Interface preamps?

[b1j]

I just read through the sticky post on this forum and looked at the audio interfaces in use with AGF members. I didn't see the AudioBox USB 96 on the list, although I did see PreSonus Studio One DAW listed.

As a beginner, I've used the AudioBox actively now for about a year and a half, and I like it. I use USB for my MIDI keyboard, so I don't need the MIDI in/out jacks on the AudioBox, but I'm using everything else.

Does anyone here give the lowly AudioBox any love? Are its preamps sufficient or lacking?

[KevWind]

Originally Posted by b1j

AudioBox USB 96
Are its preamps sufficient or lacking?

The answer is both Yes and No---- what the preamps actually are, is relatively inexpensive.
Like basically all entry level (price wise ) interface preamps.

Terms like "sufficient and lacking" are completely relative, and totally subjective, thus something only you can determine for yourself.

[b1j]

In the time I've owned the AudioBox, I have not been successful at finding useful specs with which to compare preamps in interfaces. Everything is packed with marketing copy. Here's a smattering from a recent Sweetwater catalog:
– boutique sound quality
– high-quality preamps
– top-shelf microphone pre-amplifiers
– genuine SSL preamps
– new Vintage Mic Preamp mode
– premium XMAX preamps
– high definition Ultra-HDDA microphone preamp
– premium mic pres
– discrete preamp circuitry
– custom mic preamps
– Air mode helps preamps shine like diamonds
– it comes in black and white finishes

The audiophile reviews you find are no better: they use the same vague descriptors. It's as if nobody knows what's under the hood.

And I'm supposed to be able to tell the differences? Or are there actually no differences?

[runamuck]

There are definitely differences between cheap and expensive preamps. I've found that the differences become less and less noticeable once you're at mid level quality compared to high end.

[KevWind]

Originally Posted by b1j

In the time I've owned the AudioBox, I have not been successful at finding useful specs with which to compare preamps in interfaces. Everything is packed with marketing copy. Here's a smattering from a recent Sweetwater catalog:
– boutique sound quality
– high-quality preamps
– top-shelf microphone pre-amplifiers
– genuine SSL preamps
– new Vintage Mic Preamp mode
– premium XMAX preamps
– high definition Ultra-HDDA microphone preamp
– premium mic pres
– discrete preamp circuitry
– custom mic preamps
– Air mode helps preamps shine like diamonds
– it comes in black and white finishes

The audiophile reviews you find are no better: they use the same vague descriptors. It's as if nobody knows what's under the hood.

Yes it is hard to tell from marketing hype what is what.
And while spec. are useful they do not tell the whole story.

You are asking some fundamental questions everybody who gets into recording asks.
And while it is true that electronics has for 50 years been getting better and better at lower price points, it is also true that the mid and high end has also ..

And know a year and half is just the beginning on what for most is a life long journey and learning curve.

"And I'm supposed to be able to tell the differences? Or are there actually no differences?"

Well again that's pretty subjective and not something someone else can really tell you.
BUT There are definitely differences,, wether or not you will, (at this stage), be able to hear them, is a different question.

Also remember in a recording everything starting with,,,, the guitar, the player, the performance, the room , the mic/s, the pre/s , the conversion , the mixing everything contributes for better or worse.

But in a general sense (even though likely more noticeable) Just as you would not expect a $100 guitar to sound the same as a $2500 guitar ,,,so to a $100 interface is not going to sound the same as a $2500.

Are you asking because you are not satisfied with your current recordings ?

[b1j]

Originally Posted by KevWind

Are you asking because you are not satisfied with your current recordings ?

No. I just don’t know if somehow I’m limping along in mediocre preamp land. I do know that I hear a difference between my best work and commercial releases I like. I’m not dissatisfied per se, and I shouldn’t be surprised about that: all the links in the chain you mention matter (performance likely chief among them in my case). But with a simple solo track, I ask myself, “what kind of sonic result should I be able to expect?” And is there a preamp fix that would help? And (most importantly) if so, why and how?

[Rudy4]

Originally Posted by b1j

In the time I've owned the AudioBox, I have not been successful at finding useful specs with which to compare preamps in interfaces. Everything is packed with marketing copy. Here's a smattering from a recent Sweetwater catalog:
– boutique sound quality
– high-quality preamps
– top-shelf microphone pre-amplifiers
– genuine SSL preamps
– new Vintage Mic Preamp mode
– premium XMAX preamps
– high definition Ultra-HDDA microphone preamp
– premium mic pres
– discrete preamp circuitry
– custom mic preamps
– Air mode helps preamps shine like diamonds
– it comes in black and white finishes

The audiophile reviews you find are no better: they use the same vague descriptors. It's as if nobody knows what's under the hood.

And I'm supposed to be able to tell the differences? Or are there actually no differences?

You best bet is to check the detailed reviews from Julian Krause. Perhaps you've been looking in the wrong place.

[jim1960]

Originally Posted by b1j

But with a simple solo track, I ask myself, “what kind of sonic result should I be able to expect?” And is there a preamp fix that would help? And (most importantly) if so, why and how?

A great result is not the result of any single component.
All of these will contribute to a great result and a great result can undoubtedly be had without the benefit of all of these:
A great performance
A great room
A great interface
A great preamp
Great microphones
Great instruments
Great outboard gear
Great plugins
Great ears
A great mix engineer
A great mastering engineer

Some of those are clearly more important than others but if you have them all, you're going to get stellar results. The more you remove from the equation, the chances of great results diminish.

So to your question about preamps, a quality preamp will get you closer. Whether it will get you to where you want to go depends on what recording quality will satisfy you and how many of the other things on the list are in your back pocket.

[min7b5]

I’ve had an interesting journey with inexpensive versus high-end preamps in the last few months. As I’ve gotten more into home recording and have had some extra money of late to blow on nice microphones and stuff, I started thinking about replacing my Apogee Element 46, as they discontinued that unit a few years back and are supposedly only committed to updating the software for a few more years..

I spent a couple grand on a pair of Heritage Audio‘s newest incarnation of its 500 series 1073 pre .. I ended up sending them back after having big back-and-forth session between the Element, other borrowed interfaces, converters, and pres.. Maybe it’s just my unrefined ears, but for clean settings, I frankly just do not hear much or frankly any difference with any of this stuff these days. Now driving analog preamps into introducing some transformer saturation, some differences definitely emerge. But nothing I couldn’t approximate with my favorite Saturation plug-in, Fabfiliter’s Saturn 2 -which has much larger pallet of saturation flavors should I want to go down that road. I can hear huge differences moving a microphone a half an inch.. but between clean preamps, I am personally throwing in the towel - too hair-splitting for me.

Happy to report I settled on the new $300 Audient iD14 MKII because I wanted a simple USB-C bus powered unit. I couldn’t be happier with it. Sounds fantastic.. And I’m thinking about blowing the $1700 price difference on a few more schoeps capsules

[RRuskin]

I've found the difference between a "good enough" and top-notch mic pre is the ability to handle transients. What might be fine for acoustic guitar may fall short when it comes to drums. As a friend of mine put it, "if the word going in is 'duck' but sounds like 'ung' on the way out, what you have is a crappy front end."

[b1j]

Originally Posted by Rudy4

You best bet is to check the detailed reviews from Julian Krause. Perhaps you've been looking in the wrong place.

Yes, I’ve known about Julian’s comments for at least a year now. I had already bought the AudioBox by then, and you know about confirmation bias. But listening to him critically, I reasoned that I don’t plan on using dynamic microphones, and that 2dB loss at 20 and 20,000 Hz wasn’t going to kill me. Even now, it’s hard to believe that these falloffs would noticeably degrade a recording. If that’s not true, then maybe it’s a relevant consideration. Again, who knows?

[b1j]

Instinct tells me my quality shortfalls are due to performance first, room second, mixing third, mics fourth, and preamps fifth. If I’m anywhere close to the truth, I have work to do before I change the preamps.

[Joseph Hanna]

Originally Posted by b1j

Instinct tells me my quality shortfalls are due to performance first, room second, mixing third, mics fourth, and preamps fifth. If I’m anywhere close to the truth, I have work to do before I change the preamps.

I believe your instincts are dead on

[Gordon Currie]

Originally Posted by b1j

Instinct tells me my quality shortfalls are due to performance first, room second, mixing third, mics fourth, and preamps fifth.

Good analysis. I find most neophytes tend to reverse the order and obsess over preamps and microphones while ignoring the other elements entirely.

I might put one more element in there - positioning. This can often make far more difference than specific equipment.

[b1j]

Thanks. I’ve tried to pay attention to position of mics relative to the plane and key regions of the front of the guitar. My plan for the near future is to stay with XY, with the tips directly opposite the sound hole so the mics are aimed at the bridge and 14th fret. I’ll experiment with hole-to-capsule distance. For now, it’s 8 to 10”. At that distance I’ll try a small range of preamp gains and playing volumes, and then maybe go an inch closer or farther.

As Ian Anderson once sang, life’s a long song.