The Mesa Boogie Rectifier Recording Preamp Thread

[Given To Fly]

I have owned a Mesa Boogie Rectifier Recording Preamp for 1-2 years now and have been relying on the manual and trial and error in order to dial in tones. While this works, I felt some discussion with other owners might build on the knowledge base that already exists. If you own the Rectifier Recording Preamp please post how you use it, your recording setup, what works, what doesn't work, etc.

I run my Rectifier Recording Preamp into an Apogee Duet 2 (bypassing the preamps, only use converters) and record to ProTools. For studio monitors I use Equator D5's which have made a big difference when it comes to dialing in tones. For guitars, I use an Ibanez RG2228GK with EMG 808x's and an EBMM JPX7. Overall, I've found clean tones to be the easiest to record accurately. I recorded the first movement of Electric Counterpoint by Steve Reich using only the Rectifier Recording Preamp (10 guitar parts, 2 Bass parts). High gain tones are where I'm the least satisfied. They almost always lean too heavily towards one area of the frequency spectrum. I did spend a good amount of time finding decent tones for my Ibanez RG2228 (wrote them down too) but I may not feel there are so decent when I try them out again. Ironically, through a slaved 100 watt power section this preamp is LOUD but also extremely versatile. There are few tones it fails to duplicate in the analog domain.

So if there are any other Rectifier Recording Preamp users wandering about, please share any wisdom, knowledge, or questions you may have regarding this preamp.

 

[SonVolt]

Wouldn't an AxFx work better for your setup? Rectos are meant to push some air, not 1's and 0's.

 

[firmani99]

Wouldn't an AxFx work better for your setup? Rectos are meant to push some air, not 1's and 0's.

I agree. I don't think you will get accurate tones with the rectifier preamp unless you are running through a power amp and cab. Axe FX has power amp and cab models "built in."

Another thought though.... Are you using cab Impulse respones? I don't really know how to set them up but They are plug ins that work with your recording software to emulate a mic'd cab. That may be your answer if you want to continue using that preamp.

 

[Given To Fly]

I started recording with an Eleven Rack and ProTools. I have since moved on from the Eleven Rack in favor of microphones, but I liked the idea behind the Rectifier Recording Preamp so made a trade to get it.

I am not using cab impulses or simulators. However, I am interested in the new Mesa Boogie Cabclone for a number of reasons but one of them is specifically the speaker emulation. I also like to keep plugins to a minimum when tracking. I was under the impression the Record Outputs on the Rectifier Recording Preamp were designed integrated cabinet emulation.

Recording in general is not the problem. I can mic up my Roadster or use my Tech 21 Trademark 10's direct. I just wanted to hear from other Rec.Rec.Pre. owners about their experiences. I suppose we could open this up to all Mesa D.I. capable amp/preamps but the Rectifier Recording Preamp is specifically titled as a "Recording Preamp" and since its rarely discussed, I thought I'd start the discussion.

 

[ryjan]

I too am very interested in the Recording Recto Pre. Well, a bit less now that the Cab Clone is out.

How does it sound compared to the preamp of the Roadster?

 

[Given To Fly]

I too am very interested in the Recording Recto Pre. Well, a bit less now that the Cab Clone is out.

How does it sound compared to the preamp of the Roadster?

The Roadster sound better but I'll say that in almost every comparison. The Rectifier Recording Preamp seems to have been designed to work well with all types of guitars so there is more gain on tap than any other Mesa I've ever heard and all the controls are super sensitive. All of this means a lot of fine tuning is required.

 

[ryjan]

I too am very interested in the Recording Recto Pre. Well, a bit less now that the Cab Clone is out.

How does it sound compared to the preamp of the Roadster?

The Roadster sound better but I'll say that in almost every comparison. The Rectifier Recording Preamp seems to have been designed to work well with all types of guitars so there is more gain on tap than any other Mesa I've ever heard and all the controls are super sensitive. All of this means a lot of fine tuning is required.

Right on. I guess the sensitivity just lends itself to studio work.

 

[Given To Fly]

I too am very interested in the Recording Recto Pre. Well, a bit less now that the Cab Clone is out.

How does it sound compared to the preamp of the Roadster?

The Roadster sound better but I'll say that in almost every comparison. The Rectifier Recording Preamp seems to have been designed to work well with all types of guitars so there is more gain on tap than any other Mesa I've ever heard and all the controls are super sensitive. All of this means a lot of fine tuning is required.

Right on. I guess the sensitivity just lends itself to studio work.

I think that is the idea; Mesa wanted it to work well with all types of guitars. With the CabClone coming out, I'm wondering if Mesa expanded on the built-in speaker simulation that is applied to the Recording Outs of the Rectifier Recording Preamp? I'm also interested in what kind of studio monitors people have been using with the Rec.Rec.Pre?

 

[tony777]

I was about to post my setup with my rectopreamp, and I've been using an opposite V-curve EQ in front of the preamp all the time. However today I ran all the tubes from the Recto through my Orange VT1000 tube tester, and the result was that I had one very weak tube in V1, and I replaced two other with higher gain results in V3 & V4.
This made the rectopreamp a new amp. And I no longer needed the boost in front.

However I use the Recabinet IR impulse in ProTools to make it sound right. Other IR impulse plugins will probably sound as good I don't know.
My monitors ar Yamaha HS-80.

 

[Given To Fly]

I was about to post my setup with my rectopreamp, and I've been using an opposite V-curve EQ in front of the preamp all the time. However today I ran all the tubes from the Recto through my Orange VT1000 tube tester, and the result was that I had one very weak tube in V1, and I replaced two other with higher gain results in V3 & V4.
This made the rectopreamp a new amp. And I no longer needed the boost in front.

However I use the Recabinet IR impulse in ProTools to make it sound right. Other IR impulse plugins will probably sound as good I don't know.
My monitors ar Yamaha HS-80.

Awesome! Thank you for your input. I was hoping to avoid cabinet impulses but it may be inevitable. Tubes are always the last thing I think of when it comes to tube amp problems so it may be something I should look into.

 

[Bohmer]

Since there's not a lot of info on the recto preamp I'd thought I'd just lump my post in here even though I'm not using it for direct recording. My curiosity lies in how others are using it as a dedicated peramp. I love my tone but I'm always searching for ways to improve it in the context of hi-gain metal, predominately for rhythm playing. My signal chain- guitar- Korg rackmount tuner- ISP Decimator II- Maxon OD808- recto pre amp- Alesis M EQ230- Aphex Aural Exciter- Simul Class 2:90- A side to a MB 4x12, B side to a custom built 2x18. For basic riff recording I'm using a SM57 off each cab into a Presonus USB interface-Studio One Artist. The recording is a huge learning curve for me, I've never done any recording at home so it's definitely a challenge. Any tips and tricks are greatly appreciated!

 

[Given To Fly]

Welcome to the thread! Your rig must sound devastatingly huge with a 2x18 cabinet accompanying the 4x12! :shock:

 

[Bohmer]

It's absolutely crushing 8) I've used the 4x12, 2x18 set up for a lot of years, but the biggest change was switching amps and pre- amps. I used to push everything with a Digitech 2120 Artist into a Marshall 9200(5881's). It sounded fantastic but there was always something missing, a certain rawness that I could not achieve regardless of how much I tweaked it. I also wanted a more simple set up, the 2120 has more bells and whistles than I'll ever need. To simply put it, Mesa Boogie was what my rig was lacking. Using the recto pre amp and 2:90 produces the best high gain tone I've ever heard. IMHO, it's the most under-rated set up there is.

 

[Given To Fly]

I have never had the pleasure of using a 2:90 or 2:100 power amp, but I have slaved a 100 watt Bolt head into a 4x12. Based off what I heard, I have to agree, the Recto Preamp is capable of "ultra - Rectifier" high gain tones that normal Rectifiers can not achieve. One drawback is the lack of control over the entire preamp we enjoy on Mesa's other amps, such as the Roadster, via the footswitch.

 

[JakobH]

A little late here, but I've just purchased a Rectifier Recording Pre (used). I also have a Dual Rectifier head which I'm using in the studio for "real recordings". My idea of the Recording Pre is to use it for demo / promo recordings.
I got it hooked up yesterday, and I'm really surprised how it's giving me the exact same sound - and feeling - as when I'm normally sitting in the control room, tracking with a mic'ed up Mesa stack next door.

My setup is: Mayones Regius Custom (Seymour Duncan SH-4 and SH-1) -> Rectifier Recording pre -> Digidesign Digi 003 -> Pro Tools. Monitors are KRK RP6 Rokit.

 

[Given To Fly]

This thread moves at a slow pace so "late" is not doesn't really exist. Welcome!

I had not used my Rectifier Recording Preamp for a number of months, it was literally a heavy piece of steel I could never find an appropriate place for, until yesterday. I sort of threw caution to the wind and dialed in tones without really paying attention to whether I was clipping my interface or if I was even in the proper preamp voicing (I wasn't). Nothing clipped and I was able to get quite a few useful tones with much less effort than before. So today, I decided to really test out my Eventide Factor Pedals through the FX loop to see if they would work or not. Previous accounts from other users were not encouraging but that is nothing new when it comes to Mesa's Parallel FX loops. First, the Space...

I set the Space's Kill Dry feature to ON and went through all the presets recording bits of each one. Some worked beautifully well while others did not. None of the MangledVerb presets seemed to come through but the majority of the other algorithms worked. Second, the TimeFactor...

I am not entirely sure why this works but it does: with the TimeFactor's Kill Dry feature On and an adjustment of the Preamps FX loop Mix knob up to maybe 50%, a stereo track in your DAW will be recorded as a Wet/Dry/Wet stereo track. There are three clearly audible signals: Left/Center/Right. I thought the Kill Dry would "kill" the Center Dry signal but apparently it doesn't with the Rectifier Recording Preamp. It does on other amps though. If anyone has heard Electric Counterpoint by Steve Reich, the second movement has nine guitar parts divided into 3 groups of 3. With the right delay times, I can play parts One, Four, and Seven and the other 6 parts follow suit, matching the score. :shock: This was one of the main reasons I bought the TimeFactor, to experiment with delay times to make this work, so I am happy that it did.

I will listen to everything in the morning with fresh ears and hear whether my success today will stay that way for tomorrow.

 

[Buzard326]

Hello all! I have had my Rectifier Preamp for a few months now and I really like the tones. My question is does anyone else find the FX loop to be lacking? The sound quality of any delays that I've tried through it is poor. I contacted Mesa via telephone one day and the tech kind of acknowledged the issue and suggested placing delay effects between the outputs and the power amps or recording source. I've tried that and it works fine but that set up is not practical for me in a live set up. I have other amps but would like to occasionally take the Recto Preamp out to gigs. Does anyone know of a mod or fix for this situation. Is this problem unique to my particular unit?

Thanks

Dave

 

[Given To Fly]

I was excited about my success with the TimeFactor because often times I do not have success. The main problem I've experienced is a very choppy sound, like the signals are out of sync but are trying to catchup with each other. I would describe the sound quality as "broken" rather than "poor." In other words, when it works, it sounds great, when it does not work, it sounds "broken." Unfortunately, I can not find much "rhyme or reason" as to why some presets work while others don't, nor have I completely ruled out user error. :?

All of my FX that I put in any FX Loop are digital, which is fine for a Series FX Loop, but I have always assumed Parallel FX Loops do not work well with digital FX. I do not own any analog delays to test my assumption though.

 

[Buzard326]

I am using analog delays (Electro Harmonix and Boss Space Echo) through the FX loop and experience the signal degradation. So the issue is not confined to digital effects.

 

[James O]

Hello all. New member. 1st post. I have my Rec Pre connected to a SwitchbladeGL which handles its relay switching. Obviously this will let you choose between the 3 channels (that's right, 3) Clean, Vintage, Modern. In order for Modern to work it is connected to a 2:100 and coupled accordingly. The 2:100 connects to Cel.Green back and Cream back speakers.

Mode 1: Clean Brit, no breakup. Seems to have unlimited headroom. I have blown doors off with this amp and never any gain out of Clean. Mode 2: Vintage, with the gain at 9 o'clock (2 roughly), treble at 1 o'clock (6?) and the rest of them maxed this is where I get all of my Sag laden touch sensitive plexi~esque creaminess. Mellow. Mode 3: Modern is set with gain maxed and 9 o'clock (T) 3 o'clock (M), maxed (B), & maxed (P).

That's all it does, typically 2 out of 3 modes are usable at any time. They are programmed to a MIDI foot switch and that switches the amp around as needed. To get a few more sounds from my rig I still run an ADA MP1. Since the Mesa is relay controlled by the Switchblade it is entirely possible to keep the 2:100 in Modern Mode even when the Rec Pre is not supplying signal. The ADA+2:100 adds a new flavor of brutality, none of the Mesa's harsh gain. But there are cons to the MP1, itself locked into one world of tones. Despite its programmability.

The recording outs remain unused. I have tried direct numerous times with both preamps and can't identify with what I hear. Moments ago I read a forum poster stating how subjective tone can be. Yeah I could fit it into a background, easy, but for the lead guitar work it is unbearable. As a matter of fact I have other amps that I prefer for lead guitar, the MP1 does most of it with the gains at 7.5. This is in fact lower gain than the rhythm lines often use, but with mids pushed a hair, and stereo delays pushed a bit I find it fitting.

I also record a Fender VibroChamp, not much to say there, as one of 4 microphones supplying the RME Fire face. I do not use effects pedals, and the loop is of no use, but I do have 2 aux sends (digital) from the Fire face that goes to an Eventide Orville setup with a sampler on A and the digital delays (or reverb) on B. The recording is dry with effects mixed to taste. The sampler provides loops, the software does drums, the foot switch can mute the sampler, record, play, stop. It also mutes the effects when needed and selects presets. These are usually a combination of signals.

Finally, I have phase issues, which can be inverted. But the inverted speaker is basically neutered so I opt to run a separate poweramp (Peavey Classic 50/50 el84) connected to Alnico Gold & Vintage 30. That covers all 4 mics. I tend to keep two out of 4, and typically choose the Greenback (2100/6L6) and Alnico Gold (50/50-el84).

Not done yet, I am still shopping for the right tube-rectified Marshall clone amp, for Blues style and classic rock. Obviously the JTM circuit, as they are most touch sensitive. Looks like it will probably be a Granger, and have the MVol option, EL34 to round out my setup. I plan on just running it to one of the unused Celestions and putting 1 of the 4 mics on it, so again things can be controlled by the Switchblade.

Lastly, I use ISO cab (homemade) for the 2:100 speakers. Never really opened up, though I have opened up all the amps, its pretty much unnecessary. The 2:100 has a special mic preamp for it, the GreatRiver Mp2Nv. The others just run thru the fire face pre's. They're not as warm, but with some fullness coming from the Alnico speaker, I can't complain.

YouTube.com/eventual420
(prepare to be underwhelmed)

Regards, Jim