08-14-2009, 08:51 PM
Hello Doug. Thanks very much for all your very-knowledgable info you share here! I really appreciate your replys to these vintage items questions I have.
Since Im a veteran musician, I have recorded in many various high-end recording-studios over the yrs. Most of the studios now use very-expensive new production comp/limiters & tube mic-pres that are all rated RIAA compliant industry standard to be used with absolutely no-noise gain into modern digital recording equip. All the new mfgred tube-type outboard ( comp/limiters, mic-pres, etc. gear now uses DC filaments supply voltage to insure not adding any amt of hum whatsoever into the digital chain of their high-end studio-mixers, rec machines,etc.
To make further use of this vintage Gates remote-amp in todays recording world possible, will require all the necessary updates to bring the item into RIAA studio-standards modern day compliance.
As time allows, I can add a ac to dc bridge rectifier, fully recap the item, and see how it performs with the vintage Neumann U-47s,87s,Sennheisers,RCA broadcast mics,etc,.. as compared to some of the newer high-dollar tube mic pres once I get some of my rec-engineers buddies to give it a test-drive. The overall "noise-floor" of the type tubes used in this vintage Gates remote-amp will be under extreme scrutiny by the engineers Im sure.
Any futher info, suggestions, or tips you can share, is always highly appreciated!
I also have interest in restoring a vintage Ampex mod 375 ( 1952-53) recording studio rackmount type tube amp I also have here. It has very high-quality transformers on the chassis as well. This amp "synced" with the old Ampex large slanted rolling type desk type reel-to-reel recorders of the day via a constant 60-cyc socket to sync with recorders tape heads. Do you think this type tube-amp would be desirable for studio-use if properly restored also? Sounds like you have a museum also at your home! Wish we lived closer, we could have a blast going thru all these vintage items I drug in the shop recently!
Many Thanks!
ol Tx.
Since Im a veteran musician, I have recorded in many various high-end recording-studios over the yrs. Most of the studios now use very-expensive new production comp/limiters & tube mic-pres that are all rated RIAA compliant industry standard to be used with absolutely no-noise gain into modern digital recording equip. All the new mfgred tube-type outboard ( comp/limiters, mic-pres, etc. gear now uses DC filaments supply voltage to insure not adding any amt of hum whatsoever into the digital chain of their high-end studio-mixers, rec machines,etc.
To make further use of this vintage Gates remote-amp in todays recording world possible, will require all the necessary updates to bring the item into RIAA studio-standards modern day compliance.
As time allows, I can add a ac to dc bridge rectifier, fully recap the item, and see how it performs with the vintage Neumann U-47s,87s,Sennheisers,RCA broadcast mics,etc,.. as compared to some of the newer high-dollar tube mic pres once I get some of my rec-engineers buddies to give it a test-drive. The overall "noise-floor" of the type tubes used in this vintage Gates remote-amp will be under extreme scrutiny by the engineers Im sure.
Any futher info, suggestions, or tips you can share, is always highly appreciated!
I also have interest in restoring a vintage Ampex mod 375 ( 1952-53) recording studio rackmount type tube amp I also have here. It has very high-quality transformers on the chassis as well. This amp "synced" with the old Ampex large slanted rolling type desk type reel-to-reel recorders of the day via a constant 60-cyc socket to sync with recorders tape heads. Do you think this type tube-amp would be desirable for studio-use if properly restored also? Sounds like you have a museum also at your home! Wish we lived closer, we could have a blast going thru all these vintage items I drug in the shop recently!
Many Thanks!
ol Tx.
