Pro Audio Review January February 2014

New Products, P.
10, 36
JANUARY/FEBRUARY 2014
STUDIO | LIVE | BROADCAST | CONTRACTING | POST
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TECHNICALLY SPEAKING: Weird Tricks That Will Blow Your Mind
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The Review Resource for Sound Professionals
8 HOT MODELS IN REVIEW
Apogee Quartet: Pro-Grade USB I/O

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Allen & Heath GLD-112 Classic API Heider FD312 Equator Audio D8 Eventide H9 Focusrite Red 1 MXL Revelation Solo Native Instruments MASCHINE 2.0 Petes Place Electrodyne 501 Radial Engineering EXTC Radial Engineering MC3 Shure SE846 Sonic Farm Creamer Thermionic Culture Rooster Thermionic Culture Earlybird UnderTone Audio MPEQ-1 Universal Audio Fairchild Yamaha STAGEPAS 600i
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in this issue
Studio
Covering Recording, Broadcast Production, and Post Production New Studio Products 10 Apogee Quartet Four-Channel Preamplifier and I/O
by Lynn Fuston
ProAudioReview
JANUARY/FEBRUARY 2014
Equator Audio D8 Studio Monitors
Review 31
by Rob Tavaglione
Review 14
Thermionic Culture Rooster and Earlybird Microphone Preamplifiers
Review 32
by Rob Tavaglione
Focusrite Red 1 500 Series Mic Pre
Review 16
34
Shure SE846 UniversalFit Personal Monitors

by Tony Ware
Mini-Review 34
by Randy Poole
500 Series Microphone Preamplifiers featuring Sonic Farm Creamer, Petes Place Electrodyne 501 and Classic API Heider FD312
Review 18
Native Instruments MASCHINE 2.0 Groove Production Instrument

by Tony Ware
Mini-Review 34
by Russ Long
MXL Revelation Solo Large Diaphragm Cardioid Condenser Microphone

by Russ Long
Mini-Review 25
Sound Reinforcement
Covering Live Sound, Contracting, and Installed Sound New Live Products 36 Allen & Heath GLD-112 Digital Mixer
by Alistair McGhee for AudioMedia
UnderTone Audio MPEQ-1 Channel Strip
Review 26
Review 38
by Rich Tozzoli
Universal Audio Fairchild Tube Limiter Plug-in Collection

by Rich Tozzoli
Review 27
Yamaha STAGEPAS 600i All-In-One Portable PA System

by Strother Bullins
Review 40
Eventide H9 Harmonizer Multi-Effects Pedal
Mini-Review 28
by Rich Tozzoli
28
Departments
Weird Tricks That Will Blow Your Mind
by Frank Wells
40
Radial Engineering EXTC Effects Reamper and MC3 Monitor Controller

by Rob Tavaglione
Review 30
Technically Speaking
Cover & Featured Review Photography: Lynn Fuston | Cover Design: Walter Makarucha, Jr.
4 ProAudioReview | January/February 2014
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JANUARY/FEBRUARY 2014 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 Wineld, Dan Wothke, Contributors ADVERTISING Tara Preston, Associate Publisher 917-331-8904, tpreston@nbmedia.com Karen Godgart, Sales Director, West Coast Ofce 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@Computerfulllment.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 Ofcer Jack Liedke, Controller Bill Amstutz, Vice President of Production & Manufacturing Robert Ames, Vice President of Digital Strategy & Operations 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 Ofces 28 E 28th Street, 12th oor New York, NY 10016 TEL: (212) 378-0400
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ProAudioReview | Jan/Feb 2014
technically speaking
Is it just me, or has Internet headline baiting gotten out of hand? The supermarket tabloids have rubbed off on web content creators, and the articles rarely deliver anything approaching what the headlines promise (if you need a laugh, visit upworthygenerator.comthanks to Chris Dauray for the link). We wont be taking that approach at Pro Audio Review, never fear (past the above headline, anyhow). Straightforward, simple and relevant information has been the format of choice for the existence of the title. There are some changes afoot for PAR, with
Frank Wells
Weird Tricks That Will Blow Your Mind

Youll improve your life in just five minutes after you see these shocking revelations, youll find 10 surreal production techniques that you just have to try before you die. You will weep, you will be hooked, after you see this. a redesign in the works of the look and feel, but well stay dedicated to our peer-to-peer end user evaluation of gear. You might have noticed that this issue is dated January/February, and, if you are a print subscriber, that you received PAR bagged with sister title Pro Sound News even if you hadnt previously been a PSN subscriber. The subscriber base, for print and digital editions, has grown, so more of your peers are now getting the opportunity to experience PAR. The long-term plan is to deliver the same quantity of content over the course of the year, and hopefully through more outlets. The media landscape is changing, and we will continue to adapt and evolve accordingly. Youll still be able to get your daily fix of PAR through the Daily Reviewsletter (sign up at bit.ly/1cTD1cB). PAR contributions to the joint PSN/PAR web portal, prosoundnetwork.com, will continue to be updated daily. So, you can stop stressingthe latest tools in the industry will continue to be evaluated in these pages. Your favorite, trusted voices will still be your guides. Every Mothers biggest fear will be resolved. From shocking revelations, to weird, amazing tricks that your competition doesnt want you to know about, PAR will be there. Fourteen pages in, well blow your mind. Did I mention that there will be astounding tricks revealed?
new studio products

Prism Sound Atlas USB Audio Interface
Joining Prisms Orpheus, Lyra and Titan USB interface lineup, Atlas offers the companys latest CleverClox clocking technology alongside eight Prism Sound digitally-controlled mic pres as standard. Analog and digital I/O for Mac or Windows PC are supported at sample rates up to 192 kHz. Other features include eight analog outputs, S/PDIF and TOSLINK optical digital I/O ports, and a powerful DSP engine. In addition to the USB host interface, Atlas also features Prism Sounds new MDIO interface expansion slot, designed to directly connect to Pro Tools|HDX systems. Other MDIO interfaces are planned for later introduction, states Prism Sound promotional material. Atlas will also run with Mac and Windows native applications over USB. Price: TBA Contact: Prism Sound | prismsound.com
Apogee MiC 96k USB/iOS Digital Microphone

Apogee Electronics has unveiled its new MiC 96k, a professional digital microphone used used to record to an iPad, iPhone or Mac. The new MiC 96k, which features the same look and portable form factor as the original MiC, introduced in 2011, now allows users to make higher-fidelity recordings, up to 24-bit/96 kHz. It includes an iOS Lighting cable as well as a microphone stand adapter in the box. Like its predecessor, MiC 96k also includes an iOS 30-pin cable, Mac USB cable, and table-top tripod stand. Also new from Apogee is their 24-bit/96 kHz JAM update, JAM 96k, now featuring tube amp tone emulation. Like its predecessor, JAM 96k also includes an iOS 30-pin cable and Mac USB cable. Price: $229, $129 street (Mic 96k and JAM 96k, respectively) Contact: Apogee Electronics | apogeedigital.com
Aphex USB 500 Rack: Now Shipping

Aphex is now shipping their buzzed-about USB 500 Rack, a USB audio interface and analog rack for up to four 500 Series-compatible modules. With the USB 500 Rack, users can employ 500 Series mic preamps as inputs to DAWs, individually or chained to form a channel strip. In addition, processor modules such as EQs and compressors can be routed as hardware inserts within a DAW. Finally, the USB 500 Rack can act as an analog 500 Series rack via its balanced XLR connectors. Other features of the USB 500 Rack are its Monitor section (with Mono and Dim controls), high output headphone amps (based on those of our acclaimed HeadPod 4), MIDI I/O, and up to 96 kHz operation. Price: $749 street Contact: Aphex | aphex.com
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ProAudioReview | January/February 2014
new studio products

CEntrance MixerFace Mobile Recording Interface
CEntrance is promoting a crowd-funding effort to speed up the production of MixerFace, its new mobile recording interface. MixerFace connects professional microphones with smartphones, tablets and laptops. The small, battery-powered mobile device includes two microphone preamps and digital connectivity options, enabling pro-grade recording on the go. MixerFace offers two Neutrik combo jack inputs, independent gain controls with LED level monitoring, switchable 48 VDC phantom power, monitoring options, a headphone amp and 24-bit, 192 kHz converters. CEntrances Indiegogo campaign is now underway and can be found at: http://igg.me/at/mixerface Price: $599 Contact: CEntrance | mixerface.com
Griffin StudioConnect HD Audio Interface

Griffin Technology has announced StudioConnect HD, an audio interface for Apples iOS and Mac OS X platforms. StudioConnect HD is an all-in-one, high-definition audio interface for multitrack recording, providing plug-and-play convenience for microphones, guitars, basses and keyboards in one compact device. Compatible with both Lightning and 30-pin iPad models, it includes a Type A USB cable for connecting to a computer running Mac OS X. StudioConnect HD accommodates Core Audio recording apps for iPad, along with Mac OS X-based Digital Audio Workstations, and works with Auria (iOS), GarageBand (iOS and OS X), Logic Pro X (OS X), and JamUp/BIAS (iOS). Price: $199 street Contact: Griffin Technology | Griffintechnology.com
Teegarden Audio Fatboy Tube DI

Developed by veteran recording engineers with over 180 combined years of experience, the hand-built Fatboy Tube DI features an allaluminum enclosure and US-made 407a tube, transformer Balanced Lo-Z XLR output, thru output for connection to amps and other signal chains, an additional unbalanced output, -12 dB input pad, Pin 1 Ground Lift, and an LA-2-style output transformer. A stereo version is available upon request for $995. Stay tuned to the pages of PAR for a full review of the Fatboy. Price: $695 Contact: Teegarden Audio | fatboygear.net
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studio review
by Lynn Fuston
Apogee Quartet Four-Channel Preamplifier and I/O
Our Technical Editor finds Apogees all-in-one USB-based I/O device without compromisetruly a portable I/O built to meet to professional standards.
USB-to-standard USB Type A, or the Apogeeto-Apple 30-pin for my iPhone 4 with the 30-pin-to-Lightning adapter), recorded into Auria and monitored over headphones. I recorded drums and piano separately in the studio and was honestly startled by the resultsvery pleasantly so. For this recording, I was consistent with my belief that the most critical part of the signal path is right up front: Having a great drummer and good sounding kit will get you 70 percent of the way there. So I used an Audio-Technica ATM25 on the kick, an SM57 on the snare and two Neumann U47s for overheads. All of these went straight into the mic inputs on the Quartet. I set the levels and hit record, with no EQ or processing. Very impressive. Would I love to have my other favorite outboard processing on them as I recorded? For a real record, you bet. Theres not an easy way to do that since the preamps are built-in and there is no insert path available, but the sounds were solid and I could easily modify them in software or by routing out for EQ or compression. On piano, a Yamaha C7 with the lid removed, I used two DPA 4041 mics into the Quartet. With this solo piano piece, again, I was very impressed. This was after a session where I was tracking drums and piano with Groove Tubes VIPRE, Shadow Hills Gama, API 512 and Gordon Mk V preamps. While the Quartet is certainly not in the same sonic league as those (or price leaguethe Gordon and VIPRE cost 2-4 times as much just for one channel), the fact that the Quartet was respectable by comparison says a lot.
(continued on page 42)
Imagine a very-high quality, four-channel preamp, complete with DIs. Then throw in 24-bit, 192 kHz converters and a monitor controller capable of handling three sets of stereo speakers or 5.1 surround. Add to that Optical Ins (x2), MIDI capability and a WC Out. Plus a very powerful headphone output to boot. Bundle it all in a sleek, polished, aluminum package and sell it for less than the cost of a nice fourchannel preamp. If you can imagine all that, youve just realized the value of the Apogee Quartet.
Features This compact unit looks like a monitor controller, with all the switching concealed in the glass faceplate and a single alpha knob on the front. Clearly inspired by Apples design team, its clean lines and silver finish look perfect next to an iMac/Mac Mini or even an iPad (as pictured), and due to its larger back panel, it thankfully doesnt rely on breakout cables like its siblings, the Duet or One. It requires its own power supply, but it wont activate until connected to a USB-2 host, like my Mac Mini or iPad or iPhone: I used it in all three configurations. Each of the four XLR/quarter-inch combo inputs accommodate line in (switchable +4 or -10), Mic (+48 VDC/polarity both switchable) or Inst. The Maestro software (required) allows control of all switching and routing, along with selecting sample rate and Soft Limit On/Off, and has metering and a mixer built in, as well as allowing grouping of inputs for level control. Three programmable touchpad buttons allow for multiple user selections like Mute, Dim, Sum to Mono, Clear Meters, and Engage speaker set. In Use I connected it to my 64 GB iPad 4 using the supplied cables (Apogees own mini-B
Lynn Fuston is the technical editor for PAR and an accomplished Nashville-based recording engineer. 3daudioinc.com
14 ProAudioReview | January/February 2014 www.proaudioreview.com
studio review
by Randy Poole
Focusrite Red 1 500 Series Mic Pre

Focusrites first 500 Series module is a faithful version of the original and legendary Red 1 preamplifier.
Focusrites foray into the 500 Series format is with the Red 1 preamp. Originally released in 1993 with its striking red faceplate, the Red 1 became quite popular as a 2U quad-channel pre and was later released as a stereo pre, the Red 8. How did Focusrite squeeze its signature pre into the 500 format? Read on.
Features In homage to the original Red 1s quarterinch-thick front panel, the Red 1 500 starts with an eighth-inch-thick, red anodized aluminum front panel with backlit analog porthole-style VU meter, switchable between 0 VU = +4dBu or +10 dBu. . A Grayhill goldplated military-grade gain pot plus phantom power and polarity reverse switches comprise its minimalistic front panel. Gain is selectable in 6 dB increments, starting with a -6 dB pad setting and ranging up to +60 dB. Like the ISA console preamp and original Red 1, the Red 1 500s transformers include a Lundahl LL1538 for input and a custom Carnhill on output, which is capable of driving long cable runs. Thanks to its fully-encased metal chassis and thoughtful design, the Red 1 500 provides superb common mode rejection specs, low noise and wide bandwidth (10 Hz to 140 kHz). Gain comes from two sources: 14 dB from the input transformer with a fixed input impedance of 1.4 kHz (the same spec as the original ISA preamp) and 46 dB from the amplifier stage. In Use My own testing of the Red 1 500 included comparisons with other highquality preamps, including the Amek 9098, Focusrite ISA 428, Lola 500 (a hybrid Neve/990 opamp design) and other 500 Series pres. Tracking instrumentation included various vocals, acoustic guitars, electric guitars, drums and cello via a variety of microphones. The Red 1s 66 dB of overall gain proved just enough for ribbon mics on quieter instruments, while the starting point of -6 worked great with loud instruments like drums and electric guitars; it eliminated the need for a separate pad switch. The overall sound of the Red 1 was fast and punchy. The Red 1 500 worked great in just about any setting, but my favorite applications generally involved condenser microphones. For instance, an omni condenser via Red 1 on acoustic guitar was just what I was looking for: full, clearly detailed and not harsh, with extremely low noise. In comparison to other pres, the Lundahl appeared to keep the top end smooth and silky without added low or mid-based presence peaks. The few minuses I can note are basically what the Red 1 500 doesnt have: theres
no quarter-inch instrument input, no high pass filter and no fine output gain adjustment. These missing elements may not matter to you, depending on your signal chain. Summary Focusrite has successfully squeezed its amazing ISA preamp into 500 Series parameters, all done with the largest output tranny Ive ever seen in such a module. Hopefully Focusrite will release more of its designs for the format. Based on my own experience, the Red 1 500 seems to be faithful to the original in every way. Anywhere you desire a smooth frequency response yet clear, punchy and detailed sound, it delivers. Acknowledgement: Special thanks to Radial Engineering for the extended use of its superb Workhorse 500 rack during this review. Price: $999 Contact: Focusrite | focusrite.com
Randy Poole is a Nashville-based recording engineer and a regular contributor to Pro Audio Review.
studio review
by Russ Long
500 Series Microphone Preamps

featuring Sonic Farm Creamer, Petes Place Electrodyne 501 and Classic API Heider FD312
PARs Senior Contributor recommends three great 500 Series-compatible microphone preamplifiers.
I honestly cannot get enough of the 500 Series gear. Between my two facilities, I have a 10-slot API 500V chassis, an API Lunchbox and a Tonelux V4 Roadster and Im already evaluating my best option to increase my 500 Series module capacity. The modular format makes it simple to swap pieces between studios or easily record in a remote location. Trying out a new piece of gear or substituting a few unique pieces for a tracking session doesnt require any additional cabling or installation headaches. The formats low supply voltage, limited maximum current draw and size restrictions do pose some significant design challenges, but manufacturers have overcome these issues as evidenced by the plethora of quality options out there.
PHOTO: KEONI KEUR
Russ Long is a Nashville-based engineer and mixer as well as PARs Senior Contributor. russlong.ws
The biggest challenge for most 500 Series users is keeping track of which modules are the cream of the crop. Ive had the chance to log some serious time with several great pieces over the past few months and Im going to use the next few issues of PAR to share my findings. Here Ill discuss three fantastic mic preamps: the Sonic Farm Silkworm ($700), the Electrodyne 501 ($1,000) and the Heider FD312 ($750). I will also report on MXLs latest tube mic offering, the higher-end Revelation Solo ($699).
Sonic Farm Silkworm I became a huge fan of Sonic Farm Pro Audio after reviewing the Creamer (PAR May 2012) and was thrilled to hear the company was entering the 500 Series market. Given the Creamers success, I expected the Silkworm to be a variation of the same pre, but thats not the case. The Silkworm is an entirely new beast and is simply brilliant. The Silkworms gain is controlled by combining a three-position Gain switch and a variable Gain Trim control. Its switchable from Medium to Low to High, which was a bit awkward at first; when I tried to raise the gain from low to medium, my natural reflex was to turn the switch up a click, but this actually raises it from low to high. The Silkworm incorporates a Cinemag input transformer and provides a maximum gain of 66 dB (or 42 dB of instrument gain)
with a fully discrete gain stage and a full DC path with no coupling capacitors. The maximum output level is 28.7 dBu. As with the Creamer, the output is switchable between solid-state balanced and transformer (Cinemag 100% Fe). I found that I almost always preferred the transformer output, but there were some instances (most often acoustic guitar and occasionally vocals) where I preferred the solid-state output. While the Silkworm is not a clone of any other mic pre, Im still prone to describe it as very GML-esque in the solid-state output mode and very Neve-ish in the transformer output mode. The Silkworms real magic is in the Vibe switch, which completely changes the character of the pre. The manual describes this feature as a complex impedance manipulator and it includes three settings, Smooth, Present, and Warped (labeled S, P and W). Presentthe most neutral and natural sounding of the threeprovides a flat 8 k input impedance while Smooth and Warped utilize a capacitive resistive network. Smooth has a warmer top end and Warped has a top end boost, which seemed more pronounced on dynamic microphones. In most cases, there was a substantial sonic difference between the three settings; when recording with the pre, I would dial in the entire signal path and then switch between the three modes and decide which one I liked best. Each option sounded like an entirely different mic pre and my preference was different nearly every time. The Silkworm works wonders on drums. I only had a single unit for my review but Id kill for a dozen channels to use on an entire drum kit during a full tracking session. On multiple tracking sessions, I used the pre along with a Telefunken M80, Heil PR20 and Shure SM57 to record snare drum; I had fantastic results in each instance. Ive been utilizing Auralexs Trap-Xpander to decrease hi-hat bleed into the snare mic and found that it works exceptionally well for that. I also had fantastic results utilizing the pre on kick drum, toms and hi-hat. The Silkworm works equally well recording electric guitars, vocals and acoustic instruments. Ive used it for all of these
over the past several months and my results have always been positive; in every instance, I enjoy auditioning the Vibe setting after getting the sound roughed in. Its direct input sounds sick on bass; tone is punchy, present and full, while the bottom is thick and defined.
Petes Place Electrodyne 501 Regrettably, I never had the opportunity to work on an Electrodyne desk; the company closed its doors in the mid 70sover a decade before I entered the businessbut its reputation remains legendary among my peers. I did have the chance to work on multiple Sphere desks as they were quite abundant in Nashville in my early days; Don McLaughlin started Sphere after leaving Electrodyne. McLaughlin retained the majority of Electrodynes designs, which he used in modified form in the Sphere consoles, making them sonically reminiscent of Electrodyne. More recently, Ken Hirsch of Orphan Audio (www.orphanaudio.com) purchased Electrodyne and partnered with Peter Montessi and Petes Place Audio to release the 500 Series Electrodyne 501 mic pre and 511 EQ. These are not pieces created in the vein of the real thing, but are the real thing; each amp stage incorporates the original factory engineering notes and high-performance components, carefully matched to
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the original specs, including the transformers. The two-stage discrete transistor and transformer-coupled 501 mic pre includes an active DI, too. The 501 has a maximum gain of 68 dB, adjustable over 50 dB in 2 dB steps with two ranges (depending on if the 20 dB pad is activated or not). Output level is infinitely adjustable from - (off) to +6 dB, while the OUT control knob is labeled with a dot instead of a line which, unless you are looking directly at the pre, can be difficult to read. The mic input impedance is switchable between 50 and 200 ohms and the DI impedance is over 7 M. The maximum output is +30 dB. The clip indicator monitors both amp stages and illuminates when either stage is within 3 dB of clipping. The first time I put the Electrodyne 501 to work was recording a male vocal with a Shure SM7B. The sound was fantastic, possibly the best tone Ive ever heard from an SM7B. Further, knowing the historical significance of the pre practically gave me goose bumps. I loved having the ability to turn the Output down slightly and push the preamp harder to get more color. I used the pre to record female vocals (Sony C800G), this time increasing the Output so as to not drive the pre as hard for a more natural sound and the results were great. The 501s DI circuit sounds fantastic, especially on instruments with significant bottom end content like bass guitar and analog keyboards. The instrument inputs amazingly high input impedance guarantees compatibility with virtually any direct signal while
allowing the precise capture of the sound sources true tone. Classic API Heider FD312 In addition selling components to aid in the restoration, repair and modification of API consoles, Classic API (Audio Products of Illinois) has several 500 Series kits, the majority in the $175-275 price range, allowing DIYers to build high-quality mic preamps at a fraction of the price of fully manufactured units. Last fall, Classic API released the Heider FD312, the only Classic API model not available in kit form, distributed exclusively by Nashvilles Rack-N-Roll Audio. The Heider FD312 was modeled after the preamps in the legendary Wally Heider Recording Studio 4 console that was custom built by Frank De Medio in the early 70s. These pres were built around stock 312 cards that De Medio modified by replacing the stock input transformer with a custom-wound Ed Reichenbach RE-0887 transformer which he interfaced differently than the stock transformer; this resulted in a smoother, more musical midrange. Utilizing Ed Reichenbachs original notes and specs, Cinemag builds the RE-0887 input transformers utilized in the Heider FD312. Unfortunately, there is no instrument input on the Heider FD312, though it includes both Mic and Line inputs. In Mic mode, the gain ranges from +22 dB to +57 dB with an input impedance of 167 ohms; in Line mode, the gain ranges from -14 dB to +21 dB with an input impedance of 9 k.
While Ive never found myself looking for a line input on a solid-state pre, Ive fallen in love with the character of the FD312 when operating in Line mode. Ive been running my ITB mixes through two channels in Line mode set to unity, and Ive found that the pre adds loads of character to my mix with a smoother top end and improved definition. In addition to the preamp circuit, the module employs an active booster stage, providing up to 12 dB of gainidentical to the boost circuit utilized in early- to mid70s API desks. As with other two stage mic preamps, you can attain more color and harmonic content by increasing the preamp gain and pulling back the Channel Fader, or a more pure tone by setting the Channel Fader to unity or slightly higher and pulling the preamp gain back. Activating the Hi-Z function (nearly
All are packed full of character, reasonably priced and fantastic performers. If you can afford it, Id recommend getting a pair of each.
always my sonic preference) increases the input impedance to 300 ohms and raises the gain by 3 dB. Activating the pad inserts a 16 dB pad and increases the input impedance to 765 ohms. All of these different impedance changes are wonderful as they provide tons of creative options while dialing in a sound. The stepped channel fader provides a final -16 dB to +12 dB gain stage, making the preamps maximum gain 72 dB in Mic mode with the Hi-Z engaged, and 69 dB with the Hi-Z not engaged. The FD312s maximum output level is +29 dBu and it includes a beautiful 12 segment, -22 to +16 VU meter that ranges from green (-22 to 0) to yellow (+3 to +12) to red (+14 to +16) where 0 VU = +4 dBu. I first used the Heider FD312 to record kick and snare on a tracking session. The pre sounded fantastic; I found myself using substantially less-than-typical EQ. On another tracking session, I used the pre on toms and was blown away again. When it comes to recording drums, the Heider FD312 is super. Its punchy as hell, with tons of character, leaving nothing to be desired. The pre also excels with acoustic instruments and vocals. The best way Ive found to describe the Heider FD312 is like a classic API mic pre but better. It has all of the rich punch and clarity of an API with a milky-smooth midrange that sounds as musical as any pre Ive ever encountered. The Heider excels on drums and electric guitars, but is equally fit for recording vocals and acoustic instruments. Summary The Sonic Farm Silkworm, Electrodyne 501 and Heider FD312 are all three wonderful mic preamps. If this was a shoot-out, Id have to call it a three-way draw because they are all winners. All are packed full of character, reasonably priced and fantastic performers. If you can afford it, Id recommend getting a pair of each. And, on the microphone front, MXL continues to impress with its high-quality mics that are surprisingly affordable. Next PAR, Ill delve into Moogs 500 Series Ladder Filter and Analog Delay as well as some other surprises. Contacts: Sonic Farm | sonicfarm.com/pro-audio/ silkworm Rack N Roll Audio | racknrollaudio. com/sales-product.php?product_ id=1383065948 Petes Place Audio | petesplaceaudio.com/ electrodyne.html MXL Microphones | mxlmics.com/ microphones/studio/Revelation-Solo
Mini-Review: MXL Revelation Solo

While MXLs flagship Revelation microphone is actually quite a bargain at $1,299, its price is still beyond the reach of many. To give engineers access to the Revelations high-quality sound without compromising performance, MXL released the Revelation Solo last Junea cardioid-only version that performs wonderfully, providing a clarity and warmth typically associated with tube mics costing two or times more than its $699 price tag. Measuring 7.5 inches long with a diameter of 2.5 inches and weighing 2 lbs., the Revelation Solo has a beautiful dark violet and chrome finish, giving it a stunning look. The mics capsule is a 32mm 6-micron center terminated type and utilizes a hand-selected EF86 tube. It features a balanced transformer output, switchable high-pass filter, polarity reverse, and -10 dB pad. The high-pass filter attenuates 12 dB/octave with a 125 Hz corner frequency. I found the Revelation Solo to be quite musical, working well with vocals, acoustic guitar, violin and mandolin. The Revelation Solo package includes a 15-foot, 7-pin Mogami cable that connects the mic to its power supply, a 15-foot XLR Mogami microphone cable, shock mount and cleaning cloth, all packaged in an
by Russ Long
aluminum flight case. The supply is manually switchable between 110/220 VAC. The sound of the Revelation Solo is quite good: neutral and un-hyped (unlike most mics Ive encountered in the affordable tube mic category) and remarkably quiet, though not dead quiet (yet quiet enough to give many classic vintage tube mics a run for their money). I first put the mic to work recording a female vocal (with the Heider FD312) and results were stunning. The mic perfectly captured the sparkle and air of the performance without sounding overly bright or edgy. I used the mic to record several acoustic guitars (again via the Heider FD312) and had superb results in each instance. The mics smooth, natural character actually worked wonders taming the top end of an exceptionally bright violin. I did notice when recording vocals that the mic seems to be slightly more susceptible to pops than my typical go-to vocal mics, but using two pop-filters instead of one easily solved this. The mics 138 dB max SPL make it easily adaptable to loud sound sources (as long as the pad is engaged) and while Id say its forte is vocals and acoustic instruments, the mic performs exceptionally well on electric guitars.
January/February 2014 | ProAudioReview
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studio reviews
by Rich Tozzoli
UnderTone Audio MPEQ-1 Channel Strip

The MPEQ-1 from UnderTone Audio is a multifunction microphone preamplifier, DI and equalizer with several unique tricks inside. Designed by Larry Jasper and Eric Valentinebuilders of the UTA LC Series Consoles analog consolesthe MPEQ-1 can be used as a mic pre, mic pre with direct line out, line input and EQ line output with or without the output transformer.
Features The MPEQ-1 offers four bands of fully parametric bypassable EQ, high-pass and low-pass filters, a front panel Neutrik combo mic/DI input, 60 dB of mic gain, variable trim, phase reverse, +48 VDC phantom power, -20 dB pad, and variable impedance (50 Ohm, 200 Ohm or transformerless). The MIC>EQ or SEP toggle sends the mic pres signal to the EQ or separately (SEP), allowing for the pre or EQ to be used as two separate units. The rear features XLR main outs for No Transformer (unbalanced) and With Transformer (balanced), as well as XLR Mic In. The XLR Line In (female) allows connection of a line level signal (to use the EQ as a channel strip) and the XLR Mic Out shares the unbalanced signal before the EQ circuit. Finally, theres a small VU meter that shows the level present at the output of the EQ circuit. All of this goodness is packed into 1U, so theres a handful of knobs and switches to understand; this is one of those pieces of gear where a manual read is highly recommended. Luckily, UnderTone Audio also hosts some useful online tutorials that describe how the EQ works in depth. For example, to get the most out of this unit, its important to understand that the HP and LP filters have individual peak controls to help change the slope of the filters. The bottom of the knob controls the frequency and the top controls the Q. The Q control is active all the time, regardless of the choice of peak or shelf shape. The parametric EQs, which use Class A amps on every gain stage, are individually bypassable with the I and O toggle switch (In/Out). Also, theres another switch on each band labeled B, C and N. B is boost, C is Cut and N is Notch. The Shape Control knob (above the frequency selector) interacts with the choice of B, C and N. In Use I used the MPEQ-1 on a variety of sources with a different mics and instruments. The predominant word that comes to mind would be pristine. The preamp is clean and clear, and plugging in a Miktek C7 with a male vocal was an instant hit, both with the vocalist and myself. I enjoyed using the smooth trim
With pristine Class A signal, a highly-flexible signal path and awesome EQ all in one channel strip, an MPEQ-1 is an investment in quality.
pot to work the vocal as he got closer and farther from the mic. I actually asked him to redo parts once I learned how to push it, getting an intimate vocal sound on certain phrases. Then I tracked a female VO transformerless with the same mic as well as with a classic Sennheiser MKH 416. The talent noticed how clean and clear her voice was; she was used to another preamp. Recording bass via DI, I punched up a variety of EQ settings and could hear how smooth and round it was. Again, its important to understand how this EQ works; once you learn how to best apply it, its an amazing sounding EQ. I used it on an old Gibson Falcon amp with a Beyer M160, set to 50 Ohm, then pulled out a touch of low-mids while boosting 8 kHz. Wowonce more, clean, clear results with tasty EQ parameters. Summary I like the UTA MPEQ-1 quite a bit. If you want pristine Class A signal, a highly-flexible signal path and awesome EQ all in one channel strip, this would be a great candidate. You do have to take some time to learn it, but its worth the investment. Speaking of investment, it will run you over $2k. But as I always say, you can never go wrong buying quality. The UnderTone MPEQ-1 is quality. Price: $2,495 Contact: Undertone Audio | http://www. undertoneaudio.com
Rich Tozzoli is PAR's Software Editor and a prolific TV composer. richtozzoli.com

Universal Audio Fairchild Tube Limiter Plug-in Collection

Fairchild compressor/limiters are revered for good reason, as they can be heard on some of the greatest records of all time, but keeping those vintage hardware units runningcomplete with 20 tubes and 14 transformersis not an easy task. Luckily for us, Universal Audio has modeled a few classic golden reference units from Ocean Way Studios, then added several modern touches for its own Fairchild emulations, now available direct from their website. Features The collection includes new 660 and 670 models, as well as the original 670 Legacy unit, each of which can only run via UAs proprietary UAD-2 platform. They can be instantiated as either mono or mono/stereo; historically, the 660 is mono and the 670 is stereo with Mid/Side capabilities. While these monsters sound great on drums, vocals, and master bus (or just about anything, for that matter), lets explore a few simple ideas about how the new 660 and 670 emulations work on guitars and bass. One of the first aspects to understand is the use of Input Gain versus Threshold. As the manual notes, the original units input control is behind the input transformer and ahead of the tubes in its signal chain. When you increase the Input, the input tube is hit harder, increasing distortion. If you want the character of your guitar or bass to have extra grit, turn up the Input Control knob and turn down Threshold. To get a lot of squash and grit, crank up both Input and Threshold. Further, users can play with the smallbut-useful HR (Headroom Control) knob,
UA strikes gold once again with its Fairchild emulation plug-in series.
which lowers the internal operating level. The default position is where the small dot is at 12 oclock (a value of 16 dB). To get more harmonic distortion, turn the knob clockwise (which increases the operating level). The unit tends to compress more when doing that, which means youll probably need to turn up the Output control to compensate for gain reduction. Its also useful to understand the Time Constant knob with variable attack and release times. Its a six-position switch where settings 1 to 4 are progressively slower behaviors and 5 and 6 are program dependent. Additional attack/release variations are also possible, enabling the Sidechain Link and disabling the Controls Link. In Use An edgy, aggressive bass sound can be easily made by turning up the Input Channel, Headroom Control and Output. I like to set the Time Constant to 1 or 2, where the unit tends to react fairly quickly. Also, I set the Metering knob to GR (Gain Reduction), which allows me to see (in dB) how hard the compressor is hit. Of course, I adjust all parameters depending on the material, but bass, in particular, can really scream via UAs Fairchild. With it, I can undeniably hear an increase in smoothness, punch and character. Taking it a step further, there are two additional controls that offer quite a bit of flexibility. The Sidechain Filter controls a 12 dB per octave low-cut filter that goes from 20 to 500 Hz. Simply put, this lets you take bass frequencies out of the compressor to limit excessive gain reduction. Without the Sidechain Filter, the entire spectrum of frequencies in the track will be compressed which has its place, of course. But by pushing up the Sidechain Filter value, users essentially leave those frequencies alone and compress those above it. With heavy electric guitar parts, I like to set the Sidechain Filter around 400 Hz. What this does is enable the compressor not to squash as much overall, because I essentially removed the low end from hitting the compressor. Those frequencies gets left alone while the lower mids, mids and top get tightened up. Certainly, its also quite useful on bass parts. Normally, I tend not to compress electric parts very much, especially distorted tube amps, but with this filter, I can get it to be smooth and punchy while also using the Output for some extra gain. Sometimes, howeverespecially with plug-in based guitar amp emulationsit sounds best to squash the whole signal, leaving the Sidechain off. Its useful to have the option when you need it. Last but not least, UA built in a Mix knoba feature I would like to have on every plug in, actually! While simple in theory, its incredibly useful in taste and touch. It sets the output balance between the dry signal and that of the one processed by the compressor. This lets you hit a bass or guitar hard with overall compression, then pull it back from 100 percent (Wet) to get an ideal blend of processed and unprocessed. To navigate this quickly, you can click on the Mix graphic to move to 50 percent, the 0 for 0 percent, and so on.
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Summary Overall, the Fairlight Collection is a great compliment to most any type of production track. Specifically on guitar and bass, users can control individual track dynamics while
increasing thickness and punch, yet its the combination of Input Gain, Threshold, Time Constant, Headroom, Sidechain Filter and Mix that helps me take tracks to the next level. Best of all, youll never have to change
a UA Fairlight tube. Price: $299 Contact: Universal Audio | uaudio.com
Eventide H9 Harmonizer MultiEffects Pedal
Ill take a look at just what makes this tool of the stage and studio so cool. Features Knowing that too many knobs and buttons overwhelm most of us, Eventide kept it simple with its H9. The top panel features a sixcharacter LED display, five small buttons, a large rotary Encoder/Switch and a pair of foot switches. For fluidity, the buttons control what the knob does. To load a preset, for example, users may press the Preset
More than a simple stompbox, the H9 is a breakthrough guitar production device on stage as well as in the studio, offers PARs Software Editor.
Breaking new ground is never easy, but thats exactly what Eventide has done with its H9 Harmonizer Multi-Effects Pedal. Incorporating the latest in blue tooth technology, iOS app control and sheer simplicity, this small but powerful floor unit can reproduce the sounds of all of Eventides stomp boxes and then some. In this article,
studio reviews
by Rob Tavaglione
phonic tapping of cables with too much gain, a modulation and the sweeping of a delay with ample feedback. This is the ultimate spontaneous sound-design tool, Grey noted enthusiastically as he completed a jet takeoff warble-swoosh that would fit into anything between dub, dubstep and EDM. The EXTC is a clear choice if you want to simplify the often complicated task of reamping with effects. If the $300 street price seems high, do consider that the design is near perfection (level controls to balance the two loops would be perfection). All the unique creative realtime flexibilities imaginable (and unimaginable) are brought to life with the EXTC. Price: $299 street Contact: Radial Engineering | radialeng.com
Radial Engineering EXTC Effects Reamper

Sometimes balanced audio needs to take a trip through unbalanced stompboxes, which involves impedance and level-matching as well as numerous patchpoints for ideal flexibility. The EXTC does all this and encourages creativity like no other single device Ive ever used! It starts with a mono input, either XLR or quarter-inch (TRS or TS). Next, tap into the signal via two unbalanced, hi-impedance, guitar-level effects loops with adjustable send/receive levels, polarity inversion and a wet/dry blend control. This blended signal feeds the XLR and quarter-inch outputs for reamping or returning to the recorder. With this much flexibility and control, EXTC applications are limited only by your imagination. The spacey effects my client Grey Revell and I achieved (as this box excels with two pairs of hands to animate parameters) were mind-blowingly good and way beyond what Ive ever achieved with plug-ins. There was a certain randomness and organic-ness to the mangled signals
The EXTC is a clear choice for simplifying the often-complicated task of reamping with effects.
that was truly inspiring, in a sound design/ experimental kind of way. Drums were transformed into alien blips with phasers/overdrive, bass guitars into roaring mechanical beasts with distortion pedals/tremolos/flangers andmy filmscoring favoriteline noise and the micro-
Radial Engineering MC3 Monitor Controller
The MC3 is ideal for on-the-go recordists and producers.
As small as a paperback, the MC3 provides switching for two monitor sets (A, B or both), complete with passive level adjustment, a total of three headphone outs on quarter-inch and eighth-link with a level control, a variable dim control, a mono-sum switch, balanced or unbalanced operation on quarter-inch jacks and an external power supply. Theres also a stereo aux out via quarterinch TRS that follows the headphone level
Rob Tavaglione is the owner of Catalyst Recording, Charlottes longstanding independent music production house. catalystrecording.com
control (ideal to feed a larger cue system) and a subwoofer output with level control and polarity reversal. Passive circuitry and quality switching relays make for some clean, near-neutral audio handling. There are no talkback mic facilities; youll have to achieve these within your DAW. Some considerations in using the MC3: The headphone amp is loud and clean maybe not quite as accurate as my Aphex Headpodbut noteworthy. The headphone level control follows the master volume knob; I do wish that it were pre-master. Surprisingly, the master volume knob spun on the shaft, as its improperly sized; I got better operation removing it. Considering the $250 street price, the MC3 is still a great choice for the personal recordist, the laptop recordist on-the-go
or the traveling producer who wants some stable continuity as work moves from room to room.
Price: $249 street Contact: Radial Engineering | radialeng.com
Equator Audio D8 Studio Monitors

Ive reviewed Equators D5 mini-monitors and was duly impressed. Their direct-toconsumer sales model made for some nice pricing at about $400 per pair (I bought a pair for my assistants B room), but it was the sonic performance and thorough design that won me over. Equators bigger D8s employ the same design principles, although their performance differed from my expectations. Features The $777 per pair D8s are nearly identical to the D5s, feature-wise: all wood cabinetry, gray finish, coaxial/time-aligned woofer/ tweeter arrangement, XLR and TRS inputs, stepped sensitivity control, three-position boundary switch (bass roll-off, sculpted and flat settings), front face port, limiter/ driver protection, and short circuit and thermal protection. Differences include the eight-inch polypropylene woofer (from 44 Hz, compared to 53 Hz for the D5), a 4th order crossover with a DSP-aided filter delay group, max. SPL up to 106 dB, and bi-amped 60 W/40 W for the woofer and tweeter, respectively. Additionally, Equators 60-day money-back guarantee to allow buyers to try the monitors in their own environmentsa very nice product feature indeed.
In Use To my ears, the radiation patterns of the D8 pair (with their coaxial design) makes for a nicely uniform soundstage, one that stays stable as you move from left to right. The tweeters radiate evenly Catalyst Recording's Assistant Engineer Brandon Nater on the vertical axis, allowing compares the Equator D5 and D8 models. some leeway in placement and chair height. Upper-bass/low-mids seemed a little carved Frequency wise, the D8s take a slightly out (around 300 Hz) and the high-mids were aggressive stance with prominent high- slightly harder than typical. I found voicing mids, subdued low-mids, a crisp top-end and position #3free-standing, no bass rolloff good bass extension. Many users will find to have the truest response for my large the D8s reach deep enough on their own; control room. Performance was overall quick personally, I would pair with a subwoofer. and popping, with lots of detail and little flab.
PHOTO: ROB TAVAGLIONE
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Assistant Brandon Nater and I set up both D5s and D8s on my monitor shelf with Primacoustic Recoil Stabilizers under the D8s and Auralex MoPads under the D5s. With both sets on the freestanding setting, we found the D5s to have a slightly darker presentation with more prominent bass response! Yes, the D8s reach a little lower frequency-wise, but the D5s are voiced with an overall plumper, fuller balance. With the D5 pair set for slight bass rolloff, the two pair were more closely matched frequency-wise. Despite similarities in radiation patterns, tweeter transients/speed and a lack of muddiness, significant differences still remain in our evaluation. The D8s have a low fat notching at 300 Hz, reducing muddiness and boxiness; the D5s have their notch
placed higher and not as deeply. The D8s have a broad 4 kHz to 8.5 kHz rise, whereas the D5s have a narrower definition boost that isnt as pronounced or irregular. After working on the D8s for a week at home, Brandon concluded, the D8s highs truly stand out more and with a little more bark to them, though they do sound fuller. Ill stick with the D5s for their smoother midrange. Summary The D8s cabinetry, finish, appearance, amplification, protection modes, level controls and that concentric woofer/tweeter mounting with its forgiving sweet spot coverage pattern make it a simply superb choice in studio monitoring. I like everything about the D8s except their voicing,
as I prefer monitors with ample low-mids to help highlight my most troubled frequency areas and a softer, fatigue-reducing presentation. Conversely, the D8s have a carved low-mid contour that reduces audible issues in the mix and a bit of rock-n-roll bite in the upper-mids that features crisp transients, lots of detail and tight damping. Thus, my voicing opinions are just that opinions. Considering the D8s 60-day trial period, if I were in the market for nearfields, had a tight budget, and especially if I used room correction DSP-software, the D8 would be the first Id try. After all, a free audition period just may be the best studio monitor feature on the market today. Price: $777 per pair, direct Contact: Equator Audio | equatoraudio.com Class A custom Sowter transformer-loaded tube-based mic amp with three bands of active lift only EQ, high-pass filters and a function switch that allows either mic, padded mic, line or Pullet inputs. [According to Thermionic Culture, the Pullet is Thermionics two-channel passive EQ that requires significant make-up gain. The Earlybirds inputs accommodate with ideal gain and impedanceEd.] The EQ circuit utilizes vari-slope curves for the bass and top lift controls and a broad, low-Q curve for the mid boost (at either 800 Hz or 2.8 kHz). This EQ is placed in the feedback portion of the Earlybirds circuitry and therefore does not introduce a new gain stage to the circuit; Thermionic reports that it allows EQ adjustments with-
Thermionic Culture Rooster and Earlybird Microphone Preamplifiers

If we take a close look at both the Earlybird 2.2 and Rooster from Thermionic Culture, we see a long list of design and operational similarities, followed by significant differences that guide each to a different set of ideal applications. Earlybird 2.2 The Earlybird 2.2 is a two-channel,
The Earlybird 2.2
Rob Tavaglione is the owner of Catalyst Recording, Charlottes longstanding independent music production house. catalystrecording.com
out fear of losing the original tone. High-pass filters are available at 40, 100 and 800 Hz, with a -12 dB/octave slope at 40 and 100 Hz plus a broad slope at 800, designed to interface with the bass lift band in that resonant filter/response dip before boost/simultaneous bass boost and cut method well known to Pultec EQ users. Although the Earlybird has two different input impedance settings300 and 1200 ohms, helpful in fine tuning EQ and transient responsetheres no DI or instrument input. Gain is at either 36, 44, 52 or 60 dB, with the pad applicable to any gain setting. There are output level trims, polarity flip and a 48 VDC phantom power switch. The Rooster The Rooster will accept mic and line inputs, but also front panel DIs that bypass the input transformers, sending signal directly to the units ECC81 double-triode input tube. The EQ section offers bass lift (varislope at 60 Hz); bass cut (five different frequencies at a variety of slopes); a mid/high lift (either 2.5 or 4 kHz or varislope at 12 kHz); a mid cut (700 Hz bell) and a LPF, which may just be useful when using the Attitude section. Attitude provides control over the amount and type of distortion created by a 5725 valve (as found in Thermionics popular Culture Vulture distortion processor). This circuitry starts with a minimal 0.01% distortion in the 1st position and increases dirt with either Triode (2nd order) or Pentode (3rd order) as one dials Attitude towards a maximum of six. The Roosters continuously variable out-
put via PCF 80 tube and Sowter transformer has a three-segment LED display. The Bird Vs. The Rooster Both the Rooster and Earlybird are overall clean, clear and full bandwidth, but slightly colored in a subtle way; percussive signals and bold tones are musically tamed. With sustaining sources, their low-mids seem to be accentuated and compressed; high end is crisp and present but not irritating or on the edge. These subtleties are just thatsubtletiesuntil the user approaches saturation of the circuits. Hitting the Roosters or Earlybird 2.2s front end with too much signal create light distortion in a non-obtrusive, mostly low-mid woofiness thats only a little ugly, but not splatty; I dove for the input gain a moment too late with a jumpy alto. On drum overheads, the Earlybird had enough speed to catch lively snare, enough fullness to translate toms and a smooth musicality that mitigated the harshest cymbals. Snare top via SM57 yielded nice, woody mids and a little extra top end EQ crafted a nice crack. Acoustic guitar shined with the Bird, while broad-stroke EQ work is enough to make room/instrument corrections well within your purview. Vocals of all varieties sound great via Earlybird, although input gain riding isnt possible, but at least output is. Although the Rooster does clean just fine, I found it to be geared towards dirtiness. The Rooster is designed rather similarly to Thermionics flagship distortion processor, the Culture Vulture, and sounds quite similar, though with far less control
variation, less gain available, but wider bandwidth (much like the Culture Vulture Mastering model). The Rooster can add serious attitude to DI bass tracks with creative EQing, filtering and adding its Attitude control. Drum tracks can receive that edgy triode distortion from Attitude, dangerously adding character to rock or retro-style productions. Whole mixes can be goosed up with the Attitude #2 Triode setting, but I found few mixes benefited by Attitude #3 triode or higher (it goes to 6). Attitude is likely more useful on subgroups of synths, drums, vocals, etc. with Triode for subtlety and Pentode for wild fuzziness. Summary I found myself enjoying these two Thermionic Culture units with no qualms concerning build quality, design or features. The Earlybird and the Rooster have enough EQ power to shape and mould sources not in need of surgery; both are gentle and forgiving with hot inputs, and neither is a big fuzz pedal (except when crushing the Roosters Attitude in Pentode). These designs and high-class sonics come priced in the thousands, thus not for the audio production hobbyist. If you place high importance on nebulous variables like musicality, transient shaping and tunable saturation, you may find these two cultured Brits to be necessary members of your audio flock. Prices: $2,795 and $4,525 street (Rooster and Earlybird 2.2, respectively) Contact: Independent Audio (US Distributor) | independentaudio.com
The Rooster
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studio reviews
by Tony Ware
Shure SE846 Universal-Fit Personal Monitors

Shures high-end universal IEM is tonally balanced and well built.
The SE846 is Shures new flagship universal-fit earphone, a $999 three-way phenomenon of meticulous engineering featuring quad balanced armature microdrivers including a patent-pending low-pass filter for subwoofer-like performance, interchangeable tuning nozzles, detachable Kevlar-reinforced cables and a plethora of eartips. And as soon as you first use the SE846, all of the technical marvels matter completely and not at all. Features The SE846 is too sonically engaging to concentrate on the specs sheet, while being too impressively tailored to ignore the mechanics. I can tell you that the miniaturized design manages to include 10 laseretched, precision-welded stainless steel plates that form four inches of high acoustic mass pathway, allowing a distortion-free low-frequency roll-off to begin at 75 Hz and achieve ~3dB at 90Hz. In Use I auditioned the SE846 for an extended (but still, far too short) period playing a wide variety of material encoded from 320 kbps to 24/192 kHz FLAC and delivered primarily through Sonic Studio Amarra 2.6 on a MacBook Air via an Audioquest DragonFly DAC or NAD Electronics D 7050 Direct Digital Network Amplifier. I also tested the SE846 with an iPhone 5 (with and without a V-MODA VAMP VERZA DAC) and an Astell&Kern AK100 portable high-resolution player. The SE846 delivers 15 Hz to 20 kHz at a sensitivity of 114 dB SPL/mW and impedance of 9 ohms. It also delivers vibrant low-end impact, enveloping midrange soundstage and polite treble precision, with no sense of disconnect or intrusive saturation between the three when using the balanced frequency response filter. With up to 37 dB of ambient noise attenuation, the SE846 can play the role of personal monitor for both on-the-go digital production/mix engineering and live performance. Comfort falls slightly below that of custom-molded options, but ergonomically the SE846 delivers 90 percent and, unlike customs, has resale value. Summary While the Shure earphones didnt extract quite the analytical and imaging authority of my JH Audio JH13 Pro Custom In-ear Monitors, its accurate frequency response and warm tonal balance put the fun in functional and place it near pole position for personal live monitoring and portable production purposes. Price: $999 street Contact: Shure | shure.com Berlin-based digital music hardware/software developer Native Instruments introduced its MASCHINE groove production instrument in 2009, tethering dedicated USB-powered hardware to an increasingly comprehensive pattern-based sequencer, professional sampler, effects system and sound library. As with all Native Instruments products, MASCHINE presented a fully unified workstation bridging the tactile and virtual production worlds, and its interactive, loop-based organization
Native Instruments MASCHINE 2.0 Groove Production Instrument

The latest incarnation of this hardware-based rhythm and dynamics creation instrument allows for even more browsing, arrangement, sculpting and monitoring capabilities.
Tony Ware is a DC-based DJ, professional audio journalist and regular contributor to Pro Audio Review.
34 ProAudioReview | January/February 2014
capabilities have been repeatedly augmented with rhythm creation and dynamics shaping components. In 2011, Native Instruments introduced the more compact MASCHINE MIKRO, then in October 2012 it tweaked MIKRO and the full-sized MASCHINE to MkII, offering more colorful grouping and visual LED feedback, expanded host control and more comprehensive timestretch/ pitch shift sample control in the same footprint. The November 2013 introduction of the $999 flagship MASCHINE STUDIO controller and 2.0 software expands the system physically and functionally, offering the most intuitive workflow to date by transferring even more browsing, arrangement, sculpting and monitoring capabilities into its terminal. Features The MASCHINE STUDIO 2.0 hardware, which is no longer bus-powered, is not highly portable, but it is highly potable. The 17-inch by 13.8-inch surface area retains
the 16 multicolor velocity/aftertouch-sensitive pads, eight multifunction rotary encoders plus master/group/transport controls, and adds two high-resolution TFT 480x272 color displays, dedicated level metering and a jogwheel-centered edit section. While I still needed my MacBook Air (2.0 GHz i7/8 GB RAM/256 GB SSD) to run the software, I no longer felt required to gaze at its screen. The two MASCHINE STUDIO displays offer icon-enriched library browsing, plug-in strip navigation, detailed scene/pattern timeline viewing, volume/pan positioning and accu-
rate waveform range selection/slicing/fading/overlapping/etc., while the illuminated, clickable jogwheel provides responsive fine-tune control for copy/paste/quantize adjustments, pitch/timing editing and other pad/events modifications and parameter automation. Angled by the slabs integrated pop-out legs, MASCHINE STUDIO 2.0 provides a consummate beat-creation centerpiece (and theres a MIDI mode for customization/use with other software, if desired). The I/O is still MIDI-only, however, so an additional interface is needed for recording original samples. In Use As for the software component (included at $999 or available separately as a $99 backwards-compatible upgrade for all MASCHINE hardware generations), MASCHINE STUDIO 2.0 debuts several invaluable tools, including, among others, five Reaktor-based acoustic/electric drum
new live products

Yamaha CL Series Version 1.7 Software
Yamaha Commercial Audio Systems, Inc. has released a Version 1.7 software upgrade for the Yamaha CL Series Digital Console. The free download is said to provide improvements over the softwares previous version, designed specifically for engineers in festival or other complex event settings. New CL V 1.7 features include Selective Load/Save for set up data such as scene memory, libraries, etc., which can now be individually loaded from or saved to USB memory, providing an efficient way to load complex setup data. The HA Option for changing input patches now makes it possible to select whether the end user wants to use the HA settings from the patched port as is, or copy the channel HA settings to the patched port in order to quickly change input patches when mixing in a fast-paced environment without having to copy HA settings. Price: Free download Contact: Yamaha | yamahaca.com
PreSonus StudioLive AI-Series Active Integration Loudspeakers

PreSonus is now shipping its StudioLive AI-series Active Integration Loudspeakers. The series includes the full-range StudioLive 312AI, 315AI, and 328AI, along with the StudioLive 18sAI subwoofer. The StudioLive AI series uses Active Integration technology, which combines wireless and wired networking and communications with DSP to create a unified working environment. This speaker series incorporates Fulcrum Acoustics TQ Temporal Equalization algorithms, and employs multiple, fully addressable Finite Impulse Response (FIR) filters . Each AI-Series full-range, powered, 3-way loudspeaker uses a CoActual 8-inch coaxial speaker with a 1.75-inch titanium compression driver, tri-amplified, Class D power amplifiers for a reported 2000 W of power, combo XLR/TRS line input and an XLR microphone input with an XMAX Class A mic preamplifier and 12 VDC phantom power, as well as an XLR audio throughput. Prices: from $1,399 each, street Contact: PreSonus | presonus.com
Allen & Heath Qu-16 Mixer: V.1.2 Software Update

Allen & Heath has updated the firmware for its Qu-16 rackmount digital mixer, debuting new features such as enhanced DAW control, extra processing on mix outputs, processing Libraries and enhancements to the accompanying QuPad app. V1.2 introduces dedicated DAW control, enabling the Qu-16s custom fader layer to be populated with up to 16 MIDI strips for direct assignment or learning of faders and Mute, Sel and PAFL keys in DAW software. Users can also download the free DAW Control app for Mac OS X, which translates the MIDI messages to popular HUI or Mackie Control protocols, for easier setup and bi-directional integration with the mixer. Qu-16 will now be able to have both 4-band parametric EQ and 28-band graphic EQ on all 12 mix outputs, so that engineers are free to use their favorite equalization tools. Price: Free download Contact: Allen & Heath | allen-heath.com
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new live products

TC-Helicon VoiceLive3 Vocal Effects Hardware
TC-Helicon has announced the release of its VoiceLive3, the most recent upgrade from its VoiceLive line of vocal effects. VoiceLive 3 updates hardware processing and a vocal effects path, and includes various Guitar FX with stomp box styles taken directly from TC Electronics range of TonePrint pedals. The unit also includes a phrase looper. VoiceLive 3 features 11 independent effects blocks, more than 180 different styles, and 250 factory presets with more than 1,000 others available for free download. Price: $799 street Contact: TC-Helicon | tc-helicon.com
Soundcraft ViSi Remote iPad App

Soundcraft has unveiled Version 2.0 of its ViSi Remote iPad app, which allows remote control of Soundcraft Vi, Si Compact, Si Performer and Si Expression mixing consoles wirelessly from an iPad. ViSi Remote 2.0 requires no additional hardware other than a wireless access router connected to the Harman HiQnet Ethernet port of the console. With ViSi Remote 2.0, engineers can roam the venue and adjust mixes and other audio parameters directly from an iPad. The new 2.0 version allows Si Compact, Performer and Expression users to adjust channel strip settings per channel, including settings such as Gate, Compressor and EQ along with Pan, LR/Mono routing and phase invert switches. This functionality will be added to Vi consoles in a future update. Price: Free download Contact: Soundcraft | soundcraft.com
Behringer PMP Powered Mixer

Behringer is now shipping its new PMP Series compact powered mixers. The line offers ULM 2.4 GHz wireless-ready operation; Klark Teknik digital Multi-FX processors; and FBQ feedback detection. The four unique models provide input configurations ranging from 5-12 channels, offer offer 500 W Class-D power and are intended for musicians, houses of worship and small to medium-size performance venues. Common features throughout the line include IMP mic preamps with switchable 48 VDC phantom power for condenser microphones; a Klark Teknik FX processor with 25 presets, including reverb, chorus, flanger, delay, pitch shifter and various multi-effects; dual 7-band graphic EQ and more. Price: from $199 (PMP550M) Contact: Behringer | behringer.com
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live review
by Alistair McGhee for AudioMedia
Allen & Heath GLD-112 Digital Mixer

Allen & Heaths iLive series technology has created a significant reputation in the modern live sound market and the technology has been cleverly packaged to suit a wide range of requirements. For example, its new Qu-16 is making tremendous waves at $2,000 street while the GLD Series, iLive-T, and the iLive product lines have a multitude of stage box and surface options while remaining very affordable. The latest addition to this extensive family is the GLD-112, a 28-fader surface for the GLD range.
GLD launched with the GLD-80 surface (at $8,999 street) and a choice of stage boxes using Allen & Heaths dSNAKE Cat5 technology. The GLD surface offers four work layers; the GLD-80 has 20 faders and by extension the new GLD-112 bumps that up to 28. Features What is it we look for in a live sound
Few products offer the GLD-112s magic blend of features, workflow, sound quality and expandability, making it a true bargain.
desk? Channel count, sound quality and workflow? Features? Reliability? Of course, cost is never far from our minds. The GLD Series is a serious attempt to check all above boxes. First, channel count: the GLD system maxes out at 48 inputs; this is what separates it from its big brothers in the iLive stable. Yet in the digital world, channel count vs. fader count is an issue. Who wants a 48-input desk with one fader and 48 layers? Key to the GLD-112 is its 28 faders on one surface. Why is that so important? Well, lets think back to 48 inputs. With a GLD-112 on two layers, we have 56 faders, which the eagle-eyed among us will notice is enough to max out inputs and have eight mix out-
A longstanding writer for PAR sister publication AudioMedia, Alistair McGhee has been a BBC audio engineer for well over a decade.
puts without dropping down to layers three and four. And, with all effects processing available on-board, users may not need all the surface inputs; thus 12 or more faders are available for groups, auxs and other fun stuff. When it comes to sound quality, Allen & Heath has established a serious rep for its digital desks. Across the board, the companys mic amps are well regarded and users should have no worries about quality on that level. Four mic inputs comprise half of the GLD112 surfaces analog inputs (plus four RCA/ phono inputs for a total of eight); beyond that, users will reach for the Cat5. The GLDs come fitted with an onboard dSNAKE input. The 2412 dSNAKE stage box packages 24 mic inputs with 12 outputs plus options for one I/O expander and adding a string of Allen & Heaths own MEmixer personal mixers (or personal mixers from a competing line, such as Aviom products). Adding an AR84 to the 2412 provides eight more mic inputs and another four outputs. If that isnt enough, another AR84 expander can be added directly into the GLD surface. I like the fact you can get 24 channels in one hit, while others may prefer the 16 x 8 approach offered by other brands. One thing you cant do (which I would like to do) is plug in two 2412s. What about workflow? Like many digital desks, parameters of a selected channel are accessed with hardware encoders and LED displays of settings. This tactile functionality can be utilized without reference to the built-in touch screen, which, besides offering an informative graphic display of settings, provides further control (or primary control, your choice). Its great to have both UI options and this dual capability enables a lot of flexibility. Each channel and mix output on the surface has a colored LCD scribble strip. This simple feature is a real lifesaver, actually.
While I shouldnt have to mix by color, in the heat of the moment, reaching for a red fader can be the difference between getting the lead vocal mic and the drummers vocal mic (and nobody wants that). Each channel has a dedicated Mix button, allowing rapid assignments of channels to mixes and also a very quick method of checking a mix backwards. Not as in, where is this channel going? but which channels are assigned to this mix? Onboard effects deserve a special mention, too. They have been borrowed from the iLive series, are well-tested and deliver professional sounding results across the board, literally. In Use How does the mixer feel? Very solid, I think; both its hardware and software are thoroughly professional in operation. This is not an MI product in wolfs clothing; it is a pros tool designed to do a night-in/ night-out gig. And, like every Tom, Dick and Debbie Harry, it offers an iPad app. I understand people wanting to set up the room over wireless, but personally I dont want to mix over WiFibad experience, dont like to talk about it. However, theres a cut down version of the app (oneMix), which offers control of just one aux, allowing a musician to mix his own individual monitor feed. Also shiny and new is the GLD editor software. Available for Win and Mac OS (I only ran the Win 7 and XP version, but without any issues), this software allows you to set up the desk while offline and control it in real time. I think its a bit more literal than the iLive stuff, which makes it easier for stupid people like me; for the most part, the remote looks just like the surface. The GLD accepts USB keys for audio playback and you can also record a stereo mix to the key, though at 48 kHz only. I do like
the fact that there is a shortcut to the USB play/record screenalways available in the tool bar at the bottom of the touchscreen. In buying a digital live mixer such as this, one of the things everyone thinks about is to what extent the purchase is an openended investment rather than a one-off; here, the GLDs have some rather potent advantages. Although the desk ships with dSNAKE, a range of other interfaces are available. Customers can choose between ACE, MADI, Dante, Ethersound, and Waves Sound Grid formats. And if you dont like any of those, theres a multi-output card with ADAT, iDR, and Aviom on it. If you hanker after a large networked system or already have an investment in any of the above-referenced technologies, buying a GLD keeps you in the game with the option to add more A&H functionality later. Summary The GLD-112 is, in one sense, not really hard to use. Pretty much all of it has been road-tested and refined in other Allen & Heath products. It feels well screwed together and users will be unlikely to get any nasty surprises. Its software is growing and bettering all the time and, with the release of the GLD editor, is now very comprehensive. GLD workflow is flexible and provides some welcomed interface features for those making their living behind a digital front-of-house mixing desk. Undoubtedly pros will have already noticed that an Allen & Heath isnt the cheapest mixer on the market, yet few other products offer this kind of magic blend of features, workflow, sound quality, and expandability that makes the GLD 112 a bit of a bargain. Price: $9,999 street Contact: Allen & Heath | allen-heath.com
GLD workflow is flexible and provides some welcomed interface features for those making their living behind a digital front-of-house mixing desk.
www.proaudioreview.com January/February 2014 | ProAudioReview 39
live review
by Strother Bullins
Yamaha STAGEPAS 600i All-In-One Portable PA System

As 1000 W Class D amps in near-bulletproof cabinets become the unofficial rule in pro-grade portable PA (PPA) systems, lightweight all-in-one systems are growing up, toojust in slightly different ways. Case in point, the 600iYamahas latest incarnation of its successful STAGEPAS Seriesoffers appropriate, thoughtful product refinements to the all-in-one category, as modern PPA buyers have become spoiled by the overall better-sounding, more efficient powered speakers currently in the marketplace. Ive used previous STAGEPAS PPA incarnations and can attest that this one isby leaps and boundsthe best yet. Features Out of the box, Yamaha has refined its top player for the all-in-one format with a proprietary flair. The company has been manufacturing STAGEPAS rigs for years now, and the careful evolution showsfrom overall improved materials and parts (seemingly influenced by its higher-end PPA speakers such as DXR) to the sleek, user-friendly layout of the Yamaha powered 10-input mixer (with published specs of 280 W + 280 W, 4 ohms @ 10 percent THD at 1 kHz), which snaps easily into the back of one of the rigs two Model 600S two-way passive enclosures. Compacting to two fairly balanced pieces for one-trip PPA load-ins, the 600i is a just add mics rig, also featuring a perfectly-sized storage compartment to hold four handhelds and cables, plus the included speaker cables and AC cord, in the back of the second Model 600S. In Use Cutting to the chase, this is now my favorite PPA to recommend to singer/songwriters and one- to four-person acoustic or vocal-based groups playing small to midsized bars and clubs. Why? Most importantly, its an all-in-one model that (finally!) provides enough power for real gigging you know, those nights where you and the vocalist still have to be louder than two big TVs, dueling bachelorette parties and that jukebox the bartender keeps forgetting to turn off. In all seriousness, Im amazed at the power packed into the small 600i mixer, perfectly angled when positioned for tabletop use. Further, load-ins can now truly be no more than two comfortable round tripsall PPA gear in one, and stands and instruments in the other. Sonically, the Model 600S cabinets are voiced well, if not just a bit carved out in midrange frequencies; I hear low end power, fullness, articulated thump and detail in this speaker pair that is more along the lines of Yamahas higherend powered PPA cabinets of comparable size, though not quite as accurate frequency response-wise. Add in its wisely chosen I/O, four channels featuring actually good enough Yamaha SPX reverb, and the master bus variable EQ (try cranking to Bass Boost for between-set dance and hip-hop tunes via iPhone), and 600i users arent even breaking a sweat (but sound like it). While I mainly used the 600i as the sole powered product in several acoustic gig evaluations, I did pair it with
At $899 street, theres not a better all-in-one PPA option for under $1k.
Yamahas DXS12 Active Subwoofer for one relatively high-volume cover rock band gig in a medium-sized, long and skinny venue with tall, tin-tiled ceilingsa place always ripe for feedback and generally cavernous acoustics. This time around, there was no feedback found (I just set and forgot the Feedback Suppressor) and the additional fullness added by the subwoofer was essentially what Im used to hearing when gigging via a DXR/DXS speaker configuration. So, in summary, two words: wow, and sold. Summary Not that long ago, most all-in-one PPA systems were notoriously underpowered with a comparably plastic, hollow sound. The STAGEPAS 600i is leaps and bounds beyond this old stereotype, providing marquee-level features truly designed to serve the modern DIY performance gig. Price: $899 street Contact: Yamaha | yamahaproaudio.com
Strother Bullins is an active musician, recordist and the editor of Pro Audio Review.
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41
Apogee Quartet
(continued from page 14)
Eventide H9
Summary For a remote recording rig, combined with an iPad, it is a stellar and very compact option. This is the first USB all-in-one rig that Ive encountered where I truly felt like I could make a record and not feel like apologizing for any audio compromises. Its that good. Combined with another one or two 8-channel Lightpipe interfaces, it could easily be the heart of a great full band tracking setup. Im extremely impressed with this little box, with great sounding preamps and converters and all of it packaged in a unit that works with iOS and is under $1,400. Apogee has a winner with the Quartet. Price: $1,395 street Contact: Apogee Digital | apogeedigital.com
NI MASCHINE 2.0
modellers, unlimited groups (of 16 sounds each), unlimited plug-in inserts per sound/ group, sidechaining/bus compression and a cue bus for live performance. The pleasingly stackable, adjustable monophonic drum algorithms (kick, snare, hi-hat, tom, percussion) almost make you forget the additional 8 GB multi-genre sample library. The entire package features a rewritten, multicore-supporting sound engine that is noticeably (40- to 60-percent) more resources efficient, and finalized productions can be exported in multiple formats or integrated in a multitrack as a DAW plug-in. It wont replace a linear recorder, but it will play nicely with it. Summary Ultimately, MASCHINE STUDIO 2.0s success is that it evolves with so many more options while facilitating creation at an even faster pace than before, reinforcing it as a go-to on-the-fly sketchbook. Price: $999 street Contact: Native Instruments | nativeinstruments.com
button and scroll with the rotary encoder. The preset will automatically load and the title will scroll across the screen. The rear panel has nothing but stereo Hi-Z unbalanced inputs and outputs (two each), an expression pedal jack, a jack (12 VDC/4.5 W) for the included power cable, and a mini-USB port. The H9 automatically detects how many outputs are plugged in for mono or stereo operation, and the USB jack plugs into a CPU for full control and software updates. The presets are preprogrammed with expression pedal mappings; its nothing but plug and play. Theres also MIDI I/O on the side for MIDI program changes or MIDI clock slaving. The H9 features comprehensive Bluetooth capabilities, allowing for full control via iOS device such as an iPad or iPhone. I downloaded the Control Software App, signed up for my Eventide account, paired my H9 and was soon dialing in presets and programs from my iPad. Soon after, the App automatically appeared on my iPhone and I worked from there as well. It was great to be able to quickly tap through presets on my iPhone to audition them, then tweak the settings. Amazing! You can also download the H9 Control software for Windows or Mac, allowing for desktop pedal integration. Plugging in the mini USB jack, I was able to tweak each preset on GUIs that look like the original pedals themselves. Its a great way to work. With so few features on the front panel, you might think its hard to dig in. Not at all, actually. The H9 features a variety of ways to access parameters by pressing and holding various combinations of buttons and switchesor by using the X, Y and Z pre-programmed hot keys. For example, users can add up to +18 dB of input gain by pressing and holding the left foot switch until IN+O appears, then scroll up the gain values. Or, to access the tuner, press and hold both foot switches at the same time, etc. While the H9 comes with 99 presets from Eventides collection of pedals, users can audition and buy new algorithms
with a complete set of factory presets for $19.99 each. These are downloaded in seconds and stored in a users own H9 account. I purchased some extra Digital Delay sounds from the Time Factor pedal and the payment was processed instantly through Amazon.com Payments. These will be perfect to use on gigs with the H9 in my pedalboard. This review is the first time Ive learned a piece of gear entirely by watching videos. Eventides Adrienne Humblet did a series of 30 short clips (which I watched via YouTube) where she demonstrated the ins and outs of the H9. I literally sat there with the H9 on my desktop (hooked into my Pro Tools rig) and watched all 30 videos in a row. They are quick, easy and very informative. As she demonstrated each feature, I would run through them myself on the unit, sometimes multiple times to drill them into my thick head. Within an hour or so, I had almost a full understanding of how to use the H9. In Use As a guitar player, I love this unit. Best described as rich and deep, it delivers superior delay, pitch, modulation and reverb sounds in a small package. As a TV composer and sound designer, I love this box even more. Plugging in anythingmy Tele, Les Paul, Strat, baritone, cigar box guitar, etc.it delivers pure inspiration with a specialty in ambience. In fact, it was actually hard to do this review because I would immediately compose with whatever presets were dialed in. Summary The H9 is a breakthrough device. With top quality sounds, full wireless Bluetooth and USB desktop control and an expandable palette of sounds, its a world-class music-making tool. Its design is intelligent, easy to use, and highly functional. Actually, this box is so deep I wish I had more word count to talk about it. Yes, $499 is not cheap for a pedal. But for what it offers, its worth far more. Price: $499 Contact: Eventide | eventide.com
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