Phoenix Audio DRS-2 2 Channel Microphone Preamp

"The DRS-2 is the culmination of over 40 years experience designing Class A circuitry within the Audio Recording Industry. The DRS-2 was the first bespoke product to be launched by Phoenix Audio (UK) in the U.K. in November 1999, and has enjoyed an almost "cult" following ever since. The Class A output stage (TF1) was originally designed by David Rees, the designer of the famous Neve 2253 Limiter and 2254 Limiter/compressor (amongst many other designs), as a retrofit for Neve modules, and the TF1 has now been superseded by the DSOP2 output stage.

The Class A, discrete, truly balanced, transformerless microphone input stage was designed to out-perform any transformer input for frequency response, yet has all the characteristics expected in a high quality Class A design, while the discrete, Class A, high input-impedance DI stage delivers a clearer, stronger and more defined and open sound that captures all the nuances and subtleties of your instrument."

Phoenix Audio DRS-2 2-Channel Microphone Preamp Features

• Stereo 1U unit: With 240V/110V mains voltage input selector switch
• Class A Output specs. See the DSOP2 Specifications!!
• Outputs: XLR's and TSR 1/4" Jack on rear
• Phoenix Audio's unique Class A, transformerless, True balanced Mic input stage.
• Microphone inputs: XLR's on Front and Rear Panels
• Individual Earth Lift: Push-button switches

http://www.phoenixaudio.net/products_drs2.html

Federal TV corp. AM-864/U audio compressor/limiter (Vintage circa 1954)

"The AM-864/U is a peak-limiting audio frequency amplifier for use in either AM or FM broadcast system installations where it can automatically control the maximum level of amplification while retaining the audio quality of the program source. The AM-864/U could also be used in recording or in sound systems where automatic level regulation was going to be a requirement. The input Z is 600 ohms balanced and the output is also 600 ohms Z balanced, which is normal for most broadcast audio routing. Five tubes are used in the circuit that is powered by 115vac. The rear chassis adjustments control the point at which limiting is started and also how much limiting is allowed. The large control on the front panel controls the amplifier gain. The panel switch on the left selects if the meter is going to monitor the attenuation level or the amplifier output. The AM-864/U is a high quality device that had multiple uses and apparently the U.S. Army did use them in many different applications. Dates from the mid-1950s."
The AM-864/U sounds amazing on kick, snare, bass, guitar and vocals. Recommend using an inline pad on the output as this unit has some serious output gain. 
Here's a link to the AM-864/U manual: 
http://www.crossenstreams.com/federal_am864/Federal-AM-864-U-Manual.pdf

and a current ebay auction:
http://cgi.ebay.com/FEDERAL-AM-864-U-AUDIO-COMPRESSOR-LIMITER-Vintage-Tube-/300545886834?pt=LH_DefaultDomain_0&hash=item45f9ee4a72#ht_1479wt_1141

Universal Audio -- EMT 250 Classic Electronic Reverberator Plug-In

"Unveiled by EMT at the AES convention in 1976 and inducted into the TEC

Hall of Fame in 2007, the EMT 250 was the first digital reverberation device

to create ambience through a purely electronic system. With its single reverb

program and iconic lever-driven control surface, the EMT 250 is still an indispensable

tool within the record-making elite and is widely considered one of

the best-sounding reverbs ever made. Although only around 250 were built,

the EMT 250 has made an immeasurable impact on record making history in

the hands of studio legends like George Massenburg, Bruce Swedien, Allen

Sides and many others. Captured from Allen Sides’ unit at Ocean Way Recording,

endorsed by EMT Studiotechnik GmbH in Germany, and re-engineered

for plug-in use by EMT 250 creator Dr. Barry Blesser from his original

documentation, the UAD version of the EMT 250 goes beyond emulation and

is the very same algorithm found in the original units—for a fraction of its original

$25,000 price!

Besides the coveted reverb program, the EMT 250 for UAD provides the five

additional effects (Delay, Phasing, Chorus, Echo and Space) also included in

the original unit. Lighted pushbuttons select the desired program, while four

click-stop levers provide the primary reverb parameters of delay time, predelay,

and high and low Filtering. LED ladders provide additional visual reinforcement

of program selection and parameter positioning. Like the hardware,

the plug-in operates in “quad,” with two discrete stereo output pairs

accessed through the added front/rear output switch. Additional “digital

only” features include dry/wet mix, wet solo, reduced noise (if desired), and

hard bypass via the EMT power icon."

I'm a huge fan of UAD plugins and will do an in-depth review of the EMT 250 
showing actual use on a mix in the very near future.

http://www.uaudio.com/store/reverbs/emt-250.html

Shadow Hills Mono Optograph 500

"This Single channel discrete optical compressor, in the API 500 series form factor, takes its cues and much of its design from the optical stage of its behemoth Big Brother, the Shadow Hills Mastering Compressor. The Optograph's front end is balanced by an original Jensen input transformer. The output utilizes our specially recreated Nickel transformer. The essence of the compressor's character comes from our custom electroluminescent cell and discrete op-amp combination. The high quality circuit is pristine enough for bus compression, and yet has a unique character reminiscent of an antique world class compressor, that has just now been discovered. It's also perfect for squeezing drum busses and massaging vocals. It's the perfect glue for tracking and mixing anything that needs to sound more finished, more like a record.

Just like The Mastering Compressor, the Optograph's threshold and make up gain are controlled by discrete attenuators, made from custom twenty-four position Elma switches. The tactile feel and quality of these controls are unrivaled. They are of the highest quality and will last forever.

Built into the side chain, are a very powerful series of filters: 90 hertz, 150 hertz, 250 hertz, and band pass. By engaging a specific filter, you choose at which point the onset of compression occurs. First position, nothing below ninety triggers compression. Second position, nothing below one-fifty. Third, nothing below two-fifty. The fourth position is a musical bandpass filter. In this position, compression is triggered by the program's mid-range frequency content, ignoring the highest and lowest frequencies. The filters are amazingly useful for shifting the focus of what should be more compressed and creating compression curves on purpose.

Another unique feature for sculpting the overall sonic character is the Transformer Desaturate mode. In this mode we cancel out any distortion and frequency non-linearity’s caused by the output transformer. The result is a pure, almost transformer-less sound, whilst still receiving the benefits, of limiting transients that can only come from magnetics."

http://www.vintageking.com/Shadow-Hills-Industries-Mono-Optograph?sc=18&category=533

FMR Audio A.R.C

"The FMR Audio A.R.C.—an acronym for “Articulation, Resonance and Clarity”—is named for its perceived effects on the sound of many instruments. The A.R.C. allows you to easily alter how more transient notes “stand out” against sustained ones (articulation, resonance), while increasing the overall perceived clarity of the sound. The A.R.C. offers sonic performance, along with a unique combination of other features, that you will find equally useful in the studio or on the stage.

Specifically, the FMR Audio A.R.C. provides: 

1) A boost function that buffers and amplifies instrument signals to a higher level. 

2) A compressor that enhances your instrument’s tone and dynamics. 

3) A direct box to interface your instrument to live or recording studio equipment. 

4) A studio effect that may be used to process audio tracks from your favorite Digital 

Audio Workstation (DAW) or recorder."

http://www.8thstreet.com/product.asp?ProductCode=61759&Category=Guitar_Effects&p=true

Aurora Audio GTQC Channelstrip

"The GTQC combines the GTQ2 mic preamp and EQ circuit with a new compressor which features both Fet and Opto compression. Perfect for vocals the GTQC sets the new standard in the channel strip segment of the market. This box is a monster with several transformers and amplifier stages to add that vintage British character.

GTQC Preamp/ EQ Section Features :
The same transformer balanced Class A mic preamp/ EQ from the GTQ2
Direct input with 10dB gain and 10Mohm input impedance
Three band EQ provides + 15dB adjustment at 80Hz (Bass), 12KHz (Treble) and mid frequencies of 400Hz, 1,600Hz and 3,200Hz
80Hz 18dB/octave High Pass Filter

GTQC Compressor Section Features :
Both Fet and Opto compression
Hybrid combination mode which allows the use of both compression circuits on the same signal Auto Attack & Release function that is well suited for vocals, bass, etc.
Compressor is also transformer balanced & utilizes the same Class A amplifier stages as the GTQ2 Internal fully regulated power supplies with ample power reserves."

http://www.highprofileaudio.com/AuroraAudioGTQC.html

Tech Tues.: Microphone Pop Filter tips (updated).

I had posted this some years ago and decided to re-post it. Many artists are now recording in their home studios and I've been having conversations lately regarding microphones and pop filter placement when recording vocals.

Here is the post with updated links and pics:

Always use a pop filter when recording vocals. It should be placed at least 4 to 6 inches away from the microphone. Never place it directly on the windscreen of the mic as this will defeat the the purpose of the filter. A pop filter is necessary to prevent sibilance (Ssss sounds), pops (b and p sounds), blasts of air and moisture from hitting the diaphragm of the mic. This will degrade the sound of the vocal and possibly damage the mic. It will also alleviate the proximity effect (When a mic is placed too close to a sound source the low end response is exaggerated) and the vocal will sound much more natural. 

Another reason to not place the pop filter too close to the mic is that the artist tends to move around a little when performing and the vocal will change greatly in level and tone if they don't stand perfectly still and keep the same exact distance on every syllable or phrase (No artist can deliver a great performance this way). Movement affects the sound less when the mic is a foot away from the talent. There's also less chance of microphone overload from too much level. Besides, we don't listen to singers or instruments by placing our ear directly next to them.  

A quick way to find the approximate distance to place the pop filter without using measuring tape or ruler is to use the length of your hand as a guide. Place your index finger near the diaphragm and extend your thumb so that your hand makes an L shape similar to the image below:

Then place the pop filter at that distance.

Bad

Good

Here are some links to various pop filters:

Standard Popper Stopper

Stedman Proscreen XL

Pete's Place Audio Blast Pad Filter 

Pauly's Superscreen

For more great info/tips on pop filters (and many other audio related topics) make sure to visit E-Home Recording Studio's website for their post on the "7  best pop filters for recording vocals".

Pendulum Audio MDP-1

 "The MDP-1 is a modern two channel vacuum tube Mic/DI preamp designed to be the ultimate way to get your mic or source directly to tape or hard disk. Unlike vintage or hybrid designs, the MDP-1 uses a pure tube, class A high voltage circuit topology with a transformerless output stage to deliver an open, intimate sound with a level of detail that meets the requirements of the most demanding recording applications. Our short signal path design excels in audio performance, delivering extremely wide bandwidth, low noise, and high headroom.

   A key component of the sound of a tube mic preamp is the input transformer. It's here that we let your select how you would like the preamp to sound. The MDP-1 can be ordered with your choice of two low turns-ratio transformers depending on your requirements: a Jensen 13K7A for a full, open sound with plenty of sparkle in the high end and a deep low end - perfect for recording all sources, especially instrumental music; or a custom-wound transformer for a more 'focused' sound, with extra presence and clarity in the midrange - ideal for a vocal sound that easily distinguishes itself in a mix.

   The MDP-1 also has all the things you'd expect in a full-featured mic preamp; phantom power, phase reverse, -20dB input pad, a lo cut filter with 10 frequencies and large, illuminated VU meters.

   The DI signal path is completely transformerless, with a selection of three input load impedances: 10M for piezoelectric acoustic instrument pickups, 1M for magnetic pickups, and 100k with a 20dB pad for line level sources such as keyboards or other -10dBV equipment."

$2700 at Mercenary Audio:

http://www.mercenary.com/mdvactubmicd.html

JDK Audio R22 Dual Channel Compressor

"The JDK Audio R22 dual channel compressor features two channels of API's patented award winning compressor circuit in a rack mount unit with internal power supply. This is the same compressor circuit originally designed into all ATI Paragon mixing consoles. Each channel includes the patented 'THRUST' switch to protect the sensitive high frequency content of the audio signal even under the most vigorous of compression ratios. The perfect companion to your R20 mic-preamp and R24 EQ, the R22 compressor provides comprehensive easy-to-use control of the audio signal with custom VU metering of both output and gain reduction. The two channels can even be linked for use as a stereo compressor with true RMS power summing of the left and right signals."

Features:

• Patented THRUST circuit
• Variable Threshold, Ratio, and Make-up Gain controls
• Switchable metering of output level and gain reduction
• Above threshold LED indication
• Switchable Hard or Soft Knee compression
• Linkable for stereo operation with true RMS power summing

Fully balanced XLR and 1/4" inputs and outputs

http://www.mercenary.com/jdkr22.html

Summit Audio MPC-100A Mic Preamp/ Compressor-Limiter

"The Summit Audio MPC-100A Mic Preamp/ Compressor-Limiter is a single channel tube preamp and tube compressor/limiter all in a two-space rackmount unit. It accepts line, microphone, and Hi-Z input signals. The preamplifier provides a warm yet crisp vacuum tube tone. The compressor/limiter section has very fast attack times, making it ideal for optimizing signal prior to entering the digital domain. In addition to having superb sound and a user friendly interface, the MPC-100A has the robust build quality consistent with the Summit Audio family of products."

http://www.summitaudio.com/mpc100a.html

Amtec Phanzen -- Phantom Powered Compressor/Limiter

"The AMTEC PHANZEN is a unique compressor that has been designed to be used in conjunction with any standard microphone preamplifier. The purpose of the preamplifier is to restore the gain lost in the PHANZEN and, furthermore, to power the PHANZEN through phantom-power.

The PHANZEN is a dual channel unit, where each channel is separate, but the control voltages of the both channels can be linked together by the LINK switch for stereo operation (the gain reduction in both channels will be the same, so stereo image will not shift to any side during compression) or for special effects like ducking.

The input of the PHANZEN should be driven by a line-level signal, the output is at micprophone level that is amplified by the mic preamp back to the line-level.

The preamp choice has great influence on the overall sound, so it allows the user to customize the combo's sonic character by selecting of the preamplifier paired with the PHANZEN. The gain of the preamplier should be set somewhere between +30dB and +40dB most of the time."

SPECIFICATIONS

Gain (no compression): -20 to -50dB (in 3dB steps)

Max. Gain Reduction:   over 20dB

Input Impedance:           2kohms

Output Impedance:        200ohms

Frequency Response:    20Hz-25kHz

Phantom-power 

current consumption:     5mA

Ratios:                             2.5:1 (COMP setting)

                                         9:1 (LIM setting)

http://amtecaudio.com/phanzen.html

MORRISOUND STUDIOS in Tampa was ROBBED -- be on the lookout for high end gear

"Tampa studio Morrisound Recording was ROBBED a couple of nites ago.

FOUR effects racks were cleaned out, with tons of high end rack gear like effects and compressors and preamps.

also. several Digidesign 192 Protools interfaces and an SSL power supply (that would be useless without an SSL console)

PLEASE -- if anyone comes into your shop and tried to sell you this stuff, contact law enforcement IMMEDIATELY, let's catch these crooks! "

http://morrisound.com/
https://www.facebook.com/MorrisoundRecording

SUGAR BYTES - Turnado Multi-Effect Plugin

"Turnado is your new multi-effect tool crafted especially for massive and real-time audio manipulation, providing countless truly unique effects, creating sounds unheard of every time you turn it on. Turnado is both: hands-on stage performance boost and serious tool for studio perfectionism, giving you direct control of up to 8 different effects at any given time, with a total of 24 effects available. 

The idea is simple: 
Turn a knob and the effect is on. 
Turn the knob further and effect parameters start to move and modulations start to apply. 
Turn the knob down and the effect is off. "

Turnado comes for Mac/PC as Standalone application and VST/AU plugin and will be released in early summer 2011."


http://www.sugar-bytes.de/content/products/Turnado/index.php?lang=en

Coleman Audio QS8 Control Room Manager

"The QS8 is a control room monitor, a communications module, a cue mixer and a summing box all in a one unit. As a control room monitor the QS8 has a passive signal path, stepped attenuator and alternate speaker outputs. Both the stereo cue input and the stereo Aux 3 input have their own level control and combine to make the cue mix. Aux 3 eliminates the latency issue by feeding the input signal back to the headphone mix. The talkback mic with it's own level control allows easy communication with the artist. The QS8 also sums four stereo inputs to a balanced stereo output that can be recorded as a DAW mix track."


http://www.sweetwater.com/store/detail/QS8/

Company Will Unlock Your iPhone Forever… By Hacking Into Apple’s Whitelist

Jailbreaking your iPhone is easy enough to do as long as you don’t mind staying parked at an earlier firmware until the Dev Team gets a new hack out, but unlocking your iPhone to work with any carrier is a lot more complicated. What if you want to just unlock your iPhone once and be done with it forever? A new company called CutYourSim claims that they can just do that, offering permanent unlocking of any GSMiPhone for a one-time fee of $169.99.

How are they offering this service? As near as anyone can tell, it looks like CutYourSim has someone on the inside of AT&T who is unlocking iPhones for them on the sly.

You see, all phones — even iPhones — are officially unlockable. Usually, the way you unlock a cell phone is by running out your two year contract or paying an unlocking fee, at which point you provide your handset’s IMEI number to your carrier, who will then use it to unlock your handset.

With the iPhone, it’s rare for carriers to officially unlock the device for customers, but it does happen, and when it does, it’s accomplished by entering the IMEI# of the device in question into an Apple database whitelist. CutYourSim’s found someone with access to that whitelist, and they’re paying him money off the top to add phones to it.

In other words, if this is of interest to you, act now. It’s not going to take Apple a long time to catch on, and when they do, there’ll be hell to pay.

Yamaha's i-MX1-MIDI Interface for iOS (iPad, iPhone, iPod Touch)

"To be able to control synthesizers that won‘t allow a wireless connection to the iPad, Yamaha now presents a MIDI interface that‘s connected to the iPad.
In a small, black device the i-MX1 carries the needed electronics and two connectors for the included adapter cables which represent the MIDI input and ouput (with the well known 16 MIDI channels each). It does not just connect to the iPad, but to the iPhone and the iPod Touch, too. Since these devices are much smaller, they are even more handy controllers.
The i-MX1 is compatible to the drivers provided by the iPad-OS (iOS, Core MIDI), there‘s no need for special drivers. So even third- party applications that are using the iOS drivers can use the i-MX1 as a MIDI-Interface."

Retrospec Juice Box - Tube D.I.

I've used the Juice Box on many projects. It's a great sounding D.I. that works well on guitar, bass, vintage keyboards and synths.

"The Juice Box's audio circuitry is class "A" from start to finish. That and the absence of a transformer explain the conspicuously low distortion spec. It also employs a low impedance high voltage power supply, and a D.C. filament circuit just to keep things nice and quiet.

Then retrospec took one significant step further and included enough gain and headroom to be able to drive a 10k input at professional line level. Now you can go from instrument to console channel line in or direct to tape machine in one sweet clean step!"
"The “-20” position is for a traditional direct box situation, intended to feed a low level signal, typically the signal from an electric musical instrument, to a microphone input. The “0” position turns the unit into a unity gain buffer; the musical instrument signal can be driven into a mic input or a low level line input. The “+20” position raises the signal to professional line level for those fans of the “direct to the tape machine” mode of recording. The “VARI” knob allows continuously variable gain adjustment between 0 dB and +20 dB".

http://retrospecjuicebox.com/index.html

Need a FW800 panel mount connector for your rack? $13.99 at Sweetwater Sound.

This Switchcraft EHFW800X2 FireWire 800 crosswired feedthru jack will fit any panel that's made to accomodate a standard XLR panel-mount connector. The EHFW800X2 is individually bagged and includes mounting screws.


Switchcraft EHFW800X2 Features:

• FireWire 800 crosswired feedthru jack
• Color: Black
• Easy, quick connectivity
• Built into an XLR housing to mount into standardized panels
• Mounting screws included
• Great for custom installations

http://www.sweetwater.com/store/detail/EHFW800X2B

GP2 BL99 Preamp

"Recording artist and musician and Robert Lanois designed the BL99 4‐channel Mic Preamp with the professional user in mind. As a result, the performance of the BL99 is unmatched. The unit is virtually hiss‐free while harmonic distortion is almost too low to measure. The sound is very robust and holds up under wild equalization. There is no mid‐range fog or harshness, as with other pre‐amps, while the entire mid‐range is well defined and allows for a whole new experience in the studio. The top end is smooth with “air” but no roughness and extends easily beyond hearing range. You’ll experience no bumping at around 8k or lack of air and headroom is exceptional."

Cost: $6950

http://www.gp2inc.com/bl99_preamp.php

UA's 4-710d Four-Channel Tone-Blending Mic Preamp w/ Dynamics

"The Universal Audio 4-710d is a boutique quality, four-channel microphone/line preamplifier with unique tube and solid-state tone blending capabilities — perfect for a wide range of microphone and instrument sources. This versatile multi-channel preamp offers selectable 1176-style compression circuitry on each channel, plus four additional line inputs feeding eight channels of pristine analog-to-digital conversion. Building upon UA’s classic analog design approach, combined with smart modern features, the 4-710d is the most flexible preamp in the UA lineup.

At the core of the 4-710d are four channels of tone-blending “Twin-Finity” mic preamps with true-bypass 1176-style compression, including specially tuned "fast" and "slow" settings. Each of the four mic preamp channels allows for continuously variable phase-aligned tone, between a 100% tube and 100% solid-state signal path. Send and return jacks are available for external processing or signal access."

Features:

Preamplifiers

• Four TEC Award-winning 710 Twin-Finity™ microphone/line preamps, each featuring:
• Dual-path 285-volt Class-A tube and transimpedance solid-state preamps
• Phase-aligned tone-blending of tube and solid state circuits, creamy to crunchy
• Newly designed 1176-style compression circuit per preamp channel
• JFET Direct Input with 2.2MΩ ultra Hi-Z impedance w/auto input override
• Large backlit VU meters for flexible metering of input drive, gain level, and gain reduction
• Balanced send/return inserts (half-normalled)
• 48V phantom power
• 75 Hz low cut filter
• Polarity switch
• Monolithic balanced output stage

Analog-to-Digital Conversion

• Eight channels of high quality 24-bit A/D conversion:
• Selectable sample rates up to 192 kHz
• Digital output via dual ADAT optical and AES/EBU DB-25 connectors
• 8-channel soft limiter (switchable for all channels)
• Ultra-low jitter clock subsystem
• LED metering array with clip/hold indicators
• 75Ω BNC work clock I/O
• Digital outputs anti-pop protection on power-up

$1999 at Sweetwater Sound http://www.sweetwater.com/store/detail/4710D