The principal of Sunrise Engineering and Design, Tim Spencer, has decades of diverse experience in design, development, integration and manufacturing of complex hardware and software systems. While employed at Burr Brown (now part of Texas Instruments), he was responsible for design and development of various amplifier products as well as analog-to-digital and digital-to-analog conversion devices - and Burr Brown’s very first microcircuit power operational amplifiers. While employed by a major aerospace corporation, he worked in various engineering and management positions involving design and implementation of automated production test systems, manufacturing technology, and information technology systems. Mr. Spencer’s lifelong interests in music and recording technology led him, in 1998, to form his own engineering company and introduce the first TRUE Systems microphone preamplifier product.

A Pedigree of Precision: The True Systems Lineage

Following the launch of the initial Precision 8, True Systems quickly became a benchmark for high-fidelity recording. While other manufacturers focused on adding "color" or distortion, Tim Spencer’s designs were celebrated for their extraordinary headroom, ultra-low noise floor, and an uncanny ability to capture the pure, unadulterated detail of a performance. This uncompromising pursuit of sonic honesty earned True Systems a permanent home in the racks of prestigious scoring stages, broadcast facilities, and elite recording studios worldwide. From the flagship multi-channel preamps to the iconic, portable P-Solo, the product line garnered numerous industry accolades and became a trusted secret weapon for engineers who demanded absolute fidelity. Today, this legacy of precision engineering serves as the foundation for our new collaborative efforts, bridging decades of analog excellence with modern innovation.

From the Archives: The True Systems Story

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Avant Garde Recording Gear For Vision Festival

Avant Garde Recording Gear For Vision Festival

NEW YORK, NEW YORK - AUGUST 2009: In its 14th year, the Vision Festival continued to draw avant-garde jazz enthusiasts to New York City for six days of inspired performances from the best of the best in the genre. Vision Festival XIV was held at the Abrons Arts Center, a Lower Eastside landmark that boasts a rich legacy of arts programming and community involvement. More than that, the Abrons Arts Center featured ideal stage and audience acoustics. Longtime recordist for the event Stefan Heger, of FisheyeMusic Studio in Cologne, Germany, was delighted with the stage's sound and brought a raft of gear, including a SoundField MKV spatial microphone system, Mojave tube mics, and twenty channels of TRUE Systems and Daking preamps to capture its every nuance. "The Abrons Arts Center brings live recording to the next level," said Heger. "The space is very thoughtfully designed so that the stage sound is quite isolated from the house PA. That made it easy for me to capture the real sound of what was going on. I believe that equipment shows its true colors under such circumstances, with the bad stuff falling flat. The good equipment, which I was glad to have on hand, really shined." As in previous years, Heger relied on just one microphone for his overall stereo and surround sound pickup - a SoundField MKV. SoundField microphones capture spatial information with a proprietary, four-channel signal that records front-back location (X), side-side location (Y), vertical location (Z), and absolute reference pressure (W). Using software that easily interfaces with the leading recording workstations, Heger was able to alter every aspect of the stereo and surround imaging after the fact in mixdown. With so many acts of varied sizes at Vision Festival, the fact that he didn't have to worry about the SoundField's placement during the recording freed him up to focus on the numerous spot mics on stage. Heger commented, "There's a lot to think about with each varied ensemble taking the stage - so many different people, so many different instruments - and with very little time between sets to get spot mics up. A lot of unexpected things can happen, and I needed to give myself a lot of headroom on the mic pres to avoid any nasty surprises." Two TRUE Systems Precision 8 mic pres gave him sixteen channels in just two rack spaces. Moreover, the Precision 8 gave Heger the unique ability to pick his own peak reference, providing a consistent headroom structure. "Even with careful planning and a lot of headroom, some things still snuck by," said Heger. "But a distorted Precision 8 is actually quite pleasant, so even in those few moments where something got away from me, it was no big deal." He continued, "It was easy to make mic selections with the Precision 8 as well because it's so accurate and quickly reveals the true nature of a mic/instrument combination. The greatest magic happened with the Mojave MA-200 large diaphragm condenser. The combination of that beautiful tube sound with a neutral, yet musical preamp is something that I've never had the pleasure of experiencing before." For drums, Heger very consciously added a bit of color to the signal with a four-channel Daking Mic Pre IV. Kick, snare and overheads benefitted. "The Daking has a tone to it," he said. "It emphasizes the top-end and makes everything come out with a bit more brilliance. The drums shine through. I had a pair of Mojave MA-100 small diaphragm condensers for overheads, and the cymbals came out wonderfully - even better than the real thing! In person, they came off as a bit harsh and overly metallic, but the recordings are much smoother and warmer - the sort of thing that a jazz drummer is really after." Heger used a bank of Apogee AD16x converters to interface with Logic, his choice of native software. Using the DB25 output on the TRUE Systems Precision 8s made for easy hookup to the Apogee converters. To monitor, Heger used a Dangerous D-Box.

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DEFTONES RIDING HIGH ON "WHITE PONY" - DEFTONES ADD TRUE SYSTEMS' PRECISION 8 TO RECORDING STUDIO

DEFTONES RIDING HIGH ON "WHITE PONY" - DEFTONES ADD TRUE SYSTEMS' PRECISION 8 TO RECORDING STUDIO

Old Lyme, CT: Keen on obtaining hard-hitting drums, solid guitars, and chest-wrenching vocals, the Deftones have topped off their new project studio with a True Systems Precision 8 microphone preamplifier. Forerunner to the latest generation of "neo-metal" bands, the Deftones are coming off a hugely successful album ("White Pony") and tour and hope to have their latest offering finished by July. To facilitate the recording, they converted their Northern California rehearsal space into a high-quality, low-frills recording studio so that they can track at their leisure. The eight-channel Precision 8 complements a fully-loaded ProTools rig. Deftones' production manager, Rob Kern turned their recording engineer Peter Roberts onto the Precision 8. A little bit of internet research confirmed that reviewers shared the manager's adulations and that the unit's specifications exceeded expectations.Indeed, Roberts is more than happy with the purchase: "I can't go wrong, no matter what I run through it! Even just throwing up any old microphone, I get a tone that's completely acceptable - carefully selecting and positioning the microphone yields incredible tone. The clarity is amazing. It makes drum overheads shine and increases the realism of the recording." On top of eight microphone preamplifiers, the Precision 8 delivers M/S stereo and two channels of DI. Roberts uses the DI's for bass and keyboards, simplifying their setup and speeding their sessions along. "These guys want things to happen NOW," he explained. "So it's not like they're very tolerant of the 'let's-grab-five-DI's-and-compare-tone' approach to recording. Using the Precision 8 guarantees quality without a lot of messing around. I set a level and boom, we're off and running!" The Precision 8 was designed and built by Sunrise Engineering, a design and build manufacturer located in Tucson, Arizona. True Systems was distributed in the US by Neumann.

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Five-Time 2003 Grammy Nominee Ricky Skaggs Stays True To True

Five-Time 2003 Grammy Nominee Ricky Skaggs Stays True To True

NASHVILLE, TENNESSEE: Ricky Skaggs had a great Grammy Award season in 2004. With eight Grammy Awards already under his belt plus a string of past nominated records from his self-owned Skaggs Family Records label, the bluegrass legend was up for a total of five nominations at the 46th Annual Grammy Awards. Both albums, "Live at the Charleston Music Hall" by Ricky Skaggs & Kentucky Thunder (Skaggs Family Records) and "The Three Pickers" by Earl Scruggs, Doc Watson & Ricky Skaggs (Rounder Records), were recorded live using Neumann-distributed TRUE Systems Precision 8 eight-channel microphone preamplifiers. Lee Groitzsch, a recording engineer as well as studio manager of the Skaggs Family Records studio, explains that the TRUE preamps fit the requirements of the two projects perfectly. "On both of those occasions we had a low budget, but obviously had some high sonic requirements that we had to meet," he comments. "We wanted to find mic pres that weren't outrageously expensive to buy or rent, but would deliver sonic integrity when putting it to tape." In addition to sounding good, the mic preamps needed to be easily transportable, continues Groitzsch. "We weren't going to be renting a truck. We were going to be hauling the gear and setting it up at the venue ourselves, and patching it in ourselves, and cutting to a RADAR [hard disc recorder]. The TRUE mic pres sounded good on acoustic instruments and vocals and being one-rack space unit with eight channels, it ended up being one of the key pieces of gear in our project." The TRUE preamps offered peace of mind, he continues. "We didn't have to worry about what happened to the signal going to tape. We knew we were going to be able to use what we cut and not have to think about EQ-ing it to get it to sound like something. I ended up using the Precision 8 on Ricky's album and on 'The Three Pickers,' and with great results." "Live at the Charleston Music Hall" by Ricky Skaggs & Kentucky Thunder is up for three Grammy Awards, including Best Country Performance by a Duo or Group with Vocal for the track, "A Simple Life"; Best Country Instrumental Performance for "Get Up John"; and Best Bluegrass Album. "The Three Pickers," featuring Earl Scruggs, Doc Watson and Ricky Skaggs, received two nominations: Best Country Instrumental Performance for "Pick Along" and Best Traditional Folk Album. "So now, we've got two projects that the TRUE preamp was used on that are nominated for a Grammy," enthuses Groitzsch. "We're just a small label and we've got five nominations. Amazing. We're hardly even getting played on the radio!" The Charleston live recording additionally made use of several Neumann KMS 105 microphones, reports Groitzsch. "We used a KMS 105 on Ricky's vocals, the fiddle was cut through one, plus the banjo, and Ricky's mandolin was cut through as well."The results were spectacular, he says. "Ricky's live record, sonically, is probably one of the better sounding records that we've turned out. It went way beyond our expectations, especially for the amount of money and time that we had available to us to create it."The Precision 8 preamps are also getting plenty of use at the Skaggs Family Records facility. "I'm using the TRUE pres here in the studio just about every time I cut a piano," says Groitzsch, "because I'm using the M-S function on it." The Precision 8 supports decoding of the M-S or Mid-Side mic setup, a technique that offers a true stereo image. "I use a stereo mic, generally a C24, with the M-S portion of the mic pre. It's the best our piano has ever sounded. We're really pleased with the results." "In the past," he elaborates, "we've had a problem with getting the piano to stick out without having to EQ it really heavily or manipulate it." The TRUE Precision 8 has eliminated that problem, he says. "Now, when the piano sits in the track, it's got its own character and identity, and marries well with the other instruments. The M-S feature of the TRUE preamp has been of great value to us." The Precision 8 was designed and built by Sunrise Engineering, a design and build manufacturer located in Tucson, Arizona. Neumann distributed True Systems in the USA. Neumann's award-winning line of microphones has set the standard in the industry since 1928. In 1999, Neumann received the prestigious Technical Grammy(s) for their 70 years of innovation in microphone design and contribution to the music industry. A continuing commitment to provide innovative, technically refined products and engineering solutions of proven quality ensures that Neumann's stature will remain unassailable.

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JAZZ FINDS NEW HOME IN SANTA FE WITH NEUMANN AND TRUE SYSTEMS

JAZZ FINDS NEW HOME IN SANTA FE WITH NEUMANN AND TRUE SYSTEMS

OLD LYME, CONNECTICUT: Move over, New Orleans. Step aside, Chicago. For serious jazz aficionados, Santa Fe, New Mexico, was the place to be from October 6th through the 22nd. The first annual Santa Fe Jazz and International Music Festival, sponsored by the Open Arts Foundation of Santa Fe, kept the 400-seat James A. Little Theater groovin' for 16 straight days with 34 concerts by some of today's premier contemporary jazz artists and world musicians. While the music was provided by recording luminaries like Gary Burton, Dave Holland and Bill Frisell, it was Neumann microphones and True Precision 8 pre-amps that helped bring the performances to life. Much of the Santa Fe Jazz and International Music Festival was recorded for airing on National Public Radio's Jazzset series featuring Branford Marsalis. Bruce Dunlap, executive director of the Open Arts Foundation of Santa Fe and recording artist on Chesky Records, handled recording duties for the festival with bassist and film composer Dan Kolton. Dunlap and Kolton selected the True Precision 8 pre-amps after using them for the past year in their recording studio. "I wanted to capture the same type of pristine signal chain at the festival as I use in the studio," Dunlap said. The True Audio Precision 8 provides eight channels of transformerless mic preamps, two of which can be used as direct instrument inputs with an impressive frequency response of 1Hz to 500kHz for robust, tight lows and clear, airy highs. As for the miking applications, Dunlap and Kolton employed an array of Neumann mics to capture the true essence of each individual artist's performance. For piano, a pair of Neumann 193s were used - sometimes mounted in the instrument, sometimes on the outside. Guitars were miked primarily with the new Neumann KMS 105 live performance mics. "Because several of the musicians play acoustic guitar very softy," Dunlap said, "we needed high feedback rejection from the microphone. The KMS 105 with its high rejection fit the bill perfectly and sounded great." Neumann 184 cardioid units were also used on guitars for their warm, rich sound. Two Neumann TLM 103 diaphragm microphones were positioned in a straightforward application, overhead the drum kits to provide the warm sound Dunlap and Kolton strive for when recording jazz percussion. Finally, miniature omnidirectional Neumann 183s were used to capture the ambient noise from the front of the stage and the back of the hall. "I've been a Neumann user for 25 years," Dunlap said. "Often, in a live sound situation, you can't use the microphone you really want. You always have to compromise between eliminating feedback and capturing decent sound. At this event, we wanted listeners to hear what was really happening onstage - and that's exactly what Neumann and True Precision delivered." The NPR jazz sessions featuring the Santa Fe festival will air in winter/spring 2001. Similar to the Austin City Limits concept, planners of the Santa Fe Jazz and International Music Festival are hopeful that the event's success will help them draw musicians to the area to live, record and learn with support from the foundation. Santa Fe is already famous for the Santa Fe Chamber Music Festival and the Santa Fe Opera. The Open Arts Foundation of Santa Fe is a non-profit, artist-oriented organization dedicated to the development and presentation of extraordinary musical talent on an international scale.

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NEUMANN/USA: DISTRIBUTOR TRUE AUDIO PRECISION 8 MICROPHONE PREAMPLIFIER

NEUMANN/USA: DISTRIBUTOR TRUE AUDIO PRECISION 8 MICROPHONE PREAMPLIFIER

OLD LYME, CONNECTICUT, MAY 28, 2002: Neumann/USA announced that it will begin U.S. distribution of the True Audio Precision 8 microphone preamplifier. "This product is a perfect compliment with the Neumann line," explains Karl Winkler, Neumann product manager. "It boasts rock-solid construction, a very transparent sound quality and extremely low noise. It also features an excellent transient response and a wide dynamic range. In short, it is of the quality of Neumann products, making it an ideal fit with our line." The True Audio Precision 8 provides eight channels of transformerless mic preamps, two of which can be used as direct instrument inputs. In addition, each channel offers five-segment level indicators with a selectable peak-hold feature. A button on channels one and two allows them to be used as an MS pair for added flexibility. Designed for use with today's modular digital multi-track units and hard disk recording systems, the Precision 8 can easily be connected to TASCAM or Mackie digital products via a DB 25 multi-pin connector. The Precision 8 was designed and built by Sunrise Engineering, a design and build manufacturer located in Tucson, Arizona. Although Sunrise has designed several high-end professional products for other manufacturers, this is the first product that they debuted under their own brand name.

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NEW STAR AT NPR's "JAZZ FROM LINCOLN CENTER" . . . TRUE PRECISION 8 PREAMP

NEW STAR AT NPR's "JAZZ FROM LINCOLN CENTER" . . . TRUE PRECISION 8 PREAMP

OLD LYME, CONNECTICUT: National Public Radio's "Jazz from Lincoln Center" upgraded their sound with forty channels of True Systems Precision 8 microphone preamps. Produced by Jazz at Lincoln Center and Murray Street Enterprise, the program is hosted by CBS News Correspondent Ed Bradley. Created by Jazz at Lincoln Center Executive producer, Rob Gibson, the Peabody Award winning show is entering its eighth season of cool ballads, hot mambos, and every style of swing in-between.Location engineer Sandy Palmer-Grassi and senior producer Steve Rathe spent several years searching for the perfect preamplifier. "At the beginning, we simply hired remote recording companies," described Palmer-Grassi, "but that became less cost-effective as our workload increased. Our choice of preamplifier is pivotal because we operate on a 'keep it simple and straight' recording philosophy. We start with a Decca tree using Neumann TLM 50 microphones. Then, we close mic to compliment the picture captured by the Decca tree. From that point, we rely on a great preamp, and mix straight to two-track with a DA-88 backup, avoiding processing."The pair heard the Precision 8 at AES 1999 and was impressed with the unit's capabilities. First, since space is at a premium in their mobile rig, eight channels of preamplification in a single rack space helps the system to be as compact as possible. They appreciated features like continuous gain pots allowing for subtle level changes with no clicks. The unit's versatile and comprehensive metering permits an engineer next to the preamplifiers to make adjustments far from the mix engineer via an M/S decoder on channels 1 and 2 without sacrificing mixer channels. DIs on channels 7 and 8 stand ready in case a situation arises that calls for them. Finally, the supplemental DB25 pin output connector interfaces with their DA-88 nicely, and balanced quarter-inch outputs allow for any repatching necessary in the control room.While the Precision 8 boasts a frequency response of 1.5 Hz to 500kHz, listening to anything through headphones on the show floor of an AES convention is less than ideal. Therefore, Palmer-Grassi and Rathe arranged a demo of the Precision 8 back home. "We played a piano through it and were floored. All of the transients were crisp and undistorted," recalled Palmer-Grassi. "It was accurate, dynamic, and warm. Our first thought was that we had mis-heard the price, but we verified it from True Systems' distributor, Neumann USA. That cinched it. In addition to getting the ultimate in fidelity and features, we'd be saving money that we could put into microphones!"Palmer-Grassi and Rathe had a wealth of microphone preamplifiers to choose from, and the prestige of "Jazz from Lincoln Center" was riding on their decision. True Systems' Precision 8 was the right choice in terms of sound, functionality, and price.

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P2Analog Tape Op Review - November '04

P2Analog Tape Op Review - November '04

True Systems P2analog 2-Channel Microphone Preamp by Craig Schumacher I first saw a TRUE Systems mic preamp when Roger King, our Tape Op Conference Technical Director, got the 8-channel Precision 8 right before TRUE Systems went national. As it turns out, Tim Spencer of Sunrise Engineering, the designer, lives in Tucson and was building these units right in my own backyard. Since that time, TRUE Systems has joined up with Neumann USA and Sennheiser USA for marketing and distribution. As all gear designers I’ve met are constantly experimenting with new products, it was inevitable that True Systems would release a follow-up product to the Precision 8. Enter the P2analog. The P2analog is a straightforward 1RU preamp whose controls are well laid out. Facing the unit, starting on the left, are the two DI inputs. These are unbalanced inputs for guitar or bass or any other instrument-level source and automatically override the respective mic input in the rear—so no need to switch anything when plugging in. Next are the selector buttons for phase reversal, HPF, gain select, and phantom power, followed by the gain adjust knob for the left channel. After the left-channel controls are the LED gain meters running horizontally, one channel above the other. Next is the right-channel gain knob followed by its control buttons. This makes the right channel a mirror image of the left channel. After the two channel sections, there are buttons for the MS decoder, the stereo phase-correlation meter, and the button to engage that meter. More on these later.As would be expected, the phase switch is really a polarity reverse switch and allows for quick changes for funky wiring on the DI or correcting phase problems when using two mics on the same source. The HPF selector allows for either a 40 Hz or 80 Hz setting, depending on the amount of roll-off you need. The gain switch sets the amount of gain available at the gain knob: −4 dB to +44 dB on the DI setting and 15.5 dB to 64 dB on the mic side when the gain switch is engaged. This can be a bit confusing at first if you are used to using the more typical pad selector. If I wanted to calm the signal down, it meant pressing the gain button to turn the indicator off. This is because this switch is not a straight up pad on the input side of the preamp; rather it changes the gain level on the output side. It has no affect on the sound of the source at input so it does not mess with the sound of the mic. With the switch disengaged, the gain is −16 dB to +32 dB on the DI and 3.5 dB to 52 dB on the mic side. I found the choice of range available between the two gain positions ideal as it was low enough for my crazy-hot LC‑25 Milab condensers with the gain selector off, but the preamp had plenty of oomph for my ribbons with the gain switch engaged. All of the front panel button settings are stored to internal flash memory when the unit powers off and restored when the unit comes back on. Perhaps that is because Sunrise Engineering is here in lightning-prone Pima County, where sudden summer power outages are common. So, even if you don’t remember where you ended up setting the unit and the power goes off, the P2analog resets by itself. Ok, so far maybe you're thinking this does sound like a pretty straightforward mic preamp and has all the basic features expected. So what’s so special about it? Well, for starters, it sounds really great. It’s clean and noise-free and very transparent. I can see why a company like Neumann would want to be associated with this product as it is a great front end to Neumann's mics. In fact, it makes any mic sound very nice. I’ve used it now with all manners of dynamics—like the ubiquitous SM57 on guitar cabs to my D12 on kick drum—and it behaved nicely. It handles ribbons very well with headroom to spare. Condenser mics like it too. Set up is fast and the metering is accurate, allowing for confident level setting on every application I tried it on. This is what one would expect of a mic preamp of this class, and indeed, for many pre-amps, this is where the story would end.Not so with the P2analog because there are two special features that set this unit apart from many others. The first is the inclusion of a stereo phase-correlation meter located to the far right on the unit. Now I know we are supposed to use our ears and you should be able to recognize phase incoherencies when you hear them, but in the heat of set-ups, oftentimes a two-mic setup can be tricky. When using two mics on the same source, being able to look over and see that the mics are behaving in phase is a very nice feature. The cool part is you can run a stereo signal from a parallel source of your mix into the DI inputs and use the meter to check on your mix. I use the analog output of my HHB CD writer that is connected by SPDIF to my DAT to send to the DI inputs on the P2analog. I don’t think Tim had this in mind when designing the unit, but it’s a nice way to get more out it.The really exciting part of the P2analog is the built in MS mode selector. Having spent years working with XY stereo mic configurations, I always felt less of an engineer for never having done any stereo mic’ing using the Mid/Side technique. For those of you not familiar with this approach, it requires one mic in omni or cardioid, and a second in figure‑8. You basically point the first mic towards the center of the source you wish to capture and position the figure‑8 mic so its pattern is aligned sideways of the source, thus placing the null side of the figure‑8 mic in the same direction as the first mic. Think of two mics placed so the center mic is directly above the sideways figure‑8 side mic. You plug the front-facing mic into the first channel (conveniently screened with a “Mid” below the gain knob) of the P2analog and the figure ‑8 into channel two (labeled “Side”) and then engage the MS switch. When the switch is engaged, channel one's gain knob controls the strength of the image center, and channel two's knob controls the amount of stereo image.The first time I tried the P2analog in this mode was on a string session. I was blown away upon first playback, as was my customer. I was doing string overdubs with four violins and set the two mics as overheads, with the mid mic looking down at the center of the performers. The stereo image was amazing and the field was as wide as I wanted it. By pushing up the side gain, I heard the stereo field expand; or I could focus the image more in the center by favoring the mid gain. The smoothness of the gain knobs was quite handy as this particular configuration will reveal every little noise in your studio. Shuffling feet, squeaky chairs, page turning, and rustling clothes all came to life in true stereo. Oh yeah, the violins sounded fantastic as well. Having the two gain knobs close together in front of the unit were very handy as I became the auto gain control and rode them up and down between the passages to keep all the unwanted in-between noise off the tape. Thankfully, those knobs are not incremental.In conclusion, at its price point, the P2analog is a great deal. You get a solid-state mic preamp with lots of headroom that is clean sounding, intuitive, and feature packed. What sets the P2analog apart from the myriad of mic preamps available in today’s market is the phase meter and MS selector. If you’re a fan of open dynamic recording like I am, this product will not disappoint you. Tim, I’m not giving this back. You know where to find me! ($1999.99 MSRP; www.true‑systems.com)

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Precision 8 Mix Magazine Review - 2000

Precision 8 Mix Magazine Review - 2000

True Systems Precision 8 Eight-Channel Mic Pre by David Ogilvy One of the most important links in the recording chain is the microphone preamplifier, and many engineers recognize that console preamps can often be bettered. And the popularity of 8-track digital recorders has created a market for mic pre's that interface directly with MDMs, bypassing a console entirely. Marketed by Neumann USA, the Precision 8 is an eight-channel microphone preamp manufactured by True Systems, a product line of Tucson, Ariz.-based Sunrise Engineering and Design, Inc. In order to fit eight mic pre's into a single rackspace, Sunrise Engineering has eliminated some of the bells and whistles common to other 8-channel preamps, such as a summed output, a headphone amp or aux sends. However, the Precision 8 offers a few handy features not found on other units: The first two channels can function as an M/S decoder, and the last two channels double as instrument direct boxes. The metering scheme is well thought-out with peak hold and reset functions, as well as an adjustable peak reference level.   APPEARANCE The sturdy enclosure has a thick front panel with nine knobs: eight for input gain and one for selecting peak reference. The peak selector knob is a stepped switch, while the gains are continuously variable. Every gain knob is flanked by switches for polarity reverse and 48V phantom power. An additional switch engages the M/S decoder on the direct outputs of channels one and two. The switches feel solid, and the knobs have a satisfying smoothness when turned. White lettering on a burgundy background is easy enough to read, even in dimly lit environments and adds to the handsome appearance of the unit. Each channel has its own overload light and five-segment level meter. On each meter, the first two green segments indicate signal present (anything exceeding -24dBu) and the second lights up at +4dBu. The next two segments are yellow and show when the signal is 6 dB and 3 dB below the level set by the peak reference switch. The red fifth segment illuminates when the selected peak reference is reached. The peak and overload LEDs remain lit once illuminated; the Reset button clears all held peaks. The back panel has eight XLR inputs (the DI inputs for channels seven and eight are Neutrik Combo XLR/1/4-inch jacks). Sixteen outputs allow the Precision 8 to function as a splitter, with eight of the outputs appearing on balanced 1/4-inch jacks, and the other eight outputs available through one DB25 (multipin) connector wired to the Tascam convention. The rear panel also has a ground lift switch.   CONTENTS The instrument DIs are discrete FET designs, while the mic preamp is a hybrid design which uses discrete, monolithic, dual bipolar transistors for the input stage, followed by Burr-Brown IC op amps for the intermediate stage and output driver. No transformers are employed, and there are almost no capacitors (two are used for phantom power blocking). The result is an extremely flat, uncolored signal. Metering options are numerous. Resetting eight-internal jumpers (one for each channel) switches the yellow -3 and -6 indicators to operate in peak-hold mode. The signal path of the M/S decoder is simple, using no extra buffering or phase inversion circuitry. Both phases of channel one and channel two signals are already available internally and are combined resistively at the intermediate stages of the two channels. This causes the gain controls of the two channels to interact when decoding M/S. For example, changing the width also changes the output level, but I had no trouble achieving the desired stereo image with proper output. The stated specifications are impressive: Frequency response at 40dB of gain is 1 to 500k Hz, +0/-3dB, noise is rated at -132 dB EIN (20 to 30k Hz) and maximum output is +31dBu.   IN USE I tried the Precision 8 on voice, acoustic guitar, drum overheads and percussion, and each time met with astonishing results. It's a shame that my DAT and MDMs only record at 48 kHz, because they're missing some of the glorious top end provided by these fine preamps. My AKG 414s sounded better than ever; I heard exactly what they picked up, with no noticeable coloration of the sound. I compared the unit to a few other solid state preamps, and, in terms of clarity, presence and absence of noise, the Precision 8 won every shoot-out. When I set up an M/S pair for the drums, I chose to record the Mid and Side channels straight--undecoded by the P 8--to two tracks. The P 8 allows one to record a decoded M/S image to two tracks (via the direct outs of channels one and two), but I chose to do the decoding in the mix with three channels of the console. This allows one to change the width of the stereo picture at a later date. But I used the preamp's internal decoder to check the M/S pair for alignment during set up and found it quite the luxury. The DI channels also came in handy on some live to ADAT sessions. Samplers, drum machines and synthesizers all sounded perfect, driven by the Precision 8 down a long snake.   CLEAN, CLEAN, CLEAN With its compact size, splitting capability, peak hold metering and transparent sound quality, the Precision 8 is ideal for location recording. It does get fairly hot after being powered up for an hour, but proper ventilation should take care of that. This is one of the cleanest preamps I have ever heard, only adding discernable noise after 45 dB of gain. Even if you are looking for a tube preamp to warm up your digital recordings, you might want to hear one of the best preamps the solid state realm can offer. Sold separately, eight preamps, two DIs and an M/S decoder might run as high as $5,000, but True Systems' suggested retail price for the Precision 8 is $2,695.

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Precision 8 Pro Audio Review - 2002

Precision 8 Pro Audio Review - 2002

True Audio Systems Precision 8 Microphone Preamplifier by J. Arif Verner The world of microphone preamps has become fairly crowded in the last few years. Prices range from a couple of hundred bucks to well into the thousands. There is, however, always room for a new product from a new manufacturer with a new idea. The case in point is True Audio Systemâs eight-channel microphone preamp. Many companies have addressed the growing MDM and DAW markets with eight-channel preamps. In addition to studio recording, these units serve double duty as live sound reinforcement. Surprisingly, the amount of money to manufacture an eight-channel unit is not four times that for a dual-channel unit. Features Hand-built in Arizona, the Precision 8 ($2,695 retail) uses a high-voltage composite architecture with discrete matched transistors and premium integrated circuits. By using a balanced twin servo design, the preamp eliminates nearly all capacitors from the audio path. Many of the components are military-grade and hand-matched for optimum performance. The Precision 8âs front panel has a slick metallic-red finish. Eight smooth rotary knobs adjust the gain for each channel. Settings range from 16 dB to 64 dB. The knobs are labeled in 5 dB increments. While helpful, the increments are only approximate and make the front panel look crowded. Many manufacturers do not put numeric values on the face of their preamps. On the plus side, these are not stepped gain control knobs. It is possible, therefore, to ride the level in a session. To the left of each knob is a five-segment LED meter with selectable peak hold. These meters provide a means for optimizing level settings and headroom when the Precision 8 is connected to a remote device (multitrack recorder, mixing console, DAT, etc.). The bottom two green LEDs light sequentially when audio hits -24 dBu (signal present) and when signals rise above +4 dBu. The next two yellow lights activate when signals rise within 6 dB and 3 dB of the level selected for the top red LED peak indicator. The level for the peak indicator is set by adjusting a small peak reference rotary knob. Incremental settings are in five steps from +18 dBu to +26 dBu. The knob can change the preampâs operating level indicators from +4 dBu to -10 dBV. A reset button clears the peak hold and overload indicators on all eight channels. To the left of each meter are two square buttons that handle 48 V phantom power and polarity reverse. Above the buttons is an overload LED indicator. This illuminates and stays lit at +26 dBu (5 dB below the actual overload). Also on the front panel is a circular M/S (mid/side) decoding button for Channels 1 and 2. All in all, the front panel is a bit busy. At first glance, it is hard to differentiate which button goes with which channel ÷ if there were vertical lines separating each channel it would clarify which controls are included in each channel. Spin the box around and there are a plethora of input and output connectors. Eight inputs support balanced XLR microphone cables. Channels 7 and 8 also have 1/4" unbalanced phone jacks for direct input instruments. Guitar players rejoice! I wish all preamps had DI inputs. The gain on the direct input ranges from 4 to 44 dB. And yes, they are very clean. Outputs include eight balanced 1/4" TRS and a DB25 eight-channel connector. Both output connectors function simultaneously. With all these outputs there is a lot of flexibility. An AC power entry connector with fuse drawer and a signal ground lift switch completes the preamp. The built-in M/S decoder is a unique feature of the Precision 8. Basically, M/S is a specialized stereo microphone configuration. The first microphone is positioned in the center using an omni or forward-facing cardioid. This is the midposition. The second microphone is a coincident, side-facing figure-eight mic. The signals from both microphones are routed through the Precision 8âs matrix circuitry. Accurate phase and level relationships are assured by a proprietary matrix circuit that uses no additional active circuitry or transformers. M/S miking is nothing new. It was originally used to provide mono compatibility to stereo images and film production. By adjusting the gain of the side microphone in relation to the mid-microphone, the width of the stereo image can be expanded or contracted (without changing the microphone placement). In fact, many engineers prefer the sonic quality of an M/S configuration to the traditional X-Y position. In use My main test was to A/B the Precision 8 with a Millennia Media HV 3B (roughly the same price). Interestingly, certain microphones sounded better on each preamp. For example, an AKG SolidTube microphone and a 414 sounded better on the Precision 8. The AT 4050, however, sounded better with the Millennia Media, while Neumann 184s sounded great on both. I also compared both units to the Earthworks Lab 102 preamp with its QTC1 microphones. While the Earthworks mics and preamp are an excellent combination, I liked the Millennia Media and the Precision 8 better. Sonically, the Precision 8 displayed a warm, round and slightly tube-like quality, while the Millennia Media was transparent and airy. Both preamps have an accurate 3D soundstage. On the plus side, the Millennia Media had a hotter gain structure, which I liked. On the downside, the Millenniaâs knobs are detented and there are no phase switches. As for the Precision 8, I liked the eight channels, the M/S decoder and the two DIs. I was a bit surprised at how much heat it cooks up ÷ allow extra space for it in the rack. I put the Precision 8 to work on a variety of acoustic instruments, church organs and lead vocals. It was always clean and accurate. We also recorded a large vocal ensemble. Five mics were positioned in the auditorium. Two of the mics were set up forM S tracking. The results were simply stunning. The head engineer on this project said the Precision 8 was in the same league as the preamps in his Neve VR console. Summary The Precision 8 is currently being distributed by Neumann USA. This should create name recognition for True Audio Systems. The bottom line for any piece of audio gear, however, is the sonic quality, and the Precision 8 excels. At a retail price of $2,695, it is quite a bargain. This divides out to $336.88 per channel ÷ hard to beat. But donât just take my word for it, audition the Precision 8 for yourself. J. Arif Verner is a regular contributor to Pro Audio Review. Product PointsTrue Audio Systems Precision 8 Mic PreampApplications: Recording studio live sound reinforcement Key Features: Built-in M/S decoder; two active, high-impedance instrument inputs; five-segment level indicators with peak hold feature and selectable peak reference PlusEight-channel designVery clean, detailed and articulated soundM/S decoder circuitryTwo FET direct instrument inputsIntegral power supply (no wallwart) MinusNo attenuation padBusy front panel; hard to see which button goes with which channel The Score"The Precision 8 offers great bang for the buck and awesome sonic quality."Price: $2,695

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Precision 8 ProRec.com Review - March '04

Precision 8 ProRec.com Review - March '04

 OLD LYME, CONNECTICUT: Members of the pro audio community will recognize Rip Rowan as the uncomromising editor-in-chief of the popular online pro audio magazine, prorec.com. Prorec.com's inception in 1998 marked yet another branch in the multi-career path of the ever-busy Mr. Rowan. Rowan, who has worn many hats from rock band musician to sound designer, and theatrical music score composer to recording engineer, now splits his days between his prorec.com duties and the operation of his new Dallas, Texas recording studio, Pleasantry Lane. Recent music projects include scoring with composer/recording artist Rhett Miller for the ABC-TV sitcom "I'm With Her," a new CD by European fave, Salim Nourallah, and a new Deathray Davies opus on Idol Records.When Rowan planned Pleasantry Lane Studios he conceptualized a control room without the central focus of the traditional large console. "I wanted it mixer less - really a low footprint design. And I wanted minimal rack gear, because I've been trying to move away from using that equipment altogether. As opposed to a large mixing console or even a control surface, I wanted to center the entire workspace around the computer DAW and a single musical instrument keyboard because I'm very comfortable with this working arrangement," Rowan says.Microphone pre-amps have to be a part of any studio and the True Systems Precision 8 came into use at Pleasantry Lane in a unique way. Rowan continues: "I've got a small collection of outboard mic pre-amps I could have used, but when you are running mixer less you really need a good utilitarian, multi-channel mic pre-amp always at the ready for any and all recording tasks. I wanted a unit with a good price to performance ratio and, more importantly, a good clean, transparent, uncolored and natural sound. I require it to be sonically out of the way."The True Systems Precision 8 has eight channels of transformerless mic preamps each with five-segment level indicators and a selectable peak-hold feature. Two channels are fitted with direct instrument inputs while channels one and two also function as a dedicated M/S (mid/side) stereo pair with the touch of single button. Designed for use with today's modular digital multi-track units and hard disk recording systems, the Precision 8 can easily be connected to TASCAM or Mackie digital products via a DB25 connector. The True System's Precision 8 microphone preamplifier is available through authorized Neumann dealers at a suggested retail price of $2,850.Rowan's well-known editorial bent for careful scrutiny when reviewing products at prorec.com came into play when he auditioned a number of eight-channel pre-amps in the P8's price range. "All things considered and after hours of A/Bs, I liked the P8 best. It's very quiet, interacted nicely with the mics in my collection, and it sounded like there wasn't a pre-amp at all - like a straight wire with gain," comments Rowan. Even compared to the close "second choice" eight-channel pre-amp, Rowan says: "The P8 had great transient response with an extended but not overly bright top end - transparent with non-existent noise and wide imaging - most noticeable with drum overhead recording."Rowan's P8 is his utility pre-amp for recording everything from drums to vocals to quiet acoustic instruments. Rowan continues: "Unless I'm looking for a certain coloration from a mic pre-amp, the P8 continues to be my workhorse. I especially like to use the M/S decode feature when doing a minimalist drum kit recording or just recording a stereo room track. I use my pair of Audio-Technica AT-4050s for this and get great results." Other features beyond good sound also factored into Rowan's purchase decision of the P8. Rowan goes on to say: "Using the P8 with my DAW is a pleasure since you can calibrate the metering on the unit with the DAW's meters - peaks and overloads will correspond exactly where you want them on the computer's metering. This way you always have accurate metering no matter what screen(s) you have up on the computer interface. I also like running the P8 with lots of headroom left in the unit. With a low-noise, high-headroom preamp like the P8 paired with a modern 24-bit converter set, it is now possible to make very high-resolution digital recordings that maintain maximum headroom throughout the signal chain. Thanks to the P8, my digital recordings never sounded so good."The Precision 8 was designed and built by Sunrise Engineering, a design and build manufacturer located in Tucson, Arizona. Neumann distributed True Systems in the U.S.Neumann's award-winning line of microphones has set the standard in the industry since 1928. In 1999, Neumann received the prestigious Technical Grammy(s) for their 70 years of innovation in microphone design and contribution to the music industry. A continuing commitment to provide innovative, technically refined products and engineering solutions of proven quality ensures that Neumann's stature will remain unassailable. 

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Precision 8: EQ in Review

Precision 8: EQ in Review

EQ IN REVIEW: TRUE Audio Systems Precision 8 Mic Preampby Roger Nichols Microphone preamplifiers are difficult to review because they just lie there and do nothing. They just take your microphone signal and amplify it up to some usable recording level so you can use up as many bits as possible. Then you forget about them. A few months ago I had the opportunity to use the new TRUE Audio Systems Precision 8 microphone preamp. The feature that initially interested me was the built-in instrument interface (on channels 7 and 8), or "direct box," that enabled you to plug an electric guitar or keyboard directly into the mic preamp without an additional box. A professional balanced microphone usually has an impedance matching requirement of around 150 ohms, while a guitar pickup or synthesizer requires an impedance match in the neighborhood of 10,000 ohms. The reason I mention this is because I often see synthesizers plugged directly into a mic preamp without a direct box. The sonic result is a thin-sounding instrument caused by impedance mismatch. The Precision 8 mic preamp prevents such occurrences. The next feature that I liked was the eight mic preamps in a single rack space. It fits comfortably in my Pro Tools rack for direct recording from microphone to hard disk. Each input has a five-segment meter on the front panel to monitor levels. There is a master control to set the clipping reference level to match the recording device you are feeding, and a separate phantom power switch for each mic preamp. Some condenser microphones with their own power supplies can become very noisy when you are unable to turn off the phantom power at the mic preamp. The input connections on the rear panel are XLR. Channels 7 and 8 will also accept 1/4-inch plugs for the direct instrument interface. The output connections are either 1/4-inch balanced phone plugs or XLR connectors on a snake that is attached to the rear panel by a DB25 connector. (There isn’t physically enough room for eight additional output XLRs on a single-space chassis.) In SessionThe first project I used the 8-channel preamp on was drums for the Pancho Sanchez Band. The transient response was amazing and the crystal clarity was just what I was looking for. The sound of this mic preamp rivals that of microphone preamps costing three to five times as much money. The first two channels of the preamp are set up for M-S decoding. I used the M-S configuration for the drum overheads, using a cardioid mic for the Mid signal and a bidirectional (figure-eight pattern) mic for the Side signal. I could control the stereo spread of the overheads using the M-S controls on the front of the unit. The results I got with drum recording were so good that I used it for a Les McCann recording, a Robben Ford project, and a Brenda Russell recording. The drum sound on all of these recordings sparkled. Not to be content with only a good drum sound, I powered up the mic preamp for a Tower of Power horn section session. Wow! (Can I say that in a family-oriented magazine?) During playback the horn guys commented on the great horn sound and asked what kind of EQ I was using. I said wasn’t using any EQ at all. I was recording from microphone to Precision 8 mic preamp to digital machine, period. Everyone was impressed, including me. To check out the direct instrument feature I recorded Don Grusin’s synths on a couple of songs. The keyboard sounds were "perfect." No EQ, just punch Record and go. ConclusionThe only thing that I would like to see added to this preamp is detented knobs for mic level. When someone walks up to my rack and says, "What’s this?" they inevitably bump a knob that I had just tweaked to perfection. Discounting that comment as a personal whim, I could find absolutely nothing else lacking with the Precision 8. The twin-servo circuit design of the Precision 8 eliminates almost all of the capacitors in the audio path, providing a frequency response of 1 Hz to 500 kHz. Distortion values are less than .008 percent and crosstalk between channels is less than –130 dB. The TRUE Audio Systems Precision 8 is a nice piece of engineering.   EQ Lab Report MANUFACTURER: TRUE Audio SystemsE-mail: info@true-systems.com. APPLICATION: Location or studio recording. SUMMARY: Solid-state 8-channel microphone preamp with built-in M-S decoding and two instrument direct inputs. STRENGTHS: Compact single rack space holds eight preamps; two on-board DIs and separate phantom power switch for each preamp; excellent transient response; on-board M-S decoding. WEAKNESSES: Level controls could be detented for repeatability, but other than that, this unit has no weaknesses. PRICE: $2495

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SONY MUSIC STUDIOS PURCHASES TRUE PRECISION 8 PREAMP FOR CLASSICAL REMOTE RECORDING KITS

SONY MUSIC STUDIOS PURCHASES TRUE PRECISION 8 PREAMP FOR CLASSICAL REMOTE RECORDING KITS

OLD LYME, CONNECTICUT, MAY 18th, 2001: Sony Music Studios, New York, purchased a True Audio Precision 8 preamp for their classical remote recording kits. Andreas Meyer, classical sound engineer at Sony Music Studios, first noticed the True amplifier at AES '98 San Francisco. "I'm always on the lookout for new mic pres," noted Meyer. "After the show, he requested a unit from Neumann USA, True Audio's Distributor, for an audition unit. The Precision 8 was packed into a classical remote kit, flown to California and used to record several sessions of the Los Angeles Philharmonic. Meyer also used it in smaller New York City venues for piano/voice duets with the Neumann TLM 170, "it tends to warm up the sound a little," he noted. When asked why he chose to purchase the True Precision 8 amplifier, Meyer responded: "The price for quality is just phenomenal. In A/B tests with mic pres priced far higher, the Precision 8 held its own. But it wasn't just price that sold it," he continued. "The quality of the mic pre, itself, is quite exceptional...very clean...great signal-to-noise ratio, with a warm tube-like sound ...quite pleasing for a solid-state design." The True Precision 8 preamp is booked solid for future Sony classical recording sessions. The True Precision 8 provides eight channels of transformerless mic preamps, two of which can be used as direct instrument inputs with each channel offering five-segment level indicators with a selectable peak-hold feature. A button on channels one and two allows them to be used as an MS pair for added flexibility. Designed for use with today's modular digital multi-track units and hard disk recording systems, the Precision 8 can easily be connected to TASCAM or Mackie digital products via a DB 25 multi-pin connector.

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Sennheiser: Adding TRUE Systems to the family of distributed brands

Sennheiser: Adding TRUE Systems to the family of distributed brands

OLD LYME, Conn. – October 4, 2010 – Audio specialist Sennheiser announced that it had added TRUE Systems, a highly regarded U.S.-based manufacturer of microphone preamplifiers, to its family of distributed brands. TRUE Systems offered five high-performance microphone preamplifiers, each of which is highly complementary to Sennheiser and Neumann's existing product line. The products will be marketed through Sennheiser's existing professional audio, systems integration and musical instrument channels. TRUE Systems preamplifiers, which were affordably priced and built with the highest-quality materials available, rangeed from single-channel to eight channel models. The entire product line -- including the 500 series modules -- delivers an unparalleled dimension of flexibility to users, which made them ideal for use with a variety of microphone and instrument applications. Precision 8:The Precision 8 was designed to provide 8 channels of the detailed, sonically transparent preamplification required for the highest quality tracking and live sound applications in a single rack space. Its built-in MS (Mid-Side) decoding, selectable high-impedance (DI) inputs, 5-segment level indicators, continuous gain controls, and flexible output configurations made it ideal as a complete input system for HDR's and DAW's. P2 AnalogThe P2 Analog utilized hand-matched, military-grade components and gold-contact relays to provide two channels of microphone or instrument preamplification with stunning sonic detail and neutral but musical character. Its stereo phase correlation display, M-S (Mid-Side) decoding, variable high-pass filters, and flexible output configuration provided serious musicians and recording engineers the most useful tools to get the best sound more quickly and easily. P-SoloThe P-Solo was a single-channel unit that featured the same preamp design found in the Precision 8 and P2 Analog. This helped achieve a neutral, musical character, capable of delivering outstanding performance in every situation. The P-Solo microphone and instrument preamplifier offered outstanding high-end preamp quality at an affordable price in a compact, portable, and sturdy enclosure. P-Solo RibbonThe TRUE Systems Solo Ribbon mic preamplifier was a single channel, analog output, microphone instrument preamplifier that has been optimized for superior performance with vintage and contemporary ribbon mics. With up to 76 dB of gain in two ranges, the P-Solo Ribbon had an electronically balanced, high impedance mic input, discrete FET instrument input, 80Hz high pass filter, a 4-segment LED bar graph level meter with signal present and overload indicators, plus a continuously variable gain control. pT2-500As TRUE Systems' last addition and TEC Award nominee, the pT2-500 was an API™ 500 series compatible module that incorporated TRUE Systems' new-technology Type 2 circuit design. This design provided the traditional ultra-resolution musicality of TRUE Systems' original design preamps, while adding analog depth and warmth. The updated DI circuit calms piezo transducers and provided a THRU jack for easier amping and multi-effects. "Like all of Sennheiser's distributed brands, TRUE Systems manufacturers a premium product that excels in performance, quality and workmanship,” commented Dawn Birr, channel manager, systems integration, Sennheiser Electronic Corporation. “This partnership creates many synergies across our entire product line and will generate significant growth opportunities in each of our business channels."  "Our innovations in preamplifier circuit design are highly regarded by both our customers and the market at large," added Tim Spencer, founder and president of TRUE Systems. " This exciting partnership will enable us to realize creative synergism with many of Sennheiser's products while scaling our ability to provide new application solutions and reach new customers."

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TOWER OF POWER GUITARIST ADDS TRUE SYSTEMS PRECISION 8 TO HOME STUDIO RACK

TOWER OF POWER GUITARIST ADDS TRUE SYSTEMS PRECISION 8 TO HOME STUDIO RACK

OLD LYME, CONNECTICUT: Tower of Power guitarist Jeff Tamelier recently upped the functionality, fidelity, and flexibility of his California home studio with the acquisition of a True Systems Precision 8 microphone preamplifier. Tamelier has been with the durable funk outfit since 1997. He has also worked with Pacific, Brass & Electric, Starship, and Cold Blood, in addition to releasing his own brand of Funk Guitar Orchestra with "Strat Got Yo' Tongue." He uses his studio to record his own projects and to produce artists for Strokeland Records. Doc Kupka from Tower of Power runs Strokeland. With a veritable sea of microphone preamplifiers to choose from, Tamelier went with the True Systems Precision 8 because of its "retro sound and feel" and the fact that it fits eight pre's into a single rack space. His studio is well furnished with high-end equipment, but space is at a premium. The fact that two of the channels serve as high-fidelity DIs and that two of the channels decode MS was icing on the cake. Tamelier confirmed his decision during the recording of Strokeland's Fred Ross. Tamelier's demonstration Precision 8 can be heard throughout Ross' latest recording on drums, vocals, acoustic guitar, and everything in between. "The Precision 8 simply sounds great," Tamelier explained. "It seems that a lot of the equipment being manufactured today is touchy and sounds edgy - not smooth at all. Using the Precision 8 reminds me of the silky-smooth analog feel of an old Neve - where you can feel the goodness of the sound in your bones. The Precision 8 is meat and potatoes. It's the Marshall stack or Fender Twin cranked up where the sound becomes rich and colorful. It's straightforward and beautiful." Tamelier is using the MS decoder to inject a unique spatial quality to his acoustic guitar recordings. MS signals require a cardioid microphone aimed straight at the instrument and a figure-8 microphone aimed perpendicular to the instrument. The Precision 8 adds and subtracts the two signals to deliver a left and right image that is distinct from the usual XY or spaced pair configuration. In all, the Precision 8 is the perfect complement to Tamelier's studio, delivering the right sound and unmatched flexibility in a package that will fit just about anywhere.The Precision 8 was designed and built by Sunrise Engineering, a design and build manufacturer located in Tucson, Arizona. True Systems was distributed in the US by Neumann.

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TRUE SYSTEMS' PRECISION 8 MIC PRE CLEARS THE CLUTTER OUT OF PAULA COLE'S LIVE SOUND

TRUE SYSTEMS' PRECISION 8 MIC PRE CLEARS THE CLUTTER OUT OF PAULA COLE'S LIVE SOUND

OLD LYME, CONNECTICUT: In the midst of her latest tour, pop goddess Paula Cole and her band received a high grade sonic injection in the form of True Systems' Precision 8 microphone preamplifier. Eric Frankhouser, Cole's tour manager and monitoring engineer, picked up the single rack space, eight-channel Precision 8 on a recommendation from Neumann USA's Rob Treloar. "We use a Crest monitoring console," said Frankhouser. "It has a respectable number of inputs, flexible routing, and all the rest, but I wanted more from the mic pre's. So when Treloar told me about the Precision 8, I was eager to try it. It's made a dramatic difference. Before our sound was heavily colored and required a lot of equalization to get it 'back'. With the Precision 8, our sound is transparent and natural all by itself. Our EQs are taking a permanent vacation." The most striking difference can be heard in the band's acoustic guitars. Frankhouser uses the Precision 8's internal direct inputs where before he used dedicated direct boxes. "The Precision 8's DIs are the best I've ever heard, and I've tried them all," Frankhouser remarked. "Our guitarist uses two wonderful Martin guitars. Before we got the Precision 8, I was forced to EQ the signal to salvage the 'natural sound' buried under all the color. With the Precision 8, I just leave everything flat and it sounds as beautiful as it does without sound reinforcement." True System's Precision 8 boasts an impressive frequency response of 1Hz to 500kHz and delivers robust, tight lows and clear, airy highs. Frankhouser cites its compact package, smooth, continuous knobs, and five-segment level indicators as gravy for an already delectable sonic stew. "With a good microphone and a solid mic pre like the Precision 8 you're home free," observed Frankhouser. "The Precision 8 has brought our sound up to a level we didn't think possible." Neumann was the U.S. distributor of the True Systems Precision 8 Microphone Preamp.

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TRUE Systems pT2-500 preamplifier: Nominated for TEC Foundation 2010 Technical Excellence & Creativity Award

TRUE Systems pT2-500 preamplifier: Nominated for TEC Foundation 2010 Technical Excellence & Creativity Award

OLD LYME, Conn. – October 7, 2010 – Audio specialist Sennheiser announced that its newly distributed brand, TRUE Systems, had captured a 2010 Technical Excellence & Creativity (TEC) Award nomination for its innovative new pT2-500 microphone preamplifier. The pT2-500 was an API™ 500 series compatible module, which incorporated the company's new Type 2 circuit design; this resulted in exceptional definition, musicality, headroom, and noise performance. The pT2-500 also included a discrete FET DI circuit with THRU jack for easy connection to amps or effects. In addition to receiving a TEC Award nomination in the pT2-500 in the microphone preamplifier category, the Neumann TLM 102 and Sennheiser G3 500 Series also received nominations in the microphone and wireless categories respectively. "Once again, we are very pleased to have Sennheiser and its distributed brands -- which as of this month now include premium preamplifier manufacturer TRUE Systems -- formally recognized by the TEC Foundation in this manner," commented Dawn Birr, channel manager, Sennheiser systems integration and distributed brands. "The TRUE Systems pT2-500 preamplifier is a major step forward for audio consumers in both affordability and performance." Each year, the TEC Foundation honors outstanding achievements in audio technology and production across several categories with its TEC Awards. This year, the TEC Awards will be presented at the NAMM show in Anaheim, CA on January 14, 2011. TRUE Systems preamplifiers were built with the highest-quality materials available and ranged from single-channel to eight channel models. TRUE Systems' newest model -- the pT2-500 preamplifier -- was designed for any recording or live sound application where 500 series modules are used, and featured the company's new Type 2 circuit design for ultra high-resolution musicality and warmth. Additionally, the pT2-500 was insensitive to ground noise, ground loops and electro-magnetic interference (EMI), both from external sources and from adjacent modules and/or power supplies. TRUE Systems pT2-500 microphone and instrument preamp module at a glance: API™ 500 series module format Ultra high-resolution musicality combined with analog depth and warmth Rail-to-Rail design provides exceptional headroom and higher output level without transformers and excessive current consumption Discrete FET DI with IN and THRU jacks for signal splitting applications Detented, dual-range Gain Control for easy setting/resetting over wide gain ranges (from 6 to 70dB) 0.1% precision resistors provide excellent CMRR, Output Signal Balance, and unit-to-unit sonic consistency Balanced circuit topology and steel enclosure for insensitivity to ground noise and EMI from both adjacent modules and external sources

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The Aspen Music Festival's Benedict Music Tent at sunset is a TRUE experience

The Aspen Music Festival's Benedict Music Tent at sunset is a TRUE experience

ASPEN, COLORADO: Every year the internationally renowned Aspen Music Festival and School presents a nine-week summer season of over 200 classical music events at its Colorado mountain retreat. Now in its 55th year, this year's festival will see 750 of the world's brightest music students converge to study with 200 of the world's finest artists and participate in a busy concert calendar at the famed Rocky Mountain resort.Ron Streicher, audio production manager of the Aspen Music Festival and School's Edgar Stanton Audio Recording Institute since 1996, will once again be supervising the recordings of the Festival's concert season. This year, Streicher is adding a TRUE Precision P2 Analog two-channel microphone preamplifier to the two TRUE Precision 8 eight-channel units in his setup. "I am very pleased with the quality of the TRUE Precision," comments Streicher. "It's the pre that I use whenever I pull out my ribbon mics. It's got lots of gain and it's clean and quiet. I can also turn off the phantom power." The TRUE Systems Precision 8 features eight channels of transformerless analog microphone preamplification and offers an astonishing frequency response of 1Hz to 500kHz. Modeled on the Precision 8, the P2 Analog offers two channels of mic pre, with an M-S decoder and Stereo Phase Correlation display. Streicher established his Pacific Audio-Visual Enterprises professional audio service in 1972, and is the co-author of "The New Stereo Soundbook." He has been a faculty member at Aspen since 1988, working with Juergen Wahl and John Eargle, under director Thomas Haines, to prepare students for a career in classical music recording through an intensive four-week course. The TRUE Precision system travels with him for all of his critical recording needs, he says. "I'm using it for recordings both here at the Aspen Festival and my own work. Almost everything we do here at the music festival, and most of what I do on my own, is live stereo mixing," explains Streicher, a foremost authority and much published author on the subject of stereo recording practices and techniques. "Our media and mastering product is Digidesign Pro Tools," he continues. "We're just going in 44.1kHz/16-bit. The reason for the choice of sample frequency and bit rate is simple," he adds. "Here at the music festival we are selling CDs the day after the concert. We record a concert, edit it that night, the next day it's mastered, and they're on sale that afternoon." The concerts are also frequently captured for broadcast on National Public Radio and WFMT, Chicago's Fine Arts Network. Streicher fields an impressive collection of more than 150 microphones, of all types and manufacturers. "Among my ribbon microphones, I now own a pair each of the AEA R84s and the R44s." AEA (Audio Engineering Associates) is owned and operated by Wes Dooley, Streicher's long-time friend and colleague with whom he has co-written technical papers on stereophonic techniques. "I also own four Coles 4038s and I have about a dozen miscellaneous RCA ribbons, 44s, 77s and others - all originals. My TRUE Precision 8 travels with me for all of my critical recording needs. I usually use it with all of my ribbon mics, but I've also been known to put Neumann mics through on several occasions." The theme of this year's Aspen Music Festival, under music director David Zinman, is "Musical Visionaries: Beethoven, Berlioz, and Beyond." Highlights include performances of four of Beethoven's nine symphonies, as well as master classes with Leon Fleisher on five Beethoven piano concertos, Puccini's "La Boheme" conducted by opera legend Julius Rudel, and Carol Vaness, James Morris, and Alfredo Portilla in a semi-staged version of Puccini's "Tosca." "Because of the need to keep sight lines clear for the staging and projection of the super titles for "Tosca"," noted Streicher, all microphones had to be kept either very low or very high. In order to cover the woodwind section of the orchestra, I chose to hang the new Sennheiser MKH 418 stereo mid/side interference "shotgun" microphone high over the winds. This proved to be a very successful addition to the mix and, as a result, I'm ready to add the 418 to my rather extensive inventory of microphones." Neumann's award winning line of microphones has set the standard in the industry since 1928. In 1999, Neumann received the prestigious Technical Grammy(s) for their 70 years of innovation in microphone design and contribution to the music industry.

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True And Neumann Used On Sarah McLachlan's "AFTERGLOW"

True And Neumann Used On Sarah McLachlan's "AFTERGLOW"

MONTRÉAL, CANADA: Sarah McLachlan's CD, "Afterglow" released on November 4th, 2003 found her teaming up once again with her long-time producer Pierre Marchand. Marchand, who grew up in Montréal and established himself as both musician and engineer in Canada years ago, has produced four albums for McLachlan. In addition to producing her previous CD, the multi-platinum seller "Surfacing", Marchand co-wrote three tracks ("Building A Mystery" "Aida" and "Witness"). "Afterglow" was recorded at many different project studios, including Marchand's facility in Morin Heights, Quebec, Canada where several of the songs are being mixed. Most of the project, scheduled for release on the Nettwerk/Arista label, is being mixed in Ms. McLachlan's home studio in Vancouver. Marchand has used Neumann microphones to track Sarah McLachlan's vocals exclusively for the last two records they've worked on together. "We've been using the Neumann M 149 on Sarah, and it works beautifully. When we recorded her earlier CDs, I was using an old Telefunken U 47 that needed a lot of EQ tweaking to get the sound I wanted. Then when I got my hands on the M 149 I found that leaving it flat sounded very close to perfect! The M 149 is a very sweet sounding mic. It has lots of warmth and presence, and the purist highs. Sarah loves that mic, and I haven't tried any other mic on her since we started using it." RECORDING PERCUSSION AND DRUMS WITH TRUE Jerry Marotta was asked to contribute his drum and percussion skills to three songs on the new McLachlan CD. Marotta, who has toured with Peter Gabriel, the Indigo Girls, Hall and Oates, Tears For Fears, Elvis Costello, and Paul McCartney, is also producing these days. His credits include a pair of songs for the new Indigo Girls CD, "1200 Curfews".A resident of Woodstock, New York, since 1986, Marotta operates his own studio, Jersville, in that rustic town. All of his parts for the McLachlan project were recorded at Jersville. "I met Sarah while I was working at Le Studio in Morin Heights, producing an artist named Larry Gowan for Sony records. Sarah was working down the road with Pierre Marchand. They were recording tracks for the "Fumbling Towards Ecstasy" CD and asked if I would come in and play on some existing tracks. At the time I had just discovered the wonders of "Taos" drums, made in New Mexico by Native Americans. "Having done the first two Lilith Fair tours with the Indigo Girls I kept in contact with Sarah and her husband Ash Sood, who is also her drummer. In the spring of this year I got a call to play on some tracks for Sarah's newest record. This time Pierre brought a hard drive to my studio, and my close friend and bassist Tony Levin and I did about six tracks in three days. My engineer, Pete Caigan, and I have really tailored the studio for drums and percussion. Two rooms almost exclusively dedicated to live drums and perc, can you believe it?!" Marotta is a big fan of True Precision 8s, and used them on the McLachlan sessions. "The first time I experienced the Precision 8s was on a recording for a label called Spotted Pecary in Southern California. Owner/engineer Howard Givens had me doing more Taos drums and perc and I was absolutely blown away at the sound coming back at me. Howard was using the Precision 8s on the drums and the sound was awesome. He was involved with Tim Spencer - the designer of the mic pre's, and was doing some refining to the sound of the unit. I quickly installed two P-8s, 16 channels, into my set-up at Jersville and started using them non-stop. Except for the occasional Neve EQ or compressor, they are responsible for a major part of the drum sound at Jersville Studios. Everything from cymbals to Taos bass drums, and all the strange percussion instruments I've accumulated over the years, all translate beautifully through the True gear. I also find the two DI's in each unit sound great and come in very handy. In addition, I've really gotten to see what the True gear can do this spring while recording my own band's CD, Marotta, Griesgraber, Jones. From fattening up (if that's possible) a Prophet 5 and Prophet VS to the Chapman Stick, we pretty much ran everything thru the P-8s or the newer P-2s. And while I love all this analog gear, I'm looking forward to using their digital versions, too." The Precision 8 was designed and built by Sunrise Engineering, a design and build manufacturer located in Tucson, Arizona. Neumann distributed True Systems in the U.S. Neumann's award winning line of microphones has set the standard in the industry since 1928. In 1999, Neumann received the prestigious Technical Grammy(r) for their 70 years of innovation in microphone design and contribution to the music industry. A continuing commitment to provide innovative, technically refined products and engineering solutions of proven quality ensures that Neumann's stature will remain unassailable.

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True Systems Picked Up by Synthax Audio AG

True Systems Picked Up by Synthax Audio AG

TUCSON, ARIZONA - AUGUST 2008: TRUE Systems, maker of high-end microphone preamplifiers, announced that all TRUE Systems products, including the legendary Precision 8 and its celebrated variants, the TRUE P-Solo, TRUE P-Solo Ribbon, and the P-2 analog would be distributed in Germany, Austria, and most of the EU by Synthax Audio AG, one of the continent's most respected companies. Brad Lunde, president of the TransAudio Group and worldwide rep for TRUE Systems arranged the deal. A rarity in the pro audio world, Synthax has been meeting the needs of the high-end European recording market for nearly twenty years. The company works with dealers of all sizes, from small boutiques to the biggest of the big. Synthax maintains a small, but uniquely experienced and deeply knowledgeable team of audio professionals who are choosy about which brands they represent. TRUE Systems mic pres complement the current roster, which includes RME interfaces, Mogami cables, PSI monitors, MXL microphones, and Tegeler Audio Manufaktur tube professional electronics. "TRUE Systems makes products that are not very well known in the European market, but that deserve to be," said Helmut Oestreich, marketing and communication specialist at Synthax. "We have a proven track record in establishing such brands. In the near term, we will make waves in the recording market by demonstrating the noticeable improvement in fidelity that TRUE Systems mic pres deliver. In the long term, we will establish the brand as the perfect recording solution, and will work closely with their R&D to develop new and exciting products." Said Tim Spencer, engineer and president for TRUE Systems, "We are delighted to be working with Synthax in Europe. They offer such a powerful and comprehensive solution for EU distribution! We were impressed by how thoroughly they evaluated our products and how they understood what makes us different." "Synthax has a proven ability to establish, grow and support brands in the EU, no question," said Lunde. "I don't think there is anyone better at adding value through marketing, trade shows and ongoing product support to dealers in the EU. Their staff makes them an ideal trading partner for TRUE. Tim and I are very impressed with their long-term focus and proven track record."

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