Eventide releases a video the other day showing how Richard Devine gets down on the h9000.
Nice studio tour showing some choice kit.
Eventide releases a video the other day showing how Richard Devine gets down on the h9000.
Nice studio tour showing some choice kit.
The Idea is simple… create a small bedroom set up to be able to create music, work on sample pack layouts, and have FUN with synths and samples WITHOUT my computer. I think with this set up I am off to a great start.
Everything sits atop the Zaor Studio Furniture Miza Jr desk. this helps keep the cables out of sight and the look matches the original 1960’s wall print in our bedroom. the Miza features a nice pull out tray designed for 61 key controllers and slim synths. here I have the jdxa on it which is admittedly a bit deep but, hey I just got it and wanted to feel it out. I will likely swap the Jdxa for the Deepmind 12 in the coming weeks. https://zaorstudiofurniture.com/index.php?page=miza
for monitoring I am using the Ik Multimedia iLoud micro monitors… whats great about these is that not only are they a sleek white that goes great with the wall, but they sound quite nice without being bulky or overbearing in the room. For added convenience they have bluetooth and the bluetooth MIXES with the incoming audio. so if you pair your phone to them you can still use them as monitors and a playback device. really nice!
The Arturia Minibrute 2s plus Rackbrute combo is allowing me to have a mini version of my larger modular rig for sample fodder. currently I am using the ReBach Catch vco-AB and VCF-AB along with the D-Env and TraniModule for the bulk of sound creation to add depth to the minibrute 2s sound engine. the onboard sequencer of the 2s is really quite powerful and allows me to get 3 melodic lanes of sequencing at once.
The main sequencer and overall scratch pad is the MPC live. This is a nice compact way to sample in my synth sources without having to rely on a laptop computer. Built in features like through put monitoring allow me to run all my gear through the mpc and jam in realtime. I then use the looper function to catch my sources in real time. often I like to work without midi to keep a loose human feel on the productions.
In the coming weeks I expect this set up to evolve with gear coming in and out of this set up but the goal will be for it to remain small and clean. pretty far opposite of my main studio set up.
Heritage Audio announces SUCCESSOR STEREO BUS COMPRESSOR missing link like no other
MADRID, SPAIN: having made sizeable (sound) waves when bringing its innovative RAM Systemrange of monitor- controlling solutions pioneering Bluetooth audio streaming, plus premium processing, excellence-exhibiting ELITE SERIES mic preamps to market in 2018, European pro audio manufacturerHeritage Audio aims to repeat its successes several times over during the course of 2019, starting with an announcement of the upcoming SUCCESSOR STEREO BUS COMPRESSOR — a new stereo bus compressor like no other on the market — as of January 22…
What better way to make a formal introduction, then, than withHeritage Audio CEO Peter Rodriguez’s rallying call, centred around a bold opening statement: “SUCCESSOR is the missing link between your separate tracks and a full and round-sounding hit, allowing vocals to shine through without muddying the backing track.”
That being boldly said, why settle for sterile VCAs (Voltage Controlled Amplifiers) in mix or instrument bus applications now that theSUCCESSOR STEREO BUS COMPRESSOR — to give it its full and apt appellation — will soon be on the market?Meanwhile, back to the man with a successful SUCCESSOR STEREO BUS COMPRESSOR-centred plan, Peter Rodriguez: “Feel how your separate tracks interact and blend together in a way that’s not possible when master bus compression duties are relegated to the mastering stage.”
So what’s the thinking behind the SUCCESSOR STEREO BUS COMPRESSOR, then? Traditionally, bus compression has been taken care of by VCA-style devices, based on ICs (integrated circuits), which are wholly unrelated to the warmth, fatness, and character associated with discrete Class A technology trading on chunky transformers and diode bridge-based gain reduction. Results show that the SUCCESSOR STEREO BUS COMPRESSOR can capably deliver on all of those attributes and then some.
“Snare drums can be more present, and the stereo image widens as there is more natural room for tracks to breathe; vocals stand out in the mix without being overwhelming or muddying guitars or other instruments.” So says Peter Rodriguez. And he should surely know.
Knowingly making use of Carnhill transformer-coupled balanced inputs and outputs for added character and vintage vibe, Heritage Audio’s new SUCCESSOR STEREO BUS COMPRESSOR is, indeed, a true stereo diode bridge-based bus compressor with advanced sidechain filtering and built-in parallel processing capabilities, sharing the same Class A ’73-type output stage that the Spanish company is famous for.
Fortunately for the discerning, diode bridge-based bus compression excels at bringing about 2nd order harmonic distortion characteristics and true vintage tone while eliminating nasty odd harmonic content. Clearly, by being based on legendary vintage diode bridge designs, the SUCCESSOR STEREO BUS COMPRESSORkeeps the sonic character of such units alive, albeit adding new features into a pleasingly-musical mix, making for a very different animal in its own right — one which will make mixes shine in modern production environments. Ultimately, ultra-fast ATTACKand RELEASE control times that are not present in vintage designs allow for far more flexible settings, such as FET-like sounds and volume maximising without transient artefacts.
Are there any additional noteworthy features to be found on the soon-to-be-market-leading SUCCESSOR STEREO BUS COMPRESSOR? Why, of course! Complex sidechain filtering options, which work well with already commonplace high-pass filters to introduce mid-band peak filters and high-frequency compression to allow bus correction that was not previously possible — ultimately, users can tailor their mixes in ways not previously possible, in other words; SIDECHAIN L and SIDECHAIN R SEND and RETURNconnections, allowing for external sidechain signals or further external processing of the internal one; BLEND control (with dedicated ON/OFF button allowing for instant comparison betweenWET and DRY signals), offering built-in parallel compression with no external equipment required; and, last but not least… true stereo operation on single controls with matched gain cells for extremely precise left/right tracking and almost zero offset between channels — compression tracking works in ‘Oxford’ mode, meaning that the highest signal takes over compression as opposed to summing the left and right channels.
From FET-like, all-buttons-in drum sounds — now in stereo! — to VCA-style mix bus compression with the added warmth and fatness that only transformers can bring to the table, the SUCCESSOR STEREO BUS COMPRESSOR literally lives up to its notable name. After all, it is designed to stay hooked up to the mix bus and make mixes shine forth for all to hear, so making mixes a success is the name of the (Heritage Audio) game (plan)!
Planning on attending The 2019 NAMM Show, January 24-27 in Anaheim, California? Come feast your ears on Heritage Audio’sSUCCESSOR STEREO BUS COMPRESSOR alongside other tasty pro audio treats there on RAD Distribution’s booth (15318).
The SUCCESSOR STEREO BUS COMPRESSOR will be available by the end of Q1 via Heritage Audio’s growing global network of dealers (https://www.heritageaudio.net/where-to-buy/) with an MSRP of€1,299.00 EUR (excluding VAT) and MAP of $1,499.00 USD.
For more in-depth information, please visit the dedicated SUCCESSOR STEREO BUS COMPRESSOR webpage here:https://heritageaudio.net/catalogue/successor/
Watch Heritage Audio’s informative introductory SUCCESSOR STEREO BUS COMPRESSOR video here:https://youtu.be/KbtJPrV1DaY
studio furniture designer and manufacturer ZAOR Studio Furniture is proud to announce availability of its Maestro series — symbolising a new line of workflow-focused desk developments — as of January 14…
A Maestro is often defined as a distinguished conductor or performer of classical music — or, alternatively, a distinguished figure in any sphere. So, given that ZAOR Studio Furniture’s latest line of desk designs were developed in close collaboration with some of the best mastering/mixing professionals around, as well as manufacturers of some of the best mastering gear available anywhere, such as award- winning audio gear developer SPL, theMaestro moniker is, indeed, highly appropriate. As such, the new product line’s many features were carefully chosen to suit.
Starting with the larger Maestro 36, all aspects of its intended workflow were thoroughly analysed with new or improved solutions implemented for each as a direct result. Reality dictates that mastering Maestros will form its primary — though not necessarily exclusive — user base, so, since they will be applying final polishing touches to the sound of mixes or edits, listening experience enhancement lies at the heart of this thoroughbred design: an extra low profile prevents the desk from getting in the way of the all-important sound reproduction, aided by back- sited VMT absorption panels by self-styled Innovative Acoustics Solutionsprovider Vicoustic to minimise chaotic reflections and resonances, while the work surface itself is made from AERstop, an acoustic material that reduces reflections and deftly doubles as a mouse pad. Perfectly sized, an armrest aids smooth typing and reduces wrist stress.
Since Maestro 36 itself is effectively more ‘air’ than structure, sound is not boxed in — improving the listening experience from an acoustic standpoint; it also allows air to flow freely — keeping working temperatures at optimal operating levels. Additionally, a dual (audio/power) cable path separates signals from power leads, thereby keeping hum and other inductive noise to a minimum. Meanwhile, chrome bars with pre-fitted Velcro strips allow for fast and clean (re-)cabling.
As implied by name, Maestro 36 features 36 rack units, ultimately divided into three sections of 12U apiece, angled upwards at a gentle incline across the desk to accommodate all the tools essential to the job at hand. Here they are positioned within easy reach, realising focused workflow within a minimal footprint. Furthermore, an additional 18U of forward-facing rack space — split into three 6U sections — can be installed at floor level where visual contact is less important; installing only 12U of forward-facing rack space (split into the two 6U sections located to the left and right) as an alternative allows the user to stretch their legs in the space between them while working. Behind the angled rack units is a flat plane — lowered so as not to impede sound travel — that can comfortably carry computer screens at eye-level, near-field monitors — sited on optional isolators to avoid sound transmission through the desk itself, which would lead to smearing in the lower frequencies — for cross-checking mixes, and/or metering… nothing superfluous, nothing amiss, as ergonomics and acoustics are beautifully integrated to live together in perfect harmony. Mr McCartney might well approve; at any rate, his chosen mastering engineer would — with certainty!
Again, as implied by name, the smaller Maestro 24 tempts users with packing 24U of the most essential pieces of rack gear (in two sections of 12U angled at a gentle incline) across a desk design superficially similar to its Maestro 36 bigger brother to form a processing powerhouse suited to smaller spaces with all attributes present and correct — cue padded armrest, dual cable path, low profile, acoustic optimisation, and integrated mouse pad. Again, taking its innovative design cues from its Maestro 36 bigger brother, an additional 12U of forward-facing rack space — split into two 6U sections this time — can be installed at floor level.
Literally symbolising a new line of workflow-focused desk developments, then, the family Maestro members are constructed from MDF (Medium-Density Fibreboard) and hand-selected solid wood to cater for today’s production-savvy pro audio specialist. Simply put, they each encompass everything engineers, musicians, and producers always dreamed of owning. Of course, now that dream has become reality — realised as compact, great-looking, and affordable packages available to anyone. All are flat packed for easy transportation and assembled and disassembled easily, thanks to professional hardware.
Handily, the must-see Maestro series will be showcased by ZAOR Studio Furniture on Booth 17214 at The 2019 NAMM Show, January 24-27 in Anaheim, California. Come check them out!
Maestro 36 and Maestro 24 are available to order (in Cherry Black, Silver Black, or Black finishes), either directly through the Zaor Online Shop (https://zaorstudiofurniture.com/shop/en/order) — including free shipping within the EU — or via ZAOR Studio Furniture’s growing global dealership network (https://zaorstudiofurniture.com/index.php?page=dealers) with respective RRPs of€2,999.00 EUR and €2,399.00 EUR, including tax.
For more in-depth information, please visit the dedicated Maestro 36 product webpage here:https://zaorstudiofurniture.com/index.php?page=classicmaestro36
For more in-depth information, please visit the dedicated Maestro 24 product webpage here:https://zaorstudiofurniture.com/index.php?page=classicmaestro24
This is a chilled out show where I hang out in the lab and discuss topics live.
The Elysia Karacter is a really interesting rack unit and not just because it’s a high quality distortion or saturation. The Karacter gives you a ton of tone shape characteristics and control in one simple 1u rack space. Control Voltage seems to be a buzz these days and for good reason. Control voltages give you extremely fast precise control over parameters and allow for easy interaction not just with modular gear but with various studio pieces. Karacter Gives you CV control which isn’t very common in units of this style. Lets talk more about the sound. There are a few modes of color to grab from this unit, the first of which is saturation. Continue reading