Friday, April 15, 2011

Tila Tequila Sex Tape of the Day

Delora Software's gbTouch--iPad control surface for GarageBand

"Delora Software's gbTouch is an iPad app that seamless integrates many pro-level control surface features into GarageBand (Mac OSX version). It offers full transport controls (including a "jog strip" for easy play position movement), track mute/solo/rec, track names, track volume faders, and color-coding to indicate whether the track is a "real instrument" track, or a "software instrument" track. It uses Wi-Fi to connect to the Mac, giving you the freedom to control GarageBand from anywhere in your studio.
gbTouch's multitouch UI automatically adjusts to your preferred orientation (landscape or portrait)."

Phoenix Audio DRS-2 2 Channel Microphone Preamp

"The DRS-2 is the culmination of over 40 years experience designing Class A circuitry within the Audio Recording Industry. The DRS-2 was the first bespoke product to be launched by Phoenix Audio (UK) in the U.K. in November 1999, and has enjoyed an almost "cult" following ever since. The Class A output stage (TF1) was originally designed by David Rees, the designer of the famous Neve 2253 Limiter and 2254 Limiter/compressor (amongst many other designs), as a retrofit for Neve modules, and the TF1 has now been superseded by the DSOP2 output stage.
The Class A, discrete, truly balanced, transformerless microphone input stage was designed to out-perform any transformer input for frequency response, yet has all the characteristics expected in a high quality Class A design, while the discrete, Class A, high input-impedance DI stage delivers a clearer, stronger and more defined and open sound that captures all the nuances and subtleties of your instrument."

Phoenix Audio DRS-2 2-Channel Microphone Preamp Features

  • Stereo 1U unit: With 240V/110V mains voltage input selector switch
  • Class A Output specs. See the DSOP2 Specifications!!
  • Outputs: XLR's and TSR 1/4" Jack on rear
  • Phoenix Audio's unique Class A, transformerless, True balanced Mic input stage.
  • Microphone inputs: XLR's on Front and Rear Panels
  • Individual Earth Lift: Push-button switches

Federal TV corp. AM-864/U audio compressor/limiter (Vintage circa 1954)

"The AM-864/U is a peak-limiting audio frequency amplifier for use in either AM or FM broadcast system installations where it can automatically control the maximum level of amplification while retaining the audio quality of the program source. The AM-864/U could also be used in recording or in sound systems where automatic level regulation was going to be a requirement. The input Z is 600 ohms balanced and the output is also 600 ohms Z balanced, which is normal for most broadcast audio routing. Five tubes are used in the circuit that is powered by 115vac. The rear chassis adjustments control the point at which limiting is started and also how much limiting is allowed. The large control on the front panel controls the amplifier gain. The panel switch on the left selects if the meter is going to monitor the attenuation level or the amplifier output. The AM-864/U is a high quality device that had multiple uses and apparently the U.S. Army did use them in many different applications. Dates from the mid-1950s."
The AM-864/U sounds amazing on kick, snare, bass, guitar and vocals. Recommend using an inline pad on the output as this unit has some serious output gain. 
Here's a link to the AM-864/U manual:

and a current ebay auction:

Universal Audio -- EMT 250 Classic Electronic Reverberator Plug-In

"Unveiled by EMT at the AES convention in 1976 and inducted into the TEC
Hall of Fame in 2007, the EMT 250 was the first digital reverberation device
to create ambience through a purely electronic system. With its single reverb
program and iconic lever-driven control surface, the EMT 250 is still an indispensable
tool within the record-making elite and is widely considered one of
the best-sounding reverbs ever made. Although only around 250 were built,
the EMT 250 has made an immeasurable impact on record making history in
the hands of studio legends like George Massenburg, Bruce Swedien, Allen
Sides and many others. Captured from Allen Sides’ unit at Ocean Way Recording,
endorsed by EMT Studiotechnik GmbH in Germany, and re-engineered
for plug-in use by EMT 250 creator Dr. Barry Blesser from his original
documentation, the UAD version of the EMT 250 goes beyond emulation and
is the very same algorithm found in the original units—for a fraction of its original
$25,000 price!
Besides the coveted reverb program, the EMT 250 for UAD provides the five
additional effects (Delay, Phasing, Chorus, Echo and Space) also included in
the original unit. Lighted pushbuttons select the desired program, while four
click-stop levers provide the primary reverb parameters of delay time, predelay,
and high and low Filtering. LED ladders provide additional visual reinforcement
of program selection and parameter positioning. Like the hardware,
the plug-in operates in “quad,” with two discrete stereo output pairs
accessed through the added front/rear output switch. Additional “digital
only” features include dry/wet mix, wet solo, reduced noise (if desired), and
hard bypass via the EMT power icon."

I'm a huge fan of UAD plugins and will do an in-depth review of the EMT 250 
showing actual use on a mix in the very near future.