X2 and Preamps

Hello all.  I was just wondering how important it is to route my incoming signal into X2 through an external preamp if I have (from what I hear/read) a fantastic console emulator within X2 itself??
TRUST ME...I completely understand that sending audio through "physical" electronics and transistors, etc. imparts a special character that cannot be emulated through software.  Plus, I am not referring to any specific or expensive preamp either.  Just an average, well made preamp like a Focusrite Saffire or a Blue Robbie, etc.
 
Thanks 

Ok everyone, hold on, this question has been debated over the internet for years and this thread can get out of control very quickly. To answer the OP, yes a focusrite Saphire is a fine preamp that will indeed deliver quality recordings. Preamps that come with today's recording interfaces (not your typical stock sound card) have improved by leaps and bounds in quality and general latency. Its up to you and your wallet to decide if you need something more expensive or esoteric.

You have to have some kind of "preamp" to get the signal to a usable level within your daw. Most of today's interfaces come with some kind of built in preamp, but they are typically made to be "clean". You can then use the X2 console emulations to alter the tone slightly. It's a subtle effect, but does add some nice color. By using something like an outboard tube preamp you can color your tone more before it is recorded. Once again this is subjective. You may want a little extra tube warmth or distortion on say a bass track, however I am of the camp that you'll want to get the signal into the DAW as cleanly as possible, then use effects if you want to change the tone. Once again this is all part of the creative process.

Totally agree to bandso and At.
I lke he neutral character of the preamps of the saffire soundcard.
But it´s a personal decision/taste question, to need a preamp with " character."
I like the Golden Age Pre 73 for this things.
And many engineers claim, that a preamp only has a proportion of most 10 percent 
on the quality of a recorded signal. A mic has much more influence. 
 
Have fun
Pragi 

There appear to be two different conversations going on here.  Folks, he's got a MOTU Ultralite and a Blue Robbie mic pre.
 
I'm not a guitar player, but it sounds to me like he's asking about getting a better guitar tone into his DAW recordings....

Hi Mojo,
are you recordimg/splitting with your Di Box two signals of  the guitar´s, bass aso?
If not, I recommend to record the Di signal for transients, emulations aso and the miced signal
(eventually a new mic?)for "room., warmth aso."
But I guess you already are doing that,or?
 
 The preamps and Di you are using are imo  very good. 

"Radial Pro 48 DI"
"MXR 80 DI +"
 
 
Both of those devices have pre amps built inside them.
 
best regards,
mike

mike_mccue
"Radial Pro 48 DI"
"MXR 80 DI +"
  
Both of those devices have pre amps built inside them.
 

Thanks Mike.  I knew that the MXR had a built in preamp, but I wasn't aware that the Pro 48 had one as well.  That would explain why I don't have any problem with the line levels not being sufficient.  So, it looks like I have decent quality preamps for line instruments as well as vocals.  Pro 48 for guitar...MXR 80 for bass...Blue Robbie for vocals.  I was not at all happy with the Alesis MicTube Duo's that I was using.  WAYYYY too muddy even after I upgraded the tubes.  Since I no longer need them, I guess they're headed for ebay. 

a preamp is merely, well, an amplifier that brings up a signal to a level the next piece of equipment can use effectively.  Reciever amplifiers for old home studios had preamps for turntables (and eq), just as mics need preamplifiers to raise their level where line level equipment can use it, or a DI raises the small signal produced by guitar pickups to line level.  Most mic preamps have a di in it too.
 
The more experienced you become at recording, the more you hear the very subtle differences preamps especially produce.  The easiest thing to find is the available gain.  An external high-end preamp will have 10 - 15 dB of gain more than your garden variety interface preamp.  If you are close miking or miking loud sources, your interface preamp will work very well, thank you.  For softer voices etc. that extra gain makes a difference.  And then you learn to use distance when miking, backing the mic off of the source if you have a half decent room, which brings out the air in a source, so it isn't a flat, 2 dimensional sound but blooms and breathes.  Then you notice w/ good (read expensive) analog you start hearing the transfomers work and other high quality goodies stuffed inside these expensive boxes.  Transfomers tend to round off the sound and work good w/ the "sharpness" of digital recording.  And all those other good bits start reminding you of the sound of your favorite recordings which, probably, include those same bits.
 
And this is all at the edge of perception and is the last 10% or less of the sound, but is real if not exactly quantifiable.  So you get into the placebo end of things.  I hear, therefore I think.  Maybe someone else doesnt hear it, but the engineer works hard to get the sound - even if he is the only one.  And because he (or she) is working w/ good stuff, they don't allow themselves to compromise the sound because it sure ain't the equipment at fault.
 
So you don't have to go out and buy a $3000 channel strip to get a good sound, but if you keep at recording you sure would like one.  There is probably very little difference between a decent $4-500 preamp and a $1500 one, but you'll find engineers - good engineers, who won't work w/ the former.  Because they don't have to.
 
Don't let your interface preamps stop you from making good - even great recordings.  It is mostly the song, anyway.  But if you keep at it you'll probably discover an expensive habit.
 
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