SPL Crescendo duo Microphone Preamplifier Review
Gorgeously clean gain for your microphones
High-quality preamps that can capture all the nuances and subtleties of classical guitar are not as common as one might think, as most designs introduce too much noise and colour. When I came across the SPL Crescendo duo microphone preamp last year, I was intrigued by its specially designed 120-volt technology, which promises a particularly neutral, dynamic and low-distortion sound. I immediately contacted SPL and they sent me a demo unit to test.
Sound Performance Lab
SPL (Sound Performance Lab) is a German company that has been manufacturing professional audio equipment for about 40 years. SPL is known for its innovative designs and audio solutions of the highest quality. Their preamps, converters and headphone amplifiers are used in recording studios for music and film worldwide. Common features of all SPL products are the impressive build quality and enormous size.
SPL Crescendo duo Microphone Preamp
The Crescendo
The Crescendo 120-volt rail preamp design was introduced with the original 8-channel unit; the duo, as the name implies, is the stereo version, ideal for recording classical guitar in situations where good enough is not enough.
One of the ftings that sets the SPL Crescendo duo apart is its large knobs and tactile switches. Each channel provides from +18 dB to +70 dB of gain, which can be independently increased or decreased by 10 dB with a switchable output control. In this way, the rest of the chain can be supplied with an optimal level. The total output can reach up to 80 dB, which is more than sufficient for even the weakest ribbon microphones.
The physical VU meters for level adjustment leave a remarkable impression and can lower the displayed level by 10 dB if necessary. A high-pass filter of 6 dB per octave at 120 Hz is quite useful, although I would prefer it to be switchable for greater versatility. Nonetheless, every aspect of the Crescendo duo has been carefully thought out.
SPL Crescendo duo - tactile switches and VU meters
Four times more voltage
The 120 V technology operates at +/- 60 V. To handle such a high voltage, SPL has developed special proprietary operational amplifiers (SUPRA) that can operate at a such high voltages, as this would destroy conventional components and operational amplifiers.
How it sounds
After using the Crescendo duo in my recording setup for a couple of months, I am happy to report that it exceeded my expectations. The SPL has a very clean and transparent sound, which is essential when recording classical guitars. Many preamps introduce colouration and distortion that can detract from the subtleties and nuances of the recording. The result can sometimes be pleasant, but it strays far from the original sound and is usually not what we are looking for when trying to capture luthier-grade guitars and world-class guitarists. It's worth noting that unlike other clean preamps, the Crescendo is not a bit shrill, but has an overall smooth and warm sound.
A high-end setup & ‘The Music of the Impressionists’
I used the SPL Crescendo duo to record my latest album, The Music of the Impressionists, which contains a wealth of tonal colours, sustained tones, great dynamic differences, and silences. I used my beloved Essense guitar, handcrafted by Angela Waltner in Berlin, and in conjunction with a pair of Gefell M 950 microphones (review coming soon), another marvel of German engineering, and the RME ADI-2 Pro FS for the analogue-to-digital conversion, the Crescendo captured every detail brilliantly.
Listen to ‘The Music of the Impressionists’ on Spotify:
Comparisons
SPL Crescendo duo vs AEA TRP2
The Crescendo duo is similar in many ways to the AEA TRP2, another highly regarded preamp that I have used for several years. Both units are known for their clean and transparent sound, and both have low self-noise and high maximum gain. However, the Crescendo has a bit more refinement, smoothness and realism in its sound. The sonic benefits, additional features, and fantastic build quality of the preamp are worth the price difference. However, I will also keep the AEA TRP2 for some field recordings, as it is easier to transport.
Some thoughts on microphone preamps
Most audio interfaces have adequate preamps for most applications and users. So unless every other aspect of your recording chain is well thought out, searching for microphone preamps is a futile endeavour. The differences between clean mic preamps are only subtle but can become important when combined with other competent equipment and production skills. If you are confident in your setup and all you are missing is a good mic preamp, I'd suggest forgoing cheap deals and saving up until you can afford a high-end preamp like the Crescendo duo.
The Coda
The SPL Crescendo duo microphone preamp is one of the best options for recording classical guitar. It is a well-designed and sophisticated device that is capable of producing excellent recordings and is made to last a lifetime.
RME Babyface Pro FS Review
The best portable audio interface gets a welcome refresh.
There have been ten years since the introduction of the first Babyface; a portable interface with a unique form and the renown RME build-quality and performance stability. Five years later, the Pro version arrives and brings performance updates in practically every aspect and a new luxurious aluminium chassis. The latest revision updates it clock and now includes a full SteadyClock FS circuit as in the ADI-2 Pro FS for lowest jitter, as well as an improved 3,5 TRS headphones output with 90 mW, from the 70 mW that is found on the older version, and the same output op-amp as on RME's ADI-2 Pro.
The BabyFace takes on a remote location session.
Newly designed analogue and digital circuits improve the SNR and THD figures for the microphone inputs and monitor outputs, while innovative energy-saving technologies allow the Babyface Pro FS to remain bus-powered for portable setups. A small size, high-performance drivers and a fine fidelity designate the new RME as one of the best small audio interfaces for the home studio or the producer on the go.
The Device
A slight slope, tilts the controls towards the user
The Babyface Pro FS is housed in a tough chassis cut from a single block of aluminium. It has a slight slope, that tilts the controls and the metering LEDs towards the user for greater accessibility. It looks quite elegant in real life, much better than any pictures I've seen. The craftsmanship of the unit is exemplary and all the buttons have a satisfying feel to them.
Apart from the two excellent mic-preamps on the back of the unit, there are two additional line-inputs on the right side should you wish to connect it to an external preamp. A lot of small interfaces can only handle two inputs, which are generally enough for classical guitar, but the two extra channels can be proven rather helpful the few times that I might need to record a larger ensemble or experiment with different microphone setups.
Digital I/O with up to 8 channels is also available via ADAT or SPDIF to accommodate bigger setups.
Preamp inputs, monitor outputs and comprehensive metering.
Two balanced XLR outputs feed the monitors is another welcome feature that is rarely seen on interfaces of this size. A surprising inclusion though is a pair of independent headphone busses, one with with a standard jack, the other with a mini-jack socket. Unfortunately, there is no separate control for the two phones, and according to RME, the TRS phone would be 6dB louder. Nevertheless, the next time you will forget the 6,3mm to 3,5mm adaptor on a location recording, you won't be miserable.
Considering the portable nature of the Babyface Pro Fs, I think that RME missed the mark with the provided hardshell case. Don't get me wrong, it is great to have and more than welcome, but it adds a lot of unnecessary bulk. The case itself, although not as premium as the interface, seems durable enough. Opening it up reveals a lot of unused space, with almost one-third of it to be empty. There are slots for the USB and Midi cables, which is handy, and another one for a power supply - that is not included. A case exactly the right size just for the unit would be preferable, I can always throw all the necessary cables in my backpack anyway.
The Babyface has a DC input for standalone applications, but as mentioned the power supply is not provided by RME as the interface is fully bus-powered. I haven't used one to test if there is any additional performance profit.
Unusually for any product in 2020, a two-hundred-page printed manual is included, both in German and English.
Clarity in abundance
True to the reputation of RME, the BabyFace Pro FS delivers a clear and articulate sound. The low-end is full, much better than of most competitive interfaces, while the midrange and high-end remain accurate. The ADDA conversion has only a tad less realism and depth than that of my ADI-2 Pro FS, but I was expecting that.
The preamps are also excellent, I wouldn't hesitate using them for any production. The lack of colouration might make them seem sterile for sources that might benefit from a bit of character. For classical guitar and other acoustic instruments, I find them to be precise and truthful. Might not be as refined or pleasing as expensive outboard preamps, but there is nothing to complain about for interface preamps.
Drivers and TotalMix FX
What separates RME to most other interface manufacturers is the perfect harmony of software and hardware implementation. The in-house developed drivers grant to its interfaces unparalleled stability and performance, and the Babyface Pro FS is no exception. The latency times are the lowest (the lower the better) in its class and working with the interface is seamless. Audio dropouts and other issues that occur in badly written drivers can diminish the user experience or even render a recording useless, however, the Babyface has been flawless in that regard. RME also provides extended support, with driver updates and service for many years after a typical product lifecycle; an OS update wont turn the unit into an expensive doorstop.
The BabyFace Pro FS is equipped with DSP effects for zero-latency monitoring.
Additionally, the TotalMix FX console comes packed with every sensible routing option and zero-latency DSP effects. My needs are pretty straight-forward though, and I have only used a fraction of the possibilities provided. The plethora of options can be a disadvantage, as the GUI seems complicated at first, but it is cleverly designed and with a modern look.
Conclusions
Excellent conversion, small size and the best drivers for audio known to man, place the RME on top of the list of small audio interfaces for the home-studio or location recordings. Although there are plentiful small and portable interfaces, most of them target the consumer or prosumer market. The Babyface Pro FS is one of the few devices that offer professional performance and functionality for the recordists that have fewer demands in terms of channel numbers but don't want to compromise on the audio quality.
Line Audio CM3 on a Classical Guitar
The Swedish Line Audio CM3 microphones are the best-kept secret of the audio world, not only they sound great capturing the nuance and timbre of acoustic sources in the most natural way, but they are incredibly cheap and small!
No affiliation whatsoever, I just like them a lot!
Initial Review
Roger is the one and only person involved in the design and manufacturing of the Line Audio products, and he has been making high-quality microphones and preamps at a low price for decades; all handcrafted in Sweeden.
It is impossible to find other microphones that come close to the quality of the CM3s, both in craftsmanship and sound properties, without spending several €100s more. They are balanced across all frequencies and offer a smooth and clear pick-up, without annoying frequency boosts that certainly don't compliment a sensitive and delicate instrument such as the classical guitar.
Roger is building these microphones himself, and doesn't advertise at all; this is the reason why he can keep the prices so low, and why you don't hear so much about them.
Trevelling with the CM3s
On March 2018 I travelled to Lithuania for a month, I was commissioned to compose a solo guitar suite (to be released in March 2020). So the two tiny CM3s, in their practical plastic cases; although unnecessary for the purpose of my work there, were proven to be great tools to have.
My only regret is that I didn't get to record in this beautiful church, but with -28 degrees Celcius, maybe it was a good decision.
Here are two of the pieces that I recorded there, pluged into an Audient iD14 (read my review). The CM3s, togheter with the iD14 make a compeling and affortable pair for travelling guitarists.
Closing Thoughts
After owning a pair for about two years now, having recorded my guitar, cello, solo piano, a piano trio with violin and flute, as well as several voices and a choir; I can honestly say that I can comfortably use them in any situation. I recommend them without hesitation to beginner and intermediate recordists with a sane budget.
My only complaint would be that you need to pair them with a decent preamp as they are not very sensitive. When I compare them with Schoeps, DPA or Neumann microphone that cost 10X more, I find that they are a little less detailed especially in high-mids and highs. But, for the price, or even for microphones that cost less than €1000 a pair, I haven't found anything that comes close for recording acoustic and classical music.
Sony PCM D100 Review - A Portable High-Resolution Audio Recorder
Experiences and adventures of a classical guitarist
The Sony PCM D100 with the “wide” arrangement.
The weather is great now, and I want to spend more time outside, to explore different locations. While I have a lot of recording equipment for different situations and purposes; as a one-person band, location recording can be tricky. Lugging microphones, cameras, cables, stands, etc. make sure that everything runs smoothly, by the time we start to play, we are already somewhat exhausted.
A portable recorder makes things infinitely less complicated, but most devices that I have tried over the years come with many shortcomings. A lot of people are raving about how great the Sony PCM D100 is, but there seem to exist very few acoustic music recordings on the internet made with it (there are many recordings of trains, cars, cats and other ambiences, but I cannot draw conclusions from such examples).
So, the rarity of any real music examples and the hefty price kept me away from it, but now I decided to get on my hands and find out if the D100 is as good as many people claim.
Recording on a 700-meter altitude monument in Greece
A view from the path to Zalongo, Preveza.
First I went up to the Monument of Zalongo, 700 meters altitude mount, near my beautiful hometown Preveza, Greece.
It was a windy day, and unfortunately, the provided windjammer from Sony was not enough to protect the ultra-sensitive mics. Therefore I had to be very creative with positioning the recorder; which resulted in an unorthodox, from the sound, perspective; but less exposed to the air.
Still, most of the takes got ruined by the clipping of the microphones, but I was lucky and just before the sunset, the wind recede just enough and I was able to have two full takes without any clipping.
(Note to self: next time I will have an idea to climb up a mountain to make a recording, I should bring more means of wind protection.)
The Humid Environment of a Small Port
Twilight at Mitikas, Preveza.
A few days later I decided to visit the beautiful port of Mitikas at Preveza, equipped with and my guitar, the D100 and my camera; I recorded "Αυτή η νύχτα μένει".
If you listen with headphones, you will hear the sound of the gentle waves as they wobble against the rocks behind me. And similarly, this soft breeze was enough to cause problems with Sony's sensitive capsules, even with the windjammer on. Therefore, I had to position the recorder lower than I would have prefered.
In both of these cases, bringing with me any other setup would be hugely unpractical. I wouldn't want to carry a laptop, interface, preamps, and expensive Neumann or Schoeps microphones on a mountain. Neither I would allow them to suffer in the humid environment of the port - considering also the additional setup time that is required for that.
In this manner, the Sony PCM D100 delivers on what is promising; high-resolution, clear and detailed recordings, in a portable short-scaled unit.
A few more notes
In closing, I want to add a couple of points that are usually not talked about much.
Practical nylon case and remote control.
Firstly, I don't really how Sony does that, but since July when I bought the recorder I used it extensively. I did several tests at my home studio, recorded a couple of my concerts and a few long rehearsals, a piano recital for a friend, some scratch ideas for new compositions and the two videos on the mountain and the port. And all that with the first pack of AA batteries that Sony provides with the recorder. It is unbelievable and not at all similar to my experience with Zoom and Tascam recorders that I've used in the past.
Secondly, the accessories provided with the D100 are extremely practical. Namely, the remote control is a god-send for a one-man band as I don't have to stand up all the time to press "rec". The carrying bag is very useful, as it protects the recorder from scratches and dirt - just do not drop it! My only complaint is with the windjammer which could have been more effective.
A new project; Urban Miniatures
A new project I took on is to compose 12 miniature pieces inspired by the city; twelve Urban Miniatures. These would be recorded monthly during the following year in 12 unique locations in Berlin. I plan to use my trusty Sony PCM D100 for all of them. Here is the first.
Apogee MiC+ on a Classical Guitar
Apogee´s new USB microphone promises improved sound quality and lower noise floor from its predecessors.
Apogee MiC+ on it’s Tripod
I wanted to buy a USB microphone for some time now but the ones that I have tried in the past didn't convince me. USB microphones are usually guilty of high self-noise that can be quite problematic when recording such a subtle instrument as the classical guitar. Additionally, since they are mainly aiming for voice-overs, vocal recordings, podcast and such activities, they are usually quite bright for my tastes.
The new MiC+ is definitely an improvement over the older versions. The self-noise is audible in comparison to my normal setup but I don't find it to be a problem for non-commercial uses. It is also a little bit on the bright side, but natural enough for use with a classical guitar and other acoustic instruments.
Apogee MiC+ Connections
It seems very well made and I believe it can take some beating, but don't forget it is a sensitive condenser capsule in there, so don’t drop it.
Apogee includes in the package everything you need to start recording right away; desktop tripod, microphone stand adaptor and USB Type A, USB Type C and Lightning cable. My only gripe is that the supplied cables are rather short, connecting the MiC to a Desktop or Laptop computer will be proven a challenge.
Comparisons
A few diffefent recording options.
My next task was to see how the MiC+ compares with several different options; alternatives that have clear-cut strengths and definite uses, but I consider them to fall into a similar budget. From a tiny portable recorder (Olympus LS-P2), to a budget SDC (Line Audio CM3), to a higher priced LDC (Neumann TLM102).
Olympus LS-P2
+ the cheapest, the smallest, doesn't require any additional gear, it is stereo
- most self noise, although its mids are sweet-sounding, the sound is somewhat narrow and small
Apogee MiC+
+ affordable, comes with everything you need and it only requires a phone/tablet or computer to work, a decent headphone output
- noisier that the CM3 or TLM102, much brighter, feels cheaper
Line Audio CM3 (read my review)
+ smooth and natural sound, no colour, small, cheap, comes with plastic case
- needs decent preamps to avoid added noise, not very detailed, needs an audio interface/cable/stand (additional cost)
Neumann TLM102 (read my review)
+ clear and defined sound, nice articulation, a little bit of colour but never harsh, practically noiseless
- needs an audio interface/cable/stand (additional cost), big (actually it is very-very small for a LDC, but for the sake of this comparison), expensive
Conclusions
All in all, it is a great mini microphone and although it is not meant to replace a discrete signal chain with high end microphones, preamps and converters, having access to such equipment when I'm on the road is not usually an option and the MiC+ comes to fill the gap as it sounds better than most portable recorders and it fits in the pocket of my jacket.