Collie Buddz_"LIGHT IT UP" and the UAD Ampex ATR-102

When I was approached to mix Collie Buddz "Light It Up", Salaam told me he wanted to keep the "vibe" of the rough mix but to give it a more organic, punchy yet "Pop" sound. I immediately thought of using the UAD Ampex ATR-102 plugin from Universal Audio.

The above pic is the actual setting I used on the mix buss of the Protools session.

Ampex ATR 102 Features:

• Ampex®-authenticated plug-in emulation of the ATR-102 Mastering Tape Recorder — the most popular professional 2-track machine ever made
• Provides rich, cohesive tape sound, without the hassles of calibration, maintenance, tape degradation, etc.
• Models entire ATR-102 electronic path, including transformers, amplifiers, Repro, Sync, and Input paths
• Features multiple tape formulas, head configurations, and calibration levels
• Adjustable Wow, Flutter, Hiss, Hum, Crosstalk, and (L/R) Tape Delay
• Requires a UAD-2 DSP Accelerator Card or Apollo Interface available from authorized dealers worldwide
• Independent L/R Input Gain (Record) and Output (Reproduce) Level
• IPS Speed/Emphasis Curve chooses between 3.75 NAB, 7.5 NAB, 7.5 CCIR, 15 NAB, 15 CCIR, 30 AES
• Independent L/R record Bias, Record EQ, and Playback EQs, with Auto and Manual Cal capabilities

Instead of mixing the record and then placing the UAD ATR-102 on the mix buss after I was done, I did the opposite.

I first made some adjustments to the song so it started sounding more like what they requested and what I felt I need to hear from the song. Then I placed the ATR-102 on the master buss and tweaked the settings so that the song had a certain sonic footprint. After a short break I began the final mix.

Whenever I use any processing on the master I find I get better results if I do it at the beginning of the mix instead of at the end. I'm not saying this is the correct or only way to do it I just find this method works best for me.

In the past when I worked completely analog I would monitor through the 2 track master whether it was the actual Ampex ATR-102,

Ampex ATR-102

a Studer A820

Studer A820

or Panasonic SV3700 DAT machine (remember those?!).

Panasonic SV3700

Now I usually record the mix back into Protools and monitor the output of the Protools interface. While mixing I A/B the console output and PT interface at regular intervals to make sure that there are no major differences in sound between the two. When printing the final mix I always monitor the PT interface and pay close attention to any digital glitches, dropouts, distortion etc.

Take a look at this "Tips and Tricks" article from UA for further insight into using the ATR-102.

Price $299

Freebie Fri.: THE 25 BEST FREE VST/AU PLUGINS FOR PC AND MAC.

Resound is a DJ/Producer from Finland who was kind enough to post on his site a list of 25 excellent plugins that are totally free. (Some may require registration on the developer's website). 

The above pic is of Audio Damage's Rough Rider compressor which despite being free is actually a good sounding compressor.(Btw that's an actual setting I'm using on the drum buss for a current project).

"Rough Rider can be tweaked for really mild compression or serious hardcore pumping action equally. Rough Rider is not exactly a transparent compressor – it adds a bit of vintage style coloring to the sound. Great plugin."

I already have some that I use on a regular basis such as Camel Audio's  CamelCrusher.

CamelCrusher "is a free 'colouring' multi-effect plugin. It offers two characteristically different distortion sounds which can be blended together to create a wide variety of tones and textures. Great for guitars, drums and plenty more!"

I use it often on drums, bass and to "fatten" synth/pad sounds.

 The list also includes Virtual Instruments such as TAL Audio's NoizeM4k3r in addition to audio processing plugins:

"The NoiseMaker is a very versataile, phat sounding and traditional analogue-modeling synth. It’s fun and easy to tweak but also comes with whopping 256 presets. This synth can do some serious bass – great for layering under reese or stab sounds for example. Sound quality wise it easily beats many commercial synths out there. I especially like how the pulse wave oscillator sounds."

See the entire list at Resoundsound.com. Download links are included with each plugin on the list.

The Lowender and DBX 500 featuring Spragga Benz and Mack Wilds.

In my recent post on low end enhancement I neglected to mention 2 things that I use to enhance the low end on some of my mixes; The Lowender software and the dbx 500 hardware.

Refuse Software's Lowender Bass Synthesizer was used on Spragga Benz (@SPRAGGABENZ3) "Shotta Culture" album produced by Salaam Remi (@SaLaAMReMi) and recorded by Frank Socorro (@Alphabeatmusic). I used it on the mix of "Duppy No Frighten Vampire".

The Lowender Subharmonic Synthesizer ($69) by Refuse software @refusesoftware is a plugin that "creates new bass content from your existing audio material." It's very similiar to the dbx 500 which I covered in an earlier review (posted below) and which was also used on Spragga's album.

Here's the video single "Shotta Culture" from the album of the same name:

The Lowender has various controls to help you get good results easily but be warned make sure your monitors can reproduce the frequencies it generates. If they don't a good pair of headphones will work. Going from left to right the first control is a blender which allows you to mix the direct signal with the sub "effect". You can use the slider to vary the amount or click on the 0, 50, 100 buttons. Right below that is the master output which comes in handy especially when feeding the lowender's output into other plugins such as a compressor/limiter. The bass synthesis section allows you to select between three types of subharmonics by choosing classic, guitar or bass. Classic is more like the dbx "boom box" type of synthesis while the guitar and bass are more geared towards enhancing the "lowest octave" of those instruments. The knobs above the two frequency bands (24-36hz and 36-56hz) are for adjusting the amount of "subs" that will be generated. Next we have a bass gate which comes in handy when using this plugin on live material so that the leakage doesn't get turned into unwanted rumble. It also works great for kicks that have been sampled off vinyl. Last but not least we have the Bass output section which has a Drive knob that adds saturation to the signal and a Lowpass knob that selects the cutoff frequency (lower gives a smoother sound).

The Lowender Subharmonic Synthesizer can be found at http://www.refusesoftware.com/products/feature/2 

"Shotta Culture" can be purchased on iTunes at http://itunes.apple.com/us/album/shotta-culture/id389713642

dbx 500 Subharmonic Synthesizer

I also used the dbx 500 Subharmonic Synthesizer on the bass for Ini Kamoze's "Here Comes the Hotstepper" and "Nappy Heads" remix for The Fugees, both of which was produced by Salaam Remi @SaLaAMReMi. More recently I used the dbx 500 on the Mack Wilds "NY A Love Story" album.

Here's @MACKWILDS video single "Own It":




The dbx 500 Subharmonic Synthesizer or "Boom Box" as it was sometimes called is an effects box that does only one thing but does it extremely well. It synthesizes bass frequencies an octave lower than what's fed into it. The dbx 500 was originally designed to be used on large PA systems in clubs and live performances. It not only extends the low end but gives it a big beefy sound that's unmatched by other units. I originally started using this unit on my PA system with Cerwin Vega "Earthquake" speakers and continued using it in the studio for mixing. The dbx 500 has stereo unbalanced 1/4 inch inputs and outputs. There are two sets of outputs which can be selected with a switch. The main outs carry the direct signal plus the effect and the sub outs carry only the effect. 

In the studio I ran the unit mono using one sub out and the unit receives signal from a send or buss. It is then returned to the console on a channel where it is further EQ'd and compressed. The unit only has two controls. First there is a Frequency Boost knob which boosts the level of the fundamental frequency and then there's the Subharmonic Level which determines how much subs is being synthesized by the unit. There's a green LED which lights up when subharmonic synthesis occurs. When using this unit be very careful of the level of the synthesized subs as it can easily blow your speakers. I usually put a limiter on the output of the dbx 500. Dbx also made other "Boom Boxes" such as the dbx 100, 110 and the 120a/120x/xp/x-ds series which has more controls. The dbx 500 was released in 1978 and was produced for only 2 years and is very difficult to find nowadays. The dbx 120A can be purchased at http://www.zzounds.com/item--DBX120A

Here's a link to a site that has information on all the different boxes dbx used to make: http://vintagedbx.free.fr/index_en.html

This is still on my wish list.

The Burl Audio B80 Mothership is becoming more and more popular with those seeking the "holy grail" of audio. I first posted about the B80 a few years ago and look forward to doing a shootout with the B80 and some other popular interfaces. (I was "warned" not to audition the unit unless I was prepared to purchase).

 I'm thinking of expanding my rig but I still need it to be compact and somewhat mobile. I will do a future post on my "dream" rig shortly.

 The B80 Mothership provides 44.1khz to 192khz AD/DA but is not cheap:

1. $2499 just for the chassis.

2. $1499 for the BAD4 4 Channel Analog Input Card.

3. $1799 for the BDA8 8 Channel Analog Output Card.

The fully loaded chassis in the above pic would set you back approximately $16k but I've been told it's worth every penny. The fact that it's modular allows you to fill the rack according to your needs and budget. For my current needs 2 BAD4s and a single BDA8 plus a BSUM Summing Bus card would do just fine.

The B80 Chassis includes a BMB1 card (check rack pick above) that "comes standard with two Digi-link connectors for direct hookup to Pro Tools. Burl Audio does away with the expansion port, making both primary ports. That means you can play 64 DAC channels straight out of Pro Tools with one unit!"

There is also a BMB2 MADI card that allows up to 64 channels of audio at 48khz (32 channels at 96k).

Here'a an overview video of the Burl B80 Mothership by Sweetwater Sound:

                            
       Another video showing how to setup the B80:




     
          An impromptu comparison between the B80 and the standard Digidesign 192 I/O:

Tech Tues.: MIX With The MASTERS - Q&A with Michael Brauer

"The MIX With The MASTERS Seminar Series is a chance for recording and mixing engineers to come and work closely with A-List record producers, engineers and mixers and improve their skills in music production. The events take place in the outstanding Studio La Fabrique, in the South of France."

This is a video of a Q&A session with highly acclaimed mix engineer Michael Brauer at the end of his week long MIX With The Masters seminar last December. He answers questions and gives insight into his mixing process.

Cymatic Audio's (3 in 1) uTRACK 24

I think Cymatic Audio is onto something with their new 24 channel uTRACK 24 interface/Recorder/Multi-track playback unit. It operates independently of a computer and records 24bit, 96k audio to USB drives. Cymatic also said that remote control by external software will be available in the near future. All at an unbelievable price of $999. It has great features and if it has good converters I could definitely utilize the uTRACK 24 on live gigs and in the studio.

Check out the full list of features:


24-CHANNEL MULTI-TRACK RECORDER

• Allows connection of 24 channels of balanced input/output through 25-pin D-Sub connectors
• Alternate format 24x24 I/O using optional digital expansion module
• 24-bit resolution, 96kHz sample rate
• Records directly to off-the-shelf USB hard drives attached to convenient front-panel USB port
• 3-segment hardware input metering per input channel
• Large, easy to use illuminated front panel transport controls
• Internal DSP mixer allows internal monitoring of stereo mix of all 24 inputs through front-panel headphone output. Adjust level, panning, mute, and solo for all 24-inputs while enjoying detailed 24-segment hardware input metering, all with no external mixer required!
• Synchronize two uTrack 24 recorders for a total track count of 48 tracks
• RJ-45 Network connection allowing for future implementation of remote control from external software (not yet available)
• BNC Word Clock Input/Output allows integration into larger digital systems
• Large, detailed LCD screen, dedicated menu buttons, and rotary push control allow for fast and intuitive adjustment of various settings

24-CHANNEL MULTI-TRACK PLAYER

• Play back up to 24 tracks of audio, perfect for “virtual sound check” duties or augmenting live players with pre-recorded tracks
• Play back of Standard MIDI Files
• Free, downloadable playlist editor allows you to easily create custom audio playlists, with customization capabilities such as:
• Assigning an audio file’s output channel
• Creating set lists
• Set pause times between songs
• Assigning continuous play between songs
• Edit song order, on the fly, from the front panel
• Playback Start and Stop via front-panel footswitch input
• Loop playback and mark-in/mark-out points allows for easy looping

24-INPUT, 24-OUTPUT COMPUTER AUDIO INTERFACE

• The uTrack24 also works as a powerful and affordable 24x24 computer audio interface
• Dedicated control room and headphone outputs with individual hardware level controls
• 24-bit/96kHz support
• Compatible with OSX, Windows, and iOS

The Cymatic Audio uTRACK 24 should be available in the 2nd quarter of 2014.

Cymatic Audio

Freebie Fri.: SampleRadar's royalty free music samples.

MusicRadar.com has a weekly giveaway of samples,loops,multis etc. They currently have a database of 46,680 royalty free samples in multiple genres to download.

From the website:

"The samples are supplied as 24-bit WAV files so can be imported directly into your DAW of choice. Because they're royalty-free, you're welcome to use them in your music in any way you like – all we ask is that you don't re-distribute them.
All the samples originally appeared on either a Computer Music or Future Music magazine cover disc. Check out their latest issues for many more"

Click here for the latest SampleRadar upload!

Have you auditioned the Trident HG3s yet?

I blogged about the Trident HG3 Studio Monitors a few years ago when they were first brought to the market and were not yet readily available. They were designed by acclaimed designers Harvey Gerst and Russ Allee. I like the design and I'm really curious as to how they sound. I hope to audition them soon. In the meantime, please leave me a comment if you've heard the HG3s.

Here's an introductory video from Full Compass Audio on the HG3:

and here's another video by renowned producer/arranger/engineer Ted Perlman who gives his feedback on the HG3s:

Trident HG3 Features:

• Three-way studio monitors with unique cabinet design
• Reduces or eliminates common issues found in other monitor systems
• Dual voice coil long throw subwoofer, extends to 35Hz
• High-powered MOS amplifiers ensure clean, distortion-free power
• Eliminates uncontrolled woofer movement and port noise with controlled electronic roll-off
• Crossover points set at 320Hz and 2.5kHz to eliminate mid-range modulation and refraction
• Midrange speaker and tweeter both mounted in an isolated cylinder to eliminate edge diffraction and woofer interaction
• Unique cylinder design allows positioning of critical components to desired angle
• Built-in overload LED on the front panel

$3999 per pair at Full Compass Audio

Not all brats are bad.

Usually when you hear the word "brat" you think of a mischievous/misbehaving youngster but that is not the case with The Inward Connections Brat. On the contrary The Brat is sure to make your audio "behave" and do your bidding. I think it's worth auditioning this 4 Band Parametric EQ. Inward Connections has a great reputation and their clients are well respected in the audio industry. I like the layout, legible controls and the 500 series format is a definite plus.

Here are the features:

• High Band - sweepable from 1.2KHz to 25KHz with peak/shelf select switch
• Mid High Band - sweepable from 300Hz to 7KHz
• Mid Lo Band - sweepable from 80Hz to 1.6kHz
• Lo Band - sweepable from 20Hz to 300Hz with a peak/shelf select switch
• +/- 12dB cut & boost level for all 4 bands
• Adjustable bandwidth control for all 4 frequencies .20 to 2.0 per octave
• 41 detents on all frequency and level attenuators (recallable)
• 31 detents on all band width attenuators (recallable)
• Dual concentric knobs for frequency and bandwidth controls
• Lighted push button EQ in/out switch
• VF600 All Discrete Amp Blocks
• Differential balanced transformerless input
• Balanced output transformer
• Fits standard 500 Series slot configuration mechanically and electrically

Specifications:

• Input Impedance: >20K ohms balance
• Output Impedance: 600 ohms balance
• Frequency Response: +/- 0.5dB @ 20Hz to 20KHz
• Output Signal to Noise: -95dB or greater
• THD + Noise: .01% @ 1KHz/+4dBu

$895 at VintageKing Audio

Tech Tues.: Tips For Layering Effects.

Here are some really good tips on using effects in your mix from Bobby Owsinski's blog taken from The Audio Mixing Bootcamp and Mixing Engineer's Handbook.:

"1. Long delays, reverb predelays, or reverb decay push the sound further away if they’re loud enough.

2. Shorter reverbs (less than 1 second) and shorter delays (less than 100 ms) makes the sound bigger.

3. If delays are timed to the tempo of the track, they add depth without being noticeable.

4. If delays are not timed to the track, they stick out.

5. Reverbs work better if their predelay and decay time are timed to the tempo of the track.

6. Layer reverbs by frequency with the longest being the brightest and the shortest a being the darkest, or vice-versa.

7. Return the reverb in mono and pan accordingly. All reverbs needn’t be returned in stereo.

8. Make things sound big with reverbs and get the depth from delays, or vice versa.

9. Use a bit of the longest reverb on all major elements of the track to tie all the environments together.

10. EQ your effects to make them fit in the track better by rolling off the highs and lows, and/or scooping out the mids in the 2kHz range."

I would also like to add:

11. Don't be afraid to use more than one reverb on a vocal/instrument to get the sound you need. I sometimes use the early reflections or short reverb in combination with a long reverb

(such as a plate and a hall on a vocal). For a really intimate vocal try a small amount of chorus and/or delay with an extremely short reverb (or no reverb at all).

12. Feed the delay returns to a reverb. It will add depth to the mix and give the illusion that the delay is fading into the distance. Be mindful of your routing to avoid feedback.

13. Try using different delay times on the left and right for certain sounds. If your stereo delay doesn't allow independent L/R settings use two mono delays instead.

14. Try feeding your stereo reverbs and/or delays to a stereo image widener.

15. As always don't be afraid to experiment. These are just suggestions to help you achieve sonic nirvana. With today's DAWs and plugins your options are limitless.

Many of the effects being currently used are decades old techniques that were developed early on in the recording revolution.

In the video below Dave shows an "ol' skool" technique that I learned early in my career and that was used in a lot of reggae "Dub" mixes. Units such as the AMS dmx 15-80s were often used for this effect and more. 

                                                AMS dmx 15-80s stereo digital delay

He also mentions side-chaining/ducking as a technique that is still used a lot today. Ducking delays work really well on vocals and lead instruments where you want the ends of the notes delayed without cluttering the entire phrase. The PSP Echo is a great ducking delay plug-in from PSPAudioware.

An example of frequency dependent side-chaining is a De-esser. Another example of side-chaining is the side chained gated synths used in a lot of current Dance music.

Here's Dave's ITL video:

UAD 7.5 Software features 610 Tube Preamp & EQ plus BAX EQ Plug-in.

UA sent me an email announcing the release of their UAD Software 7.5 which features the 610 Tube Preamp and EQ plus the Dangerous BAX EQ developed in collaboration with Brainworx. It includes full 64 bit AAX and Mavericks support and they also updated their API Vision Channel Strip to use their innovative Unison Technology.

Here's the email:

Lots of great news to share today! 

With the release of UAD v7.5, we bring you the revered 610 Tube Preamp & EQ Plug-In Collection and the Dangerous BAX EQ Plug-In Collection for the UAD and Apollo platforms.

New! UA 610 Tube Preamp & EQ Collection — With UA’s new groundbreaking Unison technology, this new plug-in collection delivers the first genuine representation of the UA 610 preamp’s revered tube character —

• Includes the 610-A and 610-B Tube Preamp & EQ plug-ins, each with their own sonic attributes and feature sets
• Models 610-A and 610-B’s entire electronic path — including tube amplifiers and transformers, complete with circuit nonlinearities and dependencies
• Physical analog input impedance switching and front panel control of gain staging and other preamp parameters via Unison technology for Apollo Twin and Apollo DUO/QUAD owners

Unison Technology Overview -

• An exclusive analog/digital integration system already built into every Apollo mic preamp
• Enables Apollo mic preamps to sound and behave like the world's most sought-after tube and solid state preamps — including their all-important impedance, gain stage “sweet spots,” and component-level circuit behaviors
• Continuous, realtime, bi-directional control and interplay between Apollo’s physical hardware and UAD software preamp model

Additionally with UAD v7.5, the UAD API Vision Channel Strip Plug-In is now also Unison-enabled allowing Apollo users to capture the authentic circuit behaviors of the Vision’s timeless 212L preamp.

New! Dangerous BAX EQ Plug-in Collection — Developed by Brainworx, this premium “finishing EQ” offers world-class sonics, unique frequency curves and features  —

• Includes the Dangerous BAX EQ Mix and the Dangerous BAX EQ Master plug-ins
• Low Frequency cut filters dial-out unwanted subsonic frequencies, cleaning up low-end rumble and increasing headroom
• New Mid/Side function on stereo EQ Master version — not found on the original hardware

New! Platform Updates  — Full AAX 64 Support for Macs, OS X 10.9 Mavericks Compatibility, and Mac Pro Firmware Updates —

Also included in this release,  UA is pleased to announce full compatibility with Apple’s latest operating system, as well as full AAX 64 support for Mac users, with AAX 64 support coming for Windows 7 users this spring.

• Important note for Mac Pro users: UAD v7.5 includes firmware for Apollo DUO/QUAD, Apollo 16, and UAD-2 OCTO that enables these devices to be recognized by the new Mac Pro (Late 2013) when connected via Thunderbolt. This firmware has undergone preliminary testing and no issues were exposed, however it is not yet fully tested.

For more details on the release, or to download UAD v7.5 software, visit: www.uaudio.com/support/uad/75.html

Make sure you choose the correct hardware before downloading the installer for your setup.

Downloading now! 

Freebie Fri.: Producer SFX Free Pack & Nemesis FM Synth Giveaway.

ProducerSpot.com is giving away a free SFX pack on their site in return for following them on Twitter.

Visit their page and click on the Follow button to get access to the download.

"Get this Producer SFX Free Pack loaded with 30 awesome sound effects special designed for music productions. In this free pack you will find cool transition effects, risers, hits, alarms, sirens, reverses, up lifters and many more. Just listen the demo to make an idea about what you will get. If you want to give more flavor to your productions this collection is ideal."

ProducerSpot.com Free SFX Pack

They're also giving you a chance to win a free license for the Tone2 Nemesis Software Synth:

"Nemesis includes traditional FM synthesis as well as a completely new and improved approach to FM called NeoFM synthesis. NeoFM and several other innovative synthesis methods are exclusively available in Nemesis.

NeoFM is extremely powerful and intuitive. It is now easier than ever to get very good sounding results. The sound quality of Nemesis surpasses conventional synths, making it easy to locate the sonic sweet spot. 

Nemesis features an easy-to-use interface, which ensures that you will experience FM synthesis at its best and most entertaining. 

No less then 33 effects are available from the effects section, ranging from Reverb, Delay, Chorus, and Phaser, to Tremelo, Vibrato, Distortion, Amp-Simulation, Bitcrush, Degrader and Compressor."

Check out the Nemesis promo video:

The Awesome Channel Amplifier...no really, that's the name.

The "Awesome Channel Amplifier" from the Awesome Transistor Amplifier Company AwTAC for short) is unique among 500 series modules because it offers a passive LCR mix buss and an image switch in the Eq section. You can also build a mixer by combining multiple units in a 500 series rack.

From the website:

"The Awesome Channel Amp has an LCR passive mix buss (left – center- right selectable just like most consoles had up to the late 60′s, no pan pot) in the unit. Since it is a double wide module, we were able to use the extra set of I/O jacks for a mix buss. With a standard XLR cable, you can connect one Awesome into another and *POW* now you have a mixer. Just like that. The buss level, just like the paradigm of all lust worthy classic consoles with a passive buss, is conveniently set at mic level. After you’ve chained all your Awesome’s together, we’ve devised a special (awesome if you will) breakout cable that plugs into the standard XLR jack and delivers the Left and Right buss to the mic pre’s of your choice. This obviously sets you up for a myriad of tonal choices when both tracking with multiple mic’s mixed to a mono source (there are still *some* people that track guitars like this, right?) and mixing your stems (or tracks) from your DAW.

The mixing functionality is designed to work with all (every) 500 rack currently on the market. If it has a male and female XLR, you can use that rack to build a mixer out of Awesomes. Please inquire if you have a rack with TT jacks and we’ll come up with an easy solution for you."

FEATURES: 

Here are excerpts from a TapeOp Magazine review written by Chris Garges:

"Although there is certainly a general ’70s vibe to the unit, the Channel Amplifier is pretty much unlike anything else I’ve ever used from that period or otherwise. It can have an aggressive, API-like character and frequency response that’s useful on anything, but without the hard-sounding midrange. When driven with more gain, the fuzzy “out- front” character is somewhat similar to a Langevin AM16 [Tape Op #33] (especially with the Image switch set to Forward – more on that in a minute), but the accentuated harmonic content and apparent compression seem similar to a Telefunken V72 to me (especially on distorted electric guitar amps). The inductor-based midrange band on the EQ reminds me of the “large” size that you get from plugging into a Sphere EQ, while the high-frequency band seems to be reminiscent of many of the classic British equalizers of the period. Boost the bottom, and you start wandering into vintage Neve territory, but boost while engaging the gentle high-pass filter, and the bottom clears up in a really nicely- controlled way, allowing for an astounding array of low- frequency tone-shaping possibilities."

"As a standalone amplifier, the unit sounds great. The twelve- position input-gain knob is marked with line-level unity at 12 noon, and it switches from line to mic amp at 4 o’clock. An output transformer loading switch allows for additional tonal options that are varying degrees of different and/or noticeable, depending on the source material. The line amp on the unit is a really nice surprise and sounds fantastic when used as the sole amplifier on most high-output microphones. I’ve been using the line amp on different instruments in a mix with great results, too. Soon after I received the units, I sent a direct bass signal through one of them with the line amp running “right at the edge” of breaking up, and the result was amazing. The recorded DI signal sounded as if I’d used a mic on an amp and a bass with extremely articulate and much newer strings. There was a “shimmery” clarity that the bass had been lacking, and the Channel Amplifier helped situate the bass perfectly in this “big rock mix” without using any drastic EQ or outboard compression. The Channel Amplifier’s mic preamp has a semi- aggressive character that, when run hot, accentuates harmonic complexities. For me, this translates into musicality, much the way that symphonic percussionists are taught to accentuate harmonics with triangle playing technique. I find it tempting to run the mic preamp right at the edge at all times, but the large- ish steps in the gain range make it so that one little surprise in level can overdrive the units easily."

"The three-band EQ is a unique beast. Features-wise, it utilizes a Baxandall-type high and low shelf with three available frequencies each, and an inductor-based mid band with ten available frequency- selection points....the way the EQ works is based completely and totally, 100% on “sound” – and nothing else. As a result, the AwTAC features two 1 kHz and two 3 kHz points on the mid band, each labeled as “wide” and “narrow.” Generally speaking, the bands on these frequencies are all fairly wide. This is not intended to be a surgical-type equalizer at all, but it makes for an extremely effective tone-shaping tool. It’s worth noting that these EQs were meant to be boosted or cut to their full potential, and turning any of those knobs pretty much all the way in either direction works well without falling apart sonically. It just sounds good."

"Totally unique to the Channel Amplifier is the addition of an Image switch in the EQ circuit. This magic little switch provides additional sonic choice to the general tone of the EQ. The options are a full-range, pleasant sound that sits nicely within a mix, or a slightly more assertive sound that helps the signal “jump” to the front. In practice, one might record basic rhythm guitar tracks with Image set to Back, and then cut solos and single note lines with the switch set to Forward. At this point, the quieter single-note stuff steps out from the other guitar sounds without making any changes to guitar, amp, mic, preamp, or EQ settings. Cut lead vocals with the switch in Forward, background vocals with it Back. Make kick and snare drums jump out from the rest of the drum kit. This is a subtle but extremely useful and completely unique feature of the Awesome EQ."

Read the entire review here: 

Multiple audio samples of multiple recordings done with various microphones on vocals, piano, drums and guitar can be found on this page.

Take a look at this video that explains how the bussing works on the Awesome Channel Amplifier:

See the full specs on the Awesome Channel Amplifier here.

Price: $1599 direct from AwTAC. (You get a free Purple Audio 500 series Rack when you purchase 4 units).