MIC PRE Basics

This Microphone Preamp, like most mic preamps, is pretty easy to use. First we can discuss why outboard mic pre's have become "a must have item" in almost every studio even though your console probably has a bunch of them and that manufacturer claims that they are really great and you don't need outboard mic pre's. Then, why is everybody buying them, using them, and why are most people going back to tubes or vintage transistor based circuits?

Good question. The signal from a typical mic is very low - anywhere from 20 to 70 dB below your normal line level signals. 95% of the time 30 to 40 dB of gain is all that is needed to boost the signal to line levels. Where you really need a lot of gain is with most ribbon mics and when you are recording chamber music from a distance. Mic signals are fragile and raw. The fragility is apparent when one compares various mic pre's - each preamp seems to sound different - no EQ, no compression, nothing elaborate - just basic gain. Maybe it is the mic reacting different into different circuits. Each preamp, tube or solid state seems to impart a flavour or color (or personality) of its own. Some of these flavours are subtle and some are not. A few engineers have an array of mic pre's and use them almost like effects - using each for a certain flavor as needed. The rest of us only have the budget for one or two great mic pre's so we tend to choose one that sounds "best", or is priced for us, or is used by "xxxxxx". The Langevin Microphone Preamplifier is superb sounding - probably because it has a simple all discrete gain stage with a minimum of components and a minumum amount of negative feedback. Specifications, while important, will not be truly indicative of an audio product's "sound" until methods of determining the transient accuracy are established. Transient accuracy is not a "spec" and test benches don't produce hit records. The transient details are important for reproducing the true character of the instrument, the room and stereo image. Most solid state circuits use a large amont of negative feedback to lower noise and distortion at the cost of transient accuracy. This preamplifier started out clean and quiet so minimal negative feedback was necessary.

Op-amp based designs, by comparison, have dozens of transistors in each "chip" (its easier to fabricate a transistor than a resistor on silicon), hundreds of dB's of negative feedback and sometimes a few discrete transistors to provide performance that an "IC" simply cannot. The result is good specs - but that harsh, hard, cold sound that makes shakers sound like pink noise, makes vocals sibilant in an unpleasant way, and can only render a 2 dimensional image at best. We prefer tubes or simple discrete circuits.

We mentioned mic signals are fragile and raw. Some consider that the "headroom" factor is the most important issue in mic pre's. We believe that it is just one of a number of issues including the harmonic character of the distortion. Except for the final output, all circuits are "Class A" which is usually associated with zerocrossover distortion and near clipping will be even order distortion and less upper harmonics.This Preamplifier has more headroom than most solid state mic pre's because of the 48 volt power supply used, compared to 30 volts (+/- 15V or 24 volts) used in other designs. If overdriven, which is not easy, it starts to clip in a gentle, smooth way.

Another consideration above and beyond technical concerns when it comes to the art of recording music is that every preamp seems to have some comparative influence on the "sound" of the mic signal. When we have a choice, we tend to use the preamp that either best flatters the singer or instrument or gets closest to the desired final sonic goal. Sometimes, the choice is the clean & pristene pre and sometimes it is the vintage or aggressive box but it seems to be getting rarer that we choose the basic console mic preamps. The Dual Vocal Combo is typically considered "clean but vintage" and not as "dry" as many all-discrete mic preamps. People have used the words "smooth" and "strong" to describe it but undoubtedly you will find your own words to descibe it compared to your console and other units.

Langevin Dual Vocal Combo specifications

The Manley Labs Langevin Dual Vocal Combo is a premium vocal processing unit that combines vintage warmth with cutting-edge technology. Designed for both professional recording studios and home setups, this unit stands out with its ability to enhance vocal tracks dramatically while preserving their natural character.

One of the standout features of the Dual Vocal Combo is its dual-channel architecture, which allows engineers to process two vocal signals simultaneously. This is particularly useful when recording duets or layering harmonies. Each channel is equipped with a dedicated mic preamp, providing individual control over gain, EQ, and compression, thus offering flexibility for different vocal styles and recording environments.

The mic preamps in the Langevin Dual Vocal Combo are renowned for their low-noise performance and ability to handle high sound pressures without distortion. With high-quality discrete components, the preamps deliver a warm, rich tone that enhances the clarity and presence of vocals. The unit also incorporates a high-pass filter to eliminate unwanted low-end rumble, which helps to focus the vocal sound in the mix.

Another significant feature is the built-in optical compressors. These compressors are designed to provide smooth, transparent dynamic control, allowing for a more polished final sound. The optical design ensures that the compression is musical and responsive, providing the ability to gently tame peaks without squashing the dynamics of the performance.

The EQ section of the Dual Vocal Combo comprises four bands of equalization, with both boost and cut capabilities. This flexibility enables engineers to sculpt their vocal tracks precisely, enhancing desired frequencies while reducing any harsh elements. The frequency selections cover the full vocal range, making it versatile for various vocal tones.

The Dual Vocal Combo also features an intuitive user interface, making it easy to navigate adjustments. Its robust construction ensures durability, suitable for constant use in a studio environment. With the signature Manley design aesthetics, it adds a touch of professionalism to any recording setup.

In conclusion, the Manley Labs Langevin Dual Vocal Combo is an exceptional choice for vocal processing. With its dual preamps, high-quality compression, extensive EQ options, and user-friendly design, it caters to the needs of both amateur and seasoned professionals looking to elevate their vocal recordings. Whether for tracking, mixing, or live performance, this unit proves to be an invaluable asset in any audio arsenal.