whats needed to use a reel to reel player
i,m about to purchase a revox c270 r to r deck and am after some advise on the best way to connect it
can i just plug it in to the normal tape monitor inputs on a preamp ?
do i have to use a pre with the tape input? or can it plug into normal inputs
the unit is balanced in/out but i am having trouble finding a balanced pre in my price range (used no more than $500) so how can i connect it to a normal rca input without affecting sound quality
what about the pro style pre/mixers they all have balanced in/outputs but how are they for sound quality
here is one i,m looking at but am not sure if it also does volume control
ART DPS II
You don't need a special pre-amp. Can't offer any advise on balanced connectors as I've not used them.
The RCA output should go to a Tape Monitor Input on your preamp or receiver, but any input will work. Try to match the impedance of the input to that of the output. Some preamp inputs are more sensitive than others.
Check-out MonoPrice; they've got good-quality cables at exceptionally-reasonable prices. Here's the URL for their 6-foot XLR (male) to RCA (male) 3-foot cable ($5.22):
For only $4.60 each when QTY 50+ purchased - 6ft Premier Series XLR Male to RCA Male 16AWG Cable (Gold Plated) | XLR Male to RCA MaleThey've got various cable lengths available (1.5-foot up to 50-foot). They also offer your choice of connector gender on either end.
Good luck! :cool:
The Revox output should drive any 1.6 VAC full volume input, such as the tape monitor input, or a regular CD or FM radio input, to a preamp or mixer. Most modern PA amps will take this level. My Peavey CD800s amp has both balanced XLR inputs and unbalanced 1/4 phone inputs, and using a preamp for the record player I hear no noise improvement with the balanced cable I made. (RCA to XLR) versus the unbalanced RCA to 1/4 phone plug cable.
If you are going to drive the reel to reel deck from recorded music with a preamp or mixer, a 1.6 VAC output should be fine. However if you are going to use high quality condensor microphones to record live music, you will need a mixer that provides 48 VDC "phantom power" to the XLR connector of the microphone. Dynamic microphones typically are unbalanced and use 1/4 phone or 1/8" phone output, although I've never seen one of these in a high quality price range. My Peavey "Unity" mixer seems to have the capability to take various microphone or 1.6 vac inputs, but not RIAA bass deemphasized phonograph cartridges at the 25 mv level. For those you need a "disco" mixer.
Multi channel mixers allow the the mastering engineer to mix various microphones into the "left" and "right" channels for the tape, and provide different levels and mix to the PA speakers for an audience. A third set of outputs will produce a different mix for the onstage monitor speakers.
Your Art Dps II seems at a moderate price to provide a "tube" preamp quality in various flavors. The 12AX7 is not a notorious tube for doing guitar crunch effects, that is much more traditionally done with high power 6L6, 6V6, KT88 or other expensive tube pairs. I have both an all tube Dynaco PAS2 preamp with 4 12AX7's, and an op amp RA88a disco mixer that I modified to eliminate hum and hiss. After modification, the disco mixer sounds very similar to the tube preamp. High fidelity is High fidelity. If you want to change the frequency distribution I suggest the graphic equalizer portion of a pro mixer or separate graphic equalizer chassis. If you want to do various distorting effects, I suggest you purchase an effects unit to go in the effects loop of the mixer. I purchased a "band leaving the road" package for $1000 which included all these things: 2 SP2-XT PA speakers, CS800s PA amp, 12 channel in 6 channel out Peavey unity mixer, Peavey graphic equalizer (15 band dual control 2 channel), Digitech Quad 4 effect with 400 programs, speaker stands, 100' snake cable, 19" road case. Various inputs and outputs were damaged by the mad "1/4 phone plug in the dark" roadie, but no repair has cost more than $2 in parts so far.
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