Friday, November 06, 2015
Zac Brown Band Selects Custom API Legacy Plus
Nashville's Rack and Roll supplies Southern Ground studio on Music Row with new 48-channel Legacy Plus console.
Zac Brown, of the three-time GRAMMY Award winning Zac Brown Band, has taken delivery of an API 48-channel Legacy Plus console at his Nashville studio.
API built the Legacy Plus according to Brown’s specific configuration requests, which included API’s automation.
The company recently sent a team to Music Row to commission the console at Brown’s personal studio, Southern Ground Nashville.
Formerly a Presbyterian Church, Southern Ground stands out among other spaces on Music Row partly because the building itself is over a century old, and partly because of the sheer number of talented artists who have mixed and tracked at the location.
Explains API sales director Dan Zimbelman: “The sound of Nashville is synonymous with API. Nashville has come to rely on the world-class API sound—there are more API consoles in Nashville than anywhere else in the world.”
The Zac Brown console is amply supplied with API mic pres, compressors, filters and of course EQs, all of which combine to provide API’s trademark warm, analog sound. As it turns out, this is exactly what studio director and chief engineer Brandon Bell was looking for when Zac made the decision to order the console, and he makes no bones about expressing his enthusiasm now that the API is installed and operational.
“Very few companies are building large format consoles with the facilities that API incorporates into the Legacy Plus,” explains Bell, adding, “I also prefer the sound of API to other brands, especially for acoustic instruments. We’re very excited to have the new Legacy Plus at Southern Ground and we think our clients will be also.”
The console was sold by Rob Dennis, owner of Rack and Roll, one of API’s Nashville dealers. Dennis noted that “Zac and his amazing crew have been clients for a long time now. I told them years ago that if the studio wanted to be taken seriously as a commercial room in the Nashville market, they needed an API. The API and big tracking room combo is a winner here in Nashville, and Southern Ground is the most unique and vibey room in town. I can’t wait to hear the music that comes out of this already legendary studio.”
Bell agrees, highlighting efficiencies and workflow opportunities that the Legacy Plus has already provided in its short residency.
One major change? “I’m not afraid to use the console for the entire band. It’s solid, and I don’t feel like there’s any sacrifice to using it for all the instruments on a session. It’s fast in all facets, the signal chain is clean, routing is quick, and the automation is a breeze. We now have a console that matches the vibe and caliber of our tracking room.”
Audio snake sends analog and AES digital audio signals over standard cat-5 shielded twisted pair cable.
Radial Engineering announces the Radial Catapult - a 4 channel audio snake that lets you send analog and AES digital audio signals over standard cat-5 shielded twisted pair cable.
This enables system contractors to take advantage of pre-wired networks to connect one room to another and allows stage techs to take advantage of the relatively low cost of this abundantly available cable for return snakes or for transporting channels of balanced audio across a large stage.
Available in six configurations, the Catapult features a choice of 3 input modules and 3 output modules.
Each input module features 4 XLR inputs along with two Neutrik Ethercon outputs and 4 additional XLR outputs.
Output modules feature Ethercon input, throughput and two sets of XLR outputs.
These may be ordered without transformers for sub snakes or to transmit AES audio signals; with mic isolation transformers for signal splitting between front of house, monitors or the recording system; or with line level isolation transformers to eliminate system noise. A ground lift switch is available at each end for the Ethernet cable connection to help eliminate hum and buzz caused by ground loops.
As with all Radial products, the Catapult design begins with a heavy steel construction made to handle the rigours of live touring along with a heavy duty powder coat finish to keep your Catapult looking good for years. Protective bar around the connectors keeps things safe while providing a handle for carrying.
Prices have yet to be finalized. Delivery anticipated by December 2015.
Musician, singer, producer, songwriter and lead guitarist for rock band "The Who" talks about the Audient ASP4816.
“If you’re happy with what you’re doing using a laptop, then you don’t need one of these, but …I can’t live without it,” says Pete Townshend of his Audient ASP4816, although he could be talking about either of his two Audient analog consoles, ASP8024 or ASP4816.
His latest acquisition is the more compact ASP4816, which delivers Audient power and flexibility in a much smaller frame.
“It’s a big console workflow, a big console sound - in a small footprint. It’s an amazing little board,” he says, quipping, “For the price of this console it’s no wonder that it’s used in so many educational establishments. It in itself is an educational tool.”
With all the same key features as its big brother, including EQ, mic pres & in-line architecture, the analogue ASP4816 does not scrimp on audio performance - a fact that has not escaped Townshend.
“I had a commercial studio for a long time and a big Audient upstairs. We had a big rack of mic pres, but I never used them. I would bang the mic in and think, ‘Well, that sounds great,’ and that was it. So I love the mic amps. The pathway in, the EQ and everything about it is perfect for me.”
He describes his work flow, and how uses tape and RADAR like a tape machine, clearly appreciating being able to work on what he calls a ‘traditional desk’.
“I’d prefer to have an Audient console in my studio than the money equivalent of several fancy vintage rack boxes with big black knobs and twitching VU meters. Vintage analog is fab. After all I am now vintage.” he told Audient recently.
“BUT my heart is young: give me a laptop, a good DAW, and a modern Audient console. I get the best of analog and digital with only me in between. Audient makes that connection.”
Featuring an original new old-stock 5840 tube, a 251-style capsule, and a custom-designed transformer built by Coast Magnetics.
Mojave Audio announces the MA-1000 Large-diaphragm Multi-pattern Tube Condenser Microphone, the first model in the company’s new Signature Series line of products.
Designed by Technical Grammy award winning microphone designer David Royer, the MA-1000 features an original new old-stock 5840 tube, a 251-style capsule, and a custom-designed transformer built by Coast Magnetics.
Among its notable attributes, the MA-1000 includes a remotely controlled, continuously variable polar pattern selector that is located on microphone’s power supply.
The MA-1000 also offers a switchable 15dB pad that facilitates high SPL recordings with no microphone distortion or preamplifier overload. This is particularly useful for close miking electric guitars.
Similarly, the microphone provides a switchable low frequency roll-off designed to reduce the excess low end created by proximity effect, the bass buildup commonly experienced during close miking of vocals and acoustic instruments. The LF roll-off capability is also useful when miking electric guitars where less low end buildup is desired. With world-class components, the new MA-1000 delivers a sweet, airy top end, ‘you-are-there’ realism in the mids, and an accurate yet authoritative bottom end.
Dusty Wakeman, president of Mojave Audio, commented on the company’s new MA-1000 Large-diaphragm Multi-pattern Tube Condenser Microphone, “The MA-1000 is a versatile, high-end microphone designed specifically to address the most challenging studio recording applications. The mic’s switchable 15dB pad enables one to address of variety of high SPL challenges while the low frequency roll-off capability makes it a tremendous microphone for both vocal and voiceover projects. Cosmetically, as the first offering in Mojave Audio’s new Signature Series product line, this mic represents a step forward compared to Mojave’s traditional ‘working class’ designs. I have every confidence this microphone will be well-received by engineers and artists from a wide range of musical disciplines.”
The Mojave Audio MA-1000 carries an MSRP of $2,995.00 and will become available Q4, 2015. The microphone ships with an new shock mount design that was created by and licensed from sibling company Royer Labs.
Featuring hand matched transistors with the dual FET class-A circuitry for boosting low output dynamic and ribbon mics.
Radial Engineering announces the McBoost, a 100% discrete, class-A dual FET signal booster for low output dynamic and ribbon microphones.
According to Radial’s Jay Porter: “At Radial, we are constantly being tasked to come up with solutions to problems that audio engineers face as part of their daily routine.One such problem is elevating the signal level of a low output microphone so it can perform better with a typical mixing console.”
“The problem is that most mic preamps and mixing desks are only designed to boost the signal by about 50 to 60 dB. Although this is perfectly suitable when working with most dynamic and condenser mics, there are several instances where more gain is necessary. A good example is the Shure SM7. This great sounding mic was designed for broadcast voice so when it is used to pick up lower level signals, the detail is often lost.The McBoost provides the perfect solution.”
“The same applies for older ribbon mics. These tend to have lower sensitivity as a means to protect the ribbon from bottoming out. So they need an extra boost when used with regular preamps. You just connect the McBoost in between the mic and preamp, turn on the phantom power and you get tons of super clean boost as you breathe new life into your old favorites.”
The McBoost features Radial’s trade-mark all-steel construction with book ends that create protective zones around the switches and controls.
Inside, the McBoost features hand matched transistors to ensure absolute performance is achieved with the dual FET class-A circuit. This delivers up to 25 dB of boost via a fully variable front-panel level control. This is supplemented with a 3-position high-pass filter to eliminate excessive rumble and proximity build-up.
For the purist, a 3-position impedance selector allows the engineer to optimize the load on the mic for greater accuracy or fun effect. Powering is provided by standard 48V phantom, eliminating the need for batteries or external power supply and connections are done via standard XLRs.
Porter continues: “The McBoost is more than just a studio tool. It can be used to drive long cables for broadcast by improving signal to noise and it can bring a condenser-like character to dynamics for both live and studio. Once you plug it in, you will be surprised at all of the great stuff you can do.”
Made in Canada, the McBoost carries a MAP price of $199.99 USD and is now shipping.
Pro Sound Effects Announces Freelancer Program Open Enrollment
Freelance and independent media creators of all types can save up to 60% on libraries & software
Pro Sound Effects has announced open enrollment for its new Freelancer Program through December 31.
PSE has created the Freelancer Program to support freelance sound designers, editors and independent media creators worldwide.
Members get year-round access to savings of up to 60% on what PSE considers to be the best sound effects libraries and software in the industry.
The Hybrid Library, Expansions, iZotope’s RX5, Soundminer and SoundMorph’s Wave Warper are among 14 featured sound effects libraries and software programs currently available to members at up to 60% off.
Application is free and there is no purchase commitment, but open enrollment for the Freelancer Program ends on December 31, 2015.
“In 2012, we introduced the Hybrid Library to support freelancers with affordable access to a big feature, big studio library,” said Douglas Price, founder and president of Pro Sound Effects.
“We’ve now created the Freelancer Program to expand these savings well beyond just the Hybrid Library and curated what we consider to be the most useful and creative tools on the market to help freelancers take their sonic creations to next level.”
FREELANCER PROGRAM KEY FEATURES: —Save up to 60% year-round —Libraries and software Include: The Hybrid Library, Expansions 1,2,3, RX5 by iZotope (all versions), Soundminer (all versions), Wave Warper by SoundMorph, Online Library Access —New libraries and software added monthly —No purchase required —Open enrollment ends December 31, 2015
ProSoundWeb presents at least two feature articles every day of the working week, meaning that there are 40-plus long-form articles highlighted each and every month.
That’s a lot. In fact, so much so that we got to thinking that it would be handy to present a round-up of the most-read articles for those who might have missed at least some of them the first time around.
Here we kick off with the top 5 most-read articles on PSW for the month of October 2015.
Note that since the articles aren’t all posted at the same time, we apply the same timeframe for each when measuring total readership.
Also note that immediately following the top 5, PSW editor Keith Clark offers some additional suggestions of recently published articles worth checking out. These articles also scored quite well in terms of readership but were just outside the head of the list.
Without further adieu, here are the top 5 articles on PSW in October.
1.The Grand Mother. The myriad ways to capture the sound of grand piano, which remains hands-down music’s most popular keyboard. By Mark Frink
2.Capturing It Live. The latest on digital console recording capabilities, along with snapshots of overall facilities on recent models. By Craig Leerman
dbx 676 Tube Preamp Channel Strip For Return To Rome
Metalcore band selects processor for Reading and Leeds Festivals in England and new studio album.
When metalcore band Return to Rome learned it was going to perform at the Reading and Leeds Festivals in England, founding member and current bass player Harri Lowe became laser focused on the finer points of sound and tone.
Lowe selected Harman’s dbx 676 Tube Preamp Channel Strip for the performance because of the depth and clarity it brings to the band’s sound.
Lowe got his hands on the dbx 160A at his first studio job at an independent label, and he’s been a fan of the brand’s products ever since.
When Return to Rome was invited to play at the Reading and Leeds Festivals, Lowe knew he could trust dbx to deliver the sound and tone the band wanted. With a few months to prepare for the shows, Lowe and his band-mates put together a rig, and the dbx 676 played a critical role.
“We had about five months before the festivals to get to know the rig,” said Lowe.
“Despite having that much time, I was able to dial in a tone dependent on the instrument within a couple of minutes, using the 676. It has completely transformed the quality and depth of my product. The clarity of the 12AU7 vacuum tube coupled with the 250v circuit is pristine, and honestly, I don’t think I’d be able to part with it now that I’ve had a taste of the sound.”
When playing live, Lowe uses BIAS FX on his iPad. He runs the iPad straight into the dbx 676, which in turn, acts as a preamp for the speaker cabinet and PA.
In the studio, he does the same with a cabinet and microphone running through the 676 and listening through his monitors. “Either way, I can dial in a tone at a low volume and still achieve the same sound without sacrificing anything,” said Lowe. “It keeps all the clarity in the tracks I produce and downloading straight out to the desk saves not only a lot of time, but eliminates having to lug around a huge rig on the road.”
According to Lowe, the multiple adjustments to the tone from the tube make it one of the most versatile channel strips on the market. Additionally, an Overeasy setting on the compressor, designed after the dbx 162SL, combined with the parametric EQ and the ability to side chain in additional equipment ensures Lowe can control dynamics and tonal balance with precision.
Lowe, a producer on the band’s upcoming LP, is also using the 676 in the studio during recording sessions. “Goodnight,” one of the band’s latest tracks, has a section with six different guitars, so Lowe used the 676 to help separate the layers.
“There is a part on ‘Goodnight’ where there are about six guitar tracks at the same time, which can make a mix very muddy,” said Lowe. “With the different settings on the 676, I can dial in with Tube Attenuation to distort and add harmonics. And with help from the EQ, separating each lead—coupled with the main rhythm—wasn’t difficult at all. What started as high risk in the mix turned into what I feel is one of the defining moments on our upcoming LP. The dbx 676 truly is the premier mic preamp available, and that’s why it is on everything I have put out this year and will be for years to come.”
Riedel STX-200 Pro Broadcast Interface For India’s Got Talent
Hindi-language entertainment television channel ColorsTV selects unit to connect fans with the reality show via Skype.
Riedel Communications announces that the company’s STX-200 solution for bringing Skype connectivity into the professional broadcast environment has been deployed on the reality show “India’s Got Talent” (“IGT”), broadcast on Hindi-language entertainment television channel ColorsTV.
Making it easy to enrich the live broadcast with reliable, high-quality Skype contributions, whether from across the production facility or from across India, the STX-200 changes the way that the “IGT” fans, host, judges, and even the contestants can interact and engage.
Whether using a desktop Skype client or a mobile device, fans are able to connect with the ColorsTV reality show via Skype-to-Skype calls, group video calls, and instant video messages.
With the Skype ID “IGTonColors,” viewers can connect with one another and send questions to the show’s judges and presenters.
These users also gain access to exclusive “IGT” contests, highlights from the show, bloopers, and exclusive interviews with show participants.
Although these contests and group chats with judges and hosts drive further viewer engagement with the show, the most unique element of the show’s Skype usage is the way it is used along with Riedel’s STX-200 to enable creation of exclusive content and behind-the-scenes footage.
An engineering team from Riedel integrated eight STX-200 units with the Skype TX Studio system at the “IGT” production facilities in Mumbai along with the Riedel’s MediorNet Compact real-time media network and Artist digital matrix intercom system. Working with Skype and these Riedel systems, show producers can add new and original fan-focused content to the broadcast while continually ensuring the quality of that feed.
Together, the STX-200, MediorNet Compact, and Artist systems enable transport of program video with embedded audio from the studio to the production switcher and on to the control room, as well as flexible routing of signals to individual Skype users using Surface tablets and other smart devices to facilitate Skype calls between viewers, contestants, and judges. With this solution, the host might call contestants via Skype to let them know that they will be heading to the next round of competition, or show producers might arrange for surprise calls by family and friends to contestants in the studio.
With the STX-200, Riedel has created an elegant and economical alternative to the cobbled-together solutions often used to bring Skype audio and video into the production environment. Working with the Skype TX interface, a single operator in the “IGT” Skype control room can monitor and control all eight STX-200 units. The operator can preview and then monitor the quality of multiple calls, and if video quality levels drop below a set threshold, the STX-200 automatically reverts to a still image of the speaker. The STX-200 also prevents issues such as audio dropout and provides a clean feed of Skype calls, free from notifications, signals, advertisements, and pop-ups.
“Riedel systems are designed to excel in the live production environment, and the deployment of our STX-200, as well as our Artist and MediorNet systems, for ‘IGT’ has been another successful example of their reliability and ease of use,” said Lars Höhmann, product manager for MediorNet and Skype at Riedel Communications. “Our communications and networking solutions make it easy and affordable to bring the interactivity of the show to new heights.”
The new 314DI direct instrument box is designed to be a smaller version of the SC800CT Passive DI Box.
Switchcraft has added a pocket size DI Box to their line of AudioStix products, which have been in production for approximately a decade.
Applications include musical instrument connections and audio presentation interfaces.
The new 314DI direct instrument box is designed to be a smaller version of Switchcraft’s SC800CT Passive DI Box.
It is lighter weight and fits easily in guitar cases, tool boxes and pockets.
The 314DI converts the unbalanced output of active guitars, keyboards and other musical instruments with the line-level output to a balanced microphone level signal.
This signal can be connected to audio consoles, microphone preamplifiers and more.
The 1/4-inch feed through connector allows for connection to multiple devices such as an amplifier and a tuner, 2 amplifiers and many more combinations. Switchcraft’s DE Series locking male XLR connector provides a balanced, mono, microphone level output. Additional features include a ground lift switch and -20dB pad to enable the device to handle higher gain signals without distortion.
Switchcraft’s 314DI will be available at the end of November 2015.
UAD Software v8.4 features exclusive new plug-ins from Eventide and Marshall along with UA’s own Oxide Tape Recorder.
Universal Audio announces the release of UAD Software v8.4, featuring four exclusive new plug-ins for UAD hardware and Apollo interfaces — the Eventide H910 Harmonizer, Marshall Bluesbreaker 1962 and Silver Jubilee 2555 amplifiers, and UA’s own Oxide Tape Recorder.
Eventide H910 Harmonizer Plug-In — $249
Developed for Universal Audio by Eventide, the Eventide H910 Harmonizer plug-in is the first and only end-to-end circuit emulation of the mid-’70s processor.
From sci-fi sound design to pop music landmarks from David Bowie and AC/DC, the H910’s unique analog/digital circuit generated previously unheard combinations of pitch change, delay, harmonization, and modulation effects.
In developing this processor exclusively for UAD-2 and Apollo hardware, Eventide modeled the H910’s entire analog/digital circuit, including its custom-built A/D converter. This allows the H910 Harmonizer plug-in to retain the original hardware’s characteristic tone and dynamics.
Eventide H910 Harmonizer Plug-In Key Features: —Exacting emulation of the original H910’s analog circuitry, developed by Eventide, exclusively for UAD-2 and Apollo interfaces —Keyboard and MIDI control for instantly setting pitch ratios in semitones —Pitch change up to two octaves with signature ‘glitching’ effects
Marshall Bluesbreaker 1962 Plug-In — $199
Developed by Softube, the Marshall Bluesbreaker 1962 plug-in is an expert emulation of the ultra-rare 2x12 combo tube amplifier used on the highly influential 1966 album Blues Breakers with Eric Clapton. All Marshall plug-ins include UA’s Unison technology; Apollo user’s guitar pickups will see the exact impedance load as if they’re plugged into a vintage Marshall Bluesbreaker — a feature found only on Apollo audio interfaces.
Marshall Bluesbreaker 1962 Plug-In Key Features: —Authentic and licensed plug-in emulation of the classic Marshall Bluesbreaker 1962 combo amplifier —Unison technology for Apollo interfaces offers authentic tone, touch, and feel of original Bluesbreaker —Three different virtual microphone combinations — FET, Valve, and Dynamic —Onboard mixer features microphone level and pan —50 presets designed by AC/DC engineer Tony Platt
Marshall Silver Jubilee 2555 Plug-In — $199
Developed by Softube — and available exclusively for UAD-2 hardware and Apollo audio interfaces — the Marshall SIlver Jubilee 2555 plug-in is an emulation of this high-powered tube amplifier. With its flexible three-mode preamp section and dynamic distortion, it became a go-to for Slash, John Frusciante of Red Hot Chili Peppers, Alex Lifeson of Rush.
Marshall Silver Jubilee 2555 Plug-In Key Features: —Authentic and licensed plug-in emulation of the classic Marshall SIlver Jubilee 2555 —Unison technology for Apollo interfaces offers authentic tone, touch, and feel of original SIlver Jubilee —Two different virtual microphone combinations — Condenser and Dynamic —Onboard mixer features microphone level and pan —50 presets designed by AC/DC engineer Tony Platt
UAD Software v8.4 also includes the new Marshall Legends Bundle, featuring the Marshall Plexi Super Lead 1959, the new Marshall Silver Jubilee 2555, and the new Marshall Bluesbreaker 1962 — all for $399 ($199 upgrade price for current owners of the Marshall Plexi Super Lead Plug-In). Each Marshall amplifier features Unison technology for Apollo audio interfaces; guitar players will experience the exact gain staging and impedance* load as if they’re plugged into a vintage Marshall amp.
Oxide Tape Recorder Plug-In — $149
The Oxide Tape Recorder plug-in provides UA’s revolutionary magnetic tape emulation technology in a simple, affordable package — with all of the essential features.
Engineered by the same team behind the award-winning UAD Ampex ATR-102 Mastering Tape Machine and Studer A800 Multichannel Tape Machine plug-ins, Oxide adds the warmth, presence, and vibe of professional analog tape to any recording.
Customers who purchase the Oxide Tape Recorder plug-in are eligible for a special upgrade price to UA’s Magnetic Tape Bundle, which includes the feature-rich Ampex ATR-102 Mastering Tape Machine and Studer A800 Multichannel Tape Machine plug-ins.
Oxide Tape Recorder Plug-In Key Features: —Warmth, color, and punchy low-end response of large format analog tape machines —Musical tape saturation and circuit overdrive via simple Input/Output controls —Features 7.5 and 15 IPS Tape Speeds and two emphasis curves for colorful tape textures
Henry Juszkiewicz, CEO and chairman of Gibson Brands, states “The time for entirely new thinking in how microphones are designed, manufactured, and applied is overdue—not only to benefit professionals, but also to create products that improve the audio experience of all consumers.”
Since joining Gibson Brands, Neat has released their Bee Microphone line for professional audio applications and now, with more people turning to computers for voice communications, Neat is launching the Widget line for home and educational use.
The current lineup consists of three desktop USB mics that not only capture sound beautifully, but whose colorful looks also capture the imagination.
Skipper Wise, Neat Microphones’ president, came to Gibson Brands from Blue Microphones, which he co-founded with Martins Saulespurens. Together they introduced the Snowball and Yeti professional USB microphones to the marketplace.
Neat carries on that tradition for consumer-oriented, computer-based applications—“Widgets” plug directly into a computer’s USB port, bypassing the need for preamps, interfaces, and other complicated gear. Each Widget combines high-resolution, better-than-CD-quality audio performance (96 kHz, 24-bit resolution) with true plug-and-play operation for both Mac and Windows computers.
According to Wise ”Whether it’s a grandfather talking to his granddaughter, a long-distance relationship, or a business conference call, more and more people are using computers for communications—as well as taking dictation, capturing musical ideas, recording notes in class, or simply preserving audio memories. Widgets address those needs with the highest quality possible—these mics don’t just capture sound, but every syllable and emotion of a conversation.”
Juszkiewicz adds, “Neat is about creating the next generation of microphones—one that innovates from manufacturing processes to final look and feel. Neat’s products sound better, look better, and are simpler to operate. Even better, Gibson Brands understands that just because they’re making ground-breaking, serious products doesn’t mean Neat can’t have fun creating a brand and culture.”
Widgets are available for $99.00 starting on November 15, 2015 at retailers world-wide.
New plugin uses Parallel Detection technology and includes a Gate, Leveler, DeEsser, Compressor and Limiter in one interface.
Waves Audio is now shipping the eMo D5 Dynamics plugin.
The first plugin to use Waves’ Parallel Detection technology, the Waves eMo D5 delivers the power of five dynamics processors — Gate, Leveler, DeEsser, Compressor and Limiter — in one interface.
Thanks to Waves’ Parallel Detection technology, each of the five processors responds to the original signal and to each of the other processed signals simultaneously.
This lets users instantly control the total dynamic change introduced by the different processors, ensuring that the final sound achieves clarity without over-compression.
The eMo D5 also provides a combined gain reduction meter for the Leveler, Compressor and Limiter, making it even easier for users to monitor and control their levels.
The eMo D5 is a Swiss army knife for dynamics. With its single-page GUI, users will be able to set up a dynamically balanced mix with maximum efficiency, saving time by not having to open and tweak different dynamic plugins.
With its zero latency, low CPU consumption and pure sound quality; the eMo D5 is a natural for both live and studio engineers.
Waves eMo D5 features: —Five dynamics processors in one plugin —Gate and Compressor with dedicated HP/LP filters and an external sidechain option —Smooth Limiter with zero latency and sharp attack —Comprehensive DeEsser with pre/post-Compressor routing —C-weighted Leveler with an adjustable range —Zero latency —Low CPU consumption —Combined gain reduction meter for the Leveler, Compressor and Limiter —Fully compatible with touchscreens
According to Jensen’s chief technology officer Bill Whitlock: “When Deane Jensen first put his mind towards building the finest microphone amplifier possible, the development process began with the now famous 990 op-amp.”
“Part of the magic was maximizing the gain-margin so that no matter what the input, the lowest possible distortion would be realized. The unique design essentially cruises along in class-A mode and then transitions to class- AB only when pushed to extremes. In order to eliminate phase shift, all capacitors were removed from the signal path and replaced with servos.”
“The ‘unlimited bandwidth’ enables the design to reproduce signals from DC to light. He then added two of Jensen’s most robust transformers to the sauce in order to eliminate DC coupling noise and provide the necessary drive for long cables.”
“The end design incorporates two 990 op-amps cascaded in series, two servos and two Jensen transformers, thus culminating in the Twin-Servo name. One listen and you will immediately hear a bottom end response like no other with a smooth, natural rendering that extends from 0.2Hz to 150kHz. Working with the Radial design team, the Jensen Twin-Servo 500 has been faithfully reproduced following Deane’s original recipe and been adapted to fit the 500 series format.”
This 500 series version is able to deliver up to 60dB of gain. It features a convenient front-panel Neutrik Combo connector with choice of XLR and ¼-inch inputs, a dual-gang potentiometer for level adjustment along with a 10 segment LED meter for viewing. This is supplemented with a 180°polarity reverse switch that toggles the absolute phase, a gentle high-pass filter to eliminate excessive resonance, a -10dB pad, and a 48V phantom power activation switch.
Made and distributed globally by Radial Engineering, the 100% discrete design follows Radial’s high standards with all-steel construction, rugged powder-coat finish, a fully enclosed back box and dual-sided gold contacts for positive connection to the 500 series back plane.
The Jensen Twin Servo will be available in November 2015 and carries a MAP price of $999 USD.
Advanced users can take advantage of four brand-new vintage-inspired modules, designed to add analog character to digital recordings.
iZotope has released the latest version of their flagship mastering software, Ozone.
Ozone 7 is a set of mastering tools that enable both professionals and aspiring music producers to easily add a final level of polish to their mixes and audio recordings.
While retaining the workflow and precision audio processing of previous versions, Ozone 7 brings the best sonic characteristics of analog hardware to modern digital recordings.
The Ozone family of products includes both Ozone 7 and Ozone 7 Advanced, which includes additional features for gluing together a mix.
Ozone 7 Advanced users can take advantage of four brand-new vintage-inspired modules, designed to add analog character to digital recordings.
Additionally, the new Codec Preview feature lets Advanced users audition the effect of industry-standard codecs on their master, making it easier to make necessary adjustments before exporting for digital distribution.
Ozone 7 Vintage EQ
By starting with Ozone’s expansive collection of presets, pros and newcomers alike can quickly achieve authentic sounds in any genre. Through helpful visualizations and intuitive controls, the software aims to takes the guesswork and manual labor out of the mastering process, helping users experiment without fear of making the wrong sonic choices.
“Ozone 7 builds on iZotope’s reputation for superior sound quality and mastering tools,” says iZotope product manager Izzy Maxwell. “We’ve added new processing capabilities that honor all the aspects of vintage hardware that people love-warmth, saturation, character, richness-and reimagines them for the modern digital music production realm.”
Ozone 7 Key Features: —Vintage Limiter: Glue a mix together, control dynamic range, and add character —Vintage Tape [Advanced only]: Add the distinctive sonic characteristics of analog tape to modern digital recordings —Vintage Compressor [Advanced only]: Add subtle warming and sweetening effects with a single-band, program-dependent vintage compressor —Vintage EQ [Advanced only]: Add the richness, warmth, and color of analog equalization to digital audio —Maximizer with new IRC IV mode: Increase perceived loudness without pumping or distortion with the mode’s innovative new spectral shaping technology —Dynamic EQ: Now included in both versions of Ozone with improved features and optimized performance —A comprehensive bank of presets: Achieve authentic sounds for any genre and style and explore Signature Mastering Presets from Greg Calbi, the notable mastering engineer whose career spans from John Lennon to Bruce Springsteen to Lady Gaga and Tony Bennett —New export options: Encode mastered audio to MP3 and AAC formats
Ozone 7 runs as a standalone application, or as a plug-in in your audio editing software. Ozone 7 Advanced includes ten additional component plug-ins for direct access to individual Ozone modules in your host.
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