Equipment Comparison Tapes

For quite some time, we have been recording tapes using a wide variety of equipment. As we know, many of you have to buy equipment based on reputation or what you've seen. These tapes are put together to take the mystery out of buying quality recording gear.

In order to make sure the comparisons are as fair as possible, each comparison was made with only the equipment being compared as the variable. (example: if microphones are being compared then the cables, pre-amp, and deck remained constant. Every attempt was made to insure that height, angle, and recording level also remained constant.

Sonic Sense carries all of the equipment used in the comparisons, and no attempts were made to create favorable performance of any item over another. We believe it is in everybody's best interest to hear equipment first hand and we hope this makes it possible. For additional opportunity to try equipment before purchasing it, check out our Rental Program.

We also have a great collection of recent live recordings on our On Tour Page.

At this time, we are seeking new people to be contacts for the tapes listed below. If you are interested in receiving a copy, please read the Sonic Sense Tape Trader's System and get in touch We will take up to five contacts for each tape.

There are now eleven comparison tapes available:
Pre-amp and Cable comparisons I
Pre-amp Comparisons II
Sound Devices MP-2 and Lunatec V2
Microphone comparisons I
Microphone comparisons II
B&K and SCHOEPS
AKG 480's and Earthworks SR 77's
AKG C480 compared to other popular mics
AKG C3000 compared to other popular mics
MBHO and B&K/DPA
MBHO/SCHOEPS


Pre-amps/cables I:

Pre-amps:

Section I:
Source: Phish at Clifford Ball 8/16/96
Control: Microtech Gefell m296 (omnis)/Audio Magic Cable/Tascam DA-P1
Location: In center taping section behind board, off delay towers
Section II:
Source: Phish Red Rocks 8/6/96
Control: Microtech Gefell m296 (omnis) split 20'/Audio Magic Cable/Technics SV-MD1
Location: Front of taping section, immediately behind soundboard.
Section III:
Source: Grateful Dead Riverport Amphitheate 7/5/95
Control: B&K (Bruel & Kjaer) 4006-omnis/Audio Magic Cable/Panasonic SV-250
Location: Center of taping section on lawn outside pavillion.

Cable Comparison

Source: Radiators Fox Theatre 11/22/96
Control: Microtech Gefell m300 (cardioids)/beyerdynamic MV100 pre-amp/Sony D-10
Location: Center directly behind soundboard
Available from:

Pre-amp comparisons 2

As discussions grow ever more intense about the merits of microphone pre-amps, we have assembled this tape as a way for the listener to make a personal decision. While some pre-amps are designed to be "colorless," thereby adding nothing to the sound of the microphones, others have sonic characteristics that may actually benefit or compromise the natural sound of the mics being used. By using the same piece of music repeatedly with no other variables introduced, this tape demonstrates the differences that a microphone pre-amp can make.

This 32-minute tape was recorded using one of my favorite CD's digitally out to the Apogee PSX-100 ad-da converter, via a passive two channel stereo pre-amp fed directly into our Genelec 1030A Studio Monitors with the 1092 sub-woofer. While it isn't exactly at concert volume, the pre-amps were run hot enough to compensate. The Schoeps CMXY-4v stereo microphones was positioned one meter from each speaker at about a 75 degree angle so each capsule was aiming directly into its respective monitor. Audio Magic Sceptor II microphones cables ran from the microphone to the pre-amp and from the pre-amp or a/d to the HHB Portadat. Once the recording began, no volume changes were made from the source.

The first section provides samples of the Lunatec V2/A-D 1000 combination with varied level settings on each unit. We take it to the extreme as we intentionally clip the V2 by running it too hot in numbers 6&7. As we approach clipping, astute listeners will notice how the recording sounds louder but that the dynamic range is compressed in light of the A-D 1000's soft limit circuitry.

Program No. 1: Lunatec V2@45db gain>Apogee a/d 1000@8.75 on calibration knobs
Program No. 2: Lunatec V2@45db gain>Apogee a/d 1000@8 on calibration knobs
Program No. 3: Lunatec V2@35db gain>Apogee a/d 1000@10 on calibration knobs
Program No. 4: Lunatec V2@40db gain>Apogee a/d 1000@9 on calibration knobs
Program No. 5: Lunatec V2@50db gain>Apogee a/d 1000@6.75 on calibration knobs
Program No. 6: Lunatec V2@55db gain>Apogee a/d 1000@4.25 on calibration knobs
Program No. 7: Lunatec V2@60db gain>Apogee a/d 1000@4.2 on calibration knobs

The next section features various pre-amps and gain adjustments to help determine how the different pre-amps and gain settings can affect sound quality

Program No. 8: Directly to Apogee a/d 1000 pre-amps without Lunatec v2
Program No. 9: Lunatec V2@45db gain directly to HHB@7.2 on input knob (No A/D 1000)
Program No. 10: Lunatec V2@40db gain directly to HHB 8.1 on input knob (No A/D 1000)
Program No. 11: Lunatec V2@40db gain with trim @6 directly to HHB 8.1 on input knob (No A/D 1000)
Program No. 12: Lunatec V2@50db gain directly to HHB @ 5.3 on input knob (No A/D 1000)
Program No. 13: Sonosax SX-M2@41db gain directly to HHB @ 5.3 on input knob (No A/D 1000)
Program No. 14: Directly to HHB (No external pre-amp or A/D converter)

Although some of the differences in equipment have subtle impact, closer listening on high-quality playback equipment will reveal changes in the attack and decay of symbols, the interaction between guitar strings in chords, and varied degrees of definition in the bottom-end. We hope that this tape will help you in deciding the value of outboard gear so you can establish a recording systems that best suits your needs.

Although this tape focuses on the Lunatec V2 and Apogee a/d-1000 pre-amps, it is unfortunate that we must clarify that Apogee has no intent of building a new portable A/D converter. The A/D-1000 is a true classic of audio history.

Sound Devices MP-2/Lunatec V2 and Schoeps/MBHO microphones:

While this 3 tape combination deviates a bit from our normal approach to a/b comparisons, it provides a nice opportunity to hear a couple great pre-amps and microphones. We think you will find the sonic characteristics of each device follow it into each recording.


Microphones I:

While it has not been possible to test all these microphones in one location at one time, we have selected as many mics as possible and compared them to at least one other that would make for an interesting comparison. Also, some mics were used at more than one venue so they could be used as a reference in comparison to the others tested. For a more controlled comparison of a smaller number of mid through high end mics, check out Microphone Comparison II

All microphones were positioned in a modified x-y (coincident) configuration. typically 60-75 degrees, unless otherwise noted.

Section I:
Source: Electric Hot Tuna--Boulder Theatre 11/21/96
Control: Audio Magic Cables/beyerdynamic MV100 pre-amp/Sony D10
Location: Beside Soundboard in center of house
Section II:
Source: Radiators--Ogden Theater 11/23/96
Control: Audio Magic Cables/beyerdynamic MV100 pre-amp/Sony D10
Location: Immediately in front of Soundboard in center of house
Section III:
Source: Bela Fleck & the Flecktones--Paramount Theater 9/7/96
Control: Audio Magic cables/Sonosax pre-amp/Panasonic SV-255
Location: Immediately in front of Soundboard in center of house
Section IV:
Source: Phish--Alladin Theatre 12/6/96
Control: None--please read the details about each. **
Location: In front left of taping section beside soundboard
**Note: This is a departure from the close controls we've used on all the other recordings but I found it worth checking out. Section V:
Source: String Cheese Incident--Bluebird Theatre 10/10/96
Control: Audio Magic cables/Lunatec pre-amp/HHB Portadat
Location: Beside soundboard in center of house
Section VI:
Source: Laura Love Band--Lyons Folk Festival 8/24/96
Control: Audio Magic cables/Lunatec pre-amp/HHB Portadat
Location: Front of soundboard in center of venue
Available from:

Microphone Comparisons II

All of the following comparisons were made in the Fox Theatre in Boulder, CO--a wonderful hall to showcase some of the world's finest microphones on December 11, 1997. These all used cardioid capsules in a near coincident configuration spaced about 10 inches with an angle of roughly 70 degrees. The Band is Galactic from New Orleans.

Copies available from:
John Schmidt

B&K and Schoeps

These two recordings were made using B&K 4011's for one set and Schoeps cmc-6 with mk. 4 cardioid capsules for one set each. As these were made in two separate venues, it provides nice perspective on the different sound that each of these top-quality microphones delivers. The microphones were run in a near-coincident pattern approximately 10-12" apart and aimed just wide of the P.A. We used Audio Magic Sorcerer mic cables >Lunatec V2 microphone pre-amp>Apogee a/d 1000>HHB PDR-1000 Portadat

Program Number 1:
Phish 7/15/98--Portland Meadows, Portland, OR
Schoeps
Program Number 2:
Phish 7/15/98--Portland Meadows, Portland, OR
B&K's
Program Number 3:
Phish 7/17/98--The Gorge, George, WA
Schoeps
Program Number 4:
Phish 7/17/98--The Gorge, George, WA
B&K's
Available from:
John Schmidt

AKG 480's and Earthworks SR 77's

This recording was made using AKG 480's with ck. 61 cardioid capsules for one set and Earthworks SR 77's for the other. The AKG's were run in a modified x/y pattern for the first set. For set two, the Earthworks were run x/y for about half of the set. Then, they were moved into a modified near-coincident pattern for the remainder of the show. The movement has a notable impact on the sound of the recording but the differences of the microphones is also noteworthy. We used Audio Magic Excalibur mic cables>Lunatec V2 microphone pre-amp>>HHB PDR-1000 Portadat

Program Number 1:
David Grisman Quintet--Fox Theatre, Boulder, CO Set I
AKG 480's
Program Number 2:
David Grisman Quintet--Fox Theatre, Boulder, CO Set II
Earthworks SR 77's
Available from:
Marty Hanlon

AKG C480 comparisons

All of the following comparisons were made in the Fox Theatre in Boulder, CO--a wonderful hall to showcase some of the world's finest microphones. These all used cardioid capsules in a near coincident configuration spaced about 10 inches with an angle of roughly 70 degrees

Available from:

AKG C3000 comparisons

This tape was compiled from masters recorded at three shows. Unfortunately one of the venues is rather cavernous, cold, and somewhat boomy. Nonetheless, in the interest of getting these prepared quickly (in keeping with the sudden 50% price reduction announced at the September 1998 A.E.S convention) we have put together what we feel is a representative samples of the C3000 compared to other high-quality microphones. We hope you find it equally helpful.

First Venue
Source: Ekoostik Hookah--Fox Theatre, Boulder, CO
Control: Audio Magic Sceptor Cables>E.A.A. PSP-2 pre-amp>Tascam DA-P1
Location: Immediately behind Soundboard in center of house
2nd Venue
Source: Ekoostik Hookah, Ogden Theater, Denver, CO
Control: Audio Magic Sceptor Cables>E.A.A. PSP-2 pre-amp>Tascam DA-P1
Location: Immediately in front of Soundboard in center of house
Available from:



MBHO and B&K/DPA 4011 microphones

Grisman Taylor Quartet--Fox Theater, Boulder, CO 12/15/99 set II

At this point, we are making the five initial clones for those who express interest and DAT cloning capability first. Then, we will place recipient names on this page as links so five or more people may contact each of them for a copy. When you make copies, please ask the next recipients if they can and will make copies. If so, please forward their email addresses to Sonic Sense and we'll put them up as a link later.

Sonic Sense Homepage