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Purple Audio
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frais_cafe
audio school


Joined: 18 Jan 2005
Posts: 6

PostPosted: Thu Jan 20, 2005 4:53 pm    Post subject: Re: Purple Audio Reply with quote

Bigtoe:

If you want an LA3 and you haven't been put off them, you can check out OSA as they're beta testing an LA4-type compressor that'll fit in 500-series racks.

The link is here: http://www.atlasproaudio.com/osa2.html


Update:

Sorry to pop back to what I was talking about earlier. I just wanted to update what I said.

Here is where I got some of the info on the different sized cards/racks:

http://www.gearslutz.com/board/showthread.php3?s=d9a80afd2d4e30850ff685684e1c7341&threadid=11953&highlight=OSA+quality

With regard to OSA quality issues, they mention in there that the older OSA cards weren't as good quality as the newer ones. I haven't had any "in my hands" yet, so take this with a grain of salt.

When I talked to Purple Audio about the size issues, Andrew answered saying:

I think this is incorrect. I have new and old API modules in a new rack. I have seen Averill modules that were made to short but I think that
is their error.


I'm guessing this means some older ones - I doubt that they'd have not fixed some problem they'd had.

He said that he'd tested the Purple pre's in API and Averill racks and that they worked fine in them, and that he also had not tested them in OSA racks. Doesn't mean you'd have any problems, but take it for what it's worth.

Avedis from Brent Averill wrote me back as well saying:

We have always made the racks to be compatible with all of the
following modules: 550, 550A, 550A-1, 550B, 525C (needs repinning),
553, 554, 560, 560A (some need pin 15 cut), 560B, and of course our
312A, and the E15. I have also put 512C preamps in ours with no
problem. In my own 11 space rack, I have vintage 550A's and 554's,
550B's from 3 years ago, and some E15's


Following the question of API products not fitting in racks, he responded this way:

The thing I heard was that some of the racks that API made had used a
different manufacturer for the PC mounted XLR's, which were a little
shorter, and this gave it more depth from the front of the faceplate to
the connectors, and the connectors did not plug in all the way... but
this would make it incompatible with older API units also. I think they
fixed the problem, but I am still a little confused as to what is
really going on, so I don't worry about them anymore.


So, that's what the manufacturers say. Like I said, OSA told me they will fix their racks to work with a module if, for some reason, it doesn't fit. A good middle ground may be to get Averill racks, seeing as everything seems to work fine in them.

Hope this clears up all this some. API still hasn't gotten back to me yet.

Jean-Pierre
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cgarges
zen recordist


Joined: 16 Jun 2003
Posts: 10819
Location: Charlotte, NC

PostPosted: Fri Jan 21, 2005 3:58 am    Post subject: Re: Purple Audio Reply with quote

frais_cafe wrote:
If you want an LA3 and you haven't been put off them, you can check out OSA as they're beta testing an LA4-type compressor that'll fit in 500-series racks.


LA3s are ENTIRELY different from LA4s. They're both solid state optical units made by UREI, but that's about all they have in common, functionally.

Thanks for the info on the API slots. I know there were some compatibility issues with the early OSA stuff (check the archives here). I knew nothing about any problems with any run of stuff from API. Sounds like it was a short run and not much of an issue anymore, unless you're buying used.

Chris Garges
Charlotte, NC
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frais_cafe
audio school


Joined: 18 Jan 2005
Posts: 6

PostPosted: Fri Jan 21, 2005 8:46 am    Post subject: Re: Purple Audio Reply with quote

Quote:
LA3s are ENTIRELY different from LA4s. They're both solid state optical units made by UREI, but that's about all they have in common, functionally.


Oops...my bad. Sorry. I thought they were about the same, being solid state -- sort of like differences between revisions of the 1176. Sorry about that.

Jean-Pierre
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bigtoe
deaf.


Joined: 13 May 2003
Posts: 1776

PostPosted: Fri Jan 21, 2005 8:48 am    Post subject: Re: Purple Audio Reply with quote

yeah they are different...but thank for the info on the OSA! i like 4's as well when i've run into em...

is it not weird the world doesn't have la3 clones besides the ADL?

happy friday,

Mike
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bobbydj
on a wing and a prayer


Joined: 07 May 2003
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PostPosted: Fri Jan 21, 2005 9:44 am    Post subject: Re: Purple Audio Reply with quote

bigtoe wrote:
happy friday


Yeah - fuck. Thought I might not make it at one point. Must.....sleeeepppp...

*slumps in front of monitor*
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bigtoe
deaf.


Joined: 13 May 2003
Posts: 1776

PostPosted: Fri Jan 21, 2005 10:52 am    Post subject: Re: Purple Audio Reply with quote

no doubt...this friday feels like friday...as it has been a rough one.

time to crank out the paper!

Mike
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pscottm
suffering 'studio suck'


Joined: 21 May 2003
Posts: 418

PostPosted: Fri Jan 21, 2005 11:18 am    Post subject: Re: Purple Audio Reply with quote

is LA3 an opto solid sate jobbie? what about LA4? non opto? never was clear on that.
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pscottm
suffering 'studio suck'


Joined: 21 May 2003
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PostPosted: Fri Jan 21, 2005 11:21 am    Post subject: Re: Purple Audio Reply with quote

ahh i see. never mind. differences are outlined here..

http://recording.org/users/kev/esoteric.htm
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Nathan Eldred
gimme a little kick & snare


Joined: 13 Mar 2004
Posts: 83

PostPosted: Tue Feb 15, 2005 2:02 am    Post subject: Re: Purple Audio Reply with quote

Soundguy, I'll start by saying I usually respect your opinions and as a side note I realize you have far more 'technical/design' knowledge than myself. I often rely on the advice and knowledge of my trusted manufacturers (and those companies respected designers) to advise me on design related issues, and along the way I've picked up a thing or two. By in my world, ears dominate. The most complicated or innovative design in the world does not necessarily equal great sound, or a ground breaking tool. And your words are far harsher than the current reality of Old School Audio, and very biased apparently to a moment in the timeline of the product that is different than that of Feb 2005.

OSA started back in 1998. It was 100% an OEM copy of an API, no denying that fact. 2520 opamp, vintage API transformers, etc. Build quality left a lot to be desired (as you'll see below). Things have changed GREATLY in the quality and construction of the product, especially in the last 2 years, and even more particularly in the last year. An original Op Amp design was produced, and the 2520 was discontinued. A custom and different sounding output transformer was developed. Various input transformers are used. What does that leave? Not much to copy.


The product design is indeed simple (and with you having the knowledge you do, I'm sure you realize that it can't be much more basic than it is, which often that in itself is one key ingredient to offering good sound IMO), some of the best classic designs are very simple. The op amp is proprietary, not a copy, and is as different from a 2520 as a Dean Jensen 990 or Fred Forssell op amp is from the 2520. And before you ask, the IC on the board is for the output clip light only, it is not in the signal path.

Case in point: Below is a link to an ebay auction that has a front and side pic of the 1998 version of the OSA, where layout/PCB and (lack of) construction quality are evident. It's obvious that it had a long way to go 7 years ago (the OSA is the preamp on the far left of the rack, and the side pic in the bottom right corner):


http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=3278&item=3779969877&rd=1




Feel free to compare the above links to the following. Here are 2005 shots of the OSA (they aren't even on my website yet they are so new):







And in the end, if someone buys the OSA's and they aren't to their liking then they aren't obligated. If what you say is currently true (and it's not) then it's their decision either way, and completely eliminating the possibility of having what are excellent sounding preamps in their rack, based on old information, or perhaps some type of impractical bias, is just silly. But over 600 happy (and generally picky) OSA customers must mean something, unless you are implying that people are mindless suckers who can't tell the difference between junk and a quality design. I highly doubt that's what you mean.

In regards to the 500 series compatibility of the OSA and Brent Averill to API racks, what I heard from a very trusted friend who has an 'inside' scoop (many of you know and trust him) is that API made a large batch of powered rack enclosures that had to be recalled and replaced. I personally have two mid 90's API 550b's sitting in my OSA rack with OSA preamps. Logic would dictate that if 550b's fit in an OSA rack, then all other 500 series products would also.
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neve1073
audio school graduate


Joined: 31 Jan 2005
Posts: 19
Location: San Francisco

PostPosted: Tue Feb 15, 2005 4:36 am    Post subject: Re: Purple Audio Reply with quote

I bought an mc77 recently which sounds great. The "input" pot is a little scratchy, so I emailed Andrew about it. He got back to me within half an hour telling me to send it back for a fix, that he would pay all postage and it would only be in his shop for two days max before it was mailed back. Seems like he stands firmly behind his product.

The only problem is I don't want to let it go for a week because I'm using it everyday. Sad

It's a great limiter.
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soundguy
ghost haunting audio students


Joined: 07 May 2003
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Location: NYC

PostPosted: Wed Feb 16, 2005 5:53 am    Post subject: Re: Purple Audio Reply with quote

Nathan-

I would kindly invite you to flush my opinion on any topic down the toilet. Personally, I think that anyone that would read a single word that myself or anyone else publishes to the internet and then go run and apply that idea to their situation without doing critical thinking for themselves is just a plain and simple fool. I am nothing more than some recording engineer with an opinion and the willingness and free time to share it and not ANYTHING beyond that. People should get these things for themselves and if the build quality is up to their standard of expectation for the money they paid then they can have a big giant party, thats certainly what I do when Im happy with a purchase regardless of what anyone has said about the product, good or bad. Please dont weigh my opinion for anyhting beyond what it is, my opinion.


Nathan Eldred wrote:
OSA started back in 1998. It was 100% an OEM copy of an API, no denying that fact. 2520 opamp, vintage API transformers, etc. Build quality left a lot to be desired (as you'll see below). Things have changed GREATLY in the quality and construction of the product, especially in the last 2 years, and even more particularly in the last year. An original Op Amp design was produced, and the 2520 was discontinued. A custom and different sounding output transformer was developed. Various input transformers are used. What does that leave? Not much to copy.


I guess what that leaves to copy is well, you know, the entire design of the topology of the 312 circuit. Its a simple opamp implementation, but its just someone elses idea, change all the components you want. This is a tired debate.

If the new preamps are constructed better than they used to be, thats fantastic for all the people out there that will be adding these items to their recording arsenal. I find it nothing short of vile however that it could take a company seven years to get their act together. There is zero zero zero excuse for their initial public offering to be at a quality level below apparently where their redesigned boards are at today. When I diy a project and its better than what some company is selling I think that is just plain fucked and I opened my mouth about it. Their wonderful new boards still have foolish decisions on them IMO.

Quote:
But over 600 happy (and generally picky) OSA customers must mean something, unless you are implying that people are mindless suckers who can't tell the difference between junk and a quality design. I highly doubt that's what you mean.


um, you've gotta be joking here. I dont want to suggest that people are "mindless suckers" because they are consumers and not electrical engineers, but for you to insinuate that the majority of people who purchase pro audio equipment have the first fucking clue about junk and quality design, Im sorry man but I honestly have to laugh. Do you ever open the gear that you sell? If you do, why dont you go open something like a Chandler TG-1 and explain to the world what kind of superb quality design they are getting for their FOUR THOUSAND DOLLARS. Why dont you explain to them that the plastic lorlin switches used in that box onesy twosey cost $1 and in bulk cost a handful of change. Why dont you explain their failure rate and the manner in which they fail (they usually fall apart). Go show me your list of unhappy customers that have purchased TG-1's and then of all the people on your list, how many of them know that that box is assembled with the cheapest fucking components available from US electronics parts distributors? I have a TG1 and I love the way it sounds and use it all the time, but it doesnt change the fact that it is built with junk switches. You cant hold people responsible for not knowing that if they dont build gear, thats absurd, but people buy pro audio that is absolute junk on a daily basis and have no idea. Design is a lot more than saying "X value cap" goes here. The type of cap that goes there will have incredible impact on the sonic signature of a piece of gear and most caps from many pro audio manufacturers are not selected for their sonic impact but for their economic impact that accountants will allow. People buy this stuff every day and are excited about it. I wont even bring up the company that uses an LED to illuminate a 12ax7 in their "tube" mic pre.

Why not make a list of all the pro audio designers who are just too fucking lazy to design a nice filtered regulated power supply and instead put an $18 off the shelf crap linear supply in a box and then have the unmitigated GAUL to a)not include one with every box they sell and b)charge in some cases hundreds for the power supplies which are bullshit. Dont even get me started about power supplies in pro audio gear where some companies have taken this attitude where they can include any old crap in there as if the sound of your gear isnt totally and completely tied to the integrity of the powersupply its running on. Are people "mindless suckers" if they dont know which regulators sound better than others, of course not! But people buy pro audio gear on a daily basis powered with elementary power supplies and most people dont even consider a power supply to be relevant to the audio design of an amplifier and nothing could be further from the truth.

In case you think Im completely off my rocker but are too lazy to get a screwdriver and open these things and look for yourself, just click on over to that "class a" thread and take a real good look at how much people understand how the stupid industry buzz words apply to the things they buy and how that ultimately effects them. People cant tell the difference between junk and quality, you have GOT to be kidding me. Junk and Quality, ever heard of a company called Digidesign? They seem to be a company positively predicated on the fact that people cant tell the difference between junk and quality. They are just a minor player in pro audio today...

Im not real interested in getting in a debate with you about this for a variety of reasons. I understand you have to sell this stuff and wish you the best with that. Some stuff is made really well and other stuff is just not, Im just sharing my thoughts on the subject, we all have different personal standards, Id reccomend people to develop their own personal standards and judge for themselves long before suggesting that people should take my word for ANYTHING I have to say on the internet which incidentally is for porn.

with best intentions,

dave
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Electro-Voice 664
re-cappin' neve


Joined: 08 Dec 2003
Posts: 745
Location: Washington

PostPosted: Wed Feb 16, 2005 10:59 am    Post subject: Re: Purple Audio Reply with quote

Right on Dave! I wish more people insisted on quality designs. Look at the inside of a newer Marshall amp (it looks like a giant DOD pedal). When buying new you either have to pay out the ass or settle for shit, and in lots of cases both. I'm not saying everything has to be top shelf bomber construction, but please make the thing to last. I'm drawn to older gear for this reason, in most cases, they just don't make 'em like they uses to.

Don't get me wrong, I mix through a mackie 24/8. You have to use what you can afford, and do the best with it. But I respect newer companies that try to make a better product. And, I wish this throw-away proaudio crap packaged as discrete or class A would be sold in plastic wrappers like the disposable cameras they are Shocked .................................................now back to my mackie with its pro long throw faders and boutique preamps Wink
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Electro-Voice 664
re-cappin' neve


Joined: 08 Dec 2003
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PostPosted: Wed Feb 16, 2005 11:02 am    Post subject: Re: Purple Audio Reply with quote

http://www.vintageamps.com/marshall/buyit_marshall.html vs
http://www.americanmusic.com/gtr_marshall/jtm45.html
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Last edited by Electro-Voice 664 on Wed Feb 16, 2005 12:05 pm; edited 1 time in total
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joel hamilton
zen recordist


Joined: 19 May 2003
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PostPosted: Wed Feb 16, 2005 11:58 am    Post subject: Re: Purple Audio Reply with quote

McPhaul wrote:
I like the idea of helping the little guy/local guy when you can. But just for giggles why does the MC77 cost more than a new 1176? Also what is the 500 series pre going for?


Because it is made better, regardless of who owns the right to write "1176" on the front of the box.

Ask Soundguy...
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red cross
buyin' gear


Joined: 28 May 2003
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PostPosted: Wed Feb 16, 2005 12:33 pm    Post subject: Re: Purple Audio Reply with quote

That was one fucking awesome post. Thank you.
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