Professional Documents
Culture Documents
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JUNE 2011 | VOLUME 17 | ISSUE 6
INSIDE:
Technically Speaking: Stick It In Your Ear Studio Sense: On DAW I/O Choices
Ear-Centricity
Custom Earplugs, Phones, IEMs & More
PAR Picks 6
Software Reverb
ULTIMATE EARS
REFERENCE MONITORS
Capitol Studios ... In Your Head
more reviews
beyerdynamic DT 1350 Etymotic Research ER Series Shure Beta 181 Focusrite Scarlett 18i6 & 8i6 Manley Labs MicMAID Radian Apex Neo 1200XD Waves OneKnob Series
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in this issue
Studio
Covering Recording, Broadcast Production, and Post Production New Studio Products 10
Cover Story 26
ProAudioReview
JUNE 2011 | VOLUME 17 | ISSUE 6
Sound Reinforcement
Covering Live Sound, Contracting, and Installed Sound New Live Products 42
Review 46
Review 28
Review 48
Mini-Review 33
14
46 34
Featured Review 34
Mini-Review 36
Departments
Technically Speaking
Review 38
Review 40
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PRO AUDIO REVIEW (ISSN 1083-6241) is published monthly by NewBay Media LLC, 28 E 28th Street, 12th floor, New York, NY 10016. Subscription information can be found at www.MyPARmag.com, by calling 212-378-0400, or writing to the above address. Letters to the editor are welcomed at the above address or par@nbmedia.com. Periodicals postage paid at New York, NY 10016 and additional mailing offices. POSTMASTER: Send address changes to Pro Audio Review, P.O. Box 282, Lowell, MA 01853. Copyright 2011 by NewBay Media, L.L.C. PRINTED IN U.S.A.
J U N E 2 011
V O L U M E 17
ISSUE 6
EDITORIAL Frank Wells, Editorial Director 212-378-0400 x535, fwells@nbmedia.com Strother Bullins, Reviews And Features Editor 336-703-9932, strotherPAR@earthlink.net Fred Goodman, Managing Editor 212-378-0423, fgoodman@nbmedia.com Lynn Fuston, Technical Editor Rich Tozzoli, Software Editor Russ Long, Senior Contributor Ty Ford, Steve Harvey, Will James, Tom Jung, Alex Oana, Randy Poole, Alan Silverman, Rob Tavaglione, Ben Williams, Sterling Wineld, Dan Wothke, Tom Young, Contributors Paul Haggard, Photographer ADVERTISING Tara Preston, Associate Publisher 917-331-8904, tpreston@nbmedia.com Karen Godgart, Sales Director, West Coast Ofce 323-868-5416, kgodgart@nbmedia.com Contessa Abono, Specialty Sales Associate, North 650-238-0296, cabono@nbmedia.com Donovan Boyle, Specialty Sales Associate, South 650-238-0325, dboyle@nbmedia ART & PRODUCTION Nicole Cobban, Senior Art Director Annmarie LaScala, Art Director Fred Vega, Production Manager 212-378-0445, fvega@nbmedia.com CIRCULATION Tracey H. Dwyer, Associate Circulation Director, Audience Development Michele Fonville, Circulation Coordinator Subscriptions: Pro Audio Review, www.MyPARmag.com P.O. Box 234, Lowell, Ma 01853 Tel: 888-266-5828 (U.S.A. Only, 8:30 A.M. - 5 P.M. Est) 978-667-0352 (Outside The U.S.) Fax: 978-671-0460 E-Mail: Newbay@Computerfulllment.com NEWBAY MEDIA AUDIO GROUP John Pledger, Vice President/Group Publishing Director Anthony Savona, Editorial/Creative Director Ragan Whiteside, Web Director Robert Granger, Online Production Manager Ashley Vermillion, Web Production Specialist NEWBAY MEDIA CORPORATE Steve Palm, President & CEO Paul Mastronardi, Chief Financial Ofcer Joe Ferrick, Vice President Of Web Development Denise Robbins, Circulation Director Greg Topf, IT Director Jack Liedke, Controller Ray Vollmer, HR Director REPRINTS AND PERMISSIONS: For Article Reprints, Please Contact Our Reprint Coordinator At Wrights Media: 877-652-5295 PRINTED IN THE U.S.A. Administrative, Advertising, & Editorial Ofces 28 E 28th Street, 12th oor New York, NY 10016 TEL: (212) 378-0400 FAX: (212) 378-0435
technically speaking
Frank Wells
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opinion
studio sense
By Rich Tozzoli
Top to bottom: Lynx Aurora 16, Steinberg MR816 CSX, and the BURL B2 Bomber.
Rich Tozzoli is a composer, engineer/mixer and the software editor for PAR. richtozzoli.com
20 ProAudioReview | June 2011 www.proaudioreview.com
Antelope Isochrone 10M atomic clock he revealed. When Lynx came out with the Aurora, it changed my life; I heard them and immediately knew that both the price and sound were exactly right. Theyre not the most expensive converters, but when I weighed them against the other heavy hitters, I felt I was missing nothing. The Lynx Aurora has been an absolute godsend to my work. I use a few different converters at my WireWorld studio, said engineer/mixer/producer Michael Wagener (Ozzy Osbourne, Alice Cooper, Motley Crue). I have 48 channels of Euphonix MA703/AM713 analog to MADI/MADI to analog, which get used for tracking/multitrack mixing/summing purposes. I bought those in 2000, and I still think they have a very natural sound. The SSL Alphalink SX provides another 24 channels of A/D - D/A in and out of Nuendo, which I use for channel inserts, outboard sends and returns all via a MADI patchbay. Wagener continued, The Euphonix FC727 provides another 56 channels of MADI to AES and back. For the stereo bus return A/D into Nuendo, I use the BURL B2 Bomber ADC. The B2 has a certain sound that I like a lot, it is very clear and open and seems to have the most dynamics of the converters Ive heard. Eventually, I will replace all converters with the BURL Mothership, which, of course, means rewiring half the studio, so it might be a while. Other converters used at WireWorld are the Crane Song HEDD and the Crane Song Spider, both of which I mostly use for electric guitars (with the TAPE function). For location recording, I use the Steinberg MR816CSX; it has amazing mic pres and converters. On the D/A side, I use the Benchmark DAC-1 for monitoring. Drummer/engineer Shawn Pelton (Cheryl Crow, Shawn Colvin, Celine Dion), who most-
ly records into Live in his New York apartment studio, has his unique viewpoints on the matter. In terms of the home studio revolution, everyone has to be able to cover so many bases, he said. I wonder if we often fall into a dog and pony show with some of our decisions regarding super highend gear. I know I have made some purchases partly based on the fact that the reputation of the gear will chill out any doubts that the signal path is not best in class, etc. Whats refreshing about a blindfolded audio situation is you end up having to listen with your ears, not your eyes, and the sound and the music takes the front seat, not the price tag and the label. Oh, Say, Can You Hear? I then went on to ask the guys if they thought people could hear a difference in our gear, and/or if consumers even really cared. Yes/Yes, replied Moshay. The public has always been able to tell a greatsounding album and the history and statistics back up that claim, with some of the biggest-selling records in history being the best sounding. No, the public cant tell you that they like an analog over digital recording, or a 48k vs. 96k album; they just gravitate towards better sound. Better-sounding albums stand a much better chance of being liked and people are not going be able to describe what the exact component is that makes it better sounding. Sound is perception, and everyone will be able to point out something different that moves them about a recording. I do think most people could hear the difference if they were presented with it, Goodwin opined. Most casual listeners dont have the desire to listen that critically, or know exactly what to listen for. That being said, I think these days, the differences
between the high-end converter systems are less and less distinct. I think that within a certain level of performance, it becomes a matter of taste or preference, as opposed to good vs. bad. Ten years ago, we had clearer choices in that regard. Very few front ends sounded good at all, and most options were less than ideal. But these days, I think weve begun to reach a very high level of performance, even within the lower-end market. There are some new converters that cost only a few hundred dollars and easily outperform the most expensive converters from 10 years ago, no question. So these days, I do think it comes down to taste. There are so many viable and very good options that one can put together a respectable system with minimal cash outlay. In my experience with converters, its a matter of adding up a bunch of tracks before you really hear a noticeable difference (with the exception of the BURL), says Wagener. I think even the casual listener can hear it in the end, maybe not knowing what it is that they hear. In a controlled studio environment it is probably easier to tell the differences, even though sometimes with just one track, it might be hard to tell. How Innovation Affects Choice Finally, I asked if our group felt that innovations in gear have changed their front-end choices, especially consider-
ing the broadened landscape of what audio pros are in this day and age. With the gear, that is such a great question, and I have done a lot of blindfold testing regarding converters, preamps and mics, said Pelton. It is really interesting what your ear responds to when your eyes arent involved. I have had a lot of engineer friends put blindfolds on and listen to controlled A/B comparisons. The amount of preconceived notions that we all have regarding the different parts of the recording chain can be intense. Yes, my choices have definitely changed, answered Goodwin. Because I track and mix a lot of projects, I have multiple considerations, the most important is that my stuff works every day and setup is easy. I also need something that allows me to build character into my sounds without either smudging over that character, or dumbing it down. Even modest priced gear now is really great-sounding, said Moshay. But most often you pay a bit more for a high-quality piece of gear, and you get something that you keep and treasure forever. I have never regretted buying high-end stuff; it almost always delivers stunning results that are a cut above the rest. I support the die-hard boutique manufacturers that pour their heart into the gear they design and sell. If it werent for companies like Manley, Avalon, Focusrite, SPL, Kush Audio, Anthony DeMaria Labs, etc., this industry would be dead boring!
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studio review
By Strother Bullins
and intense three-stage beta testing process. The idea was to build an IEM that would serve as the primary reference point for the most discriminating professional users from tracking to mixing in any environment. If successful, it would allow for truly critical listening in acoustically undesirable and/or loud environments such as airplanes, tour buses, family reunions, etc. you get the point. UE Reference Monitors feature an internal three-speaker configuration woofer, middriver and tweeter in an acrylic housing that offers noise isolation specifications of up to -26 dB. Input sensitivity is 98 dB SPL
at 1 kHz; efficiency is 112 dB SPL at 1 kHz, 1mW; frequency response is 5 Hz to 20 kHz; and impedance is 35 ohms at 1 kHz. The black and clear Reference Monitors come with a 48- or 64-inch cable, (a choice of clear or black), terminated with an eighth-inch, gold-plated TRS connector, in an incredibly rugged yet lightweight 6 x 4 x 2-inch aluminum case with the users name etched directly under the UE logo. Included in the package is an eighth-inch to quarterinch TRS adaptor and special IEM cleaning tool. The Reference Monitors offer a oneyear limited hardware warranty.
Strother Bullins is the reviews and features editor for Pro Audio Review.
26 ProAudioReview | June 2011 www.proaudioreview.com
A trip to your local audiologist for your ear impressions is a requirement for these (or any) custom IEMs. [For more on the experience of getting an ear impression, read Rob Tavagliones aforementioned Etymotic Research ER Series Earplugs review on page 28 of this issue. Ed.] In Use Despite the specs supplied above, I must admit that the idea of reference-level performance that rivals our industrys best studio monitors with using such tiny drivers seems voodoo to me, but its hard to argue with real results in real-world performances. I used the Reference Monitors in all of the following applications: critical listening for hours on airplanes, in noisy public places (adjusting EQ and compression, editing and mixing); A/B-ing between source material in my own comfortable audio workspace alongside speakers Ive know well and have used now for years; mixing FOH and monitors in both indoor and outdoor environments; as musician (drummer) IEMs in both studio and live applications; and recreational listening too (ranging from iPod audio to full resolution audio via high-quality D/A converter/ headphone amplifier). As I mentioned above, I have literally lived much of my past six months as a self-recordist, mixer, studio/ live musician, and music lover with these IEMs in my ears. In application, the Reference Monitors acrylic body is comfortable in the ear canal, yet completely inflexible; for comparison/ reference, most custom earplugs are softer. For that reason, what you can hear may dramatically change based on how the shape of your ear canal changes (if you open your mouth, for example), though it can be argued that can happen when you listen via traditional studio monitors, too. The channels that extend down into the users ear are deep, but not uncomfortable. Compared to using headphones in similar applications, headphones are far more conducive to being taken on/off (or in/out, as IEMs must be); for that reason, if only minimal isolation is needed along with regular/frequent verbal communication via live air, a high-quality circum-aural head-
phone would still be preferable in such an application. Summary Im incredibly impressed with these IEMs. With them, I feel there is an aural quality resembling a virtual acoustic space between my ears and a set of studio monitors, much like when I sit in front of my own reference speakers in my own audio workspace. Something like real air, the feeling is closer to monitoring in an environment, rather than the less-than-three dimensional feeling Ive nearly universally had when using either headphones or other IEMs during attempted critical listening applications. Further, I would describe their overall sound as uncharacteristically gentle in that manner, almost as if the sound lilts through air measured in feet rather than in millimeters. Depth and the sharp preciseness of its imaging is remarkable, and ultimately translatable, to the rest of the listening world (i.e., with the UE Reference Monitors, you can be sure about where you place a sound source in a mix). According to UE, that final point was a most important goal in the
collaboration with Capitol Studios so, mission accomplished, I must say. Adding to that quality, the Reference Monitors midrange is so well defined that those crucial mix elements such as vocals sit precisely and accurately, allowing these personal monitors to create most likely due to their portability and isolating qualities the most translatable monitoring experience Ive ever had. The experience is something closer to listening to studio monitor pairs far more costly than these $999 in-ear monitors even though nearly $1k for what many just call ear buds seems like a lot of money. But these arent ear buds; they are in-ear control rooms and superb, never-fatiguing-to-hear ones at that, though I wouldnt be honest if I didnt admit that I always eventually tire of having something stuck into my ear. That last point the physical downside of having something that isolates you from the natural acoustics of the outside world is the only reservation I have regarding reference-grade IEMs (or headphones, for that matter) as a primary/only monitoring source; real-time collaboration, discussion of mixes, etc., are the necessary tasks that only traditional studio monitors will allow. Though the future of studio monitors isnt necessarily under siege by IEMs for this very reason, I can certainly envision a time where every audio pro has a reference monitor and a reference IEM of choice, evenly switching between the two depending on where in the world he or she may be working. For that reason, Ultimate Ears Reference Monitors are already ahead of the curve. Price: $999 direct (plus ear impression fees at your local audiologist) Contact: Ultimate Ears | ultimateears.com
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studio review
Truth be told, I suggested that Pro Audio Review evaluate Etymotic Researchs ER Series Earplugs, knowing full well that I would be recommending them. I fear not for my credibility; I have been happily using this product for nearly 20 years now and must say, without even a hint of hyperbole or exaggeration, they are the single most important investment Ive made in my work, my kit and/or my future. Without adequate hearing, one cannot exercise analytically correct listening skills, and without such skills, ones work cannot compete.
Furthermore, I am not solely cooped up in a studio with constant measure of control over my SPL exposure (and neither are most of you). Whether its live FOH mixing, mixing monitors, performing in a band or simply attending clubs and concerts (I do all of the above regularly), I am constantly exposed to long-term SPL levels of 95 dB and up. Thats enough to cause long-term hearing damage and tinnitus after extended exposure. Typical earplugs can provide 15 to 20 dB of attenuation, which is usually enough quieting for all but the loudest sources, but the lack of high-frequency response is acceptable to civilians only; musicians
By Rob Tavaglione
Etymotic Research
ER Series Earplugs
and audio engineers need similar attenuation, but flatter frequency response. This is where I believe the ER Series is without match, and I have found it to be a reasonable solution for all of the above environmental risks. Features The ER Series Musicians Earplugs filters are available at three levels of attenuation: -9, -15 and -25 dB. These filters are paired with custom silicon ear molds that are fitted by your local audiologist, formed by Etymotic Research, and then delivered with countersunk depressions to contain the interchangeable filter buttons. The -15 dB filter (ER-15) provides the flattest frequency response, with a slight drop-off beginning at 3 kHz and a substantial roll-off starting at 8 kHz. The -9 dB model (ER-9) is similar in response, with overall less high-end and
a roll-off that is more pronounced and the -25 dB model (ER-25) clearly has the least flatness with a dramatic high-end drop-off, except for a little peak at 6 kHz. The filters are available in five colors, including beige and brown skin-matching tones. Heres how they work: Musicians Earplugs buttons have a diaphragm which functions as an acoustic compliance, while the volume of air in the sound bore of the custom ear mold acts as an acoustic mass. The combination of the two produces a resonance at approximately 2,700 Hz (as in the normal ear), which results in smooth, flat attenuation. The molds are as important as the filters; a tight fit, minimal leakage, deep insertion and long-term comfort are all absolute necessities for specified performance. The new silicon molds (older models used a vinyl composite) are excellent; they make
Rob Tavaglione owns and operates Catalyst Recording in Charlotte, NC. catalystrecording.com
28 ProAudioReview | June 2011 www.proaudioreview.com
a very good product even better. Silicon offers a softer feel for comfort, snugness and a clear appearance that is nearly invisible (especially with skin-matching filters) and the countersunk impressions for the filters eliminate protrusion from the ear as well as preventing accidental filter loss (an issue I had with the older design). In Use The purchase process begins with ear impressions at your local audiologist. I also recommend getting a hearing test while youre there; any information about the
dips in your hearings frequency response is quite useful (whether it be sobering or encouraging). First, small sponges on a string are inserted deep in the ear canal to act as seals that keep the mold material (picture #1) away from your sensitive eardrums. Prepare to be a little embarrassed by wax deposits beyond your swabs reach that sometimes cause a little discomfort when compacted. Next, the doctor mixes the molding putty with a catalyst, folds it with his hands until its all warm and pliable (picture #2), loads into a large syringe and injects it into the
PICTURE #1
PICTURE #2
PICTURE #3 ear canal (picture #3) while an assistant pulls back the pinna for better access (picture #4). Fear not, as the sensation is odd; the sound is like descending into the abyss and the pressure is uncomfortable, but its actually kind of fun and wont harm you. After setting up for a few minutes (picture #5 or #6), hardened molds are ready for shipment to Etymotic (picture #7 or #8). The finished plugs (picture #9) are delivered with your choice of attenuators. Choosing the right attenuation is crucial. Since I have some experience in using
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PICTURE #4
PICTURE #5
PICTURE #6
these over the years, I do feel comfortable making some recommendations here. The ER-9 offers the best overall sound to my ears, with the truest top end and the most fidelity, despite the better on paper performance of the ER-15. The ER-9 sounds good enough to not compromise the quality of listening for even sensitive sources like classical music and allows unimpeded conversation without much need to lean in. The only drawback of the ER-9 is that -9 dB is only enough attenuation for moderately loud situations. With the ER-9, I tried mixing monitors on a 105 dB stage as well as participating in a rehearsal within a 20 x 20-foot space; I found the levels hot enough for fatigue and therefore damage. Although Im not recommending the ER-9 for loud concerts either, they are invaluable for either car or airplane travel, reducing fatigue and irritability considerably. The ER-25 offers an amazing amount of attenuation, with a significant drop in high-end and fidelity, yet is still superior to typical foam or plastic plugs. Im only recommending these for punishing environments like monitor world (when you reside too close to FOH stacks), or for onstage guitar techs, loud rock/metal performers, NASCAR enthusiasts and the like; they are not hi-fi enough for pleasurable listening. ER-25s are for pros who need them, not for hobbyists who desire them. Speech is
PICTURE #7 greatly impaired, and the bottom end can still punish your ears into pain (remember that very low frequencies are inducted through bone and flesh; you feel lows, and it seems just like youre hearing them), so use them when needed with caution. Id venture to guess that 90 percent of potential ER Series use is best suited to the ER-15. The frequency response is good with a little bump at 100-200 Hz and a little dip at 4-6 kHz, plus the rolled-off top. Can you mix using the ER-15, you might ask? Sort of get your mix going, balance it and then insert the plugs. Re-adjust your perception, and you can blend confidently from there. The only catch is that youll miss those first few seconds when any feedback slowly starts to swell and will finally catch it right when it starts to kick in. (This fact troubles me, as I pride myself in yanking down
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bad freqs before anybody else notices.) Can you perform in them? Sort of theyre no brainers for drummers; the particulars of the response curve seem to tame high-mid harshness in a way that clarifies mids and melodies. Instrumentalists should be good as well, with that pleasant clarifying of drums and reduction of high-mid noise. But for vocalists? Sorry, but no way. Singing distorts the shape of ones face and ear canal, creating sudden loud bursts of leakage when the mouth is widely open forming vowels and sustained notes, thus in-ear monitors (IEMs) are still the best solution for the hearing protection of vocalists on loud stages. Although just seldomly useful in the studio (when doing loud overdubs with the control room acting as a live room, maybe) the ER-15 is also useful for concert-going, club shows, sporting events, yard work (mowing the grass, for example) and traveling, where attenuation and intelligibility must be in balance. After years of reliance, Im now rather sensitized to what excessive SPL sounds like, and I find myself carrying the ER-15 plugs most everywhere, discovering new applications on a regular basis Summary Please pardon my frank endorsement, but I have purchased ER Series earplugs with ER-15 filters for my wife, effectively persuaded band members to buy them, and am now recommending them to you. My reasoning is simple: Hearing loss is permanent and we need to hear as accurately as possible for as long as we can. These ER Series earplugs simply work and approximately $150 (depending on your local audiologists fees) is a small price to pay to insure long-term, pro-level listening by avoiding hearing damage. Price: Contact your local audiologist for the cost of a custom mold fitting; $40 per pair (replacement filter buttons) Contact: Etymotic Research | etymotic.com/ephp/erme.html
mini review
German manufacturing and a tradition of efficient, reliable engineering have become synonymous in the auto industry. But in the last century, that country has also proven no slouch when it comes to driving sound. The company beyerdynamic furthered this reputation when in 2009 it premiered its Tesla sound transducers, which use a metal-cased ring in place of a traditionally centered neodymium magnet to more effectively distribute energy throughout a membrane positioned to minimize disruptive vibrations. This technology, introduced in the audiophile flagship T1 ($1,295 street), has now trickled down to the DT 1350 headphone ($299 street), reviewed here: a portable closed-back model seemingly aimed directly at the Sennheiser HD 25-1 II market of monitoring for broadcast and stage sound engineers. I tested the DT 1350 by the following means: with an iPhone 3GS, then directly off the headphone jack on a MacBook Pro to test efficiency, and using either a NuForce uDAC-2 or Native Instruments Traktor Audio 10 connected to the MacBook Pro by USB to test quality. When using the laptop, playback was done using Native Instruments Traktor Pro 2 or Audio Engineerings Fidelia 1.0.8 (set to take exclusive control of the audio device using the highest level of re-sampling/dithering). The material auditioned included 320 kps MP3, 256 kps AAC, Apple Lossless, 96 kHz/24bit FLAC and standard WAV classic and indie rock, modern compressed pop and dub-step. Though supra-aural, the DT 1350s industrial housing has substantial clamping power in its split headband design,
By Tony Ware
and its small but sturdy brushed-metal cups proved capable of emitting seemingly distortion-free volume (109 SPL nominal/129 SPL max, and they also swivel for previewing on the fly) with no sibilance and quick, delineated transients. Having an 80-ohm impedance, the DT 1350 did perform well with an iPhone. The response from a solid source isnt so much analytical as enjoying more purity than many traditional headphones, which seem to generally emphasize bass. The DT 1350, rated at 5 - 30,000 Hz, is anchored with low end thats impressively assertive for its size, kept proportionate with treble extension thats not peaky and controlled, slightly forward midrange. This direct but not brightened presentation has just a touch more perceivable clarity in the intimate lower mids, which comes across as delivering less liquidity but imparts a presence that cuts through high-volume environments. Even competing with a noisy threshold, as it did when I DJed a country club gig, directly flanked by two dual 15-inch JBL cabinets and a dedicated sub, the Tesla architecture skill(continued on page 50)
Tony Ware has been an editor for Pro Audio Review and contributes to sister publication, Electronic Musician.
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PAR PICKS
By Rich Tozzoli
Reverbs
Our software editor shares a half-dozen of his favorite reverb plug-ins.
surround sound support; and 6-to-6 XL upgrade, respectively) Contact: Audio Ease | audioease.com AVID ReVibe AVIDs ReVibe is an acoustic environment modeling reverb that has been a mainstay in my HD mixing rig for many years. With reverbs, its all about how it fits inside of your mix, and ReVibe simply works every time, plain and simple. It gets the job done with pristine clarity, tweakability and excellent presets. As its capsule description suggests, ReVibe is a type of room modeler. It also includes a nice selection of Halls, Plates and Chambers as well as some neat oddities. For example, the preset called Gale Force Winds in the Wild Spaces folder sounds great on cymbal swells; it adds a unique element of atmospheric sound design. But usually, Ill call up some nice reflective plates and put them on vocals and guitars, then tweak the sound by simply grabbing the control dots on the Decay Color and EQ graph. Then Ill modify the settings in the Room Coloration Section, choose any of the nine types of
In the continuation of our PAR Picks 6 series, we move on to the all-important category of reverberation software. Whether you use a little or a lot, reverb is one of the most critical production elements for adding depth, space and artistic interest to our productions. From synthesized plates, rooms and halls to impulse responses of production reverbs and real spaces, each of these six recommended plug-ins offers unique colors and characters.
Audio Ease Altiverb Altiverb was the first convolution plug-in reverb to hit the market back in 2001 and was a massive breakthrough. [Convolution reverb is a digital simulation a physical or virtual spaces reverberation characteristics, based on a pre-recorded sample of the spaces impulse response. Ed.] The ability to have real reverb samples on our desktop was huge, though it ate processors for breakfast. Altiverb currently in v.6 with a v.7 coming soon has one of the deepest impulse response libraries out there.
The ability to put your strings in Amsterdams Concertgebouw concert hall, drums in New Yorks Clubhouse live room, guitar into a silverface Fender Super Reverb and then put your ambient vocal into Frances Chartres Cathedral still amazes me, all these years later. And it still wows clients to call up the images (including some QuickTime movies) of each space and show them why the reverb sounds so good. Altiverb will run as a VST, RTAS, MAS, AudioSuite, AU and TDM (up to 5.1). Prices: $595, $995 and $400 (Altiverb 6 Native; Altiverb 6 XL featuring TDM and
Rich Tozzoli is a composer, engineer/mixer and the software editor for PAR. richtozzoli.com
34 ProAudioReview | June 2011 www.proaudioreview.com
reverb tail, 14 room types, give it some predelay and then move on. Aside from running mono or stereo, Ive also used it many times in 5.1 sessions, as there are separate controls for the front, center and rear reverbs. The only negative with ReVibe is that its for AVID HD/Accel systems only. I frequently wish I could use it on all my systems. Price: $995 list (TDM only) Contact: AVID | avid.com
McDSP Revolver Revolver is McDSPs convolution reverb. It has great impulse responses and is crazy-easy to tweak. Some of my favorites are the Amp Spring (try that on a dub mix!), M5K Reverse and Rendered Fast Gate (so cool on percussion), Church Buiksloterkerk (vocals) and the DSP4500 ER (acoustic guitars). You can quickly access buttons for Main, Equalizer, Delay 1, Delay 2, Tweak, Contour, XOver and Level, and then adjust those parameters using the sliders at the bottom of the plug-in. On the right is a display window for seeing the Impulse, Image, Plot, Flow and System settings. The Main page has some nice go-to settings such as predelay (up to 500ms), Wet/Dry, Attack and faders for LF and HF color, and their associ-
ated frequencies. When adjusting either the Equalizer or XOver section, the Plot tab will display your settings in the window a nice touch. With the Delay pages, you can actually set two different independent tempo mapped delays and pan each one to the opposite side for a really cool rhythmic effect. Then, on the Levels page, you can control how much of each effect you want to hear: Reverb, Delay 1 and Delay 2. Revolver is certainly a useful reverb for most any application. It runs as RTAS and AU. Price: $449 list (Native) Contact: McDSP | mcdsp.com
Sonnox Oxford Reverb The Sonnox Oxford Reverb is another one that just works. The main reason I turn to it is because of its sonic flexibility, as you can go deep into the parameters of Early Reflections, EQ and Reverb Tails. For example, in the Early Reflections section alone, you can choose from four different shapes, as well as make adjustments of the front/back Position, Size, Width, Taper, Feed Along, Feedback and Absorption. Another nice touch is the ability to crossfade the sound between the Early Reflections and the Tail. All settings can be
viewed in the large Graphic Display area. In the EQ section, you can toggle on/ off any of the five bands (great for comparisons), and choose from Band Pass, Filter and Shelf selectors for the upper and lower bands. The Reverb Tail section offers sliders for Reverb Time, Overall Size, Dispersion, Phase Diff, Phase Mod, Absorption and Diversity. Do I tweak all these parameters? Well, no, but I do focus on the Tail Mix and Reverb Mix sections (usually with headphones on) when going deep in mix mode. I have found it to be a great snare reverb, as it can give not only the drum height and depth, I can tune it accordingly. The Oxford Reverb runs on TDM, RTAS, VST and AU. Price: $575 and $235 (TDM/Native and Native only, respectively) Contact: Sonnox | sonnoxplugins.com
Universal Audio Roland RE-201 Space Echo for UAD-1 and UAD-2 You gotta love this toy: the classic Roland Space Echo, modeled by Universal Audio. This is the only one in the bunch that is not a general purpose reverb, but a specific emulation. So, the reason its here, you ask? It just sounds so damn good. Created in 1973, the original RE-201 was
With reverbs, its all about how it fits inside of your mix.
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Waves Renaissance a spring reverb and tape echo; by adjusting Reverb the mode selector, you could select different head combinations for reverb, repeats, This oldie but goodie has also been around or a blend of both. Unlike the original, the for many years, but it still sounds nice with RE-201s software features extras such as many applications. It offers 12 basic reverb tempo sync, a master Output volume, a types to start with in the pull-down menu, tape select switch (New, Used, Old) and yet I like to just call up a preset and start tweaking. individual pans for Echo and Reverb. You can quickly and easily adjust Reverb The RE-201 sounds amazing on guitars; a favorite trick is to pan the Echo and Reverb Damping, Time Response and Reverb EQ in to opposite sides while independently the graphic section, then grab any of the adjusting their volumes. It gives guitars a relevant slider controls underneath for the wide, lush feel that no other unit can deliver. usual suspects: pre-delay, size, time (up to Thank goodness for software, because the 20 seconds), decay, etc. Ill often dial in some of my reverse hardware units were often nightmares to keep tuned up and running. Bummer that the RE-201 will only run via Universal Audios UAD-1 or UAD-2 DSP accelerator card systems. Come on UA: release the hounds and let us run it on every system, cause this thing is cool. [There is the new UAD-1 Satellite for portability Ed.] Price: $249 Contact: Universal Audio | uaudio. Universal Audio Roland RE-201 Space Echo com
Waves Renaissance Reverb gate presets (I know, how 80s!) and put them on percussion and shaker elements. Sometimes Ill also take two mono versions panned opposite, set the reverbs to the same preset (especially the Dark Vocal Plate), then increase the predelay on one and radically change the EQ. I think of the Renaissance as a no brainer reverb; it may not be the best in the bunch, but it always works. It supports TDM, RTAS, AU, VST and Audio Suite. Price: $300 and $150 list (TDM and Native, respectively) Contact: Waves | waves.com
mini review
OneKnob? One word: easy. That pretty much describes Waves new OneKnob Series of native plug-ins. Theres nary a menu page to dig through on these plug-ins. In fact, you wont find much of anything except you guessed it one big knob. The OneKnob Series features seven plugins including Brighter, Driver, Phatter, Filter, Louder, Pressure and Wetter. Each can be opened either in mono or stereo, and the GUI for each includes a unique form of metering that surrounds the knob. As you turn the knob, the slotted meter between each number (1-10) lights up solid. Also, when signal is present, a colored ring around the knob pulses to let you know youre ready to tweak that one knob. Brighter adds high/mid-plus treble.
By Rich Tozzoli
Rich Tozzoli is a composer, engineer/mixer and the software editor for PAR. richtozzoli.com
36 ProAudioReview | June 2011 www.proaudioreview.com
studio review
By Strother Bullins
Strother Bullins is the reviews and features editor for Pro Audio Review.
38 ProAudioReview | June 2011 www.proaudioreview.com
analog than most or, with due respect for Focusrites British heritage, more analogue. The sometimes less-than-logical DAW environment of Apple Logic was well complemented by the quite logical worlds of MixControl and Scarlett. The musicians I worked with on this particular project included a guitarist who is reasonably accomplished in dialing in his own sounds in the studio, yet isnt what you would call a DAW person. His normal studio environment remains based on racks of outboard processing, a dedicated hard-disk multitrack recorder, and a tactile, analog-ish digital mixer. Yet that didnt impede our shared (and quickly discovered) infatuation with this Focusrite Scarlett/MixControl as workflow. In no time, he was comfortable applying compression, EQ and reverb to his own tracks to taste, just as he would in his normal digs. Observing this helped me better understand how these Scarlett interfaces may be accepted in the worlds of tech-
nologically averse self-recordists: quicker than youd think. Summary Just like the OctoPre MkII Dynamic I previously reviewed, the Scarlett 18i6 and 8i6 proved to be well built, clean and greatsounding if not completely transparent, and valuable beyond their price points. These already attractive boxes are even more appealing because of the bundled DSP mixer and plug-ins; its not me too stuff, its Focusrite software that is equally
as high-quality and user-friendly as the hardware with which it is conceived to work. Between the two, because I am a self-recordist that regularly records a live drum kit, my preference would be the 18i6 due to its increased input capabilities, not to mention its better input metering on the front panel. Either way, two Focusrite preamplifers, all the available I/O, and the truly killer Scarlett bundled plug-ins make either choice a great little I/O box you can stick under your arm so as to never miss a potential keeper, or that affordable preamp that even your favorite hired mixer wont complain about. So whether depending on the two mics at a time standard or 10, the latest from Focusrite should not disappoint anyone involved in your own productions. Prices: $299 and $399 list (8i6 and 18i6, respectively) Contact: Focusrite | focusrite.com
studio review
By Rob Tavaglione
An LED matrix of backlit buttons display input selection, routing status, phantom power (which is provided by the MicMAID and not the mic pre in use more on this later). A lock button allows locking a given mic to a given pre to avoid accidental patches. A graphic display shows values of the gain trim knob directly below and also shows data for recall functions. The front panel of the MicMAID provides some interesting bonus features beyond primary switching/routing. A transformerisolated quarter-inch DI input, THRU jack and ground lift have been wisely provided; its wise considering the next feature the polarity and variable phase facilities. Polarity provides polarity inversion as youd expect, and the variable phase adjustment is offered in normal or high ranges. A quarter-inch fader jack allows insertion of an external fader for riding levels to tape.
In Use To use MicMAID to its full potential, you should connect all its I/O to your patchbay. I know thats a whole lot of interconnect, but the advantages are worth the effort. The Mon/Rec output will be your main out to the recorder; it outputs the selected path, has the effect of the polarity and phase adjustments and is as clean as you might demand (sealed gold relays, no transformers, etc.). After positioning two to four mics as close to coincidental as possible, you can then rapidly switch between the mics between four pres or between both without any pops, surges, phantom power issues (remember, phantom is provided by the MicMAID) and allows you to make decisions with more information than ever before. Its fast, too as fast as you are, so you can switch sources mid-word or even mid-note and hear subtleties with
Rob Tavaglione owns and operates Charlotte, NCs Catalyst Recording. rob@catalystrecording.com.
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precision. Once youve taken a minute to use the fine gain adjustment for perceived equal loudness, the minute differences between mics and mic amps becomes astonishingly defined; you will discover differences between your old favorites you did not know existed. Vocal tracking via MicMAID is accomplished in two primary ways. Lets say, for one reason or another, youve queued up your favorites, say one great mic or one great mic pre. Cycle that one fine mic through your four best flavors of mic preamp or, conversely, try four nice mics all through your one favorite pre. You must have the vocalist placed just right for the multiple mics (perhaps by auditioning just two at a time), or instruct him/her to move from mic to mic on cue. Not only will you find your absolute favorite mic and pre combo, youll also have some slightly different options ready to go for other parts of the song, or slight variations for stacking. The MicMAID is also ideal for the twochannel mic/DI combination we often use for electric basses and acoustic instru-
ments. First, connect your mic to the MicMAIDs MIC B input, pick a preamp, and connect the corresponding direct output to channel one of your interface. Then, run the instrument output into the MicMAID DI, pick a preamp, and route it through the Mon/Rec output to channel two of your interface. You can then adjust the DIs gain, polarity and phase until you have coherence between the pair. The MicMAID delivers on every promise, and its problems arent problems so much as unfortunate side effects. For example, on big tracking sessions youll want to try out the detailed comparisons of the MicMAID on all your important channels (kick, snare, bass DI, soloists, live vocalists, etc.), and that requires lots of lines to be run and lots of re-patching as you find your ideal choices. With vocalists and single input sessions, the ability to fiddle, tweak and compare is essentially addictive and is probably more fascinating to you than your quickly exhausted talent. At least with diligence you can do in one take what used to take four!
For what its worth, the MicMAID has facilities for a remote that will allow cycling through selections while in the sweet spot. Oh, the possibilities; this thing may get even better! Summary Hopefully Ive justified my gushing, as it appears the MicMAID is an idea perfect in its physical execution: solid construction and flawless performance with unique abilities. And like all the best new products, it is needed far more than is readily realized. The only thing between me and three or four of these maidens all racked, patched and ready for my next big live tracking session is the $3,150 street price per box. Thats costly for the extreme convenience the MicMAID offers, but if your budget has room for one MicMAID, I implore you to try it; only then will you realize how much youve needed one of these for a long, long time. Price: $3,500 list Contact: Manley Labs | manley.com
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live review
By Strother Bullins
The most notable physical characteristic of the Beta 181 is, of course, its interchangeable capsules.
Strother Bullins is the reviews and features editor for Pro Audio Review.
46 ProAudioReview | June 2011 www.proaudioreview.com
live review
By Will James
Product Points
Superb sound; cool handles in just the perfect spot (upstage side); connectors on the upstage side you never see the wires; only 43 lbs., easy to move around; nice out of the box sound, requires only small amounts of EQ; switchable between biamped and passive with a toggle switch None noted
teardrop shape of the cabinet. Connectors are dual parallel Neutrik NL4 receptacles. In Use After initially examining the Neo 1200XD, I was really looking forward to taking this wedge out to a gig with two main goals in mind: I wanted to find out if it offered the clarity I thought it would, and I wanted to know if it could truly rock. I had my opportunity to find out both, as my next gigs provided full production audio, lighting, stage and roof for 60s rock n roll icon Johnny Rivers (who still has it!) at a large car show for an audience of approximately 10,000 people. First, regarding the Neo 1200XDs clarity: it most notably offers very smooth frequency response from 60 Hz to 16 kHz. Radian notes 50 Hz as the Neo 1200XDs bottom frequency, and I would say the
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Will James, owner and chief owner of Atlantis Audio and Lighting, is a longstanding PAR contributor. atlantisaudio.com
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beyerdynamic
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Radian
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fully assures a detail-oriented soundstage that never feels fatiguing or that its straining for accuracy. Gunning for neutrality, theyre well suited for mixing. The DT 1350s pedigree favors neither reference civility nor wantonly visceral slam. These headphones balance both isolation and resolution without glaring exaggerations, slung inside a compact semi-rigid case and ready to impact with authority. Contact: American Music & Sound (U.S. distributor) | americanmusicandsound. com
Waves
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Filter where 10 is neutral. Do they work? They sure do. I admit that I like to tweak my plug-ins, but sometimes you just want to turn a knob and quickly get the job done. These do just that quite effectively; of course, you can get more specific results by using other deeper plug-ins. These keep it simple. As an example, I mixed a TV cue with no plug-ins except for reverb [hear it via audio webclip #1 Ed.]. Then I used only OneKnob plug-ins on the same cue: with Brighter and Pressure on the drum loop, Filter and Phatter on the bass, Drive on both left and right guitars, Pressure and Wetter on the solo, and Louder stereo on the Master fader [audio webclip #2]. The audio results speak for themselves. Like I said: easy! Price: $400 list (7 plug-ins) Contact: Waves | waves.com
wedge handled bass guitar very well, but with kick drum, you need a little something additional (a subwoofer, as do all 12-inch wedges). Vocal clarity was superb, as were the rest of drum sounds, guitars and keyboards. Johnnys vocals were crystal-clear, and he even remarked so. The Neo 1200XD attained very nice SPL levels, with abundant headroom. We were employing our own monitor racks, which contain Yorkville AP4040 for lows (about 750W @ 8 ohms) and Yorkville AP800 for highs (about 250W @ 16 ohms). I never saw a clip on the amps, and I never heard audible edginess from the wedge: The Neo 1200XD maintained very nicely. But can it rock? Most definitely. We were attaining stage levels of 105-106 dB at about 5 feet (ear distance) without pushing anything hard. The opening group the Stars of Beatlemania actually required a little more SPL than Johnny; they had a little more stage volume than Johnny in terms of a monitor needing to cut through. Keep in mind that lots of bands need more than 106 dB out of a wedge, but think about what we had here a 12/2 coax. It offered amazing performance for such a low-profile wedge.
My oldest son JJ was the monitor engineer for the event, employing an Allen & Heath iLive T112 (also recently reviewed for PAR: prosoundnetwork.com/article/ allen-amp-heath-ilive-t112-digital-mixingsystem/12410). At one point, we actually switched out the wedge with a player during a costume change so that JJ could try out the Neo 1200XD as a cue wedge, thus really giving it some torture. JJ mixes FOH for hip-hop bands, so I knew he would really give this monitor a ride. His official report: This wedge rocks. Summary I never cease to be amazed at the increasing quality that can come from progressively smaller packages. This Radian wedge is just that kind of product, significantly raising the bar for a low-profile coaxial stage monitor. Following the usage described above, we employed the Neo 1200XD at several more gigs and I am quite enthusiastic about declaring that I would proudly own a fleet of them. And I am giving that purchase some serious thought, as I was already considering expanding our monitor armada. Price: $2,080 list Contact: Radian Audio Engineering | radianaudio.com
Shure
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(with little flash and fanfare), simply doing the job of a well-built, high-quality condenser microphone that can take high levels of SPL. But its physical attributes are what make it so easy and enjoyable to use, in a number of ways. Once the Beta 181 bodies are in place, trading caps in a hurry is a breeze. Being a relatively tiny side-address condenser, I was able to get it in tight places that would normally be impossible, or imposing to the musician (such as a Beta 181/BI between snare and hi-hat).
Summary Whether live or in the studio, the Beta 181 would serve you as a very multipurpose condenser microphone thanks to its modular design. As such, it is a very interesting addition to Shures venerable Beta Series. At $499 street each, multitasking pro audio types will want at least a pair of cardioid 181/Cs, a supercardioid 181/S cap or two if working live, then a pair of omni 181/O caps, two 181/BI caps for Blumlein stereo apps ... collect em all, Shure style! Price: $499 and $249 (each, complete and capsule-only, respectively) Contact: Shure | shure.com
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