Best Preamps for Snare and Kick Drums - Update 2019
Written By James Quinn
Updated August 2019
When producing professional music, the ordinary amplifier might not be enough. You will be required to get an extra form of amp called a preamp to allow in combining the music with the band. The band involves a combination of different musical instrument sound.
One of the musical instrument that is key in band creation is the drums. However, the drums, unlike most inputs, have high exposure to distortion and vibration. You will, therefore, require to source for a preamp that not only combines different sounds but also isolate the sound from noises.
As much as there is need to research before making a purchase, we acknowledge that It might be quite a hustle to go window shopping while comparing different preamps features. We have therefore taken the task of reviewing the best preamps for drums for you. We have not only ranked them but also outlined the features and their favorability to drums.
We have analyzed them as below:
Best Drums for Preamps - Kick drums, snare drums etc.
#1. OUR OVERALL TOP PICK 2019
1. Universal Audio SOLO/610 Classic Vacuum Tube Mic Pre & DI Box
Universal Audio SOLO/610 amp is designed to offer you classic versatility. Just like it is referred to, it is a universal form of an amp as it readily connects with many audio devices. It is very famous and widely used for mic setups making it among the most sought-after universal audio amps.
Mics are key in music recording. They are very pivotal in relaying sound inputs for recording. This preamp gives a convenient recording room atmosphere. This means that the sound relay is free of feedbacks, distortions, and vibrations. This universal preamp is among the best for studio recording.
Other than being very good for studios and home recording, it delivers excellent sound for outdoor events. During stage performances, one can comfortably control the sound frequencies hence giving out a very convenient output sound. It is actually known for its signature quality sound output.
All these features are contained in a compact casing made of durable material. This compactness gives it a lightweight feature which makes it very portable.
Despite being made to meet the USA standards for quality, it trades at very affordable prices. We considered this as one of the budget preamps for mics.
2019 RUNNER UP
2. ART TubeOpto 8 Tube Microphone Preamp
If you are looking for a preamp that will support a large number of mics, then you should give Art Tube Opto 8 a shot. It will give you a platform to plugin about eight different audio inputs.
All the eight audio tubes are fitted with interfaces to ensure that sound is effectively relayed.
You are also able to control the input performance. This is because of the control system design for the channels outputs and input.
You can also connect the amp to different control inputs like the iPad and computers. It has a widely connectible port. This makes it very possible to configure it to different music and audio systems.
In addition to the audio interfaces, the amp has disc recorders. This is an equivalent of DAW that gives you and an instantaneous recording of albums directly to the disc.
The filtered sounds from the mic through the mic amps can be recorded into discs for editing after a performance.
The channels have very extended monitors for controlling the levels of output. The peak and of the preamp is also regulated even from a distance.
This means the level of the out can be varied to different levels as may be needed.
3. Solid State Logic Alpha VHD (4-Ch Preamp)
Solid State Logic Alpha will combine sound from different inputs to give you an ultra-clean output. The essence of making good music is to mix different inputs to bring out a competitive sound beat.
This preamp combine unbalanced and balanced inputs its channels with precision such that they are naturally felt with clarity.
If you need to switch inputs for better performance, this preamp allows switching to accommodate different inputs like the mic, drums and other instruments levels.
You are also able to control the levels of the instruments to give out the desired outcome. This is due to the very sensitive sound control systems installed in it.
There is always the possibility of overloading a preamp or any DAW. This usually happens when they can support different types of inputs at the same time.
When this happens, the possibility of crash or destruction is usually high. This amp is cushioned from this as it has a pad switches which signals you in case you have overloaded it.
The most drum-friendly trait of this amp is the presence of a trim control. They have curves release ability to minimize any distortion and vibrations.
When playing the drums, a lot of vibrations and unnecessary sounds may be present. This amp compresses the noises and distortions to deliver a clear sound.
4. API 3124+ Discrete 4-Channel Microphone/Line Preamplifier
When playing drums for professional music or home recording, you will need an amp that will allow both high and level inputs.
At the same time, it should be able to isolate distortions from the real musical instruments sounds. API 3124+ allows for different inputs like the drums, guitars and other low-level inputs.
At the same time, the output channels are fitted with audio interfaces to allow for effective sound sieving.
This means the sound will be effectively mixed and free of any distortions. You are also able to control the levels of these instruments sounds through the amps sound control systems.
Despite supporting multiple inputs, there is no fear of producing unbalanced sounds. The preamp allows you to monitor the sounds mixing to personalized levels. That is to means you only get the outcome of sound that you have set.
When exposed to excessive vibrations, most amps will be prone to sound breaking. This is due to the interference with the sound isolation capability. But for this amp, it allows for even high-level inputs.
This feature makes it one of the best preamps for pianos and high-level input drums.
5. PreSonus DigiMax D8 Eight-Channel Preamp with 48 kHz ADAT Output
Our top contender for the best preamps for drums is Presonus Digimax D8. This is a preamp that has input for virtually every audio device.
The eight channels extend the parameters of the number of audio inputs that can be plugged in these preamps. Some of the audio equipment include mics, guitars, keyboards, drums etc.
Its wide range of equipment support makes it very versatile and usable in different settings. It is good for the studio set up as it has high sound isolation abilities. It can deliver quality recording sound which is free from distortions and vibrations.
The fact that it uses analog outputs makes is very good preamp for using for outdoor performances. These analog outputs are widely connectible to most sound output devices and amplifiers.
Another useful feature of this preamp is its high resolution of up to 48k. This level of resolution allows you to control the kind of output you get. You are able to monitor the sound of the different instrument and how it is mixing to achieve a balanced sound.
With this kind of high-performance preamp, it is possible to overload with many inputs. This would be most likely due to the fact that it supports both high and low-level inputs.
Presonus Digimax D8 allows you to know when you have feed more inputs that can be supported. The pad switches will show signals to alert you hence reducing chances of a sound crash.
The quality of the sound you get from the musical instruments is hugely determined by the kind of preamp you use. You, therefore, do not have a reason not to invest in a good preamp. If you are aspiring to be a good music maker then it is a high time you gave preamps a serious thought. If you are a drummer you don't have to be let down by distortions of sound. Just invest in a good preamp, if you are on tight budget there are some decent budget preamps for drums including some for snare drums
I hope this article helps you get the one that makes your make masterpieces of music.
What are others saying?
Mic Preamp Shootout - Drum Overheads
hi I'm Dylan listen we're here at triple colossal studios in Hoboken New Jersey and we added some new gear to the amp rack and we wanted to get an idea of what each of these preamps is doing to our microphones for drum overheads we do a lot of drum recording here at triple colossal and we just obviously want to get the best time we possibly can we know each preamps going to affect these mics in a different way and we want to find out exactly how so we set up a shoot out with eight preamps and with our trusty pair of a kg c 414 s large diaphragm condenser overheads we use those a letter on here we ran them through each of our pries the preamps we're working with from top to bottom are we have an a designs pacifica on top next is the classic api 3124 which is going through a gasps a 10 output attenuator just - do you want the the really hot levels that come out of the API follow that is the taking mic pre for then we have the universal audio for 710 D and we we actually ran that one through twice once with all transistor setting and once with all tube setting to get an idea how that affects it on the bottom here we have our seven circle audio it's a DIY preamp and we use their their Neve clone which is the n72 as well as the T 15 which is kind of their their budget stock preamp and finally we run it through the preamp of our interface which is the rme UFX so we have eight identical performances run through each one of these different pries the only thing changing is the preamps without further ado let's hear so there you have it we felt they all sounded cool in their own way they just kind of do their own thing to the to the microphones for us after listening to this we're probably going to stick with the day Kings as probably the general general studio overheads we just really like the transit response and kind of the general overall presence of the the preamp and then for more aggressive rock and roll stuff it's going to be of course the API I 31 to 24 that thing's a legend and has been for decades for a really good reason but all the preamps have their own their own thing so we use them on lots of different sources all over the kit and all the other instruments as well we get really obsessed with this stuff here a triple colossal we do a lot of drum tracks for you know mega superstar clients and then tomorrow is emerging artists that you might not have heard yell yet but you will soon if you need drum tracks for your project please choose the line at indie studio drummer calm and I'm Dylan whistling I'd be happy to play drums on your project thanks for watching you
Signal Flow | HOW TO RECORD DRUMS
hey what's up guys this is part 3 of my series on how to record drums and in this video we're going to go over signal flow it's very important to understand the ins and outs of the signal flow for your own setup so that way you can be efficient with setting up your recording sessions and diagnosing any problems that can arise within the signal chain so I'll just start by going over the basic setup for an 8 channel audio interface which is most common for recording drums and then I'll go over my personal setup to show you how I incorporate other gears such as external mic preamps my click track vocal mic etc ok so let's get started okay let's begin with a basic 8 channel audio interface I'll use the Focusrite liquid sapphire 56 as a reference since I'm most familiar with it but these principles are usually the same for other brands of interfaces so looking at the front of the unit you can see that there are eight modules with controls for each input these controls are for things such as input gain phantom power high-pass filters etc to the right of those is the monitor section which controls the output volume to your speakers and to the right of that are your two headphone outputs this is a typical layout for an a channel interface now looking at the back of the unit you can see the eight XLR inputs for the microphones going from right to left below that you have your two monitor outputs for your speakers and to the left you have various connections the only ones I really use are the firewire ports and the optical ports for connecting to other expansion devices such as microphone preamps so the connections for a typical a channel interface would look something like this now this particular interface connects to the computer via firewire but a lot of interfaces now use Thunderbolt so that will vary depending on what interface you use and what connections your computer has the studio monitors are connected to stereo outputs one and two with output one going to the left speaker and output two going to the right the microphones are connected into the XLR inputs and it pickles setup for drum recording would go something like this from right to left overhead left overhead right kick snare Tom one Tom - Tom three and the last input could be whatever you want maybe a room mic or an outside kick mic or a snare bottom mic for example but this configuration is the simplest way to record a full drum set with multiple microphones also make sure that phantom power is enabled on the condenser microphones in this case the two overhead mics now the signal flow in this setup would go like this you start recording in your DW you play the drums and the sound from the drums goes into the microphones those signals are carried through the microphone cables into the XLR inputs of the interface those signals are then amplified by the microphone preamps in the interface and then converted into digital information through the analog to digital converters that information is then sent to the computer via firewire where your da W will record that information and represent it as audio waveforms on each track once the recording is done and you play back what you've recorded the da W sends that information back to the interface to be converted into an analog signal that goes to your speakers and headphones for monitoring and that's basically it that's how the sound from your drums gets to your computer and back so if you understand that process then you are well on your way to learning how to record drums okay so now I'll show you the signal flow for my personal setup here I have the kick going to input 1 and the snare going to input 2 I do that because the first two channels on this interface have the Focusrite liquid preamp technology which can be fun to play around with you can get some different preamp sounds that way so that's why I put the kick and snare there I put the rack Tom 2 input 3 and the floor tom 2 input 4 and on these last four channels I'm actually replacing the built-in preamps with the 4 to 8 preamps and the way I do that is by connecting the outputs from the four to eight to the line inputs on the Sapphire I then set these four channels to line input instead of mic input and I make sure that all of the gain knobs are turned all the way down that basically just turns these four channels into a 2d converters for the sound coming from the four to eight now the microphones that I plug into the four to eight are all of my condenser microphones so overhead left overhead right my front kick mic and the shotgun vocal mic so I like to have this preamp again it's something that's not really necessary I could just as easily use the built-in preamps on the sapphire and nobody would really know a difference but what's the fun in that right okay now with the opto pre again this is expanding my channel count to sixteen and I have this connected to the sapphire with two optical cables via a DAT in the back and I used to use a lot more of these channels in the past when my drum set was bigger now that it's kind of condensed I'm really only using the first channel for my metronome from the iPad so right now I have an eighth inch two XLR cable coming from the iPad 2 input one of the octa pre and that's working pretty well right now it's kind of overkill you know I have seven unused inputs but I like knowing that I can use those if I ever want to use more microphones or expand my kit in the future so that's what I use the octave pre for okay the last thing I want to talk about real quick is the patch Bay at the bottom now again this is just an accessory to make connecting your microphones easier but it is pretty awesome so the way this thing works is on the back of it you have XLR outputs that connect to all the XLR inputs on the interface and the preamps so it's basically just functioning as a middleman between the microphone cable and the input I'm trying to go two which makes connecting the microphone extremely convenient and easy from the front instead of having to go into the jungle of cables in the back so if you are going to be you know recording drums and putting together a rack I would highly suggest getting an XLR patch Bay they can put on the front okay guys hopefully that kind of gives you a better idea of the signal flow for a basic recording setup and what I personally use for my studio here so that's going to do it for part three in part four I'm going to go over how to set up your da W for recording so go ahead and subscribe to the channel and I'll see you guys on the next one take care you
Song Recording - Preamp Secrets From Pro Recording Engineer
today you will see that things you never seen before about recording gear settings and also I gonna show you a comparison the big mistake that ssl company made let's start hello guys it's Andrew Selena again I am a professional audio engineer mixer and music producer in my region I am top ranked audio engineer with more than ten years of experience in the industry and right now I teach people on the internet more than four years you even have homeworks and we compare them with the most professional and the best sounding songs ever made by guys from top 20 audio engineers and I force you to get on the same level nobody offered the same because nobody can be competitive to toes top 20 audio engineers you know we can do this and I guarantee that you will be professionals after my course because you will see your progress in real time so you will see instantly that it really works and you will see that you get the best possible skills this is what makes this course unique when I was growing as a professional I was very passionate about to get the best possible audio quality and I understand your purposes and that's why I understand exactly what you need so if you are serious about to become a professional just check my course you can chase this purpose your whole life or we can close this question forever for you I guarantee this so check my course today it will be very interesting video it's just amazing and unique video because I think you have never known about this in spite of that fact my course is 70% of mixing today we will be speaking about recording gear when you watch youtube videos you can watch the same again and again today you will see that things you never seen before of course it's not fair to choose the best topics of my course for these YouTube videos because it's for my students but anyway I hope you will be amazed with this video and then you cannot even imagine how cool might the best topics on my course so let's start very important thing that not a lot of people really know its how preamplifier works the only thing that a lot of people know about the preamplifier is the fact that you need to to turn the gain up and bring your waveform closer to zero DB the truth is in very awesome thing about preamplifiers if you are not happy with your coloration and quality of your final sound you always can adjust your gain settings to achieve that sound you really like the rule is next the more you turn your gain up the more coloration and warmness your sound is gonna get but the real key when you understand what is gonna be if you go higher than zero DB right now I'm trying to explain in very simple way okay but wherever it doesn't change the fact how it works when you come closer to zero DB the majority of preamplifiers has sweet spot in that region sweet spot is that point when it sounds just right right amount of coloration right amount of clarity against muddiness and you have pretty clear but colored and tasteful sound but if you go just a little bit higher than zero DB you start to get much more coloration and your sound starts to be over driven can make your sound clearer if you are not going up to zero DB if you go up to -10 DB or something like that you can get much more simple but much clearer and thinner sound if you go higher than zero DB you can get your sound more coloured more tasteful sometimes it can be worse sometimes it can be even better so always try it out you will find out a lot of things about your preamplifier right when this waveform gets to your converter your converter is gonna kill all those Peaks that went higher than your Headroom so it's gonna be like this and you will have clipping and as you know clipping sounds not that great right so in this case if you have good preamplifier and if your pre amplifier has output nap or volume knob on the output of your chain it's amazing thing so using this knob you can correct your waveform what I mean in this case if you go higher than that 0 DB you have over dream and sound so your Peaks is gonna be distorted just a little bit but still have some information in there let's make it like this it's not the real graphic you know it's just for your imagination so it's gonna look like this so right now you need to handle your converter using your volume knob you can make your volume lower lower than zero DB and when it hits the converter your converter won't make it like clipping and this is just great technique so you lower this waveform in this case like this and then you draw the signal to the converter and everything is gonna be great today I'm gonna show you alpha Channel for instance from SSL company right solid state logic and we have this black knob on the right side of this picture and it's called output to the left of this picture we have gain up first of all you put your output knob to the zero DB and use your left gain up to go higher than zero dB after that you use your black knob and you rotate it to the left to make it like quieter and you don't allow any Peaks go higher than zero DB for the converter in this case you're gonna get perfect over driven very colourful sound but without any clippings on your converter also we can have opposite situation it's when you try to make your sound clearer you try to make it less muddy or something like that so in this case first step black output nap to zero dB you rotate clockwise your red gain up until if he's kind of - 15 decibels or - 10 decibels but to use all 24 beats on your converter you just compensate your volume with your volume knob so you rotate a black knob clockwise a little bit until it gets up to zero dB in this case it will be like your waveform was pre amplified up to 0 DB but it's not and it will be sounding clear it's awesome but it's not the end the bad thing about this technique if you have only your audio interface there is not a lot of audio interfaces that have output not right so unfortunately you cannot use all these techniques using just your audio interface I want to say I'm known as a founder of a mistake in SSL equipment for this as a cell gave me a lot of opportunities to work with them I had a job offer from them I was a tester for they're doing the bundle and so on so I really know their stuff and they made another big mistake with this channel strip SSL alpha channel is a perfect piece of equipment SSL is very expensive equipment and this channel strip cost around 1,000 it has so many things that you even don't realize how great they are this channel strip has amazing VHD preamplifier honestly speaking it's not the best choice to buy but for the money is absolutely awesome for me personally it's really important that it has perfect insert module so I can use for example my amplifiers I'm gonna show you on the backside of this as a cell channel strip so I can make a lot of types of chains in this way after that we have filters amazing filters three options 40 80 and 120 Hertz you can use your kind of a stripped-down EQ but it works perfect it's 9000 SSL EQ just without blue band and you don't have well filter for the red band and the most important for me is SSL converter and it's awesome also you have limiter on the end of this chain so what kind of a mistake is a cell mate in this case is not about equipment in this case is about menu current SSL Company based on super analog technology they have their famous super unlock preamplifier I have one of them right here and it's known for the most clean and certain sound in preamplifier and you can see this preamplifier in SSL duality console in SSL 900-plus extract modules and all that stuff but as a cell decided to make another preamplifier based on their super analog preamplifier to get more coloration they use harmonic drive module which allows you to choose second harmonic or the third harmonic it's not the real - preamplifier but it's still an Allah its not some digital emulation so right now the flagship of a cell duality console has opportunity to have two of this preamplifier at the same time on this channel of this council you have two different preamplifiers kind of super analog and v HD how it works you just press some button over there and you have that harmonic drive module in the chain but let's imagine how it's gonna be for instance you adjust your gain on your super analog preamplifier not too high not too low right and if you blend harmonic drive it won't give you a lot of things because it's not higher than zero DB and you will hear just a subtle difference what a sell company decided to do in this situation they lowered the head room on the VHD chain to minus six decibels and if you press the switch the button on duality console you will have Headroom lower not zero DB but minus, 60, so if you have pretty clean sounding instrument for instance or vocal you just press that VHD button and instantly you will have real over driven sound a lot of people who but when I bought Alpha Channel I made everything in this way and I was kind of disappointed because it was sounding like pretty over driven and dirty sounding voice I tried with a vocal but speaking with SSL company a lot I found out that the Headroom in this channel is lower so what I decided to do in this case if I just a regular pre amplification for getting pretty great clean and not to over driven sound I just compensate those Headroom with output button with this black output knob so I put output nap at to using this potentiometer you have six decibels when you put it at two and then I work like with regular pre amplifier I just rotate this red gain up until I have the decent level up to zero dB you really need to know the Headroom in this per amplifier is minus six and any manual about this SSL doesn't say this it's big mistake of a cell company because they believe too much in knowledge of their users of course professional audio engineers use as a sell equipment but a lot of home recording musicians started to use equipment like this so I think a cell company needs to understand this so let's compare right now how my VHD pre amplifier works by the way don't miss great videos on my channel one of them called Pro mixer checks his students project I take project of my student and I check it it's very interesting and very helpful video and it's very popular a lot of people liked this video also I have great video it's very cool lesson on parallel compression it's called drum mixing tutorial on my channel if you think you know a lot about parallel compression just watch this video you will be amazed and another interesting video how to make electronic music from a song I in real time write some song on a guitar and I make electronic music from it it's very interesting and amazing video as well don't miss it I'm going to show you four variations first one is upto Headroom I mean I compensate plus 6 on the black nap and try to bring my waveform closer to 0 dB the second one is gonna be clearer I just put my black up 2-0 DB I rotate my red gain up to minus 15 and after that I just compensate irritated clockwise and make this volume higher up to 0 dB but the real coloration from gain stage is gonna be like -15 the third one is gonna be like everybody would use I mean you don't know about Headroom minus X DB you just put your black knob at 0 DB and using your gain up trying to get up to 0 DB and the last one fourth one is gonna be over driven one I mean I try to overdrive on the gain stage and trying to compensate for the converter and that's it honestly speaking I'm sure you're not gonna hear the big difference it's still gonna be pretty subtle but if you have monitors or you have pretty great pair of headphones it can be audible but I'm not guarantee anything in this case okay let's start I recorded the phrase how to work with preamplifier from Andrew Solano the only problem my third variation will have pop sound because I didn't have my pop filter for this comparison I'm just trying to make it quick it's not important try to understand clarity all the sound try to understand Martinus of the sound try to understand kind of dark sounding or bright sounding and try to hear if it's over driven just a little bit let's start from first one it's my compensated one how to work with preamplifiers from Andrew Solano the second one is gonna be clearer how to work with preamplifiers from Andrew Solano my compensated one sounds more colored and is just a little bit darker and it sounds a little bit denser how to work with preamplifiers from how to work with preamplifiers it was clearer as you see clearer sounds more open you can hear more air in the voice again my compensated one how to work with preamplifiers how to work with preamplifiers from you know one important thing I want to add I don't agree with majority that in the mix you don't hear any difference and you hear it only in Seoul sometimes it's opposite for instance in this case you won't hear big difference for 70% of viewers of this video there is no difference but if I put this vocal it's not vocalist voiceover right but anyway it can be very big difference for instance one of them it can be pretty dark sound in pretty muddy sounding if for instance this vocal won't cut through the mix but the clearer one I think it can be cutting through the mix or opposite for instance the clearer can be more open sounding but weak sounding when you have pretty warm sounding synthesizers guitars drums and you have this kind of a thin sounding and weak sound in water it can be too simple sound so in the mix sometimes you just understand more about what's the difference between two of them exactly in the mix a let's compare my compensated one and over driven but compensated this is compensated one how to work with preamplifiers over driven how to work with preamplifier how to work with preamplifiers how to work with preamplifiers right now it's pretty audible I don't know what about your monitoring but with my monitors it's pretty clear I tried the blind test right now and I'm a 10 from 10 my compensated one it sounds more open more smooth and clear there is not a lot of harmonics how to work with preamplifiers and overdrawn one how to work with preamplifiers it it has this juicy sounding harmonic content you know it's like but in the mix there is no guarantee that it's better sometimes it can be pretty dirty sounding so over driven sound it's not obviously better than clear sound right now people always desire those harmonics and the last comparison in this part of this video I'm gonna show you the clearer one and they over driven one it's absolutely audible clearer how to work with preamplifiers or drilling how to work with preamplifiers from clearer how to work with preamplifiers how to work with preamplifiers from Andrew Solano read the manual to your preamplifier a lot of people think if you are professional you never read manuals it's opposite because if you are amateur whatever you use it's okay for you if you are professional you need to make sure you understand everything in your preamplifier you need to understand where is instrumental input where is lying input where is microphone input what connectors you need to use what resistance each of them has it's very important and right now I'm gonna describe it for you and from now on you will know this forever most of preamplifiers have three inputs one of them is microphone one the second one is line input and the third one is instrumental input a lot of people think it's kind of a magic things I don't know how to describe it but like microphone preamplifier has a lot of coloration but line input doesn't have coloration and instrumental input doesn't have coloration but somehow it works with guitars and bass guitars right no it's not right it's all about resistance in them right now you see my main input right look at this as you see it's Universal connector so you can use slark connectors with this and you can use your jack right it's for microphone input instrumental input and line input tell me what connector you need to use for instance for line input you never know this answer it's not about how much knowledge you have it's all about reading the menu that's it I'm gonna tell you which is which so if you want to use microphone input to record your microphone right you need to use XLR connector and it has 1000 or or one kilo it's resistance if you want to use Lion input what is Lion signal and signal is the signal that has already been gained for instance a magnetic pickup it has very low output if you're gonna use this kind of output you always have a lot of noise first of all you need to prepare your signal to amplify it later so you need to use a preamplifier by the way all guitar amplifiers works in the same way you just go higher than headroom and your sound and your signal becomes over driven that's why you hear that distorted sound a lot of people think that distortion is kind of a magic technology no it's not magic technology you just go higher than Headroom on the clean channel with the same gain settings on the guitar preamplifier you will have pretty high headroom and you never go higher that's why your signal is clean if you want to have distorted sound you just use another channel and on this channel can be pretty low headroom so you just turn your game just a little bit and it's already higher than headroom that's why it's already distorted one pretty famous guitarist who attended my course said to me wow I performed on the biggest stages in my country but I never knew how it works and I remind you again that line input it's already pre amplified signal or signal that's already been made closer to zero dB so after your pre amplifier is already line signal so when you pass your synthesizer through your chain is already line signal so that's why you use line input for those kind of sources the line input in this pre amplifier what do you think is Jack or Salar and many all says it's XLR I'm sure you thought it would be a jack and it has ten thousand ohm or ten kilo and the last one it's instrumental input for this case you use a jack and is 1 million ohm or 1 mega we need to kill all noise that your cables or microphone or your pickup get so you need to use some resistance to stop this problem and what about line input is ten thousand ohm and the last thing but not least for today I'm gonna make a brainstorm for you what means it means that there is some myths and there is some questions that nobody asks it's very important to know a lot of things to work in the right way for instance I saw a lot of people who really believe that only microphone preamplifier add some coloration to your sound and instrumental input doesn't make anything with your sound is just like passing through your signal it's totally wrong because you have some electronic scheme and this scheme always colors your sound no matter if it's microphone input or if the line input or it's a instrumental input a lot of people right now use digital technology to emulate guitar amplifiers right so you use your guitar and you plug your guitar to your instrumental input or people even use line input and then they use it our emulators or they send signal to some studios to make ramping have you ever asked yourself about what's going on during rounding you already recorded your pickup from your guitar right and you already pre amplified it your sound already has that coloration from your pre amplifier from your instrumental input stage and then you give your guitar sound to someone to pass through keys pre amplifier amplifier stage EQ of his arm to capture this sound with a microphone right and then you think it's like the same like you plug your guitar into this guitar amplifier no it's not because your sound already has a lot of from your pre amplifier it's not maybe the biggest difference in the world but it's not absolutely the same so always remember what exactly pre amplify your signal I'm gonna show you an example I'm gonna use my Gibson Custom Shop Les Paul reissue and I'm gonna use just this a cell preamplifier typically I don't use this preamplifier to record my di signal from a guitar but anyway I'm gonna use the same pre amplifier that I already shown for you today so it's gonna be SSL VHD preamp I'm gonna use instrumental input and I'm gonna use second harmonic mode to emulate at you pre amplifier right and then I'm gonna use SSL super analog pre amplifier super analog preamplifier it doesn't have that amount of coloration it sounds clearer much more certain I'm just gonna play some cleans I'm gonna use some plugin to emulate clean sound maybe some differences in my plane but believe me it's not about differences in play you will hear the audible difference you [Music] [Applause] [Music] you [Music] [Applause] you [Music] [Applause] [Music] [Applause] you [Applause] as you see pretty audible difference and pretty big part of my sound is my preamplifier no matter what kind of guitar amplifier I'm gonna use so recording through the real amp it's not the same like reamping but I don't think there is something wrong with rampion I'm just saying that pre amplifier effects is kind of a technology that emulates some microphones if you use some neutral microphone it already has its own sound so your emulations just make some adjustments to add some coloration but it's never gonna sound absolutely the same if you hear that it sounds the same from some comparison it doesn't mean anything because in real situation in real mix sometimes that little difference that you don't hear from some solo comparison vocal against Walker guitar against guitar in the real mix it can be some problem for instance some famous microphone can have pretty silky highs and emulation do almost the same but there is no silky highs and this little part of your sound can make the big difference in the mix in the final result also we have a lot of plugins and reshapes Neve 1073 so we have this preamp coloration here we even have line input coloration it can be slate digital plugins Universal audio digital plugins you used some cheap $20.00 preamplifier from your audio interface you get some certain sound from this pre amplifier and by putting some coloration on it do you think is going to be like you recorded 3/10 73 preamplifier for instance anyway this coloration sometimes is pretty usable sometimes it's not sometimes it just gives you some dirty sound more noise too many harmonics in your sound sometimes it doesn't work only your ears can decide but if you do great with all these simulations why not what matters is the result so if you are serious about to become a professional just check my course you can chase this purpose your whole life or we can close this question forever for you I guarantee this so check my course I'm gonna put in the description or maybe in a comment section links for all my interesting videos if you are more than interested check all my videos on my channel I just want to add if you watched my videos on my Andrew Solano channel there is can be my vlog how I live in Canada it's not in English so please be patient if you see a new video not in English just skip it and wait for the next cool video on audio production on mixing on recording on music writing and see you next time have a great mixes