers on a tighter budget to bring the U47 FET sound to their studio for $2,195, a fraction of the cost of the vintage version. Continue reading →

When it comes to top quality microphones, every engineer in the business knows and loves Neumann mics, especially the U67. That's why it was particularly exciting when the brand announced at Winter NAMM 2018 that they would be releasing a historically accurate U67 reissue, the first of its kind since the original was discontinued.

What sets the U67 apart from any other microphone in the Neumann family is it’s ability to capture an insane amount of low end. The proximity effect of the U67 is more prominent than any other model Neumann offers and is a favorite to many engineers for capturing an intimate vocal performance. Continue reading →

For decades, the Universal Audio/Urei 1176 has been a favorite compressor for many tracking and mixing engineers because of its ability to add attitude and vibe to any source. They smooth out the peak transients, bring the source to the front of the song and make it sit just right in the overall mix.

There have been many revisions to the 1176 over the years, some have been minor adjustments, while others have been a complete makeover to update it to the current standards of the music industry. Continue reading →

Last week I was introduced to the new Royer R-10 Bi-Directional ribbon microphone. The R-10 is very similar to the classic R-121 in design. It’s small and lightweight, which allows you to position the microphone without any intrusion, and utilizes the same ribbon transducer.

Throughout this blog, we’ll look at what makes each of these microphones special in their own regard and pit them against each other in a shootout on some different guitars and amplifiers. Continue reading →

The Fairchild 660 and 670 vintage compressors are the most sought after and coveted compressors of all time. They have been the top choice for tracking and mix engineers for over five decades because of the signature glow and warmth they add to whatever source you run through them, even if no compression is actually happening. They have been the choice compressor for The Beatles, Pink Floyd, classic Motown records and many more. Loaded with 20 tubes, 14 transformers and miles of wiring, it’s no wonder that the Fairchild has a sound that has been unmatched… Until now.

UnderTone Audio is a pro audio company run by recording guru Eric Valentine. Valentine has been making records for over 25 years and worked with many of today’s top artists. He has used pretty much every piece of gear on the planet and knows how to create gear that caters to the modern tracking and mix engineer. Engineers such as Greg Wells swear by Valentine’s designs, as Wells traded in his vintage Neve console for one of UnderTone Audio’s custom recording consoles. Continue reading →

One of the most common questions we get asked by customers at Vintage King relates to plug-ins and how they stack up against their analog hardware counterparts. In terms of Universal Audio's software replicas, the painstaking care taken to recreate these classic pieces of hardware is beyond obvious when comparing their sonic output. Continue reading →

Recently at our Los Angeles showroom, The Black Whisky Union came in to solve a problem they'd been having in the studio. The Southern California-based indie rock band produce and engineer their own music, but they weren't getting the vocal results they wanted with their previous set-up of a Neumann U 87 AI and Avalon VT-737SP. The end tracks were deemed "too boxy. Highs too brittle and hard. Mid-range was muddy." Continue reading →

Since the creation of the compressor, this essential studio tool has hardly left the side of discerning engineers, producers and musicians. Whether you're trying to make a vocal stand out or give definition to a drum hit, the compressor can do a whole wide range of things for any track you're working on.

To make the selection process easier when looking for your next compressor, Vintage King's Dave Rieley has created a seven compressor shootout. The compressors used in the shootout include the Chandler Limited RS124, Highland Dynamics BG2, Tube Tech CL 1B, Acme Opticom XLA-3, Retro Instruments 176, Retro Instruments Sta-Level and Universal Audio LA-2A. Continue reading →