ProAudio Review May 2013

New Products, P.
10, 40
May 2013 | voluMe 19 | issue 5
studio | live | broadcast | contracting | post
Pro Audio Review

The Review Resource for Sound Professionals
TechNically sPeakiNg: Native Processing, Native Talent sTudio seNse: going 64-Bit
INSIDE:
DAWs
feaTuRing MOTu DigiTal PeRfORMeR 8
more reviews
Ableton Live 9 ADAM F Series F7 Avid Pro Tools HDX DSP Mobile Analyzer Ethan Winers The Audio Expert Earthworks SR40V MicW i436 & iShotgun Sonnox Oxford Pro-Codec V2 Steinberg CMC Series
www.proaudioreview.com
in this issue
Studio
Covering Recording, Broadcast Production, and Post Production New Studio Products 10 MOTU Digital Performer 8 Digital Audio Workstation
by Rob Tavaglione
ProAudioReview
MAy 2013 | VOLUME 19 | iSSUE 5
Sound Reinforcement
Covering Live Sound, Contracting, and Installed Sound New Live Products 42 Earthworks SR40V Vocal Condenser Microphone
by Rich Tozzoli
Review 20
Review 46
Avid Pro Tools HD to HDX: Adventures in Upgrades

by Rich Tozzoli
Review 24
Steinberg CMC Series Controllers for Cubase and Nuendo DAWs

by Russ Long
Review 28
20
Ableton Live 9 Digital Audio Workstation Suite

by Tony Ware
Review 30
Sonnox Oxford Pro-Codec V2 Plug-in
Review 32
38 30
by Rich Tozzoli
MicW i436 Omni Electret Condenser & DSP Mobile Analyzer app
by Lynn Fuston
Review 36
Departments
Native Processing and Native Talent
Technically Speaking
by Frank Wells
MicW iShotgun Miniature Microphone

by Lynn Fuston
Review 37
Ethan Winers The Audio Expert

by Lynn Fuston
Book Review 16
ADAM F Series F7 Studio Monitors
Review 38
Studio Sense 18
Going 64-Bit
Strother Bullins and Rich Tozzoli
by Rob Tavaglione
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 8738, Lowell, MA 01853. Copyright 2012 by NewBay Media, L.L.C. PRINTED IN U.S.A.
Cover & Featured Review Photography: Rob Tavaglione
ProAudioReview | May 2013
ProAudio Review
The Review Resource for Sound Professionals
M ay 2 013
v o l u M e 19
issue 5
Editorial Frank Wells, Editorial director 212-378-0400 x535, fwells@nbmedia.com strother Bullins, Editor 336-703-9932, sbullins@nbmedia.com Clive young, Managing Editor 212-378-0424, cyoung@nbmedia.com Kelleigh Welch, assistant editor 212-378-0423, kwelch@nbmedia.com lynn Fuston, technical Editor Rich Tozzoli, Software Editor Russ long, Senior Contributor steve Harvey, Will James, alex oana, Randy Poole, alan silverman, Christopher sullivan, Rob Tavaglione, Tony Ware, Ben Williams, sterling Winfield, Dan Wothke, Contributors advErtiSing Tara Preston, associate Publisher 917-331-8904, tpreston@nbmedia.com Karen Godgart, Sales director, West Coast office 323-868-5416, kgodgart@nbmedia.com Doug ausejo, Specialty Sales associate 650-238-0298, dausejo@nbmedia.com art & ProduCtion Nicole Cobban, Senior art director Walter Makarucha, Jr., associate art director Fred vega, Production Manager 212-378-0445, fvega@nbmedia.com CirCulation Meg estevez, group director, audience development Michele Fonville, associate Circulation Manager 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@Computerfulfillment.com nEWBay MEdia audio grouP adam Goldstein, Senior vice President/group Publishing 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 officer Jack liedke, Controller Bill amstutz, vice President of Production & Manufacturing Joe Ferrick, vice President of digital Media Denise Robbins, vice President of audience development anthony savona, vice President of Content & Marketing Ray vollmer, vice President of Human resources anthony verbanac, it director liSt rEntal: 914-925-2449 or danny.grubert@lakegroupmedia.com rEPrintS and PErMiSSionS: For custom reprints & eprints please contact our reprints coordinator at Wrights Media: 877-652-5295 or newbay@wrightsmedia.com PrintEd in tHE u.S.a. administrative, advertising, & editorial offices 28 e 28th street, 12th floor New york, Ny 10016 Tel: (212) 378-0400
technically speaking
The DAW world has become a very different place of late, as Moores law is still in effect and processing power continues to rise at unheard of price/performance ratios. Im sure that a few years ago I wrote similar words, maybe more than once. The progression from the first, fledgling, performance-restricted DAWs to todays behemoth systems has been rapid. Milestones along the way were reached when the DAW no longer had to be a companion to a tape machine, and later to a con-
Frank Wells
Native Processing And Native Talent

protection role for their creators). Undoubtedly, Ill get back to you on this topic in a couple of years to tell you that processor capabilities are still accelerating and changing the way we work. Please grant me a moment to diverge from this columns usual themes. I spent part of yesterday jotting a brief remembrance of Phil Ramone to add to a collection being gathered for his family, and Id like to share it here: While our paths crossed fairly often, a special treat for me was the intimidating honor of sharing a stage to ostensibly interview Phil at an industry gathering some years ago. I had dinner the night before the event with Phil and a colleague from the the accomplishments that he is most often lauded for, but the first time I saw the film I wanted to hear the music again, and soon. The films title character lives and breathes music, and the soundtrack is steeped in the joy he derives from experiencing and creating music. After I noted Phils name attached to the tracks that had first caught my ear (featuring clever interplay between classical and rock), my reaction was Of course it was Phil. Phil approached music with unadulterated joy, with innate insight, with unashamed passion, with technical expertise and artistic prowess; he had a romance with music. I think that theres a glimpse into Phils essence in that films embrace of such a romance.
Phil Ramone approached music with unadulterated joy, with innate insight,
with unashamed passion, with technical expertise and artistic prowess; he had a romance with musiche shared so much of himself that thousands now carry some part of Phil into the future.
host company, and what became obvious over our meal is that we would not run out of material for conversation if the stage time lasted a month. After the presentation, when attendees shared their appreciation for the event, all the credit had to go to Phil. My part was to occasionally change the subject and call for a bit of his musical legacy to be played. All the substance was Phil, and, as usual, he captivated and totally charmed his audience. As I type this, Im listening to the soundtrack from the film August Rush. The simple fantasy includes a young savants musical questthree key musical moments given voice by Phil as producer. Phils role on the soundtrack is not among
sole. Many engineers still choose to work with a console, or choose to employ analog tape, but it has become a legitimate choice for many, if not most, to work in-the-box. Computer CPUs are fast enough and powerful enough to handle anything the average engineer can throw at them. There are still dedicated DAW/DSP systems for those elite engineers working on projects with massive track counts or otherwise demanding processing loads. There are increasing powerful outboard DSP processors for plugins that may not be as necessary as when conceived in terms of processing needs, but now are also being merged with I/O and networking, creating new operational paradigms (while also serving a plug-in copy
Along with his musical accomplishments, Phil amazed all who knew him with his selflessness. He shared his time, his experiences, his knowledge, his perspectives and his vision with all comers. He didnt hold back secrets territorially, but instead was happy to add all he could to the communal pool of knowledge, and to do so with warmth, confident humility and his deep sense of humanity all on display. Only rarely do men of such stature walk among us. Phil cant be replaced. But to our great benefit, he shared so much of himself that thousands now carry some part of Phil into the future. The legacy of this visionary giant, this brilliant innovator, this friend, lives on. He is missed, but cannot be forgotten.
Frank Wells is the Editorial Director of Pro Audio Review as well as Editor of Pro Sound News.
8 ProAudioReview | May 2013 www.proaudioreview.com
new studio products

Solid State Logic Stereo Bus Compressor for 500 Series
At this years Musikmesse in Frankfurt, Germany, Solid State Logic announced that its Stereo Bus Compressor is now available for 500 Series-compatible chassis. Though the SSL console sound has been available in 12 different modules for SSLs own modular X-Rack system for many years, tells SSL promotional material, the company will now further distribute its legendary bus comp within the burgeoning 500 Series module market. Price: $2,299 street Contact: Solid State Logic | solidstatelogic.com
McDSP Supports AAX for V.5

McDSPs Colin McDowell has announced a complete re-write from the ground up of his companys popular plug-in line. McDSP AAX plug-ins will operate in both Pro Tools 10 (as 32-bit plug-ins) and Pro Tools 11 (as 64-bit plug-ins.) This dual 32-bit/64-bit support is included with McDSPs Version 5 upgrade; 64-bit AAX plugs will be made available once Pro Tools 11 ships, confirms McDowell. Improvements will abound, confirms McDowell. For example, the AAX version of the FilterBank E606 plug-in has increased frequency control rangesmore than the original E6! This was only possible with the capability of the new HDX hardware and the flexibility of the AAX plug-in format. McDSP v5 includes support for Windows XP, Vista and Windows 7 along with Intel-Mac systems running Mac OS 10.5.x (Leopard), 10.6.x (Snow Leopard), 10.7.x (Lion), and 10.8.x (Mountain Lion). The AAX format is only supported in Pro Tools 10.2 and later versions (including Pro Tools 11), on Mac OS X 10.7.4 and later versions, and Windows 7. The rest of the McDSP v5 plug-ins will have AAX support later this year. In addition to Pro Tools, McDSP v5 plug-ins now support Logic, Garage Band, Digital Performer, Ableton Live and other AU compatible DAWs. Free to McDSP V.5 customers, their AAX DSP and Native plug-ins are also available to those who are not yet on the latest version for a nominal upgrade fee; see their online store for full pricing information. Price: Free to McDSP V.5 customers Contact: McDSP | mcdsp.com
10
new studio products

Universal Audio UAD V.7 Plug-ins
This month, prolific plug-in developer Universal Audio has unveiled three new plug-ins; Sonnox Oxford Inflator, SPL TwinTube and Ocean Way Studios are included in the latest major update to UAD Powered Plug-ins software, Version 7.0, or available separately at UAs online store.
SPL TwinTube is the official emulation of SPLs popular tube effects processor, which, according to UA, adds analog tube warmth, saturation and harmonic distortion to sound sources, boosts presence and spatial imaging without increasing overall dynamic range. Sonnox Oxford Inflator increases the apparent loudness of a mix or individual tracks without audibly affecting sonic quality or reducing dynamic range, with direct and band-split modes. The third plug-in, Ocean Way Studios, was developed over the past three years by UA and Allen Sides, the founder and longstanding engineer for what is arguably the legendary studio brand of Los Angeles. Ocean Ways Studios combines elements of room, microphone and source modeling so tracks sound as if they were recorded at Ocean Way. OWS uses UAs proprietary Dynamic Room Modeling technology with classic microphone emulation algorithms to simulate reaching into an Ocean Way locker of rare, vintage microphones, all of which can be positioned in real time, drag-and-drop. Each new plug-in requires a UAD-2 DSP Accelerator Card or an Apollo audio interface, recently reviewed in Pro Audio Review by contributors Russ Long and Rich Tozzoli. Prices: $179, $199 and $349 (SPL, Sonnox, and Ocean Way, respectively), or included in UAD Powered Plugins software, Version 7.0. Contact: Universal Audio | uaudio.com
May 2013 | ProAudioReview
11
new studio products

IsoAcoustics ISO-L8R130 Isolation-Enhancing Stand
Innovative Ontario-based company IsoAcoustics now offers the ISO-L8R130 isolation-enhancing stand, specifically designed for small studio monitors, desktop and bookshelf speakers. Sharing all the features of its previous modelsthe ISO-L8R155 and ISOL8R200such as IsoAcoustics patented floating architecture, the stand measures 5.1 x 6 with tubing for a 2.5 to or 7.5 height, plus two pair of adjustor inserts for 14 variations of height and tilt adjustments. The stands are designed to accommodate monitors with widths of 5 and weights of less than 20 lbs. The previous IsoAcoustics models of speaker stands, the ISOL8R155 and ISO-L8R200, have won ProSoundNetwork Best of Show Awards, both at last years NAMM, and at the 133rd AES in San Francisco. Price: $79 per pair, street Contact: IsoAcoustics | isoacoustics.com
Focusrite Scarlett 18i8 and 6i6 USB 2.0 Interfaces

Focusrite continues to expand its 24-bit, 96 kHz-capable Scarlett USB 2.0 audio interface lineup with two new modelsthe 18i8 (18-in, 8-out) and 6i6 (6-in, 6-out). In addition to Mac and Windows OS compatibility, both the 18i8 and 6i6 are iOS ready (via Apples iPad camera connection kit). The 18i8, the first interface from Focusrite to include four award-winning mic preamps, touts the company, also includes ADAT Lightpipe I/O for the connection of external preamps, such as the complimentary OctoPre MkII; as such the 18i8 is expandable to 12 preamp inputs. The 18i8 also includes S/PDIF I/O. Additionally, the 6i6 includes two preamps, two headphone outputs with separate level controls, and a stereo line input. Prices: $249 and $349 street (6i6 and 18i8, respectively) Contact: Focusrite | focusrite.com
12
new studio products

Radial Engineering PreComp 500 Seriescompatible module
Radials PreComp is a single-wide 500 series-compatible module featuring the companys Accustate gain control that simultaneously sets the output and sensitivity to maximize signal-to-noise at all levels and a compressor with adjustable threshold, compression ratio and make-up gain control that automatically transitions from soft-knee to hard-knee as compression increases. Other features include polarity reverse, HPF, 48 VDC phantom power, and in/out switch for comparison. Price: $400 Contact: Radial Engineering | radialeng.com
Goby Labs Thingy Series Expands

Goby Labs has unveiled their Thingy Series, which consists of the Goby Labs Guitar-hook Thingy and the Stand-top Thingy for iPad. The Goby Labs Guitar-hook Thingy enables users to attach a guitar hook to most tripod microphone stands. Featuring a patent-pending pole grip that forms a closed loop around most mic stands, the new Guitar-hook Thingy relies on the strength and leverage of the microphone stand in use. The new Stand-top Thingy features a compact stand adaptor instead of a pole grip. Designed to fit both US- and European-style microphone stands, it attaches the iPad directly to any microphone stand and is compatible with 2nd, 3rd, and 4th generation iPad tablets. Price: $23.95 each | Contact: Goby Labs | gobylabs.com
book review
by Lynn Fuston
The Audio Expert by Ethan Winer (2013 Focal Press)

Back in 1975, I read books on the bus to and from school. Not typical teenage fare, I read books like the Sound Reinforcement Handbook, the bright lemon yellow Sound System Engineering by Davis/Patronis or even Leo Beraneks Acoustics. So now you know, Im the nerdy bookish type whos been studying audio for a long time, and Ive found another book to add to my library.
Ethan Winers The Audio Expert is an advanced study in audio that is 667 pages long, 1.5 inches thick, and weighs about 3 pounds. It is available in paperback or Kindle. But in this age of tweets and news clips, is there a market for a weighty tome like this? I hope so. There are six sections: Audio Defined, Analog and Digital Recording, Transducers, Room Acoustics/Treatment/Monitoring, Electronics and Computers, Musical Instruments. I especially appreciate the inclusion of a section on instruments (p. 623) because many engineers know lots about computers and software, but have precious little understanding of music and musical instruments. Thank you, Ethan. The book is full of nice creative tips and stories, like a story about crystal mics and the reasons for their popularity as harmonica mics, contributing to the Chicago blues harmonica sound (p. 375). Although there is a wealth of information contained herein, this is not just a book of facts. Winers opinions are not whitewashed either, such as the section called (suggestively) The Failings of Analog Tape. (p. 171) (Note that its not called the Glory of Analog Tape.) While some will disagree with Ethans sonic conclusions, his assertions (cost of tape, availability of machines which are no longer being manufactured, costs of repair, head relapping, maintenance, and other analog facts-oflife) cannot be denied. He concludes this three-page diatribe by saying ...some engineers are willing to overlook all of these failings in exchange for what they perceive as a sound quality thats more pleasing than digital recording. He also prefers using a flat microphone to record and leaving the EQing to taste later when mixing. (p. 182) Thats his method with which some engineers would agree. Others? Not on your life, preferring to match the mic to the source at the time of recording, regardless of the mics clearly unflat character. (Yes, Im in that camp.) One thing I like is that Ethan shares my penchant for dispelling myths in the recording world. Like me, he has very little patience for nonsense and pixie dust. This book includes healthy doses of skepticism and consumerism, which... are intimately related. I thoroughly enjoyed the section about artifact audibility (pp. 72-80). The book contains lots of helpful pictures and diagrams, including a console Ethan built in the 70s (p.136). The included videos (available online) are also very informative, featuring everything from auditioning different celli to learning how to solder. There are also sound files to demonstrate audio principles and Excel spreadsheets for decibel conversion and reflectivity calculations. As a resource book, it has an excellent index.
Only occasionally did I find myself wanting more, such as polar diagrams showing the setup of XY, Blumlein and MS, which are all described thoroughly but a graphic would have helped (p. 187). And the frequency plots showing microphone response (pp. 260-261) were created in color and converted to black/white but the keys dont allow distinguishing which is which. More than anything else, the greatest compliment that I can pay this book is that, in all my reading of it, I never once felt bored or like it was a waste of my time. For someone like me, who has spent a lot of time reading and recording already, thats saying a lot. It would make a great textbook for someone who is just starting out. To test that, I loaned it to Scott Hull, a student at Belmont University, and he enjoyed and learned a lot from Chapter 20 on measuring room acoustics, as did I. I think this book would be a very valuable asset to anyone who is just starting out in audio and I would definitely recommend it. Price: $50 paperback, $44 for Kindle Contact: Focal Press | focalpress.com
Lynn Fuston is a Nashville-based recording engineer, owner of 3D Audio, Inc., and the Technical Editor for PAR. 3daudioinc.com
opinion
studio sense
by Rob Tavaglione
Going 64-bit
As any master carpenter will tell you Measure twice, cut once. Even though that refers to wood, I think the same logic applies to CPU-based upgrades for professional audio production. For that reason, I was careful when upgrading my audio rig for 64-bit computing; the benefits include essentially unlimited RAM allocation and an ability to make RAM-intensive programs very quick and responsive thanks to faster computation (without using the OSs share of RAM, either).
Ive been running MOTUs Digital Performer (a Mac-based DAW now PC compatible) on a 06 Mac Pro for some time, and I was still enjoying great performance. Even though that first-generation Mac Pro came equipped with 64-bit data buses, it didnt employ the 64-bit kernels required to properly communicate with 64-bit apps and third-party hardware (for example, the Universal Audio PCIe card that I use). It can run no higher than OS X Lion 10.7 and can dedicate no more than 4 GB of RAM to any one program. Second generation Mac Pro machines (from late 08) can run the current OS10.8 Mountain Lionand have that 64-bit kernel architecture with unlimited virtual RAM allocation, capable of 32-bit programs as well (even though they will only boot up into 64-bit). My Process I acquired a used 8-core Mac Pro on eBay for a very reasonable price, updated to OS X 10.8 and moved my new SSDs (solid state drives) to the new machine; it was simple process, simply trading out the drive sleds, with no tools required. The RAM is machine specific and each generations Mac Pro uses a different model/speed of memory (DIMMs or SDRAMs, etc). Thankfully, RAM is still cheap and installs effortlessly, too. Once the tower was 64-bit ready, the remaining update process was largely routine. Both Waves and UA have 32- and 64-bit software available for download; although both are large programs, they installed without much fuss, simply requiring challenge/ response authorization. The techs at Waves were patient with me; I did have trouble with their new Waves License Center, although its actually very easy to use and flexible, too; you can now use a standard thumb drive to move your authorizations between the cloud and your machines. Digital Performer 8 ships capable of both 32- and 64-bit operation, and switching between modes is easy. [See our full review of DP8 in this issue of Pro Audio Review Ed]. DP8 in 64-bit wont even see 32-bit plug-ins, yet once they are updated to 64-bit, Audio Units will inspect them when first opening. I was nearly at functional speed, but one issue still remainedI needed a disc authoring solution. Options abound for PC, but for Mac theres a sizable gulf between capable consumer apps like Toast 11 and costly pro apps like Sonic Studios soundBlade and Sonaris DDP Creator Pro. Ultimately I found a new app, whose developers took advantage of the coding benefits in V.10.8 Mountain LionTriumph from Audiofile Engineering. Ive only been using it for a month, but it appears Im back to burning disc masters, editing ISRCs and CD-Text, and creating DDPs for disc duplicationnot bad for a $79 investment. Perceived Benefits Its hard for me to say how essential this 64-bit upgrade is right now; I havent any cold, hard measurements about the improved performance that I perceive. Lets just say thatbetween 8-cores, SSD drives (with 6x to 7x faster read/write speeds) and all the aforementioned software updates my workflow is faster than ever, especially in bouncing to disc (non-scientifically, it seems like about 4x faster than before the upgrades). My GUI is much more responsive; by comparison, Id call it simply blazing! I eventually plan to max out my RAM (at 32 GB) like my film scoring friends have, fully maximizing my 64-bit benefit. With even Pro Tools now RSVPing to the 64-bit party, its simply a matter of time before we all make this jump or be left in the land of the unsupported a functional place, but one thats not great for client retention. It appears these kernels have drawn a virtual line in the sand: get full 64-bit comparability or freeze right there, where you are.
of time before we all make this jump or be left in the land of the unsupported a functional place, but one thats not great for client retention.
Rob Tavaglione is the owner/chief engineer of Charlottes Catalyst Recording and a regular contributor to Pro Audio Review. catalystrecording.com
With even Pro Tools now RSVPing to the 64-bit party, its simply a matter
MOTU Digital Performer 8 Digital Audio Workstation

Key new workflow features and 17 new plug-ins help comprise a worthwhile update to MOTUs industry-proven DAW. By ROB TAvAgliOne
MOTUs latest version of Digital Performer, DP8, is another impressive move forward in features and flow for a well-established and highly functional DAW. This time, DPs most notable improvements involve plug-ins, including the many premium plugs provided within the standard DP package.
Key New Features I dare not delve into a full explanation of DPs broad and deep feature set; MOTUs nearly 1,000-page manual does that quite well already. DP8 is a complete digital audio workstation, offering unlimited track count recording via native processing power, with editing, mixing, sync to video, sequencing and all the usual audio processing functions via Mac (Intel only) computers. MOTU DP for Windows 7 and 8 machines is also now shipping. DP8 is available as a 30-day demo as well as a full digital download directly from motu.com/store. As one might expect, there are also a handful of new DP features not plug-in related: MOTUs trademarked Punch Guard, which allows user definable pre-roll and post-roll recording (thus providing freedom from the horrible feeling of missing the first word/note of a track); Plug-in management, including a new selection window and search functionality via type or manufacturer (essential if ones plug-in list has grown as gigantic as mine); and Preset management, allowing storage of long plugin chains with all settings intact. Notable to audio post and scoring users, DP8 also features a new video engine and Rewire/ VST support for those employing other platforms. There are further refinements to the visual GUI themes and their flexibility: 15 entirely new themes, more than double from DP7. Look at the screenshot of the dark, sexy, easy-on-the-eyes theme I came up with (shown on Page 22): all color coded for ease, logically laid out, and built for comfort and speed. 17 New Plug-ins: In Detail Subkick: Sub-bass synthesis and decay tapering for kick drums and other low frequency percussion-based sound sources. Ridiculously powerful, potentially complicated, yet easy to use, Subkick can make an inside-the-shell kick mic sound larger than life, and it can make poor mics sound much better with tunability, resonance and sensitivity parameters. The graphic of a beater pedal hitting the drum in time will delight clients. Precision Delay: Its time slipping, polar-
21
ity reversal and a phase correlation meter Live Room B: Like DPs Live Room G for Ensemble Chorus: This deep, very powhelp align phase related signals. Mono guitars, Live Room B brings modeling to erful multiple voice chorus with ample consources, stereo sources and side-chain bass guitar. Modeling different bass cabi- trol and options can do subtle, glassy and inputs can all be utilized to achieve proper nets with a variety of typical transducers even crazed robots. phase alignment beyond transient match- (D112, E602, SM7B, Schoeps stereo SDC ACE30: This plug models classic Class ing. With either simple manual operation for pair, even Yamahas Subkick speaker trans- A Vox AC30/6 and AC30CC2X amps, with some tasks or automatic for otherspretty ducer) is possible via four mic placement three preamp choices, two impedances and tricky, and Im still working on mastering positions in the room. Its performance tremolo (nice and syrupy). Try selecting itall the tools I need to eliminate comb fil- from the cabinets, to the mics, to the mic tones on both channels, and then quickly tering and phase distortion swap inputs, from high to are in this plug. low impedance and/or top De-esser: The routine boost for the full range of removal of excessive sibiflavors on the fly. lance is easy enough, even Soloist: For those on with a keyed compressor. the guitar spectrums other However, MOTUs De-esser end, this models a classic plug-in has nine controls two channel Dual Rectifier (including attack, release, Solo with the silicon diodes frequency, ratio, lookengaged (not the namesake ahead, etc.) and the best Tube Rectifiers, which sound metering Ive ever seen, much softer and bluesier) showing users all they need and the bold power setting to know. These controls pro(the typical aggressive setvide powerful flexibility for ting). This ambitious simusmoothing tracks (e.g., fixlation isnt bad when used ing brash overhead mics or properly; for best results, brittle guitar). it needs a guitar DI signal, Dynamic Equalizer: not a mic on an amp. [MOTU Offering three parametsuggests its ZBox impedric bands and two shelves ance adapter helps in this of frequency conscious application. Ed.] dynamics control with an Analog Delay: This plug informative FFT display models classic DOD and and the accuracy benefits Electro-Harmonix bucket of look-ahead, this power- There are further refinements to Digital Performers visual GUI themes and their flexibility. brigade delays (with mulful processor enables deep tiple chips for longer delay correction of troubled mixes/tracks or patternssound surprisingly real; a single times) and with an oscillator for some seriaggressive volume maximizing. Such typi- bass DI with this much available power is a ously warm vintage tones. cal heavy-lifting is made (too) easy by grab- coup in standard modern rock production. Analog Flanger: Basically, this is a 70sbing and dragging the color-coded graphic Live Stage: Live Room G and Live Room era Electro-Harmonix H Deluxe Electric handles on the frequency grid, or grabbing B are now ready for the stage; Live Stage is Mistress flanger in all its swooshy joy. the flags on the LED meter bars, or twisting ready for use on laptops and compromised Hi Top Booster: This models the classicknobs that show exact numerical values. processors. Without the need for re-amping rock treble boosters used so famously by Nicevery nice. and impedance matching, guitar proces- Eric Clapton and Brian May, providing a disSpatial Maximizer: This plug separates sors are FX du jour for all our tracks and tinctively sweet, bright tone. Placing it on a a stereo signal into Mid- and Side compo- mixes in the digital world. All these plugs vocal or a mix then driving way too hard is nents for M/S processing with a five-band are available in stereo, too, even with mono yet another way to mangle clean audio in dynamic EQ on each component. Just like sources. an appropriately modern way. Dynamic EQ, this much power is potenSpringmabob: Bouncy spring reverb for Analog Phaser: Modeled after everytially corrupting; users can go from look, I surf guitarists, retro rockers and the like, bodys warbly favoritea script logo 1974 mastered a mix using only one plug to I Springmabob offers three spring tanks MXR Vintage Phasethe orange, one-knob mangled a perfectly good mix in the span (long double, long triple and short triple) for guitar solo butter booster adds creamy of about eight measures. mimicking all the classics. (continued on page 50)
22
studio review
By Rich Tozzoli
Adventures In Upgrades: Avid Pro Tools HD to HDX
The HD to HDX switch isnt so easy, confirms our Software Editor, but its worth the trouble.
We all know that technology marches on, whether we like it or not. For the most part, those of us in the business of music and media production do like it. But if you rely on Pro Tools daily as much as I do, switching from HD to HDX is not so easy. I recently made the big move and wanted to share my experience and future outlook on the matter.
I use Pro Tools for everythingfrom simple stereo mixes to full 5.1, as well as for scoring to picture and doing sound design; it gets a workout. I think of it simply as an extension of my right hand, and its value to my daily workload is undeniable. I upgraded to HD as soon as it was available, and that architecture had its pros and cons. At the time, it was a big leap forward sonically, but TDM and its 24-bit architecture could only go so far and the 10-plus year old platform is now dated. Thats not to say it doesnt get the job doneit surely doesbut technology has moved ahead. The future of computing is 64-bit and the challenging decision for Avid and Pro Tools users is to either grow with it or get left behind. Choosing to move forward, I purchased an HD 8X8X8 I/O and a single HDX PCIe card. Was it pricey? Yes, but I was able to trade in my HD3 system and 192 I/O. This being my production lifeblood, as long as I was assured it would work and sound great, I was ready to spend the money. Besides, I still remember paying $16,000 for 16 channels of Pro Tools back in the black interface days. Needless to say, its all relative. Step 1: HD I/O & PT10 The first step in my upgrade, which I did months ago, was to install the HD I/O and Pro Tools 10 software. Leaving my HD3 cards in the computer, I used the included DigiLink cable adapter to connect to HD I/O, running both an optical cable and AES cable into my Grace m906 studio monitor controller. I immediately recognized the updated converters (on input); to my ears, there seemed to be more air and presence in the sound. I could still run my TDM plug-ins and use all my virtual instruments. And now, with sessions residing in RAM, drives became less critical. Step 2: (Finding) AAX DSP Plug-ins At this point, what held me back from installing the HDX card was the overall lack of new AAX DSP plug-ins. Remember, we
Avids HDX PCIe card with a stack of HD hardware, including Richs HD I/O 8X8X8.
Rich Tozzoli is a Grammy-nominated mixer/producer, a prolific TV composer and the Software Editor for Pro Audio Review. richtozzoli.com
HD users are accustomed to having loads of TDM plug-ins on the chips, leaving RTAS plug-ins to run natively on our host computers. Instinct told me that to run native plugs-ins, the computer would be taxed. Besides, the point of having an HDX rig is to use it to its max. As a guitar-centric composer, I found out I would permanently lose my beloved Amp Farm and Echo Farm plug-ins (they would not be ported for AAX usage). While I could use other guitar plug-ins such as Eleven and bx Rockrack (and I do), I have years and years of old sessions with Amp Farm that would not be the same; its a sound I know and am intimately comfortable and familiar with. In addition, the list of AAX DSP plug-ins was quite short, so I would be running mostly Native for the time being. I was concerned to say the least. I left my HD cards (along with a Universal Audio UAD OCTO card) where they wereinstalled. I would have to chalk this up temporarily to the price of progress, hoping it would be rectified sooner than later. Step 3: HDX Card I finally had enough space in my workflow to make the move to the new card. About a month ago, I put it in, along with the latest version of PT software. At this point, I run a huge portion of my session using AAX Native plug-ins and only a few on AAX DSP. The good news: Some of the plug-ins I rely onsuch as those from McDSP, Sonnox and Softubecan run as AAX DSP on my chips. While there are now many Avid AAX DSP plug-ins available, I generally dont use them much except for ReVibe and SansAmp. My reality is that my other go-to plug insthose by Waves, SoundToys, Slate Digital and Eventideare running natively, as are all my virtual instruments, those coming from Ivory, East-West, Vienna,
Richs CPU percentage now rarely reads above 20 percent. Spectrasonics, and so on. My UAD plug-ins run on the OCTO cards, and we can only hope for further integration in the near future from UA [Universal Audio just made such an announcement at this years Musikmesse: tinyurl.com/dxcbjqe Ed.]. Interestingly, todays computers are so powerful that the Native approach is an entirely new outlook for me. So far, this DSP/ Native issue has not limited my sessions. I use what I want when I want (minus Amp Farm) and get the job done. The computer hasnt balked yet, and the CPU percentage rarely reads above 20 percent. Do I want more DSP plug-ins to reside on my chips? Absolutelythe cards look empty in a realworld session! With the upcoming release of Pro Tools 11, it seems that full 64-bit integration will be here, along with the total demise of RTAS and TDM. We have to move forward once again, and changes and adjustments must be made to not only the workflow, but also hardware. Not so easy, is it? The Word from Avid To get a few things straight, I spoke with Avids Audio Marketing Director Tony Cariddi. It took a number of steps to transition the entire Pro Tools family of products to a modern architectureone that provided sonic parity between native and DSP-based systems with floating-point processing and 64-bit code, he explained. We needed to balance the need for delivering innovations quickly with the need to ensure that our cus-
offline bounce] was introducing automation that is time-stamped to the audio clip, which is something no other audio workstation does. Tony Cariddi, Avid Audio Marketing Director
One example of the lengths we went to accomplish [sonically consistent
26
tomers, plug-in developers and resellers had ample runway to plan and prepare for the required investment. Pro Tools 10 delivered the last major upgrade for HD Accel, the blue Pro Tools HD interfaces and support for RTAS and TDM. It was also designed to serve as a bridge to our 64-bit release so that it would support both the newly introduced AAX plug-in platform as well as the to-be-retired RTAS and TDM plug-ins. It also supported the architecturally different HDX and legacy HD Accel hardware. This gave everyone about an 18-month runway to prepare for the transition to Pro Tools 11, which marks the end of support for the legacy 32-bit architecture of HD Accel, RTAS and TDM. Like many of you, Ive cumulatively spent months of my life waiting for realtime bounces in Pro Tools. Finally, with Pro Tools 11, I wont have to watch the minutes and seconds tick by anymore. Cariddi: Off-
noted. That being said, we tried to make the transition as painless as possible. With the introduction of Pro Tools 11, HDX, HD Native and HD Series I/O, we have a completely refreshed offering. Also, you can keep both versions (Pro Tools 10 and 11) on your machine, if you need a quick backward compatibility; there will be no need to restart, so you can keep working. In addition, it will allow your system to use virtually all of the available RAM, which will truly benefit those using a lot of software instruments. Finally, I asked Tony for his outlook on what the transition would be like for a hardcore TDM user. For a TDM user, going from HD Accel to HDX will be a completely different experience. There will be vastly more playable voices, much more DSPfrom 3X to 10X per card (it varies upon optimized plug-ins)and youre getting over 1,000 dB of additional headroom in plug-in processing.
Engineer Richard Chycki, Early HDX/ AAX Adopter

For an additional viewpoint, I asked Richard Chycki about his experience with HDX. Chycki is a long-time Pro Tools user and veteran engineer/mixer/producer with credits that range from Rush and Aerosmith to Sean Paul and Shawn Colvin. I was a fairly early adopter of HDX and AAX, noted Chycki. Sonically, HDX/AAX is better than ever. I can match analog mixes with ease, and a pair of HDX cards has more processing power than my previous HD7 mix rig. So large surround mixes (especially at 96k) have the DSP horsepower available; the extra horsepower is leading to some amazing AAX plug-in development. Im using Dirk Ulrichs Brainworx plug-ins, which are spectacular. Also, McDSP has ported the majority of its plug-ins to AAX. Theyre as musical as ever, and I also use the Sonnox EQ and Dynamics, a great 5.1 buss compressor. Finally, of course, Avid has released its stock plug-ins included with a system purchase in AAX DSP and Native format. Chyckis sole complaint? Plug-in porting to the AAX format is sloooow, he emphasized. Major plug-in makers like Waves are all but ignoring AAX. As a result, Im also using more Native than previously andwith Pro Tools 11 offering only AAX supportupgrading may prove problematic without some change in the plug-in landscape. But overall, AAX has been a strong step forward for Rich Tozzoli my mixes.
Do I dislike the upgrade process? Yes. Yes, I do. But without a doubt, its always worth it in the end.
line bounce can save you a ton of time, especially if you need to bounce a number of multichannel stems that are an hour or more in length. However, we knew that we needed to take extra care in designing a high-speed bounce that delivered the exact results as an online bounce in order to be embraced by the professional community. To that end, we invested a ton of engineering to make that happen. One example of the lengths we went to accomplish this was introducing automation that is timestamped to the audio clip, which is something no other audio workstation does. Of course, none of this would be possible if we hadnt introduced AAX plug-ins. Next, Tony and I discussed the hard reality of working folks actually making this changeover. Bringing in innovations often requires transitioning technology, and this is rarely un-disruptive for customers, he Thats because TDM used 24-bit fixed (with fixed math on the chip), so it was fairly easy to clip. Now the mixer and plug-ins are completely processed with floating point math. The transition involved a number of steps to get us here, but the resulting benefits youll experience with Pro Tools 11 and the new Avid audio hardware will make it worth the wait. In closing, I have to say that Ive personally been through just about every software and hardware change in Pro Tools. The big picture is that Avid always delivers the goods, even if we (the users) have to make uncomfortable adjustments in our workflow. Do I dislike the upgrade process? Yes. Yes, I do. But without a doubt, its always worth it in the end. I do feel that, with the coming of Pro Tools 11, my rig will be faster and more powerful and, most importantly, will sound better than ever.
27
studio review
By Russ Long
Steinberg CMC Series Controllers for Cubase and Nuendo DAWs

Winning the 2013 Musikmesse International Press Award in the DAW controller category, Steinberg CMC Series Controllers are designed specifically for Cubase and Nuendo users. The series includes six reasonably priced modular surfaces, each with a different control set. Up to nine controllersfour instances of the CMC-FD controller and a single instance of the remaining fivecan be mixed and matched to create the users optimum workspace.
Features Each of the six USB-powered CMC controllers is housed in attractive, 7.2-inch deep by 3.6inch wide by roughly 0.5-inch high chassis (each units height varies slightly). White with a textured black top, CMC units are primarily constructed of plastic, though they feel sturdy and well-built. An LED in the top right corner of each controller illuminates when the surface is active, and each controller utilizes its own configuration of backlit function buttons, illuminated knobs and touch faders. The included joint plates allow the controllers to be connected to one another. Since the functionality of these controllers is essentially an extension of the Cubase/Nuendo feature set, they have seamless and instant plug-and-play compatibility with Cubase and Nuendo; the CMC-PD and CMC-QC units are built to work with other DAWs, too. Each CMC controller includes Each USB-powered CMC controller is 7.2-inch deep by 3.6-inch wide by a download access code for roughly 0.5-inch high.
These paperback-sized, USB-based DAW controllers are powerful, flexible and amazingly economical.
Cubase AI6, a simplified version of Cubase. Included in the CMC controller series are the CMCTP Transport Controller, CMCCH Channel Controller, CMC-FD Fader Controller, CMC-QC Quick Controller, CMC-AI Advanced Integration Knob Controller, and the CMC-PD Pad Controller. The Transport Controller includes all of the major transport functions, including cycle, nudge, insert marker, and so on. Its horizontal touch slider provides intuitive control for the Locate, Scroll, Zoom, Jog, Shuttle, Tempo, and Metronome functions. The controller also includes four user-assignable function keys. The Channel Strip Controller is an exact hardware representation of Cubases GUI channel; backlit channel section buttons allow scrolling through the channels. The fader incorporates 13 red LEDs that correspond to the selected channels on-screen fader position. The continuously variable pan knob is black when centered and it glows a brighter green as its pan position moves wider. The Fader Controller is a bank of four 1024-step touch faders. The faders LEDs can display either fader position or channel metering, and each channel is equipped with solo and mute functions. A
Russ Long is PARs Senior Contributor and a Nashville-based producer, engineer and mixer. russlong.ws.
CMC configuration can include up mouse or trackball, it still doesnt to four CMC-FD controllers, proreplace an actual fader for me. viding a high-resolution, sixteenHowever, I have to say that channel touch control desk within the more I use the touchstrip fada small footprint. ers, the more I like them and it The Quick Controls Controller is wouldnt surprise me if I didnt the most button/knob saturated even miss hardware faders after of the bunch. It includes eight a few more months with the CMC rotary encoders that illuminate controllers. green and glow brighter as higher If using several of these convalue settings are selected, as trollers, Steinberg offers the Studio well as 13 illuminated buttons. Frame 4 that will hold up to four In an EQ mode, the rotary encod(including blank panels if using ers mirror the Cubase/Nuendo less) in an angled frame that conChannel EQ controls, providing ceals the USB cables and will even instant control of frequency, gain, hold the USB hub. Theres also an and Q. The QC (Quick Control) Extension Frame that will hold a mode provides instant access to CC121 controller and two CMC units the Cubase Quick Controls, a set in a single enclosure. Pretty slick. of eight user-configurable conThe CMC surfaces are so welltrols available on every channel. designed and compact that I had MIDI mode transforms the con- Each CMC utilizes its own configuration of backlit function buttons, high hopes of figuring out a way troller into a configurable MIDI illuminated knobs and touch faders. to make them work with Pro Tools, controller. The included Editor my primary DAW. Unfortunately, software provides the ability to convenient- ing Steinbergs technology into its products. this doesnt seem possible. ly edit the MIDI control change parameters Yet the CMC controllers are a clear excepvia a graphical interface. tionmany of them perfectly integrate Summary The Advanced Integration Knob with various Yamaha keyboards, giving Steinbergs CMC Series of USB-based conController is my favorite of the bunch. It extended performance and functionality. trollers is powerful, flexible and amazingly allows any visual Cubase/Nuendo object, And I love that the modular nature of the economical. The paperback-sized footprint of including effect send levels, channel level CMC controllers allow users to purchase the the CMC controllers is perfect, making them or pan or EQ gain to be controlled simply by most critical controller now, building on the small enough to throw in your computer bag pointing the mouse cursor on the desired configuration as finances permit. or jacket pocket, and effortless to place virfunction. There is no additional configuratually anywhere in a work space. The biggest tion needed. The selected object can be In Use question is which one should I buy first? locked so the AI Knob retains control of the Over the last six months, Ive routinely Prices: $199, $149 and $99 street (CC121 function when the mouse is moved else- used all six of the controllers with Cubase Extension Frame, Studio Frame 4, and where. When placed into Volume mode, the 6.5, Nuendo 5.5 and Nuendo 6 on both Mac single CMC controllers each, respectively) AI knob becomes a master volume control and Windows computers; they have perContact: Steinberg | and when placed into Jog mode, the knob formed flawlessly. I found it quick and easy steinberg.net becomes an intelligent jog wheel. to integrate the controllers into my work rouThe Pad Controller is a group of 16 mul- tine; once I became tiple-velocity, pressure sensitive pads in comfortable with a 4x4 matrix. Each of the pads illuminates them (which took lonwhen hit and the illumination color ranges ger than I expected), from green to orange to red, depending on they improved my the velocity of the hit. The rotary encoder workflow significantly. makes it easy to browse sounds and pre- My only complaint is sets or, when used along with the CMC that Ive had difficulty PD-Editor software (included), edit the getting used to using function of each pad. the touchstrip as Its my opinion that, in most instances, a fader. While it Pre-packaged CMC kits, Yamaha has done a marginal job of integrat- is better than a such as this one, are available.
29
studio review
by Tony Ware
Ableton Live 9 Suite

Introduced commercially in 2001 as a compact performance-oriented software instrument, Live briskly went through eight iterations by 2009, gaining along the way an increasingly varied selection of digital devices and effects to be combined with and applied to audio and MIDI clips. By version 7, Lives production environment was well-established as a clean, clear platform for loop analyzing, aligning, cueing and warping; virtual instrument racking, chaining and nesting; as well as versatile audio routing and automation.
Two years later, producers and laptop DJs working with synthesis and prerecorded sources became even more enamored, as version 8 emerged with a deeper assimilation of sample transient identification/ waveform alteration, crossfade editing and MIDI arrangement editing, plus instrument modeling capabilities. By version 8.1, Live had gained the option to integrate device development toolkit Max for Live alongside its copious sample libraries and support for VST plug-ins. Now Lives Berlin-based designers have unleashed version 9, an update that doesnt aggressively overhaul an already stable system but does refine how artists interact with several underlying behaviors to intuitively extract and fluidly input even more programmable elements into virtual instrument performances. Key Features Previewing Live 9.0.2 Suite (a 665 MB core download, 1.04 GB installed) on a 13-inch 2.0 GHz dual-core i7 MacBook Air with 8 GB of RAM and a 256 GB SSD, I first picked up on the new, less severe-
New features such as Audio to MIDI importation make Live 9 an even more compelling tool for audio content creators.
ly colored GUI and the redesigned two-column Browser. This layout, featuring instrumentgrouped sounds with tabbed subcategories, a quickly populated search field and clip/ sample previewing, allows far more efficient selections from the multiple gigabytes of add-on instruments, effects and samples. Additional graphical adjustments/additions are tucked within specific devices, such as the spectrum display in EQ Eight (to allow for precise identification of note/frequency targeting) and multiple views in the Compressor (for clearer metering, limiting or dialing in more articulate manipulation). These visualization tools are handy; still, the revamped Browsers Categories and Places represent the most overt improvements. Live has always offered two trackassemblage layouts: the vertical cliplaunching Session View and the timelinebased sequencing/editing Arrangement
View (think of the first as a test kitchen for identifying complementary flavors, and the second as the station where the chef finalizes the presentation). While not much may initially appear retouched in Session View, a major user-requested change has been enacted that proactively blurs the line between modes: automation can now be recorded directly to each audio swatch by mouse or MIDI (or a dedicated $599 hardware complement, Push, which I have not evaluated at this time). Envelope curves can be further clarified by hand, and all adjustments carry to/from Arrangement View. Using controllers plus Draw Mode to pre-script FX/volume modulation for each loop (or entire tracks in certain cases) will reduce the need for performers to split their
Washington DC-based live DJ and pro audio industry journalist Tony Ware is a writer for Pro Audio Review and contributes to sister publication Electronic Musician.
to MIDI, and in seconds, I had an editable pattern laid across the bottom of the screen. Tempo-synced material has always been Lives strength, but now the program offers more inspired onramps toand detours aroundthe grid. These are the type of tools that allow Live 9 Suite to be as much about capturing creative impulses as auditory ones. Max for Live 6.1 Admittedly, Arrangement View could still use improvements to its mixer, but thats where Max for Live 6.1 (now included in the purchase of Live 9 Suite) comes in. Not only does it come with more than two-dozen instruments and audio/ MIDI effects (including a notably pleasing Convolution Reverb), but also theres an established community of patch programmers making bespoke components (including sequencers, mangling tools and, yes, floating channel strips). Bonding it all together, so to speak, is the introduction of the Glue Compressor, an analog-style, SSL E Series-modeled buss compressor developed by Cytomic with a fast response that can be configured for sidechain pump or can be dialed in for less obtrusive, punchy warmth through a dry/wet dynamic range control. Overall, the softwares fundamental sound engine just appears more polished. Summary For Ableton users, Live 9 Suite is evolutionary rather than revolutionary. It wont negate the need for multitrack recorders and standard linear tools, but with creativity translation features such as audio to MIDI, it will steal even more hours from other DAWs by doing what a good upgrade should do: adding features without complicating the process of achieving results. Prices: $799, $499 and $99 (Suite, Standard, and Intro configurations, respectively) Contact: Ableton | ableton.com
Top to bottom: Ableton Live 9 Suites Session and Arrangement views. attention on stage. Also beneficial to performance is the increased ease by which an Arrangement scene can be converted to Session View, meaning a stack of meticulously aligned, release-ready stems can instantaneously be jammed on and have variation parameters written to them with no reconfiguration necessary. Sometimes you dont know a track needs a dash of salt and a pinch of cumin until someone tastes it. Audio To MIDI The visual and functional changes with Arrangement View are fewer but significant, with new audio-to-MIDI features that will enrich composition, especially for remixers and post-production users. Say a client has cued up a spot with an orchestral placeholder that fits the mood and tempo desired, but they want a more contemporary feel; you can import the reference track and convert its harmonies to MIDI with one click, then remix/arrange around notes already synced to the picture. There is a general thrill from being able to nab chord progressions from a favorite track effortlessly, learn them, then select, reverse, transpose, invert, stretch, speed up, slow down and additionally modify them. I was tapping the table and humming with glee as I recorded it, activated the context menu, processed it
31
studio review
By Rich Tozzoli
Sonnox Fraunhofer Pro-Codec Plug-in, Version 2

The Sonnox Fraunhofer Pro-Codec, currently at version 2, is a collaboration between, you guessed it, Sonnox and Fraunhofer. As the name implies, its a Codec (encoder and decoder) used to monitor what various data compression settings do to mixes. What makes this product unique? It allows users to monitor the effects of data compression in real time, unlike the old process of encoding, then listening back appraising the sonic impact of the encoding process.
Features Pro-Codec supports the following Codecs: mp3, Apple AAC iTunes+ (Mac only), AACLC, HE-AAC, HE-AAC v2. It will also do mp3 Surround, MPEG Surround, AAC-LC multichannel, HE-AAC multichannel, as well as mp3-HD and HD-AAC Lossless. It also offers various bitrates, so users can select the best one for their specific needs. Step 2: Load the CodecThere are five Codec slots available in the Codec List, allowing varied, instantly switchable selections. Simply click in the first slot and select a Codec. Then choose Bitrate, Mode and Quality settings using the free-floating window. Next, select up to four more Codecs and load them in if desired; it will encode five different settings simultaneously. Obviously, choices will depend on client needs and
This timesaving plug-in allows engineers to hear the effects of data compression before it happens.
desires. Personally, I like to load a variety of them and audition them at various settings. For example, Codec slot 1 could be Apple AACiTunes+ at 256 kbps; Codec slot 2 could be mp3HD at 256 kbps; and Codec slot 3 could be HD-AAC at 256 kbps. This way, I can listen to what a mix on iTunes would sound like, put the AAC file into my iPod and send out an MP3 for a quick listen. Step 3: Audition the settingsDuring DAW playback, users will immediately hear the results of the encoding process. Switching between codec slots will allow users to hear each encoder using the MON button in the Codec List (it turns green when selected). Choosing between the Input Signal (yellow) and Codec signal (green) using the Monitor setting on the upper right corner of the plug-in allows monitoring of the direct input signal and the encoded signal. The onscreen FFT display shows spectral
In Use To keep this simple, Ill break down the ProCodec into an easy five-step process, though it provides a variety of features that can go deeper than this. Step 1: Instantiate the plug-in Place the plug-in last on the output chain. I happen to use a Master Fader in Pro Tools, so I place it after my mastering plug-ins in the last insert slot. Remember, its going to encode what it is fed, so it has to be last in the chain. It will default to the Online encode mode, which is what I use for this purpose. Note that users can also render the files Pro-Codec supports mp3, Apple AAC iTunes+ (Mac only), AACLC, HE-AAC, HE-AAC v2, mp3 Surround, MPEG offline. Surround, AAC-LC multichannel, HE-AAC multichannel, mp3-HD and HD-AAC Lossless.
Rich Tozzoli is the Software Editor for PAR as well as an accomplished recording engineer, composer for television, and active musician.
content of the original input signal in Yellow and the DIFF signal in Red. DIFF is the audio that wont need to be encoded; press the DIFF button on the right to hear it soloed. The green line at the top is called NMR, or Noise-To-Mask Ratio. Simply put, if its all green, a trained listener would have a hard time picking out the difference between the input and codec. If there are a few red marks in the line at certain frequencies, listeners may be able to detect a difference. Generally, upping the encode bitrate will cause differences to become less significant. Just know that all green is good. Step 4: Select Export SettingsBy choosing the Export Settings button, users can tell the Pro-Codec where to place files post-encoding; using the Browse button, the Output Directory path is chosen. Users can name the file as well as include custom strings in the metadata for codec, bitrate, mode, quality, index and date/time. Sometimes for quick file exports, I will turn off all the settings and simply leave the name. Step 5: Arm the Codec and RecordNext, select the ARM button on each of the codecs in the Codec List. Now engaged, they will turn red and begin flashing. Press Record on the right side of the plug-in: it will flash and, as soon as audio is played, Pro-Codec will begin encoding and say so on-screen. Upon stopping the audio, the files are encoded. Summary As you can imagine, having a tool like this saves lots of time. Using the Pro-Codec in real time allows me to truly hear whats going to happen to my mixes in the real world. Price: $499 list Contact: Sonnox | sonnoxplugins.com
An engaged DIFF buttonthe audio that wont need to be encoded.
studio review
By Lynn Fuston
DSP Mobile Analyzer app & MicW i436 Omni Electret Condenser
The Mobile Analyzer app ($14.99 from the App Store) offers a full screen analyzer with either line or bar graph displays with fully customizable colors. It features slow, fast or impulse response, A, B, C or no weighting; the ability to take 15 snapshots of the curve on the screen (great for comparing different curves); and resolution as low as 1 octave/bar and up to <1/200th octave. It also includes a signal generator with white or pink noise or sine waves, from 20 Hz to 20 kHz. It comes pre-calibrated to work with the iPads internal mic, but can also be used with external mics like the MicW i436. In-app purchases allow frequency response compensation for six MicW mics, including the i436, and the Apple earphones and newer EarPods, ranging in price from $2.99 to $9.99.
The i436 from MicW is a 7 mm diaphragm omni-directional electret condenser, touted as a professional Class 2 microphone, and the kit represents a very functional package to accompany an iPad, including a cool little cylindrical aluminum case that doubles as a mic stand with European mic stand thread in the end. (See picture.) Also included are a 2 m extender cable (1/8 male to 1/8 female) and a 6 adapter cable that allows mics and headphones to be connected to an iDevice at the same time (though the headphones will work only for playback, NOT while recording). Also included is a foam windscreen and clothing clip for interview applications. While the i436/iPad combo is very useful, the DSP app notes specify that this combination does not meet the IEC61672 Class 2 standard, mainly due to production tolerances of iDevices. I found the mic with extender to
Especially when paired with MicWs i436 mic, DSP Mobiles comprehensive app is a flexible test tool for iPad featuring an SPL meter and real time analyzer.
Who is MicW?
MicW is a member of BSWA Technology Ltd., which is a measurement microphone company based in China. It was founded in 1998 as a joint venture between the Chinese Academy of Sciences and five sound engineers to offer more affordable measurement microphones. Since then, they have branched out into recording and iDevice mics as well.
The kit represents a very functional measurement package to accompany an iPad.
36
be very useful for measurement and general recording. While the i436 is about 10 dB quieter than the iPads internal mic, it is still too noisy for critical music recording. In Use I used it for rough room mode analysis and discovered some interesting anomalies in several listening rooms using pink noise through the speakers. I also used the SPL metering (in place of my trusty Radio Shack dB meter) to check level consistency across mixes. Sometimes visual confirmation of things I think I hear is very reassuring, so using it to help determine if a vocal or mix is overly bright or sibilant is very reassuring. Anyone who has used an iDevice for recording has probably noticed the built-in high pass filter (roughly 24 dB/oct. below 200 Hz) implemented by Apple to reduce rumble and wind noise. While that is very useful, its not very accurate. Finally, in iOS 6, that filter is defeat-able, making the use of external mics much more accurate.
mini-review
Wow. I never expected to see a mic like this, or all its extras; its like the gift that keeps on giving for someone who is recording on an iPhone or iPad. Anyone who has recorded music or interviews with an omni mic knows there are pluses and minuses. The great part? It picks up everything. The bad part? It picks up everything. Many times, hearing everything isnt goodespecially for voice or intimate music recordings when in a large reverberant room or one with less than flattering acoustics. Thats where a highly directional mic comes in handy. And they dont come much handier than this. Features The MicW iShotgun mic is a miniature shotgun mic that is about 5 inches long and no bigger around than my finger, with the included pop filter. Additionally, in the small hard carrying case are two extender cables (1/8-inch to 1/8-inch TRS), a short (0.2 m) coiled and long (3 m) straight; a hot-shoe camera shock mount; the worlds tiniest boom arm (1 m); and three 1/8-inch adapters to allow plugging in mic and headphones simultaneously to the iDevice or two mics at the same time. Its a real problem-solving bundle, all in a very portable case. I tried this mic in lots of very inhospitable places, including outdoors, large ambient rooms and even in a car, recording into Auria and Voice Record HD on my iPad 4 and iPhone 4. It works very well. It solves the problem of intrusive ambience and, with its right angle adapter, it can be used as the voice mic for someone speaking on an iOSbased camera. I compared the iShotgun to the internal mic on the iPad and found that it did much better at picking up desired sounds while diminishing ambient sounds. The level is
by Lynn Fuston
MicW iShotgun Miniature Microphone

This iOS microphone is a nifty little problem solver.
~1 dB hotter than the internal mic at the same distance. Noise is roughly equivalent but the low end, which is rolled off in the iShotgun (about 6 dB/octave below 200) and specd at 100 Hz to 18 kHz, is fuller with the iPad mic. The pop filter works well except in windy conditions, where a zeppelin style filter would probably be advised, though Im not sure if anyone makes one small enough. I also compared it to the Apogee MiC; the MiC is substantially quieter, but less directional and not nearly as small and also drastically more susceptible to low frequency thumps and plosives. [Audio example clip links here: 3daudioinc.com/ PAR/MicW_iShotgun Ed.] One issue I encountered was EMI noises when the mic was plugged directly into an iPhone 4, but this didnt happen with the iPad and it was easily remedied by using an extender cable/adapter. Also, the protective cases had to be removed in order to plug the mic directly into my iPhone and iPad; using the extension cables would remedy this. Finally, having the headphone/mic adapter is handy to keep from swapping for recording and then playback, but with the devices/ software I tried, the headphones will not allow live monitoring of the mic signal. Summary All in all this is a very nice package that solves lots of problems. It doesnt sound like an expensive shotgun mic, but for the price thats to be expected. For someone needing to record to an iDevice under challenging circumstances, its a good choice. Price: $249 list Contact: MicW | mic-w.com
The Competition:
iTestMic from AudioTools is a full-size mic that connects to an iDevice via the 30-pin connector, and features mic/preamp/ ADC, so it bypasses all the Apple electronics, all inside the mic for $199.
Summary For use in analyzing audio or testing noise or determining deficiencies in playback systems, even evaluating mixes, the DSP Mobile Analyzer app for iOS works very well. For quick measurements of noise levels or determining problematic frequencies or system deficiencies, the i436 is a very handy tool. Together, DSP and MicW comprise an affordable and well-featured testing and metering solution. Prices: $119 and $159 (MicW mic only and MicW full kit, respectively); $14.99 (DSP app only) Contacts: DSP Mobile | dspmobile.de; MicW | mic-w.com
Lynn Fuston is the Technical Editor for PAR and an accomplished recording engineer based in Nashville. 3daudioinc.com
37
studio review
by Strother Bullins
Rhon PaRkeR (RhonPaRkeR.com)
ADAM Audio F Series Studio Monitors

The F7 offers solid, characteristic ADAM Audio performance for the discriminating, budgetconscious and space-limited audio producer.
Over the past decade, ADAM Audio has cut a wide swath into the studio monitor marketplace. Due to the proprietary Accelerating Ribbon Technology (ART) utilized in its folded ribbon tweeter designs, ADAM Audio is fairly equated with a natural, aurally pleasing and extended high frequency response (at a generally higher-end price point, too).
Now, as low as $250 street per box (the F5), we could assume that the lowest-priced-ever ADAM monitor linethe F Series featuring ART, with an even further eXtended frequency response of up to 50 kHzis somehow a fair step down in capability and quality, too. Yet from what Ive experienced, that assumption would be wrong; while assembled in Asia, the design, components, specifications and performance are spot-on for this aspiring German manufacturer. Features Reviewed here, the F7 is the larger of ADAMs two F Series full-range loudspeakers, featuring a 7-inch fiberglass/paper woofer and ART tweeter, powered by a Class AB dual channel amplifier (35 W [x2] of continuous power). The smaller F5 is available, differing only by its woofers 5-inch diameter, a slightly smaller cabinet and dual 25 W amplifiers. An F7 pair provides a maximum acoustic output of 109 dB-SPL. Also available is the F Series SubF subwoofer featuring an 8-inch woofer and 110 W of Class AB amplification, capable of 107 dB-SPL, within a compact 21.8 lb., 14- x 10- x 13.5-inch cabinet (the FSub was not included in this review package). The MDF cabinetry has an attractive, scratch-resistant finish. The F7 features comprehensive analog input optionscombo XLR/TRS and RCA jacks; a present RCA input automatically disables XLR/TRS input. Controls include rotary +/-6 dB shelving filter knobs, set at 5 kHz and 300 Hz, respectively; rotary level control, to +6 dB (+12 dB for SubF); andrecommended for use with a subwoofer80 Hz high-pass filter on/off switch. The front panel provides a two LED logo panel; a green LED lights when power is on; a red LED lights in Standby, or low power mode, with its automatic signal-sensing feature. In Use In my own private production space, I simply switched the ADAM F7 pair with my personal standard, a pair of KRK VXT8 midfield studio monitors. Despite the differences in price point, size and power the VXT8 is more expensive, larger and stronger, respectivelyI noticed an immediate improvement in imaging and appreciated the ART tweeters characteristically smooth performance. When auditioning very familiar percussive sound sources from arpeggiated guitar runs to specific cymbals within the stereo landscapethe F7s seemed pinpoint accurate. They made me feel very confident in knowing precisely where things fell within a mix.
For a street price of $399 each (at least $400/pair less than my normal monitors), I was pleasantly surprised by the F7s performance. Though I didnt have ADAMs SubF subwoofer, for the evaluation (also $399 street), I found it interesting that a full threepiece F Series rig (two mains and subwoofer) would clock in at exactly the same price as my VXT8 pair. And, for users in smaller, more common modern audio workspaces, this makes the F Series a much more logical choice, I believe, than the kind of midfield powered monitors I normally depend on. Summary There are no gimmicks and few frills to be found in the F Series: just solid performance for the discriminating, yet budget-conscious and/or space-limited audio producer. Prices: $399 street, each Contact: ADAM Audio | adam-audio.com
Strother Bullins is an active live and recording musician as well as the Editor of Pro Audio Review.
second opinion
The F7 pair is heftyat least to mefor a compact studio monitoring system; at about 20 lbs. each, I had to readjust my nearfield speaker stands so they didnt fall. Upon power up, the green light indicated I was good to go, and I then went around back to make some adjustments. Since the pair came without a SubF subwoofer, I left the high-pass filter set to flat, then set Level to 0. I also checked that the 5 kHz and 300 Hz EQ filters were set to 0 (flat)something I found a bit hard to do since theres no marker on it, only an indentation in the all black screw (I would suggest a colored null point to allows users to easily see settings). Also, I was wondering why the AC cables were only 2 prong and not three. Luckily there was no buzz and they were silent even when live. Now, the important thing: the sound.
by Rich Tozzoli
and forward though well balanced. Calling up a nice ambient piano patch in Reason with a ton of reverb, I became completely lost in the sound. In fact, with both instruments, I started composing immediately. To me, that is the sign of good studio monitors: they inspire production. As Ive mixed on the same satellite/subwoofer setup for a decade, Im accustomed to having a subwoofer. Do these need one? No and yes. With the rock mix, I swept a Brainworx bx_Digital EQ plug-in on the kick and bass (solo isolated); I found low end drop-off at approximately 100 Hz. I did the same sweep on the high end with a GML/ Sonnox EQ and Manley Massive Passive; all that info was all there, as expected. That said I would definitely pair the F7s with the SubF for mixing full range. Other than that, these speakers are spot-on. I could comfortably mix with them, without hesitation.
Ive worked on ADAM monitors before (both A8X and A7X models), so I felt I knew what to expect. Like its cousins, the F7 sounds seriously good. I started by referencing my own and familiar edgy rock mix of full drums, bass and guitars. It was beefy yet smooth, and I had forgotten about how forward Ive generally felt ADAM speakers are; with the F7 pair, the sound is right in your face. Monitoring solo acoustic guitar (Jumbo Guild F50 via Earthworks QTC1 with Grace m103 preamps) was clean, clear and crisp. Male vocals were also notably present (via Miktek C7 with Focusrite ISA preamp); I was able to easily judge how much compression and reverb to add. Next, I called up some aggressive patches in Heavyocitys AEON, ranging from pumping pulsing lows to shimmering highs. Again, the F7s were very present
39
new live products
Avid Stage 48 Remote Box: Special Promotion

For a limited timeuntil Friday, June 14, 2013Avid customers can purchase a Venue SC48 Remote System or Mix Rack System (with companion Ethernet Snake Card) and receive a complimentary Stage 48 Remote Box (empty), which Avid confirms is a $3,499 value. With an SC48 Remote System and the extra Stage 48, live sound engineers gain more input/output distribution versatility, enabling them to place the I/O closer to their sound sources, such as one on stage and the other at front of house or close to wireless sources, offers Avid promotional material. The Mix Rack System allows movement of the I/O cards from the Mix Rack to the Stage 48. Customers can also add an optional second Stage 48 to their Mix Rack System, further expanding their I/O distribution. Price: POA Contact: Avid | avid.com
QSC AcousticDesign Loudspeaker Series: New Models

QSC has added the S8T, S10T and S12 loudspeakers to their AcousticDesign Series of premium surface mount loudspeakers. Designed for foreground/background sound reinforcement applications, these new models feature both constant voltage (70 V/100 V) and low impedance operating modes. Included with each speaker QSCs patent-pending X-Mount enables the loudspeakers to be mounted either vertically or horizontally from a flat surface. Knurled surfaces on the X-Mounts pivot points allow the loudspeaker deployment angle to lock in place in 7.5-degree increments. Pan, tilt and yaw adjustments further ensure that the loudspeakers can be positioned to minimize impact on any interior or venue sight lines. To complete the installation, integrators lift the loudspeaker onto the mount and it automatically locks it into place. The weather resistant (IP-54) AcousticDesign S8T, S10T and S12 enclosures are constructed from rugged ABS and include a seismic mount molded into the enclosure for added safety. Available in black (RAL 9011) or white (RAL 9010), the AcousticDesign S8T, S10T and S12 loudspeakers feature logo free aluminum grilles and the enclosures can be painted to match any decor. Prices: TBA Contact: QSC Audio | qsc.com
Waves GEQ Graphic Equalizer Plug-in

Developed with live users in mind, Waves GEQ is a graphic equalizer plugin with both Classic and Modern mono and stereo emulations, featuring 30 ISO bands plus high and low pass filters, a high precision floating parametric EQ bell filter, and a real-time analyzer. According to Waves, GEQ Classic components use traditional proportional Q filters inspired by the renowned DN series 1/3 octave equalizers, which narrow the filter width as you increase a bands gain; GEQ Modern components utilize special Flat-Top filters, which eliminate the artifacts associated with band interaction, and provide perfect plateau and stairstepped responses. Users can set band gains one-by-one, or draw their curve via touch-screen or mouse. GEQs integrated real-time analyzer lets users compare the difference between two sources. Price: $99 Contact: Waves | waves.com
40
new live products
Gator Cases GMIXDL1608-WP for Mackie DL1608 & DL806

Gator Cases molded utility case for the Mackie DL1608 or DL806 digital live mixer for iPad features a water- and dust-proof seal with IP 67 and Mil-STD810F Immersion test certifications, confirms the company. Other features include a custom fit interior foam nest to cradle the mixer, lightweight NK-7 impact-proof resin exterior, Gators Powerclaw latching system, and ATA-300 flight safe rating. GMIX models are available for competitors StudioLive 16.0.2 and Line 6 StageScape, too. Price: $319 list Contact: Gator Cases | gatorcases.com
Avlex HS-48 and HSP49 Earset Microphones

Avlex Corporation has introduced two low profile new earset microphones. The HS-48 employs a back electret omnidirectional condenser capsule measuring 3.5 mm in diameter and features an adjustable length boom and flexible ear-hook made with a soft spring polymer. The HSP-49 also features a premium back electret omni condenser, but with a 3mm capsule diameter; it provides an additional 10 dB of sensitivity compared to its HS-48 sibling. Prices: $210, $275 (HS-48 and HSP-49 in beige, black or brown, respectively) Contact: Avlex | avlex.com
42
opinion
By Chris Sully Sullivan
Live Sound Musings
Ever wondered what that FOH guy was thinking as he stared off toward the cheap seats, looking bored but surely busy? Sully shares FOH perspectives as an occasional columnist.
The willingness of full-grown people to participate in our makebelieve is pretty much the ground floor of the entertainment business. I saw a ventriloquist on TV and my first thought was, get the puppet closer to the mic. Seriously. I even said it out loud.
Ive been doing live sound since before my mom became a Rod Stewart demographic. Still, 28 years after I shoved a Realistic highball microphone into the unbalanced input of a puzzled Macro-Tech, I found myself bamboozled by the televised show business magic. Like, only for a minute, of course. But still, even my daughter who was sitting on the couch with me paused, then gave me her patented, withering in a friendly way, but most definitely super judgmental, single, slow eyebrow raise. I assured her it was just my methodology of educational parenting to get her thinking about truth in observation. My childs maternally inherited sarcasm aside, it did make me start thinking about the unwritten, yet heavily-leaned-on deal that we show folk have with those that shell out cash to be entertained. It goes like this: Do a good show and some reptilian part of our brains will believe everything you say. Its a great setup, really. Even after paying $50 for parking, $45 for polyester and burlap tour shirts and $25 for a beer and reformatted kielbasa, most audiences are ready to plop down in Soviet-era seating and give a show the complete benefit of a doubt, almost from the second their incorrectly deployed skinny jeans meet their seats. They want to participate in the process, suspend their disbelief, and wow, gasp and whinny for 60, 90 or 120 minutesjust as long as theyre positive youre with them, present in the moment, and above allaware of what city youre playing. The element we sometimes overlook is one that we, the bringers of the magic, can fully relate to ourselves. The audience isnt just paying to see that nights show; most the general public; you know, when a punter has the incomprehensible audacity to amble past 300,000 ushers all the way to the middle of an arena, during an effectsheavy power ballad, to ask me where the bathroom is. I just find observing humans useful, because understanding people is a good way to understand a crowd, and an audience is just a crowd that has disposable income and a greater incentive to riot. Anyway, my thesis is thus: Fans come preloaded with the excitement software installed and optimized. By the time we
I just find observing humans useful, because understanding people is a good way to understand a crowd, and an audience is just a crowd that has disposable income and a greater incentive to riot.
times, theyve already integrated the experience and the production of the artist into their whole lives prior to walking in the door. I mean, think about how crazy it is that pop and rock stars casually sport clothing thats cut at right angles to reality and standard human physiology and yet most fans are like, Cool. I could pull off a steampunk jock strap with integrated kitten-studded thigh highs and a pipe. Im able to bless the world with these incredibly insightful insights because I like to watch people. I especially enjoy blithely observing them from my oxygen-equipped high horse at FOH while theyre anesthetized with Miller Lite, separated from me by huge security guys and a bike rack. But dont get me wrong. I dont really like see them, the show is just the culmination of their obsession. The artist is already a part of the wallpaper of their lives, like their sister or man-stink on grandpa. To them, the show weve mixed or lit or worked a thousand times is a new, vicarious and personal experience that they have a stake in, and the last thing they want is to see it fail, or to be provided with an experience that somehow breaks the illusion. Because if that happens, it means they are failing and thus are fully justified in casually turning and setting the closest thing to them on firelike maybe that compact, good looking, yet highly flammable front-of-house guy that wouldnt reciprocate their rock devil horns during Enter Sandman...or tell them where the bathroom is.
Chris Sully Sullivan is a quarter-century-long touring veteran, mixing FOH for such artists as Point of Grace, Steven Curtis Chapman and Amy Grant, among many others.
live review
By Rich Tozzoli
Earthworks SR40V Vocal Condenser Microphone
The SR40V vocal condenser is an exceptional, flexible microphone in both its intended live application as well as in recording environments.
Recently I was able to put the Earthworks SR40V handheld vocal condenser to the test in some live shows as well as in the studio. Deemed a High Definition Vocal Microphone by Earthworks, it certainly earns its title and, when it came to my real world usage, much more.
On an extended visit to St. John in the US Virgin Islands, I recorded and mixed some TV music and records with my mobile studio rig as well as played a handful of live shows. Instead of subjecting the audiences to my voice on background vocals, I placed it in use with several lead singers for their thoughts. I also used it for percussion and even as a room mic with the studio setup. Features The SR40Vs stainless steel chassis feels beefy and solid in my hand; an attractive flat black color, it has a black mesh grill protecting
Rich Tozzoli is a Grammy-nominated mixer/producer, a prolific TV composer and the Software Editor for Pro Audio Review. richtozzoli.com
the diaphragm. Luckily, the clip is snug, as Ive had problems with previous clips on my QTC-1 and TC-30k mics (which Ive generally taped into place). It seems Earthworks has learned that mics should never slip out; this one feels quite secure on a stand. The mic kit comes in a padded plastic touring case. The specs are unusually impressive for a live microphone with a frequency range of 30 Hz to 40 kHz and a hypercardioid polar pattern. It features low handling noise (as it should with response down to 30 Hz!); a 5-micron thick diaphragm; and a self-noise
mic is also quite hot, and its noise floor is so low its hard to know its plugged in until I speak into it. Over the course of the shows, we actually had three different lead vocalists sing into it. Said Scott Moore, with 20-plus years of live experience, I was really shocked by the depth of range. From low-end to falsetto, everything was fatter ... it helped me sing with extreme confidence and really go for it because I was getting so much back. Then the same thing happened on the gig; the vocals cut throughclean and warmas they should.
ried an SM58 as a backup to the show that night, I didnt need it. I also used the mic in studio recording applications, recording a vocal piece and on shakers and percussion, with the same resultsall clean and clear. I even cut some nice acoustic Resonator tracks with it. [Hear audio examples here: soundcloud.com/proaudio-review-magazine Ed.] Since there is a slight bit of handling noise when holding the mic, I would always use a high pass at around 80 Hz (something I normally do anyway in a PA). In addition, I did take it back home and try it as a drum room mic.
was fatter ... it helped me sing with extreme confidence and really go for it because I was getting so much back. Then the same thing happened on the gig; the vocals cut throughclean and warmas they should. Scott Moore
rating of 22 dB SPL (A-weighted). It handles up to 145 dB SPL with a sensitivity rating of 10 mV/Pa (-40 dBV/Pa). In Use For both rehearsals and shows, we used a compact Allen & Heath ZED mixer and a pair of QSC K10 powered loudspeakers. Note that this mic does need +48 VDC phantom; as soon as I plugged it in, I could hear what High Definition means to Earthworks. My first impression was that of airlots of it, and obvious full range response. Even I sounded good singing on this mic! It would be good for voiceover work; it captures the depths of a vocal, as well as breath. While this may sound like hyperbole, when I heard it and directly compared it to the classic Shure SM58 (what the rest of us used for this string of performances), the SR40V was truly in another league. No offense to the tried and true SM58, but it sounded like someone took a mask off the vocalist when swapping it for the SR40V. The output of this Next, Dave Gerard of Savoy Truffle and Pablo Schor of Mojo Flyer sang through it; neither vocalist would go back to the SM58. Dave Gerard, a long-time road veteran, took special note of the off-axis response. Since he has to often turn around and cue the band, he noted that it helps that what is heard in front of mic is almost exactly the same as on the side. That is very valuable onstage, as the singers dont have to be right on it to get great results. Users can actually learn this micin the sense of how to get on it hard for more bass response and step off to lighten up a bit. We never had any problems with it, even being left out in the rehearsal room for two weeks in the heat and humidity. Gladly, it features good feedback resistance, as we could hit it pretty hard in the PA without any dreaded squeal. It even survived a day and a half of what they call Sahara Dust, where desert sand blows in, literally creating a haze in the sky, not to mention kicking up intense heat. The SR40V never blinked and, even though I carIt captured a very wide frequency balance, but lacked any real punch in the low end; it rolls off low end at a distance. This was just a test of course; normally I would not use it for such a purpose anyway. It does sound great on a Martin acoustic guitar, with the same effects as it has on vocalsclarity of sound source and a detailed presence. Note that Earthworks also builds a WL40V Wireless Vocal Mic Capsule, a direct adaption of the SR40V. Summary Overall, I would call the Earthworks SR40V an exceptional microphone for stage use. Unquestionably, its not cheap at a street price of $999. Yet for what it deliversan uncolored, crisp punchand the fact that its also right at home in the studio, the SR40V is well worth that price. This is one of those mics you have to hear for yourself; once you do, the appeal of the SR40V becomes self-explanatory. Price: $1,499 list Contact: Earthworks | earthworksaudio.com
I was really shocked by the depth of range. From low-end to falsetto, everything
48
classifieds
ReCRUITmenT ACOUSTICS
Vice President, Professional Systems, Sales and Product Marketing
Sennheiser Electronic Corporation (SEC), a global market leader in the manufacture and distribution of premium audio solutions, is looking for a dynamic, proven Pro Audio Sales Executive to lead Sennheisers Pro Audio business in the US. The German audio specialist Sennheiser, a market leader in the world of premium audio solutions for professional and consumer applications for over 65 years, has developed a highly-respected premium brand reputation and established strong distribution worldwide. Sennheisers commitment to the world of audio is simple: we offer products that provide the finest combination of performance and value available anywhere, and back them up with superlative service. SEC is the wholly-owned US subsidiary of Sennheiser Germany. SEC markets and distributes and services all Sennheiser products, including a variety of other premium pro audio lines, such as Neumann Microphones, and K-Array Speakers. SECs headquarters are based in Old Lyme, Connecticut conveniently located between Boston and New York City, in close proximity to a variety of the companys key professional customers. The VP role will be developing all sales and distribution strategies for SECs largest business division, Professional Systems, with the aim to further increase sales, product positioning and market share. The position will lead a Sales Force and Product Marketing Team serving the following markets in the US: Broadcast, Theatre, Studio, Rental Houses, Music Retail, Live Sound and Aviation. The position will be responsible for the proper execution of the division strategy in the US, to include achievement of sales quotas, implementation of price policies and product positioning goals. The position will maintain excellent key customer relationships and develop strategies and operational practices to improve competitive advantage in sales and marketing programs. The position will report to the President at SEC and function as the US representative in global Pro Audio Strategy Projects. To be considered, applicants must have the following essential skills and requirements: Strong knowledge of audio electronics or high tech product sales Demonstrated and proven ability to meet and exceed sales goals within the Professional Markets that Sennheiser serves Strong knowledge and understanding of the Professional Systems market and industry trends, competitors and leading customer strategies Strong sales experience and competitive drive Outstanding and proven consultative selling abilities Strong business acumen as well as strong analytical skills Strong ethics/high integrity with the ability to maintain professional internal and external relationships that meet company core values Ability to motivate sales team to meet and exceed sales goals Ability to plan and manage at both strategic and operational levels Ability to establish and maintain consistent corporate image throughout product line, promotional materials and events Ability to work collaboratively with staff to create a results driven, team oriented environment Ability to take the initiative to make independent decisions/choices Highly organized with effective time management skills Excellent oral and written communication skills and interpersonal skills Strong PC skills including Microsoft Office Other Requirements: Ability to work extended hours as business needs dictate. Travel may include overnight travel Ability to travel up to travel 75% as required - domestic and international travel We require a Bachelors degree (MBA a plus) with a minimum of 10 years related sales management experience with at least 5 years related to Professional Systems and at least 5+ years of supervisory experience or equivalent combination of education and experience may be considered. Knowledge and experience of audio electronic industry and products a must Please visit our careers page for additional positions. Qualified candidates should apply at careers.sennheiserusa.com
RecRuiting?
Reach your target audience of over 67,000 audio industry professionals. Place a recruitment ad in all 3 of our pro audio titles for one low price.
For rates and deadline information contact Doug Ausejo: 650.238.0298 | dausejo@nbmedia.com
STUDIO FURnISHInGS
49
MOTU
(continued from page 22)
sauce to any classic rock-influenced lick. Clear Pebble Phase Shifter: Designed after what is probably the second most classic phaseran Electro-Harmonix Small Stone pedal with color switch offits characteristic funky talkiness at higher speeds is spot-on. Dynasquash: Modeled after the MXR script logo Dyna-Compmany a guitarists solo boost or lead channelset at infinity to one, just dime it, stomp it and shred; it provides even note consistency and sustain.
Big input lists, too many plugs to choose from, long signal chains, etc.: Are these time wasters in getting up to speed? Having a starting point with neutral settings, logically laid out, grouped and ready for customizing, visually organized for my personal delight; its a pleasure and they are easy to set up and repeat. Without getting too detailed, I can confirm that the new plug-ins are great. I cant say that I own all the pedals and gear modeled by DP, but the tones of the familiar are accurate to my memory and immediately recognizable. Much to my surprise, none of the new plug-ins offer presets. I know, only newbies use presets, right? Yet theyre a
33 51 47 21 35 5 34 39 25 41 14 9 15 42 52 6 23 17 2 19 7 3 13
adindex
AKG akg.com
Audio Plus Services audioplusservices.com B&H Pro Audio bhproaudio.com Clear-Com clearcom.com Fingerprint Audio fingerprintaudio.com Focusrite focusrite.com/ISA Full Compass fullcompass.com Full Compass/Shure fullcompass.com/shurestuff Hosa Technology hosatech.com INFOCOMM infocommshow.org IsoAcoustics Inc. isoacoustics.com Lectrosonics lectrosonics.com Line 6 Systems line6.com Primacoustic primacoustic.com QSC Audio Products qscaudio.com Radial Engineering radialeng.com Renkus-Heinz renkus-heinz.com Rohde & Schwarz ohde-schwarz.com Roland Systems Group rolandsystemsgroup.com Sony Creative Software sonycreativesoftware.com Soundcraft usa.soundcraft.com Steinberg steinberg.net Vintage King vintageking.com
DP8 for Windows felt like my normal [Mac-based] DP rig. Way to go, MOTU!
In Use Installation from disc was easy and fast, with registration being a little different; a challenge/response authorization file from MOTU is required on off-line machines. [If online, explains MOTU, simply enter your keycode and click OK.Ed.] No problemit worked and is about as easy as alternate methods. DP8 will now run in 64-bit mode (according to MOTU, this results in faster computation and allows dynamic RAM allocation for speed and efficiency; users with OS X 10.6.8 and higher can run DP in 64-bit mode). I cannot accurately gauge how much better DP performs in 64-bit, but I can say that 32-bit operationwhich I sometimes use when requiring Slate Digitals Platinum drum triggering plug-in, my systems lone 32-bit holdoutdoes not seem at all compromised, even though I stay 64-bit whenever possible. I cant say that Punch Guard has saved me yet, although it does work as promised; its comforting to have available (especially if tracking live shows or vocal overdubs in DP). Other enhancements, like preset management and color themes, I am already taking for granted and now cant imagine living without. I rely on making and recalling templates within DP for efficiency, so my template making has transformed into fine art with the new features. great place to start and fun to audition, especially for new ideas. On the eve of completing this review, I downloaded DP8 for Windows, then transferred a mix from my Mac to my Windows 7 laptop running the new software. Its running well, there are no significant problems, and it basically felt like my normal DP rig. Very impressiveway to go, MOTU! Summary DP8 helps me to work faster for my clients, injecting more creativity when pushed for time (which is nearly all the time these days, it seems). Launching a session from the starting line is now easier with my custom color schemes, better plug-in management and saved plug-in chain presets. Once a session has commenced, Im getting difficult work done much more quickly with the new power tool beltDynamic EQ, Spatial Maximizer, Subkick, etc.; these premium plugs do the heavy work as well as third party plugs, but with a streamlined ease. With Logic in dormancy, Pro Tools playing catch up, and DP/Windows compatibility upon us, MOTUs latest Digital Performer is a timely, compelling update. Prices: $495, $395, $195 (full version, competitive upgrade and DP users upgrade, respectively) Contact: MOTU | motu.com
50

ProAudio Review May 2013

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

ProAudio Review May 2013

Uploaded by

Copyright:

Available Formats

New Products, P.

studio | live | broadcast | contracting | post

Pro Audio Review

feaTuRing MOTu DigiTal PeRfORMeR 8

Avid Pro Tools HD to HDX: Adventures in Upgrades

Steinberg CMC Series Controllers for Cubase and Nuendo DAWs

Ableton Live 9 Digital Audio Workstation Suite

Sonnox Oxford Pro-Codec V2 Plug-in

MicW iShotgun Miniature Microphone

Ethan Winers The Audio Expert

ADAM F Series F7 Studio Monitors

Strother Bullins and Rich Tozzoli

Cover & Featured Review Photography: Rob Tavaglione

ProAudioReview | May 2013

ProAudioReview | May 2013

Native Processing And Native Talent

new studio products

McDSP Supports AAX for V.5

ProAudioReview | May 2013

new studio products

May 2013 | ProAudioReview

new studio products

Focusrite Scarlett 18i8 and 6i6 USB 2.0 Interfaces

ProAudioReview | May 2013

new studio products

Goby Labs Thingy Series Expands

The Audio Expert by Ethan Winer (2013 Focal Press)

MOTU Digital Performer 8 Digital Audio Workstation

May 2013 | ProAudioReview

ProAudioReview | May 2013

Adventures In Upgrades: Avid Pro Tools HD to HDX

One example of the lengths we went to accomplish [sonically consistent

ProAudioReview | May 2013

Engineer Richard Chycki, Early HDX/ AAX Adopter

May 2013 | ProAudioReview

Steinberg CMC Series Controllers for Cubase and Nuendo DAWs

May 2013 | ProAudioReview

Ableton Live 9 Suite

May 2013 | ProAudioReview

Sonnox Fraunhofer Pro-Codec Plug-in, Version 2

An engaged DIFF buttonthe audio that wont need to be encoded.

The kit represents a very functional measurement package to accompany an iPad.

ProAudioReview | May 2013

MicW iShotgun Miniature Microphone

May 2013 | ProAudioReview

ADAM Audio F Series Studio Monitors

May 2013 | ProAudioReview

new live products

Avid Stage 48 Remote Box: Special Promotion

QSC AcousticDesign Loudspeaker Series: New Models

Waves GEQ Graphic Equalizer Plug-in

ProAudioReview | May 2013

new live products

Gator Cases GMIXDL1608-WP for Mackie DL1608 & DL806

Avlex HS-48 and HSP49 Earset Microphones

ProAudioReview | May 2013

By Chris Sully Sullivan

Live Sound Musings

Earthworks SR40V Vocal Condenser Microphone

ProAudioReview | May 2013

May 2013 | ProAudioReview

ProAudioReview | May 2013