"The Q701 reference-class premium headphones are the most accurate and responsive headphones AKG has ever produced. The over-ear headphones feature revolutionary flat-wire voice coils that create a spacious soundstage with excellent imaging and transient response. Patented two-layer diaphragms similar to their professional studio counterparts offer sparkling high-frequencies as well as accurate bass response. Additionally, a high- performance neodymium magnet system makes the headphones heat-resistant for minimal distortion at any listening level. The Q701s deliver pinpoint imaging with unmatched realism."
The Dual Atomic Squeezebox from innerTUBE Audio is a stereo compressor/limiter capable of drastic gain reduction with minimal artifacts. It's equally at home on the stereo buss, drum buss, background vocals or individual sounds. It's a solidly built, high end unit with great sonics that has become an industry standard.
From their Press Release:
"Two Atomic Squeeze Box’s are combined in one convenient and compact package. They may be operated independently or switched to Stereo mode. The Atomic Squeeze Box is a full-band, dual-triode tube-based, analog signal amplitude processor. Its unique circuitry provides a wide range of automatic level control while imparting virtually none of the sonic artifacts that are usually associated with conventional compression and limiting. Even with steep ratios and low thresholds, the ASB remains incredibly transparent in operation. In the Stereo mode, the side chains are coupled and the setting of the longest release time adjustment sets the release time. Our innovative new (!) design virtually tracks the program envelope for its release function with the same accuracy and agility that it tracks for the attack function. Whether your need is taming an out-of-control vocalist, bass player, or just some very, very smooth level control; the Atomic Squeeze Box will open your eyes to a whole new horizon of smooth audio delights. The tube-based circuitry and custom nickel-core audio transformers impart a warmth and richness to the program that reminds us of the glorious sound of the finest analog audio. The distortion is very low, typically under 0.1%, even with 20 dB of gain reduction!"
Here's an excerpt from an '05 MixMagazine review:
"The Dual Atomic Squeeze Box put a heightened point on kick and snare drum tracks, which — when the processed results were combined with the dry source tracks — really made the drums rock. Amazingly, I could hear no pumping of the snare track's hi-hat bleed, even with up to 20 dB of gain reduction!
On quadruple-tracked background vocals, dialing in a very fast attack, very slow release and high slope slammed the tracks with more than 20 dB of gain reduction without thinning their tone — just what this arrangement needed for the background vocals to sit unobtrusively at ear-candy level in the subsequent mix.
Next up was electric guitar, blowing through a cabinet miked with a Royer R-122. Setting very fast attack and release times and sky-high slope for 8 dB of gain reduction on peaks, the sound was dynamite — warm, crunchy and in-your-face, but again, with no hint of pumping.
The unit also lent excellent dynamics control — characteristically not unlike that provided by an opto-compressor — to lead vocals. I heard some loss of depth with 6 dB of gain reduction, but no pumping.
The Dual Atomic Squeeze Box sounded really incredible on stereo room mics for drums. Dialing in 10 dB of gain reduction — using ultra-fast attack and release times and a high slope setting — produced absolutely slammin' tracks. But what amazed me was that there was only very mild pumping on crash cymbal hits. The unit's Link switch kept the stereo image rock-solid."
FEATURES:
Dual-Triode Tube Circuitry
Gain Reduction to 20 dB +
Dual Mono / Stereo Operation
Low Distortion & Low Noise
Ultra Smooth Release
SPECIFICATIONS:
Gain Reduction 0 to over 20 dB of compression
Modes: Two independent mono units, or may be switched to Stereo Mode with release time common.
Attack Adjustment Continuously Variable, from molasses to lightning
Slope Adjustment Continuously Variable, from linear to approximately 30 to 1
Release Adjustment Continuously Variable, with automatic envelope tracking
Total Harmonic Distortion < 0.1% THD, with 20 dB compression
Noise Floor: > 85 dB below 0 VU
Frequency Response ± 1.0 dB, 20 Hz to 20 kHz @ +4 dBm, -3dB 15 Hz and 90 kHz
In the studio documentation is of the utmost importance. The Audio Studio Manager seems like a great way to stay organized in the studio.
"No matter if you have a home studio or a major recording company, manage your projects, your equipment and your working time is always important. Audio Studio Manager is designed to facilitate this task, bringing a simple and effective way to organize your studio's main activities. Recording, mixing or mastering, you keep the focus on your music."
Features
Equipment Inventory
. categorize equipment
. create your wish list
. control the warranty, prices, dates
. tags and notes
. equipment by location
. equipment condition
Project management
. clients and projects (Activity Status)
. costs and payments by project
. manages the project phases
. Independent control of services
. control the services charged hourly or flat rate
. Independent control of each session (notes, tag, engineer, assistance ...)
. time tracker by phase
Steinberghas released the RND Portico series plugins which consist of a 5033 equalizer and a 5043 compressor. I've used the analog hardware so I'm anxious to see if they were able to capture the Neve Portico sound.
From the Website:
"The Rupert Neve Designs Portico plugins brings the legendary Neve sound to the world of digital music production. Utilizing Yamaha’s unique VCM technology, these plug-in exactly reproduces the analog warmth and sonic finesse of its acclaimed hardware counterpart."
RND PORTICO 5033
FEATURES
Parametrical equalizer with graphical control over frequency and gain
Five bands including low and high shelf filters and three bands with filter-width regulation
Exact digital copy of the renowned Portico 5033 EQ
Based on VCM technology for capturing all the subtle details and acoustic nuances of the hardware original
Exclusively approved by Rupert Neve
Available in VST 3, VST 2.4 and AU format for multi-instance use within DAW hosts like Cubase or Nuendo
Specification:
Low frequency band:
30 Hz to 300 Hz, +/- 12dB
Low-mid frequency band:
50 Hz to 400 Hz, +/- 12dB, filter width (Q) 0.7 to 5
Mid-frequency band:
300 Hz to 2.5 kHz, +/- 12dB, filter width (Q) 0.7 to 5
High-mid frequency band:
1.8 kHz to 16 kHz, +/- 12dB, filter width (Q) 0.7 to 5
High-frequency band:
2.5 kHz to 25 kHz, +/- 12dB
RND PORTICO 5043
FEATURES:
High-quality compressor with input and gain reduction metering
Feed-Forward and Feed-Back mode for two entirely different compression characteristics
Based on the widely-acclaimed Portico 5043 Compressor / Limiter Duo
VCM technology allows the exact reproduction of all the subtle details and acoustic nuances of the hardware original
Exclusively approved by Rupert Neve
Available in VST 3, VST 2.4 and AU format for multi-instance use within DAW hosts like Cubase or Nuendo
Specification:
Threshold: -50 dB to 0 dB
Ratio: 1.1:1 to Limit (more than 8:1)
Attack: 20ms to 75ms
Release: 100ms to 2.5s
Gain: -6dB to +20 dB
Save An Extra 10% Off UA Bundles — Including 4 New Bundles — and Get a $25 Coupon!
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Phone Support:
USA: 877-MY-UAUDIO
[877-698-2834]
Int'l: +1-831-440-1176
FAX: +1-831-461-1550
Available from 9am - 5pm
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From their website:
"The DM1 is an advanced vintage Drum Machine. It turns your iPad into a fun and creative beat making machine. Easy and fast to use, loaded with 24 superb electronic drum kits and beautiful hyper-realistic graphics. It has been designed for a lot of instant fun."
Specifications:
✔ Graphic design by Jonas Eriksson
✔ Smart ergonomy for fast creativity and fun
✔ 24 vintage and produced drum kits, mastered at in-house Fingerlab Sound Studios
✔ Mixer page with pitch, length and level rotary controls, and custom drum kit per channel
✔ Extra fast drum kit loading
✔ Playable pattern selection for extra creativity
✔ 9 Big Drum pads, quantized recording and MPC-like Repeat touch-stripe
✔ Step Sequencer with multi-touch matrix
✔ Duo FX Trackpads for real-time sonic destruction and multi-FX
✔ Mode song with intuitive editing
In development:
✔ More FX
✔ High-quality export to email or iTunes shared folder
✔ AudioCopy export
✔ Samples import
✔ MIDI
"The Retro Powerstrip recording channel is a high powered "channel strip" or "vintage studio in a box", capturing the tone of a tube mixing desk, Pultec-style tube EQ and British tube compressor all in one compact 2u rack unit. It has all the right inputs and enough gain for every microphone and instrument you can throw at it. It has a balanced line level input for pro-interface instruments and for use during mix time. The performance is purely musical. It is perfect for use in any size recording studio or on stage." Features
Transformer coupled Class-A tube microphone preamplifier with phantom power.
Industry-standard Passive EQ with authentic feel, controls and equalization curves.
Classic British variable-mu tube compression.
Front panel 1/4' instrument jack.
Rear panel XLR mic and line inputs and line output are fully-floating transformer balanced to eliminate ground-induced hum and noise.
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)
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.
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
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 ....
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
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."
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
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
