Monday, April 29, 2013

Music Mondays - Black Violin



Some years ago I was introduced to the group Black Violin by my friend and fellow engineer/producer Adrian "Drop" Santalla. They asked me to mix some songs for their upcoming album and after listening to a few of their songs I immediately said yes. I've been a fan ever since.

Black Violin is a classically trained violinist duo consisting of Kevin "Kev Marcus" Sylvester and William "Will B" Baptiste. They have collaborated/played with many artists and even performed on Broadway at the new Victory Theater in Times Square last November. They were voted Top 5 Bands at SXSW and played for the President at the 2013 Presidential Inauguration,

I recently mixed some songs for their new album aptly named "Classically Trained" including the single "A Flat ":


Visit their website at http://blackviolin.net for more music and info on this amazing duo.

Wednesday, April 24, 2013

The 8 best budget MIDI controller keyboards




I use a JP8000 (pictured above) as my main keyboard/controller in the studio but I need a compact controller for my portable setup. So I started doing some research online and found this article on MusicRadar. They have a list of 8 keyboards that fit the bill. I'm familiar with some of them and they are all under $150. Click the names to read the reviews on each keyboard.


1.  M-Audio Keystation Mini 32




2. Korg microKey



3. Acorn Instruments Masterkey 49


4. Alesis Q25


5. Behringer U-Control UMA25S



6. Line 6 Mobile Keys


7. IK Multimedia iRig Keys



8. Akai MPK Mini




Feel free to comment or offer suggestions/advice.


Tuesday, April 23, 2013

How To Use Audio Units Instruments In Pro Tools 9, 10 And Pro Tools 11



Take a look at this video that Russ Hughes of Pro-tools-expert.com posted on YouTube showing how to use AU(Audio Unit) plugins in Protools. He goes through step by step how to make it work:



Sunday, April 21, 2013

PSP SpringBox



Seems like PSPAudioware has released another winner to their long list of plugins with the PSP SpringBox. Perfect timing as I'm currently mixing a project that requires just this type of reverb. I will do a follow-up post where I share some of the settings I use on said project. 

In the meantime here's some info from the website:

The PSP SpringBox "...recreates several features typical of a spring reverb, such as a convincing “boing” on transients and a repeatable resonating musical character with an adjustable presence. A selection of configurations from two to six springs total is provided, as well as the ability to set stereo spread and pan/balance configured to suit various mix setups - from a typical guitar reverb to a creative uses as a send reverb in the mix. Thanks to PSP SpringBox’s two channel A and B settings setup and range of presets operation is fast and easy."

PSP also posted a video showing the Springbox being used on drums:



$49 until May 1st 2013. $69 thereafter.

Download the 14 day demo here.


Saturday, April 20, 2013

New Tape Echo, Bus Compressor, White Channel studio processors from IK Multimedia




IK MUltimedia has released new plugins for their T-Racks Custom Shop.


From their Press Release:

1. The White Channel which "..is based on the EQ and dynamics section of a channel strip from a renowned large-format British console, and is the modern counterpart to our acclaimed British Channel. The board became popular in the late ‘90s, was used on many hip-hop/R&B recordings, and featured a wide bandwidth and pristine sound quality. The White Channel offers an accurate emulation of the console circuitry, allowing you to impart the sound of this classic large-format console on your own mixes."
 
2. The Tape Echo "...based on one of the classic tape echo units of all time, the Echoplex® EP 3. It features an amazingly accurate emulation of the sound of the original unit, including the distinctive decrease in high-end on each successive echo, which is typical of tape-echo units (and analog delay of all types). We also recreated the effect on the sound of authentic tape-machine characteristics like wow and flutter, noise and tape wear. Plus, we added some modern features that make it functionally more flexible than the original hardware unit, including stereo operation, separate delay times on L&R, and syncing to host tempo."
 
3. The Bus Compressor "...modeled after the master-bus compressor on one of the world’s most famous mixing consoles. Featuring a VCA circuit design, it’s often referred to as the “Glue Compressor,” for its ability to subtly “glue” a mix together. It has also been used frequently for heavily compressing drum tracks. Our model accurately captures the sound of the original hardware down to the behavior of the detection circuit, and is enhanced by some added features like a "grit" control and large main knobs, which were not on the original unit."
 
4. The British Channel "...modeled after one of the most widely used and acknowledged pieces of hardware in the music history. Countless hit records have been produced around the world on this British mixing console since the ‘80's, and with its ultimate flexibility and trademark sound, it’s become a true staple of music production technology. We decided to add a few further enhancements to its already powerful design, by making the Black/Brown EQ modes selectable, adding filters and I/O level controls to precisely drive the dynamics section from subtle compression to true squashing, while still maintaining the razor sharp precision of the EQ and the channel's overall sound faithful to the original. We’ve added a sleek new look to the latest version, which makes navigating its controls even easier."
 

 Take a look at the video:



"The new T-RackS Processors are available for purchase now in the T-RackS Custom shop, using Custom Shop gear credits, with prices ranging from 60 to 120 credits each. Gear Credit Packs start as low as $19.99 / €15.99 (for 20 credits) and go up incrementally to $499.99/€399.99 (for 1,000 credits)."

For more details visit ikmultimedia.com


Thursday, April 18, 2013

Extremely Simple Method to Get Your Music on Internet Radio and collect royalties.







Cory Koehler latest blog post on MusicGoat shows how easy it is to get your music played on Internet Radio and collect royalties.

Here's an excerpt from the post:


"The site we will be using is Live365 (get info on how Live365 pays Royalties here). They’ve been around for awhile and they host thousands of amateur, semi-pro and pro broadcasters who are in many cases looking for music to play.
And if royalties wasn’t enough to convince you, you could end up on a chart somewhere because in their words…
“Live365 reports weekly airplay charts in all major genres to CMJ, Radio & Records Magazine, Billboard On-Line and syndicates charts with 3rd party affiliates like Broadjam.com.” – Live365"
Cory goes on to say that he actually tried the service:

 "... I dusted off my Live365 account and started reaching out to DJ’s. Next thing you know, I had responses from 16  DJ’s and a wide variety of my tunes were in rotation on some pretty cool stations."

He then tells you step by step how to do it:

1. Find Stations
2. Reach Out.
3. Be Ready.
4. Follow Up.


Very Important!: Before you do anything, you need to register with Soundexchange, so someone is tracking your Royalties, and you will need to sign up for a Live365 account.

Read the entire article here.

If you try this or have tried it in the past please share your experiences.


Wednesday, April 17, 2013

I use the Avantone Mixcube on every mix


The Avantone MixCubes ($139 each) are a replica of an old studio standard the Auratone. 



The MixCubes are manufactured by Avant Electronics who also makes microphones. These speakers are extremely useful as a real world reference due to their limited frequency response and if you can get the mix sounding great on these speakers it will usually translate to most computer speakers, portable radios, MP3 players, iPods/iPhones and factory car systems. I use these speakers on every mix I do. One of the first projects on which I used the Mixcubes (the passive version) was Amy Winehouse' "Back To Black" album with producer Salaam Remi. The speakers emphasis on the midrange frequencies will let you hear any discrepancies in your mix immediately and I consider them essential for balancing vocals. I use only one speaker and monitor in mono to ensure the mix will translate to all mediums including radio and TV. Nowadays every TV is stereo capable but the broadcasts are not always in true stereo. One of the reasons these work so well for mixing is that they provide a single point source and they are pretty much flat across the entire midrange spectrum. There are no phase issues or frequency dips in the upper midrange due to the fact that there is no crossover in the signal path. As for the low end use your mains or subwoofer to check the extreme lows but make sure you can hear the kick and bass on the mixcubes.


Features

  • 5.25" Shielded Passive Full range 8 ohm drivers
  • 6 1/2" Cube Cabinet with multiple coats of "Retro-Cream" High Gloss lacquer finish
  • Precision-milled high-rigidity MDF cabinet sides & baffle for low resonance
  • Radiused corners & edges reduce edge diffraction for better imaging
  • Custom Cone is crafted using New Zealand pulp with mica fibers added for light weight & rigidity
  • Cloth surround made in Japan to uniform thickness tolerances
  • Top Plate and T-Yoke of driver are made of Sumitomo 1008 low carbon steel
  • The 43oz. low distortion motor structure magnets are Y- 40 GRADE (MIL-SPEC)
  • High-Rigidity DIE-CAST Aluminum frame with polished mounting bezel
  • Nickel Plated "high-end" binding posts (properly spaced for dual banana plugs) - insulated for CE compliance
  • Anodized aluminum milled terminal plate
  • 1/4" soft Neoprene Pad is recessed into the cabinet base to serve as a non-skid acoustic isolator
  • Standard size (5/8"- 27 threading) female microphone stand mount is built into the cabinet base

The MixCubes are available in a powered version. ($239 each)





Specifications

System Type
Active (Self-powered) shielded full-range stereo pair

  Frequency Response
  90Hz - 17,000Hz (useful musical range)

  >Driver Impedance
  Nominal 8 ohms

  Max SPL
  104db @ 1 meter = 1%THD (PINK NOISE)

  Amplifier Type
  Class A/B

  Amplifier Power
  60 watts RMS@ .005% THD (1KHz)

  Amp Frequency Response
  22Hz-50KHz +0dB/- 3dB (90Hz-50KHz +/-0dB)

  Noise
  S/N -113 dB

  Sensitivity
  0dBu (.775VRMS) input at maximum volume (+6dB) = 104dB SPL

  Driver
  Proprietary design 5.25" cast aluminum frame / paper cone / shielded

  Cabinet
  sealed / 18mm MDF / Dacron acoustical stuffing

  Inputs
  XLR & TRS (COMBO JACK) +4/Balanced and -10 unbalanced

  Weight
  7 lb 5 oz (per speaker)

  Dimensions
  165mm x 165mm x 165mm (6 1/2" x 6 1/2" x 6 1/2" in)



Also available in black.




The Avantone MixCubes can be purchased at Little Fish Audio.



Tuesday, April 16, 2013

Imagine having a console filled with your favorite 500 series modules


Malcolm Toft known for his legendary Trident consoles has formed a new company Ocean Audio. One of its most anticipated products is the Ark 516 Analog Console. The Ark 516 is fully modular and allows you to install up to forty 500 series modules directly into the control surface of the console. I'm a fan of the Trident "sound" and actually tracked quite a few records on a Trident 65 Series including Ini Kamoze's "Here Comes The Hotstepper".

Ark 516 features from Ocean Audio's website:

Each of the 16 input channels provides the following facilities:
* 2 slots for 500-series modules
* Fully modular input channel with:
- Line input level control switchable line / external input
- 6 auxiliary sends individually switchable pre / post
- Bussing to 8 groups and master left/right outputs
- Channel pan, mute and auto-mute grouping
- Solo in place, AFL and PFL
- Monitor input level control
- Monitor pan, mute and solo
- Channel fader
- LED pre fade signal metering and LED or VU Metering of direct output and input signals

The group / output section provides:
* 8 slots for 500-series modules
* 8 fully modular group / output channels with:
- 8 group faders
- 8 monitor inputs with level, pan, solo, mute, fader reverse and 6 auxiliary sends individually switchable pre / post
- 8 monitor inputs with level, pan, solo, mute and 6 auxiliary sends switchable pre / post

The 8 group faders can be used as output faders for the group, or as input faders for 8 monitor returns.

The total number of inputs, available for mixdown is 48.
(16 inputs + 16 monitor returns on input channels + 16 monitor returns on groups)
24 of these inputs can be on full-size faders.

The master section provides:
- Aux send master 1 to 6 with level and solo
- Talkback to groups, studio and auxiliary sends
- Control Room Monitor level, mute, dim and mono
- Two sets of stereo returns to Control Room Monitor
- Auto-mute group master
- Two alternate monitor level controls with on/off switches
- Studio playback level control and selection of two track return 1, aux send 1 and aux sends 5-6.

All inputs and outputs are through 25-way D-Sub connectors on the back.
The top bay of 500-series slots on the input section are provided with additional XLR connectors to facilitate easy connection of microphones.
Any 500-series module can be used on any channel, by using an external patchbay or through direct connections on the back.

An optional 16 input expander unit and a producer desk / patchbay will also be available to further increase the flexibility of the console.

Price $19,999 USD. Available in 8 to 10 weeks at LittleFish Audio.

Check out the video shot at Musikmesse 2013 by Bonedo.

Monday, April 15, 2013

SPL Crimson and Madison Interfaces


SPL debuted their Crimson USB Interface at last week's Musikmesse 2013. It is both a 24bit/192khz interface and monitor controller combined with high quality pre-amps. 

Check out the features:
  • 30 I/O channels (10 recording channels and 20 playback channels)
  • 10/20 I/Os via USB, S/P-DIF, Analog XLR, RCA, 1/4" and Mini Jacks
  • +/- 18V operational voltage for professional levels up to +24dB
  • Two boutique level, discrete Class A, +/-30V high-voltage mic-preamplifiers
  • Two Hi-Z instrument preamplifiers
  • Two separate headphones amps, individually controllable
  • Connect and control two stereo speaker sets
  • Monitor signal mix function for playback and recording paths
  • MIDI input and output via two DIN sockets
  • USB 2.0, S/P-DIF input and output
  • 24Bit/192kHz converter
  • Made in Germany



MSRP $725. Available June 2013


Also shown was their Madison MADI Interface. It provides 16 I/O to any MADI equipped computer or console. (MADI aka AES10 stands for Multichannel Audio Digital Interface) and has been used in the professional audio industry for many years.



Madison Features:
  • 16 AD and 16 DA converters in 1U
  • Superb sounding converters with a sophisticated analog section on 36 V audio rails
  • +24 dBu professional output level
  • Best price/performance value
  • Up to 64 I/Os on 1 MADI port (4 units)
  • Latency neutral MADI chaining
  • 44.1 to 192 kHz, ±10% vari-speed
  • SPL clock-shop for jitter-free operation
  • Ultra-compatible, always operational MADI IO with ultra low conversion latencies
  • Four directly selectable reference levels: 15/18/22/24
  • Simple operation and setup right from the front panel controls
  • Ergonomic, distance-readable meters for clear level status indication of any I/O channel
  • Fanless, absolutely silent low-power design (max. 30 W)
  • Redundant power supply optionally
  • Four analog, 8-channel multicore DB 25 sockets (TASCAM industry standard)
  • Made in Germany
MSRP $1899 Available July 2013.

Friday, April 12, 2013

SSL SIGMA Automated Mix Engine, 500 format G+ Buss Compressor and brand new LIVE Console - Musikmesse 2013


SSL revealed their new Sigma Remote Controlled Analog Mix Engine which has 16 Ins & Outs. I think this in combination with the UA Apollo 16 will make a great portable DAW based studio.
"Designed for the DAW user that seeks the legendary big sound of an SSL console while retaining the convenience of working in the box, Sigma is a unique analogue mix engine in a 2U rack unit, that is remote controlled using MIDI via Ethernet using a DAW or an iDevice compatible software interface."
 Some of the Sigma's Features:


  • 16 Inputs configurable as mono or stereo for up to 32 channels at mixdown.
  • Direct Outs on every Input.
  • Accurate Metering on all channels
  • 2 Mix Busses with individual Insert Points. Mix buss B can be fed back into Mix buss A.
  • Artist and Studio Section with separate Monitor Outs and Headphones.
  • Monitor section has Main and Alternative for 2 sets of speakers.
  • Switching Matrix for selecting Monitor Source controlled by a Single Knob with a push-pull mechanism.
  • Talkback input with adjustable Dim Level.


"Control and switching of a wide range of functions including; monitor level and source, inserts, talkback, sum B>A and mono check, can all be achieved using any standard MIDI hardware control surface. A MIDI learn feature makes setup simple and easy"

MSRP $4499

Get more details on SSL's website

SSL also announced the 500 format version of their much coveted G series Buss Compressor.

From the website
".....the centre section compressor from the 1980’s G-Series analogue console is an audio production legend. It is a simple unit with a simple purpose; it makes complete mixes sound bigger, with more power, punch and drive. It brings cohesion and strength to your mix without compromising clarity. To this day it remains a key element of the SSL sound and has featured on countless classic recordings."
MSRP $2299

Last but not least they showed their first ever Live Console simply called LIVE.



The live console I use most often is the Yamaha M7CL. As a lifelong SSL fan I'm curious to see what they have to offer.
"Live is a flexible and extremely powerful digital audio console designed specifically to meet the demands of all aspects of live sound production. It is perfectly suited to touring or installation, FOH or monitors, to venues and arenas, houses of worship and concert halls, to anywhere where audio quality is important and engineers require power, complete flexibility and a user interface that puts them in control."
MSRP USD $84,000 and $130,000

Get the full details on this innovative console here.

Thursday, April 11, 2013

UA Apollo 16 and AMS rmx16 plugin announced at MusikMesse 2013








Musikmesse 2013 is in full swing in Frankfurt, Germany and Universal Audio announced their brand new Apollo 16. Two Apollo 16s can be cascaded to give you up to 32 Ins and Outs with full access to the UAD-2 plugins during tracking and mixing. 

Apollo 16 Features

• UA’s flagship FireWire/Thunderbolt-ready audio interface for Mac and Windows 7*

• 16 x 16 analog I/O via DB-25 connectors — ideal for mixing consoles, outboard preamps, etc.

• Realtime UAD-2 QUAD processing for low-latency (sub-2ms) tracking and mixing w/ UAD Powered Plug-Ins**

• Thunderbolt Option Card for next-generation connectivity to compatible Macs (sold separately)

• Four stereo Cue mixes with fully assignable outputs

• Multi-unit cascading over MADI merges two Apollo 16 units for 32 x 32 analog I/O

• PT Mode allows easy insertion of outboard analog hardware in Pro Tools**

• Virtual I/O feature for Realtime UAD Processing of virtual instruments and DAW tracks

• Includes dedicated XLR monitor outs and stereo AES-EBU digital I/O

• Includes “Analog Classics” plug-ins: LA-2A Classic Audio Leveler, 1176LN Limiting Amplifier, and Pultec EQP-1A EQ

• Full recall of interface settings in DAW sessions via Console Recall plug-in (VST/RTAS/AU)

• Full compatibility with UAD-2 DSP Accelerator systems

Read more here


UA is also releasing the AMS rmx16 reverb for the UAD-2 Platform. 


The rmx16 has many die-hard audio fans who will be happy to hear this. Also if your lucky enough to actually own one of these units AMS-Neve can service it for you. 



Friday, March 15, 2013

The Branch - All Tube Channel Strip


Tree Audio has announced their latest offering, an All Tube Channel Strip called the Branch. It is based on their Roots Tube Hybrid Console and offers a Mic In, Line In and front mounted DI Input. The Branch also provides LO/HI EQ and Limiter plus custom Transformers on both Input and Output. I'm sure it's a great sounding unit and I like the layout of the front panel. I wonder if a 2 channel unit is in the works?



FEATURES

  • Front Panel Direct Input 
  • Rear Mounted XLR connectors for Mic In, Line In and Output 
  • Big Knob Level Control 
  • Lo Freq Eq: 50, 80, 100, 400Hz 
  • Hi Freq EQ: 7k, 10k, 12k, 16khz 
  • Limiter Switch (In,Out, 250Hz HPF) 
  • Gain Reduction Knob 
  • Line, Mic, Mic with Phase Reverse Selector 
  • Pad Switch: Off, -15, -20db 
  • Mute Switch 
  • 48vDC Phantom Power 
  • Large VU with In, Gain Reduction, Out Switch 
  • Custom Wound Input/Output Transformers 
  • Vacuum Tube and Linear Regulated Power Supply included 
  • Same quality sound, circuitry and construction as The Roots Console 
  • 3-Rack Space 19" Rackmount

Thursday, March 14, 2013

Soundtoys free plugin - Little Microshift


Soundtoys is having a SXSW giveaway with a brand new plugin called the Little Microshift which is based on one of my favorite Multi-effects boxes, the Eventide H3000 Harmonizer. You also have a chance to win an autographed H3000 D/SE by sharing this offer online.

Contest ends March 29, 2013.

Get your free plugin and more details here.

p.s. Must be authorized on your computer with the iLok attached.

This looks interesting - The SubPac




I'm really curious to hear the effect The SubPac has on the music listening experience and would love to try it in the studio. According to the website it allows you to "...Experience intense bass without damaging your hearing. The SubPac is a tactile audio device that quietly and directly transfers low frequencies to your body, allowing you to FEEL MUSIC."
FEATURES
  • Allows you to properly monitor low frequencies (more accurately feel the difference between bass, kick and sub-bass etc.)
  • Experience your track/mix as if it were being played in a club system.
  • Flat response with no EQ or compressors. SubPac provides the true signal.
  • Portable: you can produce with the proper frequency spectrum on the go – plane, hotel, café, train etc.
  • Can produce at all hours of the night without noise complaints.
  • Preserves hearing - no need to crank your system.

I like the fact that it allows you to feel the bass without having to resort to loud volume levels. Great for your hearing plus no complaints from the neighbors. If I can calibrate it for studio use it would be a great asset for mixing.
They currently have a KickStarter Project (where you can purchase a pre-release version) and they're more than halfway to their goal. I'm going to arrange an audition of the SubPac. In the meantime check out the video below.



SubPac | Kickstarter Video from SubPac on Vimeo.

Wednesday, March 13, 2013

Vevo Starts 24-Hour Ad-Supported Music Television Network




Bloomberg news posted an article and video yesterday with the announcement that Vevo is starting a 24 hour all music TV network. The network will be available online initially then expand to subscription based pay TV.
"The broadcast-style network became available today for U.S. and Canadian viewers through the New York-based company’s website, mobile applications and video-game consoles, Chief Executive Officer Rio Caraeff said in an interview.
The goal is to increase advertising sales and create a potential new source of revenue from pay-TV subscriber fees. Vevo TV will schedule blocks of high-definition music videos, original programs and concerts, and eventually hire on-air hosts, Caraeff said."
The network is live now on Vevo's website. Do you like it? Do you think it is a viable option for creators and consumers? I would like to hear everyone's thoughts on this.

Here's the video with Vevo's CEO Rio Caraeff:

Monday, March 11, 2013

Jimmy Iovine's $60M Music Plan


Last week  Jimmy Iovine appeared on All Things D (Dive Into Media) to speak on the Music Industry's past, present and possible future with his upcoming music service said to be launched in the summer of 2013. As a music mogul with 40 years experience both on the creative and business side plus being the mastermind behind Beats By Dre Headphones (which is now the #1 brand in the UK). He seems to have a pretty good idea where things should go with online music services. He has acquired a $60 million investment from Access Industries who owns Warner Music Group to start a new streaming service nicknamed "Daisy". This service is based on the MOG digital service that was purchased by Access last year.

He also speaks on the changes he has witnessed throughout his career and what he thinks went wrong with certain aspects of the music business.

Here's the full video interview:



http://allthingsd.com/

Friday, January 25, 2013

NAMM 2013_Universal Audio announces Apollo updates plus API, LA-2A Classic Collection and Softube Amp Room Bundle.



Universal Audio's Apollo interface has been a huge hit with many recording aficionados and it was announced yesterday at NAMM 2013 that they have enhanced its features in a major way.

"Among the new Apollo interface features slated for delivery in the first half of 2013 is multi-unit cascading, which combines two Apollo interfaces into a single elegant system via FireWire or Thunderbolt. Multi-unit cascading provides simultaneous use of 16 analog inputs / outputs, including eight Apollo mic preamps, plus 12 digital inputs and outputs — perfect for tracking a full band.

The boost in Apollo connectivity is navigated via a redesigned Console application, offering better visual feedback, a new Mix-Merge mode, and a Pro Tools mode which greatly simplifies integration with Pro Tools systems."


Read more here.

API 500 Series EQ Plug-In Collection



UA also announced API 500 Series Plugins featuring the 550A and 560 Eqs. I know the original hardware well and look forward to trying out the UA emulations.

"Designed by API’s Saul Walker in the late 60's, the 550A and 560 modular EQs featured Walker’s signature 2520 op-amp and proportional Q circuitry. For the API 500 Series EQ Plug-In Collection, UA’s industry-leading circuit modeling team expertly captured the filter shapes, band interactions, and unique filter amplifier clipping behaviors of vintage API 550A and 560 units to exacting detail. The result is tight, low-frequency imaging that gives users that legendary API punch.

Additionally, the API 500 Series EQ Plug-In Collection includes presets from several famed engineers and producers, including Ross Hogarth (Van Halen, R.E.M., Ziggy Marley), Vance Powell (Jack White, Red Fang, The Dead Weather), Eli Janney (Jet, Ryan Adams, Wilco), Jeff Juliano (John Mayer, Shinedown, Train), Carl Glanville (U2, Billy Joel, Jason Mraz), and Darrell Thorp (Beck, Radiohead, Charlotte Gainsbourg)."





UA also upgraded their original LA-2A to the Classic Leveler Collection. If their 1176 Collection is any indication the new LA-2A Collection should not disappoint.

"The original LA-2A hardware — still hand-built at UA headquarters in Scotts Valley, California — is an audio industry icon, bringing smooth, warm compression to anything it touches, especially vocals. With the new LA-2A Classic Leveler Plug-In Collection, Universal Audio modeled the entire electronic path of three highly coveted hardware units — “Silver,” “Gray,” and the original LA-2 model — providing the most authentic plug-in emulations available of this iconic compressor.

The Bill Putnam-era LA-2A “Silver” model features a fast time constant, making it suitable on all sources, including drums and percussion. The Jim Lawrence-era LA-2A “Gray” model maintains an average time constant, providing a range of “medium-speed” compression. Finally, the LA-2 plug-in models the rarest of original Teletronix units, providing a super-slow compression response and a unique “mellowed” sound due to 50 years of luminescent panel aging.

Additionally, the LA-2A Classic Leveler Collection plug-ins includes presets from famous LA-2A users, including Ross Hogarth (Van Halen, R.E.M., Ziggy Marley), Carl Glanville (U2, Billy Joel, Jason Mraz), Darrell Thorp (Beck, Radiohead, Charlotte Gainsbourg), Vance Powell (Jack White, Red Fang, The Dead Weather), and Jeff Juliano (John Mayer, Shinedown, Train)."


Softube Amp Room plug-ins

I've used the Softube Amp Room Plugin Bundle on various projects and they sound great. I think they make a great addition to the UAD platform.

The Bundle consists of:
1. The Metal Amp Room
2. The Bass Amp Room
3. The Vintage Amp Room
4. Acoustic Feedback Deluxe

My favorite is the Bass Amp Room.

"With the addition of renowned Softube Amp Room plug-ins to the UAD platform, owners of UAD-2 DSP Accelerator hardware now have industry-leading guitar and bass amp modeling at their fingertips. And, when used with the award-winning Apollo Audio Interface, the Softube Amp Room plug-ins allow musicians and producers to jam, write, and record through stunning guitar or bass sounds with near-zero latency."


































Get more details on the Softube Amp Room Bundle here.

Saturday, January 19, 2013

Rupert Neve's 542 Tape Emulator and 511 MicPre announced for NAMM 2013


RND (Rupert Neve Designs) recently revealed their new 500 series line with the 511 Microphone preamplifier and 542 Tape Emulator that will be showcased at NAMM 2013(Jan. 24-27). I like their Portico series and I'm excited to see it now available in the 500 series format. The units are reasonably priced at $895 for the 542 and $649 for the 511.

From their website:

"For the 2013 NAMM show, Rupert Neve Designs is announcing two new 500 Series modules: the 511 Mic Pre with Silk, and the 542 True Tape Emulator with Texture. As two of the only 500 Series modules actually designed by Mr. Rupert Neve, the 511 and 542 combine the classic tone and versatility expected from a Rupert Neve design with the form factor and value of the 500 Series format."

"The 542’s “True Tape” emulation circuit provides the nostalgic rounding and compression typically achieved only through the use of tape, and can offset the harshness often found in digital recordings. Unlike digital emulations, the “True Tape” drive circuit works by feeding a tiny magnetic “record head,” which in turn is coupled to a correctly-equalized replay amplifier. As the voltage rises on the “record head,” saturation increases, and a soft-clip circuit engages at higher levels to round off harsh peak transients. The sound of the tape circuit can be further modified with selectable 15 and 30 ipsmodes, providing a “saturation equalization” of sorts, and a pre/post-tape blend control. In addition to the tape circuit, the 542 also includes the variable Silk/Texture circuitry found in the Portico II series of modules (with both much-loved Red and Blue modes), which allows the engineer to fine-tune the harmonic ratio and tonality of the output transformer."

"The 511 can be used for either mic or line sources, and pairs perfectly with any ribbon, dynamic, condenser or tube microphone. A polarity reverse switch is available to conquer phase issues when using multiple microphones. The 12 dB/octave swept high-pass filter can be dialed-in to remove rumble with minimal artifacts, and also to control proximity effect in close-mic’d vocals or other sources. To coax more rich harmonic content from the output transformer, the Silk Red mode can be engaged to add more thickness and sparkle in the high end as the Texture level is increased. While a little Silk Red can sound great on nearly any source, it is especially useful on dynamic and ribbon microphones that are inherently lacking in high-frequency energy and excitement."


Get more details on RND's 542 and 511 500 series modules at http://rupertneve.com.