Go Primal.

SoundToys has released another free plugin called the little PrimalTap which is based on the
classic Lexicon PrimeTime Delay. 

The PrimalTap is being offered as part of a contest which ends March 28th. The Grand Prize winner will get free SoundToys plugins for life. Go here for full details.

From the website:

 "The little PrimalTap captures the highly distinctive sonic imprint of this quirky, and well-loved (by those in the know) vintage digital delay. Don't be fooled by it's simple interface, Little PrimalTap lets you unleash your creative urges to echo, loop, warp, distort, mangle, or create cacophonous cascades of otherworldly sounds."

The plugin supports Mac/Win and runs in 32 or 64bit as AAX/RTAS/AU/VST.

It's completely free but you need to sign up for a Soundtoys account if you don't already have one and use this redemption code: 386-7932-032

Take a look at the Soundtoys video of the little PrimalTap:




Have fun!

Freebie Fri.: NeuroHop Forum's Free 2.3 GB Sample Pack.

Neurohopforum.com is offering a massive sample Pack for free to their online community.

"NHF Sample Pack 001 is available for free download via Neurohop Forum’s Facebook page (1.56 GB download size, ZIP archive, 2.32 GB size on disk, contains 655 audio samples & loops in 24-bit WAV format, additional files for NI Massive, FL Studio, NI Reaktor)."

If you're not on Facebook you can also download it directly from the forum website.

via bedroomproducersblog.com

A Wolf With Rhythm?

Akai is showing new products at Musikmesse 2014 including their new Rhythm Wolf module. The Rhythm Wolf is a combined Analog Drum Machine and Bass Synth.

From the press release:

"The drum machine consists of five highly-tweakable drum sounds and includes a kick, snare, open & closed hi-hat, and metallic percussion. Onboard controls allow users to customize the tuning, amplitude envelopes, and volume of each drum voice separately for precise real-time adjustment. The bass synthesizer features a selectable oscillator (sawtooth or square wave), classic filter design, a filter envelope with variable decay, and is capable of creating powerful bass sounds and squelchy leads."

FEATURES:

• 5-voice analog drum machine and synth
• Thick analog drum sounds—kick, snare, open & closed hi-hat and metallic percussion
• Onboard 32-step sequencer with classic drum machine workflow
• Gate trigger In/Out for triggering your sequences via modular synths, vintage sequencers, or external sound sources
• "Howl" knob with custom distortion signal path lets you crush and mangle sounds
• Six custom-calibrated MPC pads for sequencing and finger drumming
• Dedicated audio outputs for percussion sounds and bass synth

FutureMusic's video of Akai's Rhythm Wolf at Musikmesse 2014:

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The Rhythm Wolf will be available Summer 2014 for $199.95.

Great layout, features and price but I want to hear what it sounds like. I will do another post once they have audio demos of the unit.

Harrison 832c 8-Channel Filter Unit and the Harrison 32C Console.

Harrison Consoles new 832C Filter Unit extends the rich lineage of Harrison's consoles and offers the same sonic textures as their legendary Harrison 32C console. It's a perfect  companion for their Lineage Mic Pre-Amp.

Harrison 32C Console

"The 832c Filter Unit includes 8 channels of high-pass / low-pass filters from Harrison’s world-renowned 32-series console - providing classic Harrison sound for recording and mixing in a convenient 1U space."

832C features:

• 8 Channels
• in / out buttons (marked “HP” and “LP”)
• A “Bump” button 
• 2 sweepable filter knobs
• 7-segment LED input meter
• Tascam DB-25 (AES59) Audio Connectors

Price $2395

Harrison's introductory video of the 832C:

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and here's a video of engineering icon Bruce Swedien giving insight into his career and the Harrison 32C. The video was done by Universal Audio to showcase their Harrison 32C Channel EQ plugin that was based on Bruce's Harrison 32C console:

Bruce Swedien's Harrison 32C

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Tech Tues.: Hardware EQs and Compressors compared.

Here are two videos by Torsten Matthiessen comparing different hardware equalizers and compressors. It's not the same as hearing the units in person but you should still be able to discern the differences between the units.

The 1st video features 8 high end Equalizers:

1. BAE 1073

2. Chandler Limited Curve Bender 

3. Tube Tech PE 1A (currently in production as the PE 1C. Read about the differences here).

4. Great River EQ2-NV

5. Kush Audio Clariphonic

6. Summit Audio EQP200B

7. Manley Massive Passive

8. The Eq section of the Sony Oxford DMX-R100 console.( no longer in production, but the algorithm for the Sonnox Oxford EQ Plugin is the same).

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The 2nd video features 8 high end compressors:

1. BAE 10DC 

2. Chandler LTD-2

3. Chandler Zener Limiter 

4. Tube Tech CL1b 

5. Purple Audio MC76 

6. GSSL Sonic Squeezer

7. Empirical Labs FATSOjr

8. Manley Labs ELOP

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I've used quite a few of the pieces shown in these two videos and I'm curious as to which are your favorites. 

Please leave me a comment.

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: