We have both the 992 "Standard" and the 992 "Extended Gain" versions here for testing.

http://www.lachapellaudio.com/page2.html

Wow Dot, you're the dude! Don't keep us in suspense for too long

992 "Extended Gain" notes

We have a lot of preamps here, and we've had a lot of 'em come through the doors over the years with The Listening Sessions. We've been using a LaChapell 992 "Extended Gain" version. Tonight we used it on the Taye StudioMaple kit [ w/ Evans G2's on top and G1's on bottoms ] and we put the 992 on OH duties - driving a pair of Gefell M295's. All I can say is... "Holy Mother of God." The 992 is absolutely magical.

At first I got a nice sound with the inputs low, but then I applied the 20dB pads and cranked up the input and turned down the outputs - and the heavens opened up and God joined our recording session.

The 992 EG has a lot of sonic versatility, and unlike the Standard version, the EG has transformers on the inputs. The Standard version also has its own unique characteristics - partly due to the transformerless inputs. But that's another story for another day. Anyway, back to the 992 EG... the best way to describe what it imparts to the source signal - is that is bathes and surrounds the source with a warm golden halo of air.

A few weeks ago we were testing mic choices for a male rock vocalist, and ended up choosing the new Telefunken AK47 [ more on that mic soon ]. We used a Millennia HV-3 preamp to audition the mics. The HV-3 would have been a good pre to use, but I wanted something in a preamp that would be just as open as the HV-3 but also add more air. When we ran the AK47 into the 992 EG we got the air I wanted in spades.

We've got the Taye StudioMaple kit sounding great - I mean really good - since we added the Evans heads and worked on getting the kit all tuned up. The 24" maple kick is thunderous. Tonight we were recording a rock ballad, and while we wanted the individual drums to punch through, I wanted to get a big airy sound on the overall kit. We also used a Telefunken AK47 mic through an A-Designs MP-2A preamp on kick - positioned out about 6' and about 1' off the ground - which also gave us some space, air and great low end. We used API pres on all the individual drums that were close-miked. Mics were 57 on snare, 421's on toms, and a D12E close in on the kick.

We've been using an A-Designs Pacifica a lot for OH's duties lately, and really loving it for the smoothness - especially in the upper-mids - and detail. I wanted something bigger and more airy for this ballad track. I suggested we try the 992 EG, since I'd been impressed with what it'd done for the vocal tracks a few weeks ago. The 992 EG not only gave me all the air I was looking for, but after I engaged the 20dB pads and cranked more signal into the input transformers, the OH's and the kit sound got deep and rich.

Everybody and his brother is making preamps now. And in my discussions with manufacturers I try to relay that there are so many pres on the market that if someone's going to cook up yet another product - they better have something new and different to put on the table from all the other stuff on the market. Well, LaChapell has got some serious offerings, and definitely something new to put on the table.

We are literally up to our ears in preamps around here, and have been for years. And in the next few weeks we'll be putting up about 15 different tube preamps in some A/B sessions on various sources. So, the last thing I need is another preamp. But this 992 EG does what it does so well - that I don't like the idea of it not being in the studio. I need what this EG does in my music and recordings. In the 100 or so preamps we've had in here at TLS over the last four years, we've gotten really excited by only a handful of preamps. And so far we've only used the 992 EB on vox and OH's. Gtrs, bass and other fun stuff to follow soon. But at this point we're as excited about the 992 EG as any preamp we've ever used. It's that good. It's that different. And the workmanship on these 992's is at a level of quality that is at the top of the art and craftsmanship in this industry.

So far we're stunned.

I'll get some more notes, and session pics, spec/tech stuff, and soundclips up soon.

Scott LaChapell posted some pics of his 992 preamps here - including the EG version he tweaked and shipped to me.

Wonderful, that's what I wanted to hear!

Thanks Dot.

Hey Scott, if you're around, could you give a little info on the 6072's and why you chose them as a base to build your preamps around. Also a little info on the configuration of the EG unit you sent to me for eval. I think you'd tricked it out a bit.

quote:

Originally posted by Dot:
Hey Scott, if you're around, could you give a little info on the 6072's and why you chose them as a base to build your preamps around. Also a little info on the configuration of the EG unit you sent to me for eval. I think you'd tricked it out a bit.

Hey Dan,

Absolutely; well, the 6072 is IMO one of the smoothest, most sonically well rounded tube I've heard. Everyone knows this as a low noise 12AY7 variant but it’s rather more than that. GE began marketing this tube back in 1952 as a 5-star “highly reliable”, ruggedized 12AY7 specifically marketed to the commercial computer and aircraft industry for mobile environments. It’s designed for “many thousands” of on/off cycles which help extend life expectancy. It has 10% more gain (mu) than a 12AY7 and much reduced microphonics. Later on RCA and Sylvania began producing these tubes as well but the popularity of the 12AY7 variant became too strong for production to continue. Bummer.

Its pedigree is pretty respectable too. Back in 1953 AKG began production of the C-12 and based the amplifier design around the 6072 and again for the Telefunken 251E. Of course the heart of these microphones is the capsule but the 6072 played a vital sonic role as well; they didn’t choose the 12AY7. So, a collection of these rare discontinued USA made tubes began for me. I realized that a tube preamp based around this celebrated tube could prove to be a nice piece to work with if designed correctly. My dad (a forty-year retired veteran of Lawrence Livermore National Labs’ electronics design group) and I completed the original single channel prototype back in 1996 and a functioning “showable” unit was made in 1998; all hand wired point-to-point and dubbed the VT981 (“98” referencing the year and “1” the number of channels.) In 1999 we made a two channel version dubbed the 992 (same year/channel numbering method). It was completely transformer-less but didn’t sound quite as good as the 981 which used an output x-frm and increased grid current. It wasn’t until a later prototype ‘B’ was made that I decided to add input gain functionality to the 992. This completed what I thought would be a new approach for a vacuum tube preamp. The Standard 992 is essentially the sum of these parts:

> Transformer-less input with higher than normal mic input Z.
> Signal sent strait to the grids of the tubes.
> Amplify the signal balanced, as opposed to single-ended, for smooth distortion.
> Ultra-clean output stage; push-pull into the nickel plated Jensen JT-11-BMCF.
> Give control of input and output stages to the user.
> Finally, make it look great and built it tough as nails…

The EG version is the Standard 992 with a Jensen JT-115k input transformer in place of the ASC caps - tweak the feedback and cathode bias resistor values … instant >74dB of gain. However, adding the Jensen on the input did force the input impedance down to 1.4K vs. 8.2k on the standard.

Each unit can be ordered in Stock or Premium form. Premium means you get your choice of select vintage tubes. A stock 992 uses new production Tesla ECC803S tubes, which sound awesome. I pulled these and installed Telefunkens in V1 and Bugle Boys in V2 for The Listening Sessions; an option for anyone who wishes to spend the money for these tubes. I suppose that might make it “tricked out.”

Well, that’s my “off-the-cuff” response …

Cheers all!

-Scott LaChapell
www.lachapellaudio.com

... I almost forgot to say thank you! I'm pumped the 992 is making such a good impression in your recordings and love seeing you use it the way it was intended to be used. The Listening Sessions has turned out to be one of the key arenas for the 992 to be tested. Thanks Dan for your eval and time; very encouraging!

Best,


-Scott

PS, I'll try to get some old proto VT981 pics posted for you guys later on.

we've had the 992 extended gain for a week or so and we must agree with Dan Richards notes.Incredible on overheads,especially when driving the input hard.On rock vocals it's the best sounding pre that I've ever used.For screaming punk or rap vocals I might not use it but for someone with a good voice this pre is a winner.The pre sounds very big and detailed with a very open high end.I just recorded some sound clips today with acoustic guitar and vocals.The 992 sounded just as good on the acoustic as it did on overheads,incredible.I'm sure that this will become the next must have preamp once they get into circulation.Hopefully I'll get the sound clips posted in the next 4 or 5 days.Thanks Scott for making such an awesome pre and letting us check it out.

That's awesome news, Jay...thanks for the post! It's my pleasure having you guys check it out for sure ... It's interesting that so recently the EG version has been making an impact on OH applications. I always thought the standard 992 would excel here due to its' input topology. But what I'm hearing back from the field is that engineers seem to prefer more available gain on the input over the transformer-less, high input impedance >50dB 992 in this scenario. It's all fun.

-Scott

www.lachapellaudio.com

Hi Scott

is it possible to have a unit with switchable transformer so you can switch between Standard and EG?

Well, that gets a bit tricky for a couple reasons; mainly space (room for both input x-frmr and 5ufd caps on the same board) and input tube compliment (ECC83's and 6072's on the inputs). There is more to it than simply switching between a capacitor and a transformer. Each topology configuration requires different feedback resistor values, input Z ratings, attenuator settings, blah, blah, blah ... It's possible but would require some R&D; for sure and, it would cost more. The next couple units I crank out of here will need to be more affordable pieces.

I have made one custom unit with std992 on channel one and 992EG on channel two, sort of a Manley TNT approach, but that was a request

Thanks! I hope that answered your question.

-Scott
www.lachapellaudio.com

Some notes on the LaChapell 992's from Dot Goes to Nashville.

quote:

So, after the Korby KAT Red had been chosen, it was on to trying preamps.

We went through Millennia HV-3, LaChapell Audio 992 Standard with premium tubes, my LaChapell 992 Extended Gain with Telefunken and Bugle Boy tubes, Pendulum Quartet, Neve 1073, Neve 1081, Telefunken V76.

The clear winner was the LaChapell 992 Standard.

The LaChapell 992's I've been very hot on since they came in for testing earlier this year. I bought a 992 Extended Gain, and even had the same configuration 992 shipped to these clients in Indy when I went to do some consulting for them last month. Bob bought the 992 on the spot. I also brought along the 992 Standard model. These pres were a pain in the ass. They're so big I had to move my son Max's car seat from the center of the back seat over to the right side just so I'd have room for the two 992's in the car. As I was lugging them around - and seeing how much real estate they took up in my car - the thought crossed my mind of how little space would have been taken up by something like four channels of John Hardy M-1 or an API 3124. Turned out is was worth the trouble.

I'd actually thought the 992 EG would have had a better chance than the 992 Standard. But the Standard version yeilded a clearer and bigger image on the vocal with the Korby KAT Red mic. Also, lookee here; I in no way needed or favoured the LaChapell to win the shootout. Yes, I dig 'em, but I was there for the client. And in selecting the final vocal chain there was literally to be no expense spared to get the best results. If it had turned out to be the Elam 251, Neve 1081, STC-8 - or whatever - I would have been running around to buy mint examples of those products to put the chain together for the client. But the LaChapell 992's have been dominating shootouts since we got them in for testing; which is why I went to the trouble to drag them along.

Here's a pic of a Standard 992 stacked on my 992 EG at Blackbird Studio B.

Great studio shot Dan; it's great to see the 992's up there with some of the best gear in the industry. I have tons of respect for the gear that the 992 was up against during that particular session. I'm glad I wasn't there though, I would have been bighting my frigg’n nails off!!! Nashville IS one of my favorite places on the planet and I'm pumped that the 992's were able to make a nice showing for your client.

I'll second the fact that the folks at Blackbird are world-class. My visits there have always been great. Rolff's one of the nicest guys I know of in the industry ... glad you made it back safe and sound!

quote:

Originally posted by MadHatter:
Hi Scott

is it possible to have a unit with switchable transformer so you can switch between Standard and EG?

I know its not the same base as the 992, but the Groove Tubes VIPRE does this. It also has 4 selectable input impedances when the transformer is in use.

Lets read a review on the 500's series version.

How would you compare the LaChapell to DW Fern, Pendulum and Manley tube pre's? There seem to be many tube pre's out there these days, and I am curious on how different or similar the LaChapell is to these other tube pre's. I only had a chance to listen to the LaChapell pre in a noisy AES show. I only heard it with the input gain at 10 oclock, and thought it was nice.