ProAudio Review November 2012

New Products, P.
10, 44
studio | live | broadcast | contracting | post
ProAudio Review
NOvEMBER 2012 | vOLuME 18 | iSSuE 11
Holiday Gifts for the Audio Pro
the Review Resource for Sound professionals
Line 6 StageScape
IntellIgent Portable MIxer
INSIDE:
Technically Speaking: Polish And Perspective Studio Sense: The Mastering Engineers Demise?
more reviews
Blue Reactor iZotope Ozone 5 Sonnox Oxford Limiter Thermionic Culture The Fat Bustard, The Phoenix & The Pullet Waves L3-16
www.proaudioreview.com
in this issue
Studio
Covering Recording, Broadcast Production, and Post Production New Studio Products 10 Holiday Gift Ideas for the Audio Pro
Review 22
ProAudioReview
NOVEMBER 2012 | VOLuME 18 | ISSuE 11
Sound Reinforcement
Covering Live Sound, Contracting, and Installed Sound
44
by Russ Long
Must-Have Plug-ins: Mix Bus Manipulators featuring iZotope, Sonnox & Waves
by Rich Tozzoli
Review 26
iZotope Ozone 5 Advanced Mastering Suite

by Russ Long
Review 30
New Live Products 44 Line 6 StageScape M20d Mixer

Review 46
Thermionic Culture The Phoenix Mastering Plus Compressor
Review 34
by Strother Bullins
by Rob Tavaglione
Thermionic Culture The Pullet Mini Passive Equalizer
Review 35
Departments
Technically Speaking
by Rob Tavaglione
Polish And Perspective
Thermionic Culture The Fat Bustard MKII Valve Passive Input Summing Mixer
by Ian Schreier
Review 36
by Frank Wells
Mastering Matters: The Death of the Mastering Engineer?

by Alan Silverman
Studio Sense 20
40
Blue Reactor Multipattern Condenser Microphone
Review 40
by Rob Tavaglione
10
PRO AUDIO REVIEW (ISSN 1083-6241) is published monthly by NewBay Media LLC, 28 E 28th Street, 12th floor, New York, NY 10016. Subscription information can be found at www.MyPARmag.com, by calling 212-378-0400, or writing to the above address. Letters to the editor are welcomed at the above address or par@nbmedia.com. Periodicals postage paid at New York, NY 10016 and additional mailing offices. POSTMASTER: Send address changes to Pro Audio Review, P.O. Box 8738, Lowell, MA 01853. Copyright 2012 by NewBay Media, L.L.C. PRINTED IN U.S.A.
Cover & Featured Review Photography: Rhon Parker (rhonparker.com) Cover Design: Walter Makarucha, Jr.
ProAudioReview | November 2012
ProAudio Review
The Review Resource for Sound Professionals
N o v e m b e r 2 012
v o l u m e 18
i s s u e 11
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technically speaking
Alan Silvermans treatise on modern mastering in this months issue found me a sympathetic reader. Mastering was once an absolutely necessary step in the process of prepping a production for mass replication and distribution. This aspect of mastering (really, a premaster stagethe last artistic step before true mechanical production master creation and subsequent replication) required both aesthetic and engineering skills. For vinyl replication, for instance, if the final product was going to sound its best and be playable, the cutting of a lacquer master required skill, experience, a pair of good ears and no small quantity of specialized gear.
Frank Wells
Polish And Perspective

For compact disc mastering, those same requirements applied. That is, until CD replication plants began accepting Orange Book (CD-R) discs as premasters, and inexpensive imaging software and CD-R burners became widely available and affordable. The gear portion of the equation was largely becoming nullified. Working then in a facility that included mastering, I remember the discussions we had as business began to be affected and the first hints of the future of mastering began to peek over the horizon. The conclusion then, which still applies today, is that one might obtain the capability to perform mastering tasks, but the sensibility couldnt be bought off the shelf. That capability is ever easier to acquire. The necessity for specialized hardware continues to decline in an age where physical replication is no longer mandatory. Still, mastering does matter. Sure, there is some small percentage of engineers whose mixes require no further processing, or who have the sensibility to master their own projects. The odds are great that you are not one of them. The democratization of the recording industry nearly guarantees that, statistically. True mastering engineers bring an encyclopedic sonic perspective to a project. You might be able to duplicate their toolset, but not their ability to know when, and precisely how, to employ it. Its also very unlikely that you have as accurate a monitoring environment, and yet more unlikely that you are as familiar with that environment as a mastering engineer. Considering mastering with a qualified engineer a luxury is more often than not an illustration of false economy.
BEST SHOW
of
During each of the pro audio industrys major US-based conventions and trade shows, the editors of PSN and PAR, with assistance from the editors of sister titles MIX and Audio Media, comb the exhibit halls for new and noteworthy products. Gear and software that show particular merit are singled out for the awards. All products debuting at a given event are eligible. The winners are: ADAM Audio F-Series studio monitors AKG D12 VR microphone AMS Neve 1073N microphone preamplifier Antelope Audio Orion 32 multichannel converter Aphex 500 Series Modules Audio-Technica AT5040 cardioid condenser microphone Cedar DNS One AAX dialogue noise suppressor Dangerous Source I/O device Fairlight QUANTUM mid-size audio post-production console Focusrite Forte USB audio interface Grace Design m905 stereo monitor controller IsoAcoustics ISO-L8R200 studio monitor stands iZ Technology RADAR 6 digital multitrack recorder/editor
133rd AES Best of Show Award Winners

The editorial staffs of Pro Sound News and Pro Audio Review magazines presented the second annual ProSoundNetwork Best of Show Awards for the 133rd AES Convention last month in San Francisco.
Lawo mc2 56 MKII digital production mixer Lewitt Audio DTP Percussion Series microphones Miktek R99 dual model ribbon microphone Millennia HV-37 microphone preamplifier Moog 500 Series Analog Delay module Neumann KH 310 A active studio monitor PMC twotwo active studio monitor Prism Sound Lyra Series USB interfaces Radial Engineering Gold Digger & Cherry Picker microphone and preamplifier selectors Rupert Neve Designs 5059 16x2x2 satellite mixer Sennheiser Digital 9000 wireless systems Shadow Hills Mastering Compressor Shure KSM9HS handheld vocal microphone Simaudio, Ltd. MOON 3500MP microphone preamplifier Slate Pro Audio Raven MTX Multitouch Production Console Solid State Logic E-Series for 500 Series Racks Undertone Audio UnFairchild Model 670M compressor Stay tuned to the pages of Pro Audio Review for detailed product announcements and subsequent reviews of these deserving winners.
new studio products

Prism Sound Lyra Audio Interface
Based on the Prism Orpheus, Lyra 1 and Lyra 2 both incorporate new ARM Cortex-based Xcore processor design, offering class-compliant USB interfacing, plus DSP and a low latency console-quality digital mixer for foldback monitoring. Both products also have optical SPDIF capability and Lyra 2 also supports ADAT. Lyra 1 offers two analog input channels, one for instrument/line and one for mic/line, plus two D/A output channels and optical-only digital I/O. Lyra 2 offers two A/D input channels with switchable microphone, instrument or line input modes and four DA output channels. Both optical-only digital I/O and copper S/PDIF are available on this version of Lyra, which also offers wordclock In/Out enabling synchronization with other digital devices. Prices: from $2,166 (Lyra 1) Contact: Prism Sound | prismsound.com
10
new studio products

Audio-Technica AT5040 Cardioid Condenser Microphone
The hand-built AT5040 side-address condenser features a proprietary element design with four ultra-thin (2 micron) rectangular diaphragms that function together providing combined surface area unachievable in a standard round diaphragm, explains A-T documentation. Designed as a vocal microphone with smooth top end and controlled sibilance, the AT5040s large-diaphragm characteristics and fast transient response reportedly make it ideal for recording acoustic instruments, too. By using four diaphragms as a single capsule, the AT5040 achieves a remarkably large surface area without the increased weight and decreased transient response that are the expected limitations of expansive size. Another key AT5040 design feature is advanced internal shock mounting, coupled with the additional isolation of the new AT8480 shock mount. Featuring a proprietary design, the AT8480 was engineered not only to isolate the microphone, but to rid the apparatus itself of any unwanted resonances and other audio aberrations that could be transmitted to the microphone. The AT5040 will ship in January 2013. Price: $2,999 Contact: Audio-Technica | audiotechnica.com
Miktek R99 AutoSet Dual Mode Velocity Ribbon Microphone

The R99 ribbon is designed to capture the classic sound of a world class vintage ribbon microphone, offers Miktek promotional material, yet is essentially two-mics-in-one, as it allows the engineer to select the classic path, or a modern active electronic amplifier simply by applying standard phantom power. The R99 is purportedly capable of handling high SPL, features a customdesigned AMI transformer and ribbon element made from precision Japanese aluminum, and comes standard with a case, clip and shockmount. Price: TBA Contact: Miktek | miktekaudio.com
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new studio products

Slate Pro Audio Raven MTX Multitouch Production Console
Unveiled at the 133rd AES Convention, Slate Pro Audios Raven MTX Multitouch Production Console is a unique mixing console/DAW controller featuring Slates own custom-built 46-inch Nano Glide touchscreen displaying their Raven Mixer and user-customizable multifunction Toolbar, plus a fully-featured analog monitoring section based on 100 percent digitally-controlled analog circuits. Built to work with the users digital audio workstation of choice, the Raven MTXs GUI is essentially the users GUI, allowing complete touch access to faders, pans, mutes, solos, sends, automation, and plug-in inserts. As such, plug-ins, for example, can become the size of 19 outboard gear, as tweak-able as their hardware counterparts, a world-first in DAW control, offers Steven Slate. When we began to develop the Raven concept, we studied the touch screen industry for months and became experts in the various technologies, Slate continues. We realized something very quickly: to make a multi touch monitor suited for the pro audio industry, no off-the-shelf product would work. They were too slow with thick, untreated glass and unusable parallax between your finger and the image. The screens themselves wouldnt look correct at the angle that we needed, the glass had a horrible friction to it, and there were no proper drivers to do real Mac and PC integration with professional DAWs. So we started from the beginning and built the Raven touch display from the ground up, using brand new touchscreen technologies that were literally being introduced to the market as we were working. Price: TBA Contact: Slate Pro Audio | slateproaudio.com
Lawo 2nd-Gen mc256 Production Console

Lawo has introduced the second-generation mc256 production console. Featuring cross-platform compatibility with its two larger mc2 Series siblings the flagship mc2290 and mc2266 the new mc256 introduces many new features aimed at streamlining workflow efficiencies. Among the mc256s new features is two-man operation with fully decentralized control of all parameters including bank and layer selection, EQ, dynamics and bus assignment. The new mc256 offers improved ergonomic and intuitive handling. As part of the mc256s enhanced functionality, the new console also provides expanded, simplified touch operation-making workflow more intuitive. This applies to operational aspects such as VCA allocation, bus assignment, meter pickup/mode select, and mix-minus configuration. This enhanced operation is further accentuated by the consoles new button-glow provisions for color-coding the channel strips. In addition to the new features, the mc256 provides full support of RAVENNA technology for real time processing of audio signals in IP-based networked environments. With as many as 256 I/Os per CAT-5, this capability conserves space and saves cost. Price: POA Contact: Lawo | lawo.de
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new studio products

Dangerous Music Dangerous Source Monitor Controller
Dangerous Musics latest is the Dangerous Source monitor controller, a portable desktop unit priced at $899 street. The Dangerous Source fits beneath a 13-inch laptop or within close reach for volume, input selection, speaker switching, and headphone control. Features include USB connectivity, speaker switching for two sets of speakers; speaker volume; AES/SPDIF digital in; two stereo analog in; and dual headphone out with a separate level control. The Dangerous Source is capable of up to 24-bit, 192kHz on both digital inputs. Price: $1,099 list Contact: Dangerous Music | dangerousmusic.com
Lewitt Upgrades DTP Mics

The two high performance workhorses of Lewitt Audios DTP Percussion series, the DTP 340 REX and the DTP 640 REX, have undergone a model upgrade for 2012. Both the DTP 340 REX and the DTP 640 REX will now have a slide control-activated Enhanced Frequency Response (EFR) in which the dynamic element emphasizes frequencies from 70-150 Hz and 3-5 kHz especially optimized for use on kick drums. The flagship of the DTP series, the DTP 640 REX, combines this sound quality with the advantages of dual-element technology a dynamic element and condenser element, both positioned in the housing, remain on separate channels on the users mixer of choice. Price: TBA Contact: Lewitt Audio | lewitt-audio.com
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new studio products

Aphex 500 Series: New Modules
Aphex has introduced its new 500 Series modules. The 500 Series now includes six models: J PRE 500 Mic Pre; EQF 500 Parametric Equalizer; DUAL RPA 500 Mic Pre; A PRE 500 Mic Pre; the COMP 500 Optical Compressor; and the previously unveiled EXBB 500 Aural Exciter/Big Bottom module. The J PRE 500 mic pre is inspired by the flagship Aphex 1788A remote controlled preamp. They both have the same Jensen JT11K8 nickel input Transformer and Aphex patented Mic Limiter technology. The EQF 500 reissue is a modern take on the Aphex EQF-2 500 series three-band equalizer, originally introduced in the 1980s. The DUAL RPA 500 mic pre is a twochannel solid state/tube hybrid preamp. The A PRE 500 mic pre is inspired by the Aphex 188 eight-channel preamp. They both use a custom designed Aphex input Transformer. The new COMP 500 module is an optical compressor. It features an electronically balanced input and uses a Jensen JT-11DL nickel output balancing transformer. The EXBB 500 is a mono, 500 Series module version of the popular Aphex Aural Exciter and Optical Big Bottom processors. Prices: TBA Contact: Aphex | aphex.com
Lynx Aurora: Update For Pro Tools Users

Lynx Studio Technology is issuing a revised version of the LT-HD firmware for its Aurora converters. The LT-HD Version 10 firmware update allows the Aurora 16 and Aurora 8 to emulate the interface characteristics of the Avid HD I/O converter, allowing seamless operation with the latest Pro Tools offerings from Avid. Lynx has also announced a limited time offer for buyers to get the LT-HD card with updated LT-HD firmware for free when purchased with a new Aurora converter. Price: From $2,195 list (Aurora 8) Contact: Lynx Studio Technology | lynxstudio.com
Akai MPC Renaissance Music Production Controller

Akai Professional has introduced their next generation MPC that interfaces the controllers layout and workflow with computer software for an integrated hardware/software system. The MPC Renaissance hardware includes 16 backlit control pads, 16 Q-Link cotrols and a backlit LCD screen. Along with MPS Note Repeat, Swing and transport controls, MPC Renaissance includes vintage modes to provide the character of previous MPC devices. The controller also includes two XLR-quarter-inch combo jack inputs, a dedicated turntable input, a four-channel USB 2.0 audio interface and two-port USB hub, two MIDI inputs and four MIDI outputs. Additional outputs are quarter-inch analog and SPDIF digital. MPC software is Mac and Windows compatible and offers 128-track sequencing capability and a 9GB+ sound library, including all the sounds of the MPC3000. The software supports mapping and control of VST plug-ins, can work alone or as a primary DAW or as a VST/ AU plug-in. WAV, MP3, AIFF, REX, and SND file types are supported and the MPC Renaissance is backwards compatible with samples and sequences from previous MPC models. Price: $1,299 street Contact: Akai | akaiprompc.com
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opinion
studio sense
By Alan Silverman
Mastering Matters: The Death of the Mastering Engineer?

The word is out professional mastering is no longer needed; the profession is obsolete, done and over, gone the way of the dodo. You can read it on the Internet, in magazines, and watch it on YouTube. There are countless plug-ins and boxes that can do the job and plenty of tutorials showing exactly how its done. Many mixers offer the service as a built-in part of their mixing fee.
A mastering engineer friend and I were discussing this some months ago, pondering what we would do for our next careers. I ran into him recently and asked how he was making out in finding a new profession. Well, he said, some interesting things have happened since we last met, and he went on to tell the following tale. Mixer-Mastering Remorse An artist he had mastered an album for a few years back called him to get his opinion on a project. The artist explained he had his new release mixed by a top mixing team known for chart successes, and they included mastering in the package. He apologized to my friend for not coming to him for the job, since hed done great on the last album, but it seemed expedient and cost effective to let the mixers do it themselves. The thing was, he wasnt sure about the results and could my friend just listen and give an opinion on the mastering. The artist is no newbie, just the opposite; he is a successful fifty-million career seller. My friend, being a cool guy without an attitude, agreed to give an opinion but asked for not only the mixing teams mastered but the un-mastered mixes as well. Soon, two songs, before and after mastering, arrived at his inbox by Internet. He explained he didnt want to presume that the mixer-made masters werent any good; they could be great and perhaps the artist hadnt been listening in the right circumstances. As it turned out, in a level-matched comparison, it was evident that the mixers had harmed their own mixes. Most problematically, the vocal quality took a step in the wrong direction. The mixers had damaged their own work with the EQ they applied in their mastering and the artist felt it. It wasnt even a matter of level; the mixes themselves were great and hot enough; if nothing had been done but release them without any further processing, it would have been okay. My friend then did his own EQ on the two tracks, sweetening the vocal with a few well-placed tweaks and taming a few gnarly resonances. The artist was extremely happy and grateful, and sent the rest of the album to be remastered from the original mixes. The release went on to become a finalist in this years Latin Grammy Awards. Not long afterward, my friend received an email from the management of another of his clients a very well-known improvisational avant-groove jazz-funk band with a long legacy and large following. To my friends surprise, it was a repeat of the same story. The mixer of the project did the mastering and the band felt something was off. My friend lamented that the mixes were excellent, but the mixers mastering was not. He was given the project, finished it, and received a call from the manger saying, We thought we could do without mastering, but we were wrong. My friend then told me that this same scenario had played out no less than a halfdozen more times in 2012 alone! So many artists had bought into the mixer-mastered model, only to come away disappointed and needing to have it redone. Mastering engineers can be a comparatively lonely bunch, sequestered away in their labs, so when we get together its a rare opportunity to share stories and successes with someone who understands. My friend showed me some comments he had gotten from clients: What youve done is brilliant and surprising. Im not even listening with my
The mixer-mastered model is challenged by a number of pitfalls.

NYC-based mastering engineer Alan Silverman is a two-time Grammy nominee in the Album of the Year category for mastering. arfdigital.com.
20 ProAudioReview | November 2012 www.proaudioreview.com
ears anymore but with my breath and the master makes me breathe deep. Absolutely unreal! Beautiful, refined and unique we are touched by your brilliant work! It has that overall magical quality that you cant quite put your finger on - great work. Bravo!!! I dont know what the differences are, but when you got done I loved the way it washed over my skin. Clearly, when mastering works well, it is a tremendous value-added for artists. It takes a special breed of engineer that can inspire that kind of heart-felt enthusiasm and gratitude. Mastering Vs. Mixer-Mastered Its no secret that recorded music has hit upon tough economic times. In many areas, good enough has become the new good. Every artist needs to cut costs, but mixers and mastering engineers have very different skill sets. Real mastering requires a specialized form of engineering talent that is not commonplace. It calls for a vast
amount of experience and a highly accurate monitoring environment loaded with the absolute highest grade speakers, amplifiers, converters, and processors. The mixer-mastered model is challenged by a number of pitfalls. If there is an error in the monitoring and most mix environments contain at least one or more serious monitoring flaws if for no other reason than the layout required by the ergonomics of tracking and mixing then the error is doubled when mastering is done in the same room. The mixer has heard the project countless times, so objectivity from a mastering perspective is impossible. For financial reasons alone, a top flight mastering chain is unaffordable to most mix rooms due to competition from so many other requirements. Mastering, to be truly successful, requires bringing fresh ears to the project. It seems paradoxical that a mixer could take his own mix to the next level in mastering, or it would have been mixed that way. To trust the final critical stage of a project to anyone less than the most qualified and experienced master-
ing engineer can turn things in the wrong direction just when they are at the finish line. When a mixer attempts the mastering and falls short, its a lose-lose situation; both the mixers own work and the artists creation must face the world at less than full potential. To be fair, the bar for entry into mastering has fallen so low that there are bad experiences taking place with mastering services of all different stripes. This is why referrals, track record, and good communication are essential to finding the right person for the critical last step in the chain. Contrary to what the forums and ads imply, mastering by a talented specialist is more important then ever now that budgets and corners are being cut in so many other places. At the end of the day, artists want and will pay for their work to be presented in the best possible light. History has shown that a team effort with engineers playing to their specialties and strengths best serves the artist. To paraphrase Mark Twain, rumors of the death of the mastering craft have been greatly exaggerated.
studio review
By Russ Long
PARs Senior Contributor offers a list of affordable problem solvers that all good little engineers are sure to appreciate.
With the holidays just right around the corner, its time to shop for your favorite engineer or producer or time to make your own wish list!
Around my house, monitors, interfaces and microphones are a bit too pricey to make my own list but there are a handful of items that are priced right and can actually improve your workflow and/or quality of work. Recently reviewed for PAR, my own KB Covers keyboard cover and custom Mac keyboard (reviewed in PAR July 2012, kbcovers.com) and Royer RSM-SS1 Sling-Shock Microphone Shock Mount (PAR August, 2012, royerlabs.com) are perfect examples of such gifts, as are Blue Microphones Mikey digital, Petes Places Blast Pad Filter, Sonoma Wire Works Guitar Jack Model 2, Heil Sounds USBQ, Joe Barresis Mixing Rock downloadable video, and two fabulous new books, Larry the Os Power Tools for Studio One 2 ($39.99), and Mixermans Zen and the Art of Producing ($24.99). to mini adapter, allowing you iPhone recordings drastically to plug a guitar or keyboard improved. With the exception of into the Mikeys 1/8-inch input the phone and Apple FaceTime and a padded carry-pouch for functions, the iOS device recprotection and storage. ognizes the Mikey as a microThe Mikeys microphone phone and uses it within any has three gain settings that application that utilizes a microprovide flexibility in recording phone. The Mikey is extremely various sound levels. Where easy to use as well as it only the built-in mic begins to has one three-position gain distort around 100 dB, the switch and the level LEDs make Mikeys gain setting will allow it easy to see which of the setdistortion free recording well tings is optimum. While the line beyond 110 dB. The line input inputs automatic gain setting sets the gain automatically. works well in most instances The Mikey digital replaces [an automatic gain control, or the Mikey for iPod and is comAGC, acting as an auto-limiter/ patible with all of Apples iOS expander - Ed.], I do wish there devices that support digital was a way to manually set the connectivity. This includes the line input level or at least turn iPod touch 4G and later, iPhone Blue Microphones Mikey off the automatic mode, as I 4 and later, and all iPad/iPad atop an iPhone. found that this isnt always mini models. Devices that desirable. I dont really see the utilize the Lightning connection require a strength of the Mikey being the line input Lightning to 30-pin adapter ($39 from the though so this isnt a huge issue. Apple Store). The Mikey is a digital device Included in the recordings Ive made and it utilizes Blues discrete preamplifi- since getting the Mikey are an organ perforer, processing and A/D conversion before mance in an old theater, a loud rock show passing the (16-bit/44.1 kHz only) digital in a Nashville club, and a song demo that signal into the attached iOS device. includes two passes of acoustic guitar and Ive been carrying the Mikey digital around two vocal tracks (recorded to my iPhone in my computer bag for the past two months with the Sonoma Wireworks FourTrack app). and its been great to always have the device In most instances I find myself recording within reach. Since getting my iPhone 4S a to the McDSP Retro Recorder but Ive also year ago, Ive been impressed with the qual- had great results utilizing Garage Band, ity of both the built-in video capabilities and Blue FIRe and the (unfortunately) no-longer the built-in audio record quality, but moreso available iProRecorder app. with the Mikey as the quality level of my Contact: bluemic.com/mikey_digital
Holiday Gift Ideas for the Audio Pro
Blue Mikey digital USB microphone, $99 Blues Mikey digital makes sure you always have the means to capture high-quality stereo audio. The device is 2.5 square by a halfinch and it weighs just under three ounces. It includes a line-input, USB port (to provide power to the device that is connected to the Mikey) and a sleek design that allows the microphone enclosure to be rotated over 230-degrees. Also included is a quarter-inch
Russ Long is a Nashville-based producer, engineer and mixer as well as a senior contributor to PAR. russlong.ws
Petes Place Blast Pads
Petes Place Blast Pad Filter, $297 Pop filters are a means of reducing or eliminating the massive popping sound that is caused by the mechanical impact of fast moving air on a microphones diaphragm. They also protect microphones from saliva and humid breath that can damage or even destroy a diaphragm over time. Depending on their design, build-quality and materials, pop filters do this task with varying degrees of success. And often, the higher the success, the greater the sonic cost; foam pop filters can color the sound, making it more covered and dark. After doing this for nearly 25 years, I was under the impression (in the words of Bruce Hornsby) thats just the way it is/some things will never change. Thankfully, Peter Montessi has proven me wrong with the Petes Place Blast Pad Filter. The Blast Pad Filter has a diameter of five inches and it weighs just over five ounces. The main body of this beautifully constructed device is made of corrosionresistant anodized aluminum and there are two layers of corrosion-resistant stainless steel mesh screens, each of different mesh density. The outer edge of the filter is ported to allow air to escape between the two meshes. It seems pricey at first but once you hear how great it sounds (or actually, how
great it doesnt sound, as it doesnt make any noticeable changes in the sound at all), it is well worth the price. I was so surprised at the transparency of the filter I had someone whisper into my ear from about six inches away and move the filter in and out of the path and I couldnt detect a sonic change at all. Besides working wonders on vocal recording, Ive successfully used the filter while recording kick drum with an AEA A440 (about 2.5 feet away from the front head) and an Ampeg 4-12 bass cabinet with a Coles 4038. Contact: petesplaceaudio.com/filter.html
Sonoma Wire Works Guitar Jack Model 2, $199 The best all-around iOS interface that Ive encountered is Sonoma Wire Works Guitar Jack Model 2. While it is primarily marketed as a tool for recording guitar, this compact well-made contraption includes a high-quality 24-bit AD/DA converter, a 1/8inch stereo microphone input, and a 1/8inch headphone output in addition to a
1/4-inch instrument input. Measuring just 2.5 x 2.3 x 0.6 and weighing just 2.25 oz., the Guitar Jack supports simultaneous recording via the microphone and instrument inputs, making it easy to record guitar/vocal song demos virtually anywhere. The headphone output is a significant upgrade from the output on any of the iOS devices as well allowing for near audiophile listening when coupled with a great pair of headphones. Ive spent hours both listening for enjoyment and critiquing my mixes listening to my Audio-Technica ATH-M50 headphones through the Guitar Jack and it sounds stellar. Ive been using the Guitar Jack Model 2 along with my iPhone and iPad for nearly a year now and have found it to work perfectly with all of my audio apps including FourTrack, AmpliTube, FiRe, DigiTech Stomp Shop, Guitar Tone, GarageBand and studio.HD. The only downside is that not all of these apps include the GuitarJack control panel so, in some instances (such as GarageBand), I will open FourTrack to access the control panel to set my recording levels before opening GarageBand. Since the GuitarJack is so solid and rather heavy for its size, I had problems with it not staying locked into the iOS device so I purchased a short extension cable, which I always utilize when using the device. Additionally, a Lightning to 30-pin Adapter will be needed if using the Guitar Jack with one of the newer iOS devices, but operation is unaffected. Contact: sonomawireworks.com/ guitarjack
The Sonoma Wire Works Guitar Jack Model 2 connected to an iPad
24
Heil Sounds USBQ Heil Sound USBQ, $90 Theres already an abundance of compact, single-channel USB mic preamps on the market (MXLs Mic Mate, Blue Microphones Icicle, Shures X2u, etc.), so I was initially surprised to see that Heil Sound was releasing yet another one of these devices. A closer evaluation of the options in this field reveals that they are all lacking EQ. Thats why Heils USBQ is now king in this area because in addition to a microphone preamp with gain control and switchable phantom power and a headphone amplifier with independent gain control, the USBQ has +/- 12 dB equalization controls at 80 Hz and 10 kHz. The visually-stunning, anodized purple USBQ provides 16-bit recording at either 44.1 or 48 kHz. An LED illuminates red to signify that it is successfully linked to a computers USB port and blue when phantom power is activated. The mic pre is quiet and works well with most microphones (it only has 40 dB of gain so it wont perform as well with low level microphones). In addition to using it with the staple range of Heil mics (PR-22, PR-30, PR-35 and PR-40), Ive used it with a Mojave MA-301fet, Audix SCX25 and a Neumann KM86i and Ive had great results in every instance. The equalizer is musical with excellent frequency choices and its wide Q makes it nearly impossible to create a sonic problem that cant be overcome in the mix process. Ive used the USBQ and my MacBook Pro to record to Pro Tools, Studio One 2 and Logic and its worked like a charm in every instance. Contact: heilsound.com/amateur/ products/usbq/
wait to see the mix segment that was released a few months ago. After viewing it Im happy to report that, once again, Joe Barresi delivers. The video is very well done. It was shot in HD and looks fantastic. In the process of walking the viewer completely through the mix process, Joe packs the information into the program and his dry wit keeps it from ever getting boring. Joes mix technique, which effectively integrates Pro Tools, an SSL 4000 desk and tons of analog gear, has enough information to satisfy both analog diehards as well is those of us mixing completely ITB. Included with the video are supplementary photographs of the analog gear, additional information on the SSL desk and the Pro Tools session. Contact: techbreakfast.com/joeb_mixing/ index.html
Included with the book is a DVD with an hour of visual training that does a great job of walking the viewer through everything from Quantizing Audio and Comping to Tips for Drum Production and Macros. I was introduced to Mixerman nearly a decade ago when his first book was just a blog floating around the Internet. My engineer and producer friends and I would sit around the studio, laughing, with the realization that we werent the only ones going through all of this stuff. Mixermans third book, Zen and the Art of Producing, was released a few months ago and, while having loads of insight into production, it is also extremely entertaining and enlightening. Ive never laughed so hard while still feeling like I learned something.
Joe Barresi Mixing Rock, $75 download I reviewed the Joe Barresi Tracking Rock video just over a year ago and couldnt
Power Tools for Studio One 2 and Zen and the Art of Producing, $39.99 and $24.99, respectively PreSonus Studio One 2 is still very much the new kid on the DAW block. One of the challenges in learning a new DAW is that there are generally limited educational materials available for them. Power Tools for Studio One 2 is part of Hal Leonards Power Tools series (which also includes coverage of Pro Tools 10, Logic Pro 9, Reason 6 and Cubase 5); it does a fantastic job of getting you up and running in Studio One 2 and guiding you into some of the more complex functions that arent covered in the applications documentation. The book was penned by Larry the O whose writing Ive enjoyed since the early Electronic Musician days. Not only does he make the read enjoyable, he does a fantastic job of making the information accessible even for the most novice users.
Power Tools for Studio One 2 by Larry the O Whether you are a seasoned pro or a young producer, youll walk away with something from this book (and will laugh your butt off in the process, guaranteed). Contact: halleonard.com, mixerman.net
November 2012 | ProAudioReview
25
studio review
By Rich Tozzoli
Must-Have Plug-ins
Mix Bus Manipulators

PARs Software Editor details his top three choices for tools to make his mixes pop.
Without addressing the obvious issues of the volume wars, theres no denying we all like our mixes to stand out. One way to get that to happen is to use some processing across the Master Bus (or Mixer), such as a limiter. Lets examine three different tools that each do the job in their own unique way.
Waves L3-16 Multimaximizer Multiband Mastering Plug-in Taken directly from the lineage of the popular L1, L2 and L3 plug-ins, the L3-16 Multimaximizer is a 16-band auto-summing peak limiter. It features a 6-band EQ with linear phase crossovers, IDR Increased Digital Resolution re-quantizing, Dither, Noise Shaping and a peak limiter mixer (PLMixer).
Waves L3-16 Multimaximizer I tend to place the L3-16 last on my mix bus and use it for several purposes. First, I start with the Global Limiter Section, pulling down the Out Ceiling to just below 0.0 say, to -0.4 or -0.5. This prevents the plug-in from clipping the final mix. [Tech Ed. Fuston adds: Apples new Mastered for iTunes spec recommends a minimum of 1 dB of headroom to avoid clipping the codec.] Next, I will pull down the Threshold
until the Attenuation meter lights up, really help pop a mix through your speakers indicating gain reduction. Then I drag the without getting in the way. threshold down even more, at which point Price: $540 and $550 (L3-16 Native + L3 I hear the overall mix volume increase. Ill Native, TDM and Native, respectively) play with the Threshold to find the line Contact: Waves | waves.com between an acceptably louder mix and one that is suffering fidelity loss; then I turn up Sonnox Oxford Limiter the Threshold to keep things clean. The Oxford Limiter does just what you The other thing I use quite a bit in the want it to; it makes things louder with no L3-16 is the EQ, which is applied before sonic degradation. In fact, it has a unique the Limiter section. Its six bands of Enhance feature that I use on just about paragraphic EQ feature a separation every mix, adding harmonic excitement in a menu that sets the overlap between way that an EQ cannot. bands. Each band features controls Its very easy to use, as there are only three for Frequency, Gain, Q and Priority. sections: Input, Pre-Process and Output. The These bands are visible above the six- first thing I do is simply raise up the Input teen internal crossover bands. What Gain (up to +18dB), pull back the Output Level is nice about the L3-16 is that it can to just below 0.0dB and raise up the magic apply more attenuation to bands that Enhance feature. Ill always leave the Audio contain higher peaks, not just work- Gain set to IN (helping to smooth out the overing in broadband. In use, that means Im able to apply selective EQ and limiting to the areas of the mix that need it most. If my high end is fine, but the low is booming a bit, I can adjust the 3-16 to control only that area of the mix. Often I will set the high band to a shelf and add a touch of air at around 8kHz and above, while pulling down anything below 60Hz or so. With some carefully added Gain, this plug-in can Sonnoxs Oxford Limiter
Rich Tozzoli is a Grammy-nominated engineer, mixer and composer as well as PARs Software Editor. richtozzoli.com
all levels) and the Safe Mode On (so I cannot clip the output). Whammo! My mix sounds better than it did just seconds earlier. While its technically difficult to describe how the Enhance feature works, by raising up to around 30%, you can hear a bit more loudness, detail and harmonic content in the mix, especially with things like cymbals, vocals and guitars. It is possible to push it up to 125%, but I find around 25-40% works wonders. Taking it a bit farther, you can use the Recon Meter, which switches the Output meter from peak sample to reconstruction mode. Levels above 0.0 dB (up to +6 dB) can be automatically corrected and reconstructed by using the AUTO COMP button. While I dont push my audio hard enough to require corrections, its good to know its there if I need it. Also, since the Limiter uses look-ahead processing, the Pre-Processing section can be used to adjust control over Attack, Release and Soft Knee. Price $330 and $500 list (Native and TDM, respectively) Contact: Sonnox | sonnoxplugins.com
iZotope Alloy 2 While I realize Alloy 2 is considered a mixing tool, I tend to use it as a utility device on the Master Fader. Overall, it features an EQ, Dynamics, Exciter, De-Esser, Transient Shaper and a Limiter. On final mixes in particular, I use the Limiter, EQ and Exciter sections together. One of the interesting aspects of this plug-in is the Exciter, which can be used in a multi- iZotopes Alloy 2 band mode. When enabled as such, each of the three separate frequency results can be had with this tool. selectable sections features a graph with I will also use the simple Limiter for the choice of Tube, Tape, Warm and Retro a touch of gain, which has a choice over sound, as well as a Drive slider, Mix wheel Soft/Hard, Speed (in ms), Stereo Link (or and Width wheel. This sounds especially multi mono), Threshold, Margin (max. outgood with guitar and drum heavy tracks, put) and a Phase Rotate. Combine that where you can break up the frequency with a touch of EQ with selectable Bell, bands and push them each individually. Low/High Shelf, Low-pass, Hi-pass and even For example, you could add some Retro Baxandall curves, and Alloy 2 can do nice sound and Drive to the bottom of the mix at things to your final mix. 100% while using some Warmth on the top Price: $249 list at, say, 25%. Some very unique and useful Contact: iZotope | izotope.com
studio review
By Russ Long
iZotope Ozone 5 Advanced Mastering Suite

Ozone 5 Advanced is the latest manifestation of iZotopes comprehensive mastering suite that integrates eight essential mastering/mixing tools into a single plug-in including Maximizer, Equalizer, Multiband Dynamics, Multiband Stereo Imaging, Multiband Harmonic Exciter, Reverb, Dithering, and Meter Bridge. In addition to being found in the Ozone 5 plugin, all of these tools, with the exception of Dithering and Meter Bridge, are available as separate component plug-ins.
Features Ozone 5 comes in two variations, Ozone 5 Advanced and Ozone 5. The primary difference between the two is that the standard version of Ozone 5 has no Meter Bridge (which I must say is worth the additional $750 for the advanced version) and no way to use the separate components as independent plug-ins. While this review is focused on the Advanced version, the iZotope website includes a version comparison chart that will help you determine which version is right for you. The Ozone 5 Advanced signal path follows this sequence: Equalizer, Reverb, Harmonic Exciter, Dynamics, Stereo Imaging, Post Equalizer and Maximizer. The
Whether mixing or mastering, iZotope Ozone 5 Advanced has every essential tool needed to make a song truly shine.
Ozone 5s EQ GUI Equalizer emulates both analog and linear-phase filters and includes a spectrum analyzer in the EQ window that makes it easy to locate problem frequencies as well as view the effect of the equalization on the signal. The plug-in features eight filter bands that can be set to bell, high-pass, low-pass, or shelf. The digital mode contains three selectable phase modes including Minimum, Linear and Mixed. The Equalizer includes a Matching EQ mode that allows an audio signal to be adjusted with up to 8,000 linear-phase filters to match the frequency spectrum of another signal. While Reverb is the last tool Id expect to find in a mastering suite, I suppose there are instances where someone might want to add some ambience to a completed mix. As far as Im concerned, Ozone 5 Advanced is just as valuable of a mixing tool as it is a mastering tool, so I use the separate reverb plug-in all of the time when Im mixing. The Reverb module beautifully combines convolution and algorithmic technologies to create a highly manipulatable and wonderful sounding reverb. The early reflections are built on convolution samples captured from real spaces and the late reverb tail is built on a high-quality algorithm. The module includes Room, Theater, Plate (based on the EMT 140), Hall, Cathedral and Arena settings and an M/S option gives the user the ability to add reverb independently to things panned to the center or things panned to the side. It sounds amazing with the only downside being that it is fairly CPUintensive so users working on older computers may have some performance issues when using multiple instances of the reverb in a mix situation. I have had great results using Ozone 5s reverb on vocals, drums, percussion and acoustic instruments and it sounds wonderful. When I first heard the Harmonic Exciter
Russ Long is a Nashville-based producer, engineer and mixer as well as a senior contributor to PAR. russlong.ws
my thought was a four-band Aural visually incredible, offering 2D and Exciter revamped for the 21st Century 3D viewing options that accurately (Ive always liked the Aural Exciter visualize frequency information when used in moderation). The modwith regards to amplitude and time. ule splits the audio signal into four Variable Meter Tap routing allows an user-adjustable frequency bands that audio stream from anywhere within can be independently processed with a session to be routed to the specone of several types of musical distrogram. The Spectrum Analyzer protortion including Warm, Retro, Tape vides spectrum display for Stereo or one of the three (Tube, Triode, or Average (Mid), Stereo Difference Dual Triode) tube styles. This mod(Side), Average/Diff (Mid/Side), Left/ ule also includes an M/S processing Right, Stereo Maximum or Hybrid option that allows different amounts Stereo Width. The Vectorscope meter of enhancement to be applied to the provides a view of the stereo image middle and side signals before being of the audio signal. The level meters combined back into stereo. can independently monitor input The Dynamics module provides 1-4 and output levels as well as displaybands of analog-modeled compresing staple industry standard metersion, limiting, gating and expansion. It ing options including Peak + RMS, includes a 0-10 ms look-ahead feature K-System (the brilliant metering stanas well as variable-knee compression. dard developed by mastering guru Also included is Auto Gain, which adds Bob Katz), and BS.1770 loudness gain to compensate for the drop in metering which is compliant with level caused by the dynamics prothe International Telecommunication cessing, making it easy to compare Union (ITU-R BS.1770-2) and the the processed signal to the original European Broadcasting Union (EBU signal without being misguided by R128) recommendations. The Ozone differences in level. Another feature is 5 Advanced Dithering functionality Gain Reduction Trace and Histogram is built around iZotopes proprietary metering, allowing the compression MBIT+ dither algorithm allowing the over time to be viewed. user to dither as low as 8-bits with The Stereo Imaging module proastonishingly high quality. vides the ability to employ stereo image enhancement (either widening In Use or narrowing) to up to four frequenThe more I use Ozone 5 Advanced, cy bands. The modules metering is Top to bottom: Ozone 5s Dynamics, Imager and Maximizer GUIs. the more I like it; I havent mixed excellent, allowing the user to see sound of the mix. The Maximizer provides without out it since installing it six exactly what processing is being done to a five modes of processing (IRC, IRC II, IRC months ago. Im not always a big fan of signal. The handy Stereoize feature utilizes III, Hard, and Soft) to allow the processing plug-in presets as with many plug-ins they stereo synthesis to add width to mono or to be tailored to the source material. While are extreme variations that appear to be narrow recordings. Ive had great results I typically spend time toggling through and built more for showing the sonic variation utilizing this on my stereo mix as well as comparing the five modes, I almost always of the plug-in rather than creating a usable utilizing it to work wonders on pads and end up using the IRC III which provides a preset. This is not at all true with Ozone 5. It mono keyboards. The Post Equalizer is a punchy track with as much loudness as includes tons of presets but they are nearly second EQ that is identical in performance needed with minimal, if any, sonic artifacts. all both musical and usable. to the Equalizer allowing the user to apply The configurable Meter Bridge opens Ozone 5s EQ has enough sonic flexibility equalization after the Reverb, Harmonic its own user-sizable meter window to be either a precise surgical tool or a colExciter, Dynamics, and Stereo Imaging and can be set to display any combina- ored musical tone shaper. Its graphical intermodules. tion of Spectrogram, Spectrum Analyzer, face is superb; its simple to drag an EQ point The final module, Maximizer, is a single- Vectorscope, and Loudness Metering win- to the desired frequency and then set the band limiter (applies the same processing dows. If you are displaying multiple meters, amount of boost or cut in an instant. The Q to the entire mix) designed to create an they are independently sizable within the can be set with the mouse or trackball wheel. overall louder master without changing the Meter Bridge window. The Spectrogram is (continued on page 50)
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studio review
By Rob Tavaglione
Thermionic Culture The Phoenix Mastering Plus Compressor

The Phoenix is a super-powerful, super-flexible and superforgiving compressor, built to world-class standards and capable of all manner of clean, gentle and musical compression.
The Phoenixs mouthful of a moniker, mastering designation and $6k street price may place it primarily at home with the most experienced and seasoned of engineers, but I also believe it is the ultimate compressor for struggling novices! How so? Read on.
Features The two-channel variable-mu Phoenix MP is a step up from the standard Phoenix, with stepped input and output controls, a sidechain filter, standby switch and zero adjustment. The PMP has controls for dual-mono operation (or stereo via the Link switch), including a wide range of input gain (-7 to +21 dB) to allow mastering or tracking apps, a six-position stepped attack (ranging from 4 ms to 120 ms), seven-position stepped release (from 40 ms to 2.2s), threshold within a 14 dB range, output trims (from -12 dB to +4.5 dB), a three-position HPF in the sidechain (either out, 150 or 300 Hz), dual VU meters, front-panel meter-zeroing pots and a standby feature. There is no ratio control (as it inherently varies with the amount of compression), but ratio starts at a low 1.2:1 and maxes at 5:1 at -15 dB. In Use The PMPs appearance has a noticeable lack of mystery. It features clean white legends against its stark black faceplate, all familiar controls and intuitive operation; its
easy enough to just dig right in. Well, actually you ought to hold off for a few; keep the unit in Standby at least long enough for the tubes to get up to operating temp; when the VUs get up to about half-level and then youre clear for takeoff (a similar slow power down is also suggested to preserve tube and cap life). After setting all the controls for no compression, youll also notice nothing; that is, this unit sounds the same when neutralized as it does when bypassed. This is the sound of transparency. Once engaged, theres little to tell your ear youve begun compressing, so its a good thing for those VU meters. At this point, I began trying to make the
PMP misbehave into doing something ugly so I could begin dialing back into interesting sounds. And I quickly found that this unit doesnt want to do anything bad; it will get all dull and gastrointestinal if absolutely punished, but it will not get fuzzy or delightfully crunchy like a 1176. Fast attack is seldom my method, but Attack #1 was surprisingly usable on the PMP. Controls are somewhat interdependent here for sure, so I found that with a HPF in place in the sidechain and just the right threshold I could get the downright smoothest, fast-attack sound Id ever heard. In fact, I slowed Release down to #7 and got
(continued on page 38)
Rob Tavaglione has owned and operated Catalyst Recording in Charlotte, NC since 1995. catalystrecording.com
studio review
By Rob Tavaglione
Thermionic Culture The Pullet Mini Passive Equalizer

The mini within the Pullets moniker is not mini as in 500 Series or a stompbox; its mini is that the Pullet is only 1RU and four inches deep. This diminutive size is characteristic of the passive part of the Pullet name, passive as in no active circuitry, and no 110V AC required.
Signals are affected by a network of resistors, capacitors and 16 inductor coils to achieve precise tonal variation, much like with a Pultec EQ (which the Pullet is indeed loosely based on). Such passive circuitry reportedly offers a cleanliness and purity of signal, although you guessed it about 40 dB of gain is required after the Pullet to make up for its signal loss. To that end, Thermionic Culture highly recommends the use of their Earlybird 2.2 mic preamp for make-up gain, although most any professional two-channel mic amp will suffice. The Earlybird has Pullet inputs, optimized at 1200 ohms, and offers a +40 dB gain stage as well as low frequency EQ points that compliment the Pullets EQ limitations (more on this later). Remember that the preamp chosen for this makeup gain will affect your signals tonality and any impedance loading here will affect frequency balance, for better or worse. Features Once you go through the trouble of properly interfacing the Pullet (I set up cables so I could make EQ adjustments sitting right smack in my mid-field sweet spot), youll find significant EQ power in its deceptively simple package. A Mid Lift section offers a continuously variable 21 dB of boost [boost actually being less attenuation of the selected passband, as the Pullet is passiveEd.] at 11 frequency points between 800 Hz and 8.5 kHz, with Hi, Medium or Lo Q. The Mid Cut section offers up to 21 dB of cut with 11 frequencies between 230 Hz and 8 kHz, with no Q control (it would be Medium, in my estimation). A High Top shelf offers a fixed 6 dB of boost or cut for three cut freqs (6, 11 or 15k), or three boost frequencies (10, 12 or 15 kHz). There are two sets of the controls, including two bypass switches. In Use Although one could force the Pullet into any number of EQ situations, I found it to most naturally fit in as a part of my mixs L/R buss, or in mastering. There, the EQ points make perfect sense and the controls seem to have defined purpose. For mixes that need a little vocal lift, select the frequency that sweetens the voice and either lift it very gently (with Med Q) or more broadly (with Lo Q). The results are beautiful and effective beyond words, pulling your
This EQ simply sounds more true, more natural and more like what my mind envisions when I reach for knobs, offers our Contributor.
vocal forward with an elegance, clarity and lack of phase shift. It just sounds really nice. Conversely, the Mid Cut section can deal with pesky problems like 230 Hz mud buildup, 500 Hz boxiness or cheap condenser hell 4 kHz edginess with the gentle hands of a fine surgeon, removing the unwanted tissue, leaving surrounding tissue untouched and giving the patient a sculpted glow they never had before hitting the operating table. The High Top section can surely round off excessive top, no problem; its the boost options that are more powerfully effective, maybe sometimes even too effective since +6 dB is the only option. If a mix needs some high altitude air, some sibilance or some bite, the Pullet puts it there with a tonality that defies explanation. Its super sweet with no ringing or buzz; its very clear and natural; its just right. I sweetened up some mixes with the Pullet and then conveniently tried to achieve the same improvements with the Earlybird 2.2s EQ that I had patched inline. The Earlybird has some nice sounding EQ, mind you; an all-tube path makes for some sweet forgiveness and musicality. Yet compared to the Pullet, the Earlybirds EQ changes were far less defined, with a touch of blur to the imaging and seemingly not as musically specific. Yes, Im struggling with descriptions here; the Pullet simply sounds
Rob Tavaglione has owned and operated Catalyst Recording in Charlotte NC since 1995. catalystrecording.com
studio review
Thermionic Culture The Fat Bustard MKII Valve Passive Input Summing Mixer
Even when much of the mixing these days happens inside of a DAW, summing some or all of the audio channels in the analog domain has long been a preference among mix pros, myself included. There is a new tool for just this purpose built by those titans of the tube circuit, Thermionic Culture.
Cheekily enough, its called the Fat Bustard mkII, an all valve (tube) passive input summing mixer. It has 14 inputs with four stereo inputs, four mono pan-able inputs, two aux inputs with a pan switch and a separate monitor output with level control. Features In addition to its basic summing duties, the Fat Bustard has several controls that add a lot of functional pluses when finishing up a mix most notably, a bright red knob labeled attitude. This control adds increasing amount of drive to the tubes in the summing stage, resulting in increased amounts of second-order harmonics and distortion. Two bands of boost and two bands of cut EQ are provided for tailoring the top and bottom ends, using a type of EQ curve they call Varislope. There is also a suite of controls for manipulating the stereo field. The Spread Control is a mid-side matrix
By Ian Schreier
Great fidelity and headroom, and usefully fun tonal control, the Fat Bustard brings analog attitude to analog mixing fans.
with adjustable gain balance between mid and side signals (either broadband, or, if using the Spread Filter, band-limited). There is also a Bass to Centre control, which allows bass frequencies in the stereo mix to be summed to mono in two different low frequency ranges, plus a setting for all frequencies to mono. A stereo balance control and rotary 31-position ELMA switch allow control over output levels. Other features worth mention are the discrete monitor level control, the int/ext switch, and extra outputs, all of which provide a useful way to connect and control monitors via Fat Bustard. This is especially useful when its the only mixer being used. In Use The Fat Bustard MKII performs very well. It has a logical layout, good detented pots where youd expect them and good sweepable pots where you need them. Each section has an on-off switch, allowing me to
turn off the bits I was not using. Overall, the unit is very quiet with little self noise, unless of course I was adding large amounts of Attitude. While the Attitude control is a great way to heat up tracks that sound a little cold or sterile, be warned: its fun, thus easy to overdo. I could make a mix really aggressive and punchy, but also turn it to angry mush if I wasnt careful. Tonally, the EQ sounds very musical and has a pleasantly Pultec-esque sound. This might be Fat Bustards best feature. Spread Control and Spread Filter function as advertised, but each would be infinitely better if there was an insert point giving access to the signals, allowing for separate mid and side compression and EQ processing. (Maybe a new feature in the MKIII? Hint, hint.) There is some audible cross-talk between channels, but its not enough to be a problem, in my opinion. As a way of evaluating the overall performance and the fundamental quality of
Ian Schreier is the chief engineer for Manifold Recording, a world-class recording studio/media production facility near Chapel Hill, North Carolina. miraverse.com
www.proaudioreview.com November 2012 | ProAudioReview 37
Phoenix
(continued from page 34)
a musical, totally leveled sound that was actually quite nice as well. I tried some extreme stuff like parallel compression on my drum subgroup, but this is not the PMPs purpose. The PMP does not provide the grunge, attitude or color that such parallel apps favor.
The PMP can gel a mix without mucking up topend clarity or bottom-end thump.
However, tracking is right up the PMPs alley. If youre looking to contain instruments without anyone knowing, then the PMP is an easy choice. Youll need to fiddle with the seesaw between input level, attack, release and (most importantly) the HPF setting, but only because youll find a number of varied yet useful settings; you cant go wrong, as there are only various degrees of right. The PMP is simply perfect on vocals, whether tracking or mixing. Either way, its thing is clean, clear and dynamically contained without any artifacts. Unlike subgrouped drums, the PMP is heavenly on your vocal mix buss or the L/R, whether
entirely or in parallel, working like mad, with nary a hint its there. [Visit prosoundnetwork.com/TCPhoenix for audio clips from this performance. - Ed.] Lest we neglect mastering, yes the PMP is up to its name. The stepped controls get the repeatability youll need, but its the flexibility of the HPF that will rock your world. The HPF in the sidechain is so musical and useful that it not only offers 150 or 300 Hz, but you can set each channel differently and get an average setting of 225 Hz! These two knobs alone are powerful enough to eliminate some of your subsequent EQ changes Im talking major bottom-end sculpting and control here. The very best thing about the PMP is the way it can gel a mix without mucking up the clarity of the top or the thump of the bottom. Its like a magical hand that reaches in and gently taps on anything trying to sneak up out of the mix, without even touching anything else. If meticulously tweaked with attack, release and HPF all in perfect balance, the PMP achieved the most musically transparent mix compression Ive ever heard, period. Summary Where in the world am I coming from recommending the PMP for novices? Lets just say Im being excessively practical; imagine all the time it would save. Think of all those years of poorly compressed work from cheap compressors replaced by good compression sounds as the PMP can barely do anything thats downright wrong. All those beginner
For Gearheads Only

Valves (tubes) are all Mullard or Siemens Input/compression: PCC85 (equivalent to 9AQ8) x 2, user serviceable Output: ECC 81 (equivalent 12AT7 or CV4024) x 2, factory serviceable only Sidechain: EB91 (equivalent 6AL5 or CV4025) x 2, seldom require service
PMP Components
Input: 24 position ELMA Threshold: 11 position ELMA Attack/release: 6 position ALPHA attack, 7 position release Output: 31 position OMEG Transformers: Sowter
Switches
vocal tracks with distorted peaks and mixes with unwanted pumping/artifacts = all A-OK with the PMP in a students hands. All lightheartedness aside, the Phoenix Mastering Plus is a super-powerful, superflexible and super-forgiving compressor, built to world-class standards and capable of all manner of clean, gentle and musical compression. No distortion box or signal mangler, the Phoenix MP achieves transparent, versatile dynamic containment, even when in fast attack, fast release or leveling modes. Price: $6,500 list Contact: Thermionic Culture | thermionicculture.com
Fat Bustard
the FB MKII circuits, I took six stereo stems from a mix of a recent Jimmy Herring (guitarist for Aquarium Rescue Unit, Widespread Panic) live in-studio concert recording done here, at Manifold Recording, and summed them four ways: through the MKII, our API Vision console, our Harrison Trion digital console, and inside of Pro Tools. [Visit prosoundnetwork.com/TCFatBustard for Ians audio examples. Ed.] The stems consist-
ed of 96k/24-bit sub-mixes of drums, bass, keys, guitar, room mics and FX returns. For the purposes of a direct comparison, all the different mixers were set up as passive summing devices i.e., no EQ, minimum Attitude, no spread, etc. To my ears in a blind listening test, the API Vision won handily, the Harrison and FB tied for second, and the PT/ITB-summed mix was last. But judge for yourself; differences among the top three could be chalked up to personal preference.
Summary If youre working mostly in a DAW environment and looking for a way to do some summing in the analog domain when mixing, or you just need to combine and monitor analog signals in the studio for any reason, the Fat Bustard MKII is a spectacular tool to do it with. It provides great fidelity and headroom, with fun and very useful tonal control, and, lest we forget, plenty of Attitude. Price: $5,825 list Contact: Thermionic Culture | thermionicculture.com
38
studio review
By Rob Tavaglione
Blue Reactor LDC Microphone

The Reactor is a most unique multipattern condenser microphone that your clients will likely love.
I must admit its rather hard not to begin this review of the Blue Reactor with my eyes; with its gyroscopically shaped shock mount, detached capsule housing, integral pop filter and large analog gaugelike body, I cant help but pour over the visuals of this microphone. If any one modern microphone is visually arresting, its this one. However, from the moment I saw it, I couldnt help but wonder if Reactors performance could stand alongside its steampunk sexiness.
Features Reactor employs a center-terminated capsule (similar to Blues B6 model) with 34mm-diameter Mylar diaphragms, Class A electronics and discrete components. Three polar patterns are offered cardioid, omni and figure eight; there is no pad or HPF. The capsule swivels 90 degrees, allowing more placement flexibility when auditioning polar patterns, or easier adjustments for Mid-Side (or Blumlein) stereo techniques. Polar pattern selection is via a rotating magnifying glass/switch that enlarges the LED backlit pattern icon. Reactor includes a wire mesh pop filter that is held in place by a magnetic yoke. A very George Jetson looking shockmount and aluminum case are included with Reactor. The Reactor handles 135 dB SPL, has a minimal 9 dB of self-noise (A-rated) and a street price of $499. In Use Upon mounting Reactor to a stand for the first time, a number of things became quite apparent to me. This mic is not large and hollow, droning with resonance; it is solid, heavy and remarkably well built. At 2.2 lbs. in weight, it is clear that just any old boom stand will not suffice; it really needs a premium tripod (sandbagged) or weightedbase stand. A counter-weighted, full-size boom is what a wise engineer will use. Initial mic placements revealed an important limitation: the shockmount is not a flexible one. Sure, you can force Reactor into holding its position, cranking the tension on your booms swivels and torquing the shockmounts thumbscrew, but its not easy. Reactors very top heavy design means that the slightest disruption results in the mic swinging upside down. But wait thats probably the best position for it! Thus, I finally let Reactor just hang down and fought physics no more. Moving on, I began by tracking some loud electric guitars. Close-miking the cab with a cardioid pattern, Reactors output was screaming hot even too hot for my Manley TNT preamp so I employed a -10 dB in-line pad. [Tech Ed. Fuston notes: If a resistive inline pad is used on a condenser or active ribbon microphone, it will act as a voltage divider and lower the 48 VDC phantom power to the mic, potentially compromising the microphones performance.] Once at level, Reactors sound reached out and slapped me with prominent highmids, a lean bottom and plenty of air and openness up top. I then moved the mic from
the speakers center towards the edge, finding more fullness and body. In this application, I was cutting mostly guitar solos;
Rob Tavaglione is the owner of Charlottes Catalyst Recording and a regular contributor to PAR. catalystrecording.com
Reactors translation was nicely detailed, with plenty of excitement and sparkle, even after a touch of reductive high-mid EQ. I brought in singer/songwriter Neil Jackson to put Reactor through an all acoustic test. Not surprisingly, Neil loved the mics styling, and, now clearly enthused, he quipped how hed expect to see Reactor dropping from the ceiling, accompanied by radar blips and depth charges, as if in a Jules Verne novel adapted for the big screen. [Visit prosoundnetwork.com/BlueReactor for audio clips from this performance. - Ed.] On Neils acoustic guitar, we got a fantastic sound that avoided all boominess, captured abundant top end detail without harshness, and required no EQ. On vocals, Neil got all gushy for Reactor, calling it amazing, and we both preferred it in omni for vocals. To us, it seemed that cardioid added a little bump somewhere between boxy and nasal vocal frequencies; omni had flatter mids and sweeter sounding sibilants (figure 8 was nice, too, and flatter than I expected). Even so, I scooped around 2.5 kHz to prevent too much forwardness.
On basses, both acoustic upright and electric via bass cabinet, the Reactors accurate transients and pristine top translated the sources peaks marvelously. Bottom end wasnt abundant enough, though; EQ, or an additional ribbon mic, solved the problem. The same can be said for ambient drum overhead applications; it provides great detail and air, though more body and thickness would be welcome. Side note: When switching polar patterns, Reactor makes a pop, so remember to mute the output before experimenting. Summary As much as the Reactor had me reaching for EQ, I must say I liked its tone. Its airiness, realism and detail made for some sweet tracks, especially after some corrective EQ. And I must note that any pro-grade microphone that can inspire performers like the Reactor does is welcome at this studio. For me, the trouble with this microphone lies in its size and placement. As much as I love its aesthetics, I cannot recommend this mic to any engineer that shares
my admittedly strict values of practicality, simplicity and, yes, function over form. Reactors body seems unnecessarily heavy; the shockmount is nearly adequate but unbalanced and awkward in use; the pop filter does not prevent plosive pops and requires additional help; the overall size/weight of the Reactor prevents it from mounting in tight spots (or at any angle); and the swiveling capsules function is negated by the shifty shockmount, if one is attempting M-S placement. Furthermore, a pad or a filter could open up more apps. Frankly, my clients liked the Reactor more than I did, so my position requires some second guessing. If you want truly unique styling, a forward condenser sound and dont mind the extra effort in placement, then the Reactor will delight you and impress your clients while bringing a slightly submarine chic vibe to your studio and most of us could use a little extra vibe, couldnt we? Price: $499 Contact: Blue Microphones | bluemic.com/reactor
new live products

Roland M-200i iPad V-Mixer
Roland Systems Group has introduced the Roland M-200i, a compact mixing solution for the iPad, aimed at live sound. The iPad app is fully functional on all key aspects of the M-200i mixing and control parameters. It not only contains the typical Preamp control, Pan, high pass filters, and extensive PEQ and GEQ control, it also includes the ability to store and recall scenes, adjust compressors and gates, sends on faders, effect editing and many other controls. This enables complete remote control of a mix from any location in the room. Wirelessly connect using a router plugged into the LAN port on the M-200i or use the Roland Wireless Connect adapter (WNA1100-RL) plugged into a USB port. Additionally you can connect an iPad using a multi-pin iPad cable included with the M-200i that not only provides wired connectivity but also charges the iPad. The physical console features a 32-channel architecture with 17 motorized faders, 8 AUX, 4 Matrix, 8 DCAs, 24 physical inputs and 14 outputs (expandable to 64x54). In addition to the physical inputs, the M-200i can mix in audio sources from the USB port (flash key). If you dont have an iPad available, the console is fully controllable via the built-in LCD screen along with buttons to navigate all the mixing parameters in the M-200i. The M-200i also includes a Roland Ethernet Audio Communication (REAC) port that opens the door to expandability options, including multi-channel playback/recording, additional remote physical inputs, and personal mixing system. The M-200i will ship in January 2013. Price: TBA Contact: Roland Systems Group | rolandsystemsgroup.com
Soundcraft Vi V4.7 Software Update

Soundcraft recently released the new V4.7 software for the companys Vi Series range of digital consoles, providing a major input-capacity increase for the Vi4 model, as well as the new virtual Vi software for the Vi1 and a number of feature upgrades across the board. The Soundcraft Vi4 can now handle 96 inputs to mix, bringing it into line with the Vi2 and Vi6 models; show-files are now fully compatible between Vi2, 4 and 6 consoles, so settings can be moved between consoles from a USB memory stick. To take advantage of the 96 inputs to mix on the Vi4, three DSP cards must be fitted to the local rack. Vi4 consoles with only 2 DSP cards will be uplifted to 64 inputs to mix, from 48. Similarly, rental companies with inventories of both Vi4 and Vi6 can now standardize on local racks. The same software update includes the dedicated Virtual Vi offline editor for the Vi1 console, so users can program shows offline. Price: Free download (soundcraft.com/downloads/software.aspx) Contact: Soundcraft | soundcraft.com
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new live products

Allen & Heath iLive Firmware Updates
Allen & Heath has released the latest version of its iLive firmware, V1.9, including new GEQ, Dynamic EQ and Multi-Band compressor emulations, increased MIDI control options, and improvements to the functionality in the supporting iLive Editor software and MixPad app. All 32 mix outputs now benefit from extra Graphic EQ Low Frequency bands and a choice of four GEQ emulations: classic 1/3rd octave Constant-Q, industry standard Proportional-Q, Digi-Q for minimal band interaction, and a new asymmetric Hybrid - plus display of the resulting frequency response and a superimposed RTA view. The four models are available at a touch of a button and can be audibly and visually auditioned in real time with no patching or recall needed. V1.9 is available to download now from the companys website. Price: Free download Contact: Allen & Heath | allen-heath.com
Kaltman Creations IWxCPA Antenna

Kaltman Creations LLC recently introduced the Invisible Waves IWxCPA antenna to improve reception for wireless microphones. The IWxCPA incorporates directional circular polarization (CP) technology for both receiving and transmitting pro-audio wireless applications. It is designed to help reduce interference, reduce drop outs, help eliminate swishing noise artifacts, improve RF signal to noise and enhance the reception of signals propagated through and around objects. The new IWxCPA antenna uses advanced circular polarization technology, which produces a drop-out free transmitter and receiver combination that is never out of phase. This technology, along with the antennas directional attributes, helps to guarantee as reliable of an RF signal link as possible. The antenna design is unique because of its low-visibility flat panel sign. Unlike paddle and helical antennas that point into the performance area and expose their large sides to the audience, the theatre black IWxCPA panel faces the performance area leaving only a 1.3 inch edge visible to the audience. Price: $299 each, $499 per pair Contact: Kaltman Creations LLC | kaltmancreationsllc.com
Behringer Q Series USB Mixers

Behringer has released its Xenyx Q Series USB mixers. With configurations ranging from 5 to 24 inputs, the new Q Series features Behringers Xenyx microphone preamps, described by the company as Neoclassic British EQs [that] allow gentle or even drastic sound shaping for any input signal. Select models feature switchable phantom power plus dedicated wireless-ready integration for Behringers upcoming ULM Series digital wireless microphones. Built-in USB/audio interfaces, one-knob mono channel compressors and Klark Teknik FX engines are also on board. The Xenyx Q Series USB mixers can be used for live sound, recording and podcasting applications. As an added bonus, Behringer offers a downloadable library of free recording and editing software, turning any Mac or PC computer into a complete audio workstation. All models are covered by Behringers 3-year limited warranty. Price: $59-$429 street Contact: Behringer | behringer.com
November 2012 | ProAudioReview
45
live review
Strother Bullins
Line 6 StageScape M20d Mixer

Ive come to expect the unexpected from Line 6, a pro audio company with an overall design philosophy that, first and foremost, serves musician end-users. From their first incarnation of the POD digital guitar amp modeler in the late 90s to their 2010 entree to live sound, their XD Digital Wireless line, Line 6 has well served those not locked to the traditional standards of legacy pro audio equipment.
The StageScape M20d live sound mixer is another Line 6 innovation of that kind; at first glance, its nothing like the channelstripped mixers of old. Unique and hightech sexy, it is streamlined, largely naked of knobs and buttons and provides no vertical faders. Paired with complimentary Line 6 StageSource loudspeakers, it is built to do things that traditional portable PA rigs do not, such as provide touchscreen visual-based mixing; multichannel recording with soundcheck loop capabilities; comprehensive iPad remote control; auto-sensing I/O; loads of DSP power; and much more, all in an intelligent, digitally-networked rig. ter-inch) combination inputs; four quarterinch auto-sensing line inputs; four autosensing monitor outputs (balanced XLR); and two audio-sensing main outputs (balanced XLR). Also included quarter-inch headphone output with adjacent volume
Intelligent and intuitive, this unique digital mixer is the heart of Line 6s ambitious rewrite of what users know about portable PA.
knob; eighth-inch aux in for mobile device audio input; dual quarter-inch foot switch inputs; USB PC jack (for recording/playback via standalone DAW); as well as a USB 2.0 dock and a SD card slot (either is recording/ playback-ready for presets and MP3/WAV file storage). Most interesting within the M20ds I/O category is Line 6s proprietary L6 LINK connection. It utilizes an AES/EBU 110 Ohm cable to send digital audio in one direction while sending control info in two directions, allowing control of Line 6 products when used with a StageScape-centered PA. Read more about it here: line6.com/l6link. Once inside the M20d, audio signal input encounters a multitude of simply-presented but deep treatment options. The mixer recognizes each input type: for example, pop in a condenser microphone into XLR input 1, and an instrument via DI into quarter-inch input 2; each will immediately appear on the vibrant touchscreen. From there, each input gains its own customizable channel strip with gain, EQ, effects and routing options; these parameters are dialed in by the dozen multifunction push-knob encoders below the screen. This auto-sensing based setup alone can save a lot of time and headache during load-in/soundcheck. To the left of the screen, the five vertically-aligned buttons allow access to (from top to bottom) Setup, where the user configures I/O and accesses the Stage Icon Gallery, so a kick drum can be assigned to the screen to represent the kick drum mic input; Tweak, to adjust
Key Features Out of the box, the M20d feels rock solid. This forward-thinking product is built for the expected rigors of a modern gigging musicians life, and its seven-inch, full color touch screen and 20 buttons/knobs brings all the capabilities of the M20d to my fingertips. Its footprint is approximately 16-inches wide by 14-inches deep compact, uncluttered and highly functional. I/O is comprehensive a dozen The M20d sits atop its L6 LINK-compatible smart powered auto-sensing mic/line (XLR or quar- loudspeaker, the StageSource L3t.
Strother Bullins is a musician, self-recordist and the Editor of Pro Audio Review.
EQ, dynamics and effects per input; Record, patible USB WiFi adapter, allows adjustment to set up recording functions for up to to any other M20d parameters from any16-channel tracking plus the main mix out- where in the venue. The iPad aspect of the put; Monitor, to set stage monitor send lev- M20d opens up a literal world of options els per channel; and Perform, which locks multiple iPads can be connected, thus parameters to prevent accidental changes each band members iPad is their own moniduring an event. To the right of the screen tor mixer. are the vertically aligned, self-explanatory When the M20d is paired with Mute Mics and Mute All buttons, plus a large StageSource loudspeakers each with Master Volume pot. its own internal mixer and EQ, feedback After initial setup, intuitive adjustment suppression, and even an accelerometer options abound. Highlights include the (detecting if the speaker is horizontal for Tone X-Y Quick Tweak Pad, a quick-adjust, Floor Monitor mode or vertical for Main nearly fool-proof full-screen GUI controller Monitor mode) L6 LINK allows automatic that adjusts multiple parameters via an self-configuration, stereo signal pan, and X-Y, finger-drag-based window; for example, 31-band graphic EQs on each speaker. from the Setup screen, I simply touch the Kick icon, then tap Tweak to enter the Quick In Use Tweak screen. With the center of the screen This was a challenging review for me labeled as Neutral, the four corners are to write in all honesty. The StageScape Boom, Snap, Scoop and Smack. Dragging M20d is incredibly intuitive that its hard the X-Ys crosshair center to where I hear the best balance of the four extremes its that simple. The multicolored push-knobs are great as both visual and tactile tools, especially in Tweak mode. Deep Tweak Edit Mode provides more traditional plug-in GUIs per parameter or effect for delving deeper. In other words, using Quick Tweak got me close, if not there, while Deep Tweak is the last 5-10 percent. Also notable is Total Scene Recall for saving/recalling stage setup, and four stereo Master The iPad aspect of the M20d opens up a literal world of options. Effects Engines are provided two reverbs, vocal doubler, and a delay/ to fully convey its simplicity. Trying it out chorus/flanger. is the only way to fully understand its Finally, Quick Capture and iPad control capabilities. features allow M20d users access to some Taking it out of the box, plugging it in, truly pro-level capabilities. One-touch acti- and tapping through the screens, I literally vation of Quick Capture records up to 20 figured it out on the fly. Within 30 minutes seconds of soundcheck material from any with no manual, without a video tutoinput source to internal memory; simply rial or even glancing at a quick start guide loop it and tweak it to my hearts con- I was doing most everything the M20d tent. Further, users can record full songs advertises. to full shows to either SD card or via USB; Paired with dual StageSource L3t mains StageScape is an all-in-one portable record- and the StageSource L3s subwoofer, I ing rig. Meanwhile, iPad control, via a com- used the M20d for a variety of live events.
Whether at a club for a rock show with nearly all inputs full; at an acoustic show, carefully pouring over Line 6s great-sounding effects and having great success using the Quick Capture feature for a detailed soundcheck; or at a local church, watching light bulbs going off over volunteers heads as I explained its operation with very few words, the StageScape proved its worth to me, and I was a skeptic no more. For these gigs, the M20d performed at least on par with and, in most cases, surpassed any other portable live mixer Ive ever used in terms of sound quality, intuitiveness, and features. Finally, the recording capabilities of the M20d make it much more than a great live mixer. For many modern audio types, this could be their only hardware mixer. Summary For those apprehensive about digital mixers for portable PA applications, the M20d may finally be the epiphany that will change ones mixing lifestyle. I believe the M20d is the first product on the street of its kind that is intuitive enough for virtually every potential end user. This is not an inexpensive mixer, thus it will still be out of reach of many portable PA users. I would also not recommend it for a venue without a house engineer. As intuitive as it is, it could still inhibit a gig; I can just see a band of weekend warriors gathering around this space-age thing, 30 minutes before the downbeat, scratching their heads. The M20d is ideal for the discriminating, forward thinking engineer or gigging band looking to lighten the load, as well as for houses-of-worship or theaters featuring a variety of performers and modern needs. Paired with Line 6s L6 LINKequipped StageSource powered speakers, the M20d becomes a modular live sound system that will make its engineer look almost as smart as his mixer. Price: $2,799 list Contact: Line 6 | line6.com
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www.proaudioreview.com November 2012 | ProAudioReview 49
Ozone
Features like multi-band saturation and multi-band stereo width control that rarely get used, when they do, they make the difference between a good mix and a great mix. Ozone 5 provides so much flexibility and power, I cant imagine ever mixing without it. The multiband modules have independent crossover settings as well making it easy to fine tune from module to module instead of trying to come up with a generic setting that works globally. Ozones Undo feature makes it easy to reference previous settings. A/B points can actually be set in the history as well. Although the module routing order within the plug-in follows perfect logical sense, there is still the occasional instance that a different order is desired. Thankfully, iZotope made it
easy to change the module order via the Filter Graph. Since adding Ozone 5 Advanced to my normal mix workflow, Ive become accustomed to keeping the sizable Meter Bridge window permanently for all of my metering needs. Unfortunately, the Meter Bridge isnt available as a single plug-in, so Ive become accustomed to just sliding my Ozone 5 plugin window off the screen. Summary iZotopes Ozone 5 is the only full-function mastering plug-in suite that Ive encountered that includes everything needed to transform a final mix into a final master within a single plug-in. And to top it off, its one of the best sounding plug-ins available today. Price: $249 and $999 (Ozone 5 and Ozone 5 Advanced, respectively) Contact: iZotope, Inc. | izotope.com
Pullet
more true, more natural and more like what my mind envisions when I reach for knobs. Summary I must admit that all this musical power with no low EQ band is a little disappointing. But what the Pullet does do, it flat out does best. This box will set you back $1,695 street and youll need an Earlybird or another very nice mic amp to do it right, but such cost and trouble is surely worth it for ambitious mastering engineers. I can see this investment as having immediate payback with easy EQ improvements and happy clients who will value your work ... even if they dont exactly know why. Price: $1,899 list Contact: Thermionic Culture | thermionicculture.com
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New Products, P.

studio | live | broadcast | contracting | post

Holiday Gifts for the Audio Pro

the Review Resource for Sound professionals

iZotope Ozone 5 Advanced Mastering Suite

New Live Products 44 Line 6 StageScape M20d Mixer

Thermionic Culture The Phoenix Mastering Plus Compressor

Thermionic Culture The Pullet Mini Passive Equalizer

Polish And Perspective

Mastering Matters: The Death of the Mastering Engineer?

Blue Reactor Multipattern Condenser Microphone