The S1P uses Cinemag nickel core input and output transformers based on the original drawings/specs of the Jensen transformers, also made back in the day by Cinemag. The S1P uses two John Hardy 990C+ discrete operational amplifiers with the same basic circuit design as the original 990 introduced in 1979. The 990C+ uses surface mount construction and higher-grade precision components, and operates over a wide range of power supply voltages.

The S1P's metal front panel is printed directly with a beautiful, sunny, psychedelic graphic that complements the set of customized aluminum knobs and front-mounted XLR Combi jack. There are no attenuator pads used; rather, a coarse gain rotary switch sets gain and a separate +/-6 dB gain trim pot for fine-tuning. The Sig/Peak LED reads signal present at the output of the first 990C+ stage. As with the originals in the consoles, there is no highpass filter switch, but modern features include a fader output level control for manual fadeouts, lighted buttons for polarity reverse, +48-volt phantom on/off, and the Inst button to switch the front XLR Combi jack and back mic input over to the 1/4-inch Instrument (DI).

For my first test, I set up my single-channel Jensen transformer mic splitter to route the output of an AKG C451 B condenser (no pad or roll-off) to feed simultaneously both the S1P and the mic pre in the studio's API 1608 console. On the 1608, I patched the console's preamp out to feed directly to Pro Tools.

-- Sunset Sound S1P --

I recorded a Martin D-18 acoustic guitar with the mic aimed at the 12th fret, about 10 inches away. I immediately heard the S1P's clearer, transparent sound in the bass and low midrange. Listening to both rhythmic strumming and flat-picking revealed that the S1P had more definition and presence in the midrange and upper ranges, as well. By comparison, the 1608 preamp produced a bright but smaller sound with a muddy lower midrange calling for equalization.

Recording loud snare drums inches from an SM57, the 1608's preamp tended to overload, necessitating its -20dB pad and causing a change in sound. With the S1P, I selected the 10dB range for just the right amount of gain without clipping. I also tried the S1P on kick and toms using my usual dynamic mic choices with good success; I loved the fast, three-knob (Coarse, Trim, Fader) recall of those signal chains.

At another studio, I used two Radial JS2 passive mic splitters, a pair API 312 preamps, two S1Ps and recorded the studio's Yamaha C7 grand piano with a pair of DPA 4011 cardioid mics aimed toward the hammers but placed halfway down the length of the harp. This test demonstrated to me the S1P's low harmonic distortion and good transient response performance. The S1P pair satisfactorily conveyed the bottom and top octaves of the piano's range. With the S1P, the piano sounded more "grand," with a bigger dynamic feeling and sound stage.

For vocals, the S1P was outstanding. It produces a presence that is punchy, forward, and "in your face" like an API mic pre, but with more fullness and clarity. I used a Retro Instruments Doublewide Tube Compressor to level out my singer's dynamics and kept the Fader knob on the S1P in the middle position; this pot could use a center-position detent. I would "ride" the Fader control up for the singer's quiet verses and then back down for the loud choruses.

The Sunset Sound S1P is my go-to 500 Series solid-state mic preamp; a pair goes with me whenever and wherever I want to record a big sound.