Heritage Audio Britstrip

[easyrider]

Hi,

Anyone use Heritage Audio Britstrip?

I’m thinking of buying two…

The other option is to buy a Neve DPX and dual channel compressor for tracking…

I’ll be recording singer songwriter stuff with Vocal and acoustic simultaneously.

Any input appreciated !

[Dok]

I've been really tempted by this lately, too. Not a ton of user reviews out there still.

[drumsound]

FYI Sweetwater has a demo for $200 less than regular price.

It looks like a pretty cool piece.

[digitaldrummer]

this was on my radar for a bit too but never got to try one. Ultimately I bought an Empirical Labs MikeE (EL-9) and I like it a lot. Mostly have been using it for bass guitar or electric guitar but one of these days will run snare through it (since the comp is similar to a Distressor).

When I record singer/songwriters I rarely use any comps, although sometimes I will on the vocal (light LA-2A style). Depends on the singer.

[Nick Sevilla]

I’ll be recording singer songwriter stuff with Vocal and acoustic simultaneously.

Any input appreciated !

I'd stay away from compression for singer with acoustic guitar. At least not until mix time.
That britstrip looks interesting. Just don't use the compression on it...

Which microphones are you thinking of using?

[alexevansohio]

I wouldn't necessarily shy away from compressor tracking a singer-songwriter, but I'd be very cautious of the kind of compression you use. A Neve-style diode bridge compressor advertised as having "warmth, fatness, and characer" is a pretty distinctive (and potentially limiting) sound that wouldn't be the first thing I think of when I imagine an acoustic session. Those Heritage strips might sound cool on drums or electric guitar, but they'd definitely be a specific sonic choice for more delicate music.

I'd probably opt for something more transparent and less obvious if you want to compress on the way in. A stereo opto compressor would be a nice choice, I think, or even a simple VCA design. If you're committed to the diode bridge design, I recently used my Buzz Audio DBC-20 when tracking a few acoustic tunes (vocals + guitar), and it sounded great with 1-2db of compression happening in the "Soft" mode. The Buzz is a much, much cleaner and transparent design than the classic diode bridge comps, though it can still get vibey when pushed. I think I paid around $800 for mine (it's an early one with a backwards GR meter and a decent amount of wear that I bought used), so that might be worth a look. It's a versatile and nice sounding piece of gear.

For preamps and EQs, it's going to depend a bunch on the microphones you're using, as Nick said. If I'm using decently high output condensers, my Thermionic Culture Earlybird 2.2 tube pre sounds fantastic on a singer-songwriter, but with some ribbon mics, dynamics, or even the low output Sony C-38b condenser, I have to crank the gain to capture finger-picked acoustic guitar, and the noise becomes a bit more prominent than I'd like in some settings. If you're using lower output microphones, no matter the type, the AEA RPQ or TRP sound fantastic and are dead quiet. I sometimes find that my transformerless condensers benefit from running into a preamp with a bit more weight/vibe, while already-huge-sounding tube/transformer mics can start to sound a bit veiled and sluggish with the same setup. For this reason, I find clean, quiet, and fast preamps to be more broadly useful than slower vibier designs (though I have uses for both) and will patch in a compressor like the DBC-20 if I need to add some weight or density to a specific source.

In the same budget as your Heritage strips ($2000/channel), you have access to a ton of wonderful channel strips, preamps, compressors. The Grace M103 would give you a full channel strip in a 1U case for a similar new price to the BritStrip and would be (IMO) a lot more flexible. The Millennia STT-1 Origin is a lot more expensive new, but I saw one available used recently for a little over $2000—if you could swing a pair of those, I think there are few more versatile tools for any kind of recording. If you want to go for separates, both Buzz Audio compressors (DBC-20 and SOC-20 are capable of being very transparent or imparting some nice character—ideal for this kind of work). I ended up selling mine to pay other bills, but the Audioscape Opto (LA-2A) is really wonderful as well. For preamps, there are a ton of options as well. I recently got a JLM Dual99V, which is a two-channel transformer-balanced preamp based on the Jensen Dual Servo design. It's relatively clean but with some character (sounds big), very low noise, and very high gain. I think it would be a wonderful choice for recording a singer-songwriter, and they're relatively affordable new or used (I might even consider selling mine, despite how nice it is—I'm not sure that I actually need another two-channel preamp). The AEA preamps mentioned above are also wonderful—I use mine all the time, same with the Thermionic tube preamps.

Frankly, I'd be tempted to spend the least on a preamp and more on the rest of the chain. Assuming a $4000 budget (two BritStrips), I'd allocate ~$1000 to preamps and $1500 each to EQs and compressors. This might look something like....a JLM Dual 99V (or something even cleaner like a D.A.V. BG-1U) stereo preamp > an Iron Age Audio V2 stereo EQ > a Buzz Audio DBC-20 stereo compressor. That would give you two high gain and relatively clean preamps appropriate for a broad range of microphones, an extremely flexible equalizer that can do broad tonal shaping or smaller more surgical work, and an a flexible stereo compressor that can be clean and transparent or gnarly and aggressive as needed. The bonus with a setup like this is that the V2 and DBC-20 are also excellent hardware tools for mixing or mastering. While I haven't used the BritStrip, I don't think it would be my first choice to run a full mix through, but the V2 and the DBC-20 would be extremely well-suited for that job. Buying separates also means you can switch things out as needed. For example, if the DBC-20 is not your vibe, you could swap in a Daking FET III instead without having to change your preamps or EQs.

Just my two cents, but if you end up getting the BritStrips, I'd be intrigued to hear how you like them!

[easyrider]

I’ll be recording singer songwriter stuff with Vocal and acoustic simultaneously.

Any input appreciated !

I'd stay away from compression for singer with acoustic guitar. At least not until mix time.
That britstrip looks interesting. Just don't use the compression on it...

Which microphones are you thinking of using?

Neumann U87 , TlM 102 and Oktava MK012

[easyrider]

I wouldn't necessarily shy away from compressor tracking a singer-songwriter, but I'd be very cautious of the kind of compression you use. A Neve-style diode bridge compressor advertised as having "warmth, fatness, and characer" is a pretty distinctive (and potentially limiting) sound that wouldn't be the first thing I think of when I imagine an acoustic session. Those Heritage strips might sound cool on drums or electric guitar, but they'd definitely be a specific sonic choice for more delicate music.

I'd probably opt for something more transparent and less obvious if you want to compress on the way in. A stereo opto compressor would be a nice choice, I think, or even a simple VCA design. If you're committed to the diode bridge design, I recently used my Buzz Audio DBC-20 when tracking a few acoustic tunes (vocals + guitar), and it sounded great with 1-2db of compression happening in the "Soft" mode. The Buzz is a much, much cleaner and transparent design than the classic diode bridge comps, though it can still get vibey when pushed. I think I paid around $800 for mine (it's an early one with a backwards GR meter and a decent amount of wear that I bought used), so that might be worth a look. It's a versatile and nice sounding piece of gear.

For preamps and EQs, it's going to depend a bunch on the microphones you're using, as Nick said. If I'm using decently high output condensers, my Thermionic Culture Earlybird 2.2 tube pre sounds fantastic on a singer-songwriter, but with some ribbon mics, dynamics, or even the low output Sony C-38b condenser, I have to crank the gain to capture finger-picked acoustic guitar, and the noise becomes a bit more prominent than I'd like in some settings. If you're using lower output microphones, no matter the type, the AEA RPQ or TRP sound fantastic and are dead quiet. I sometimes find that my transformerless condensers benefit from running into a preamp with a bit more weight/vibe, while already-huge-sounding tube/transformer mics can start to sound a bit veiled and sluggish with the same setup. For this reason, I find clean, quiet, and fast preamps to be more broadly useful than slower vibier designs (though I have uses for both) and will patch in a compressor like the DBC-20 if I need to add some weight or density to a specific source.

In the same budget as your Heritage strips ($2000/channel), you have access to a ton of wonderful channel strips, preamps, compressors. The Grace M103 would give you a full channel strip in a 1U case for a similar new price to the BritStrip and would be (IMO) a lot more flexible. The Millennia STT-1 Origin is a lot more expensive new, but I saw one available used recently for a little over $2000—if you could swing a pair of those, I think there are few more versatile tools for any kind of recording. If you want to go for separates, both Buzz Audio compressors (DBC-20 and SOC-20 are capable of being very transparent or imparting some nice character—ideal for this kind of work). I ended up selling mine to pay other bills, but the Audioscape Opto (LA-2A) is really wonderful as well. For preamps, there are a ton of options as well. I recently got a JLM Dual99V, which is a two-channel transformer-balanced preamp based on the Jensen Dual Servo design. It's relatively clean but with some character (sounds big), very low noise, and very high gain. I think it would be a wonderful choice for recording a singer-songwriter, and they're relatively affordable new or used (I might even consider selling mine, despite how nice it is—I'm not sure that I actually need another two-channel preamp). The AEA preamps mentioned above are also wonderful—I use mine all the time, same with the Thermionic tube preamps.

Frankly, I'd be tempted to spend the least on a preamp and more on the rest of the chain. Assuming a $4000 budget (two BritStrips), I'd allocate ~$1000 to preamps and $1500 each to EQs and compressors. This might look something like....a JLM Dual 99V (or something even cleaner like a D.A.V. BG-1U) stereo preamp > an Iron Age Audio V2 stereo EQ > a Buzz Audio DBC-20 stereo compressor. That would give you two high gain and relatively clean preamps appropriate for a broad range of microphones, an extremely flexible equalizer that can do broad tonal shaping or smaller more surgical work, and an a flexible stereo compressor that can be clean and transparent or gnarly and aggressive as needed. The bonus with a setup like this is that the V2 and DBC-20 are also excellent hardware tools for mixing or mastering. While I haven't used the BritStrip, I don't think it would be my first choice to run a full mix through, but the V2 and the DBC-20 would be extremely well-suited for that job. Buying separates also means you can switch things out as needed. For example, if the DBC-20 is not your vibe, you could swap in a Daking FET III instead without having to change your preamps or EQs.

Just my two cents, but if you end up getting the BritStrips, I'd be intrigued to hear how you like them!

Thanks for the suggestions I’m thinking a separate compressor is the way forward for versatility…

What about the Neve DPX? Two pres and EQ and getting a separate compressor…

I’ll look at the suggestions and report back with any further questions….excellent help thanks

[trodden]

Just now checking this out. Very cool. I'd have to have at least two of them.

[easyrider]

I got a good deal on a Brand new Neve DPX for £1197 per channel

$3034 for Two Neve Pre amps and EQ

Leaves me extra money for more hardware or another mic.

So just need to check out those compressors suggested to compliment it.

I figured I can also add another Bus EQ down the line….

[drumsound]

I got a good deal on a Brand new Neve DPX for £1197 per channel

$3034 for Two Neve Pre amps and EQ

Leaves me extra money for more hardware or another mic.

So just need to check out those compressors suggested to compliment it.

I figured I can also add another Bus EQ down the line….

What compressors do you have and what will you generally be recording with these?

[easyrider]

I got a good deal on a Brand new Neve DPX for £1197 per channel

$3034 for Two Neve Pre amps and EQ

Leaves me extra money for more hardware or another mic.

So just need to check out those compressors suggested to compliment it.

I figured I can also add another Bus EQ down the line….

What compressors do you have and what will you generally be recording with these?

I don’t have any hardware compressors…mainly use UAD plugins…

I’ll mainly be tracking drums, vocals guitars into the Neve…but for Simger songwriter stuff want to capture as close to the Finished sound as possible.

[drumsound]

I got a good deal on a Brand new Neve DPX for £1197 per channel

$3034 for Two Neve Pre amps and EQ

Leaves me extra money for more hardware or another mic.

So just need to check out those compressors suggested to compliment it.

I figured I can also add another Bus EQ down the line….

What compressors do you have and what will you generally be recording with these?

I don’t have any hardware compressors…mainly use UAD plugins…

I’ll mainly be tracking drums, vocals guitars into the Neve…but for Simger songwriter stuff want to capture as close to the Finished sound as possible.

1176 type compressors are useful on a number of sources. If you want to get into the 500 series thing there's the Purple Action and I believe the Pete's Place comp is in that neighborhood as well. In 19" rack size Purple makes the MC77 if you don't want to buy the UA. Drawmer 1968 is a nice 2 channel one rack space compressor that can do a lot and has a built in side chain HPF that allows you to set it so the low end isn't triggered if you want to use if for bus work when mixing. If you want to go whole hog on the Neve vibe, the Rupert Neve Designs 5424 is a pretty amazing (though not cheap) piece. It's got a variable HPF and a mix knob for parallel compression right in the unit. It has set attack/release times that are tied together, with 6 settings and a "FAST" button that speeds up each setting. I've found working the timing, FAST and WET/DRY parallel you can really do a lot with it, especially on vocals. I've been mixing through mine since I bought it, as well as tracking a lot of vocals, some bass, and a bit on drums (especially great for blowing up room mics).

[easyrider]

Thanks for the suggestions…

Drawmer 1968 mk2 looks interesting….cheers

[drumsound]

Thanks for the suggestions…

Drawmer 1968 mk2 looks interesting….cheers

Yeah, it's a good one. I've been using a '69 (same compressor but has pres, a DI and only BIG only works in stereo) for for over 20 years.