WA12 mic preamp | Reviews | Tape Op - the Creative

WA12 mic preamp | Reviews | Tape Op - the Creative
WA12 mic preamp | Reviews | Tape Op - the Creative Music Recording Magazine
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< Issue #91 >
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Jan Erik Kongshaug
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WA12 Mic Preamp
Jan Erik
Emperors of
Gear Reviews
by Warm Audio
$449.99 MSRP
Designer/owner Bryce Young describes his Warm Audio WA12 not as a clone of the API 312, but based upon that classic
design. It arrived double-boxed, with plenty of packing and peanuts, which is always nice when electronics are shipped.
Unpacked, the half-rack Warm preamp is solid, if not especially heavy, considering its depth. Someone with delicate
sensibilities might consider the front-panel's orange color scheme garish, but it does stand out against the chorus of grey,
silver, and black predominating in most racks. It also makes the black lettering legible, down to the dots used for gain. All six
buttons have associated status LEDs, an often overlooked touch, while the paint and external metalwork on my unit showed
excellent craftsmanship. All buttons had nice travel and gave a solid latching feel, while the gain knob clicked through the
stops with enough pressure to know you've changed settings but not enough to slow things down. Mr. Young explained that it
is a variable pot, not a rotary switch, but the indents give it that feel. Rounding out the front panel is the hi-Z input. The only
thing missing is any kind of metering. Around back is the 24 volt power inlet, a Neutrik Combo mic input, and two
simultaneous outputs, one on XLR and the other 1/4'.' The rear input is mic-level only, but engaging the front-panel pad
button helps match to line-level. Both the hi-Z and mic inputs go through the entire preamp circuitry, including the "Warm"
function. The front-panel Warm button changes the impedance of the input from the standard 600 ohm to 150. This can
make the tone brighter, as well as add a few extra dB of overall level, so be careful when comparing sounds (because louder
will almost always A/B better). Still, such flexibility is always a welcome addition. The power supply is an external wall wart.
This helps with isolation, of course, but is also a common way to save money for international electrical certification. Inside,
the unit is cleanly built and well specified, including dual Cinemag transformers. It looks good and feels good - and that
provides confidence even at this unit's low price.
So, how does the WA12 sound? I set it up and had some colleagues join me during testing. The simplest way to describe
guitar DI'ed through the WA12 is thick and rich. The strums were full and plucking sharp. But I was really impressed with
what the WA12 did for the female vocalist. Normally, I use a small-diaphragm condenser on altos, since the Oktava MK-319 I
keep at home will cause sibilance problems with such voices by the time the track is mastered. But I already had the Oktava
set up for guitar so I used that for the scratch vocal. The WA12 hinted at less sibilance while sounding "big" - bigger than the
Rupert Neve Designs Portico II Channel [Tape Op #82] I usually use. When I brought her back to do overdubs, my suspicions
that the Oktava/Warm combo was a perfect fit for her was confirmed. It wasn't that the WA12 rolled off any highs, it was the
extended bottom that helped keep the sibilance in check. After recording, I slathered on the digital processing - including
Softube FET and SONAR ProChannel PC2A electro-optical on her channel, ProChannel PC4K SSL-style [#88] on the vocal and
output buses - and slammed all the comps. Yes, her sss's got aggressive and the T's and other plosives got rock hard and
chipped, but once I backed off the settings to something approaching normal, the vocals slid perfectly into the mix - nice and
round. The full sound recorded also took EQ extremely well. At a studio with API 3124 preamps, we tried spoken word as well
as guitar and bass. It was hard to tell any difference between the two, but after some close listening, it was decided that the
Warm Audio had a little more bottom, if only by a red hair.
At home, I can usually get a good drum sound using overheads and a Crown PZM-12SP mic on the floor, all equidistant.
Again, the WA12 was a perfect match for the assigned floor job. The PZM provides pristine capture, with the WA12
accentuating the kick and floor tom, yet remaining punchy. Like an API, the output of the Warm Audio is high, and I seldom
had to go above the halfway mark (46 dB out of 71 dB of gain). I did go higher, but then found I had to bring down the input
http://www.tapeop.com/reviews/gear/91/wa12-mic-preamp/[5/28/2015 6:59:25 PM]
WA12 mic preamp | Reviews | Tape Op - the Creative Music Recording Magazine
of my interface. No matter how loud the gain, at no point did the WA12 crap out or distort; it just slid into nice transformer
saturation. The waveform would get bigger on the computer screen but flat line, as if going through a compressor. The WA12
responds like professional gear, yet does so at an affordable price. And like most professional gear, it gets the job done but
excels at certain tasks - like sibilant singers. If you are looking to augment existing API preamps, only your hairdresser will
know you are using the Warm Audio unit instead. A project or home studio looking to add a good preamp will find the WA12
capable of providing professional quality without breaking the bank.
($449.99 street; www.warmaudio.com) -Alan Tubbs <www.bnoir-film.com> Tape Op is a free magazine exclusively devoted to
the art of record making.
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WA12 mic preamp | Reviews | Tape Op - the Creative Music Recording Magazine
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John Williams said about this:
THU, FEB 14, 2013 - 12:43AM
Nice review, and timely too. I'm checking mic pres currently, and after having
stumbled upon the Warm Audio unit only yesterday, I've become interested in any
feedback regarding how well it meets real world challenges. Key, for me at least,
is the units capacity for quelling sibilance as it's something I need to be
guarded about. This may just be an ideal answer to that inconvenience. After
having pulled a couple of YT videos down, it's easy to see why everyone
characterizes the sound as 'warm and thick'. I like that ... and it'll surely
stand out in a rack! Kudos for the review.
Martin Frainer said about this:
WED, SEP 3, 2014 - 11:16AM
Thanks for this great review! I was looking for a warm, creamy and thick sounding
preamp for recording drums in my studio and read so much good stuff about the
Warm Audio WA12.
I think they're priced well and I also like their funky color. After reading your
review I definitely have to check out one and also will try it on leadvocals.
http://www.tapeop.com/reviews/gear/91/wa12-mic-preamp/[5/28/2015 6:59:25 PM]
WA12 mic preamp | Reviews | Tape Op - the Creative Music Recording Magazine
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