Waves July Super Special! 80% off IR-1 Reverb & 50% off MPX-1 Master Tape

IR1 puts the meticulously captured sound of the world's most renowned spaces in your hands. Now you can capture the sonic characteristics of your favorite rooms and hardware, and shape the reverbs with pinpoint precision. Everybody wants to play the big rooms. With the IR1, you’re there. Bring the richness and warmth of real tape saturation to your DAW with the MPX Master Tape, developed in association with producer/engineer Eddie Kramer (Jimi Hendrix, Led Zeppelin). It’s the reel deal. Find out what WavesLive Artists are doing live on tour. - Bodo Schulte (Schiller) - Bryan “Froggy” Cross (Britney Spears) - Chris BRX Apfalter (Kruder & Dorfmeister) - Dave Aron (Snoop Dogg) - Ken "Pooch" Van Druten (Linkin Park) - Kevin “Tater” McCarthy (Linkin Park) - Pete Keppler (Katy Perry) Read More > > LIVE SOUND & COMPUTERS: TAKING IT ONE DAY AT A TIME The last few months have seen me using different consoles all over the world. The two bands that I have been doing one-offs with do not carry their own gear, so I find myself on different consoles and PAs every single day. The computer work that is required prior to even listening to the system is staggering these days. Even to the point of frustration. Read More > > Send to a Friend

Waves Inc. | 2800 Merchants Drive | Knoxville, TN | 37912 | United States

Ableton 101: The most Ableton tips packed into 1 Ableton Tutorial video!

Once regarded as a DJ's DAW, Ableton Live is fast becoming a favorite for many producers.
If you use Ableton Live or thinking about using it, check out this video.

Here's a list of the topics covered:
1. Cut copy paste
2. Duplicate
3. Command A
4. Tab selects session or arrange window
5. command shift i
6. Highlight & effect multiple
7. Cmd f – scroll display to follow playback
8. Sidechain w/ compressor
9. Sidechain w/o compressor
10. Freeze
11. Audio to midi
12. Command 4 (no grid)
13. Command 1,2 &3(grid)
14. Cmd b – pencil
15. Hear samples w/ speaker icon
16. Tune drums with EQ
17. Tune drums w/ freq shifter
18. Send returns
19. Step record
20. Assign midi knob/fader
21. Assign midi button
23. Assign midi key
24. Midi key select (no wrong notes)

25. Warp: alt drag
26. Warp: shift drag
27. Warp: Select multiple, alt Drag
28. Warp multiple
29. DJ cue
30. Split DJ track
31. Record multiple tracks
32. Consolidate
33. Add time
34. cut time
35. dup time
36. Group tracks
37. Group instruments
38. Group effects
39. Chain selector
40. Add random w/ groove
41. Bass/low layer/high layer
42. Reverse reverb
43. Impulse- separate samples
44. Macros
45. Record session to arrange
46. Sustain midi loops
47. Send output to:
48. Receive input from:
49. Envelope automate (draw)
50. Envelope automate (record)
51. Dummy clips
52. Make kick
53. Cut non bass at 120hz
54. Shift & up/down arrow key moves selected midi notes by the octave
55. Shift tab: clip properties to instruments/fx
56. Click arrow to return to zero or center
57. Double click when zoom tool appears to show full arrangement or select area
59. Space bar stop, hit again restarts from cursor point
60. Shift space bar to stop and continue
61. Linked unlinked clip automation
62. Shift click to grab multiple tracks. Effect 1 and they all are effected (like volume)
63. Change cue to a different output to be able to cue each track (headphones icon)
64. Ctrl + shift + m – add midi clip
65. Alt + click – expand/collapse all tracks
66. Click + shift + arrow key – shorten or lengthen selected midi notes.
67. add return track ctrl + alt. + T
68. Cmd + Del – deletes automation but not the clip.
69. Drag section of a clip to a midi track, automatically creates a simpler with the sample
70. Assign knob to 1 clip for looping & pitch correct
71. Highlight all clips change warp settings, save, launch info etc
72. Simpler to sampler
73. Shift + – zoom in. – zoom out
74. Shift ? – shows info
75. Cmd alt B – show/hide browser
76. Cmd alt O – show/hide overview
77.cmd alt I – show/hide I/O
78. Cmd alt S – show/hide sends
79. Cmd alt m – show hide mixer
80. Cmd , – preferences
81. Cmd drag – fine adjustments
82. Cmd R – rename tab, rename next
83. Cmd up/down double or half loop length
84. Cmd up/down on midi part – goes to next midi note
85. Shift left right on midi note – lengthen shorten note
86. Enter – launch selected clip/clips
87. Cmd L – loop selected
88. Shift drag over envelope breakpoints.
89. Cmd t – create audio track
90. Cmd shift t – create midi track
91. Cmd alt t – create return track
92. Cmd M Midi map on off
93. Cmd K key map on off
94. Cmd U quantize
95. Cmd drag (alt drag PC) adjust velocity on selected midi notes
96 Cmd shift U quantize Settings
97. Route multiple tracks to sidechain
98. Utility for automated volume & volume for fine tuning later

for more Ableton Live tips visit http://www.musicsoftwaretraining.com/blog/

Be Careful

Here's another entry from Carlisle's blog where he gives more insight into the music biz:

"I used to wish I was never born. I only liked reading about things that didn’t tell me the truth about myself. I hated myself for a long time because I started to realize that I worked like a magnet and for the most part I attracted immature negative blood sucking lying assholes. The music business exposed who I really was. I used to always think something was wrong with everyone else but I had to accept that there is a God and he does make dreams come through. Everything I ever dreamt for came around the first year I started to make money. What I wanted was probably only 10% of what I had gotten. I wasn’t educated enough to know the negativity that came along with dreams and the self disrespect that kept them alive. I’ve never had a “life” teacher. I basically learnt as I fucked up. And the price of fucking up is usually my “name”. As big as the music business is it’s a ..."
Read more at the link below ....

via http://carlisleyoung.tumblr.com/

ART USB Dual TubePre Audio Interface

ART's USB Dual TubePre Audio Interface seems like it would be a great choice for a portable setup especially now that Protools 9 supports any interface. With two tube microphone preamps, DI, Optical Compressor, inserts, SPDIF digital I/O and Latency free monitoring, this USB TubePre packs a lot of features for just $149.
From the website:
"The USB Dual TubePre is the ultimate compact dual channel tube preamp for any basic recording system. Capable of operating as a standalone unit with USB audio interface, or as an expander for any digital system with s/pdif digital input, each channel in the USB Dual TubePre delivers superior tube tone in a fully featured input strip."

Features

• Two channel Tube based Mic/Instrument preamp computer interface
• Extremely low noise discrete front end with variable input and output controls
• Advanced optical output compressor to simplify recording and prevent overload
• USB connectivity to desktop and laptop computers
• S/PDIF output for expanding inputs on digital workstations and computer interfaces
• Latency free Monitoring Mix and Level controls
• Balanced XLR for lo-Z applications and 1/4" hi-Z inputs for instrument DI applications
• Separate Gain, Phase Invert, Low Cut Filter and Compressor switches on each input
• Selectable Dual or Stereo operation of output controls
• Switch selectable Inserts on each channel
• Insert jacks provide a preamp direct out for each channel
• Stereo/ Dual operation of Optical Compressor
• Mono switch for single input monitoring
• S/PDIF Sample Rate switch selectable between 44.1K and 48K
• Precision LED metering of both the preamp and A/D sections
• Built-in low noise +48 Volt phantom power supply
• Compact, stackable all aluminum chassis

$149 at Sweetwater Sound

HAPPY 4TH OF JULY! - SHOW YOUR TWEETS AND STRIPES!

First I would like to thank the troops and veterans for their selfless efforts and sacrifices. Without them there would be no Independence Day.

Here's the story behind the Star Spangled Banner and how it became the National Anthem:

In 1814, about a week after the city of Washington had been badly burned, British troops moved up to the primary port at Baltimore Harbor in Maryland. Francis Scott Key visited the British fleet in the Harbor on September 13th to secure the release of Dr. William Beanes who had been captured during the Washington raid. The two were detained on the ship so as not to warn the Americans while the Royal Navy attempted to bombard Fort McHenry. At dawn on the 14th, Key noted that the huge American flag, which now hangs in the Smithsonian's American History Museum, was still waving and had not been removed in defeat. The sight inspired him to write a poem titled Defense of Fort McHenry. The poem was eventually set to music that had originally been written by English composer John Stafford Smith for a song titled "The Anacreontic Song". The end result was the inspiring song now considered the national anthem of the United States of America. It was accepted as such by public demand for the next century or so, but became even more accepted as the national anthem during the World Series of Baseball in 1917 when it was sung in honor of the brave armed forces fighting in the Great War. The World Series performance moved everyone in attendance, and after that it was repeated for every game. Finally, on March 3, 1931, the American Congress proclaimed it as the national anthem, 116 years after it was first written."

via http://kids.niehs.nih.gov/lyrics/spangle.htm

Came across this website that has a flag made of Tweets. When you place the cursor over the flag individual tweets pop up:

INWARD CONNECTIONS MAGNUM VU MIC PRE

The Inward Connections Magnum VU Mic Pre is the same as the original Magnum Mic Pre except for the addition of a VU meter and the omission of the the 100 and 200hz HPF. So you get the same great tone, warmth and tons of gain. The Magnum sounds great on many sounds including those with high transients such as drums and also vocals.

Here's a pic of the original Magnum Mic Pre for comparison:

From the website:
"With a warm and upfront low-end, punchy mid-range and open top end, the Inward Connections Magnum VU Mic Pre will bring new life to your recording rig. Classic sounding warmth, but with airiness and headroom for days. Magnum offers something different than the old standbys.
Extra large tone for your lunchbox!"

Features:

• Circuitry features two VF600 all discrete amp blocks
• LED VU meter that monitors the output level
• +48VDC phantom power switch
• Phase reverse switch
• -20dB pad switch
• Hi-Z low level line input 1/4" phone jack for guitars, keyboards and low level instruments
• 12-position rotary trim (5dB per step), 25dB to 80dB selectable range
• 70hz hi-pass filter
• Output level rotary control
• Balanced input and output transformers
• Fits standard 500 series slot configuration, mechanically and electrically
• Powder coating in Gunmetal color

$825 at Vintage King

Empirical Labs DocDerr 500 series channelstrip

I'm a big fan of Empirical Labs and use their products every chance I get. They recently announced a new 500 series channelstrip module appropriately called the DocDerr. It's available in both vertical and horizontal styles. The circuitry is identical in both only the front panels are different. I want two of these.

From their press release:
Empirical Labs is pleased to announce the DocDerr, a brand new API 500 series multi-purpose channel strip. This breakthrough tone enhancement module houses six different sections of digitally controlled analog processing at an extremely affordable price point ($799 MSRP).

A super low-noise preamp capable of line or 16 dB of “instrument” gain is followed by four sections of EQ offering one selectable high pass and three parametric bands. The dynamics section provides renowned Empirical Labs compression at an unprecedented price, as well as a tape emulation circuit to soften high frequencies and clips. A “Mix” knob allows the user to blend the uncompressed EQ’s signal with the compressed and saturated signal. Inputs and outputs are DC coupled, and the output can be switched between single ended or differential, yielding + 6dB of gain. A “Bad!” hard clip indicator monitors most every section for internal clipping.

“I couldn’t be more delighted with this piece,” says ELI founder and designer Dave Derr. “It has an interface and feature set unlike anything else on the market.”

The DocDerr model EL-Rx will be available with either horizontal or vertically oriented front panel configurations, and begins shipping July 2011.

Empirical Labs Inc. (ELI) is a New Jersey-based company that designs and produces professional audio equipment and software for creative professionals. ELI products are made with one simple philosophy that drives the company and continues their success: “We want to make products that work a little easier, a little better, and a lot longer - and make sure they are fun to use."

 Here's an excerpt from the DocDerr manual which explains the dynamics section in more detail:

"The INPUT KNOB is the compressor’s main control (not counting the MIX control), which affects how much compression, is put on a source. The INPUT Knob follows the EQ, and drives signal into the compressor, scrunching the dynamics and peaks into an increasingly narrow range. The time constants and the curve of the compressor were selected to be as aggressive as possible without crackly unmusical distortion. The ratio is about 5:1. With an attack under 1mS, it could be considered a limiter. Above about 8 – 10dB of compression there will be saturation caused by fast time constants working on each peak of the waveform. We think it sounds very “tubey”, with nice harmonics added at high gain reduction… but, it IS a form of distortion, and it will get more prevalent with more gain reduction. Many of the classic old compressors from the 60’s and 70’s were valued for this fat distortion. One can tame any saturation by turning down the input knob, thereby turning down the compression, OR, by adjusting the MIX control to include more of the uncompressed (dry) signal in the output. When using the MIX control, the user may find they can put on tons of compression (up to 20dB), and still get a very natural sounding instrument or voice. By judiciously mixing the compressed signal under the dry signal, the sustain and note detail will come out without feeling squashed. Modern mixdown engineers use this “blend” technique all the time, but have to split the signal going to a compressor and then return it to submix the dry and compressed signal on their mixing console. For the first time, the common live instrumentalist can use this advanced compression technique just by turning a knob."

The DocDerr will be available soon. You can pre-order it from various dealers including Alto Music

MSRP $799

How Much Does It Cost To Make A Hit Song?

Here's an article on NPR.org that gives you a breakdown on what it takes to make a "hit song". Rihanna's "Man Down" is used as a real world example and it shows the actual cost of making the record (writers, producers, engineers, studio etc.) runs in the high 5 figures but pales in comparison to the promotion and marketing costs that can easily exceed 7 figures.

Here's the article in it's entirety:

"Getting a song on the pop charts takes big money.

Def Jam started paying for Rihanna's recent single, "Man Down," more than a year ago. In March of 2010, the label held a writing camp in L.A. to create the songs for Rihanna's album, Loud.

At a writing camp, a record label hires the best music writers in the country and drops them into the nicest recording studios in town for about two weeks. It's a temporary version of the old music-industry hit factories, where writers and producers cranked out pop songs.

"It's like an all-star game," says Ray Daniels, who was at the writing camp for Rihanna.

Daniels manages a songwriting team of two brothers, Timothy and Theron Thomas, who work under the name Rock City. "You got all the best people, you're gonna make the best records," he says.

Here's who shows up at a writing camp: songwriters with no music, and producers toting music tracks with no words.

The Thomas brothers knew producer Shama "Sham" Joseph, but they had never heard his Caribbean-flavored track that became "Man Down."

According to Daniels, the brothers listened to the track and said, "Let's give Rihanna a one-drop! Like, a response to 'I shot the sheriff!"

They wrote the lyrics to "Man Down" in about 12 minutes, Daniels says.

To get that twelve minutes of inspiration from a top songwriting team is expensive — even before you take into account the fee for the songwriters.

At a typical writing camp, the label might rent out 10 studios, at a total cost of about $25,000 a day, Daniels says.

The writing camp for Rihanna's album "had to cost at least 200 grand," Daniels says. "It was at least forty guys out there. I was shocked at how much money they were spending! But, guess what? They got the whole album out of that one camp."

A writing camp is like a reality show, where top chefs who have never met are forced to cook together. At the end, Rihanna shows up like the celebrity judge and picks her favorites.

Her new album has 11 songs on it. So figure that the writing camp cost about $18,000 per song.

The songwriter and the producer each got a fee for their services. Rock City got $15,000 for Man Down, and the producer got around $20,000, according to Daniels.

That's about $53,000.00 spent on the song so far-- before Rihanna even steps into the studio with her vocal producer.

The vocal producer's job is to make sure Rihanna sings the song right.

Makeba Riddick didn't produce Rihanna's vocals on "Man Down," but she's one of the industry's top producers, and has worked with the singer on many songs, including the two number one hits in 2010: "Rude Boy" and "Love the Way You Lie."

When Riddick works with a singer, she'll say, "I need you to belt this out, I need you to scream this, as if you're on one end of the block and you're trying to talk to somebody three blocks away."

Or maybe: "Sing with your lips a little more closed, a little more pursed together, so we can get that low, melancholy sound."

Not only that, the vocal producer has to deal with the artist's rider. The rider is whatever the artist needs to get them in the mood to get into the booth and sing.

"They'll have strobe lights, incense burning, doves flying around the studio," she says. (Yes, Riddick has had doves circling her head while she's working.)

Rihanna is "very focused" Riddick says. So no doves.

Riddick's fee starts at $10,000 to $15,000 per song, she says.

The last step is mixing and mastering the song, which costs another $10,000 to $15,000, according to Daniels.

So, our rough tally to create one pop song comes to:

The cost of the writing camp, plus fees for the songwriter, producer, vocal producer and the mix comes to $78,000.

But it's not a hit until everybody hears it. How much does that cost?

About $1 million, according to Daniels, Riddick and other industry insiders.

"The reason it costs so much," Daniels says, "is because I need everything to click at once. You want them to turn on the radio and hear Rihanna, turn on BET and see Rihanna, walk down the street and see a poster of Rihanna, look on Billboard, the iTunes chart, I want you to see Rihanna first. All of that costs."

That's what a hit song is: It's everywhere you look. To get it there, the label pays.

Every song is different. Some songs have a momentum all their own, some songs just break out out of the blue. But the record industry depends on hits for sales. Having hits is the business plan. The majority of songs that are hits — that chart high, that sell big, that blast out of cars in the summertime-- cost a million bucks to get them heard and played and bought.

Daniels breaks down the expenses roughly into thirds: a third for marketing, a third to fly the artist everywhere, and a third for radio.

"Marketing and radio are totally different," he says. "Marketing is street teams, commercials and ads."

Radio is?

"Radio you're talking about . . ." he pauses. "Treating the radio guys nice."

'Treating the radio guys nice' is a very fuzzy cost. It can mean taking the program directors of major market stations to nice dinners. It can mean flying your artist in to do a free show at a station in order to generate more spots on a radio playlist.

Former program director Paul Porter, who co-founded the media watchdog group Industry Ears, says it's not that record labels pay outright for a song. They pay to establish relationships so that when they are pushing a record, they will come first.

Porter says shortly after he started working as a programmer for BET about 10 years ago, he received $40,000.00 in hundred-dollar bills in a Fed-Ex envelope.

Current program directors told me this isn't happening anymore. They say their playlists are made through market research on what their listeners want to hear.

In any case, to return to our approximate tally: After $78,000 to make the song, and another $1 million to roll it out, Rihanna's "Man Down" gets added to radio playlists across the country, gets a banner ad on iTunes ... and may still not be a hit.

As it happens, "Man Down" has not sold that well, and radio play has been minimal.

But Def Jam makes up the shortfall by releasing other singles. And only then-- if the label recoups what it spent on the album — will Rihanna herself get paid. [Copyright 2011 National Public Radio]"

via NPR.org

Crysonic's Deal Of The Century - 90% off (only 2 Days left)

http://www.crysonic.com/bundles.html

Pensado's Place: #24 - Sidechain Compression and Dave's Favorite Gear!

New Seymour Duncan and Orange Gear in AmpliTube

Amplitube is my go to Amp simulator and IK Multimedia has some new options available for it.
I just received this email from IK:

Dear AmpliTube User, New Seymour Duncan® stomp boxes and more Orange® gear models are now available in AmpliTube Custom Shop.      The Custom Shop in AmpliTube 3 brings an entirely new shopping experience for software plug-ins. Build your own collection of amp and effects models with a level of customization never before seen and at prices so affordable! Start by downloading a FREE upgrade to a fully functional version of AmpliTube 3.     Then you can try and buy à la carte stomp boxes, amplifiers, cabinets, microphones and rack effects from a vast collection of over 200 gear models including officially approved models of gear from world-class brands such asFenderTM, Ampeg®, Orange®, SoldanoTM, Seymour Duncan®, T-RexTM and many more. Newly added gear in the AmpliTube Custom Shop:     Seymour Duncan Power Grid stomp box The Power Grid has five stages and three-band active EQ, which makes it one of the most versatile distortion pedals available. Seymour Duncan Shape Shifter stomp box The Shape Shifter reproduces the hypnotic tremolo sounds characteristic of 50's tube amps with detailed "Wave" and "Shape" controls allowing you to create many different sounds!       Orange Thunderverb 200 amp  The Thunderverb 200 amp is a powerful and flexible amp capable of all kinds of tones from vintage rock to modern blues, hard rock to metal. Nothing can match the bone crushing, bottom-end punch of this big stage tone head. Orange Tiny Terror Combo and Orange PPC212OB cabs  Along with the Thunderverb 200, IK has also introduced two new Orange cabinets!        Watch a video demonstration of the latest additions to the Custom Shop shelf. More certified Seymour Duncan and Orange models are also in development. Also, make sure to check out other gear to complete your dream collection of amp and effects models. Stay Tuned.     IK Multimedia. Musicians First.     Instantly unsubscribe or contact us for all other requests. Please do not respond to this email as it may result in an error. AmpliTube® is a registered trademark property of IK Multimedia Production. All other product names and images, trademarks and artists names are the property of their respective owners, which are in no way associated or affiliated with IK Multimedia. SEYMOUR DUNCAN® is a registered trademark of Carter Duncan Corporation. ORANGE® is a registered trademark property of Orange Music Electronic Company Ltd.  IK Multimedia US Office | 1153 Sawgrass Corporate Pkwy. | Sunrise, FL 33323 USA IK Multimedia Headquarters | Via dell'Industria, 46 | 41122 Modena ITALY

Abbey Road Studio Plugins 50% off

The Award-Winning Abbey Road Studios Plugins - 50% OFF For a limited time only, all Abbey Road Studios plugins will have 50% slashed off the price. TG12413 TDM was $560 now $280 Native was $335 now $165 TG Mastering Pack TDM was $560 now $280 Native was $335 now $165 RS124 TDM was $560 now $280 Native was $335 now $165 The Brilliance Pack TDM was $449 now $250 Native was $249 now $125 "I recently found myself without my Abbey Road plugins and realised I couldn't work without them. The TG12413 Limiter combined with the TG Mastering EQ's is an instant "killer" drum sound. They've become a staple part of my setup." Jake Davies, engineer (U2, Pink, Bjork, Madonna) "The quality and warmth from the RS124 is so much the same as the original box. The plugin does that gooshy, punchy thing just like the original." David Kahne, producer (Paul McCartney, Tony Bennett, The Strokes) "Awesome! The Brilliance Pack really enhances the presence without introducing harshness into the sound."Michael Wagener, producer/mixer (Ozzy Osbourne, Metallica, Alice Cooper) Click here for more information. NB: This offer does not apply to any bundles or upgrades.

To unsubscribe from this newsletter, please click here

Generic Audio's Preceptor – Compressor/Limiter (model-A)

Preceptor Model-A

The Preceptor from Generic Audio is a mastering quality " two-channel (stereo/dual mono), pure analog (Class-A, discrete) dynamic processor, in which the gain reduction is made by a transistor in the differential amplifier circuit with Zener diodes stabilization". This is one solid looking unit and it has some impressive features including  an external/internal sidechain input with HPF filter and parallel compression with variable blend. There is also a Model T that has an extra switch to select between hard and soft modes. (Note the extra "Action" switch next to the Limit/Compress switch). The Model-T attack is also 0.5 to 31ms while the Model-A is 0.5 to 60ms and the release is 50ms to 2sec. compared to the Model-A's 25ms to 6sec.

Preceptor Model-T

Features:

• Massive sound
• Hand made and calibrated
• Pure analog design
• 3U rack space
• Internal PSU 115V/230V
• Special power transformer
• Two independent mono blocks
• Ultra stable power supply
• 16 matched Zener diodes in the signal path
• Internal and external sidechain
• Classic Carnhill transformers
• Input Z switchable (2k5Ω or 10kΩ)
• Stereo or dual mono operation
• Hard relay bypass
• Sidechain HPF
• Blend function (parallel compression)
• Retro panel meters
• Only gold contact stepped attenuators and toggle switches (no potentiometers!)
• Easy-settings repeatability
• Highest functionality!

Specifications:

• Inputs: Balanced XLR
• Outputs: Balanced XLR
• Ext. sidechain inputs: Balanced TRS
• Signal transformers: Carnhill
• Bypass: hard relay bypass
• Input impedance: 2k5Ω or 10kΩ switched on the front panel
• Output impedance: < 50Ω
• Frequency response: 20-22.000Hz
• Maximum input level : + 21 dBu @ sensitivity +4 dBu
• Maximum output level: +23 dBu
• S/N ratio (A-weighted) : better than 85dBu
• Meter: 0 to -20dB gain reduction
• Signal path: Class-A, discrete
• Gain reduction made by: a transistor in the differential amplifier circuit with Zener diodes stabilization
• Dynamic modes: limiter, compressor
• Speed modes: fast, medium, slow
• Attack: 0,5ms – 60ms
• Release: 25ms – 6s
• External sidechain: YES
• Sidechain filtering : OFF, 40Hz, 80 Hz, 120 Hz, 200 Hz, 320 Hz
• Blender (parallel compression) : yes
• PSU: internal
• Fuses type: 230V : 500mA (slo-blo; 5x20mm) /115V : 1A (slo-blo; 5x20mm)
• Power consumption: 70W
• Dimensions (WxHxD) : 483x133mm (3U) x 245mm
• Weight: 6,4kg

PRICE : 3125 EUR (excluding VAT)

The Preceptor would make a great all around compressor for the studio. I can see using this for tracking as well as mixing and mastering duties.

Visit Generic Audio for more info

My Audio Lab - PEQ-1 Passive Tube EQ DIY kit

The PEQ-1 is a Passive tube eq kit based on the Pultec eq series. From the video you can see and hear how easy it is to dial in the frequencies you need for a variety of sounds.

"Just like the original Pultec, the PEQ-1 offers the following controls: Low Boost , Low Cut, Low Frequency, High Frequency, Bandwidth, Hi Boost, Hi Cut Shelf."

The available frequencies are:
Low Freq: 20Hz, 30Hz, 45Hz, 60Hz, 100Hz, 120Hz
High Freq: 2kHz, 3kHz, 4kHz, 7 kHz, 13kHz, 18kHz
Shelf (Hi-cut Freq): 5 kHz, 7 kHz, 9kHz, 12kHz, 14kHz, 28kHz

Cost: $422.88 at My Audio Lab's website. The website is in French so here's the Google Translated version


The PEQ-1 is similiar to another DIY kit by Gyraf named the G-Pultec.

UAD Plug-in Sale up to 50% off - only 2 days left

Our Biggest UAD Plug-In Sale This Year — Save Between 10 - 50% Storewide.

If you've been craving that special UAD Plug-In or bundle, you won't want to miss the Half-Yearly Sale in UA's Online Store. Save on over 40 individual UAD plug-ins and bundles storewide.*
Here are just a few examples of the extra-special Half-Yearly savings:

• 

  EMT® 250 Electronic Reverberator

  One of the most beloved reverb units of all time, modeled to perfection using the original algorithms. A must for any UAD owner.
  Normally $249 / Now Just $199.20
• 

  Studer® A800 Tape Recorder

  Give your music the warm, cohesive sound of Studer's legendary analog tape machine, one track at a time — UA's most popular plug-in!
  Normally $349 / Now Just $299.49
• 

  Fairchild® 670 Compressor Plug-In

  The classic Fairchild 670 is the 'Holy Grail' of compressors. Our acclaimed plug-in emulation is an absolute revelation on vocals. 
  Normally $149/ Now Just $99.99
• 

  EP-34 Tape Echo

  The world's best Echoplex** emulation, giving guitar, keyboard and vocals swirling tape echoes.
  Normally $199 / Now Just $149.29
• 

  Harrison® 32C Channel EQ

  Get the sweet sound of Bruce Swedien's 
  beloved console, as used to mix Michael Jackson's Thriller.
  Normally $249 / Now Just $169.29
• 

  Manley® Massive Passive EQ

  A gorgeous mastering EQ, with a lush, open sound and big, tube tone. One of the best-reviewed EQ plug-ins of all time. 
  Normally $299 / Now Just $239.49

No coupon codes necessary. Simply cart the UAD Powered Plug-Ins & Bundles you want and save. But hurry, the Half-Yearly Sale ends at 12:00 AM (Pacific Standard Time) on July 1st, 2011. Visit the UA Online Store today.
* Due to contractual obligations, please note that the new Lexicon 224 Digital Reverb and the SSL E Series Channel Strip and SSL G Series Bus Compressor plug-in crossgrade offers are not eligible for this promotion. ** Note:The EP-34 Tape Echo product is not affiliated with, sponsored, nor endorsed by any companies currently using the "Echoplex" name.

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©2011 Universal Audio, Inc. All rights reserved. Product features, specifications, pricing, and availability are subject to change without notice. The "Universal Audio" name, UA "diamond" logo, and "UAD-2 Powered Plug-Ins" are trademarks of Universal Audio Inc. All other trademarks contained herein are the property of their respective owners.

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