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Low output dynamic mics, such as ribbons, may require up to 70 dB, sometimes even more.

More gain: The built-in preamps of an audio interface rarely offer more than 60 dB gain, often less.

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High quality external preamps are equipped with more sophisticated circuitry that retains full transparency even at their highest gain settings. While simple preamp circuits often sound fine up to gains of about 40-50 dB, the sound becomes increasingly “veiled” once you dial in more gain, e.g. Better sound quality: This becomes most evident at higher gain settings.But what exactly are the advantages over your audio interface’s built-in preamps? It’s worth noting, however, that somewhat more expensive audio interfaces come with much better preamps than entry level audio interfaces.Īt a later point, you may want to add an external preamp to your home studio setup. And usually, they’re good enough to get you started. Most audio interfaces already come with built-in preamps. But this doesn’t have to be an external device. So you need a preamp for just about any sound source. Today, even inexpensive home studio gear is usually designed for a nominal level of +4 dBu, but electronic instruments still often work at -10 dBV or thereabouts.

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The old standard for home audio and semiprofessional devices is (or was) -10 dBV while professional devices operate at +4 dBu (due to different voltage references, the difference is not 14 dB but roughly 12 dB). Even line sources such as synthesizers may require some amplification to match studio level, because there are various standards. Guitars and basses don’t require quite as much gain, but often around 20-30 dB. Microphone signals are usually way below the nominal operating level, so a lot of gain is required, usually around 30-60 dB, sometimes even more. the “standard” operating level of your recording gear. The purpose of a preamp is to amplify low level signals to line level, i.e. When we wrote our original version of this guide, we read complaints about the receiver’s supposedly inadequate power, but our tests showed that perception to be incorrect.The word preamp can mean two things: a) the preamplifier circuit within any device b) a dedicated external device containing such a circuit. The ASR review also notes that the unit failed during a stress test however, the conditions of this test were extreme and would not be encountered even in very loud music listening. That’s a barely noticeable difference, but it means the bass may sound subtly thinner when you crank the system up to loud levels (with a typical set of speakers, that means above about 95 dB, which is about as loud as a gas lawn mower at close range). The first is that a bass limiter circuit seems to become active at about 10 watts according to the measurements we took later, it reduces output below 200 Hz (roughly the G note below middle C on a piano) by about 1 decibel. That test involved a much more extensive batch of measurements than we usually perform, and it uncovered two things we didn’t. Since we originally published this guide, one other professional review of the STR-DH190 has emerged: a test posted on Audio Science Review.

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