Each preset has a custom macro layout showing the most salient controls for the task at hand.
Advanced users can build their own layouts and move modules around in the signal chain to customize the processing.
For both recording, mixing and post-production duty, Alloy includes six modules: Equalizer, Exciter, Transient, Dynamics, De-Esser, Exciter, and Limiter.
As you might expect here, I cannot possible get into all the processing possibilities but a short list would run from tube, transistor and tape saturation, opto compression, multi-band limiting, to ducking and gating effects, three-band transient shaping, dessing, and side-chaining compression.
Alloy is compatible with VST, AU, RTAS/AudioSuite, MAS and DirectX hosts.
More at www.izotope.com
MUST-HAVE HARDWARE!
JoeCo BlackBox
The JoeCo BlackBox recorder answers a big wish amongst a lot of live sound engineers—a simple, none computer-based system to record multi-channel live music.
It’s a one-rack-space unit that records 24-tracks of audio up to 96 kHz sample rates to connected USB2 hard drives.
This is a ‘dirt-simple’ box that locks to timecode and has -10 dB/+4 dB switchable DB25 I/O connectors on the back, and a 24-channel level meter on the front.
A common 500 GB drive will hold 20 hours of 24-track 96 kHz audio in Broadcast WAV file format and you can link additional BlackBoxes for as many tracks as you need.
The individual tracks are automatically labeled for editing and mixing later and are accessible for playback or recording from the front panel without any computer interface required.
More at www.capturingperformance.com
Music Streamer Pro
Also in the simple and easy category is the USB playback unit from High Resolution Technologies called Music Streamer Pro.
This cigar-sized unit has a USB 2.0 jack at one end and two mini-XLR output jacks at the other.
It’s powered from the USB port and, as soon as you plug it in, you’ll be streaming out up to 24-bit 96 kHz audio out the balanced outputs.
The unit self-installs and fully supports both adaptive and asynchronous transfer modes for jitter performance that exceeds conventionally connected bi-phase converters.
More at www.hirestech.com
Audio-Technica AT4080 & AT4081 Ribbon Microphones
Audio-Technica unveiled two new ribbon mics, with both the new AT4080 and AT4081 bidirectional active ribbon microphones utilizing a hand-built, proprietary design.
Since they are phantom powered, there is not the usual worry with other ribbon mics about zapping them or the requirement of any special mic pre-amp or input impedance.
The AT4080 looks like an old-time ribbon mic with a rounded top and is recommended for vocals, horns, strings, acoustic instruments, drum overheads, orchestras, ensembles and guitar cabinets.
The AT4081 has a futuristic ‘wand’ look that you might think is a pencil condenser. It is recommended for strings, saxophones, horns, acoustic instruments, drum overheads, orchestras, ensembles and guitar cabinets.
Both of these mics are very glamorous looking and for studio and live sound.
More at www.audio-technica.com
Dangerous Music BAX Equalizer
Everything Dangerous Music makes is always great sounding and the Dangerous BAX is their first standalone equalizer unit.
This one-rack-space two-channel unit is a mastering/mix bus shelving EQ “inspired” by the classic design of P.J. Baxandall.
The sound of this EQ reminds me of the tone controls on my dad’s hi-fi—big and broad Q filters that seem to sound better and better as you crank them up.
I liked that the left and right channel 12 dB/octave boost and cut controls for both the high shelf and low shelf filters are next two each other so you can equally set them visually for a stereo mix.
You get seven frequency choices for each filter and up to 5 dB boost/cut in 1/2 dB steps—perfect for repeatability.
More at www.dangerousmusic.com
Tascam HS-P82 Recorder
The Tascam HS-P82 is an eight-track field recorder for music, television and film production.