New

Products, studio | live | broadcast | contracting | post

P. 10, 42

ProAudio
Mar ch 2013 | voluMe 19 | issue 3

Review
INSIDE:
studio seNse: serving
the dialog
Geared uP: Fred aldous
calrec consoles

The Review Resource for Sound Professionals

Microphone
Stands feaTuRing aTlaS, galaxy,
goby labS, K&M, ulTiMaTe,
TRiad-oRbiT and Vu

more reviews
Advanced Audio CM67se AKG D12VR Behringer X32
JoeCo BlackBox BBR64-DANTE Solid State Logic
e series eQ & dynamics for 500 series
www.proaudioreview.com
 in this issue
Studio
Covering Recording, Broadcast
Production, and Post Production
New Studio Products 10
PAR Session Trial 20
Microphone Stands, featuring Atlas
Sound, Galaxy Audio, Goby Labs,
Knig & Meyer, Ultimate Support,
Triad-Orbit and Vu
by Rob Tavaglione and Strother Bullins
Review 28
AKG D12VR
Cardioid
Kick Drum
Microphone
by Rob
Tavaglione
28 Review 32
Advanced Audio
CM67se Tube Condenser
Microphone
by Lynn Fuston
Review 34
Solid State Logic E Series EQ and
Dynamics for 500 Series
by Randy Poole
Review 36
JoeCo BlackBox BBR64-DANTE
Multitrack Recorder
by Chris Sully Sullivan
Cover & Featured Review Photography: Rhon Parker
(rhonparker.com)
Cover Design: Walter Makarucha, Jr.
4 ProAudioReview | March 2013
ProAudioReview
MARCh 2013 | VOLUME 19 | ISSUE 3
Sound Reinforcement
Covering Live Sound,
Contracting, and Installed Sound
New Live Products 42
Review 46
Behringer X32 Digital Console
by Dan Wothke and Lynn Fuston
46
Departments
Technically Speaking 8
Consistently Reliable Infrastructure
by Frank Wells
Geared Up 16
Calrec Bluefin Alpha and Sigma
Consoles
by Fred Aldous
Studio Sense 18
Serving The Dialog
by Rich Tozzoli
18
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.
ProAudio
Review
The Review Resource for Sound Professionals

M a r c h 2 013 v o l u M e 19 issue 3

Editorial
Frank Wells, Editorial director
212-378-0400 x535, fwells@nbmedia.com

strother Bullins, Editor

336-703-9932, sbullins@nbmedia.com

clive Young, Managing Editor

212-378-0424, cyoung@nbmedia.com

Kelleigh Welch, assistant Editor

212-378-0423, kwelch@nbmedia.com

lynn Fuston, technical Editor

rich Tozzoli, Software Editor

russ long, Senior Contributor

Ty Ford, steve harvey, Will James, Tom Jung, alex oana,

randy Poole, alan silverman, rob Tavaglione, Ben Williams,
sterling Winfield, Dan Wothke, Tom Young, Contributors

Paul haggard, Photographer

advErtiSing
Tara Preston, associate Publisher
917-331-8904, tpreston@nbmedia.com
Karen Godgart, Sales director, West Coast office
323-868-5416, kgodgart@nbmedia.com
Doug ausejo, Specialty Sales associate
650-238-0298, dausejo@nbmedia.com

art & ProduCtion

Nicole cobban, Senior art director
Walter Makarucha, Jr., associate art director
Fred vega, Production Manager
212-378-0445, fvega@nbmedia.com

CirCulation
Meg estevez, group director, audience development
Michele Fonville, associate Circulation Manager
Subscriptions: Pro audio review, www.MyParmag.com
P.o. Box 234, lowell, Ma 01853
Tel: 888-266-5828
(u.s.a. only, 8:30 a.M. - 5 P.M. est)
978-667-0352 (outside The u.s.)
Fax: 978-671-0460
e-Mail: Newbay@computerfulfillment.com

nEWBay MEdia audio grouP

adam Goldstein, Senior vice President/group Publishing director
ragan Whiteside, Web director
robert Granger, online Production Manager
ashley vermillion, Web Production Specialist

nEWBay MEdia CorPoratE

steve Palm, President & CEo
Paul Mastronardi, Chief Financial officer
Jack liedke, Controller
Bill amstutz, vice President of Production & Manufacturing
Joe Ferrick, vice President of digital Media
Denise robbins, vice President of audience development
anthony savona, vice President of Content & Marketing
ray vollmer, vice President of Human resources
anthony verbanac, it director

liSt rEntal:
914-925-2449 or danny.grubert@lakegroupmedia.com

rEPrintS and PErMiSSionS:

For custom reprints & eprints please contact
our reprints coordinator at Wrights Media:
877-652-5295 or newbay@wrightsmedia.com

PrintEd in tHE u.S.a.

administrative, advertising,
& editorial offices
28 e 28th street, 12th floor
New York, NY 10016
Tel: (212) 378-0400

6 ProAudioReview
technically speaking Frank Wells
Consistently Reliable
Infrastructure
Sometimes the most overlooked pieces of infrastruc-
ture can be remarkably essential to the success of a
studio or stage production. A tracking date can come to
a complete halt, with a room full of musicians tapping
their feet with impatience instead of with the beat, and
the culprit can be as simple as a defective mic cable.
Weve all seen bands struggle through a performance
when the guitarist is chasing a cable issue, or the
daisy-chained speaker wire between a pair of wedges
has an intermittent connection.
That $2.99 power strip bought at the local discount
store doesnt seem quite the bargain when it fails at a
critical moment. The same can be true for a cheap RCA
cable with machine-pressed connections and an inabil-
ity to stand up to normal wear and tear. Headphones,
though Id consider them legitimately gear and a step
above infrastructure, are the hardware that most fre-
quently suffer from wire and connector stress issues.
These kind of issues are more rare with profes-
sional multi-pin connectors, professionally made,
but when there are intermittents in such a cable,
they can have even more devastating results and
be harder to chase in the heat of the moment. Ive
seen few problems with, say, a studios own Elco or
DL connectors, if originally well made. But on abused
cables accompanying a rental system, Ive seen some
session-stopping issues.
A client might overlook a single problem. But, when
a bad mic cable is found for the second or third time
in a session, client confidence can start to wane.
Fortunately, with due diligence (and a good cable tes-
ter in the case of mic cables, with hopefully a quality
intern to perform the tests), wire wear-and-tear issues
can be largely avoided. Sound companies and studios
that follow good engineering practice will test their
Elements outside the signal
flow can mar a production;
simple things matter.
infrastructure elements for wear or abuse between
sessions and gigs.
There are plenty of elements outside the signal flow
that can mar a production. A faulty drummers stool, a
non-ergonomic control room chair, the lack of the mark-
ers and artist tape a guest engineer likes to use to label
gear and consoles, the quality and ready availability of
coffee; simple things matter.
Mic stands are a critical part of studio infrastruc-
ture; hence, this issues Session Trial. You need stands
that accommodate the desired mic placement, that
can handle the weight of your heaviest condenser mic,
that can stand up to road wear and artist abuse, that
clamp securely at the desired height and boom exten-
sion. Hopefully, Robs testing will help you make buy
em and forget em stand choicesisnt that what you
want, consistently reliable infrastructure?
8 ProAudioReview | March 2013
 new studio products
Steinberg Nuendo 6
Steinberg Media Technologies has announced Nuendo 6, providing new mixing facilities
featuring full-screen mode and scalability, Insert View for displaying activated insert slots,
plug-in and channel search and integrated Control Room. Nuendo 6s brand-new channel
strip comprises high-pass and low-pass filters, a noise gate with sidechain support, various
compressors and a brickwall limiter, while the overhauled Channel Settings window pro-
vides immediate access to channel parameters.
Further highlights of Nuendo 6 are the EBU R128 standard compliant loudness metering with
RMS metering scales, the Loudness Lane for tracking and editing loudness efficiently and the
new ADR taker system, including on-screen dialog for dialog recording and language dubbing.
Prominent plug-ins are MixConvert v6 for individual downmixing, Voxengos 64-band
CurveEQ and IOSONOs Anymix Pro 1.3 for automatic EQ and loudness adjustments to sur-
round sound signal panning and upmixing up to 8.1 surround sound.
Prices: $249 and $2,000 (Expansion Kit and full Nuendo 6, respectively)
Contact: Steinberg | steinberg.net

Waves Audio Element Synth

Waves Audio has released its first synthesizer, Element. Powered by Virtual Voltage
technology, Element is an analog-style, polyphonic instrument that aims to deliver
the fat, gritty sound of classics while providing flexibility found in modern digital
synths.
Element includes an array of features and functions, including integrated effects,
a 16-step arpeggiator/sequencer, MIDI Learn for all controls and a tweakable preset
library. All parameters are laid out in front of the user for customizing sounds.
Price: $99 from Waves online store
Contact: Waves | waves.com

TC Electronic DB6 Loudness Metering Processor

TC Electronic has announced the new DB6, a TV
and mobile TV transmission processor that can
handle loudness metering at the input and output
stages, up or down conversion, loudness process-
ing, on-line lip-sync delay, and logging of all rel-
evant loudness statistics, all in one process. DB6
is a new addition to the DB family of processors
that includes DB2, DB4 and DB8.
The new DB6 platform is housed in a single rack space unit that allows processing of up to three simultaneous SD/HD/3G streams.
DB6 features two 5.1 capable processing engines per SDI stream, each able to deliver to any platform and any codec, be it HDTV, Mobile
TV, Digital Radio or Podcast using AAC, Dolby, Ogg Vorbis, Lossless or Linear.
The LoudnessWizard algorithm handles loudness correction, up-conversion from stereo to surround formats and down-conversion
from surround to stereo. According to TC Electronic, the LoudnessWizard algorithm automatically detects the nature of any incoming
signal and acts accordingly, as defined by the engineer. It also integrates multichannel TC Delay, which may be adjusted live without
artifacts and used for lip-sync, profanity prevention and loudness processing look-ahead.
Price: TBA
Contact: TC Electronic | tcelectronic.com/db6

10 ProAudioReview | March 2013 www.proaudioreview.com

 new studio products
ADAM Audio
F Series: Now
Shipping
ADAM Audio is now shipping the F
Series Professional Monitor Series,
including the F5 and F7 nearfield moni-
tors and SubF dedicated subwoofer.
The F5 and F7 feature the companys
new X-ART tweeter, hand-assembled in
CAD Audio MH510 Headphones Berlin, Germany.
Designed for smaller rooms, the
CAD Audio has released its new Sessions MH510 professional headphones,
compact F5 includes the X-ART tweet-
designed for performers in recording and live audio environments. The MH510
er powered by a 25 W (RMS) A/B
headphones produce a wide frequency response (10 Hz to 24 kHz), and aim to
amplifier and a five-inch mid/woofer,
provide extended lows, smooth mids and articulate, and life-like highs for accurate
also powered by a 25 W (RMS) A/B
and natural reproduction. Available in four colorsBlack, White/Red, Black Chrome
amplifier. The F7 is equipped with the
and Black/Orangethe MH510s are supplied with two cables (coiled and straight)
new ART tweeter, driven by a 40 W
and two sets of earpads to satisfy changing user demands.
A/B amplifier, and seven-inch woofer
Price: $99 street
paired with a 60 W (RMS) A/B ampli-
Contact: CAD Audio | cadaudio.com
fier. The SubF subwoofer features an
eight-inch woofer driven by a 150 W
(RMS) PWM (pulse width modulation)
power amplifier.
Stay tuned to the pages of PAR for
our full review of the F7.
Prices: from $249 each, street (F5)
Contact: Adam Audio | adam-audio.
com

Cable-Up by Vu Premium and

Industrial Mic Cables
Cable-Up by Vu recently released a redesign of its Premium and Industrial
Cable-Up microphone cables, which have been rebuilt to improve durability and
performance.
Cable-Up Premium cables are jacketed with flexible neoprene with the inten-
tion of withstanding harsh environments and use high strand count, oxygen-
free copper conductors. The improved Premium XLR cables are now terminated
with Amphenol AX Series connectors and are RoHS compliant. The new cables
will be available this month in 1 to 200-foot lengths, as well as in unterminated
500-foot bulk spools.
Cable-Ups improved Industrial line microphone cables feature 22 AWG con-
ductors, flexible PVC jackets, braided shielding and soldered XLR connectors fit-
ted with gold-plated contacts. They are available in 12 sizes from 1 to 100 feet.
Prices: POA
Contact: Cable-up by Vu | cableup.com

12 ProAudioReview | March 2013 www.proaudioreview.com

Daking Comp 500
Module
TransAudio Group, distributor of products by
Geoffrey Daking and Company, Inc., has intro-
duced the Daking Comp 500 VCA compressor/
limiter module, compatible with 500-series rack
enclosures. The semi-automatic Daking Comp
500 is intended for both tracking and mixing.
Compression is set with one knob, ranging
from Less to More. Release time is switch-
able between Fast (0.5 ms) and Auto. The Auto
setting engages a dual time constant, which ini-
tially releases quickly before slowing, reportedly
eliminating pumping. Attack may be switched
between Fast (1 ms) and Slow (16 ms), while
Ratio is switchable between Compressor and
Limiter modes; there is also a hard-wire Bypass
switch. A Stereo switch is provided that allows up
to six units to be linked. The eight-segment meter
is selectable between gain reduction and output
levels, and offers VU ballistics with floating peak.
Price: $725 street
Contact: TransAudio Group (Distributor) |
transaudiogroup.com

14 ProAudioReview | March 2013

 geared up by Fred Aldous

Aldous Calrec Bluefin Alpha

and Sigma Consoles
Multi-award winning broadcast audio engineer Fred Aldous
details why he prefers Calrec mixers.
I am a freelance mixer, broadcast audio consultant, and sound designer who mixes live outside (remote)
broadcasts of sporting events, primarily for Fox Sports. I am currently under contract with Fox Sports as its
senior mixer and audio consultant covering the NFL and NASCAR. I have mixed on every Super Bowl that
Fox Sports has aired, and, as the audio designer for Fox Sports coverage of NASCAR, I have also mixed
every Daytona 500 race that Fox Sports has aired. I have won 19 Emmy Awards in several categories,
including Best Live Sound, Technical Achievement, and Technical Team Remote. After all my years of
experience, I can say without a doubt that I prefer working on Calrec Audio consoles.
I have used small standalone Calrec signal flow and resources. For NASCAR, different formats (analog/AES/MADI).
consoles since the late 80s and early I use 90 percent of the resources avail- Regardless of whether its an NFL or
90s. In 1997, I worked on my first big able on the Alpha desk because, unlike NASCAR production, all shows are mixed
Calrec desk: a Q2 that was housed in with NFL shows, there is especially high in 5.1, so it is imperative that I am able to
NEPs SS-18 OB truck. Right now under demand from outside entities for custom create a surround mix easily. The Calrec
my contract with Fox Sports, I am working mixes, such as international mixes, sent consoles allow me to create 5.1 faders
on a Bluefin Alpha desk that is housed in as isolated feeds to EVS A/V recorders. easily and gives me the resources for
the FX truck owned by Game Creek Video, I manage 18 EVS A/V recording devices several 5.1 faders, both ins and outs.
a vendor for Fox Sports that uses Calrec with eight channels each, which eats up Fox Sports relies on me to ensure that
consoles in every one of its OB trucks. My real estate quickly. Under our Alphas cur- our available equipment is durable and flex-
team and I use the Bluefin Alpha as the rent configuration, I/O is easy because the ible enough to turn out a good, clean prod-
main production mixer for both NFL and Alpha is capable of receiving and sending uct every time. Given the complexity and
NASCAR. On NASCAR, we also use a Calrec
Sigma console for a submix of signals
from the track-effects mics.
As Fox Sports NFL A crew, my team
and I are responsible for mixing every
weekly national game, the NFC champi-
onship game, and the Super Bowl in the
years that Fox airs it (every three years).
NFL games require a lot of resources,
from I/O to routing. As the crew that
handles Foxs marquee weekly game, we
need to make sure there are no failures
while the entire country is watching and
listening. We are also under scrutiny from
the NFL itself, which keeps close tabs on
the quality of every production.
NASCAR productions are even more
demanding than NFL games in terms of Aldous and his preferred Calrec Bluefin Alpha desk at Super Bowl XLV in 2011.

Fred Aldous is a freelance mixer, broadcast audio consultant, and sound designer specializing in live sports.

16 ProAudioReview | March 2013 www.proaudioreview.com

 The Calrec consoles allow me to create 5.1 faders easily and gives me
the resources for several 5.1 faders, both ins and outs.
size of our shows, the most important thing
about the desk is that it is able to accom-
modate the number of sources it must
receive. Its also important to ensure there
are enough outputs (masters, groups,
auxiliary, multitrack, and direct busses)
to accommodate the internal needs of our
broadcast, as well as the external feeds
we distribute to outside entities such as
international broadcasters. I/O flexibility is
essential, and Calrec provides the flexibility
to do everything we need to do.
I really appreciate the layout of the
console surface and the ability to config-
ure it any way I like. Calrec has made the
layout of its consoles so intuitive that it
has become a natural reaction for me to
reach for something because I know it
will always be in the same place no mat-
ter which Calrec Im using. I dont have to
spend time familiarizing myself with a
new layout every time I switch projects.
The large TFT display is easy to configure
and read. It lets me see whats coming
and going, and allows me to make sure all
levels are correct. In the heat of a show,
its nice to be able to look up and see what
is going on in the desk at a quick glance.
All in all, probably the most critical
feature for me is the monitoring section.
I have access to just about every output
the desk generates. With the monitor sec-
tion, I can quickly listen to a variety of
sources and program the most important
sources to be accessible quickly. That
way, if there is a question about how a
particular feed sounds, I can isolate it and
monitor it without delay. This capability is
especially important when I am putting
together high-profile multisource events
such as the Super Bowl or Daytona 500.
In all my years of using Calrec con-
soles, Ive seen that just about everyone
knows how to program, work and main-
tain them. Whats more, Calrec support
has been second to none. If I ever have an
issue with a console that cannot be fixed
by one of the truck engineers (which is
rare), Calrec resolves it quickly, either
with in-house staff or through one of its
authorized support centers.
Finally, Calrec consoles are just plain
tough. Living inside an OB truck, the con-
soles bounce up and down the road from
one remote to another, and the last thing
I want is to have a console malfunction
when the truck arrives to set up for a
show. The entire audio room is (figura-
tively and physically) built around the
Calrec desk, and I know that after miles
and miles of travel, Calrec desks will take
the abuse and still function. They are
pretty much bulletproof.
 opinion studio sense by Rich Tozzoli

Serving the Dialog

Scoring to picture is never easy. With any such project, theres always a
myriad of variables involvedhow complex is the piece of music they want,
how long is it, what is the vision of the creative team involved and, equally as
important, how many people are going to give feedback and ultimately have say on the
acceptance of the final product. Recently, I scored a piece for the NHL called Hockey Is Back, re-launch-
ing the 2013 season. From an audio point of view, it was a real-world example of how the composer and
the composition must ultimately service the all-important dialog and story.
The spot was two full minutes in length, any additional cuts as best we could to fit and had its expected round of changes
and would be shown on multiple media the tempo. tweaks of this and that. The NHL then had
sources, including TV, online and in stadi- I called up a wide variety of instruments their say, and wanted more drums in the
ums. Editor Matt OConnor, working with to get the track done. It opened with an intro, and of course, to make it bigger. They
P3 Entertainment, contacted me about ambient piano, and I originally layered in also felt it was too dark, so I recomposed
composing the spot after we had recently additional ambient guitar tracks done with the intro and switched piano sounds to a
worked together on an ESPN 30 for 30 an EBow and SoundToys EchoBoy. Once the nice clean ivory Bosendorfer. Also, I had to
show. The original concept had temp music action picked up, I bought in strings (bass, bury the EBow guitars, which in the end,
that was quite dramatic in nature, and his cello, viola and violin), as well as synth pads were taken out almost entirely.
cuts were a story on their own. and choir. I even bought in singer Katherine Again, a few back and forths, and they
The video opened with a snow-laden Black to lay some angelic vocals in (which I wanted it even bigger. So I went back to
pond and kids skating, and over the course multitracked) on top of the choir. It always Leviers and laid in a different tom pattern
of two minutes, took the viewer through helps to have that human element. to push the feel of the piece. We also did a
the powerful emotions and speed of cham- For the second half of the piece, when it pass of cymbal swells and a pulsing cymbal
pionship hockey; the music had to speak really opened up to the ice action, I picked ride pattern. In addition, I added in guitar-
of beauty in the beginning and ultimately up the intensity with tempo-synced crowd ist Scott Moore with his lap steel for some
build to a powerful climax and outroall the stomps, chants, additional strings, French sonic push on some visual cues.
while sitting under the VO. I myself grew up horns and layers of guitars. To get increase Once again, it was a give and take of
on a pond playing hockey, and its actually the ambient hugeness, I used a massive ideas, and the NHL wanted even more edge
my favorite sport, so they picked the right cathedral in Altiverb, the Universal Audio and aggressiveness to it. So I added addi-
guy for the job! Lexicon 224 and some ambience in the tional guitar parts and raised up some of
I loaded the QuickTime into Avid Pro Tools Sonnox Reverb. I went to drummer Ray the pulsing drums. All the while, OConnor
with an AAC of temp music, VO and natural Leviers studio armed with a QuickTime and the team at P3 worked with them to
SFX and got to work. The piece had a flow temp mix and recorded him doing tom hits. include different video shots, but that didnt
to it, so I was able to nudge around the tim- We also rolled a kick drum on its side and really affect me because he noted they
ings in Grid mode and get it to work. Also, it beat the top of it to add a thumping pulse. would still time out to my tempo mapped
was discussed that OConnor would nudge So the first mix went back to OConnor, hits; I didnt have to keep loading in updat-

As a composer, youre also at the mercy of how the client decides

to mix the spothow loud your music will be versus the other elements.

Rich Tozzoli is a Grammy-nominated engineer, mixer and composer as well as PARs Software Editor. richtozzoli.com

18 ProAudioReview | March 2013 www.proaudioreview.com

ed QuickTime clips, saving me time and
troubles. By this point, I was pushing 60
plus tracks of audio, so the mix was get-
ting bigger and bigger.
Just as word of the strike ending came
about, I was finally able to hand in a
version that was accepted. Looking at
my Pro Tools session, I had saved 20
versions of the mix. That, my friend, is
a lot of changes and additions. But with
each big change, you also have to charge
more as a composer (or in the end, you
can get beat up too hard). Luckily, the
clients across the board made it more
than clear that the changes would be
compensatedso in this case, it was A still from the NHLs Hockey Is Back video. View on YouTube: youtu.be/SYuZe0VgfVI
never an issue. As many of you know,
thats not always how it works. effectsin this case, a lot of crowd noise, just to push it along. The professional in me
Finally, OConnor and the team cleaned on-ice hits and players yelling. then wonders if I should have made this
up the last of the video edits and out it As a composer, Im also at the mercy of or that louder in my own mix, or pushed it
went, with final VO from Liev Schreiber, how the client decides to mix the spot beyond excess in certain spots. But just
just in time for the start of the season. how loud my music will be versus the other like anything else, I live and learn, hopefully
Viewing the final product online, I had a few elements. I could hear they boosted it in transferring my lessons to the next job.
observations. Like many film composers, I certain spots, but for the most part, it was In the end, its a powerful and beautiful
feel many of the intricate details of the mix kept down. Again, its understood that the piece of work. Its truly a team effort that we
get lost once you add in the VO and sound video and VO tell the story, and my job was can all be proud of. Go Rangers!
 studio review By Rob Tavaglione

Microphone
Stands
Featuring Atlas Sound, Galaxy Audio,
Knig & Meyer (K&M), Ultimate Support
and Triad-Orbit
Continuing the PAR Session Trial seriescomparative gear evaluationsI investigated microphone stands,
truly the workhorses of any live music environment. I selected mic stands from five leading manufactur-
ers in common sizes and configurations; a variety to equip a studio or typical stage with what is generally
needed. One exception is full size standsthose with the mass, reach and features necessary to place
heavy tube LDCs, for example, up and out at great distanceswhich are not covered here, constituting
their own category (stay tuned for part 2).
Offerings were tested from Atlas Sound, Galaxy Audio,
Knig & Meyer (K&M), newcomer Triad-Orbit and Ultimate
Support. Models included three varieties: straight with disc
base, short tripod boom, and tall tripod boom.

The Tests
I started with simple height tests, as in how high does it
reach? There are enough tall performers and apps like mik-
ing cymbals, choirs and room to warrant use of models with
standard ceiling-reaching ability. Conversely, how low can it
go (a.k.a. the limbo test) is equally important for jobs like
kick drums, snares, floor toms, guitar cabinets and seated
performers.
Functional boom length is another important factor, as
height alone wont get you out and over a sound source (e.g.,
drum kits, pianos, keyboard-playing vocalists, etc.). Stability
factors into this measure as well, as reach without stability
may result in broken mics. For this, I came up with a bump
testI gently backed into each stand, loaded with a stereo
bar and a whopping 6.6 lb pair of condensers, bumping
harder and harder until they fell over. The boom was properly
aligned in parallel to one of the legs on the tripod stands,
and I bumped from the opposite side. On a scale of 1 to 10,
1 tips right over if you tap it; 5 takes a reasonable bump
before failure; 7 requires some purposeful force; and 10
would require a full body weight hit to topple (a helper caught
the mics when the stands toppled).

Rob Tavaglione has owned and operated Catalyst Recording in Charlotte NC since 1995.

20 ProAudioReview | March 2013 www.proaudioreview.com

 Next, I weighed each stand, correlating
that info with my bump test findings, then
evaluated the findings for various users
those who are mobile, on location, or even
touring. I also considered portability, too;
some models are more likely to survive life
in a road case than others.
And finallythe most important test of
all, in my opinioncame ease-of-use test-
ing: setting up, loading with a heavy mic or
stereo pair, adjusting to position, and break-
ing down; the devil is in the details. If you
place mics for a living, you understand why
I might be sensitive to bad designs or faulty
parts, and why I might just get giddy over a
workflow enhancement or another way to
protect my mics.
maximum of 63 inches, the air suspension
of the center tube makes for smooth and
easy height adjustments. Once tightened,
the height clutch is strong and firm; it took
almost my full downward weight before
slipping. The MS25 holds steady, too; it took
a strong 7 to 8 in my bump test before tip-
ping over. The small footprint of the base
makes for some convenience around drum
kits, but the heavy weight and lack of tri-
pod-foldability makes for awkward travel.
Atlas Sounds tall tripod, the T3664 with
B2237 boom (together approx. $90 street),
has an attractive black paint finish with a
height of 38 inches at the boom pivot and
a whopping maximum total height of 97
inches. The boom extends 31 inches with
a total length of 38 inches. At about 7 lbs.,
the T3664 was a typically stable performer,
with a bump test rating of 5 or 6. The T3664
didnt like downward pressure, however; it
sagged readily under my weight. The adjust-
ment knobs worried me a bit here, too; one
was starting to crack from use and the
small, plastic boom knobs seem destined
for road case destruction.
The T1930 short tripod (approx. $75
street) also pairs with the B2237 boom

1. Atlas Sound (atlassound.

com)
Full disclosure: Ive been happily using
Atlas Sound microphone stands since my
first gig in 1979 and my studio is populated
with them to this day. Take the MS25 ($150
street), for example, my first pro mic stand:
this large, straight stand is characterized by
its distinctive 20 lb. steel triangular base.
With a minimum height of 38 inches and

Atlas Sound MS25, T1930 and B2237 stands

March 2013 | ProAudioReview 21

 for a 24-inch minimum pivot
height thats a little too tall
for kick drums, too short for
standing performers, but
ideal for those seated or for
snare drums (max. 68-inch
height). The height clutch
seems a little rough on this
model and downward pres-
sure wasnt handled too well,
either. With a bump test of
approximately 5, the T1930
hung in there, but is better
suited to more reasonable
apps.

2. Galaxy Audio
Standformer Series
(galaxyaudio.com)
Galaxy Audio sent two
new and similar models in
for review, both unique in the
marketplace. Both its short
MST-C60 and tall MST-C90 The Galaxy Standformer boom to straight transformation in process.
Standformer tripod booms
($119 list, $79 street, each) have a non- well suited for floor toms, guitar cabinets, were easy to use, with their convertibility
telescoping, non-counterweighted boom upright bass and seated performers. My a true plus. I wouldnt expect them to hold
arm that can slip back inside the stands 6 lb stereo bar was handled well by the up in long-term road use (years of being
center tube, effectively making a straight MST-C60 as a straight stand (with a bump thrown around in road cases, as there are
stand into a convertible, if you will. This test rating of 5), but it couldnt hang on numerous plastic parts and even a pro-
may not be a crucial feature, as any boom to all that weight as a boom (it could just truding knob), but they will surely provide
stand can be set up to be nearly a straight barely hold my 4.2 lb Avatone CK-40 stereo studio-based medium-duty performance at
stand, but this is far more elegant and mic boomed, though not fully extended). medium-duty prices.
sturdier in use, not to mention weight effi- Standformers are conservatively rated to
cient; one might be able to travel with fewer safely handle 2 lbs. 3. Knig & Meyer (K&M, k-m.
Standformers than standard stands, plus The MST-C90s minimum boom pivot de/us)
these Standformers (at only 4 and 5 lbs., height is 36 inches with a maximum height K&M provided its standard-sized, disc-
respectively) are rather lightweight. of 91 inches and a 30-inch fixed-length based 260/1 stand, a model with a mini-
The MST-C60 has a minimum boom pivot boom, making it tall enough for vocalists/ mum height of 34 inches and a maximum of
height of 24 inches (the height of its fulcrum front line work. The MST-90 held my heavy 61 inches. This diminutive little stand ($65
from the floor), making it just a little too tall stereo bar, but just barely, rating a compa- list, $49 street)with its small tubing and
to get inside a kick drum; it could reach the rable 5 in the bump test. Such extreme use basenot only handled my heavy stereo
resonant heads hole, but not for inside-the- made the height clutches hard to use, even bar, but also held firm with additional heavy
drum use). The MST-C60 will reach up to 62 though they feel solidly built. downward pressure. Very impressive. Even
inches and boom out up to 23 inches; it is In most standard apps, the Standformers with a die-cast base and 7 lb weight, its

I also realized that there is a place for all these models, as

each application and budget brings its own challenges, and each
stand evaluated here offers its own unique strengths.

22 ProAudioReview | March 2013 www.proaudioreview.com

 small footprint wasnt stable enough to get
a bump test score any better than a 1 or 2.
Such disc based stands dont travel well,
either (as they dont fold), yet they take up
little floor space in crowded studio spaces.
K&M also provided its large straight
stand, the 26125 ($85 list, $65 street) with
a taller 39-inch minimum and 67-inch maxi-
mum height. Still 7 lbs even with larger tub-
ing due to its light base, the 26125s height
adjustment was nicely dampened and very
smooth in operation (ideal for delicate and
sensitive transducers), though it couldnt
handle any additional downward pressure.
The larger base yielded a bump test score
between 2 and 3.
The standard-sized K&M 210/9 boom
($109 list, $85 street) is a studio staple; I
personally have four of them and new mod-
els were included in this review package.
With a minimum boom pivot height of 39
inches, max height of 89 inches and max
boom (fixed) of 24 inches, this model is
suited for vocalists, front line applications
and drums, but I wouldnt recommend for
overheads. Lightweight with plastic clutch-
es, they are notably sturdier than most of
the competition, with a bump test score of
5 or 6 with my heavy stereo bar in play. At
7.2 lbs, they travel well, but expect some
shearing off of the tripod bases adjustment
nuts. Used more reasonably around the
studio, these stands have proven to last a
very long time, much longer than budget-
priced competitors with similar designs, in
my experience.

4. Ultimate Support Pro

Series (ultimatesupport.com)
Although Ultimate Support offers a wide
variety of models and also some unique
designs (disc-based stackables, one-
handed height adjustment features, etc.),
I stuck with the basics for this Session
Trial. The Ultimate Pro Series ST straight
stand ($99 list, $59 street) was my favorite
straight stand tested. With large, thick tub-
ing (more than an inch in diameter); a 13.4
lbs. weight, a range from 37 to 65 inches,
a large quarter-inch turn clutch, six sturdy
rubber feet, a strong powder coated paint
finish, and a lifetime warranty, the Pro ST
not only handled my heavy stereo bar, it
Ultimate Support Pro-T-Short-T, ST Straight, and Pro-T-T stands
took additional weight without sag. With a boom is a large, heavy 7.6 lb stand. The
large triangular base, the bump test yielded minimum boom pivot height of 20 inches
only a 2 or 3, though with more reason- places this stand just barely short enough
able usage, this stand is more than stable to get inside kick drums, although it will
enough for heavy mics and even a boom. reach to a full 60 inches of height at full
The Pro-T-Short-T tripod ($109 list, $79 extension. I found this simple, rugged stand
street) was also a top performer. The same to be great for floor tom, snare, high hat,
large tubing, with a fixed length 28-inch guitar amps or seated performers. Though

24 ProAudioReview | March 2013 www.proaudioreview.com

mini review
Goby Labs (gobylabs.com)
Distributed by Hosa Technology,
Goby Labs is a clever pro audio
accessory company that special-
izes in affordable all-metal stands
featuring die-cast components. For
review, we received their GBM-300
microphone stand with boom ($72.95
street) plus the GBX-300 tablet frame
for iPad ($29.95 street).
Out of the box, Gobys stand is
notably larger than the standard
while most tripod-style models
feature approximately 12 inch legs,
Gobys GBM-300 legs are nearly 16
inches in length, adding substan-
tially more holding power to the
approximately 65-inch tall GBM-300
(measured floor to boom pivot). The
GBM-300 will boom out to 33 inch-
es, making it a great option for high-
By Strother Bullins
reaching room or drum kit overhead
miking jobs. In use, the GBM-300
easily out-reached and out-held my
standard beloved K&M boom; where
I would normally sand bag a K&M
tripod leg for drum overhead apps
(using a SDC pair in a one-stand,
X-Y stereo configuration), I was able
to confidently position the Goby
stand with no extra support needed.
The nearly extra foot of leg reach
truly does make a big difference in
such applications.
The GBX-300 is lightweight and
very adjustable; in use, I was able
to position it easily while it was
attached to the GBM-300. Artists
needing an iPad onstage wouldnt go
wrong with this accessory, which will
fit most any stand on the market.
 Above: Triad-Orbits unique pivot adapters come individually packaged.
Right: Triad-Orbit T2 full-size stand with iPhone mount, T3 full-size stand with 02 double
boom, and T1 short tripod with iPad mount.
its boom clutch is plastic, its strongjust
strong enough to hold my heavy stereo bar
for a bump test of 4 or 5 (it held my 4 lb
CK-40 with ease).
Despite two other solid performers, I
didnt appreciate the Pro-T-T tripod boom
($119 list, $89 street) nearly as much. With
a telescoping 28-inch boom atop a tripod
with a 43-inch minimum pivot height and a
whopping 100-inch maximum height, this
stand got an impressive bump test rating of
6 or 7 with the heavy stereo bar. Despite the
stands excellent stability (weighing 9.4 lbs
in total), the boom itself failed and was gen-
erally hard to work with. Its thick and coun-
ter-weighted, but the adjustment knobs for
the boom position and the telescoping sec-
tion arent able to hold the sections still and
firm, not to mention the small, hard-to-grip
conical knobs that will hurt your fingers
before securing adequately. I could never
get the boom to hold my CK40 as overheads,
either (I thought it would, so I cranked it
down tight, but it still slowly slipped).
5. Triad-Orbit Advanced
Microphone Systems (triad-
orbit.com)
26 ProAudioReview | March 2013
I saved this new manu-
facturer for last because its
stands require more explana-
tion and, frankly, are my new
favorites. The key to Triad-Orbit
stands is in their modularity. I
reviewed three different height
stands, each compatible with two booms,
each compatible with pivot adapters (allow-
ing mics to hang at sharp angles at booms
end, such as suspending tube mics from
above for vocalists) and 5/8-inch, threaded
hex-rod quick connects. makes for quick mic change outs and great
These connections are properly rug-
ged, and a breath of fresh air; do not fear
that they are the weak point due to their
modularity, as they are indeed the strong
point. Triad-Orbit stands, booms, extenders
and adapters are all fitted with this well-
machined hex connection, allowing not only
flexibility in configuration but also speed/
ease in set-up. Since threading large shock-
mounts onto certain booms can be tedious
(and sometimes thread-destructive), the
Triad-Orbit hex connections allow the small
hex adapters to be threaded onto shock-
mounts in your lap or on a desk, then
easily fit on to stand or boom ends. Yes,
other manufacturers make quick connect
systems (some of which I own and use),
but the Triad-Orbit hex fittings are better
machined, sturdier and easier to use than
anything else Ive found. This feature alone
ease of use.
The T1 short tripod ($149 retail) has a
small footprint for a tripod, but with enough
weight (12.8 lbs with boom) to securely
hold my heavy stereo bar with a bump test
score of 6. The tripod legs are articulating;
that is, they can be individually raised,
allowing the stand to sit at an angle or on
a stairway; this leg-locking feature can be
controlled via foot-release latches. A mini-
mum boom pivot height of 20 inches just
allows inside kick usage, with a long 36-inch
telescoping model O1 boom, that will reach
a whopping 65 inches max. height.
The T2 full-size stand ($179 retail) offers
www.proaudioreview.com
 a minimum boom pivot height of 37 inches,

mini review
a lofty 98-inch max. height and a max.
boom length of 36 inches with the O1 boom
($109 retail). The substantial weight of this By Strother Bullins
ensemble (16.2 lbs) was more than enough
to easily handle my stereo bar, garnering a
bump rating of 7 or 8, and it easily handled Vu (vu-gear.com)
my CK-40 over a drumkit as stereo over-
Vu offers very
head, the first stand in this Session Trial to affordable stands
accomplish this. with remarkable
In a category all by itself, lets look at the build quality for
T3 stand with the O2 double boom ($219 and the price. Case
$199 retail, respectively). This three-section in point: Vus
stand has a minimum boom pivot height MST100-30B
of a normal 36 inches, but an incredible microphone
max. height of 101 inches (extendable to stand with tele-
137 inches with the 34-inch extension bar). scoping boom
($49.99 street) is
The T3/O2 setup is 18 lbs. of boom-inspired
designed much
confidence; it was the only set up Ive ever
like my preferred
used that took all I could give it. You see, as K&M boom with
a double boom, each of the O2s telescop- nearly the same
ing, independently pivoting arms cover a size/height specs
ridiculously wide range; each are lockable (65-inch tall,
with a powerful ball-joint (which does not measured floor
mar or wear from its tensioning nut, some- to boom pivot,
how achieved through a mysterious design with a boom
secret, according to the company). It can be out reach of 28
positioned into grooves that will support very inches). There is
minimal plastic
heavy weights at extreme angles (including
utilized in the
one deep groove that allows the booms to
MST100-30B
criss-cross in an X shape). The whole rig primarily in its
can be set up very quickly due to the quick knobs, and even
hex connects. This advanced design opens then, its not
up many time saving possibilities: widely at all brittle or
spaced pairs or ORTF, M-S, or X-Y for your over- cheap-feeling.
heads, all possible with one stand. After using the
The functionality and durability of the MST100-30B
Triad-Orbit stands (with rubber-coated clutch for a couple of
handles, no shearable nuts, and strong boom weeks, I wouldnt
be scared to
adjustment handles) offsets the compara-
toss it in a road
tively high cost. For smaller studios just case; it feels as
starting out, I would highly recommend com- it could take the
mitting to this modular stand system. abuse of club
gigs quite easily.
Summary Approximately
In retrospect, this Session Trial revealed 65 inches tall at full height, the Vu MSS300-10B standard stacking
that all the tested stands (except for one microphone stand ($34.99 street) is similarly built, with high-quality
boom) were competent beyond their weight hardware and components throughout. The stackable base is designed
ratings or expectations. I also realized that to easily mix in with other stackable straight stands. Like the Vu boom
there is a place for all these models, as stand, the MSS300-10B is an extremely affordable road-worthy option
for musicians who prefer round base stand models.
each application and budget brings its own
All in all, I find Vus stands to be true bargainswell-built, simple,
challenges, and each stand evaluated here and attractively priced.
offers its own unique strengths.

www.proaudioreview.com March 2013 | ProAudioReview 27

 studio review By Rob Tavaglione

AKG D12VR Cardioid Kick Drum

Microphone
The latest generation of AKGs legendary D12 microphone
features both classic capabilities and several new sounds.
Capturing kick drum? One might use a LDC (perhaps a
Neumann U47 FET), a broadcast-oriented dynamic
(such as the Electro-Voice RE20 or RE320), a ribbon
(both the AEA 440 or R92 are superb choices),
and/or a speaker-turned-microphone (such as
the Yamaha SKRM-100 Subkick) while hard rock-
ers might pick tonal-opposite transducers (like
the Shure Beta 91 or Audix D6). For me, its
usually one of the above products paired with an
AKG D12 family member: the AKG inside and the
other wherever needed.
The D12 was AKGs first dynamic mic, drum mounting. The most interesting
produced in 1953the D12E, the Motown part about this mic is how it offers four dif-
mic, as it became knownthat brought ferent tonal options in one mic. First, it can
The AKG D12VR Cardioid
a low-end optimized, dynamic mic sound be used as a straight dynamic mic, capa- Kickdrum Mic.
to market. Now heard on countless drum, ble of high SPL handling and hot output.
bass guitar and instrument tracks, the D12 However, when 48V phantom power
was eventually succeeded by the nearly is applied, it drops the output by
ubiquitous D112, the green-bumpered, 10 dB and applies an active EQ cir-
egg-shaped mic that can handle exorbitant cuit with three different settings. kHz (+8 dB at 8 kHz),
SPLs. Mode 1 (green LED) has a bot- interrupted by a notch
With the D12VR, this considerable legacy tom end boost and scooped mids; centered around 6 kHz
has been updated to offer a new approach Mode 2 (red LED) has scooped and the top end is 15 dB
to kick drum recording: capturing ample mids only; and Mode 3 (blue LED) down at 15 kHz.
bottom and top with some degree of control adds a high-frequency boost cen-
over such a tricky response dichotomy. The tered at 6 kHz to the bottom boost In Use
D12VR meets the challenge with a dual- and scooped mids. The D12VR is not really a vintage re-
mode, built-in EQ design. The D12VR claims a wide frequency issue; its a totally different animal. Inside
response from 17 Hz to 17 kHz (+/-2 either a 22- or 24-inch kick in dynamic
Features dB) and handles a whopping 164 dB SPL mode, the D12VR sounds different than a
The D12VR employs a thin diaphragm (Maximum SPL for 0.5% THD). However, D12 or a D112. Its more scooped, without a
and a transformer similar to 1970s-era C according to AKGs published frequency boing in the mids, though not as smiley-
414s within a large squarish body with rear response curves, response is only flat (+/- hyped as a Shure Beta 52 between the
exit XLR connector (parallel to the stand), 2 dB) from 60 to 1500 cycles. Theres a 50 to 60 Hz fundamental and the 4 kHz
particularly designed for low-profile kick pronounced presence rise from 2 kHz to 9 beater click. Its also not as mid-scooped

Rob Tavaglione is the owner/operator of Charlottes Catalyst Recording. catalystrecording.com

28 ProAudioReview | March 2013 www.proaudioreview.com

 and aggressive as an Audix D6, but
with nice, extended lows and a top
defined by the 6 kHz dip in the
middle of the boost.
Apply phantom and the D12VR
lights up green; this low-boost set-
ting is quite useful, as it can put
the gravitas in where there isnt
any. It can also negate the need
for the outside kick mic when
in a hurry or track shy. It can
take a boxy, no-resonant head
punk rocker and give him some
umph. Conversely, if your drum
has ample thump, this setting
will likely be too much bass
in your face. Mounted outside
the resonant head, this setting
provided the fundamental I was
looking for, but with too much
off-axis coloration (a bass drum
tunnel or tent is likely needed).
In my use, the red mid-scoop
setting received more use than I
initially suspected. Its tight lean-
ness favors an E-V RE320 with the
mid-scoop filter in, all punk-rock
friendly and punchy (though admit-
tedly not as punchy as the RE320).
On a 24-inch kick with no resonant
hole, no mounted toms, and plenty of pil-
lows inside, I still received enough bottom
end using the red setting.
The blue setting, with a broadly smiling,
hyped frequency response, will likely be uti-
lized by most modern users. It has a big,
round bottom, a svelte middle with notable
absence of boxiness, and a detailed, clicky
top (not as clicky as a Beta 52 or 91), with
perhaps just a little flab in the upper lows;
all together, its incredibly attractivehuge,
solid, aggressive and detailed. To get this
particular sound, Id usually have a mic in
the kick for definition and one outside for
depth; that, or do some attack/resonance
shaping with a plug-in or add some trig-
The D12VR is not really a vintage re-issue; its a totally different animal.
30 ProAudioReview | March 2013
gering. Yet this
time, all it took
was the D12VR placed inside. The top and
the bottom likely need some EQ (as the
bottom can get a little chuggy and the top a
little nasty), but its a quick fix for a modern
kick sound.
For this review, I recorded a D12E, a D112
and the D12VR passively and in all three
active modes. [Hear these at soundcloud.
com/pro-audio-review-magazine Ed.]
Each AKG mic was recorded via Millennia
Media STT-1 premium channel strip (cour-
tesy of Millennias Joel Silverman); I
selected the STT-1s solid-state preamp
for its linearity, with no transformer, no
EQ and no compression. By far, the
D12E has the most 400 Hz honk
of the lot, although with a nice,
punchy bottom. By direct com-
parison, the D112 extends fur-
ther down, low frequency-wise,
and is more scooped through the
mids. Operating passively, D12VR
doesnt sound much like the D12
or D112; it is more extended
on both ends, rather scoopy,
with some pronounced 4 kHz
off-axis bleed (hear snare bleed
levels in the audio clips refer-
enced above). The D12VR in
green mode has the most bot-
tom (and theres plenty of it),
less midrange from the shell
and less off-axis color. On red,
the D12VR is predictably tight,
with the leanest punch, plus a
little extra shell sound (good for
fast tempos, performing a bit like
the RE320). The blue setting is
over the top, kind of like a Beta 52
or D6lots of bottom, little in the
middle and detailed up top.
Summary
Between different kicks with different
resonances, a wide variety of heads on the
market, a multitude of beater/pad combi-
nations and every genre of music having
different kick tonal characteristics, no one
go-to kick mic is going to meet all profes-
sional needs.
However, the D12VR does offer as much,
if not more, versatility as any other single
bass drum mic available. At $499, its not
a cheap microphone, but solidly designed,
andbased on the longevity of other AKG
kick mics Ive used over the yearsI think
its a wise choice for a kick drum mic.
Price: $499 street
Contact: AKG Acoustics | akg.com
www.proaudioreview.com
 studio review By Lynn Fuston

Advanced Audio CM67se Tube

Condenser Microphone
The CM67se is a very nice mic at a very attractive price.
I recently discovered the CM67se tube condenser mic from Advanced Audio, a Canadian microphone com-
pany. I know the first question most people will ask: Does it sound like a Neumann U67? It says 67 right
in the name. Well, heres the honest truth: I dont know and I dont care. When I put up a microphone in
front of a singer or an instrument, I dont do it because of what other mic it might sound like. I only care
about what it sounds like on this singer or instrument on this song. In my experience, this mic sounds very
good on many singers and its also very affordable ($965 direct, including shipping).
Features same room two weeks later), I chose to use the session, I honestly wished I had the
The CM67se is a multi-pattern (omni, the Sony C-800G on harp, an application CM67se on the harp instead of the Sony, to
cardioid, figure 8) condenser microphone where it excels. This was the same player my surprise. I would have swapped it, but I
that uses an AK67 capsule (35 mm out- on the same instrument in the same room, had decided to use the CM67se on a cello
side diameter, center-fed, dual backplate, the only difference being the mic. During group instead (one mic per player), right
6 micron diaphragms) with pad beside a pair of vintage U67s. I
and high-pass filter switches on purposely didnt ask the second
the mic. Its a large microphone engineer which was which; during
at over nine inches long, has a the session, I solod through the
tapered body, a trapezoidal head tracks and didnt notice a differ-
basket and an Electro-Harmonix ence in the sound of any one mic.
6072a tube. It comes with a I also tried it on acoustic guitar,
shock-mount, power supply, vinyl instead of my typical Neumann
pouch and aluminum travel case. KM 84, lined up to the left of the
It is manufactured in China to AAs sound hole, about eight inches
specs and, according to owner out. I used it for an entire day
Dave Thomas, it was not designed and on several different guitars.
as an exact clone of the U67, but I paired it with an Audio-Technica
there are definite similarities. AT4050 on the body, both run-
ning through API 512 preamps. I
In Use was very pleased with the sound,
I used the CM67se while which was full and clear.
recording several albums and The only place I tried the
that provided me the opportu- CM67se and didnt care for it
nity to try it out next to other was electric guitar. I was not sur-
mics that I typically use. On one prised, as I rarely use condensers
orchestral session at Ocean Way for that purpose.
B in Nashville, I put the CM67se Vocals, however, is the place
on harp and it sounded fabulous: where the CM67se shined the
full and clean, with a bright top brightest. I put it up beside one
end that didnt get pingy. On of my favorite vocal mics: my
the next orchestra session (in the The Advanced Audio CM67se Tube Condenser Microphone. (continued on page 50)

Nashville-based engineer Lynn Fuston is PARs Technical Editor and owner of 3D Audio, Inc. 3daudioinc.com

32 ProAudioReview | March 2013 www.proaudioreview.com

 studio review by Randy Poole

Solid State Logic E Series EQ

and Dynamics for 500 Series
Whats not to love about classic SSL modules in your
500 Series chassis?
From across the pond, Solid State Logic has heard the cries of many
in a burgeoning group of analog processing fans, and has now
debuted two legendary E Series components as 500 Series modules.
Previously, E Series modules were released only for SSLs proprietary
rack, XLogic. Now, the E Series EQ and E Series Dynamics processors
are found in SSLs 611 EQ and the 611 DYN for your 500 Series needs.
Features few changes to note from the console ver-
The visual features and knob colors from sion: The fast attack settingpreviously set
the original E Series console are carried over via a pull function from the release knob
in the 611 EQ and 611 DYN. This includes is now its own separate switch; the hard
white lettering on a black background for knee push/pull knob has been moved to its
numbers and letters, and black lettering on own switch; and a switch for logarithmic or
white/gray buttons; maximum contrast and linear release has been added. The gating
being easy to read. section also receives dedicated switches
The 611 EQ is the four-band EQ from the for expansion versus gating and fast/slow
venerable SSL E Series desk, minus the attack modes, with dual five-segment LEDs
filter section. Features include top (HF) to provide visual feedback for gating and
and bottom (LF) peak/shelving and two compression amounts.
mid-frequency bands with fully variable Q.
The knobs and switches are laid out exactly In Use
as they were on the E channel strip, with all I tested these modules on several dif-
the gain knobs in the same row with the Q, ferent sourcesdrums, bass, electric
leaving all the frequency knobs in the verti- and acoustic guitars, acoustic piano and
cal, right hand-side row. The only excep- vocalsover several days during live track-
tion to the original is an added switch to ing sessions with pro musicians. Im so
change EQ curves between the Brown-02 glad SSL sent both the EQ and DYN units
and Black-242 console versions; brown together; in the same signal chain, they
has HPF and LPF 12dB/oct. filter slopes really allow for that console experience.
while black features a switchable filter For example, following a preamp, I gener-
bypass, fully eliminating filters the circuit, if ally drop EQ in first, then dynamics. For
desired. The BLK button selects the black me, EQing a kick drum always starts with
circuit, just above the IN button. the four-band EQ after the preamp: cutting
The 611 DYN includes compression and around 400 Hz, boosting around 4 kHz,
gating parameters, both with their own boosting around 50 Hz with the low shelf,
threshold and release controls, plus com- and slightly boosting a high shelf at 5kHz.
pression ratio and gating range on the right With that, the 611 EQ yields some of the
side of the dynamics module. There are a fastest and most satisfying drums sounds The Solid State Logic E-Series EQ module.

Randy Poole is a Nashville-based engineer/mixer and regular contributor to Pro Audio Review.

34 ProAudioReview | March 2013 www.proaudioreview.com

 of any EQ I have tried. After the 611 EQ,
add in some compression with soft attack,
over easy and log release (all buttons
up, essentially), gradually lower (counter
clockwise) the threshold with a moderate
ratio, and wait for ityoull hear the pop
sound that youve heard on many record-
ings, the one that seems to add attack and
sustain at the same time. Once you hear
that sound, you can easily go back to the
EQ, and tweak some more: This compressor
is doing a little EQing for you. Essentially
repeat this process with slightly different
EQ points for the snare and tom mics, and
you may start to get addicted to these.
On electric guitar, I love the two mid
bands for adding some bite around 3 to 4
kHz, dumping a little 500 Hz, and some-
times following with a slight boost via high
shelf. The EQs high shelving feature is a
particularly good one. Lets say you need
some air on acoustic guitar or a similarly
voiced instrument; by boosting the high
shelf around 10 to 14 kHz followed by dip-
ping the high-mids around 2 to 3 kHz, just
a bit just to smooth things out, youll work
wonders. Its a pleasing sound, working well
with lots of things like piano, shakers and
strings.
Finally, longtime friend and bass player
Joeie Canaday came by to give these SSL
500 Series modules a try. Tracking, we fol-
lowed his bass preamp rig with the SSL EQ
and Dynamics, boosting slightly with a 60
Hz shelf, dipping a bit of 500 Hz, boosting
again around 3 kHz, and dipping a bit of
10 kHz (to reduce noise). We followed that
with the DYN all buttons out and ratio mid-
way. Adding 4-6 dB of compression turned
Joeies already-impressive bass sound into
the ultimate mix ready bass, and every-
one in the control room agreed.
I really like the additional options on the
611 DYN; the linear release button opens
up a new range of sounds and lowers the
threshold by 6 dB. If you want the closest
thing to, say, an 1176, push all buttons in;
For me, four-band EQ is a must for drums; really helpful for guitars and any stringed
instrument; and extremely useful in complimentary boosting and cutting techniques.
www.proaudioreview.com
it, with useful 5 segment LED metering and
cally. They do what you want them to do;
The Solid State Logic Dyanmics 500 Series module.
this selects fast attack, hard knee and lin-
ear release. Then dial in the threshold and
release timesespecially great for drum
room compression.
The gate sounded exactly as I remem-
bered and proved very effective for every-
thing from subtle noise gating to more
extreme snare gating. I love the fast attack
switch; it works just like you would expect
without any extra, and potentially confus-
ing, features.
The only drawback I could find with these
modules was the switches are not lit to
identify their position from a distance, and
the 611 DYN doesnt have a final make-up
gain control; it does have an automatic
makeup gain built into the design, though.
Summary
Personally, I think its a shame that the
ergonomic features of great analog console
design in the past are rarely carried over
into smaller footprint versions for todays
shrinking studio equation, but it seems that
the 500 Series format is where this can,
and hopefully will, happen in the long haul.
These E Series modules are perfect for this
kind of signal flow scheme.
For me, four-band EQ is a must for drums;
really helpful for guitars and any stringed
instrument; and extremely useful in compli-
mentary boosting and cutting techniques.
As we no longer use tape for an added
compression effect, dynamic control is
more important to create classic, listener-
pleasing audio. Yes, we can add it later with
tape emulation and compressor plug-ins,
but many of us prefer to get things sound-
ing as good as we can before committing to
the digital world. But I digress.
In conclusion, these modules rock.
Theyre classic, feature-rich, sound great,
offer high headroom, and are laid out logi-
they are the how did I ever live without
them-type of processor that now fits in
a 500 Series rack. So whats not to love?
Prices: $889 street
Contact: Solid State Logic |
solidstatelogic.com
March 2013 | ProAudioReview 35
 studio review By Chris Sully Sullivan

JoeCo BlackBox BBR64-DANTE

Multitrack Recorder
The BBR64-DANTE can record up to 64 tracks of 44.1/48 kHz
.wav files to an external USB2 drive: a unique, computer-free, live
audio capture solution.

When I switched to the light side and became a Mac convert, I didnt Typically, this paragraph is where the
reviewer will list a blizzard of inane, skim-
necessarily relinquish my dark PC ways to history. In fact, I spent worthy details about specifications, mea-
much of my early Apple life finding the single most difficult way to surements, etc., coupled with sprinklings of
marketing blather and hyperbole. Instead,
accomplish rudimentary tasks because, well, what was audioor Im going to direct you to JoeCos website,
any application on a PCif multiple reboots werent involved? With JoeCo.co.uk, so you can educate yourself.
my penchant for seeking the hardest method to accomplish the Instead, this little treatise starts with two
guys knifing open a cardboard box, on site,
easiest task firmly established, I took delivery of a JoeCo BlackBox under the gun and deploying this box for an
BBR64-DANTE recorder. Its plug and play for most people, I was important recording.
My partner in this adventure was noted
told: an exercise in convolution for me, I expected. monitor engineer and live broadcast mixer

Chris Sully Sullivan is a quarter-century-long touring veteran, mixing FOH for such artists as Point of Grace, Steven Curtis Chapman and Amy Grant, among many others.

36 ProAudioReview | March 2013 www.proaudioreview.com

 Jason Spence. Jason is most often found
behind the mixing desk that lives on-stage
or generating the broadcast mixes at award
shows. I am a self-absorbed front-of-house
engineer who is constantly seeking new
ways to avoid leaving any permanent two-
track recordings of my live mixes, as those
always lead to interaction with band mem-
bers involving their own narcissism.
Into this workplace dynamic, we add the
JoeCo BlackBox BBR64 Dante.
When asked to review this device, I
jumped at the chance. Simple multi-track-
ing with a device that did not require me to
monitor one more computer screen during
a show, but would allow me to later easily
remix the tracks and pass off the finished,
mastered stereo two-track, appealed to me
immensely. Ive discovered that its best to
Avid Venue SC48. We felt that was definitely
a recipe for the main mix, if not all of stems,
to potentially get the shaft. We are both
very aware of how things are prioritized:
first, monitor mixes, to ensure performance;
second, broadcast mix; three hundred and
fortieth, audience house mix. Its just how
things are, and dont let anybody tell you
differently.
Prior to the show, we decided to use
the FireWire stream from the Avid SC48 to
record multitrack into Pro Tools then mix
later. Simple. That was the plan. Plans,
as everyone knows, tend to make really
uncomfortable sounds as they explode in
mocking Technicolor.
Once on site, Jason and I spent what
amounted to an eternity in broadcast time
trying to make a MacBook play nice with Pro
Tools and the SC48, without much success.
As it turned out, that was simple pilot error.
Through our panicked hazeand under the
producers threat of using the stereo house
feed for the broadcast mixwe came up
with an alternate plan. Simply by chance, I
had the DANTE version of BlackBox on our
bus, ready to be tested at a later show. It
was still sealed in the box, the directions

Much of the JoeCo

design philosophy
seems to be that way:
Little things that make
life easier without a lot
of fanfare.

show up with the ability to roll tape and

make my own mix for submission rather
than relying on others who may have other
more pressing concerns than the amount
of snare in the mix.

In Use
Scene One: Audio guys on fire in a love-
ly split-frame mountain cabin, parked in
downtown Nashville
The first and completely accidental test
for the JoeCo BBR64-DANTE was an HGTV
DesignStar remote shoot. Essentially it was
a show in a prefab log cabin in a parking lot
in Nashville. We knew ahead of time that we
wanted to back ourselves up with our own
recordings, as the production plan from the
network had the broadcast, house and moni-
tor mixes all being generated from a single

March 2013 | ProAudioReview 37

and manuals folded neatly and awaiting a
leisurely perusal. For the unfamiliar, DANTE
is a software, hardware, and network-based
delivery protocol for uncompressed, multi-
channel, low-latency digital audio via stan-
dard Ethernet networks. Thankfully, there
is also a DB25 on the back of the BlackBox
DANTE unit for eight analog input channels.
Our band input list that day? Seven inputs.
Lets rock.
There were only two problems with our
plan. Firstly, we didnt have a DB25 snake
with us; and secondly (and more worri-
some) was the fact that none of us had the
slightest idea how the unit worked. At all.
The first issue was easily remedied once
we found a DB-25 cable source. While that
was en route to us, we familiarized our-
selves with the unit as quickly as possible.
Remember how I said I always seek the
most technically difficult path? That was
my method here; in fact, I may have even
suggested throwing the manual away. (Not
really.) What I did do was start pressing but-
tons as quickly as possible and immediately
declared the unit broken. One of our young-
er, yet wiser, compatriots was reading the
manual that I had discarded and pointed out
the controls were touch sensitive; perhaps
I should quit poking them and press them
instead. Well played, English engineers, well
played: touch sensitive, indeed.
After mastering that, I realized the
controls instructed me on exactly how to
operate it. Play, stop, record and meter.
Of course, it helps to plug a record drive
into it. In hindsight, that seems a bit silly.
My A2 pointed out that Air is an imperfect
medium to record to and Did I want him
to attach a drive? Of course, good man,
of course, I confirmed. I was merely test-
ing you.
Next, 16 GB thumb drive inserted; The
error code drive not formatted was cor-
rected by pressing the format drive button
(FAT32); inputs selected as analogue; sev-
en-band inputs and one audience mic magi-
cally derived and routed from desk. I pressed
No computer freezes,
no lost data:
It simply and very
elegantly worked every
night we asked it to.
record and uttered the lie were ready, hav-
ing zero expectation this would work.
We hadnt test recorded or confirmed
anything. We were just rolling with big
smiles on our faces and thumbs up to our
overlords while our eyes surreptitiously
darted to the BlackBox and the tantalizingly
red bar across the screen that simply prom-
ised recording.
As you may have guessed, it was. It was
really that simple. Eight .wav files were
recorded, and one thumb drive was handed
off to our mixer. I was really starting to like
these English guys, including their strip
club-style logo splashed across the unit.
Scene Two: Facilitating live board mixes
on tour
Heady from our HGTV experience, I was
38 ProAudioReview | March 2013
 anxious to use the BlackBox as a way
to increase the quality of the live board
mixes I was generating during our normal
shows. To be fair, everyone except for band
folk realize that a true live from the house
mix recording is an exercise in futility.
Large arena shows every night always have
a better chance of success, but a small
room one night will yield an electric guitar
light in the mix, or a lack of subs the next
will result in a kick heavy recording. Setting
the record mix up on auxiliaries is a solu-
tion, but usually results in engineers mixing
the board tape during the show to please
the band, as opposed to mixing the band for
the audience (as theyre being paid to do).
Its not as if I wasnt able to multitrack prior
to the JoeCo BlackBox. I used Adobe Audition
quite a few times for that application. But, as I
The rear panel of JoeCos BBR64-DANTE digital recorder.
mentioned before, I really didnt enjoy having
an additional, dedicated computer just for
recording, plus it added one more distracting
screen on my rack top. To me, the idea of a
dedicated, straight-to-disc recorder was an
elegant solution to a problem I didnt even
realize I had. The situation really was perfect;
I could record at night, then spend a couple
hours the next day mixing and tweaking,
just enjoying myself immenselyand come
up with a superior product to hand off. Id just
sit back afterwards and wait patiently for
the accolades to be showered on me. There
was just one hiccup; I carry a Midas XL4
because Im difficult and curmudgeonly, and
the BlackBox we had was made for DANTE
interface.
Fortunately, my artist happens to employ
the most useful and competent mixer in the
world, next to me. Jason is absolutely mani-
cally detail-oriented, has a background as
a studio engineer, and he also happens to
be mixing monitors on a Yamaha PM5D.
Problem almost solved. DANTE developer
Audinate (audinate.com) manufactures a
Yamaha compatible mini-YGDAI card called
40 ProAudioReview | March 2013
DANTE MY-16-AUD, that outputs 16 bi-direc-
tional channels, not the full 64 channels of
audio data usually available on a DANTE net-
work. (For the record, it records at 44.1kHz
and 48kHz directly to Broadcast .wav files.
Higher sample rate recording is also accom-
modated at a reduced track count.)
The only issue was fitting a rock band
into 16 inputs. We decided to make a basic
two track mix, leaving 14 channels for indi-
vidually tracked inputs. Kick, Snare, lead
guitars, lead vocalall were individually
recorded while basic, ancillary things resid-
ed in the two track mix.
Pretty much we accomplished the inter-
nal routing for the PM5D via Audinates
DANTE Virtual Soundcard (DVS) software
(provided with the DANTE MY-16-AUD). This
was a simple one-time arrangement that
neatly facilitated the interface.
Once all was configured, we simply hit
record and had a show. The next day, I
removed the USB2 drive from the BlackBox
and plugged it into my computer, launched
Adobe Audition and mixed a board tape,
maybe with a little pitch correction and
sweetening added for good measure.
However it happened, it became a rela-
tively seamless and invisible operation to
repeat. We recorded every night that we had
the unit, and simply erased the old tracks to
free up space for new ones when required.
No computer freezes, no lost data: it simply
and very elegantly worked every night we
asked it to. It worked so well that we began
talking about archiving tracks for a possible
future live release.
Summary
In the end, we had to give back our
BBR64-DANTE, but we could purchase a pair
of BBR1B units, the analogue I/O version;
in fact, the BBR1Bs channel I/O arrange-
ment is such that the signal loops through
the BBR1B and back out again, meaning
we could take a line-level signal first and
hit the console second. For that situation,
JoeCo has thoughtfully built-in a failsafe,
which allows audio to still pass should the
BlackBox lose powera very impressive
feature if the unit ever gets unplugged.
Much of the JoeCo design philosophy
seems to be that way: little things that
make life easier without a lot of fanfare. My
favorite one? When the clock strikes mid-
night, the files will still be date-stamped
from the evening the show started. It may
not appear that clever, but imagine my
show starts at 11:00 p.m. and ends the
next day at 2:00 a.m. Technically, my files
should have two dates for one show. If I
was to shuffle through my file inventory
after many shows, Id notice that there
were actually multiple files for the same
day, but for different shows. There would
be files date stamped from the morning
part of one night, and the beginning eve-
ning of another night. Thankfully that is
not an issue.
One more nice function: virtual sound-
check on an analog console. In my intend-
ed deployment, Id simply save one unit
to another and record all my inputs and
effects from direct outs; for the following
soundcheck, Id have the option of simply
playing back the tracks as a virtual sound-
check. Afterwards, Id archive the files and
start again. Not a seminal idea, but still a
useful one.
Im a fan of great gear, but I also love
equipment that helps me succeed as a
professional. In that vein, Ill share one last
pertinent anecdote about JoeCo and its
products. I mentioned before that my part-
ner at the other end of the snake is Jason
Spence. In addition to a myriad of other
things, hes an in-demand broadcast mixer.
One of his clients is the NBA. Recently,
at an all-star game, he encountered a situ-
(continued on page 50)
www.proaudioreview.com
 new live products
Allen & Heath GLD Remote
Allen & Heaths GLD Remote digital mixing system controller is now available for
download on the companys website. The controller provides a suite of mixing
controls for remote wireless applications using the iPad or the iPad mini. GLD
Remote connects to the GLD-80 mixer on a wireless network and gives the user
access to any of the mixers channel faders and mutes, DCA faders and mutes,
image controls, aux sends and assignments as well as channel input and output
processing, mic-pre control and full metering. GLD Remote also provides control
of high pass filters, gates, parametric and graphic EQ, compressors and input/
output delays.
Other features for system setup include a real time analyzer (RTA) to ring out
monitors and EQ the PA, the facility to name and color channel strips, custom layers with drag and drop strip setup, and a mix view where
monitor engineers can control both master levels and contributions in a single screen. Additionally, GLD Remote provides channel PFL
control for remote listening to feeds using a wireless monitor system.
Price: Free download
Contact: Allen & Heath | allen-heath.com

Innovason Nova 2.4.0 Software

Innovason has integrated its Pandora digital panning algorithm into a software
release for Eclipse and Eclipse GT consoles. The software, called NOVA 2.4.0, is
now available for download at innovason.com.
The Pandora function, now fully integrated as part of the new software release,
is said to enable panning with no loss of information from left to right. Different
panning curves for different widths of field enable them to select the appropriate
panning mode for their style and application. It is available for use on any given
input, or on a master bus as required, enabling normal panning to be used on
other mix busses.
NOVA 2.4.0 also includes a number of other improvements including support of
AVM500 Matrix and other third-party EtherSound devices, improved stability and reactivity of Neumann Digital Microphone control.
Price: Free download
Contact: Innovason | innovason.com

The Ultimate Church Sound Operators

Handbook, 2nd Edition
An updated edition of The Ultimate Church Sound Operators Handbook has been released by
Hal Leonard. The 482-page book was originally written to specifically address the concerns
and needs of the sound person who serves ministries and churches. The modern church uses
many of the same presentation tools that have become common in television, movies, and
concerts, placing a unique set of technical expectations on its eager, willing, and primarily
volunteer force.
The updated handbook explores the relational and technical aspects of church sound to
volunteer and staff church sound operators, aiming to help church sound operators gain the
knowledge they need to faithfully serve their church membership, leaders, and musicians.
Price: $39.99
Contact: Hal Leonard Books | halleonardbooks.com

42 ProAudioReview | March 2013 www.proaudioreview.com

 new live products
Alcons
Audio QR24
Line Array
Column
Alcons Audio has introduced
the QR24 line-source array col-
umn, a modular, 2-way column
loudspeaker to be used as a
vertical array system, for both
permanent and limited portabil-
ity applications. The QR24 mea-
sures 26 inches tall and is fit-
ted with four 6.5-inch woofers
and two purpose-built 12-inch
Yamaha CL Digital Console pro-ribbon drivers. Specifically
Firmware V. 1.51 for this system, the RBN03 pro-
ribbon platform was developed
Yamaha Commercial Audio Systems, Inc. has announced the availability of its Version 1.51 in an effort to provide non-com-
firmware upgrade for the CL Digital Console Series. New features include Scene Preview pressed sound quality and the
functionality, and the Help function is further supported by an on-screen reference guide lowest distortion possible with
which, once loaded, resides in the console permanently. The recently launched Ri8-D, Ro8-D, less mounting depth.
and NXAmp with NXDT104 have been added as DANTE devices that can be detected/patched The projection pattern in the
into the CL Series. A Cue Level knob has been added to the Cue section, allowing adjustment horizontal/non-coupling plane
of the Cue level and can be assigned to a custom fader or user defined knob. The HPF in the is 80-degrees (-6 dB) and in
Parametric EQ section has been improved with an option for a slope of -12 dB/oct or -6 dB/oct. the vertical/coupling plane, it
Yamaha CL Version 1.51 also includes improvements to the DANTE Setup screen, and a is six degrees (single column).
new I/O Device screen, separate from the Virtual Rack screen has been added, allowing for The frequency response is flat
more flexible control and management of each I/O device. (+/-3 dB) between 74 Hz to 20
Price: Free download kHz to match an accompanying
Contact: Yamaha Commercial Audio Systems | yamahaca.com subwoofer system.
Price: POA
Contact: Alcons Audio |

QSC EASE .GLL System Integration alconsaudio.com

Data Files
QSC recently announced the release of EASE .GLL system integration data files for its entire
loudspeaker line, including AcousticDesign, Acoustic Performance, K Series, KW Series, KLA
Series, WideLine and others. Unlike legacy file formats such as .efo, .spk, and .dll, these
new .GLL files can work across all three popular platforms: EASE Address, EASE Focus
2, and the full 3D modeling version of EASE 4.3, explained David Fuller, QSC Director of
Technical Marketing. This has been a great effort from our engineering team, not only in
the file creation, but also in the hours spent collecting and validating the mechanical and
acoustical data.
Download the files here: qsc.com/support/resources/ease_downloads.htm#Ease_Data
Contact: QSC Audio Products | qscaudio.com

44 ProAudioReview | March 2013 www.proaudioreview.com

 live review By Dan Wothke

Behringer X32 Digital Console

Intuitive, flexible, and affordable, the Behringer X32 is an ideal
option for houses-of-worship, larger clubs/music venues, and
other multifaceted, multi-operator live sound venues.
My first venture with a Behringer

Photo Credit: Lynn Fuston at BeLmont ChurCh, nashviLLe

digital board was the DDX3216,
which came out over a decade
ago. Primarily, it was a mixer for
a small room that could easily be
managed with a few presets. It
did the job with few frills, boast-
ing a monochrome screen and
adequate controls. After that,
I installed a pair of Panasonic
DA-7 digital mixers that also did
the job.
Today, Belmont Church has an Avid
Venue SC48 in our Worship Center, our first
venture into the larger format digital boards
and it goes beyond just doing the job; it
makes mixing digitally enjoyable. So, in
evaluating the X32, my first question was
this: How does this buzzed-about Behringer
desk stack up against other digital con-
soles?

Features
A true test of a digital boards workflow
and ease of functionality is to jump right
in. Thats exactly what I did; I uninstalled a
Soundcraft GB4 from the room starting at
about 11 AM and had the Behringer X32
installed, labeled, routed and ready for a 3
PM soundcheck. This established my early
impressions of the board: very favorable.
The screen display can be chosen by
a list of buttons to the immediate right of
the seven-inch color TFT: Home, meters,
routing, setup, library, effects mute group
and utility to open additional settings from The Behringer X32 Digital Console.

Dan Wothke is Media Director for Nashvilles Belmont Church on Music Row and a regular contributor to PAR. danwothke@yahoo.com

46 ProAudioReview | March 2013 www.proaudioreview.com

 within the chosen display. There are but-
tons for layers and changing pages, which
differ depending on application. At the bot-
tom are six knobs to choose/edit/select the
parameters. It only took me a couple times
through the process before I figured out the
nomenclature and thought-process behind
the layout. I intentionally did not reference
a manual during this time to truly see how
intuitively it was laid out.
Although I hoped to review the Behringer
P-16 headphone system with the X32 (since
the board is equipped with the interface),
Behringer was not able to accommodate,
so it was dig up the adapter time, link-
ing the X32 with our Hear Technologies
Hear Back Mixer System. The reason for the
adapters was that the X32 outputs are male
XLR and the Hear Back inputs are quarter-
inch. Needless to say, on the first day of
the X32 evaluation, the back of the board
looked a bit odd, with up to three adapters
on an output to get it into the right con-
nector. However, it did ultimately work; the
routing of direct outs was straightforward.
I started to appreciate even more that the
graphical icon followed the channel when
showing on the screen.
The X32 has eight dedicated busses for
effects: two for reverbs, one stereo delay,
stereo chorus and four dual graphic EQs. The
X32 not only replaced our Sennheiser GB4
console but also our rack of outboard gear:
a Lexicon MX200, TC Electronic M-One, eight
channels of PreSonus compression, and
Rane GE27 27-band graphic EQ. I was even
able to replace our Tascam CDR due to the
on-board USB recorder located at the top of
the X32. By plugging in a USB thumb drive,
I could record a stereo mix (or whatever I
wanted to route to the thumb drive); the
cassette player interface will be appreciated
by any engineer over 35.
Overall, I really enjoyed using the
onboard processing. The X32 is stocked
with processing through eight differ-
ent effects/dynamic processors: vintage
reverb, hall reverb, stereo delay, stereo cho-
rus and four channels of graphic EQ. In the
House of Worship (HOW) world, effects can
play an important part of your mix, but they
should not distract from worship. The ease
of control, tap delay times, grouping, abil-
www.proaudioreview.com
Behringer XiControl, iPad control software
for X32 and XiQ software for iPhone
By Lynn Fuston
Ill risk embarrassing myself as an over-expectant tech geek and just
go ahead and tell you that I thought setting up the iPad app for the
X32 would be as easy as waving the iPad over the console and hit-
ting connect. Well, that doesnt work (yes, I did try). As it turns out,
to use the iPad and iPhone apps, which are free at the itunes store,
youll need an external router.
setup, while not easy, is straightforward (I will admit to being
more of a sound engineer and less a network/It guy). If someone
understands IP addresses/subnet masks/router IDs, then this will be
a walk in the park. It took me (and two other mix engineers) several
attempts to get it working. But once the console is connected via
CAt-5 to a LAn port on a wireless router (I used a Linksys Wireless
G 2.4 GHz) and configured, it works like a charm.
one concern I had was latency over the network, regarding mak-
ing adjustments and then hearing those changes. Im pleased to
say that changes to everythingincluding faders and switcheswas
nearly instantaneous. I inserted a long delay on a channel with
music program and could barely detect any time lag in the switch-
ing/hearing at all. Fader moves on screen are instantly reflected on
the moving faders on the X32. All the controls for each channel strip
(Config/Pre, Gate, Dyn, EQ, sends, naming) are available on the
iPad, except for Preamp Gain and 48V when the iPad is connected.
Interestingly, Pre Gain and 48V switching are available when
working offline, which brings up one very powerful option. Many
people these days are getting accustomed to setting up monitor
mixes while wandering on stage using iPads or iPhones, or ring-
ing out rooms or adjusting mixes while roaming around the main
house. With the offline option, however, one can set up gains,
EQs, sends, routing, etc., all before even sitting down to the con-
sole, so if I have a saved setup that works for me with a certain
band, I could just spec an X32 onsite and bring all my settings
with me and load them into the board when I arrive. Changes to
instrumentation, naming, or other adjustments could also be made
after the soundcheck but before the show, even if a different band
is currently performing onstage. thats all very cool.
nice touches include the hot pink Mute button lockout, so I have
to do a two-step Mute Enable then Mute in order to mute a chan-
nel, reducing the possibility of accidentally muting something on
the touch screen. With access to all 32 inputs, all eight auxes and
settings for each, FX 1L-4R, Buses 1-16, Main outs and DCA 1-8,
theres really no need (beyond preamp gain) to be sitting at the
board at all to access all the power of the X32 with just the iPad in
your hand.
I spent some time with the iPhone app as well, but found it much
more frustrating due to layout and limited screen space. Its useful
but much less user-friendly than the iPad app. see for yourself. Both
these apps are fully functional as downloads from the itunes store
and work without the console.
Lynn Fuston is the tech Editor for Pro Audio Review. 3daudioinc.com
March 2013 | ProAudioReview 47
 ity to control detailed parameters, and the
effects sat nicely in the mix.
Looking under the hood, the X32 is
equipped with 32 Midas-designed mic pre-
amps, which are pristine in performance,
six balanced line-ins and outs on quarter-
inch, and 16 balanced XLR outputs.
The X32 has the usual suspects
that come with the world of digi-
tal: preset libraries, USB import/
export, mute groups, and global
or individual bus routing (pre/
post). There are screen display
adjustments for LEDs, main display and
Channel display. Sampling rates of 44.1 kHz
& 48 kHz are available, but nothing higher. The Behringer X32
The X32 operates at a 24-bit bit depth. Digital Audio Console

In Use
The layout of the X32 is, in my opinion,
the most natural workflow I have experi-
enced to date in a digital mixer; everything
just makes sense. There are features that
the X32 has that would greatly benefit the
larger, more expensive boards. The board is
laid out into five primary mixing sections:
channel strip, input channels, display and
monitoring, group/bus/main channels and
scenes/assign/mute groups. The top left
On the right of the screen is a monitor
level adjustment, phone level, and talk-
back section with an external lamp hook-
up. Below that are scenes, effect assign-
ments and mute groups. Each of these
are dedicated and have an accompanying
view button to feature that section on the
screen. The left and right side of the board
labeling are preset names, the ability to
customize names, and a selection of pic-
tures to help distinguish the channels. They
range from drums to instruments, men,
women, and a host of other icons. Once
the board is color-coded, DCAs (Digitally
Controlled Amplifiers) are coordinated with
their corresponding channels and names

The mark of a good digital board is the ability to overcome digital-ness, dialing
back into the essence of the room. We were all able to do this with the X32.

third of the board is the dedicated chan-
nel strip, which includes gain, gate, comp,
EQ, aux sends and routing. These never,
ever change. To feature one of the sec-
tions on the screen, just press the View
button in the lower silkscreened area for
that section; it will appear on the screen of
the channel you have selected. The option
exists for parameters to be edited using the
six fixed knobs at the bottom of the screen,
but I found using the knobs associated with
the sections on the board paired with the
visuals on the screen was the most effec-
tive way to adjust channels.
has a recessed quarter-inch connector
for headphones. This is a convenient, yet
removed spot. The 100 mm motorizted fad-
ers are setup in four layers: channels 1-16,
17-32, Aux In/USB Reader/FX Return and
Bus Master outputs.
For those engineers who love to use
different-colored Sharpies on channel
scribble strips, the X32s color coding is
right up their alley. Every fader label can be
color-coded via eight preset colors. Black
is one of the preset colors that serves
as a blackout for the screen of channels
that arent being used. Also available for
are labeled; with this, the board really pops
visually. I had many people swing by the
deskthose who normally have no interest
in the mixing boardto check it out and
talk shop. This goes a long way when your
organization (and equipment purchases)
are directly supported by the people who
attend events/services. I have one sug-
gestion about using the naming system:
reduce the number of steps required to get
to the naming/color coding section. From
the home page, a minimum of three but-
ton presses are required. However, once
(continued on page 50)

48 ProAudioReview | March 2013 www.proaudioreview.com

adindex
8 Acoustics First
classifieds
acousticsfirst.com
39 AKG ACOUSTICS
akg.com
51 Audio Plus Services
audioplusservices.com
2 Audio-Technica U.S.
audio-technica.com
13 Audix Microphones
audixusa.com
45 B&H Pro Audio STUdIO FUrnITUre
bhproaudio.com
21 Connolly Music Company
k-m.de/us
9 Fingerprint Audio
fingerprintaudio.com
7 Focusrite
focusrite.com/ISA
19 Full Compass
fullcompass.com
23 Galaxy Audio
galaxyaudio.com
5 Genelec
genelecusa.com
15 Hosa Technology
hosatech.com
11 Lectrosonics
For the latest industry
lectrosonics.com news and information visit
17 Parts Express proaudioreview.com
parts-express.com/catalog
14 Primacoustic
primacoustic.com
52 QSC Audio Products
qscaudio.com Stay One
6 Radial Engineering
radialeng.com Step ahead
31 Renkus-Heinz with NewBay Medias FRee
renkus-heinz.com Electronic Newsletters
29 Rohde & Schwarz
rohde-schwarz.com
37 Triad-Orbit
triad-orbit.com
All EntERtAinmEnt tEchnology
33 Vintage King topicS covEREd:
vintageking.com
25 Vu-Gear onE-Stop Shopping: Simply visit www.nbmedia.com
vu-gear.com and click on the Email Newsletters link. Then choose
3 Yamaha Commercial Audio Systems as many newsletters you need.
yamahaca.com
38 Zaxcom
FREE! Sign-up today by visiting www.nbmedia.com
zaxcom.com

March 2013 | ProAudioReview 49

 Advanced Audio
(continued from page 32)
custom Soundelux (now Bock Audio) ELUX
251. Both were running through a Millennia
Media HV-3R preamp. On this project, I had
several different lead vocalists to record,
male and female. I tried each of them sing-
ing on both mics. The decision was evenly
split between the AA and Soundelux/Bock.
(I did another project two weeks later with
four more vocalists and, that time, used
I put the CM67se on harp
and it sounded fabulous:
full and clean with a
bright top end that didnt
get pingy.
the AA CM47.) The ELUX 251 is fuller on the
bottom and more natural sounding on top
smoother, if you will. The CM67se is brighter
on top and leaner on the bottom. The con-
trast on each singer made it immediately
apparent which mic best represented their
voice.
For this review, Ive provided 24-bit/48
kHz samples of the CM67se in use, as
described above. Clips include male voices,
female voices, male/female duet and harp
sound sources. These are available at http://
www.3daudioinc.com/par/cm67samples.
Summary
I have used several Advanced Audio mics
since I first met Mr. Thomas years ago, and
Ive never been disappointed. I also own
two of his tube CM47 micsa very similar
transducer which sounds great on saxo-
phone, male voice and French hornsand
a CM12a nice, bright mic for female sing-
ers. I use them all the time and they are
valuable assets in my mic collection. In the
interest of full disclosure, Advanced Audio
advertises on 3dB, my recording forum.
Price: $965 direct
Contact: Advanced Audio |
aamicrophones.com
50 ProAudioReview | March 2013
Behringer
(continued from page 48)
you are in that screen, pressing select
on a channel will keep the naming/color
screen at the forefront, making it quick to
go through the entire board at once. This
is true for any feature that I navigated
regularly. Once I understood that, the
workflow improved.
I should point out some of the chal-
lenges I experienced with the X32. The
screen will not tilt, and in the environment
in which I was mixing, there was a light
directly above the screen, which created a
glare. I worked around it with my physical
position but an adjustable screen would
be nice.
An external clock option is not avail-
able at the time of writing this review. I
could use the AES outputs to make
the X32 a master clock, but it has no
current method of clocking to another
source. Then there is the phone coaster,
as I call it. It sits in the bottom right
corner of the board. A promotional photo
of the X32 shows an iPhone with an RTA
there, but I never did find a practical
use for it. Then again, I didnt have an
iPhone with the app. Speaking of apps
(not available for Android devices at the
time of print), the X32 has a handy app
allowing the engineer to walk the room
while making adjustments (see Lynn
Fustons sidebar, page 47). It can be
used anywhere a Wi-Fi network is avail-
able; the X32 and iPad or iPhone must be
on the same external network. There is
also a PC, Mac and Linux app for setting
JoeCo
(continued from page 40)
ation that could have been disastrous;
the mixes that he was handing off were
crushed by a broadcast limiter on which
the threshold was inadvertently set too
low. Since no one would admit to being
the downstream culprit, he had to find a
copy of the mixes that hadnt been sent to
air in order to clear his name. He found the
up the board offline and then uploading
the setup.
The X32 has many additional features
that my scenario did not call for, such as
using the board as an ASIO sound card for
recording up to 32 tracks into a DAW via
optional card or emulating a controller for
a DAW mix surface.
Summary
I had two other engineers mix on this
board and threw them in with minimal
training. Their reaction was much the
same as mine once they were able to
navigate the board. Their impression of
the sound also lined up with mine. Fact
is, its just hard to go from an analog
board to digital in a room. However, the
mark of a good digital board is the ability
to overcome digital-ness, dialing back
into the essence of the room. We were all
able to do this with the X32. It was not a
struggle sonically as the precision of the
EQs enabled us to adjust to our liking. The
same can be said for the onboard channel
compressors; they stayed out of the way
while gently grabbing the peaks as I was
looking to let the music breathe. None of
this required flipping through the manual
at every turn, either.
The X32s layout lends itself to good
mixing, as does its internal processing. I
was recently discussing getting a new
board for one of our rooms and one of the
engineers immediately asked about the
X32, based on his use of it. I think that
endorsement rings the loudest.
Price: $2,999 street
Contact: Behringer | behringer.com
mixes (rescued by the video guys) and
he was able to present what was actually
sent versus what was aired. After being
cleared and rehired for next year, one of
his first comments to me was, Next year
we specify JoeCo BlackBoxes and theyll
quietly sit next to me as insurance. And
actually, thats how I feel about JoeCo in
general now: easy insurance, sitting qui-
etly next to me.
Price: $4,295 street
Contact: JoeCo | joeco.co.uk
www.proaudioreview.com