Laurence Fishburne’s daughter is doing porn - Chippy D

http://montanaexposed.com/?nats=MjAwMDExLjEuMzMuODguMTE0LjAuMC4wLjA

Behind the Largest Counterfeit Audio Sting in History

"Think you got a good deal on those Beats by Dre? Might've. Or maybe you paid too much for a knockoff...... According to a recent study put out by the US Chamber of Commerce, counterfeit goods could account for as much as 10-percent of China's gross domestic product. Worldwide, it's regarded as $600 billion dollar industry—fully half of which is located in the US."
http://gizmodo.com/#!5791745/behind-the-largest-counterfeit-audio-sting-in-history-exclusive-photos

Still looking to buy an iPad2? Check Best Buy and Target.

Best Buy and Target both announced iPad2 availability 

as of today (April 17)

 Best Buy

http://www.bestbuy.com/site/iPad-Tablet-PCs/iPad/pcmcat209000050007.c?id=pcmcat209000050007
Target
http://www.target.com/s?keywords=ipad2&searchNodeID=1038576%7C1287991011&ref=sr_bx_1_1&x=0&y=0

Jane Bang "Crunk It"

SSL ALPHA-LINK MADI AX & MADI EXTREME 64 CARD BUNDLE

Solid State Logic XLogic Alpha-Link 

"The XLogic Alpha-Link Audio I/O range is a new family of fully featured multi-channel Audio Converters for Studio, Live and Broadcast Applications. The three different models each feature our high quality 24-channel AD/DA converter circuitry. 

All Alpha-Link units can be used as standalone format converters, but used in combination with a Soundscape Mixpander PCI card they provide a powerful, highly flexible I/O solution for native PC-based audio workstations."


http://www.vintageking.com/SSL-Alpha-Link-MADI-AX-MADI-Extreme-64-Card

Lynx Aurora 16 AD/DA Converter

"The Aurora 16 and Aurora 8 AD/DA converters provide world-class analog to digital and digital to analog conversion in a compact one-rack space format. With sample rates up to 192 kHz, Aurora offers wide, open, uncompressed and unequalized audio for studios, mastering facilities, remote recording, broadcast and production. Lynx’s exclusive SynchroLock word clock offers extreme jitter reduction, providing clean digital audio signals for Aurora and other digital devices in the studio.

Aurora also avoids some of the limitations that other pro level converters have. Aurora does not have a noisy fan, does not lose channel count at higher sample rates and does not require costly analog and digital modules to achieve the unit’s full channel count.

Several interfaces allow Aurora to be used in a number of different configurations. LT-HD allows Aurora to be recognized by and controlled from a Digidesign® ProTools|HD® system. FireWire access is easy using the LT-FW. 16 channels of ADAT Lightpipe I/O is made available with the LT-ADAT. And Lynx AES16 and AES16e allow interface with a wide range of Windows and Macintosh computers."

http://www.sweetwater.com/store/detail/Aurora16?utm_source=CSE&utm_medium=PPC&utm_campaign=none&utm_term=Aurora16-16-Ch_AD_DA_Converter&zmam=89202644&zmas=1&zmac=1&zmap=Aurora16

Adriana Lima

If you own a Macbook Pro you need this $20 cable

The audio ports on the Macbook Pros are analog and digital.
From the Apple site:
http://www.apple.com/macbookpro/specs-17inch.html


"Audio

• Stereo speakers with subwoofers
• Omnidirectional microphone (located under left speaker grille)
• Audio line in minijack (digital/analog)
• Audio line out/headphone minijack (digital/analog)
• Support for Apple iPhone headset with microphone"

To use the ports in a digital setup you need an Optical-mini to Toslink cable

http://www.cablestogo.com/product.asp?cat_id=2001&sku=27016#

Now that most DAWs including Protools allow you to use any any audio interface, this is a no brainer.
You can connect your laptop to the A/D-D/A converter of your choice and get the best quality sound. The Macbook's ports accept sample rates from 44.1khz to 192khz.

If you already own Toslink cables then just purchase the adapters ($2) at Amazon:

http://www.amazon.com/Toslink-To-Optical-Mini-Adapter/dp/B0002MQGRM/ref=sr_1_13?ie=UTF8&qid=1303004039&sr=8-13

You can also use this cable to connect to your home stereo or surround sound system.
Thanks to Mikey Bassie @MikeyBassie for bringing this to my attention.

This would make a great control surface: Multi touch DJing Mixing Desk - HoloDesk

"ICE AV Technology an international interactive and digital display innovation manufacturer, has launched its next product known as the HoloDesk(tm), the ultimate virtual DJ mixer for VJ and DJ artists. The technology behind the system draws on ICE AV's expertise in the latest developments in interactive and digital display technology from its significant catalog.
The screen features a dual image on rear and front sides of the screen creating a stunning view for the audience as they can now clearly see the creative manipulations of the DJ virtual controls. The concept now allows the DJ to be a central visual Performance feature for the audience using the DJ equipment and to be more connected to the audience. Many times in a performance whether solo or in a band, the DJ is often not prominent visually and in many cases hidden behind a bench of desk.

Both Traktor and Emulator can be used on the alternative iQRite Interactive LCD screens in addition to the ICE AV Holographic HoloDesk Mixing Desk.

Holographic computer displays first caught the imagination for many in the Tom Cruise movie, Minority Report where multi touch gestures on a transparent screen allowed Cruise to rapidly sort through and connect data simply by interactive touches.
Three projection laminates are available depending on the buyer preference.
The films from ICE AV are renown for their quality in the interactive and multi-touch industry and currently being offered are:

1 - HoloLite90 is a 90% transparent projection film that creates a Minority Screen experience with imaging on borth sides of the screen.
2 - HoloContraM is a dark grey projection screen that creates an impressive bright high contrast image.
3 – HoloDupix is a 360 degree imaging screen that delivers identical perfect images on both sides of the screen. Perfect for allowing the audience to view the same image.

The HoloDesk from ICE AV can be used with any mixing music software, VJ Video mixing software, dj mixer software, virtual DJ mixer or other creative software applications. It is designed for live stage performances, audio mixing, beat grid, dub step requirements. Currently the HoloDesk is designed for operation with any Windows OS PC computer." 
(Hopefully it will be developed for the Mac OS).
http://www.iceav.co.nz/news.asp?Task=View&PageID=244

INWARD CONNECTIONS Mix 690 Summing Mixer

Built using the same proprietary op-amps as the DEQ-1, the Mix 690 Summing Mixer sounds very large and fat while still retaining clarity and detail in the high end. The mid range comes across as punchy and perceptually loud, which adds excitement to any mix. The perfect way to relieve your overworked digital mix buss and restore resolution and depth to your mixes.

Features: 16 line inputs with pan on each channel Insert with bypass on the stereo buss. Stereo master level pot Stereo meters Fully discrete 20 of the infamous Inward 690 Op-Amp designed by John Hall Can be linked with other mixers without sacrificing channels

http://www.vintageking.com/Mix690?sc=18&category=370

Tila Tequila Sex Tape of the Day

http://www.drunkenstepfather.com/index.php/2011/01/31/tila-tequila-sex-tape-of-the-day

Delora Software's gbTouch--iPad control surface for GarageBand

"Delora Software's gbTouch is an iPad app that seamless integrates many pro-level control surface features into GarageBand (Mac OSX version). It offers full transport controls (including a "jog strip" for easy play position movement), track mute/solo/rec, track names, track volume faders, and color-coding to indicate whether the track is a "real instrument" track, or a "software instrument" track. It uses Wi-Fi to connect to the Mac, giving you the freedom to control GarageBand from anywhere in your studio.
gbTouch's multitouch UI automatically adjusts to your preferred orientation (landscape or portrait)."

http://www.delora.com/delora_products/gbtouch/gbtouch.html

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