Good things come in small packages

FMR Audio who has a reputation for making great sounding but reasonably priced gear has announced that they are releasing their RNC - Really Nice Compressor (now 18 years old) in a 500 series format. It retains the sound and features of the original but with some added touches. I remember the SuperNice Mode worked really well on background vocals.

From the website:

"As with the original RNC, the RNC500 can exhibit a sonic neutrality while giving the recordist a level-of-control difficult to obtain without adding unwanted artifacts. Unlike the original RNC, however, the RNC500 possesses a sonic "beefiness"—a growl, if you will—that adds a slight, but very compliant, bottom-end to the source material."
"...the main signal path (all dynamic audio processors have two paths: a sidechain/control path and the main audio path) remains firmly in the analog domain thereby avoiding latency and digital conversion artifacts that are sometimes unwanted. Coupled with a faster (40x) processor and higher-resolution (24-bit) arithmetic, sealed switches & relays, multi-layer printed circuit board (PCB) the RNLA500 will deliver smooth, controllable and reliable compression for years to come."

FEATURES:

• Single-channel, 500-series version of the RNC.
• Balanced input & output.
• Linkable for stereo operation.
• Maximum input/output levels of +28dBu.
• Overcurrent protection circuits safeguard 500-series rack operation
  in case of power supply faults.
• 24-bit arithmetic for smoother compression.
• SuperNice & Normal modes.
• Accurate signal level metering via power-saving "dot" gain-reduction display.
• Sealed, C&K subminiature toggle switches.
• Blue-anodized, machined aluminum knobs.


RNC500's Introductory price $299

FMR is also offering their RNLA (Really Nice Leveling Amplifier) in a 500 series format. Like the RNC500 it's not just a duplication of the original but they have enhanced the RNLA  to be as they put it even more "THICK, GOOEY, CREAMY & SMOOTH".

"The RNLA500 is, admittedly, much "gentler" and not as apt to grab'n'run with the signal as other, more "modern-sounding" compressors. Like an old-timey photocell, the RNLA500 is a little resistant to responding right away, but requires the signal to be there for a while to get the photocell to act. That slight hesitancy to respond is one of the key performance parameters that causes opto (and opto-like) compressors to be so coveted. Althought the RNLA500 is a VCA-based compressor, our algorithm controls it in a manner that puts the essence of opto-compressors in a more modern and controllable compressor."

FEATURES:

• Single-channel, 500-series version of the RNLA.
• Balanced input & output.
• Linkable for stereo operation.
• Maximum input/output levels of +28dBu.
• Overcurrent protection circuits safeguard 500-series rack operation 

  in case of power supply faults.
• 24-bit arithmetic for smoother compression.
• Linear & Logarithmic Release modes.
• Accurate signal level metering via power-saving "dot" gain-reduction display.
• Sealed, C&K subminiature toggle switches.
• Red-anodized, machined aluminum knobs.

RNLA's Introductory price $299

Here are videos (by Front End Audio) of the original RNC and RNLA. I will post videos of the new units as soon as they're available:

Analog summing with DAW-driven automation

Greiner Engineering Tools Sum.mation seems like a great choice for a summing unit because of its ability to be fully automated from within your DAW. It can also be used to automate an analog console by placing it on the channel inserts.

From the manual:

"In our continued effort to bring the classic "big studio" experience to the smaller project studio environment, we have designed sum.mation to take full advantage of the incredible control that DAW's have to offer, and combined that with superior analog automation circuitry, for a classic analog mixing experience at a fraction of the cost traditionally associated with this technology." 

FEATURES:

• 16 channels with left-center-right assign
• Unique stereo bus design with low noise & distortion + high current output
• Passive summing node output for experimentation with different amps (Neve, API)
• Cascade-able design
• Familiar stereo metering
• DAW-driven volume automation, powered by a plugin inside the DAW you already own and are already familiar with — no need to learn a new automation package or buy a new computer
• Balanced channel inputs & direct outputs for insertion into any existing console
• Super transparent, modern VCA design
• Infinitely expandable architecture
• Compatible with any hardware control surface that’s compatible with your DAW
• Works with your existing DAW automation — no need to buy another computer or learn a new, convoluted automation system
• Avoids inter-sample latency problems when mixing "in the box"
• Proven VCA technology as heard on countless hits mixed by top engineers, but with modern circuit upgrades
• Easy audio connection via industry-standard DB-25 connectors (stereo output on XLR)
• Simple USB connection — Mac & PC class-compliant (no drivers to install)

Specifications

• Frequency Response: 20Hz - 20KHz +/- 0.25dB
• Dynamic Range: 110dB
• Maximum Input Level: 24.5dBu
• Input Impedance: 48 kΩ
• Maximum Output Level: 27.5dBu
• Output Impedance: 50 Ω

Watch the video to see how the Sum.mation can be easily integrated into your workflow:

Price $2500

Another great EQ for your 500 series rack

Trident Audio said they will release a new TREQ 500 EQ based on the Series 80 console which was used on a lot of hit records from the 70's and 80's. Mix Magazine has a PDF brochure for the console here

I love the Trident sound (Ini Kamoze's "Here Comes The Hotstepper" was tracked on a Trident console) and anticipate the TREQ 500 being a big hit with many others in the audio field.

TREQ 500 FEATURES

• Four Band Eq
• Sweepable Mid Bands
• Lo Freq can be switched between 60 and 120Hz
• Hi Freq switchable between 8 and 12KHz
• Lo Mid sweepable from 100 to 1.5KHz
• Hi Mid sweepable from 1 to 15KHz
• 50Hz Hi Pass Switch
• Peak Overload LED
• Bypass Switch

It should be available by the end of 2013.

Price $599

via Sound On Sound

Tech Tues: Mixing Kick Drums with Dave Pensado

Here's another quick tutorial from Dave this time focusing on fixing/mixing kick drums.

What do you think of this EQ from IGS Audio?

IGS Audio is working on a prototype 500 series EQ called the OKC Rubber Bands 500.

It's not the first hardware equalizer to offer recall but the one knob/touch screen approach to control of the parameters is definitely different. I will try to get some more info from IGS regarding this EQ and post it in an update. In the meantime take a look at this video:

SoundToys now supports PT 11 plus Halloween deal on Devil-Loc Deluxe

SoundToys has announced that their plugins have been updated for full compatibility with PT 11's 64bit AAX format and in AudioUnits format for Mac OSX 10.9 Mavericks. The updates are free for all registered users.

They're also having a Halloween special on the Devil-Loc plugin which is $66 today only. The Devil_Loc is an interesting plugin that is described as a distortion compressor/limiter. While being simple to operate it offers various ways to manipulate audio and includes a mix knob for built in parallel processing.

Here's a video by Mitch Thomas of Soundtoys which shows the Devil-Loc being used on drums.




Get the demo here.

Do not install OS X Mavericks (10.9) if you use Protools

Avid says its products do not yet support Apple's latest OS update 10.9 aka Mavericks.

From Avid's support page:

"It is not recommended to use Media Composer, Pro Tools or Sibelius with Mac OS X 10.9 (Mavericks) as they are not supported at this time."

"The uninstaller for Pro Tools 10.3.7 and earlier will not work on Mac OS X 10.9. For this reason Avid does not recommend using Pro Tools 10.3.7 or earlier with Mac OS X 10.9 (Mavericks). PTSW-185438.
Increased -6101 errors with Pro Tools 11.0.2 and earlier using Built-In sound output on Mac OS X 10.9. Pro Tools 11.0.x may encounter AAE error 6101 and Pro Tools 10.3.7 and earlier may encounter DAE error 6101 when using the built in sound output on the Mac with OS X 10.9. This occurs with high frequency at HW Buffer sizes: 32, 64 and 128. It occurs with lower frequency at HW Buffer sizes: 256, 512 and 1024. This occurs with Error Suppression enable and disabled in the Playback Engine. The error message is, "A CPU overload error occurred." PTSW-186179."

Read the full page here.

I'm sure Avid is working on an update to resolve the issues.

Keep you posted.

AES 135th New gear announcements - Part 3

Yesterday was the final day of the AES 135th Convention. Here are some more gear features.

ELECTRONAUT M97

The look of the Electronaut M97 is stunning and if it sounds even half as good as it looks it will be highly sought after by sonic aficionados. The M97 is a Vari-Mu design but it has some unique features. Price TBA.

From the press release:

"Electronaut set out to design a new variable-mu compressor with no regard for the specific character of other historical variable-mu compressors..... a compressor whose capabilities were as good or better than the state of the art, and whose features provided improved usability and a more enjoyable experience."
"The M97 vari-mu stage is arranged as four quadrants, each consisting of three tube sockets: one 9-pin wired for 6386 tubes, and two 7-pin wired in triode-mode for 6BA6 and equivalent tubes. Each quadrant has a switch that configures the 7-pin sockets for either 6V or 12V filaments. This gives the user maximum flexibility and provides the choice of which tube type to use in each of the four sections, allowing a myriad of possible combinations."
"Electronaut designed a very low distortion sine wave generator, and a high-precision notch filter. When the Tone/Notch switch is engaged, the tone is injected into the input, the output is routed through the notch filter, and any residual signal (THD+N) is displayed on the meter. Balancing the compressor simply involves turning the balance control until the lowest distortion level is displayed. (The output is muted whenever the Tone/Notch is activated.)"
"Electronaut designed a high-voltage detector circuit that essentially converts the dB meter to a voltage meter, with a 1-percent per-step scale. If the meter is set to “B+” mode, a perfectly calibrated power supply will display a level aligned to the top center “0″ position. Each step above or below this position corresponds to a 1% error from the target 325V specification. It’s best to keep the power supply calibrated to within +/- 5%, and this can be checked effortlessly by switching to the B+ meter mode."

M97 Features

• Single Channel but stereo linkable when using 2 units
• Heavy duty Single Stage Vari-Mu design
• Can accommodate multiple tube types
• Unique display meter based on Dorrough Electronics shows input, attenuation, output gain reduction and B+ supply voltage
• THD+N measurement built in
• Tone/Notch switch used to calibrate distortion levels and verify compression ratios
• Variable knee/slope
• Separate Attack, Release knobs
• 120Hz HPF Filter switch
• 3-way Bypass switch
• Input Attenuator Knob
• Function switch to select stereo link modes
• No capacitors in signal path

Neve Genesys Black

AMS-Neve has announced an updated version of their Genesys console. The Genesys Black is a

digitally controlled analog console that integrates with your favorite DAW.

For those who like the look and feel of an analog console but lack the space for a large frame mixing desk this is a good option. The integrated screen and DAW control is a definite plus.

From the website:

"The Genesys Black includes legendary microphone preamplifiers and highly revered analogue circuit design. The extensive digital control and connectivity puts Genesys Black at the creative heart of your studio. It offers 8 channels of mic/line preamps, 16-channels DAW/Tape monitoring, hands-on DAW control for Pro Tools, Nuendo and more, 8 channels of Neve 4-band EQ, 8 channels of Neve VCA dynamics and A/D/D/A conversion via MADI, AES and FireWire formats..... A central touch screen, 8 auxiliary buses, 8 group buses, 2 main outputs, 4 effects returns, comprehensive metering, 5.1 monitoring, 2 cue mixes, talkback services and an integrated footprint with internal power supply..."

Rumored price $19,995.

SSL Matrix²

SSL has also updated their Matrix small frame console/DAW controller to the SSL Matrix².

From the website:

"Hardware device inserts can now be loaded directly from the console hardware controls (previously this was done only via the remote browser software) with an intuitive new interface that facilitates loading individual processors, A/B comparison of different processors and building processor chains. The Matrix remote browser software has also been re-designed to provide a new ‘drag and drop’ style interface for loading processors and building chains. A powerful 'Fader Linking' system has been added to the console which allows two or more faders to be grouped, to facilitate stereo or 5.1 channel control or subgroup style mixing. The A-FADA (Analogue Fader Accesses DAW Automation) summing system used in Duality, AWS and the new SSL Sigma rack has been introduced to enable the analogue faders of Matrix2 to be driven by automation data from your DAW. A-FADA enables channel automation to be performed entirely in the analogue signal path but with the advantages of DAW automation data editing. The addition of A-FADA to Matrix² facilitates project portability between different SSL products. The previously optional 5.1 output card will now be included as standard pre-fitted in all units.

A collection of smaller new features have also been added including; 'partial TR setup save & import' which allows selected parts of the console setup to be saved and imported as setup templates, new Preset insert matrix 'scenes', Preset insert naming tools, "automatic dB readout" for Pro Tools users (allowing the scribble strip to automatically display fader values upon touch), modifier key 'press and hold' functionality for Cubase/Nuendo users and new DAW templates for Presonus Studio One and Ableton Live!"

SSL will make all the new features except for the 5.1 card a free update to all existing customers.

Available December 2013

Empirical Labs Fatso EL7x

Another popular unit that has been updated is Empirical Labs Fatso. I'm a big fan of Dave Derr's products and have used both the hardware and plugin version of the Fatso ( I also like the Distressor and Lil Freq.) If you own the original Fatso it can be updated to the new version.

"ELEVEN is a new compressor for the Fatso, replacing the old GP Ratio, and emulates the famous UREI 1176LN in 20:1, with the slowest attack, and fastest release. This 1176 setting has been used on countless hit records through the decades. With the slower “1176” attack, the transients keep the dynamics present, while the high ratio, can radically limit the dynamic range of any source, making it present and sitting in a nice little place in your mix. One can slam it, or just touch it with a few dB of compression. You will find it great on Vocals, Bass, acoustic guitars, drum room mikes, pianos etc..... ALL existing older “Fatso Jr’s” can be modified to change the GP ratio to the new ELEVEN ratio. In addition, all Fatsos shipped from Empirical Labs since June 2013 have had the ELEVEN ratio already installed in the circuit, under the GP ratio, so if you bought a Fatso recently, you probably already have the equivalent EL7-X circuitry."

NEW FEATURES

• A new ratio “Eleven”, which emulates a favorite classic compressor setting.
• New Two Color Front Panel
• Improved Logic
• Separate TRACKING LED, more intuitive display.
• Backwards stepping when a front panel button is held.
• New extended stereo link functions. More choices of how to lock compressors.
• Cooler running Logic Circuitry, resulting in an overall cooler operating temperature.
• Improved overall noise floor, due to lower logic power consumption.

Here are videos of the original Fatso hardware and the UAD software versions:

AES 135th New gear announcements - Part 2

The AES 135th Convention continues today through Sunday. Here's some more gear that's being shown there.

PHOENIX AUDIO - NICERIZER JUNIOR

The Nicerizer Junior from Phoenix Audio (Booth 3157) is based upon their Nicerizer 16 which is a "2U 19″ rack mountable 16 input and 4 output Summing Mixer, that can be stacked and linked in any multiple and various configurations to give high quality, line-level, Class A, discrete buffering, summing and mixing."

FEATURES

• 16 channels of our Class A, discrete, truly balanced transformerless input stage.
• Our proven and loved Class A, discrete, transformer balanced output stage (DSOP-2).
• Individual pan control for each channel with detented/steppd pots for extra control (16 x Pan pots)
• 16 x Balanced Input via D-sub inputs, wired as Tascam DA88 standard. Can accept balanced or unbalanced input with no -6dB loss.
• 4 x mix busses (Stereo Mix Bus)
• +8dB Boost button on each channel.
• Master mix bus output level control.
• Switchable for each channel and Main Output
• Main Outputs on Balanced XLR’s
• Maximum Output Level of +26dB.
• Huge headroom available on all channels.
• All units are wired with PTFE silver military grade cable

SKNote VASTASO

I have to admit I'm not very familiar with the company SKNote but the look and features of this unit piqued my interest. The Vastaso is described as a "stereo compression and distortion unit with sidechain EQ and external sidechain input". I can see using this as part of a DAW/Summing chain and also for tracking. A great way to add life to sterile sounds.

FEATURES

- 12 stereo compression models (opto to vintage to modern)

- 12 stereo distortion modes (linked to compression)

- stereo with a single set of controls

- balanced inputs/outputs

- analog-computing modeling

- internal sidechain EQ (highs and lows)

- external (line level, balanced) sidechain input

- 16 VCAs inside

- feed-forward and feed-back compression

- limiting

- peak and rms detection

- special compression modes

- huge needle meter for compression

- bi-color led indicator for distortion

- 3 rack units

Special AES 2013 introductory offer: $999 (+ VAT, taxes, shipment)

Slate Digital's VIRTUAL MIX RACK

Slate Digital has announced the VIRTUAL MIX RACK which should be available to purchase in January. Price TBA.

NEUMANN TLM 107

The TLM 107 is the latest microphone from Neumann (MSRP $1700). It uses a novel approach when changing mic settings "... all of the microphone switch functions are controlled through an elegant, wear-resistant navigation switch. The contemporary, intuitive operating concept includes an illuminated pattern display in the chrome ring, with the Pad and Low Cut status LEDs positioned to the left and right. The switch and display are located on the rear of the microphone so as to not distract singers. After 15 seconds, the display is turned off automatically, allowing the TLM 107 to be positioned discretely on the stage."

FEATURES

• Multipattern large diaphragm microphone with 5 polar patterns (omni, wide cardioid, cardioid, hypercardioid, figure-eight) 
• Navigation switch with LED illuminated display for polar pattern, PAD and low cut 
• Sound characteristics: transparent, natural reproduction of human voice, outstanding transient response 
• Balanced sound in all 5 polar pattern settings 

 

CRANESONG SYREN

Dave Hill of CraneSong ( I am a big fan of their HEDD 192)  is a person who needs no introduction in the audio world and he has announced the impending release (Dec./Jan) of his newest offering the Syren 500 series Tube Mic pre.

To be continued.....

AES 135th New gear announcements - Part 1

The AES 135th Convention is in full swing at the Jacob Javits Center, New York. For those able to attend its gear heaven, workshops on many different audio related topics plus you get to meet the people behind some of your favorite gear.

Here's some of the new products that have been announced for AES:

BetterMaker EQ 542.

FEATURES

• Stereo Parametric section, two paramtric filters offered in combined, matched stereo.
• High pass section, 24 dB/oct filter with selectable frequency
• Low pass section, 12 dB/oct filter with selectable frequency
• Full digital recall with 399 cells for your own presets.
• USB link to use the EQ’s just as you would use a plugin, including Automation.
• Free AU, VST, RTAS, (AXX soon) 32 & 64 bit plugin controller
• Steel screen isolators for maximum separation of digital and analog sections
• You can connect up to 99 EQ542′s to one D.A.W. and control them with dedicated plugins.

Check it out at AES New York. TransAudio Booth no. 3132.




Now there's no excuse not to have a 500 series rack. Lindell Audio has announced a 3 slot 500 Series power supply for only $279?!!.

Lindell 503 - 3 Slot 500 Series power supply

FEATURES

• 800mA of power per slot
• Gold plated XLR inputs and outputs
• Built in no noise Universal Power Supply: 90-250V
• Overload protection
• Short circuit protection
• Power rail led indication
• Aluminum cabinet
• Lightweight
• Steel M3 threads
• Comes with a neoprene gig bag

There's also a 506 and a 510 ($549 for a 10 slot is insane!!)

API has announced a brand new console called THE BOX.

FEATURES

• Two (2) input channels with mic/instrument/line preamp, HP filter, & integral 550A EQ
• Two (2) input channels with mic/instrument/line preamp, HP filter, & 500 slot
• Two (2) compressors assignable to input channels or program bus with stereo link
• Sixteen (16) summing channels (20 channels during mix)
• Stereo program bus with master fader, insert, and external input
• One (1) stereo and (2) mono auxiliary sends/buses
• Stereo cue send/bus & headphone system
• PFL, AFL, and solo-in-place solo modes with stereo solo bus
• Full-featured monitor section that supports two stereo monitor systems
• Talkback system
• Comprehensive rear panel connections with balanced inputs and outputs
• Integrated power supply

Rupert Neve Designs(RND) Shelford Series.

Shelford 5051 - Inductor EQ / Compressor

Shelford 5052 - Mic Pre / Inductor EQ

That's it for now I will do another post tomorrow on some of the other exciting new gear announced for AES.

Smart Research celebrates their 25th anniversary with the C1LA

A lot of engineers/producers will be thrilled to hear that the Smart Research C1 is now available in a dual channel 500 series format called the C1LA. It can be used as a stereo unit or in dual mono. Those familiar with the original SSL G Buss Compressor (or the plugin emulations from Waves and UAD) will recognize the layout immediately.

There are additional controls and settings not available on the original that adds even more sonic possibilities to the C1LA.

Smart Research was founded by Alan Smart who has extensive experience in the audio field and his client list reads like a who's who of recording artists, producers and studios.

From Vintage King's website:

The Smart Research C1LA is a two channel compressor/limiter, released to commemorate the 25th anniversary of the original C1 Stereo/Dual Mono unit, and the 50th anniversary of North American distributor, Sunset Sound. It is a versatile unit, housed in a two-module wide 500-series format, with three main modes of operation offering a range of possibilities. It can be used for all stereo or single channel signal applications: as a main mix bus compressor; for sub-mixes; or for tracking either mono or stereo sources.

For 25 years Smart Research compressors have been used across many mixes: with artists as diverse as the Rolling Stones to the Three Tenors. The C1LA shares this history by including the same electronics and settings as the original C1, but with several new features.

A Tri-Mode C1
Each channel can either be used independently, or in Stereo mode both are summed into the side-chain to eliminate any image shift. The C1LA also has the ability to DC-Link the side-chain signals in Stereo mode, allowing for more movement, while still preserving the stereo image. And for those who prefer to compress both sides of a mix without linking: when operating independently both channelʼs controls are ganged.

Mix Glue
The essence of the sound is determined by its dynamic performance: the way it reacts around transients creating its signature. In many situations, best results can be from medium-slow attack; and medium-fast release settings: passing transients present in a signal, while the compression law and timings then played out as the side-chain reacts and recovers both controls the overall levels and adds ʻpunchʼ as the transients are shaped. The ʻSOFTʼ mode in the C1LA also adds a new compression curve, acting not just at the threshold knee point, but across a broad input range of about 15dB.

Features:

• 3 operating modes: Independent/ganged; Stereo linked/Sum; and Stereo Linked/DC
• Metering options: Input, Output, (VU) and Gain Reduction (PPM) for L & R Channels
• 3 side-chain filters : 65, 130, or 205Hz
• Automatic distortion null circuitry
• Normal and half-threshold ranges
• ʻSoftʼ compression curve reshapes a 15dB range
• Total of 12 Attack and 12 Release settings
• Total of 4 ʻAutoʼ settings
• Dual, balanced bantam jacks for external side-chain inputs
• All settings and circuitry from original C1 Dual/Stereo Compressor

Sold exclusively at Vintage King Audio for $1750

API Vision Channel Strip Plug-In for the UAD-2 platform

The name API is synonymous with great sonics and UA's new API Vision Channelstrip for the UAD-2 platform is no exception. It's included with the UAD 7.3 software update which I downloaded and then tried the demo on a mix I was doing.

(Tip: Its a good idea to have a clone of your system drive to test new software/updates etc. so if there are any crippling issues you're not left with a non-working system.) 

Within a few minutes I was able to get a sound I liked and I can see adding this to my list of must have channelstrip plugins. (I use the UAD SSL E and 88RS religiously.) It comes with tons of presets to get you started and here's an actual setting I used on a mix. I added sheen, midrange presence and low end without boominess plus some sonic glue with the compressor section. (The compression is a bit drastic but sounded great.)

Features

• Faithful channel strip emulation from API's flagship Vision analog console
• Comprised of five distinct modules: 212L Mic Preamp, 215L High/Low Cut Filters, 235L Gate/Expander, 225L Compressor/Limiter, and 550L 4-Band Equalizer
• Models custom 2520 API op-amp and transformers with circuit nonlinearities
• Allows recording in real time via Apollo interface (sub-2ms latency) and/or mixing workflows via UAD-2 hardware
• Offers more than 70 artist presets from Joe Chiccarelli, Neil Dorfsman, David Isaac, Nathaniel Kunkel and John Paterno

Take a look at this video review from our good friend Russ Hughes over at Protools Expert. He explains each section of the API Vision and shows it in actual use:

Cost $299 on UA's website. 

NOTE: At the time of posting the 7.3 update is temporarily unavailable on the website. Hopefully it will be back up soon.

Elysia's MUSEQ EQ Plugin

Elysia has announced the plugin version of their revered Museq Equalizer.

"The Museq plugin has all the original sound and functions the hardware is known and loved for, including the outstanding high/low cut filters with resonance and the Warm Mode sound shaper... it also adds some powerful extras, like the integrated M/S matrix for mid and side processing, the possibility to link both channels for more convenient stereo operation, and dedicated output level controllers for adapting your settings to the available headroom."

Features:

Resonance High & Low Pass Filters
The outer shelving filters can be switched into low and high pass filters which feature an additional resonance peak as a very useful specialty.

Parallel Filter Design
A special circuit trick makes it possible to leave the high and middle frequencies completely untouched when using the high and low pass filters.

Warm Mode
The museq offers a second, switchable sound flavor by altering its frequency spectrum, harmonics and transient response.

Pure Transparency Path
The puristic design of the filter stages with current feedback amplifier stages and without any coupling capacitors results in an outstanding sound quality.

Boost/Cut Mode
The boost/cut switch generates twice the number of values to be set with the 23 step potentiometers than the usual -/0/+ arrangement would offer.

Switchable Filter Quality
The filter quality can be switched from a wide to a narrow Q factor which remains independent from the setting of the gain controller.


The Museq's sonics and feature set makes it a great tool for mixing and mastering.

Here's a video demo of the Museq:

The Museq can be purchased at Plugin-Alliance.com for $249. Check out their Dynamic Bundle Offer and save up to 50% off on multiple plugins.

Tech Tues: How To Mix Rock Guitars and get them WIDE!

Here's another great ITL from Dave (#86) showing how to get wide sounding guitars. Even though it's tailored to guitars these tips can be used for other sounds as well. If you come up with something cool or have some tips of your own let me know.

Vermona DSR-3 Dual Spring Reverb

Looking for a great sounding rack mount Spring Reverb?  Then take a look/listen to the DSR-3 Dual Spring Reverb from Vermona. The DSR-3 is based on the highly acclaimed Accutronics Reverb and is actually their fourth reverb. 

The other three are the RetubeVerb which is valve based;

the RetroVerb Lancet which is a desktop unit; 

and the VSR-3 which is a simpler rackmount unit.

"The DSR-3 - dual spring reverb - is a professional spring reverberation unit for use with stereophonic sound sources. Besides this function, the unit offers additional parallel and serial operational modes for advanced and creative applications....."

The DSR-3 has very flexible routing and a D.I. (instrument) input. The reverb can be turned off if needed with the effect stop switch but still retain the tone/color of the unit.

FEATURES:

• STEREO for the use with stereophonic sound sources. For perfect channel matching, the first SPRING REVERB channel's physical controls are used to define both channels settings.
• DUAL MONO for use with two independent sound sources. Each DSR–3 channel works as an independent unit.
• SERIAL for experimental reverberation effects. Here, the first SPRING REVERB channel is fed into the second channel. This allows creation of long lasting reverberation tails.
• Balanced and Unbalanced I/O
• Bass and Treble controls
• Hand matched high quality Accubell reverberation springs
• D.I. Input

SPECIFICATIONS:

• max. input sensitivity: -14 dBu
• max. input level: +20 dBu
• output impedance
  • TS front: 1 MΩ
  • TS rear: 100 kΩ
  • XLR: 10 kΩ
• max. output level: +20 dBu
• output impedance: 600 Ω
• signal-to-noice XLR
  • direct: 90 dB
  • effect: 65 dB
• EQ
• bass: 40 Hz / ±13 dB
• treble: 7 kHz / ±22 dB

There's a review on bonedo.de. It's in German but you can read the the English Translation here. There is an audio example on the right side of the page that gives you an idea of the DSR-3 sound.

The DSR-3 will be available in October 2013. Price TBA.