IN THE HEART OF DOWNTOWN SAN FRANCISCOThe Complex, located half a block from Civic Center Station, is a Live Music Venue and Recording Studio providing artists with professional, competitively affordable recordings. Recording packages range from 2 song demos, to full length albums, depending on your needs.
PRO-GRADE RECORDING
At The Complex Recording Studio, we use the
digital Logic Pro 8 software to give you the highest quality recordings for the lowest amount of pain. Our configuration is set up to
record 16 tracks simultaneously, and to add a virtually infinite
number of channels. This makes it possible to record anything from a White Stripes style 2-piece, to a 25-piece Polyphonic Spree.
The Complex is also incredibly accessible. The
studio is on street level, making load in easy, and lies only one
block from Civic Center Muni/BART station.
Equipment List
AUDIO INTERFACES
MOTU 2408 mkII & mkIII- The Complex Recording Studio's primary A/D converters. These two units working together offer 16 simultaneous I/O channels at 48 kHz/24bit, or 8 channels of up to 96kHz/24bit.
Mic Pattern
Neumann U 87a
Cardioid, Omni, Figure-8
Audio-Technica AT4050
Cardioid, Omnidirectional, Figure-eight
Golden Age Project FC 4 MC
Cardioid / Hyper Cardioid / Omni
Cascade Fat Head 2
Bi-Directional
Electro Voice 664
Hyper-Cardioid
Samson CO2
Hyper-Cardioid
Sennheiser MD 421
Shure KSM-27
Condenser (LDC)
Shure 587SB
Shure Beta52A
Shure Beta58A
Shure PE588
Shure PG52
Shure SM57
Shure Unidyne 3 Reissue
Shure Unidyne II Original
Shure Unidyne III Original
Digital Reference DR-VX1
Crown PCC160
Crown PZM30D
CAD CM 217
Cascade M39
Nady CM-88
Cascade v57
Condenser (LDC)
Condenser (LDC)
Rode NT1-A
Condenser (LDC)
Behringer GI100
Direct Input Box
Direct Input Box
Commando 430
Digital Reference DR-GX1
MICROPHONE PRE-AMPS
Golden Age Pre-73 MKII (4 Channels)
Black Lion Audio Auteur (4 Channels)
Soundcraft-Spirit Studio (24 Channels)
TASCAM M-308 (8 Channels)
EQ/RACK EFFECTS
Chameleon Labs 7720 - Stereo Bus Compressor
Zoom Studio 1204 - A very powerful multi-effect unit that was extremely popular in the mid 1990's.
Digitech RDS-1900
Alesis MicroReverb
Alesis Quadraverb GT
Ashly SC-66A
Symmetrix Parametric EQ
GUITAR/BASS AMPS
Marshall JCM-800 - Original early 80's tube combo amp. 2x12. Has a custom extra distortion knob.
Marshall Bass 150 - Great for getting that classic overdriven Marshall sound on Guitar or Bass
Sovtek 120watt - Sharp and heavy Guitar amp
Roland Jazz Chorus 120 - Clean Guitar/Keyboard tone.
Silvertone - Clean and sparkly
&The Monster& - This was a failed experiment by the lead guitarist of The Nuns. If you can harness it, this amp produces some of the heavies, narliest tones imaginable.
Peavey Bass Amp - Giant heavy tone.
The Lunchbox - The loudest, smallest amp currently available. Has a very distinct sharp tone perfect for cutting your leads to the front of the mix.
&The Oven& SG Amp - DID YOU KNOW: Gibson guitars merged with a company that made Refrigerators in the 1970's? Well, apparently they did, and soon after developed this amp that looks far more like a kitchen appliance than music equipment. Its tone is very similar to that of a HiWatt amp. (Pete Townshend's favorite.)
The Complex is home to one of the most unwieldy collections of specialty guitars in the South of Market. 12 string guitars (both acoustic and electric), 7 string guitars, fretless basses, acrylic guitars, etc. Not to mention the "regular" guitars we have. Basically, if you need a tone, you can find a guitar that can produce it.
PEDAL EFFECTS
Korg PME40 - Modular pedalboard from the early 1980's. Features a badass Overdrive, Graphic EQ, stereo Chorus, and a great stereo Analog Delay.
Electro-Harmonics Holy Grail Reverb - Awesome reverb.
Electro-Harmonics Big Muff Pi - Awesome fuzz.
Digitech Whammy - Octave divider. Apparently Jack White uses this a lot.
Boss Mega-Distortion - That orange distortion pedal that everyone has.
Boss Fender Bassman '59 -
Boss Fender Deluxe Reverb '65 -
Boss Digital Delay DD-7 -
Boss Compression Sustainer -
Dunlop CryBaby - The standard Wah-Wah pedal.
Morley Wah - A not-so-standard Wah-Wah pedal. If you can learn to embrace its hiss, you will love this tone. Sounds great on heavily distorted guitars/synths.
Mutron Octave Divider - The same basic concept as the Digitech Whammy, but this is 30+ years older and way more insane. This pedal can make your guitar sound like a bass, or your bass sound like it's being played IN OUTER SPACE. (Science fiction space, not compete silence space.)
Nord Electro II - Organ/Piano/E.Piano/Clavinet/Rhodes/Wurlitzer Sounds
Upright Piano - Freshly tuned, sounds great recorded.
1970's Wurlizer Organ - Fully functional. Great for recording. Features one of the first (and strangest) monophonic synthesizers ever manufactured.
Korg MS-20 - The king of all Monophonic synthesizers.
Micro-Korg - A very powerful tiny synthesizer.
Yamaha DX-7 - Awesome 1980's Polyphonic synthesizer. Want to play The Final Countdown by Europe? How about Take on Me by A-Ha? This is what they used! The Yamaha DX-7 will be your best friend!
ODDS & ENDS
Boss Percussion Synthesizer - Very similar to the SynDrums of the 80's, this device features a drum pad that, when hit, triggers the synthesizer tone. Is especially good for making 8-bit style video game noises, although that is merely scratching the surface of its possibilities.
We also carry a small selection of full drum kits that can be used for your recordings if requested.
Rates & Booking
Rates/Booking
For booking inqueries such as recording sessions and/or live events, please contact .
Current studio rates are for weekends which is $500 for two full recording days (8+ hours/day). This includes tracking, overdubs, mixing, and if time permits, rough mastering. If you wish to have a stand alone mix or mastering session, please contact one of our staff members for more specific rates. Rates vary on the amount of songs and time frame.
The "Live @ The Complex" shows so far have been few and far between which makes them much harder to get a slot, but nearly anyone can record, provided you don't have schedule conflicts with the studio staff.
The Complex Staff
George Rosenthal
Owner, Producer, Recording / Mixing
Carla Selvin
Marketing Manager
Elliott Peltzman
Assistant Recording / Mixing
Alexi Alexaieff
Assistant Recording / Mixing / Web Admin
Location & Directions:
The Complex SF?
535 Stevenson St
San Francisco, CA 94103
& The Complex SFGolden Age Project Pre 73 |
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Golden Age Project Pre 73
Microphone Preamplifier
By Paul White
This highly affordable device is based on the circuitry used in Neve's legendary 1073. So can you really get a classic vintage preamp sound on a budget?
Swedish Company 'Golden Age' Audio distribute many leading pro-audio brands in their part of the world, but they also manufacture their own range of microphones and accessories aimed at the project studio market. They first came to our attention when they launched a series of low-cost ribbon mics, and now the Pre 73 preamplifier joins their 'Project' range.
Although the Pre 73 is based on the preamp section of the revered Neve 1073, it sells at an astonishingly low cost. Judging from the markings on the output transformer, at least some of the unit is built in the Far East — but that doesn't in any way detract from its performance. Utilising a discrete component signal-path (ICs are only used in the metering section), the Pre 73 is powered from an external PSU to reduce the risk of hum being induced into the audio circuitry, which itself incorporates three separate audio transformers: one for the balanced mic input, one for the line input, and one for the output. Much of the circuitry bears a strong resemblance to that used in the Neve design, but while the components used are perfectly adequate, they're not the esoteric types found in high-end equipment, because they would add very significantly to the cost.
This preamp conforms to the popular half-width, 1U-high format (so it could easily be fitted to a third-party rack tray if necessary) and all the casework is made from heavy, folded steel, finished in a retro dark red colour.The GA Pre 73 gives you everything that you'd expect on a good preamp, including inputs for mic, line-level and DI signals, as well as a polarity-invert button and an LED level meter. The gain control layout borrows from the Neve 1073, with three 'off' positions, the one between the 50 and 55dB positions being for a second mic gain-stage.Conceptually, the Pre 73 is a fairly basic single-channel mic/line preamp with a maximum gain of 80dB for the mic input and a gain range of -20dB to +10dB for the line input, both of which are on Neutrik Combi connectors, allowing either balanced XLRs or balanced jacks to be used. Of course, as with some other units I've tested using similar connectors, you need to be aware that if you apply phantom power to the mic input it will be applied to both the XLR and jack connector pins of the Combi mic socket — so you must take care, when connecting jacks to this input, that the phantom power is switched off! Failure to check may result in damage to the connected equipment. In most cases, though, jack feeds would go to the adjacent line-input Combi connector (which has no phantom power) or the front-panel instrument input.
The output is on separate jack and XLR connectors, again both balanced. The high-impedance instrument input jack (unbalanced) on the front panel has its own selector button, and is designed mainly for use with guitars and basses fitted with passive pickups. As different mics work best running into different input impedances, the Pre 73 is also fitted with a normal/low-impedance switch in addition to the expected power, 48V phantom-power and polarity-invert buttons. A basic four-stage LED signal-level meter monitors the output, and the gain is controlled in 5dB steps from -10dB to +80dB using a rotary switch. I found this switch, which uses a small, retro-style Bakelite knob, rather stiff to turn, but then it does control a three-wafer switch mechanism and may become easier with use. The output level control is a rotary pot and allows for fine gain adjustments, with enough range to allow the user to deliberately overdrive the main gain stage and then lower the signal again at the output stage when artistic requirements make this appropriate.
Given the budget provenance of this preamp, its internal construction is quite impressive, with the bulk of the components fitted to two double-sided glass-fibre circuit boards. The one at the rear houses the audio connectors, the stabilised power supply regulators, a fuse and the smoothing capacitors. Both input transformers are enclosed in screened cans, and the generously large output transformer, which is bolted to the side of the case, appears to be fed from a hefty power stage, built around a 2N3055 power transistor mounted on a suitable heat sink. The internal wiring is all very neat, with screened cable and locking on-board connectors. All boards are well secured to the case via threaded pillars on the base plate, and all the push-switches have status LEDs that protrude though holes in the front panel. In all, the quality of mechanical assembly equals that of far more costly pieces of equipment, and no obvious corners have been cut — with the possible exception of the power inlet. My only suggestion would be that a plastic clip could prevent the cable pulling out, so that might have been a worthwhile addition.
With mic preamps, spoken-word tests and simple vocal recording often reveal a lot about the tonal signature of a circuit, and in a comparison test with one of my own relatively transparent-sounding preamps, the Pre 73 came across as having a very obvious character. It exhibits a strong and confident-sounding mid-range, very smooth highs and a generally 'rounded', slightly compressed-sounding tonality, that I found reminiscent of some tube mics and tube preamps. The Focusrite ISA 110 that I reviewed a few months ago had something of a similar tonal leaning, which I attribute to the use of transformers in the audio path, although much depends on the characteristics of the particular transformer employed and the circuitry that surrounds it. At no point did circuit noise become noticeable.
If you're after absolute accuracy and transparency, this clearly isn't the preamp to choose, but as a musical tool to help ease vocals to the front of a mix without making them over-bright in the process, the Pre 73 works really well. I haven't had enough experience with the original Neve model to be able to make a definitive comparison, but Golden Age have certainly captured an authentic-sounding vintage vibe that can really warm up a solid-state capacitor mic and add weight and punch to vocals. The capacity of this circuit to smooth away edginess and grittyness without actually dulling the sound also makes it a good contender for miking an electric guitar cab or DI'ing a bass. As always a DI'd bass will probably need additional help from compression and EQ, but the basic sound I achieved using the Pre 73 as a DI box was a good starting point. I also recorded a couple of guitar parts using the preamp to mic my Vox amp and got great results, but DI'd clean guitar also sounded particularly sweet through this preamp. I'd have liked a moving-coil VU meter to complete the retro vibe, but given the price, that would have been impractical.
Given the very affordable price of the Pre 73, its performance is astonishingly good, as is its build quality. Clearly, there is a limit to the quality of the transformers and other components when aiming at such a user-friendly price, but I can't detect any serious corner-cutting, and the aim of presenting a warm, vintage sound that's musically attractive has been met extremely well. Indeed, it's difficult to recommend anything else in this price range when it comes to 'mic amps of character' — so I don't think I'm sticking my neck out when I say that the Pre 73 is destined to sell in large quantities, recession or no recession.
There are lots of alternative transformer-based preamps that sound wonderful, but the choice really evaporates when you come down to this price point. The more costly Focusrite ISA One, which also has that vintage vibe, and possibly the Universal Audio Solo 110 come closest, but I honestly don't think you can buy anything else for this price that sounds so 'grown up'.
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出售瑞典Golden Age Project PRE-73 DLX专业话放 ~~~
温馨提示：本主题信息未经本站核实，请慎重考虑！本站不承担一切责任
品牌：Golden Age Project
型号：PRE-73 DLX
成色：全新
单价(元)：2300 总价(元)：2300
有效期：三个月
所在省份：山东
所属城市：青岛
联系人：本本
运输方式：顺丰到付
承诺：正品无任何问题！！！
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重要提醒：从日起，暂停中介申请服务。本站卖家发布的交易帖都未经本站核实，请慎重考虑！本站不承担一切责任，为了避免交易风险和纠纷，请使用货场现场验货签收和货场代收货款来交易或同时使用第三方（如闲鱼）进行交易。
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出售瑞典Golden Age Project PRE-73 DLX专业话放，此话放模拟经典NEVE1073电路，性价比非常高
推力很大带低切功能，成色非常完美，包装等所有东西片纸不少！！！
支持淘宝交易，24小时之内能确认的拍
价格：2300元 （此价格仅有）
运费：顺丰到付 不议价
联系QQ：（备注）
联系电话：（非诚勿扰）
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davidchina1980 发表于
这个声音怎么样
几乎可以秒杀4000以下所有的话放。
顶顶。。。。。。。。。。。。。。
宇晓伟 发表于
顶顶。。。。。。。。。。。。。。
多谢多谢。。。
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