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Classic gear from yesteryear; vintage audio standing the test of time.

RE: Vintage vs New Amplification

So many generalizations - always dangerous territory.

Many solid-state amps from the 1970's, if their electrolytics are renewed, are easily the match for anything made today. That's why you'll still see vintage BGW and SAE amps in many studios today. I have not heard any s/s amp that betters the SAE P250 in any way.

Yes, changing coupling caps can alter the sound of an amp. Yes, hexfreds generally make a small improvement. Yes, op amps generally sound lousy.

In the tube world, the biggest improvement in recent years is the 17-section output transformer Manley designed for their Snapper amps. They are *almost* revolutionary in what they achieve.

One other recent development that *is* revolutionary also comes from EveAnna's shop: their switch-mode power supply. Finally, tube gear with no 50 or 60 Hz radiating throughout the chassis. "Ah... that's better."

Many 1970's designs are still state of the art. Steve Addabbo's 1979 vintage MCI 636 console, designed and built by Jeep Harned (love that name) with an API mix bus is still making great recordings. It was used for the Bob Dylan "Cutting Edge" set from a few years back that won the Grammy for Best Engineered Historical Recording. Of course, it wasn't just the old gear, but the two gray-haired guys, Steve Addabbo and Steve Berkowitz, who brought decades of experience to the project. They knew how to do old-school slap-back reverb with a real tape delay going to a real Martindale-modified EMT 140 plate. They also knew when to apply a judicious amount of compression or EQ, and whether to use vintage or modern gear to do it. (FWIW, they used Avid DAC/ADCs to go to and from outboard analog gear, and a vintage Universal Audio 2192 DAC for the final conversion of the 2-channel mix.)

WW





"Put on your high heeled sneakers. Baby, we''re goin'' out tonight.


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