Kush Audio's Clariphonic Parallel Equalizer

Instantly & effortlessly add pristine analog focus, detail, clarity, and air to any sound


"The Clariphonic Parallel Equalizer is a mastering grade, parallel shelving EQ matrix with a new filter shape that allows a single band to lift both the top and the bottom, simultaneously but asymmetrically. To my ears the top gets lifted at about a 3:1 ratio compared to the bottom, but I have yet to test it to see what the proportions actually are.

The signal path is super minimal --- it's primarily a capacitance network made up of Wima and Panasonic caps --- but the switching architecture is extremely cool and allows for a lot of new possibilities. I wanted to create an eq that was artistic and right-brain in nature, to get you to think about sound in terms of textures and colors rather than numbers.

To that end, there are 2 engines per channel, the Focus Engine and the Clarity Engine, each of which can have 1 active band. I call them engines because they work on both ends of the spectrum despite being a single band. Anyway, there are 4 unique bands to choose from in each engine, each with its own slope and corner on top and bottom. So essentially it's a dual channel 2-band eq that behaves like a 4-band hi/low eq, with 8 available filter shapes per channel which, because of the switching network, can be configured in 16 possible combination's.

Sonically, the filters are insanely smooth up top and do crazy cool things to the bottom, but the general idea is tighten/define the lows and lift/open the top with minimal coloration or phase smear. Each engine does that in its own way.

The Focus Engine is more of a broad push that totally clears the mud from sounds, lifts them up and forward, and can be aggressive at max boost but is always easy on the ears; combined with the tight-ass lows it brings a new level of detail and immediacy to the picture.

The Clarity Engine works further out in the spectra, with the highest band's corners being somewhere in the 40hz area on the bottom and the 40k range up top (!). I've never heard air or shimmer like it. You have to be careful, the top on the Clarity Engine is like crack, it's highly addictive and really easy to do more than is wise because it always sounds good, it just takes the lid off the sound and opens it up. Use with caution!
But it gets better
When your signal comes into the Clarity Control, it is passed full bandwidth to the output. It is also multed to each of the bands, and you use the gain control of each engine to blend that band in parallel with your original signal via an internal mix buss. This is very different than your typical console and channel eq's, which pass your signal thru each band in series, with each band doing its thing on the phase-altered signal of the band before it.

The parallel mix architecture means the phase coherence of your signal remains completely intact, and the bands are blended in behind it. The effect is kinda holographic and super tight, no hash or harshness at all.

What's really cool is that the full range signal and each engine all have their own mute switches, so you can listen to just one or both filters in isolation and hear exactly what you're grabbing. You can also leave the full-range killed and bring the Clarity Control back in parallel on your own console, where you can compress, saturate, or otherwise play with the high and low freqs as their own entities. The creative possibilities here can't be overstated. "

http://www.kushaudio.com/kush/clariphonic/index.html

Tube Equipment Corporation Model SR-71 "Blackbird" Compressor/Limiter

Weighing in at 44 pounds, 
the Tube Equipment Corporation Model SR-71 Blackbird is a Dynamic Mu™ stereo compressor/limiter using the original Fairchild 670 design with modern components. It has compression character highly reminiscent of the 670 with flatter high frequency response owing to Sowter Mumetal-core input transformers, which we really like. It also employs faster release times for modern percussive material, output controls, the "DC Threshold" (Ratio) control relocated to the main panel and a true hardwire bypass. We think these enhancements provide a more versatile product.
With twin 15 watt tube amps driving the sidechains, much like both the venerable 670 and SR-71's renown Mach III aviation namesake, it's very fast.

Drobo - 4 Bay FW800 & USB 2.0 Storage Array

No Headache Data Redundancy

Drobo utilizes a revolutionary storage technology that makes it simple for anyone to use, yet is powerful enough for business. Once you experience the power of Drobo, the idea of keeping multiple external drives or a RAID 5 array will seem as antiquated as that 28.8Kbps modem in the back of your closet.

Incomparable Expandability

Your library of data grows every moment. Now, your storage solution expands in seconds, too. Drobo holds up to four hard drives, can expand at any time, and supports up to 16TB on a single volume as disk sizes increase. Choose how big you want your Drobo today with any combination of drives capacities.

Speed Demon: FireWire 800 & USB 2.0

Why compromise? Safety and accessibility now go hand in hand. Experience Drobo with both FireWire 800 and USB 2.0. It's the data protection and peace of mind you need with the performance and interface you want.

List $399

Amazon beats Apple, Google to music storage, streaming service

"There are plenty of cloud storage services to choose from, but there are few that are particularly good. Amazon hopes to become part of the latter group with the introduction of Amazon Cloud Drive, a consumer-oriented service that allows users to back up their local music libraries and play them remotely from anywhere via the Web or Android device.

According to Amazon, all US-based Amazon customers automatically get 5GB of Cloud Drive space where they can upload their music libraries. The files must be unencrypted AACs or MP3s, and they can be uploaded at their original bit rate. Those who purchase an album from Amazon's MP3 service get the sweetest deal, though—20GB of space—and all new MP3 purchases will be automatically copied to your Cloud Drive without counting against your storage quota (you can still download the MP3s, too)........"

http://arstechnica.com/media/news/2011/03/amazon-beats-apple-to-music-storage-streaming-service.ars

Broadcast from anywhere with Luci Live for the Mac

Homegrown broadcast journalism just got a little easier. Software company Technica Del Arte has brought its popular iOS broadcasting software, Luci Live,to the Mac.

Luci Live turns mobile devices, like laptops or smartphones, into portable recording studios. Using the software, journalists can record, edit, and then stream HD video or audio content from anyplace with a Internet connection, to their studios back home. The reporters can also use Luci Live to do live broadcasts, where they can simultaneously stream recorded content along with their live commentary.

In recent weeks, various television and radio reporters have flocked to cover the events in Egypt, Japan, and Libya. Due to the current technological problems in those countries, reporters have been using their laptops and smartphones to broadcast field reports. Software like Luci Live is what makes such broadcasts possible.

Like its iPhone and Windows counterparts, the Mac Version of Luci Live supports two-way RTD and UDP low-level streaming, as well as one-way Shoutcast/Icecast streaming. It also supports AAC, AAC-HE, AAC-HEV2, G711, G722 and ULC output codecs.

The Mac version of Luci Live costs $450, and requires Mac OS X 10.6 or later.

http://www.luci.eu/?page_id=15

Golden Age COMP 54

The COMP-54 is a one-channel vintage style Compressor. The signal path uses only discrete components like resistors, capacitors and transistors. The line input and output are transformer balanced and the unit also has a third interstage transformer. The class-A circuit used in the COMP-54 is similar to the one in the classic 2254 compressor that was designed in 1969. It quickly became a legend due to it´s totally unique sound character that is warm, smooth, sweet and musical. These characteristics have been heard on countless recordings through the years and it is a versatile sound that works very well on most sound sources and in most genres. The essence of this sound is now available at a surprisingly low cost, making it available to nearly everyone. The COMP-54 uses a diode bridge as the gain control element, a method that is revered for its smooth way of operation. Some of the most sought after vintage compressor designs, like the 2254, 2264, 33609, Siemens™ and EMI™ used the same basic design. The controls in the COMP-54 are very flexible covering broad ranges of Ratio, Attack and Release times, including two Auto positions. All controls except the Gain make-up one are stepped for easy resetting and stereo matching. There are three selectable sidechain high pass filter frequencies available to handle special situations. The Bypass switch is a true bypass where a relay switches the complete circuitry in or out. The IN/OUT switch makes it possible to switch the compression on and off while retaining the coloring from the transformers and the electronic circuitry. The meter can show output level or gain reduction. It is also possible to link two units for stereo operation.

API 527 Compressor/Limiter

The API 527 takes it's place alongside the family of API VCA based compressors, the 225L and the 2500 Stereo Bus Compressor. Anyone familiar with those units will immediately be at home with the 527. Features common to the line like "feed forward" (NEW) and "feed back" (OLD) gain reduction methods selectable on the front panel, provide a choice of "that old way", or "the new way" of compression, for the highest level of flexibility in signal gain control. The "old way" or Feed-Back method is what most of the classic compressors used for the gain control circuit. The "new way" gain reduction is more typical of the newer VCA type compressors that rely on RMS detectors for the gain control voltage.

There is a "SOFT"/"HARD" switch for an "over-easy" type compression resulting in a very natural, uncompressed sound or a typical sharp knee type that lends itself to a much more severe limiting effect.

The Threshold control sets the initial operating parameter. The 527 can be operated with signal input levels from +10 dBu to -20 dBu.

The 527 features an Output fader control that ranges from minus infinity to +10dB, and output capability is +28 dBu through our 2520 discrete amplifier and a large API output transformer. The output level remains fairly constant regardless of the threshold or ratio control, much like the "more/less" Ceiling control on the API 525 compressor. This allows for live adjustments without any noticeable gain changes in the program level.

The patented THRUST function can be switched in and out via the front panel as well, applying a high pass filter before the RMS detector circuit that preserves that punchy bottom end.

Attack and Release are fully adjustable on the 527. Release time can be adjusted by rotating the inner concentric RELEASE knob. Release time constants: .3 sec to 3 sec. Attack time is adjusted on the outer concentric ATTACK knob, which ranges from 1 millisecond to 25 milliseconds.

The 527 is designed for individual channel use or, through the use of the LINK switch, two units can be combined for Stereo applications via a motherboard bus connection.

The 527 Compressor/Limiter makes use of the 2510 and 2520 Discrete Op-amps and exhibits the reliability, long life, and signature sound which are characteristic of API products.

Features

• Audio circuit uses the 2510 and 2520 Discrete Op Amps with transformer output
• Continuously variable detented Threshold control
• Continuously variable detented Attack and Release controls
• Continuously variable detented Ratio control
• Output Fader level control
• 10 segment VU/Gain Reduction meter with selector switch
• Overload LED
• "Link" switch for multiple unit interdependent compression linking
• "New"/"Old" switch for feed-forward or feed-back compression
• "Hard"/"Soft" compression curve knee switch
• Patented THRUST® switch for frequency dependent side chain control
• "IN" switch with hard relay bypass when in the "Out" position

ProAc Studio 100 near-field monitors

"The ProAc Studio 100 is consistently selected by top recording engineers for near-field monitoring in major studios - ample testimony to its overall sound quality and neutrality at monitor reference levels......"

                             http://www.vintageking.com/ProAc-Studio-100-Pair

Foote Control Systems P33S stereo compressor

The features are as follows;

> RMS or Adaptive NL timings
> 100Hz sidechain HPF
> Feedback mode
> True Power or Algebraic summing mode

Algebraic summing differs from true power summing in that the voltages of the 2 channels are summed into one detector, as opposed to True Power sum, which sums the power of the 2 channels after detection using two detectors.

Sonically, Algerbraic sum mode or ALG, has the effect of widening the stereo image by favoring compression of correlated signal.
This is because more of the mono component is compressed than the stereo image information.

The P33S has the trademark FCS sound at an expected street price of around $1,150.00 USD

Waves One Knob plugins

http://www.waves.com/content.aspx?id=11575

BeesNeez Microphones Producer Series Lily

"BeesNeez Microphones is proud to introduce officially at the Musikmesse 2011, the first instalment in our range of ribbon microphones; the Lily. 

Nearly all ribbon microphones manufactured today have adopted the small body and ribbon concept. Our Lily is different, we have adopted the larger body and larger ribbon styling and we feel that this styling and build have greatly added to the sonic and physical beauty of the Lily, so much so that we could not be happier with the end result.

Our internal ribbon element is the source of the lily’s beauty. We have settled on a very large ribbon with low self resonance (5.1mm wide and 40mm long) with no dampening and a 60 degree crimping style. The frequencies captured by the lily range from below 30hz through to 20k+ and are reproduced with a smooth elegance that is very forgiving with a unique tone that flatters any source.

You will notice when you see the Lily for the first time that it is truly unique, there is no plating above the base, just 3 different shades of metal that finished to a glistening lustre. This is not just for beauty’s sake. Ribbon microphones rely on a strong magnetic vortex in which the ribbon vibrates to create the small amount of electricity that is then amplified by the transformer. If another ferromagnetic surface ie; a nickel or chrome plate is introduced within the near vicinity of this magnetic field, it can and will create a polar disturbance that will affect the sonic reproduction of the microphone.

Our many hours of research and development will bring to you many years of amazing sounds.

The BeesNeez Lily ships with suspension mount and waterproof case.

The BeesNeez Lily is priced at 1299."

Cloudlifter CL-2 Mic Activator

Introducing the Cloudlifter CL-2 Mic Activator! Now you can interface any low output passive microphone with any other phantom powered preamp. This inital boost of up to 25 db will lift your signal well above the noise floor. Regardless of the secondary preamp you are using, the Cloudlifter will make your track stand out, as if done with an expensive high-gain ribbon mic pre. The 2 channel box Cloudlifter will deliver beautiful world class intial preamplification on the go, with any phantom powered audio interface.
MSRP: $329

SUGAR BYTES - Artillery2 Effect Keyboard

Artillery2 Effect Keyboard 

 The Artillery concept is as simple as effective: Effects are assigned to keyzones and can be triggered with MIDI notes in an intuitive and extremely flexible way. This way you are able to perform hair-raising sequences, and playfully put the effects you want in the places you want, whenever you want. 

 Artillery 2 now provides 28 innovative effects and unlimited creative possibilities: turn an EQ into a multiband comp with a set of envelope followers, let a looper scratch its buffer using a stepseq, play pitched delaytimes on the keyboard, or let ringmodulator´s pitches jam along the
transients of your audio signals. Even a vocoder with internal synth is included.

 Use Artillery 2 to do magic with your tracks or live signals on stage, in your VST/AU compatible DJ software or in your studio setup.

 Artillery 2 received the 'Innovation-Award’ by Computer Music.

The Overstayer Stereo VCA compressor

The Overstayer Stereo VCA compressor is meant for creative use on the ‘way in' while tracking, and on the ‘way out’ while mixing, and anywhere in between. It has wide ranging timing controls, as well as blend and high and low frequency shelf eq boost controls, all continuously variable for quick and fluid shaping of dynamics and tone. The behavior of the compression is shapeable from gentle mix bus compression to aggressive pumping and extreme ambient and transient effects. 

THE CONTROLS:

RATIO - With the BEHAVIOR control set to minimum, the ratio settings are as follows:

LOW 2:1 with a gentle knee

MED 4:1

LIMIT (both switches engaged) greater than 10:1

THRESHOLD - Sets the level at which compression occurs.

GRAB - Expands the frequency range of the detector to react to the full signal bandwidth. With GRAB disengaged the signal feeding the detector is high pass filtered to react less to low frequency information.

BEHAVIOR - Alters the hardness, slope and envelope of the compression action. Increase the control from its minimum to lower settings for ‘more’ compression action and push, higher settings can produce rhythmic and creative pumping effects and can take the sound from virtually all ambience to all transients. As this control interacts with the other compression controls, it creates a large array of envelope shaping and sonic possibilities depending on the selected ratio and attack/release settings. This control is hard to explain, fun to use...

ATTACK - Continuously variable from 0.1 msec. to ~50 msec., 1 being fastest, 10 being slowest.*

RELEASE - Continuously variable from less than 0.1 sec. to ~1.1 sec, 1 being fastest, 10 being slowest.*

 *Attack and Release times vary depending on RATIO and BEHAVIOR settings

AUTO REL - (Auto Release) engages a slow release time constant for sustained program material in addition to the time constant set by the Release control. Typically when Auto Release is engaged the Release control would be set very fast to respond to shorter transient signals. 

MAKEUP - Controls the amount of gain added to make up for the compression action, continuously variable from 0 dB to +21 dB. This level is pre BLEND.

BLEND - Controls the balance between the compressed (WET) and uncompressed signal (DRY).

LF BOOST - Controls a boosting low frequency shelving equalizer, continuously variable from 0 to +15 dB at 50 Hz (or 100 Hz if LFx2 is engaged).

HF BOOST - Controls a boosting high frequency shelving equalizer, continuously variable from 0 to +12 dB at 10 kHz.

EQ OUT - Removes the EQ circuitry from the signal path

RANGE - When engaged this sets the range of the compression meter to 12 dB in 3 dB steps. When disengaged the meter range is 4 dB in 1 dB steps

IN - Engages the unit, when disengaged the unit is bypassed

AUDIO CONNECTIONS - XLR inputs and outputs, balanced pin 2 hot

Power is via an included 12VDC supply

Introductory Price $799.00 + $30 Shipping and Handling (US, Canada, Australia)

Focal SM9 $3995 ea. (available June 2011)

The SM9 monitoring speaker establishes itself as a reference thanks to the precision of the stereo image, its capacity to reproduce each of the micro details of the audio signal , as well as unconditional respect of the original dynamics.

One of the major SM9 innovations lies in the fact of offering 2 monitoring speakers in only one and unique cabinet. The SM9 is thus composed of 2 monitors: a 3 way monitor and a 2 way monitor.

Specifications

Frequency response :	3-way mode : 30Hz - 40kHz (+/- 3dB) / 40Hz - 20kHz (+/- 1dB) - 2-way mode (Focus) : 90Hz - 20kHz (+/- 3dB)
Maximum SPL :	3-way mode : 116dB SPL (peak @ 1m) / 2-way mode (Focus) : 106dB SPL (peak @ 1m)
Input :	Type / Impedance : Electronically balanced / 10 kOhms / Connector : XLR / Sensitivity : Adjustable, +4dBu or -10dBV
Bass :	400W, class AB
Midrange :	100W, class AB
Treble :	100W, class AB
Power supplies :	Local supply : 230V (3.15A fuse), 115V (6.3A) - Connection: IEC inlet and detachable power cord
Indicators :	Rear panel Input sensitivity selector (+4dBu / -10dBV) High-pass crossover (full range, 45, 60, 90Hz @ -6dB) Low frequency shelving (+/- 3dB from 30 to 250Hz per step of 0.5dB) High frequency shelving (+/- 3dB from 4.5 to 40kHz per step of 0.5dB) Low frequency EQ (+/- 3dB per step of 0.5dB @ 50Hz, Q factor = 2) Low-mid frequency EQ (+/- 3dB per step of 0.5dB @ 160Hz, Q factor = 1) Mid frequency EQ (+/- 3dB per step of 0.5dB @ 1kHz, Q factor = 0.6) Side panel Stand By / On switch Direct switch Focus switch
warning light :	Power On, clipping and default on front panel LED
Passive radiator :	11WPP52, 11” (27cm) Focal “W” composite sandwich cone piston, extra wide inverted surround radiator
Subwoofer :	8W7571, 8” (20cm) Focal “W” composite sandwich cone driver
Midrange :	6W0452, 6.5” (16.5cm) Focal “W” composite sandwich cone driver
Tweeter :	TB872, 1” pure Beryllium inverted dome tweeter
Construction :	0.88”(22mm) and 1.2” (30mm) panels with internal braces
Finish :	Black natural veneering top and bottom panels, black body
Dimensions :	12.8” x 19.6” x 15.6” (320mm x 490mm x 390mm)
Net weight :	77lb (35kg

Music is a Beautiful thing with the Benchmark ADC16

Benchmark ADC16

16 Channel 24-bit 192kHz A/D Audio Converter

Benchmark’s philosophy is very clear: digital converters should preserve all of the glorious nuances of the source so that the listener can simply engage with the music. Benchmark’s converters are world-renowned for fulfilling this mandate.

Benchmark’s ADC16 is, yet again, another successful actualization of this philosophy. With the ADC16, Benchmark’s storied sonic purity can span across an entire multi-track recording session. This 16-channel A/D converter conquers the digital demons that plague so many converters on the market.

The ADC16 delivers the industry’s ‘Benchmark’ for performance in a package that is simultaneously full-featured, functionally flexible, intuitive, aesthetically alluring, and surprisingly affordable.
Flexibility across DAW's

The ADC16 has a slot for an optional Firewire card. With a Firewire connection to the computer, the ADC16 can operate as the sole interface to native DAW’s, including Pro Tools 9, without the need for any other hardware. Moreover, The ADC16 is completely compatible with the digital I/O interfaces of the Avid/Digidesign interfaces and other interfaces with AES, coaxial, and/or optical inputs.

The ADAT mode of the optical outputs makes the ADC16 a perfect companion for older Pro Tools LE interfaces, as well as other digital interfaces with ADAT and coaxial inputs, as it can fulfill the entire digital-input capability of the interface with state-of-the-art A/D performance.

This type of flexibility means the ADC16 can work perfectly with DAW setups from the past and the future.
Flexibility at the I/O ports

The ADC16 features 16-channels of transformerless balanced analog inputs. The analog front-end continues Benchmark’s tradition of exceptionally pristine, award-winning analog circuitry – a 27 year legacy.

Each channel of analog input has a gain control (via a trim-pot) that has a 20 dB range. At 0 dB of gain, it can accept 28 dBu at the input without clipping. At max-gain, an 8 dB input-signal will drive the converters to full-scale.

The ADC16 features very fl exible I/O routing solutions. The control panel allows the user to dictate the source (A/D or DAW) for each of the AES, coaxial, and optical digital outputs. This is very useful when the ADC16 is used in a studio with an analog console. The digital audio from the A/D chips can be sent directly to the digital outputs to a multichannel D/A to feed the console – completely bypassing the DAW. This reduces latency and DAW artifacts in real-time monitoring.

The eight optical outputs on the ADC16 can be operated in SPDIF or ADAT mode at sample-rates up to 192 kHz (ADAT has SMUX2 and SMUX4 functionality)


Precise, detailed metering

The ADC16 features 9-segment meters for each channel. These meters are single-sample accurate, so that even the shortest peaks are registered. The meters can be set to display in 6 dB increments (48 dB range) or 1 dB increments (20 dB range). In both cases, the meters can be put in ‘peak-hold’ mode, which will hold the highest-valued sample until the ‘peak-hold’ mode is reset.

New York's best hookup bars

Bar 89

The rainbow-hued, see-through bathroom doors at this sleek bar become opaque when locked—which of course encourages patrons to get up to all sorts of randy shenanigans. Bar manager Christopher Ferrante has seen two (and more) people exiting the unisex stalls together, and empathizes: “It’s a neat place to meet.” Loosen up at the long, curvaceous bar with a jumbo cocktail (like the $15 Tartini)—believe us, you’ll need it before tackling those Star Trek–ish love toilets. 89 Mercer St between Broome and Spring Sts (212-274-0989, bar89.com)

Barracuda
This go-to gay dive opened in 1996, and rumor has it the boys are easy (well, as easy as Chelsea gets these days). Proof of its slutdom comes in the form of homoerotic video screenings, $1 kamikaze shots every Wednesday, select two-for-one specials on weekdays and red-light-district-style lamps on the tables. But, says assistant manager David Serrano, “after a few of our strong drinks, everyone’s easy!” 275 W 22nd St between Seventh and Eighth Aves (212-645-8613, facebook.com/barracudalounge)

Henrietta Hudson
With its stripper pole, dance cage and bar top doubling as a stage, most patrons at this lez bar at least reach second base. “These girls are sluts,” jokes owner Lisa Graziano. “Future ex-girlfriends is what you create here—and that’s a fact.” The $7 house drinks and two-for-one specials (weekdays 4–7pm, weekends 2–5pm) don’t encourage faithfulness either.438 Hudson St between at Morton St (212-924-3347, henriettahudson.com)

Joshua Tree
This Murray Hill bar has been kicking around for 12 years and still attracts a predominantly young, postgraduate, ass-seeking crowd. With daily happy hours from noon to 8pm, ’80s music blasting from every speaker, 23 beers on draft and—oh, yeah!—singles making out everywhere, there’s a good chance you’ll end up leaving with a new friend. Confirms manager Gareth Fagan, “The success rate of people hooking up here is pretty high.” Score.513 Third Ave between 34th and 35th Sts (212-689-0058, joshuatreebarnyc.com)

Miss Favela
Bem vindo a sesta! (That’s “Welcome to the party!” in Portuguese.) This cheery Brazilian bar combines seriously strong drinks (like ever-so-sweet caipirinhas, $8) with bumpin’ forromusic, ensuring that the dance floor stays sweaty and packed till the 4am closing time. 57 South 5th St between Kent and Wythe Aves, Williamsburg, Brooklyn (718-230-4040,missfavela.com)

Pianos
A perennial spot for horny hipsters, this bar boasts all the tools necessary for an easy hookup: an upstairs lounge, a downstairs bar, a showroom with live bands and performers, and a 2–7pm happy-hour special with $4 frozen margaritas to warm you up. 158 Ludlow St between Rivington and Stanton Sts (212-505-3733, pianosnyc.com)

R Bar
“R Bar just oozes sex,” says manager Michelle Tanhoff; it’s hard to argue with gold-topped bars, glittering chandeliers, holograms of scantily clad women, walls covered in red and black leather mixed with velvet, and four stripper poles. Drinks are $1 off every Thursday and Friday from 7 to 11pm; Wednesday is lesbian night (8pm–3am); and there’s a gay-themed party with go-go boys in the works. 218 Bowery between Prince and Spring Sts (212-334-0484, rbarnyc.com)

Village Pourhouse
Shoot and score in more ways than one at this frattastic hang spot, featuring sports on the telly, 25 beers on tap, and many a rowdy game of flip cup or beer pong. With any luck, you’ll leave here the same way you left every college party: in a drunken blur, and not at all caring about tomorrow’s walk of shame. 64 Third Ave at 11th St (212-979-2337,pourhousenyc.com)