Alright, so I did the comp w/ the 248, 148, and 722. Recorded Brute's Puppy Sleeps and left the stereo constant. I normalized everything to -1db to make it even. Source gain was a little different b/c I'm using these for another comp in another thread for something else (see 722 hot as hell in recorder section if interested). I'll keep the "which is which" under wraps for a little while. Not exactly perfect, but it will work.
mk4>kc5>cmc6>m248>722 --> -5peak, m248 1/2 full gain
mk4>kc5>cmc6>m148>722 --> -2peak, m148 fixed gain
mk4>kc5>cmc6>722 --> -7peak, 722 30db gain
Grab the files via bittorrent here...
http://digitalpanic.org/bittorrent/showthread.php?t=14689Edit:
So what are my thoughts? I mixed it up enough that I couldn't remember which was which in the comps, so I wasn't biased either. I immediately picked up on which was the 148 recording. If you've spent any time listening to the 148, you'll pick it out too. It's characteristic robustness is very obvious. The 248 vs 722 was a toss up. I've since looked up which was which, and wasn't surprised...it's consistent w/ my guess of how they would be different. Personally, I like the 148 sound the best out of the three, BUT, as has been mentioned before, if the show is very heavy in the low end, the robust nature of the 148 can be more than you want at times...which is basically the reason I've been running the 248 lately. My Memphis tapes have a very robust low end (we were way up front) and I think the 148 would have been too much w/out EQ'in some of the low end out. The 722 pre is impressive in this comparison...I'm leaning towards calling it second best in this outing. I'll give you guys some time to pull down the files and listen before I give you the source legend.