I think the fact that these are pertty much the only mid-level channel strips carried by GCs might have a lot to do with that.
I've actually seen people walk into a GC, see it on the floor, ask a couple of questions, listen to it a tiny bit, and buy it on the spot......... I would imagine that for these people this is the first non-consumer level peice of gear they have heard, and since they buy everything from GC and this is about all that was on the floor, they figured this is amonsgt the best you can do.
I have a buddy who swears by his. I was never fond of it, but he believes that all the major players use it.
Yup, imo the Avalon 737 is the Drawmer 1960 of the day. Back in the day every studio had a Drawmer 1960. Most studios today still do. It's that black box sitting in the most obscure place in the rack and the only unit not turned on! :D
I somehow skipped the 737. A few years back I did a low budget indie project for next to nothing but one thing I insisted the band rent was at least ONE decent preamp. They came back from the local music store with an Avalon 737, Summit MPC-100A, Joe Meek box, DBX and a few other pieces like that. Spent the day trying them all out and ended up using the Summit MPC-100A. The band liked the sound so much they bought one and I managed to find a deal so I bought one too. After awhile I ended up moving to a Neve 1073 and Urei 1176 but to this day I still prefer the Summit over the Avalon.
Yeah, I quite remember the day when I asked the studio manager in the shop I was working at the time why he bought this piece of shit in the first place
Originally Posted by UBIK It's definitely a game of inches with gear in this echelon, but all those little inches add up fast and the cumulative effect is a sound that's in a whole different league,
I can go for that. Very well put. Thanks for the further insight! thumbsup
After a certain point, how can anyone tell whats better than what. Even the pros don't can't seem to agree most of the time. If an artist goes multi platinum, "SOME" artists, engineers and producers are eager to know the vocal chain, gear list, converters, plugins, console and everything else to do with the making of the hit song, hoping to capture "that sound", not factoring in the experience of said artist, songwriter, engineer and producer collectively. The bottom line is that a true pro should be able to work miracles with the tools that are at his disposal without complaint.
A wise carpenter can build a better house with his "old and not so fancy" tools, than a foolish carpenter with new tools!
YES!!! i agree!!! someone get this guy a bloody mary.... Quick!
it still does not mean i'll waste my $$$ on expensive hood ornaments like the 737
Yup, imo the Avalon 737 is the Drawmer 1960 of the day. Back in the day every studio had a Drawmer 1960. Most studios today still do. It's that black box sitting in the most obscure place in the rack and the only unit not turned on! :D
I somehow skipped the 737. A few years back I did a low budget indie project for next to nothing but one thing I insisted the band rent was at least ONE decent preamp. They came back from the local music store with an Avalon 737, Summit MPC-100A, Joe Meek box, DBX and a few other pieces like that. Spent the day trying them all out and ended up using the Summit MPC-100A. The band liked the sound so much they bought one and I managed to find a deal so I bought one too. After awhile I ended up moving to a Neve 1073 and Urei 1176 but to this day I still prefer the Summit over the Avalon.
that's great! very few people on this site overlook summit products. i have a some tpa200b's and 2 tla100a's what a big, beautiful sound. even their half rack stuff is WAY under rated.