Brand names used
throughout this text are trademarks of the respective companies.
PART 1
I just want to say that I am very satisfied with the MA-2.2 I just received
from Muzeek World. I went in my studio this morning and compared it
to a Avalon M5 using Mogami cable, a Neuman U87 and a Rode NTK tube
mic. The MA-2.2 was more detailed and clear in the very high frequencies
and that carried over to the lower notes as added articulation and clarity
with an open character that was very refreshing (I used a customized
bracing nylon string Ovation acoustic classic model with a bright tone
and fast attack but mellowed by 12 years use).
The Avalon M5 sounded also very good and musical but had a comparatively
veiled top end-quite soothing in a way. It also sounded as if a limiter
had been put in the signal path by comparison and had a slight nasally
quality faced with that tight guitar tone. The MA-2.2 revealed a lot
more detail and "air". In that respect it was no contest with the Avalon.
The attack was also instantaneous which will be of great value in a
mix situation when the track is side by side with others. The
MA-2.2 is in a superior league in that respect . Tim Farrant tells me
that this is due to the very high slew rate of the electronics. I suspect
that with more conventional acoustic classical guitars which tend to
lack the flamenco style projection of the Ovation classic, the MA-2.2
will be even better. I will have a chance to see it this week when I
record classical guitarist Jamie Andreas on a Julian Bream favored Aram
guitar named by the maker :"Elisa" (see PART 2).
On voice, I tested my baritone in narration in French, English, Portuguese,
Italian, and some Persian and Spanish and the MA-2.2 definitely is clearer
and way more articulated than the Avalon which has a blurry effect on
my voice. I also later tested it on a pair of Latin percussion bongos
and there I heard through the MA-2.2 all the details that my all wood
tracking room brings out. The Avalon, while still cool and musical sounding
on acoustic guitar, sounded by comparison dead and muffled on pro level
hand percussion . The MA-2.2 makes one feel like playing more, even
during a test due to the amazing liveliness and crispness of the response.
All the micro details of the "son" were there and it makes and ideal
mic preamp for tabla as well.
I still would use the Avalon M5 in selected applications where the source
might be a bit shrill or the mic too bright and stiff sounding for example.
The MA-2.2 would in these cases expose those sources too mercilessly
I suspect. The MA-2.2 is in my mind great for pairing with tube mics
as well as solid state ones, as it does not add additional blur and
you get the precise blur you want but then, only from the selected mic
- without the compound tube effect. This is critical for acoustic instrument
recording and certain male bass and baritone voices.
All in all a superb unit and a great value, since you get two channels
for the price, and it looks hyper-cool with the high intensity blue
light in the front panel and the refined and subtle industrial design
does justice to this masterful electronic design.
PART 2
I just came back from Woodstock NY and we did a preliminary session
for classical guitarist Jamie
Andreas in his gorgeous mountain estate. Jamie plays "Elisa" - a
one-off guitar by Kevin
Aram.
I played the instrument before the session to get the full perspective
and to see where is would sound best in the tracking room. Then I set
up the Buzz Audio MA-2.2 to warm up overnight . I used a Rode tube microphone
large diaphragm and a more midrangey boxy sounding microphone, the Neuman
U-87Ai. large diaphragm. The mic placement, polar patterns and impedance
had a very crucial role and shall remain a secret as I was greeted with
comments like" the guitar is so alive" and " the guitar sounds gorgeous"
etc... I made a point to compare the recording with the Naxos label
series classical recordings and it was superior in detail and closeness
and equal in warmth.
Then I played it to Jamie in comparison to the Los Angeles Guitar quartet
"Guitar Heroes" CD which was recorded with a Millennia Media mic pre
and comparable microphones, some even more costly. The Millennia Media
did not have as much detail and fast attack response as the Buzz MA-2.2,
it also sounded more veiled and muffled but not nasally like the Avalon
M-5 to my ears . I was very surprised upon hearing this. We took into
consideration when comparing that there were different guitars each
time.
The Kevin Aram has a Stradivarius like quality with lots of incandescent
upper partials whereas the other guitars were either, to my mind, more
woolly and bassey/tubby or slightly upper midrange-clanky like the Millennium
guitars used by the LA guitar quartet. Of course the artistry of the
masters playing them made these tonal factors entirely irrelevant. They
would sound masterful on any guitar and the power of their musical impact
would still be evident on a $200.00 guitar. But these were all very
high level custom instruments and the MA-2.2 was able to capture the
liquid fire and molten silver feel present in the Kevin Aram guitar.
The result of all this is that there are plans being made to record
the next CD in the spring by this artist with the MA-2.2 as catalyst.
In the meantime I am starting on my duo project with Michael
Fath right away and the MA-2.2 will be the only mic preamp I will
be using on our solo guitars. The Avalon M-5 in the studio will be replaced
by the MA-2.2 for guitar, voice, and percussion.
Ney Mello, Dec 2004. TOP HOME
