The Eventide H910 Harmonizer, Oxide Tape Recorder and Marshall Legends Bundle_UAD v8.4

Got an email from UAD announcing the UAD v8.4 software with 3 new plugins. I was      excited to see that they had finally released the Eventide H910 Harmonizer plugin and couldn't wait to hear the Oxide Tape Recorder and Marshall Amp plugins.

The Eventide H910 Harmonizer was one of the first effects boxes that I was introduced to early in my career and I instantly took a liking to it. The H910 was widely used for vocal and guitar doubling plus the infamous "robot voice" and "sci-fi'" glitch effects. The combination of pitch change with delay and variable feedback allowed the user to come up with some pretty "crazy" effects. You can also do standard delays, reverb, flanging etc. It works well on all types of sounds. if you like to tweak your gear/plugins in real time then the H910 definitely deserves a look.

I tried the H910 demo on a vocal track of a song I was mixing last night and it brought a smile to my lips. UAD has nailed it again.

Here's UA's intro video of the Eventide H910 Harmonizer plugin:

The Oxide Tape Recorder plugin is also included in the UAD v8.4 update. I use the Studer 800 and ATR-102 plugins regularly so I was curious to see what UAD was offering with the Oxide Tape and it has some serious mojo going on. I found it very easy to get textures that worked well with different sounds. If you're not sure where to start there are presets that make great starting points. I like the Oxide Tape plugin a lot.

Here's a great video from UA showing how the Oxide Tape Recorder plugin can be used on drums:

Last but definitely not least we have the Marshall Legends Bundle which consists of the 
Plexi Super Lead 1959 and the new Bluesbreaker 1962 and Silver Jubilee 2555. The plugins work with UA's Unison Technology when used with the Apollo interfaces.

Protools Expert posted a video review of the Bluesbreaker 1962:

Ocean Way Audio HR4 Studio Monitors

Ocean Way Audio introduced 2 new monitors at AES 2015 but the one that caught my attention is the HR4 Studio Monitor. I've heard their bigger brother the HR2 at Noisematch Studios in Miami and they sound amazing. 

They have a very wide sweet spot, excellent imaging and exceptional transient response.


From the press release:

"Based on the legendary sonic performance of the Ocean Way HR2 speaker, the HR4 is a two-way, self-powered monitor that is at home on a consoles meter bridge or free-standing speaker stands. “We’ve captured the sonic performance of our large horn-based wave guide design, which delivers 100 degree dispersion, and have released this unique speaker in a 24-inch mixing-board-friendly design!” states Allen Sides, OWA Founder and CEO." 

Here's a video by Sound on Sound at AES 2015 with Allen Sides himself explaining the design features and sound of the HR4:



For more details visit Ocean Way Audio.

AES NY 2015 starts today!

The 139th International Audio Engineering Society Convention starts today Thursday, October 29th and runs through Sunday, November 1st. There are sure to be many new products announced at the AES show plus all the great seminars and presentations regarding all aspects of the audio industry. For this post I'm only posting the links and pics. I will do a more in-depth post next week with more info and products.

A few of the items already mentioned are:

1. NEVE BCM10/2 MK2 - 10 Channel Recording Console (also available in 16,24 & 32 channels) via Vintage King.

2. BarefootSound MicroMain26

3. New products from Little Labs. A company that makes great sounding unique gear:

4. SSL βeta 500 format module Hardware Development Kit

5. SSL's Sigma Delta:

6. Focusrite RedNet AM2 via GearJunkies

7. NTP Technology's DAD AX32 with new MADI and AES3 cards with enhanced Cue and Mix Monitoring:

8. PSI Audio A14-M Studio Monitors:

The Brainworx bx_console plugin featuring Tolerance Modeling Technology

Plugin Alliance's newest plugin is The Brainworx bx_console which is modeled after Brainworx' own Neve VXS console. I did some mixes in the 90's on the Neve VR in Studio A of Soundtracks Studios NYC, ( I think they've since sold the console) but was only vaguely familiar with the Neve VXS so I was very curious to hear what Brainworx did with the bx_control channelstrip.

 "The VXS was something of a bridge between vintage consoles like the 80 and VR series and the modern 88RS. Loaded with features like a comprehensive EQ and dynamics section, it still delivers that classic English punch and vibe."

Brainworx modeled the Neve VXS channelstrips with their new TMT technology.

"The bx_console is the first plugin from Brainworx to utilize its revolutionary new Tolerance Modeling Technology, which sets a new standard for analog realism inside the box. While all other current analog modeling systems concentrate on emulating a specific “golden” unit, Tolerance Modeling Technology, or TMT, meticulously models the variation of individual components used in an analog circuit to capture the natural unit to unit variations found in prized analog gear."

The bx_console plugin is cpu friendly and allows you to easily apply multiple instances in your DAW. Then by assigning different channel numbers in the plugin (it offers up to 72) Brainworx says you are able to replicate the sound of an actual Neve VXS console and the subtle variations that occur from channel to channel.

"All analog components have manufacturing tolerances that state an acceptable range of differences between them. These tolerances vary from 1% on some parts up to 20% in many standard electronic components.These changes absolutely do make an audible difference in how one console channel sounds compared to another.
This variation, when taken across many channels in a mix, is part of what makes an analog console sound the way it does. Especially the tolerances between each of two channels in multiple stereo setups (stereo-signals, busses and sub-groups) of a bigger mix session introduce small phase differences, unbalanced center frequencies and center-offsets."

I downloaded and installed the 14 day demo. I was able to open and audition the bx_control in Logic Pro X, Protools 10 and Studio One v2.6 without any issues. The sound is more like the Neve 88R than the older Neve consoles and could be described as transparent but warm and punchy. It's very similar to the UAD Neve 88r channelstrip but I'll have to do some more in-depth mixing to tell. I think Brainworx is on to something with the TMT technology because I can hear subtle differences as I change the channel numbers. You can also bypass this feature by changing the stereo mode from analog to digital.

Take a look at this video by Plugin Alliance on their new bx_control Plugin:




and here's a review of the bx_control by our good friend Russ at Protools Expert:

Tech Tues.: ITB Re-Amping Tips with UAD Plugins

Softube Bass Amp Room

If you don't have access to real amp stacks in a great sounding studio then ITB re-amping is an alternative way to enhance and liven tracks. I use this method often when mixing if I feel it's necessary for the mix to reach its full potential. The video below shows 3 excellent UAD plugins that can be used to re-amp bass tracks. This method works great with samples and VSTis too. In addition you can setup a microphone in front of your monitors and record to a new track. Make sure to mute the return of the new track to avoid feedback and hit record while playing the track in solo through your monitors at a reasonably loud level. The combination of the amp plugins combined with the speakers moving air in your room can really bring a track to life.

Ampeg SVT-VR

Ampeg SVT-3 PRO

Here's the re-amping video tutorial by Michael ( Thanks Michael) of Studio One Expert showing how to use the Universal Audio’s Ampeg SVT-VR, Ampeg SVT-3 PRO and Softube Bass Amp Room on a bass track in PreSonus Studio One 3.

I usually use the Softube Bass Amp Room but have started experimenting with the others. The combination of all 3 offers so many sonic possibilities. I like to use busses instead of copying the tracks and send them all to the same aux master then mix and match to taste. 

The UAD Pultec Passive Eq Collection that's currently on sale for $99 works great to further enhance the sound of the tracks. 

UAD Pultec Passive Eq Collection

This method is not just for bass and works really well on all types of sounds using any plugins you choose. For example I used The Chandler Limited GAV19T Amplifier Plug-In to add grit and presence to a live organ track that was well recorded but wasn't sitting properly in the mix. Worked like a charm.

The Chandler Limited GAV19T Amplifier Plug-In

Mix Monday: Jazmine Sullivan - Let It Burn

I'm a huge fan of Jazmine Sullivan so when I got the call from Salaam Remi to mix several songs on her latest album "Reality Show" I was very happy to do it. (The album debuted at No.1 on the R&B Albums Chart earlier this year).
 One of the songs I mixed is "Let It Burn". The song has a late 80's R&B feel infused with the sultry soulfulness of Jazmine's vocals. Salaam insisted the song not lose it's original vibe so I started the mix with the vocals first then introduced the keys then bass and drums. All the tracks were well recorded and arranged. On this mix I relied more on balance and effects more so than compression and eq.

Here are snapshots of some of the effects that were used on "Let It Burn":

UAD Lexicon 224

PSP Stereo Enhancer

UAD EMT 140

The PSP Stereo Enhancer was placed on the channel inserts after each reverb to give the illusion of a bigger/wider soundstage.

UAD Dimension D

   
The Dimension D was used on the vocals and some of the keys for added depth and space. The delays heard on the song are just stock plugins provided in Protools that were set to 1/4 and 1/8 note delay time.

Kush Audio UBK-1

After getting a rough balance going on the mix I placed the Kush Audio UBK-1 on the master buss to give it the overall texture and glue I felt was needed for this particular song. I made some minor adjustments to the UBK-1 as the mix progressed. The above pic is the final setting.

Here's the video of "Let It Burn":




Buy/download the "Reality Show" album here.

3 new products from Fredenstein Professional Audio.

Fredenstein Professional Audio (FPA) recently announced 3 new and interesting additions to their product line that caught my eye. The MixCube, the Bento 6 I/O and the HD REFERENCE Professional Stereo Microphone Preamplifier with COMMANDER Remote Control. 

I like the features of all the units especially the BENTO 6 I/O which would make a great addition to a mix rig. The built-in 14 channel mixer with AD/DA converters enable the full integration of your 500 series modules with access and routing setup recall via a USB or AVB connection to your DAW. There's also the compressor LINK feature which allows you to link up to 3 pairs of compressor modules.

From FPA's Facebook page:

The MixCube:

The Fredenstein MIX CUBE is a compact answer to the question of mixing in the box or mixing out of the box with a solution born of thinking outside of the box.

The MIX CUBE is a high quality digital controlled analog mixer that can be configured as 8X2, 16X2, 24X2 or 32X2 while only needing about 6.3” (16cm) by 6”3 by 6.3” inches of desk space.

It features a front to back balanced audio path with a fully discrete output stage. The MIX CUBE can be thought of a remarkably compact, extreme performance, purist analog mixer for the digital age.

Each of the channels has gain control in ½ dB steps, pan, cut and solo. Any set of channels can be controlled by one of four fader groups. The master mix also has gain control, balance and cut. Presets can be easily saved and recalled.

The 4 Fader Groups provide a convenient way of controlling multiple channels. For example, one could assign 10 drum channels to Group 1, (indicated numerically below the channel and with a color change) and adjust the level or mute or solo just the drums. Also, in the Audio Menu, all channels can be increased or reduced by 3 dB or 10 dB steps. One can easily find the optimal level to drive the mix buss and outboard processors.

The MIX CUBE also has MIDI ports and a USB port to allow full remote control. For example, a low cost moving fader MIDI controller can provide a traditional tactile interface for the MIX CUBE. Alternatively, A DAW can control the MIX CUBE via MIDI or USB and provide a fully automated mix in the analog domain while the digital to analog converters operate at their optimum levels.

The MIX CUBE has a 4.3” 480x272 pixel full color TFT graphics display that clearly shows levels, pans, groups, etc. 3 Encoders and 3 buttons give the engineer quick access to any control.

The Mix Cube also has a built in peak output meter, with 64 segments from -44 to +20 dB. Naturally it is referenced to the professional +4 dBm standard, so the range is actually -40 to +24 dBu with an additional clip indicator at +28dBu.

Specifications:

• Inputs are industry standard DSub 25's and the outputs are XLR3.
• Maximum Input / Output +28 dBu
• Frequency Response -0.5 dB 10 Hz – 80 kHz
• THD & N .006%
• S/N Ratio (8 channels installed, all unity gain) 110 dB
• S/N Ratio (32 channels installed, all unity gain) 104 dB
• Crosstalk (adjacent channels panned L & R) 100 dB @ 1kHz, 83 dB @ 10kHz

The Bento 6 I/O:

The Fredenstein Bento 6 I/0 adds digital IO, a 14 channel mixer and a high resolution color TFT display to the successful Bento line of 500 Series carriers. Now one can plug in a DAW with a USB cable and access any chain of analog modules that may be in the Bento rack. Alternatively, with MAC or Unix based systems the Bento 6 I/O also has AVB connectivity which uses ethernet 100BaseT wiring and is suitable for longer distances than USB.

New for the Bento 6 I/O are multi-channel analog to digital and digital to analog converters. There a 6 AtoD converters corresponding to the 6 slots plus 8 DtoA converters corresponding to the 6 slots plus 2 extra that can be used as a mix output or for any other purpose. The new color display is 360 by 240 pixel and is 2.6 inch in size.


Each 500 series module can be fed by the normal XLR analog input, the Aux XLR analog input, or the output of the module directly to the left or from the corresponding DAC channel. Each module's analog output goes to its XLR output like a conventional carrier and also goes to its own AtoD channel. This suggests that it is easy to use the BENTO 6 I/O fully analog, fully digital, or anything in between, plus being able to chain several modules to create your own custom channel path. All analog routing is done with high reliability relays.

Additionally there is a 14 channel digital mixer that can mix any combination of the 6 AtoD and 8 DtoA channels. You could think of them as 6 processed analog inputs and 8 channels from the DAW and still have the mixer output feed DAC #7 & #8 for headphones. Each of the 14 channels has level, pan, mute and solo control plus the mix buss has level and mute controls.

The converters are 24 bit and capable of 44.1K, 48K, 88.2K, 96K, 176.4K and 192K sample rates. The Bento 6 I/O utilizes asynchronous data transfer for low jitter. It accepts word clock IO on BNCs and provides user select-able 75 ohm termination. The Bento 6 I/O also runs a self test routine to confirm all power rails are fine at power up.

As with other Bento racks, there is a flexible LINK feature that can be set up for 3 different pairs of compressors, anticipating that “link” circuits from different companies probably won't be compatible. One can link up to 6 compressors from one company for surround. And in common with the Bento 6D, the Bento 6 I/0 can display control settings numerically of various compatible Fredenstein modules like the F604, F605, F606 and F607. Presets can saved and recalled, which is a nice bonus.

The Fredenstein Bento 500 Series Carriers have earned a reputation for frankly being a bargain considering how solidly constructed and well engineered they are. The power supplies are over specified, clean and proven winners for low radiated hum and noise. The Bento 6 I/O carries on this tradition of offering great price plus adds another huge set of useful features and modern high tech functionality.

HD REFERENCE Professional Stereo Microphone Preamplifier and COMMANDER Remote Control:

The HD REFERENCE Microphone Preamplifier can be described as unique, revolutionary, and among the best performing mic pre's of all time.

Well almost unique. The internal topology was first introduced in the 500 Series Fredenstein HD PRE which features the new current mode, true class A, zero negative feedback, 100% balanced circuit that uses 54 discrete premium transistors for gain. The HD REFERENCE goes a step further with 72 transistors and a +/- 24 volt power supply. The HD REFERENCE is also designed to be remote controlled (or not) and offers 1 dB gain steps shown clearly on the front panel.


Technical performance can only be described as extreme or exceptional. Extreme low noise (EIN - XX dB), exceptional low distortion (.XX% at 60 dB of gain), extreme bandwidth (-3dB down at 900kHz) and is can deliver +30 dbu at the outputs. And while it sports the holy grail, grand combination of high end specifications, The HD REFERENCE also out-performs typical tube pre-amplifiers in the area of smooth transition into saturation, due to the absence of negative feedback and the fast recovery inherent in the topology. In other words, it goes from pristene to 3 dimensional through rich and then power house depending on how hard one drives it.

Features include 1 dB stepped gain from 0 dB to +64 dB (using high reliability relays) indicated with a large 7 segment LED display. 3 high pass filter frequencies, 3 impedance settings, phantom power and polarity switching. Details like, automatic muting while phantom power is changing, to prevent thumps and damage to monitors is built in. There are also a pair of Direct Inputs for instruments with low noise discrete JFET inputs (2 meg ohm) and 0 to 40 dB of gain.

And then by adding the COMMANDER remote control we can reap the benefit of keeping the mic pre close to the mic, while still keeping control of all the features the HD REFERENCE provides. By keeping the cable between the mic and the REFERENCE HD short, we can preserve the fragile mic level signals and send a robust line level signal any reasonable distance to the converter, console or compressor. The Commander and REFERENCE HD connect with a standard mic cable. The COMMANDER additionally has a “LOCK” button that can prevent tampering at the remote preamp.

I will update this post with pricing etc. when more info is available (probably after AES this coming weekend). 

In the meantime visit their Facebook page, website and their North American Distributor Studiologicsound.

Freebie Fri.:The Nova-67P Dynamic Equalizer Plugin

The Nova-67P is a free equalizer plugin from software developer vladg/sound. It placed 2nd in last year's KVR Developers Challenge DC14. It is described as "a parallel parametric equalizer plugin combined with a compressor." This makes the Nova-67P a very flexible dynamic equalizer. It reminds me of the discontinued TC Electronic Dynamic Eq plugin that ran on their Powercore platform which I sometimes used, mostly on vocals. The concise manual included with the download helps the user grasp the full potential of the Nova-67P.

Nova-67P Features:

• 5 bands parallel equalizer with auto-gain.
• Optional high-pass and low-pass filters.
• Full-band frequency dependent and/or split-band compression.
• Side-chain filtering and pre-emphasis.
• Third-octave real-time spectrum analysis.
• External side-chain support.
• 64-bit internal processing.

Here's vladg/sound's video of the Nova-67P:

and here's a 2nd video of the Nova-67P being used on drums:





DOWNLOAD:
Mac (AU/VST 32/64bit)
Windows (VST 32/64bit)

The MS76 by MUNSON and FLETCHER

MS76

The MS76 is one of 4 hand built units offered by the Denmark based manufacturer MUNSON & FLETCHER. The name suggests it's based on the beloved 1176 but with a different twist.

In addition to the usual compression parameters (ratio, attack, release etc.)  the MS76 operates in Stereo, Dual Mono and M/S mode. It also offers the notorious "ALL BUTTONS IN" setting via a switch and a BLEND knob that allows you mix the uncompressed and compressed signal to your liking. Last but not least there is also a High Pass Filter on the side chain detector (very helpful for eliminating pumping caused by the low end).

These added features are a definite plus and will surely be put to good use by many mixing and mastering engineers.

There is also a Lundahl LL5402 output transformer upgrade option.

Since the MS76 is hand built to order the delivery time is currently 3 to 5 weeks.

From the website:

BACKGROUND

This is a dual FET compressor with an M/S link. The circuit was inspired by a well known classic, but it is not a replica.

CONTROLS

Most of the controls should be self explanatory, but if you have any questions, use the contact form at the bottom of the website. The controls we feel need special mention are…

MS

Set the mode switch to dual mono, and you have two compressors working independently, or as a non-linked stereo pair. (L/R)

Set the mode switch to M/S, and the unit will encode and route the center information (mid) of your stereo input to one channel (M), and the panned information (side) to the other (S). The signals are decoded back to stereo after processing, so your final output is split to L/R.

Blend

The Blend knob is a mix knob that lets you dial in a blend between compressed and uncompressed content.

High Pass Side Chain

The HP SC filters out the low end of the signal going to the compression, detection circuit (the side chain). It does not affect the signal path directly, but it makes sure the compression does not react to low end material, so bass heavy material can breathe a bit more.

“All Buttons In”

The ALL switch mimics the infamous “all buttons” setting, and was added by popular demand.

  

PRICE

€1290 ($1440.54USD) + VAT and shipping 

€150 ($167.50USD)+ VAT for the Lundahl LL5402 output transformer upgrade.

Sly Stone's Mic Pre_The Skibbe Electronics 736-5

While surfing the 'net I came across the Skibbe Electronics site. Skibbe Electronics was formed by Bill Skibbe and Jessica Ruffins. They've been around for over a decade manufacturing gear based on Daniel Flickinger's designs. Flickinger designed custom consoles for many iconic artists and studios from the late '60s to the '70s. His clients included Sly Stone, Parliament Funkadelic, Curtis Mayfield, Johnny Cash and the famous Motown Records and Muscle Shoals Sound Studios.

Skibbe Electronics has a 500 series Mic Pre named the 736-5 that's based on the Mic Pres in Sly Stone's 1970 Flickinger custom designed recording console.

From the website:

"SKIBBE ELECTRONICS IS PROUD TO PRESENT the 736-5 500 series microphone preamplifier. This module is adapted from Sly Stone’s custom Flickinger MOD-N-32 matrix console (circa 1970). Great care has been taken in creating this module to keep the original tone intact. We use only the highest quality components for a superior build quality in the 500 series format."

736-5 Features:

• Custom TRIAD input and output transformers

• Original 535-7 discrete op amp topology

• Hand matched and graded transistors (original T0-105, and TO-106 package styles).

• Machined face plate, engraved, with fluorescent red inlay (glows under black light!)

• 20db pad

• Polarity reverse (both sealed relay switched, no more crackles!)

• Phantom power switch

• Military spec knob

• Heavy duty pcb and chassis construction

• Adjustable gain from 5-60db

• Stainless steel grab handle

• Large easy to see indicator lamps for all functions

• API VPR certified

Bill and Jessica said:

"We have been using Sly’s console for over 12 years at the KEYCLUB RECORDING CO. and absolutely love the sound of the mic pre’s. Because of multiple requests for preamps over the years we decided to start producing these modules in the popular 500 series format. Great care has been taken to keep all of the magic 70’s tone intact, by using original spec. quality components. Because we work in the studio every day, we realized how important it is to have gear that feels as good as it sounds. That is why we focused on creating a module that an engineer would want to reach for every time on a session. The 736-5 looks amazing, feels great to use, and above all else, sounds exactly as good as the original."

Price: $749

Now Shipping!

For ordering please contact SONIC CIRCUS at: (888) SC4-GEAR / (802)365-9190