Sound On Sound (US) - July 2020 (PDF) PDF

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LEADER
A PRICE ON YOUR HEAD

I
s it crazy to spend a four-figure sum on a pair picture, the loudspeaker is still king.
of headphones? Responsible engineers have always checked mixes Sam Inglis
If you’d asked me that question 10 years ago, on multiple systems, including both speakers and Editor In Chief
I’m sure I’d have said yes. After all, aren’t they just headphones. But what may be changing is the balance
extravagant marketing exercises, designed to part hi-fi between the two. In years gone by, headphone listening
enthusiasts from their cash? Isn’t the top end of that was a low priority, and you might spend 90 percent of
market all about the smartest boxes, the most retro your time working on NS10s, with the occasional blast
braided cables and the softest leather cushions, not about on the main speakers or a single Auratone. Today’s “We might not
actual sound quality? engineers often seem to be spending much more time
Turns out it’s not so simple. In that time, I’ve reviewed on headphones, even if they eventually put the finishing all like mixing
several pairs of thousand-dollar cans. In some cases, they touches to their work on speakers. on headphones,
arguably just represent a slightly more refined take on the This isn’t always through choice, or because they
same manufacturer’s cheaper offerings. Others, though, want to give headphone listeners the best possible but the available
really do offer something that isn’t available at ‘normal’ experience. More often, it’s a move that’s forced upon tools for doing
prices. The HEDD Audio HEDDphones reviewed in this us through circumstances. There are techniques that
issue are a case in point, as are Audeze’s LCD-series can help us make that move, and in this month’s SOS so have never
phones. They make music more enjoyable to listen to, but feature on mixing on headphones, you can find out how been better.”
they are also better monitoring tools that can help mixing big-name engineers are putting these techniques into
and mastering engineers do their job more effectively. If, practice. But if you’re one of the many engineers for
that is, engineers buy into the idea of doing their job on whom headphones are becoming a key part of the mixing
headphones at all. process, perhaps it does make sense to get the best ones
Headphones are now the primary means by which you can.
music is consumed. Some say this makes it desirable to High-end headphones that might have been an
mix and master on phones, too. It’s a seductive argument, extravagance in the past are now a core part of the mixing
but not one that convinces everyone. My own experience engineer’s toolkit. And that goes for related products,
is that a mix that sounds good on speakers nearly always too, such as headphone amps and software such as
translates well to headphone listening, but a mix that dSONIQ’s Realphones, reviewed in this issue, which is
sounds fine on headphones can sound completely out of designed to improve the experience of monitoring on
whack on speakers. Headphones are revealing of detailed cans. We might not all like mixing on headphones, but the
faults, but when it comes to putting across the bigger available tools for doing so have never been better.
E DI T OR I AL ADMIN IS TRATIO N ADV ER TISIN G

[email protected] [email protected] [email protected]
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Editor In Chief Sam Inglis
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MARK ETIN G
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eorge Nicholson Hart Incorporating Music Software magazine, Recording
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w w w . s o u n d o n s o u n d . c o m / July 2020 3
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158 THE IPAD DECADE
IN THIS ISSUE
July 2020 / issue 9 / volume 35
www.soundonsound.com
FEATURES WIN
118 Mixing On Headphones
Headphone mixing is becoming a core skill for everyone. We RØDECASTER
PRO BUNDLE
asked some of the biggest names in engineering how they get
the best results.
126 Making Space In Your Mix W O R T H $ 1 5 0 7

Improve the clarity of your mixes with these five tips.
128 DIY Shimmer Reverb

Creating your own shimmer reverb effects is easy, and gives
you plenty of creative control.
140 Inside Track: Clint Gibbs

Doja Cat’s ‘Say So’ was already a worldwide hit — and then
a new version featuring Nicki Minaj propelled it to the very top
of the charts. One man mixed them both.
146 Steve Ouimette: Re-recording

Hits For Video Games
He might not be a household name, but Steve Ouimette has
made more people dance than anyone else on the planet!
152 Tame Impala: The Psychedelic

World Of Kevin Parker PAGE 34
No two Tame Impala albums sound the same — but they’ve all
been driven by the same experimental ethos. 166 Q&A
Your studio and recording questions answered.
158 The iPad Decade
Over the last 10 years the iPad has changed the way we make 170 Why I Love... Soldering
and record music. We take a look at its past and present and SOS columnist Robin Vincent finds there’s joy to be found at
consider what the future might hold. the end of a soldering iron.
88 ELEKTRON MODEL:CYCLES
ON TEST
10 Klevgränd Spinn 70 Lauten Audio LS-208 & LS-308 108 AVP ADS-7 MkII
Multiband Modulation Plug-in Capacitor Microphones Drum Machine
12 ADAM Audio T8V 74 McDSP Moo X & APB-8 112 Becos CompIQ Stella
Active Nearfield Monitors Hybrid Processing System
Mono Stompbox Compressor
14 Melda Production MCabinet 78 Native Instruments Session
Guitarist Picked Acoustic 113 A Guide To Modular Worlds
Guitar Cabinet Emulation Plug-in Book Review
Virtual Guitar Instrument
16 TechZone Stellar X2 114 Creative Intent Remnant
Cardioid Capacitor Microphone 82 Coleman Audio TC4
Mastering Transfer Console Granular Effects Plug-in
20 HUM Audio ARM‑1 84 Golden Age Premier GA-800G 116 Orange OMEC Teleport
Active Ribbon Microphones
Valve Microphone USB Audio Interface for Guitar
22 Modartt Organteq 88 Elektron Model:Cycles
Modelled Virtual Pipe Organ 116 United Plugins MorphVerb
FM Groovebox Reverb Plug-in For Mac
26 Celemony Melodyne 5 92 JBL IRX108BT & Windows
Pitch & Time Manipulation
Software
Active PA Speaker 164 Sample Libraries
94 Sonokinetic Ibrido Cinematica Sample Logic Motion Keys
36 Dirac Live For Studio Sample Library Cinesamples CineBrass Sonore
Room & Speaker Correction
Software 96 Wes Audio Prometheus Mammoth Audio Density
Digitally Controlled Analogue EQ
42 Roland Jupiter X & Xm Strezov Sampling The Performers
Polyphonic Synthesizer
98 Intellijel Tetrapad & Tête Mountain Girl
Eurorack Modules
50 HEDD Audio HEDDphone
Air Motion Transformer
Headphones
99 Tiptop Audio ZVERB, ECHOZ
& Z5000 WORKSHOPS
Eurorack Modules
54 Spitfire Audio Albion Neo 102 dSONIQ Realphones 131 Logic
Sample Library
Headphone Correction & Virtual 132 Cubase
62 Silo SoundLabs Vintage Series Studio Software
134 Reason
Trident Audio Equaliser Plug-ins 106 IK Multimedia Sunset Sound
64 Toontrack EZbass Studio Reverb 136 Studio One
Virtual Bass Instrument Reverberation Plug-in 138 Pro Tools
B eyo n d t h e c u r ve
Mastering DA converter
Mercury is a stereo digital to analog converter that fulfills the highest demands both technologically and tonally. A
total of seven digital inputs, two AES/EBU, two SPDIF, two TOSLINK as well as USB can be connected to Mercury. AES
input 2 also supports Dual-Wire (DW) mode. Each digital sources has its dedicated and illuminated switch for instant
selection and fast comparison.
The Mercury uses our 120V technology instead of the standard technology. And this twice in the newly developed
DLP120 module. DLP stands for "Dual Low Pass". These are two separate analog filters in 120V technology. Depending
on the type of digital signal, the analog signal passes through the PCM or DSD filter and can freely unfold into a huge
dynamic range. This is audibly better.
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Contact us for more information : 1 800.663.9352 / [email protected]
ON TEST
Klevgränd Spinn
PAUL WHITE
T
he designers of Klevgränd’s
Spinn (VST, AU and AAX; Mac and
Windows compatible) say that
they didn’t set out to create a precise
emulation of a Leslie speaker. Rather,
Multiband Modulation Plug-in
they took that concept as a starting point, Ever wondered how a Leslie cabinet with four different
then went on to create something a little
different. It’s certainly that, and giving
speakers would sound?
a Leslie-style rotary-speaker emulator four according to the level of the input signal. available, you might find that using one
different frequency bands might appear There’s also a level control for each band. before Spinn gives you more flexibility.
excessive, given that the real thing offers A rotating fan graphic at the top Level controls are provided for the input
only two. But they say nothing succeeds of each section indicates the current and output, plus there’s a width control
like excess, and you can get pretty close modulation speed, though this can be that goes from mono to full stereo.
to a Leslie sound if that’s what you want. turned off to consume less CPU. A pointer Operating Spinn is really
The plug-in hosts four ‘rotor’ sections, above the fan shows the deviation from straightforward because the user
each fed from a crossover, with a choice the current speed setting, which you see interface is extremely clear and intuitive.
of three crossover frequencies between during speed changes and also when As with a traditional rotary speaker, the
each band. Each section has separate using the Velocity function, and which can interaction between the bands as you
slow and fast speed controls, separate be positive or negative. speed up or slow down the modulation
acceleration and deceleration times, and You can select speeds of Slow, Fast can add a wonderful complexity to
adjustable size and modulation. The Size or Off, just as you can with a Leslie‑type a sound — but with four bands to
parameter dictates the size of the virtual speaker, plus there are three room play with, you can achieve a much
rotor horn, and thus how pronounced the emulation options, with a wet/dry mix richer‑sounding result.
Doppler effect is, while the Modulation control. To add a bit of grind, there’s There’s also nothing to stop you
control adjusts the depth of the filtering a very simple amp-modelling section, setting the speeds of one or more bands
and amplitude modulation components of which can be set to either Clean or Hot, so that the fast fader setting is slower
the effect, to make it more or less intense. and is controlled by three EQ sliders than the slow fader setting — that way,
There’s also a Velocity control for each and a Drive knob. It’s not bad, but if you when you change the master speed
band, and this modifies the rotor speed have more sophisticated amp modellers control, some bands will speed up while
others slow down, which can sound pretty
interesting! Having that Velocity control is
also useful, as it lets you make the effect
‘breathe’ according to input level, with the
relative speeds of the rotors constantly
changing. There are some factory presets
to help you get started, but setting up
your own patches is the work of seconds,
and very easy — you can then store them
for future use.
Whether used to add a slow, textural
modulation or a shrieking high-speed
spin, this plug-in does a fine job, and at
more subtle settings it makes a welcome
alternative to the likes of chorus or
phasing. I also like what it does when
placed before or after a reverb — there’s
plenty of scope for experimentation.
In short, it’s a lovely effect with an
attractively low price tag.
summary
Spinn takes the concept of a rotary speaker
and extends it to four frequency bands to
produce a versatile modulation effect that
can go from very subtle to severe — a lovely
effect at a good price.
$$ $49.99
WW https://klevgrand.se
10 July 2020 / w w w . s o u n d o n s o u n d . c o m
ON TEST
ADAM Audio T8V

PAUL WHITE
A
DAM Audio’s T-series of
affordable powered monitors are
designed in Germany, but built in
China to keep the costs down. Despite
Active Nearfield Monitors
their affordability, however, they are still The new flagship of ADAM’s T series offers serious bass
based around ADAM’s highly regarded extension even for those with limited budgets.
Accelerated Ribbon Tweeter. Originally
the range comprised a 5‑ and a 7‑inch match the dispersion characteristics of the High green power LED is on the
model, but those have now been joined Frequency Propagation (HPS) waveguide used in rear panel, which is a little
by the 8‑inch T8V. All three models are ADAM Audio’s rather more costly S-series monitors, impractical given that the
available individually for the benefit of resulting in a wide listening sweet spot. rear panel is usually out of
those setting up a surround system, A Class‑D bi-amp pack provides 20W (RMS) to sight during operation.
and all use the same 1.9‑inch U-ART the tweeter and 70W (RMS) to the woofer. A pair Sonically these speakers
high-frequency driver and the same of T8Vs can produce peak SPLs of 118dB at 1m. give a very good account of
smooth polypropylene‑woofer cone Both balanced XLR and unbalanced phono inputs themselves, especially given
construction, with both drivers mounted are provided, with a slide switch to select between their position in the market,
into a distinctive bevelled baffle. This them, but there’s no jack input option. Power is via coming over as punchy,
fronts a plain black vinyl foil-covered the usual IEC connector and there are a couple detailed and revealing, with
cabinet with overall measurements of three-way slide switches offering -2dB, 0dB no unforgivable vices. They
of 400 x 250 x 335 mm. A rear-firing and +2dB adjustment for both the LF and HF. The also present a credible
bass reflex port exits through a steel stereo image with a usefully
backplate, which also houses wide sweet spot. In a slightly
the connectors unfair comparison, my Event
and controls. Opals produced a slightly
As with many tighter, more solid bass
modern active end and smoother highs
monitors, the — but they are also far more
control circuitry is expensive. Importantly
digital and in this though, such technical
instance includes imperfections as they do
DSP-based active exhibit won’t get in the way
2.6kHz crossovers, of their ability to help you
response produce a reliable mix. As
equalisation and with any monitor, you just
driver/amplifier need to take some time to
protection. All get used to them.
three monitors are In context then, these are
compatible with impressive little monitors that
the ADAM Audio sit comfortably within ADAM’s
T10S subwoofer, sonic orbit, and given their
though for most low price, they don’t sacrifice
home studio rooms, nearly as much as you might
the T8V should imagine. There’s also a two
be able to deliver year warranty that extends
the goods without to five years when you
needing help from register your speakers with
that quarter. Indeed, ADAM Audio.
that 8-inch woofer
provides bass summary
extension right down
to 33Hz, while the Even the most expensive
U-ART tweeter’s monitors involve compromise,
but in the more pragmatic and
folded diaphragm cost-sensitive world of home
reaches up to an studios, the T8Vs do a solid job
impressive 25kHz. at an attractive price.
The tweeter is fitted
with a waveguide $$ $598 per pair.
designed to WW www.adam-audio.com
ON TEST
Melda Production MCabinet

PAUL WHITE
Guitar Cabinet Emulation Plug-in
A
nalogue cab emulators tend to be
based on fairly simplistic filtering, Melda’s novel approach to cab emulation frees you
and most digital ones now usually from the confines of convolution.
rely on impulse responses (IRs). While the
latter method is accurate, it isn’t versatile
— each IR is basically a ‘snapshot’ of one
cab/mic setup, so the room for adjustment
is limited. But Melda’s MCabinet adopts
a different approach that aims to give you
the best of both worlds. Essentially, it’s
a very detailed filter based on a statistical
analysis of real cabinets. MCabinet works
in VST, AAX and AU hosts, and the licence
file allows activation on multiple machines.
It offers up to 16x upsampling, and both
M-S and surround support.
A large library of cabinet profiles
(mono and stereo) helps to get you
started, and simple controls allow you
to adjust the character of the current
profile; an informative display shows the
frequency response and the results of
any adjustments. The basic controls can
effect broad-strokes tonal changes, such
as making the cabinet brighter or darker.
There’s also a Max Latency control that
sets the maximum time by which the profile
can delay the main note transient (real
cabinets exhibit frequency-dependent well as a menu of presets there’s a randomiser option In short, then, Melda’s
delay). Flattening smooths the detailed for each resonator. MCabinet produces convincing
variations in the EQ curve, and Tilt drops There’s also a useful four-band dynamic EQ that can speaker cabinet sounds that
the lows and brings up the highs (or vice operate at multiple harmonics, set by a user control. As are very easy to adjust to taste,
versa) using a single control. (Smoothing it can boost or cut, you can use it to add more edge to and which can be pushed well
can be applied to the individual Profile, and louder notes, for example, or remove harsh frequencies beyond the norm, if that’s what
separately to the overall output.) when playing harder. you want. Detail geeks will
If you have an eye for detail, there are The factory presets include numerous guitar- and also find plenty to play with in
also numerous advanced controls that bass-style cabinets, special effects (such as small the advanced features. Purists
let you fine-tune the filters in a number speakers and radios), and some electric-to-acoustic may find some aspects of the
of ways. Not all of the advanced controls guitar transformations. But while MCabinet is aimed performance less ‘authentic’
have obvious functions, so for in-depth primarily at guitar and bass, the emulations can be than can be achieved
use, do read the help files and check some useful in shaping keyboard sounds too. There’s plenty using conventional impulse
of Melda’s online video tutorials. of creative scope. responses, but the subjective
The more approachable advanced Perhaps most intriguingly, MCabinet has the ability results get very close and
features include four tweakable resonators to analyse third-party IRs and create a profile from the degree of adjustability
and two stereo wideners. The resonators them. In fact, it can analyse not only individual IRs, but much greater.
play a key role in creating an authentic also a folder of them, calculating an average on which
cabinet sound, adding detail to the tonal to base the profile. Profiles can also be exported as summary
signature, including with time-domain WAV-format IRs to be used in third-party convolution
artifacts that give the speaker its ‘growl’ or processors, so MCabinet also has applications as an IR MCabinet is an intriguing
alternative to traditional cabinet
‘snarl’. They work well, though go too far editor. I tested this by importing a Celestion IR, which emulation, the main advantage
and they sound metallic and atonal — less MCabinet managed to replicate very closely indeed. being how easily results can be
good for cab emulation but perhaps the After tweaking the resonators and filters to get the IR be adjusted to taste.
foundation for some interesting effects sounding closer to what I wanted, I exported it and
on some sources? Each resonator can be loaded it into Logic’s Space Designer convolution $$ $107
loaded with one of four algorithms, and as plug-in set to 100-percent wet. It worked perfectly. WW www.meldaproduction.com
ON TEST
TechZone I
nominally flat down to around 30Hz, below
PAUL WHITE
which the lows roll off gently. Its frequency
t never ceases to amaze me response is quoted as 20Hz to 18kHz
that microphones can look and, according to the supplied graph, the
Stellar X2
similar, have nearly identical response is about 6dB down at 20kHz.
technical specifications and A sensitivity of -31dB (0dB=1V/Pa at 1kHz)
similar internal workings, yet is specified, along with a respectable
sound really quite different. self-noise figure of 13dBA. There are no
Outwardly the Stellar X2 pads or filters, and the maximum SPL for
Cardioid Capacitor looks much like any other 0.5 percent distortion is 130dB. Phantom
Microphone
large‑diaphragm microphone, power is required, as you’d expect.
other than being slightly Designed as an all-round performer,
smaller, at just six inches long the manufacturers recommend the Stellar
Looks can be deceiving, and in the and 1.725 inches wide, but X2 for podcasting, studio vocals, piano,
case of this affordable mic, so can most departures from the norm stringed instruments such as acoustic
price tags! are internal. It is manufactured
by TechZone Audio Products,
guitar, and percussion. The data sheet
didn’t mention guitar amps so naturally
a small company located in that was the first thing I tried it on, and the
Torrence, California, and the results were rather good. Too often, using
mic is supplied in an aluminium capacitor mics on guitar amps brings out
case with a shockmount, an unwelcome brittle edge to the sound,
a foam wind shield and a soft but not in this case. What was captured
storage pouch. was very close to the subjective sound
Inside the black, of the amplifier when heard from the mic
powder-coated, Chinese-built position, which in this case was off-axis and
shell is a custom‑built, around 350mm from the speaker.
centre‑terminated brass On vocals the mic delivers a clean
capsule skinned with Japanese representation of the person in front of
Mylar. This is a K67‑style it, with no obvious coloration and a good
design, and measures 34mm balance of low‑end density and high-end
in diameter. We’re told that detail, all the while sounding smooth rather
high-frequency attenuation than aggressive. The lack of significant
is employed to balance presence peaks also means the mic should
the harshness commonly suit a wide variety of voice types. Female
associated with this style of singers and males with high voices tend
capsule, the aim being to to show up any high-frequency coloration
achieve very smooth highs. a little more so the smooth high end
The hand-built, transformerless of this model could well be a benefit in
JFET circuit includes such cases.
tight‑tolerance German WIMA I obtained good results on acoustic
film capacitors and other guitar too, using the common ‘where the
highly specified components, neck meets the body’ position at a mic
while the PCB has gold-plated distance of 300 to 400 mm. Again, the
tracks to optimise conductivity. playback sounded very much as I heard
The quality control process the instrument in the room, balancing
includes a frequency solidarity of tone with clarity.
sweep test, a visual The Stellar X2 puts on a very mature
inspection and performance, and though not in the
a self-noise test. budget‑buy category, it is certainly not
Unlike many overpriced given its capabilities.
cardioid condenser
microphones, the summary
Stellar X2 does not
have a significant By combining mass‑produced casework with
hand‑made parts where it really matters,
presence peak;
TechZone have shown it is possible to build
there’s just the merest a serious performer at a mid‑market price.
hint of a hump at 4kHz
followed by a 1dB dip at maybe
$$ $199
6.5kHz, then another 1dB TT TechZone +1 424 337 0534
hump in the region of 11kHz. EE [email protected]
The rest of the response is WW www.techzoneaudioproducts.com
MEET YOUR
NEW BASS
PLAYER ON
PAGE 77.
WWW.TOONTRACK.COM
ON TEST
HUM Audio
ARM‑1
Active Ribbon Microphones
The newest mic from Polish company
HUM Audio comes in either long- or
short-ribbon varieties. We tried them both!
M AT T Y M O O N
H
UM Audio seem to like to do things on a rather
grandiose level. Over the last few years they have
released several products ranging from high-end
prosumer loudspeakers, to discrete microphone preamplifiers
and their flagship RS-2 stereo ribbon microphone, which was
reviewed in SOS October 2017 — see www.soundonsound.
com/reviews/hum-audio-rs-2. The ARM-1 range are essentially
mono versions of the RS-2, without all the bells and whistles.
The microphones are pitched at the higher end of the market,
in the arena of the Royer R122 MkII and Shure KSM353/ED, but
are still cheaper than an AEA A440.
I was sent two mics to review, both finished in a slick matte
grey and both labelled ARM-1. They look identical apart from
the colour of the writing and the cradle suspension O-rings.
The blue‑coloured microphone is the ARM-1L and is fitted with
a two-inch (Long) ribbon. The white‑trimmed mic is the ARM-1S
and has a one-inch (Short) ribbon. Both microphones are housed
in a sturdy aluminium flight case, and they fit snugly into the cut
Styrofoam padding. A small cloth dust cover is also included to
shield the grille and give some protection to the ribbon element.
The mics come pre-installed in a cradle shockmount, and
though the fixed cradle gives up/down and some minimal
lateral movement, there were some times when I wished
I could swivel the microphone within the cradle (I ended up
having to move the mic stand instead, which could be tricky
in tighter spaces or when used on a long boom stand above
a drum kit). These microphones are very large (280 x 60 mm giving a selection of flat response, or a low cut at 50 or 100 Hz.
in diameter), but not overly heavy given their size, so can still Over three drum recording sessions I was able to use both
be manoeuvred into position fairly easily, although you will ARM-1s in various positions around a kit. Using the pair as drum
need a sturdy boom stand in order to position them as drum overheads it was apparent straight away that these are great
overheads without drooping. You really wouldn’t want to take microphones — full and rich in the low and low-mid regions, as
any chances with the price tag on these! you would expect from a ribbon, with smooth upper-mids and
From the specs, the longer ribbon seems to exhibit highs resulting in a pleasant cymbal sound. Using a high shelf
a slightly fuller low‑frequency response below around 100Hz, EQ to open the sound up a little worked very well without the
and has a touch more presence in the upper-mids around sound becoming harsh or brittle.
6-10 kHz. These are active ribbon microphones and work on Next up, I tried the ARM-1L as a centre overhead, in
+48V phantom power, giving output levels comparable to conjunction with two spaced AKG C414 ULSs. This is one
the average capacitor mic and making preamp choice much of my favourite overhead techniques: the centre ribbon is
less critical. The microphone specifications state a fairly placed over the drummer’s head, looking at the snare, where
typical ribbon frequency response of ±3dB from 30Hz-14kHz it picks up a good overall balance of the drums, while the
for the ARM-1L and 40-14 kHz for the ARM-1S. Each mic has darkness of the ribbon helps to add weight to the drums
a three-way switch located on the base near the XLR socket, without overly accentuating the cymbals. It also helps to
The ARM-1L just pipped the 1S for me
here: its slight mid‑range presence
complemented the brightness of the
451, and the slight low-end extension
seemed to further round out the low
frequencies.
The proximity effect exhibited by
ribbon mics can really accentuate
boominess in an acoustic guitar,
meaning that the sweet spot is often
a couple of feet back. At longer
distances ribbon microphones can
often need a lot of gain to achieve
usable levels. However, at this distance,
both the ARM-1s only needed around
30dB of gain for a suitable signal. The
low‑frequency roll-off was great in this
application and is a feature that I have
not come across on ribbon mics before.
It enabled the proximity effect to be
tamed slightly, meaning that the mic
could be placed slightly closer, yielding
a little extra detail.
Finally I turned to the ARM-1L when
recording some trumpet sections. Brass
can sometimes sound a little thin and
spiky, but the proximity effect and darker
sound of ribbons can be used to great
advantage here, and the 1L sounded
great! Full, rich and smooth across
the low frequencies with just enough
presence and raspiness to fit perfectly
into the track.
There is no doubt these are very
nice microphones. Both models sound
warm and smooth, as you would hope
from a ribbon costing nearly $2000.
I found that I was more drawn to the
ARM-1L over the test period. Its slight
extra presence was pleasant to my
ears on most sources. These are both
great microphones, but you will need
very deep pockets to even consider
buying one of these. However, if you
are in the market for a premium ribbon
firm up the drum sound in mono. The pull the kick upfront, and the lift in microphone with a girth that matches its
ARM-1L really worked nicely here. The the upper‑mids gave the snare a nice sound, it would be well worth trying one
subtle upper-mid presence gave a nice presence. However, the 1S shined for of these.
bite to the snare and cymbals without this particular track, sounding natural
harshness. It worked well with the and flat, neither hyped nor accentuated summary
bright condensers, as you can hear in in any way, but rather giving a true
the audio examples I’ve prepared at representation of the kit in the room. These microphones are expensive, so won’t
https://sosm.ag/hum-arm1-audio. I love the sound of ribbons for be for everyone, and they’re also on the large
side, meaning it can be tricky to manoeuvre
I then tried using them as drum room strummed acoustic guitar and will them into tight spaces — but they are
mics, placed low down, about a foot often pair one with a small‑diaphragm great‑sounding microphones! The adjustable
from the floor and three feet in front of condenser to capture the detail, with roll-off is a nice touch too, and enables the
the drum kit. The ‘null’ of the figure‑8 the ribbon providing a warm smooth proximity effect to be tamed as desired.
patterns were pointed at the kit in order low end. In this application the ARM-1s
to capture the room reflections rather did not disappoint. I paired them with $$ $2000
than the direct sound. The slightly an AKG C451, all placed about 1.5 feet EE [email protected]
fuller low end from the 1L seemed to away, pointing at around the sixth fret. WW www.hum-audio.com
ON TEST
Modartt Organteq
GORDON REID
Modelled Virtual Pipe Organ
R
ecreating the sound of a pipe
organ is not easy. In fact, it’s bloody Does Modartt’s Organteq do for the pipe organ
difficult. Nonetheless, emulations
have improved considerably over recent
what Pianoteq did for the piano?
years although the best of these — whether and a Bourdon (stopped flute) Nasard at or closed for a quieter, duller one. Here,
delivered as huge sample libraries or as 2-2/3’, and you can edit each of the ranks by you can choose which ranks lie inside and
physical modelling in traditional console adjusting the loudness and the fine-tuning of outside of the blinds. The pedal on the right
organs — are not cheap. But now Modartt each pipe within it. You can also determine (‘crescendo’) introduces new stops into
have released Organteq, a physically a stop’s overall volume and its response the mix when depressed, and the choice
modelled software instrument that aims to to the crescendo pedal. In a novel move of stops and where in the travel they are
do for pipe organs what Pianoteq has been Organteq allows you to assign ranks to actuated is determined by the programming
doing for pianos for the past few years. stops, which makes it possible to duplicate within the stop itself.
a given rank on a given manual. With In addition to Tutti (all stops drawn)
The Technology subtle detuning this can create some nice and Cancel (all stops pushed in), 10
Supplied as both a plug-in and as ‘celeste’ voicings. Done less subtly, it takes Combinations are provided and, for each
a stand-alone application, Organteq offers Organteq to places that no traditional pipe of these, you can determine whether
a single organ model, presenting you organ ever visited unless the organ builder a stop is Set (drawn), Unset (pushed in),
with three five-octave manuals (Positif, was deaf, drunk or both. Six couplers are or unchanged when you select a given
Grand Orgue and Récit) plus a 32-note also provided, and you can edit these with Combination. You can therefore set up the
pedalboard (Pédale). Each of these has control over source, destination, ±1 octave Combinations as divisional (affecting a given
10 stops controlling ranks that include transposition and ‘forwarding’ (cascading). manual or pedals) or scoped (affecting
principals, flutes, stopped flutes, strings, There are two control pedals. The one anything in the instrument) as you choose.
chimneys, reeds (including a Vox Humana), on the left (‘expression’) controls virtual You can step forward and backward through
and mixtures incorporating either three or louvers that Modartt call blinds. On a pipe the Combinations using two dedicated
five ranks with breaks. Pipe lengths range organ the louvers are physical barriers that buttons, much as you might use a set list on
in octaves from 16’ to 1’ with a flute Quinte can be opened for a louder, brighter sound a synth.
A Noises panel allows you to determine everything in the GUI can be controlled via Since Organteq is (as far as I’m aware)
the amount of noise heard when pressing MIDI using user-defined mapping for the the first moderately low-cost modelled
keys, moving stops, selecting couplers stops, pedals and controllers. Although you pipe organ, I compared it with low-cost
and so on. Being old-school, I rather like can’t draw and return a stop using a single sample-based organs and found it to be
this. When you sit at the console of a large button (it doesn’t act as a toggle) you can superior in many ways. Nonetheless, there
organ, you’re always aware of these noises, use sliders to do so, although you’ll have are some oddities, and (for example)
although they’re much less apparent to difficulty finding a controller offering 40 of I was struck by the inconsistencies in the
listeners at a distance. The noise volume these! Once I had configured a suitable MIDI Vox Humana rank, which could be flutey
control allows you to set the noise level map for my test setup (which proved to be on some notes but brassy on others.
to create the sense of distance you prefer. simple if a little time consuming) I was then Consequently, I think that Organteq still
A second panel allows you to program able to save this too. has some way to go before it will rival more
the reverberation, with control over the Organteq also includes a MIDI recorder/ expensive options such as Hauptwerk (which
pre-delay and duration, the room size, the player. Its controls are limited to Record, combines sample-based sound generation
damping, the tone and the mix. It’s not the Play (with playback speeds ranging from with modelled effects) and Viscount’s Physis
most sophisticated reverb in the world, but 0.1 to 10-times real time), Pause, Stop, Fast physical modelling system. We’re talking
it does a good job. If you need something Forward and Rewind, but it’s a very simple about discrepancies that wouldn’t bother
more sophisticated such as a convolution way to capture your performances. (If you most readers, but subscribers to Pipe Organ
reverb, there’s nothing stopping you using forgot to press Record before your finest Fanatics’ Weekly will hear the difference.
a plug-in or external hardware. Other moment, don’t worry... Organteq didn’t Moreover, there is a problem. Although
facilities include global tuning, a choice of trust you and recorded the performance Organteq offers a maximum polyphony of
eight temperaments and the ability to create anyway, and you can then retrieve it.) Once 512 voices, each note on each stop uses
your own tuning maps. recorded, you can save your performances a voice, so 10-finger chords on a single
Once programmed, you can store as well as export them as WAV, FLAC and manual can utilise 100 voices even before
everything as a memory, either by MP3 files, which is another nice touch. The you take the decay of released notes
overwriting an existing one or by creating system will also play and export existing into account, and the same chord with
new registrations within user-definable MIDI files. However, that’s not the final coupling can utilise well over 400 voices.
banks. Furthermore, each memory holds surprise because, on the stand-alone I have a MacBook Pro with eight 3.1GHz i7
two ‘presets’, and you can switch between version, it creates six channels of MIDI cores and, even with a long audio buffer,
these using the A and B buttons in the data when you save a performance: the glitching appeared when using a little over
upper right of the GUI. performance itself (channel 0), separate 100 voices, and this placed considerable
Organteq will work with a single MIDI channels for the notes played on each constraints upon what I could play. With
keyboard or a full console using different of the manuals and the pedals (channels some other applications loaded alongside
MIDI channels for each of the manuals and 1 to 4), and another channel for events Organteq, played Tutti with everything
the pedals, or anything between, and almost such as selections of stops, couplers and coupled limited me to three notes before
the control pedals (channel 5). This makes CPU usage exceeded 100 percent and
it easy to edit performances in more glitching occurred. And who wants long
Modartt Organteq sophisticated DAWs. buffers? A small number of milliseconds is
€249 Finally, I should mention that you can acceptable because pipe organs can have
pros resize the GUI. I found that Huge (200 relatively slow attacks, but once you’re up
• Modelling is superior in some ways to percent) almost precisely fit my Mac’s to 512 samples at 44.1kHz things start to
basing pipe organ emulations on samples. screen, but a ‘fit to screen’ option would feel decidedly odd. If you’re hoping to play
• You can assign ranks to stops to create be much better, especially if you intend Tutti with couplers, you’re going to need
celeste registrations. to use Organteq as part of a dedicated a supercomputer!
• You can use it with multiple manuals and
pedals for a full pipe organ experience.
organ setup. That aside, everything worked well and
• It offers good coupling, combination, sounded good when I played Organteq
expression and noise facilities.
In Use more conservatively, so it will be interesting
The problem with sample-based pipe organ to see where Modartt take it in years to
cons
emulations is that you can’t record the pipes come. Additional organ models? Access to
• It’s power hungry, so the polyphony can
be too low when complex registrations in isolation and then mix the samples to the pipe models themselves? Programmable
are used. recreate the sound of the original because turbulence? Tremulants? Models of
• There are some inconsistencies in blown pipes interact with one another. alternative casings and facades? Surround
the ranks. Furthermore, the ambient field is slightly sound? Blower noise? Leakage? If you
• There’s no fit-to-screen option for
different for each pipe so you can end up look at more mature physical models you’ll
dedicated usage.
with something that sounds a bit odd if the realise that there’s still a long way for this
summary pipes are not sampled dry and the ambience technology to go and, if the development of
Affordable pipe organ emulations have until is added later while playing. In principle, Pianoteq is anything to go by, it could be an
now been based on samples or synthesis. a modelled organ should overcome these interesting ride.
Organteq is (as far as I’m aware) the first
affordable modelled pipe organ and, while
problems provided that the complex
an immature technology at the moment, algorithms that result can be implemented
$$ €249
points the way to a possible future. efficiently enough to run on current tablets WW www.modartt.com
and computers.
ON TEST
Celemony
The long note here is a good example of
Melodyne 5’s new weighted pitch centre
algorithm in action. Note how it ignores the
quiet, sharp section at the end of the note
and positions it such that the first, loud
section is centred.
Melodyne 5
Pitch & Time Manipulation Software
Although it’s now been around for two decades, Melodyne
is still the stuff of science fiction. In our exclusive review,
we explore version 5’s new superpowers.
SAM INGLIS Of course, both packages are adept More than four years on from version
in both fields, but Melodyne has some 4, Melodyne 5 also offers an impressive
unique capabilities. It remains one of selection of new features. In this review,
S
ince its launch 20 years ago, very few programs that can perform I’ll assume that you are familiar with the
Celemony’s Melodyne has joined pitch‑correction on polyphonic sources, basic operation of Melodyne and with the
Antares’ Auto-Tune in that realm and the Sound Editor introduced in main features of version 4: if you aren’t,
of ubiquity where people use its name Melodyne 4 provides a huge palette of check out our review of that version in the
as a verb. When producers talk of vocals resynthesis and processing possibilities. February 2016 issue.
as having been ‘Melodyned’, they are Version 4 also brought forth some amazing
usually implying the use of non-invasive tools for manipulating the tempo of entire
Switching To Manual
pitch‑correction. ‘Auto-Tuning’, by multitracks. New versions of Melodyne The basic architecture of the Melodyne
contrast, often suggests the use of pitch don’t come along that often, but when product line is unchanged in version 5.
processing as a special effect. they do, they are usually worth the wait! There are still four editions, with Melodyne
The vertical hatched area in
the selected blob represents
a sibilant; here I’m using the
Sibilant Balance tool to reduce
its level relative to the pitched
portion of the same note.
Studio at the top and

Melodyne Essential the
most affordable, and the
program is still available
both as a stand-alone
application and as a native
plug-in. There are no major
changes concerning the
integration of Melodyne
into your DAW of choice: if
your host program supports
the Audio Random Access
(ARA) protocol, you can
work with Melodyne within
the arrange page, but
the streamlined plug-in
developed for version 4 still works very well quantise each of these separately, and By default, sibilants remain attached to
in other DAWs. they’ll usually be closer to perfect. the pitched note that precedes or follows
A slightly unheralded aspect of the The second reason for going behind them, but are immune from most of the
program that took a huge leap forward in Melodyne’s back and chopping up notes operations that apply to pitched notes.
version 4 was the online documentation. manually is that not everything detected Pitch changes, formant changes and
This has now been developed even further by Melodyne actually has much pitched time-stretching all apply only to the pitched
by having the documentation tailor itself content. Sibilants, fricatives and many other element of the note, leaving the sibilant
to your specific use case. Two pop-ups consonants are primarily noise-based,
labelled Edition and I’m Working With let and if you start trying to ‘correct’ their
you specify which of the four Melodyne pitch, you’ll achieve nothing except an Celemony Melodyne 5
variants you own, and whether you’re increasingly obvious degradation of the
pros
working stand-alone or in a particular sound. For the most natural results, then, • New sibilant detection and Sibilant
DAW. You’ll then see only those elements it was often worthwhile to snip them out Balance tool makes working with vocals
of the manual that relate to your specific as individual ‘blobs’ so that they could be much faster and easier.
circumstances. This is a brilliant idea and excluded from pitch manipulation. This • The Leveling Macro is an impressively
transparent — and, in the Editor and
much more user-friendly than having to had the added benefit that the Amplitude
Studio editions, polyphonic! — alternative
scroll past great screeds of text to find the tool could subsequently be used as a very to compression.
relevant sections. effective, albeit painstaking, means of • Automatic pitch-correction now sounds
reducing any obtrusive esses in level. more in tune without the need to split
Death By 1000 Cuts words up manually.
When it comes to invisibly putting that which
Sibil Servant • Chord detection and Chord Track open
up some intriguing possibilities, especially
was out of tune into tune, many devotees Celemony have been paying close for remixing.
feel that Melodyne has no peers. However, attention, and some of the biggest • Most new features are available in
if you’ve ever watched a Melodyne ninja at developments in Melodyne 5 are all editions apart from the basic
Essential version.
work, you’ll know that this could be quite designed to do away with all this tedious
• Neat electronic documentation that tailors
a labour-intensive process. Seasoned users mouse-clicking. The functionality I’m itself to your specific use case.
often head straight to the Note Separation about to describe is available in all but
tool and step through a vocal take chopping the basic Essential version. If you’re cons
the auto-detected notes into much working in Melodic or the new Percussive • Chord detection rarely gets it spot-on first
time, and usually needs some help from
finer divisions. Pitched algorithm (see box), Melodyne
the user.
This is tedious, but improves the results now automatically splits out sections of
in two ways. If there is pitch variation in an otherwise pitched source that contain summary
the course of a sustained note, Melodyne mainly noise, and categorises them as Melodyne 5 has been a long time coming,
defines its pitch centre as an average value; Sibilants. Zoom in on a sibilant, and you’ll but it’s hard to imagine anyone feeling
disappointed with the results! This is
so when you snap the entire note to the see that there’s no pitch line drawn through another killer upgrade that massively
pitch grid, there’s no actual guarantee that it; if you have Show Sibilants engaged, improves the process of working with vocals,
any individual section of it will be perfectly Melodyne will also display vertical hatching while adding some new creative powers too.
in tune. Chop it into smaller pieces and to enhance the visual differentiation.
ON TEST
CELEMONY MELODYNE 5
The keyboard shortcuts versions? That too has been addressed,

window is now searchable, courtesy of a new “musically weighted
either by command or by key. algorithm to calculate pitch centres”.
In other words, rather than using an
unaltered. The Amplitude averaged pitch curve as the basis for
tool adjusts sibilant and pitch-correction, Melodyne intelligently
pitched elements alike, but determines which part of a given note is
de-essing is made vastly most significant in terms of our perception
easier by the new Sibilant of pitch, and weights that section of
Balance tool. Click and drag the note more strongly when deciding
this in one direction, and how much correction to apply. This new
any sibilant elements in the algorithm is implemented either when you
selection are progressively double-click using the Pitch tool, or when
reduced in level; drag in the other occasionally, I wanted to actually increase you apply the Correct Pitch macro, and it
direction, and the pitched elements are the volume of a consonant where the works extremely well.
reduced instead. singer had swallowed the end of a word, Finally, just in case you do still find
There’s no way that I can see to force without changing the level of the pitched yourself needing to do lots of chopping
Melodyne to reclassify what it detects component. This isn’t possible using the up or other repetitive actions, you may
as pitched or sibilant, but on every Sibilant Balance tool alone: you need to welcome the improvements that Celemony
vocal I tried it with, it got the distinction split out the closing consonant and apply have made to the keyboard shortcut
absolutely spot on. At first, I wondered why the Amplitude tool. It should perhaps also system. The Shortcuts dialogue now
it keeps sibilants attached to the adjacent be mentioned that the sibilant detection contains two search fields. One allows
pitched note, and thought it might be more seems very much oriented towards vocal you to search by function, so for instance
useful to have them always separated out applications, as you’d expect, and typically if you enter the word ‘Note’, you’ll see all
as blobs in their own right. However, as ignores the noise elements of many commands that contain the word Note
I worked with the new tools I realised that instrumental recordings. in their name, with associated shortcuts
there is a good reason for this. A vocal One of the really neat features of if they are assigned. The other allows
sibilant isn’t usually an isolated burst of the Sibilant Balance tool is that you can you to press a key or key combination to
noise with absolutely no pitched content: easily go way beyond what’s possible discover what, if anything, it’s assigned to;
it’s a burst of noise that overlaps the start with conventional de-essers. For instance, entering a modifier such as Shift displays
or end of a pitched note. What Melodyne you could duplicate the vocal track, then all functions that have a keyboard shortcut
5 does — uniquely, in my experience — is globally set the Sibilant Balance to +100 involving that modifier. When shipping,
take this into account. It’s not that no percent on one and -100 percent on the Melodyne 5 will also come with sets of
pitch-correction takes place for sibilants, other. You would then have complete shortcuts designed to mirror the defaults
just that it’s only applied to the non-sibilant freedom to apply different processing to in different host DAWs, so that muscle
component of the sound. each, making it easy to create the sort of memories need not be retrained.
Needless to say, this is a colossal super-bright yet controlled vocal sound
time-saver, and makes you wonder that’s ideal for modern pop music. This
On The Level
how you got along without it! It also isn’t a revolutionary concept — it can Experienced Melodyne users will know
enables supremely natural de-essing. be done with spectral editing packages that the program isn’t only useful
For a quick-and-dirty approach, such as such as Steinberg’s SpectraLayers, and for correcting pitch and time. The
might be useful on backing vocals, you with Eiosis’s neat E2 De-Esser — but aforementioned Amplitude tool offers
can simply select everything, choose Melodyne 5 achieves a balance of power, a very natural way to adjust the level of
the Sibilant Balance tool and dial the naturalness and ease of use I’ve not individual notes within a part. However, in
consonants down to taste. For exposed encountered before. a typical vocal take that contains hundreds
lead vocals, it’s child’s play to get in there of individual blobs, using this to tackle
and adjust the balance of individual esses,
Worth Its Weight more than a handful of them isn’t really
tees and other sticky-outy sounds. The What, then, of the other reason for practical. Enter a new feature called the
only frustration I encountered was that, chopping up notes by hand in previous Leveling Macro — which is, in effect,
a sort of offline compression algorithm.
Select a group of notes and open this,
Percussive Pitch Perfect and Melodyne will calculate their average
Melodyne 5 introduces a new pitch-detection algorithm called Percussive Pitch, which is level, taking into account any edits you’ve
intended for use on material that is primarily percussive, but which also has meaningful pitched already made with the Amplitude tool.
elements to it. The example that Celemony give is of an electronic drum kit, which might have The macro presents two sliders labelled
a sine-wave kick drum sound and synthesized toms with definite pitched content. Unlike the Level Quiet Notes and Level Loud Notes,
conventional Melodic or Polyphonic algorithms, Percussive Pitch is optimised to preserve the
which do exactly what they say on the
integrity of transients over that of note pitch; but unlike the Percussive or Universal algorithms,
tin, pulling notes either side of the
it does analyse pitch and allows it to be changed. If you have any material that falls into its
intended scope, it’s very much worth trying; in some cases the differences are subtle, but it may average towards it. Unlike conventional
well allow you to push things that bit further, or retain that bit more impact. compression, it doesn’t also pull up noise
and unwanted sounds such as breaths:
LET’S FET
IT ON.
Now shipping to your favorite dealer!
A classic reborn: The UT FET47 represents several years of
R&D, blood, sweat, and tears — all to capture the essence of
one of the most beloved and classic solid state condenser
microphones, and recreate it for the modern recordist.
The UT FET47’s design started with a custom Cinemag

transformer for an unparrelled response, warmth, and low-
end. This is topped off with a custom Heisermann designed
HZ-series capsule, created as a joint venture between United
and Heisermann. But we didn’t stop there — we sought out
vintage polystyrene capacitors and FETs just to get the right
sound. Contact your United dealer, and get your FET on.
It’s not just another mic — it’s a United.

www.unitedstudiotech.com
©2020 All Rights Reserved, United Studio Technologies. United Studio Technologies is a trademark of United Studio
Technologies, LLC. All other trademarks are property of their respective owners.
ON TEST
CELEMONY MELODYNE 5
These ‘before and after’

shots show the Leveling
Macro in action. Even
at this extreme setting it
sounds perfectly natural
on this tin whistle part,
bringing up the soft lower
register to match the
piercing high notes.
the Leveling Macro

intelligently ignores this
sort of low-level detritus.
The Leveling Macro
— available in all four
editions of Melodyne
5 — is another one of
those Melodyne features
that, initially, leaves you
wondering where all the
controls are. Surely, you
might think, it would
give you control over the
average level, and the
threshold below which
noises are ignored?
Nope. Such control is
neither present nor, in my
experience, is it needed.
The Leveling Macro just
works, and depending
on how uneven the
source recording was
to start with, will almost
always do nearly all of
the legwork necessary
to create an even,
consistent performance.
Unlike the sibilant
detection, the Leveling
Macro works brilliantly
on sources other than
vocals, producing more
transparent results than
any compressor I know
of. Unlike compression, it
doesn’t change the note
envelope, but simply makes the entire note the macro does its job perfectly without jumps in the level of the cymbal spill; even
louder or quieter. Also unlike compression, any additional work. On exposed lead here, though, subtle application can still be
it seems to take into account something vocals, you’ll find the odd word still sticks very effective. The same is true of complete
like the Fletcher-Munson equal loudness out or gets lost even with heavy Leveling, mixes, but frankly it’s amazing that it works
curve, bringing up notes that are low in an but there are vanishingly few processing at all, let alone as well as it does.
instrument or singer’s register to compete artifacts, and it’s easy to deal with any
with those that have a lot of mid-range remaining discrepancies either using the
Umbilical Chords
energy. Even setting both sliders to 100 Amplitude tool or post-Melodyne fader The other major innovation in Melodyne 5
percent will often give you results that automation. It even works remarkably well is the introduction of chord detection and
sound perfectly natural in context. on polyphonic sources in those versions a corresponding Chord Track. Polyphonic
The Leveling Macro works beautifully of the program that support polyphonic editing of source material is available
on lead instruments and is equally useful detection. The only source where I found only in the Editor and Studio editions of
on bass guitars: sometimes you might it easy to push the Leveling Macro too far Melodyne, but Celemony have enabled
have to go through and manually duck was on drums, where ratios of more than polyphonic analysis and thus chord
the occasional clank or thunk, but often 25 percent or so tended to cause abrupt detection in the Assistant and Essential
HEAR
WHAT
YOU’VE
BEEN
MISSING
See the full line at audixusa.com
ON TEST
CELEMONY MELODYNE 5
Here, I’ve analysed the

chords of a ukulele track and
engaged Chord Snap. Note
how the ‘permitted’ white
notes vary with the chords;
note too Melodyne’s rather
exotic names for some chords
— the one labelled F# O/C,
for example, would probably
be better described as a D7.
and type the correct one.

Most common systems
for chord notation are
supported, and you can
type using any of them
— so even if, for example,
you like to have major
sevenths displayed using
the triangle symbol, that
doesn’t stop you entering
them by typing ‘Cmaj7’.
You can even type in ‘I’, ‘II’
and so on and Melodyne
versions, meaning that the chord tools form detection is quite source-dependent, and will calculate the correct chord relative to
a universal addition to Melodyne 5. In the a bit fussy: it often puts too many chord the detected key. Chords can likewise be
stand-alone version, chords seem to be changes in, and is prone to identifying displayed as degrees of the scale (though
detected as soon as you analyse something passing notes as chord variations. What you need to type ‘IIm’ or ‘II-‘ rather than ‘ii’
using a polyphonic algorithm; in the plug-in is to the human ear obviously a repeated to get the minor second, for example). In
versions, you need actively to display the chord sequence isn’t always detected hosts that support ARA, it is also possible
Chord Track, then right-click on it and the same way each time, though the to tell Melodyne to follow the host DAW’s
choose Analyse Chords from the pop-up. variations are usually minor ones, such chord track data rather than using its
Chords can be re-analysed at any time as a substitution of a diminished for own analysis.
you choose and, crucially, are applied a dominant seventh chord.
globally across all instances of Melodyne. There are options to allow or suppress
Working Together
In other words, there can be only one the detection of extended chords, to Once you have a plausible Chord Track,
Melodyne Chord Track, and this is shared display inversions as slash chords, and to you can then enable Chord Snap from
between all the Melodyne plug-ins in your the Options menu. You’ll see the pitch
project. In the Studio edition, detection grid in the main editing window change
can also be based on multiple instances so that notes outside the detected
(or tracks, in the stand-alone version), so chords are greyed out, and when you
you could for instance ask Melodyne to drag blobs around, they’ll snap to
take into account both the bass guitar and the nearest non-greyed note. In other
the piano when deciding what the chords words, assuming your chord map is
are, or indeed to use just three or four correct, Chord Snap makes it impossible
monophonic sources such as the individual to accidentally generate any ‘wrong’
parts of a string quartet. It’s very important notes. More interestingly, it opens up
that bar lines fall in the right places, so you some pretty neat remixing possibilities.
need to perform any tempo detection and Melodyne Studio was already amazing
editing before your final chord analysis. You can freely edit the chord track or choose when it came to conforming the tempo of
We are used to Melodyne apparently plausible alternatives from a pop-up list. audio files, allowing you to drag any old
being able to perform magic without any loop or part into a multitrack and have it
human intervention, but I have to say omit thirds where they are not prominent automatically adapt even to a complex
the chord detection doesn’t quite reach in the detected analysis. Even so, unless tempo map. Now, you can do something
those heights. On the plus side, and your song incorporates a very simple very similar with the pitch by enabling
unlike some other programs I’ve tried, it is chordal pad or keyboard part with minimal Chord Snap, whereupon any notes you
musically intelligent, and has a good stab ornamentation, the chances are you’ll drag or double-click will automatically be
at understanding individual chords in the need to do some editing to get the chord conformed to the chord map.
context of the key it detects. If your piece track into shape. Fortunately, this is easy. As you might expect, the results of this
is in C-sharp minor, for example, it will Right-clicking on a chord symbol brings process can be a bit hit-or-miss, but that’s
never incorrectly note the dominant chord up a shortlist of possible alternatives, or mainly because it can be hard to predict
as A-flat major. On the down side, the you can simply click on a dubious chord in advance how well two pieces of music
SONTRONICS
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Sibilant Balance isn’t the only new editing tool in Melodyne 5. The
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with different keys, scales, chords and tempos are likely to work
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All In All
When Melodyne 4 came out back in 2016, it was probably
the biggest single upgrade to a piece of music software since
Steinberg invented their Virtual Studio Technology. It would
hardly be fair to expect another quantum leap forward on
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and rich results.
the same scale, but version 5 isn’t far short! What’s more,
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On the former, the new chord detection system perhaps isn’t record group podcasts and interview guests without
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quite in the same league as the tempo editing introduced in sibilance, plosives and unwanted noise.
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ON TEST
Dirac Live For Studio

Room & Speaker Correction Software
Correcting the
frequency response
of a monitoring
system is one thing,
but Dirac claims to
correct time-domain
response too. Can it
possibly work?
PHIL WARD
P
aul Dirac was a British mathematician
and physicist who made huge
contributions to the theories of
quantum mechanics. He served 37 years The Dirac Live For Studio plug-in runs on the monitor output channel in your DAW and applies the
correction filters that are calculated through the measurement process.
as the Lucasian Professor of Mathematics
at Cambridge University (a post that both founders of Dirac the company chose the omnidirectional measurement mic, and
Isaac Newton and Stephen Hawking name because Dirac the physicist’s work Dirac recommend the MiniDSP UMIK-1
held), and his 1930 book The Principles plays a fundamental role in their monitor USB from www.minidsp.com/products/
Of Quantum Mechanics is still relevant and room acoustics correction algorithm. acoustic-measurement/umik-1_ as
today. Dirac shared the 1933 Nobel Prize That’s the thing about theoretical a suitable option, so that’s what I used.
for Physics with Erwin Schrödinger (he physics: ideas that, at the time of Other measurement mic options are, of
of the infamous live/dead cat thought conception, seem almost beyond the course, available, but they need to have
experiment), but is probably best known esoteric and of absolutely no practical an appropriate calibration file; using an
for his eponymous equation and work on value can turn out years (or even decades) uncalibrated mic would be akin to using
the mathematics of impulse signals. later to have real-world applications. If a ruler with no length scale markings. The
So why am I telling you all this? Well it you’re interested, I’ve explained, or at UMIK-1 is a USB mic so it connects directly
perhaps hasn’t escaped your notice that least tried to explain, a little about how to the Mac or Windows PC running
the subject of this review is also called Dirac’s work found its way into a room- Dirac rather than via an audio interface,
Dirac. And that’s not a coincidence. The correction plug‑in in the box. although a conventional mic and interface
The Dirac Live ‘room correction’ connection option is also available.
system was originally conceived in 2001 The two Dirac software elements
Dirac Live For Studio by a group of PhD students in the Signals are the Dirac Live analysis and EQ filter
$349 and Systems group at Uppsala University generation application (this is common
in Sweden. To date, Dirac has been found with the consumer flavour of Dirac) and
pros
primarily in the consumer and automotive the Audio Unit, VST, VST 3 or AAX-format
• Effective time and frequency domain
audio sectors where companies such plug-in. They are downloaded and
monitor and room correction.
• Impressive results. as Arcam, Focal, NAD, BMW and Volvo installed separately which, in my case,
have built Dirac functionality into their went very smoothly. Dirac Live requires
cons hardware. Now however, with the launch Windows 10, or Mac OS 10.14 or later.
• Slightly quirky setup procedure. of the Dirac Live For Studio plug-in, Dirac The only slight oddity was that when
• Inherent latency.
• No stand-alone version. is joining Sonarworks, ARC and Trinnov in I opened Pro Tools to look for the Dirac
the pro audio room and monitor acoustics Live plug-in, I found it listed under
summary correction market. ‘Dynamics’. Dirac Live may be many
I’ve felt slightly uneasy about room and things, but a compressor it isn’t.
monitor correction in the past, but Dirac Live In The Studio On launch, the Dirac Live application
is a technically impressive achievement
that appears to bring something genuinely There are three elements to Dirac searches for a Dirac ‘device’. Not
unusual and worthwhile to the concept. Live For Studio: two software and one being aware of any new device, I found
hardware. The hardware element is an this slightly confusing. However, the
application is more normally to be found
working with network-enabled hardware in Doing The Math
which the Dirac functionality is embedded,
Paul Dirac’s work in the Paul Dirac received the
so actually what it means in the studio 1930s concerned efforts to Nobel Prize for Physics in 1933.
context by a ‘device’ is the Dirac plug-in. understand and integrate
So the first thing to appreciate when using the newly developed theories was among the very first
Dirac Live in a studio context is that it of quantum mechanics (the hints that solutions to the
needs the plug-in host application to be otherworldly, irrational intractable incompatibility
behaviour of particles and of quantum mechanics and
running, with the plug-in instantiated on
waves at the atomic scale) with Einstein’s relativity might
an output channel, otherwise it won’t find Einstein’s framework of gravity be found, and it won Dirac
a Dirac device. and space-time. It’s work that his Nobel Prize. Dirac’s
goes on today because still no insights, however, didn’t only
In Stages complete and unambiguous help describe the esoteric
Once the Dirac Live application has found solution has been found. The fast-moving electron (and
two theories, while faultlessly at the same time introduce
the Dirac plug-in you’re up and running.
successful independently, are fundamentally the concept of anti-matter), it also produced
The first stage is microphone selection. and intractably at odds with each other. a new mathematical framework for the
My system identified three possible input Dirac, however, conceived of and developed analysis of impulse signals. It’s this, known
devices (my USB interface, a webcam mic a mathematical description of the quantum as the Dirac Impulse (or the Dirac Delta
and the UMIK-1 mic) and the first move behaviour of electrons moving at near Function), that plays a role in the Dirac room
was to select the UMIK-1 by clicking on the speed of light. The Dirac Equation correction algorithms.
its icon and uploading the calibration
file I’d previously downloaded from the noise to the monitor channels and adjust not only does Dirac Live need the Dirac
MiniDSP site on entry of the specific the output level and mic input gain so that plug-in host application open and the
mic serial number. With the input mic the input level meter hits the green range plug-in instantiated, it also needs the host
selected, clicking the ‘Proceed to Volume and you’re not deafened. I found this application in Play mode with an output
Calibration’ icon opens the next window. stage somewhat quirky initially because signal present. Once I’d appreciated that,
Volume Calibration lets you feed pink what I’d failed to appreciate was that however, setting levels was a breeze.
ON TEST
DIRAC LIVE FOR STUDIO
Getting the best from Dirac requires nine

measurements to be taken, though the exact
positions are not critical. The measured frequency
response for the left and right channels is
then displayed.
Moving on, the Select Arrangement

monitoring format selection page
enables a choice to be made between
a typical studio DAW monitoring setup
and a variety of domestic listening
arrangements. It’ll come as no surprise
that I went with the DAW setup. The next
step of the process, Measure, is where the
fun really starts. For the Dirac Live DAW
monitoring format, measurements at nine
positions around the monitoring position,
including one at the primary monitoring
location, are suggested. The accuracy of
mic positioning is not hugely vital, say position is nominally flat (or of some other errors that vary with frequency, and
Dirac, because the system is not so much desired shape). As demonstrated by the a correction system that operates only in
building a 3D map of the room acoustics other commercial systems available, it can the frequency domain does nothing to
but using multiple measurement positions work pretty well, but it’s not a complete fix them. And this is where Dirac believe
to analyse the time-domain characteristics solution to either room acoustics or their approach is slightly different to that
of the monitors and the room — more on monitor response errors. taken by some other systems. Dirac’s
this later. Before that, however, clicking on Firstly, there are some room acoustic argument is that unless the time-domain
Measure Selected Position kicks things off, characteristics that it simply isn’t feasible response of the system is corrected
after a suitable delay that provides time to to correct. If a dip in the frequency (as far as it is possible to do so without
get out of the way of the measuring mic. response at a particular location in the either contravening the laws of cause
room is a result of the direct radiation and effect, or imparting unacceptable
Powers Of Nine from the monitors being cancelled by overall system latency), correction in the
Despite the fact that Dirac uses a noise a reflection at the same frequency that frequency domain alone can only achieve
signal to set levels, it captures data happens to be 180 degrees out of phase so much. This is one of the reasons why
using a logarithmic sine-wave sweep. It (ie. delayed by a time equivalent to half multiple measurements are needed (the
measures the left speaker first followed the wavelength), no amount of correction other being to ensure that the EQ-based
by the right and then, presumably for gain at that frequency will fill it. For correction is not entirely focused on
a measurement validity check, goes example, there’s usually no point in trying one listening position): the Dirac system
back to the left. The system will work to flatten, through applying gain, the looks for time-domain errors that are
with fewer than the recommended nine response dip that’s commonly caused common to multiple positions and infers
measurements, but Dirac say it then by reflections from the wall just behind that they then must be either inherent
produces significantly fewer useful results, the monitors. to the monitor itself, or to the way the
and the reason for that is fundamental Secondly, both the monitor and the monitors and room acoustics interact over
to the way the system is conceived. room acoustics can produce time-domain a range of locations. Either way, Dirac
So, rather than continue describing the
measurement process I’m going to pause
at this point and explain a little of the
philosophy behind Dirac.
The basic concept of room
compensation is not really rocket science.
You measure the frequency response of
the monitoring system at or around the
listening position, and then create an
inverse equalisation curve that’s applied
to the monitor signal to pre-shape the
frequency response so that the audio
integrated by the ears at the listening
Alternatives
IK Multimedia’s ARC v3 and Sonarworks
Reference 4 are direct competitors to Dirac
at around the same kind of price. I’d suggest
experimenting with all three options.
The system can be optimised for domestic or professional studio environments.
ON TEST
DIRAC LIVE FOR STUDIO
slope from LF to HF, but I immediately

found that too dull for my tastes, so
I modified it to something like the target
shown in the screenshot.
The final act of the Dirac Live
measurement procedure, once you have
tweaked the target to your satisfaction,
is to export and name the filter. Once
the export is complete it will be available
for use in the Dirac plug-in. There are
eight filter tabs available in the plug-in,
so multiple filters can be exported and
loaded — either different targets for one
monitor, or perhaps targets for multiple
monitors measured on different occasions.
Impulsive Behaviour
Before I leave Dirac screenshots behind,
The Filter Design tab allows you to superimpose
a wanted characteristic — such as a gentle HF measurement procedure is to click on there’s one more worth showing and that’s
slope — over the corrected ‘flat’ response. Proceed To Filter Design, which results in the Impulse Response tab on the Filter
the Filter Design window appearing. For Design window. This shows the before
will generate its own frequency-variable clarity, I’ve chosen to show just the left and after position‑corrected and averaged
time-domain correction to put the impulse monitor channel in the screenshot. The impulse response of the system (the 8ms
response right as far as is possible (and curves displayed are the Dirac measured or so extra latency of Dirac is also very
that’s where Paul Dirac’s maths joins frequency response, the response clear). Again, for clarity, I’ve chosen to
the party). target and the frequency response after display just the left channel. Despite its
correction. The target is perhaps the most compressed time scale it’s possible to see
Design Me A Filter interesting aspect because it illustrates that the processed step response looks
Meanwhile, back on the Dirac that rather than simply correcting the cleaner and tighter but I was intrigued
measurement trail, the screenshot shows monitor and room so that the frequency to make a few more measurements to
the result of the measurements of my KEF response is nominally flat for the listener, see if I could get a clearer look at what
LS50 monitors positioned on wall brackets Dirac enables non-flat, voiced targets to was happening.
either side of the DAW screen. The curves be created by dragging nodes attached I launched Room EQ Wizard (REW) and
displayed are the averages calculated to the target curve. But, I can hear you used its remote measurement features;
from the nine measurement positions (the asking, “Surely the whole point of monitor these allow the sine-wave sweep stimulus
big peak on the right speaker at 15Hz is and room correction is to produce a flat signal to be output as a WAV file, played
almost certainly noise that I didn’t notice frequency response?” Well, yes and no. and recorded in an offline application, and
at the time — there’s a railway line not From Dirac’s perspective, the point is to the recorded data re-imported into REW
far away). The measurements show pretty correct as far as possible the major flaws for analysis. The offline application in this
typical in-room speaker performance and in the time and frequency domains, and case was Pro Tools with both the Dirac
tie in well with those I’ve previously seen when that’s done, it’s perfectly valid for Live and an alternative room-correction
generated by Sonarworks, IK Multimedia’s a user to tweak the overall balance to suit plug-in inserted on the output bus.
ARC, Trinnov and Room EQ Wizard. personal preferences. The default Dirac I recorded playback of the REW stimulus
The next stage with Dirac’s target curve is a gentle 5dB downward with no room correction, the alternative
room-correction system and Dirac Live
in turn. The resulting impulse responses
from one speaker at a single central mic
position are shown in Diagrams 1, 2 and
3. They show the initial impulse from the
monitors followed quickly by the reflection
from the rear wall at 1.4ms.
The uncorrected data and
that produced by the alternative
room-correction system are shown in
Diagrams 1 and 2. They’re not hugely
different in character, demonstrating
that the room-correction system is not
significantly manipulating things in the
time domain. By contrast, Diagram 3 —
the Dirac corrected curve — definitely
The Impulse Response tab shows the ‘before and after’ impulse response of the system. shows a less blurred impulse response.
These three REW diagrams show (left) the impulse response of the uncorrected speakers in the author’s studio, (centre) the impulse response with the speakers
corrected using a rival product, and (right) the impulse response measured with Dirac Live For Studio.
These admittedly ad hoc measurements to exceed them. Dirac is no different in about the possibility of a stand-alone
do appear to confirm that Dirac Live these respects. version the answer was a definite
is able to manipulate things in the Outside the mix context, the likely ‘no’ — combined with a gentle steer
time-domain performance of monitors and 10ms or so of latency might well be towards a Dirac-equipped power
rooms, as well as in the frequency domain. a problem for tracking. However, Dirac amplifier (such as the MiniDSP SHD
hinted to me that a low-latency mode Power — www.minidsp.com/products/
Appliance Of Science is in the pipeline, so that potential streaming-hd-series/shd-power — for
But what does it sound like? Perhaps just problem may well fade away. Lastly, example). Can’t say I’m not tempted...
as much as with a subjective response to I was so impressed with Dirac that I was
monitors, your mileage may vary, but the disappointed not to be able to have
$$ $349
results I achieved with Dirac were very it running full-time in a stand-alone
WW https://live.dirac.com/pro-audio
satisfying. I have, in my KEF LS50s, a pair mode on my workstation. When asked
of extremely capable small monitors and
I use them in a medium-sized room that
I find to be relatively free of major vices,
but still Dirac Live brought a significant
improvement to my monitoring. One
aspect of the improvement was a ‘flatter’
tonal balance, apparent through a more
natural tonality to acoustic instruments
and voices, but for me, a more significant
aspect of Dirac correction in terms of
mix work was an increase in the focus
of separate mix elements and clearer
audibility of plug-in processing. Dirac
simply made a dense and complicated
mix I was working on less of a struggle.
Mix elements were just easier to hear,
untangle and make judgements about.
So are there any down sides to Dirac?
From a mix point of view, I uncovered
no negatives beyond its slightly quirky
nature and a feeling that it’s not as
mature and well sorted a package as its
direct competition. Having written that,
though, one must of course observe the
usual health warnings associated with
room and monitor correction. Firstly, it’s
undoubtedly sensible to have a benign
listening environment and sensible
monitoring setup before resorting to
correction, and secondly, all monitors
have their limits and it’s possible for
the EQ applied by correction systems
ON TEST
Roland Jupiter X
Polyphonic Synthesizer
The Jupiter name comes loaded with
expectation. Can Roland hit their
own high standards?
Roland Jupiter X $2499

pros
• The sound.
• It looks gorgeous.
• The sound.
• It feels solid and robust.
• The sound.
• It’s inexpensive for everything that
it offers.
• Did I mention the sound?
cons
• The documentation is too brief and doesn’t
tell you everything that you need to know.
• You’re always in Scene mode, which lends
itself to errors and confusion.
• It needs a larger screen and shorter menus.
• It offers limited user memories.
• The control panel sends SysEx rather than
MIDI CCs.
summary
There will always be those who crave classic GORDON REID aspects of it that left me cold. My
synths and can afford to pay for them but, greatest frustration was its four-octave
I
if you’re in the market for some vintage n 2017 I reviewed the keyboard, which meant that I had to treat
Rolands today, you have to audition the Roland System 8 and it as an expansion module if I wanted to
Jupiter X. Despite some flaws, it sounds
concluded that it sounded take full advantage of its sounds and, while
wonderful and, were you to go that route,
you could use the price difference as the great; its own synth engine was a revelation, it doubled the polyphony of the Boutique
deposit for a small house. and I was impressed with its Jupiter 8 modules that preceded it, it was still only
and Juno expansions. But there were capable of producing eight voices at a time.
across the outputs complete the
signal path.
The first of these applications is called
the Zen Core Base Engine. This generates
all but one of the effects and also provides
a powerful four-Partials-per-Tone synth
architecture that echoes many Roland
so, before continuing, I wanted products from the JV1080 onward. It can
to work out exactly what the Zen generate up to 256 simultaneous Partials
Core, the Base Engine, the Instrument so, depending on how many Partials you
Specific Applications and everything else invoke per Tone, that’s a polyphony of
mentioned in the blurb really are. between 64 and 256 notes if just one Tone
is being played. So far, so good... but my
Zen Core & The Base Engine confusion began when I found what seemed
It took me weeks to fully plumb the depths to be five separate Base Engine synthesizers
It also offered limited patch and of the Jupiter X but, having done so, called Common, PR-A, PR-B, PR-C and
performance memories, lacked an XLR I now feel that I can explain it in just a few PR-D. Further investigation revealed that all
microphone input, its screen was tiny, and it paragraphs. It’s based upon a new chip of these have access to all five of the Base
was powered by an external power supply called the Behaviour Modelling Core, or Engine’s PCM sample libraries and all of
that, for me, made it unsuitable for live use. BMC. This runs an operating environment them share the same synthesis structure, so
But now Roland have released the called Zen Core that is, in many ways, the I asked the chaps at Roland what’s going
similarly targeted Jupiter X. With its equivalent of the operating systems that on. Their explanation boiled down to this:
beautiful design and higher quality run on the Intel chips in your Mac or PC. what appear to be five separate synthesizers
hardware, five-octave velocity- and A number of applications running within are merely ways to organise the factory
pressure-sensitive keyboard, greater this environment then provide the various sounds. To add to the confusion, I spent
polyphony and internal power supply, synthesizers and other facilities on offer. considerable time looking for the Base
this seems to be the instrument that The sounds that you generate using these Engine’s virtual analogue synthesizer and
the System 8 never quite aspired to be. synthesizers are called Tones and, with discovered that there isn’t one. Instead,
Consequently, I was delighted to be certain limitations that we’ll address shortly, there’s a parameter called OSC Type
offered the chance to review it. you can insert any Tone into any of the within what I had perceived to be its purely
Unfortunately, some of my initial five Parts available. Each Part then adds PCM-based synthesizer. The second of its
enthusiasm evaporated when I tried to a dedicated MFX (multi-effect), and the mix five options is VA and, if you select this,
find out what was going on inside it. The of all five Parts plus four global effects is you have access to nine analogue-style
documentation was of little assistance called a Scene. A final EQ and compressor waveforms. Nevertheless, these oscillators’
ON TEST
ROLAND JUPITER X
outputs still pass through the same filters

and amplifiers as a PCM-based sound. I-Arpeggio
The Base Engine also generates the
Roland claim that I-Arpeggio uses AI to that allow you to tailor the output. Some
Jupiter X’s drum kits, and Part 5 of every analyse your performance and create optimal are simple — tempo, range, gate length
Scene is dedicated to these. There are 91 patterns based upon what you play. Really? and so on — but others such as those that
kits available and you can modify them using Artificial Intelligence in an arpeggiator? If determine how the arpeggio follows the
some basic filter and contour adjustments, so, I had better keep it away from my toaster notes and timing of your performance take
but no fine editing is possible. In truth, this otherwise all hell could break loose. Such longer to grasp. The most recent four loops
nonsense aside, there are two major parameters are continuously recorded within the Jupiter
didn’t bother me; the underlying samples
that determine the nature of an I-Arpeggio. X and you can recall and edit one of these
are available within the Base Engine libraries The first is the Type, and there are 56 of these within a step editor, saving the edited pattern
and you can build sounds based upon them, ranging from simple up/down patterns to more or exporting it to your DAW. You can also
but if you want drum tracks in your music complex phrases. The second is the Rhythm create new patterns from scratch. I doubt that
there are better ways to obtain them. played by Part 5, and there are 45 of these. I’m I would use I-Arpeggio as anything other
The final sound generator in the Base not a fan of the factory Rhythms because they than a conventional arpeggiator. Perhaps
are dominated by four-on-the-floor grooves I’m missing the point, but it seems to me
Engine is a vocoder, which is constrained to
that (for me) got tired in the last century. that there are easier ways to achieve its more
Part 1 and can’t be used with an MFX. It’s Once you have chosen the Type and complex functions. Nonetheless, it’s there if
very simple: plug in a suitable microphone, Rhythm there are numerous other parameters you want it.
adjust the input gain, gate, compression
and any effects applied to the input signal,
select one of two possible carriers, play Rather than allow an MFX to be used, different from it. The answer appears to be
and sing. Its output is clean, intelligible and a Sympathetic/Cabinet Resonance effect that the filters, contours and LFOs of the
very useable. is provided and the chaps at Roland claim XV engine are based upon the XV5080,
that it’s this that restricts the RD Piano to whereas those of the Base Engine synth are
Instrument Specific Part 1. This makes no sense to me, but not. Certainly, the XV factory sounds are
Applications I ended up looking at it like this: you can very similar to those of the original but, since
The rest of the synthesizers offered by the program Tones using the ID:E samples and the parameter map is different, you may
Jupiter X are generated by engines called sympathetic resonance in Part 1 or the same have to find appropriate compromises if you
Instrument Specific Applications. There are samples and an MFX in Parts 2, 3 and 4. want to recreate your own XV5080 sounds
six of these and, in principle, they can run Alternatively, you can insert anything else on the Jupiter X. On a positive note, you can
on any other instruments based upon the from the libraries into an RD Piano Tone in use all of the Jupiter X’s PCMs within the XV
BMC/Zen architecture. Part 1 to take advantage of the sympathetic engine to create what is, in effect, a greatly
When I first heard of the Jupiter X I was resonance effect. But a huge amount of expanded XV5080.
delighted to learn that it was going to host confusion would have been avoided had Now let’s look at the physically modelled
a piano derived from the RD-700GX. But Sympathetic Resonance been programmed engines. These are not based on the ACB
I was later surprised to discover that its as a standard MFX. algorithms used in the System 8 but on
RD Piano engine is based upon nothing Moving on, I was hoping that the XV a less power-hungry technology called ABM
more than 18 samples in the Base Engine’s engine would be based upon a dedicated (analogue behaviour modelling). Roland
ID:E library. What’s more, it shares the XV5080 sample library, but it isn’t, and describe ACB as being ‘ultra-precise’
same parameter map as the Base Engine comparing the original’s waveform list with whereas ABM offers ‘a more holistic and
synthesizer. Consequently, I couldn’t see the Jupiter X’s libraries reveals that its PCMs dynamic recreation’ of vintage synthesizers;
why Roland describes it as an Instrument are scattered throughout them. What’s in other words, the company’s engineers
Specific Application, nor why it should more, the XV engine again shares the same have attempted to obtain similar results
be constrained to Part 1 of a Scene. The parameter map as the Base Engine synth, without modelling in as much detail as
answer appears to lie in its dedicated effect. so there’s nothing to suggest why it’s any before. So... how successful have they been?
Connectivity
The Jupiter X’s rear panel starts with 5-pin outputs are provided on both quarter-inch Bluetooth, and I’m currently listening to music
MIDI In and Out/Thru sockets followed by and balanced XLR sockets, and a quarter-inch transmitted from my Mac to the synth and
quarter-inch inputs for a sustain pedal and stereo headphones socket carries the same then to the PA in my studio. There have been
an expression pedal. The next seven sockets audio. A 3.5mm headphones output at the a handful of audible bumps, but most of the
provide analogue audio I/O, starting with front of the instrument echoes this. To the time it seems to work correctly. It’s a shame that
a 3.5mm stereo input followed by a combined right you’ll find two USB sockets; an ‘A’ it doesn’t transmit Bluetooth audio because that
quarter-inch/XLR microphone socket with its for a memory stick and a ‘B’ for computer would be useful for wireless headphones, but it
associated input level control. Unfortunately, connection. Power is supplied using a standard does transmit Bluetooth MIDI so you can use it
phantom power is not provided, which reduces IEC socket. as a keyboard for suitable applications running
your choice of microphone considerably. Stereo The Jupiter X also receives audio over on mobile phones and tablets.
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ON TEST
ROLAND JUPITER X
The Jupiter Xm
With its three-octave mini-keyboard
and redesigned control panel, the Xm is
a cut-down Jupiter X. Various sources
have claimed that, except for the panel, it’s
identical with its larger sibling and that’s
nearly true; despite a few minor differences
they appear to be the same synthesizer in
different clothes. My first reaction to the Xm
was to wonder why it wasn’t the rackmount
module that its name suggests but, having
played it, I realise that there are many
who will like it just as it is. It packs a huge
amount of functionality into a small and
light instrument and, if you can live with
mini-keys, it can be great fun.
I compared the Jupiter engine in the others leap out when programming; things and this opens up a whole new set of
Jupiter X to my Jupiter 8. Not to put too such as the difference in how cross-mod possibilities for each engine.
fine a point on it, the ABM engine sounds affects DCO2, or the maximum filter At the other end of the philosophical
gorgeous but it’s not quite as accurate resonance, which is far more aggressive on spectrum, the Jupiter X provides two
as the ACB version. However, I’m not the original. Would this bother me if I were functions that make the vintage synth
about to complain about the difference, approaching the Jupiter X without having engines behave badly. The first is ageing
especially since the ABM engine offers programmed a JX10 to within an inch of which, in theory, emulates the deterioration
a maximum of 32-note polyphony, responds its life in the 1980s? No, it wouldn’t; it’s an of the components in analogue synths. The
to velocity and aftertouch, has a slightly excellent synthesizer even if it’s not a perfect second is Warm Up, which offers several
expanded parameter set and has a wider recreation of the original. parameters to make the pitch drift as
range of values for the LFO rate as well Finally there’s the SH engine. Again the internal temperature of the Jupiter X
as the filter cutoff frequency, resonance I made a direct comparison with the increases. Only people who never played
and filter envelope depth, all of which original to assess the transition from ACB in the 1970s would dream of reintroducing
add to the engine’s capabilities without in to ABM. On this occasion I was impressed these problems; we were ecstatic to leave
any way detracting from its Jupiter-i-ness. with the accuracy of ABM. Sure, there them behind nearly 40 years ago, and to
What’s more, despite some significant are small differences, but I could almost reintroduce them here is madness. It would
differences in the layouts of the two synths, always recreate the sounds of the SH101. be like buying a modern superbike with oil
programming the Jupiter X can feel much Furthermore, the additional facilities offered leak, drum brake and excessive vibration
like programming a Jupiter 8, and that’s no by SH take it to places that no SH101 ever options. Insane!
minor accolade. knew existed.
The same is true of the Juno engine. All of the vintage emulations also have
In Use
While the ABM parameter map is more access to a facility that I haven’t mentioned One you’ve inserted a Tone into a Part, you
accurate to the original than the ACB map, yet; a set of three buttons in the filter can choose a single MFX to affect it. The
there are occasions when it doesn’t quite hit section marked R, M and S. Up to this list of these is impressive, with 90 options
the spot. For example, the Junos’ organs point, I had only been using the R mode including emulations of revered units such
(created using the sub-oscillator for the 16’ that provides models of the original Roland as the CE1, SBF325,and SDD320, plus more
drawbar, the oscillator for the 8’ drawbar, filters, whereas the other two options refer from other manufacturers. The Scene then
and the self-oscillating filter for the 5-2/3’ to models of the filters offered on vintage offers four global effects to modify the sum
drawbar) are classic sounds, but the Jupiter Moog and Sequential synths. As you might of all the Parts. Thankfully, the order shown
X doesn’t recreate them perfectly because imagine, changing the filter type can make on the panel is not the order in which they
the filter doesn’t sync to the oscillator in a significant difference to the timbre, are applied. Instead, the output from each
the same way. Furthermore, the MFX Juno
Chorus isn’t quite the same. It can sound
excellent, but it’s not precisely the same. Zenology
Next we come to the JX (JX8P/JX10)
Zenology is a plug-in for the Mac and PC. easily before loading them into the hardware.
engine. My Super-JX10 was my primary Currently, it’s a version of the Zen Core Base You can obtain Zenology without charge if
keyboard for nearly a decade so I liberated Engine synthesizer with very limited editing you sign up for a 30-day trial of the Roland
it from storage, placed it next to the Jupiter capabilities, but Roland are promising that Cloud. If you later decide not to pay the
X and performed a detailed comparison it will soon support all four of the Jupiter X’s monthly fee, you can keep the Zenology Lite
between the two. While it’s still quite close, vintage synth engines. A Pro version with player for free. Ultimately, I can envisage
full editing capabilities is also scheduled for professionals who own Zen Core hardware
I found JX to be the least authentic of the
release later in the year whereupon I can see also paying for Zenology, designing and
Jupiter X’s engines. Some of the differences it becoming the ‘big screen’ for the Jupiter X, swapping sounds between platforms
are functional — for example, there’s only allowing you to program your sounds more as needed.
one sync mode rather than two — while
ON TEST
ROLAND JUPITER X
Part can pass through the overdrive or

direct to the output, and also in parallel to
the chorus, delay and reverb busses. These
three effects are then applied in parallel,
with the exception that the output from the
chorus can be routed through the reverb.
This is not dissimilar to previous effect
architectures from Roland, but it would
be much easier to understand with an
on-screen diagram!
You can assign each Part within a Scene
its own MIDI channel and direct it to two
independent digital audio channels. This
means that, despite the Jupiter X only
offering stereo analogue outputs, you can
use it multitimbrally. It works like this... The
USB port carries both MIDI and audio.
To take advantage of this you have to
download and install the appropriate driver
but, once this is installed, you’ll find that the
Jupiter X appears in your I/O list with four
inputs and 14 outputs; 1+2 carrying the
stereo mix, 3+4, 5+6, 7+8, 9+10 and 11+12
carrying the signals from the five Parts, and
13+14 carrying the raw signals from the
mic or auxiliary input. To test this, I set up
a Scene with a Jupiter engine in Part 1 and
an SH engine in Part 2 with no MFXs on
either Part but lots of Scene effects. Played
through my monitors from the analogue
outputs the sound was the expected swirly,
echo-y and reverb-y mix of the two. I then
created a project within Digital Performer 10-bit control resolution makes the knobs the values of a given parameter in all four
10 and directed channels 3+4 to track and faders feel very smooth, its overly large Partials in the PCM engines. After all, the
1 and channels 5+6 to track 2. When multi-function buttons are used for engine, JV1080 could do this in 1994.
I recorded the Jupiter X I now obtained Part, Scene and effects selection as well as I also have to mention its MIDI
two independent, dry recordings of the two when programming the arpeggiator, and implementation, which is more limited than
Parts, ready for studio effects and mixing. are begging for mistakes to be made. I also you might imagine. The top panel sends
In contrast, the best that you can achieve in have an issue with the screen. Because SysEx rather than MIDI CCs, so the only
the analogue domain (which, let’s face it, is oLEDs are so sharp, manufacturers think that way to be able to edit automation is to
where almost all live performance will occur) they can get away with installing tiny screens create the automation curves elsewhere
is to select Dual mode and send two Parts hosting seemingly endless menus. To be then assign the resulting CCs to the
individually to the left and right outputs. fair, there are several shortcuts to get you Jupiter X’s performance controllers or the
By this point I felt that I had mastered the to where you want to go, but the Jupiter limited number of software controllers,
Jupiter X, but programming it was still not X cries out for a large, clear display rather and then direct these to the desired voice
as simple as it should have been. While its than a minuscule 128 x 64 pixel one. At the parameters. It works, but it’s not sensible
physical control panel is gorgeous and the very least, it should be capable of displaying and I can see it being a deal-breaker for
many prospective users.
Memories However, my biggest problem with
the Jupiter X is that, even when you’re
The number of factory Tones provided is of both. There’s also a small bank of 15 sounds programming a Tone, you’re still in
impressive. There are 116 for the Jupiter called JP-X INI in the printed list but JP-X
Scene mode. This seems to be a growing
engine, 122 for the Juno, 117 for the JX and INT in the menus, and it’s still not clear to
102 for the SH. And, while there are just me where these fit in. Nonetheless, I have paradigm for synthesizer interfaces, but
five RD Tones, all seven factory banks from to question the number of user memories I really don’t like it. If I’m editing a Tone
the XV5080 are recreated, totalling 896 provided; there are only 256 slots for user in one Part I don’t want to be listening to
Tones. The list for the Base Engine is even Tones, which I view as miserly. Similarly, there a Tone in another, or even to multiple Tones
more extensive, with 239 in PR-A, 459 in are only 256 Scenes, arranged as 16 banks of because I’ve pressed the wrong buttons.
PR-B, 128 in PR-C, 1109 in PR-D and 837 16. On delivery, seven of these banks (five in
The other thing to remember is that the
in Common, some of which are based upon the Xm) are filled with overwritable factory
PCMs alone, others upon the VA oscillators Scenes while nine are empty and waiting for Jupiter X uses pots rather than encoders,
alone, and yet others that use a combination your creations. so the values on the control panel probably
don’t reflect the sound that you’re playing.
The Jupiter X measures 1090 x 447 x 119 mm and
weighs in a hefty 16.9kg. emulations of analogue synths sound dry Indeed, revealing a sacrilegious streak that
and lifeless but, if so, I fear that you need might see me burned at the stake, there
This isn’t a problem unless you bump to visit your audiologist or, more likely, your were numerous times during this review
against a knob or fader when playing, psychologist. Does it always sound exactly when I found myself preferring the Jupiter X
whereupon the parameter value might jump like its inspirations? No it doesn’t, and if you to the Jupiter 8, Juno 106, Super-JX10 and
instantly to something you don’t want it to spend your life looking for differences you’ll SH101 sitting alongside it. Add the Jupiter
be. Not a problem in the living room, this find them. But it always sounds excellent X’s PCM-based engines to all of this and
could be a real embarrassment on stage and, for me, its various engines can even be you have a gem.
at Hammersmith Apollo, so a panel lock improvements upon the originals because Nonetheless, I can’t give it a clean bill of
function would be a welcome addition. they offer meaningful enhancements health. I think that the way that Roland has
Unfortunately, there are huge swathes of without damaging the underlying sounds presented the PR-x and Common synths,
Jupiter X parameters and capabilities that and philosophies of the originals. Then the RD Piano and the XV5080 engine is
I haven’t had space to discuss here. These there’s the polyphony; with the VA engines confusing, I don’t like the fact that you’re
include important functions such as how its offering up to 32 voices, you can layer them always working within a Scene, the MIDI
mono, unison, split and dual modes work, to create fabulous soundscapes. And as implementation is not helpful, and the
how to set up the performance controllers, for value, I recently saw a Jupiter 8 sell for documentation is often inadequate. So the
how to tailor velocity and aftertouch, how £16,500... Jupiter X is at best a flawed gem. But then
to adjust the brightnesses and colours of there’s the sound. Come on Roland... sort
the buttons, how the input and output
Conclusions out the shortcomings, and I’ll beat a path to
audio streams are mixed and handled, With its 61-note keyboard, internal power your door.
how to transfer sounds from one Zen Core supply, balanced outputs, and classic
synth to another... and much more. The design, I had preconceived the Jupiter Credit: I would like to extend my thanks
documentation isn’t always helpful, so I’m X as some sort of System 8 Pro, but it’s to Andrew Pimblott at Roland UK who
afraid that you’ll have to discover many of nothing of the sort. While the System 8 and was indefatigable in his efforts to help me
these for yourself. its expansions strive for the most accurate understand the Jupiter X.
But all is (mostly) forgiven when I play recreations of Roland’s vintage synths, the
the Jupiter X; its Base Engine synth is Jupiter X pays homage to them but instead
$$ Jupiter X $2499, Jupiter Xm $1499.
impressive and its vintage emulations are hosts superb new synthesizers that are
WW www.roland.com
even better. You may believe that all digital similar to, but not clones of, the originals.
ON TEST
HEDD Audio I
SAM INGLIS
nnovation in music technology

is usually about incremental
improvement rather than radical
HEDDphone
change. It’s quite unusual to be confronted
with a product that is genuinely the first of
its kind, but the HEDDphone is just that.
Headphones for hi-fi and studio use
have typically employed one of three
transducer technologies. The vast
Air Motion Transformer majority are like dynamic microphones in

reverse, and are based on the principle of
Headphones
electromagnetic induction. A coil of wire
surrounds a permanent magnet: current
passing through the coil causes it to move
relative to the magnet, and a diaphragm
Both technically and sonically, these attached to the coil translates this motion
open-backed headphones represent into sound.
Much less common are electrostatic
a breakthrough in portable monitoring. headphones, which are directly related
to the capacitor microphone. In this case, development to commercialise the Air mobile or bus-powered devices typically
the diaphragm forms part of a variable Motion Transformer. That work has been won’t supply sufficient power to drive
capacitor, and is set into motion through led by Klaus Heinz, first at ADAM Audio the HEDDphones at all loud. To achieve
being alternately attracted to and and now at HEDD, and his distinctive usable levels with unmastered programme
repelled by a charged backplate. rectangular drivers are now a familiar sight material, you will need a mains-powered
Finally, planar magnetic or in studio monitors. When it’s employed in headphone amp with a decent amount
magnetostatic headphones have enjoyed loudspeakers, however, the AMT driver of oomph.
a revival in recent years. As in moving-coil is invariably paired with a conventional Perhaps as a consequence, HEDD
headphones, the motive principle is bass and/or mid-range driver. Its low disdain the humble mini-jack connector.
induction, but the coil is replaced by mass, high efficiency and controlled The supplied cable has mini-XLRs which
wires embedded within a flat (planar) directivity make it an excellent tweeter, attach to the base of each earcup. The
diaphragm, which is suspended within but its natively figure-8 radiation pattern wires emerging from these are covered in
a magnetic field. a semi-rigid braided
What all of these screen, twist together
technologies have “The forensic level of insight they provide after an appropriate
in common is that distance, and
there is a trade-off into the strengths and weaknesses of a vocal terminate in a fixed
between the
surface area of the
sound is pretty remarkable.” quarter-inch jack plug
at the other end.
diaphragm and the As I’ve already
quality of the sound that can be achieved. becomes increasingly hard to manage at mentioned, the earcups to which this
Making the diaphragm larger means low frequencies. cable attaches are very large indeed.
less displacement is required in order All this means that, as far as I know, They are noticeably bigger even than
to generate a given sound pressure the HEDDphones are unique on two those of the Audeze LCD-X and related
level, and this generally means lower fronts. Not only are they the first ever models, and presumably for the same
distortion. But there is a limit to how headphones to use the Air Motion reason: to position the drivers further
large a headphone diaphragm can be Transformer as a transducer, but they’re away from the ear. The HEDDphones are
made whilst retaining structural integrity; also the first device to use a single AMT also heavy, at 718g. Thanks to the deep
and, of course, there’s not much point in driver to cover the entire frequency range. rectangular pads, which are faced with
having a diaphragm much larger than the very soft leather, I found them surprisingly
human ear.
Big & Bold comfortable, and was happy to use
As is often the case with new them for long periods, but they’re not
HEDDs Up technologies, AMT has made its debut the sort of headphones that you forget
Enter the HEDDphones, and a fourth very much at the top of the headphone you’re wearing.
driver technology that — in theory at market. The packaging and presentation
least — eliminates this compromise. Like are appropriately lavish, and removing
HEDD Hunters
a planar magnetic driver, the Air Motion the outer card sleeve reveals a work of The price of entry to the new technology
Transformer is driven by induction, and precision engineering in black cardboard. used in the HEDDphones is therefore high,
has wires embedded in the diaphragm This unfolds to display the HEDDphones both literally and metaphorically. The only
itself. But unlike a planar magnetic or nestling in their padded enclosure like
electrostatic driver, an AMT diaphragm is a hippo in a particularly comfy watering
not flat. Instead, it’s pleated into a bellows hole. What it doesn’t do, though, is form
HEDD Audio
shape, and moves perpendicular to the any sort of carrying case; the hard Pelican HEDDphone $1899
direction of sound radiation. In other cases you get with high-end Audeze pros
words, electrodynamic force moves the phones are not as stylish, but a lot more • They sound great, in a way that’s actually
folded material up and down rather than practical if you need to transport them. useful for mixing and mastering.
in and out; this motion then forces air into Not that this will be a major issue for • Something of a technological
or out of the folds to either side. most HEDDphone buyers, because this breakthrough.
• Despite their size and weight, they are
The big plus point of this design, isn’t a pair of headphones you’d take actually quite comfortable.
on paper, is that it packs a whole lot with you on the road. They are not only
more diaphragm into a smaller space. expensive, but also huge — so much cons
Folding the diaphragm allows its effective so that my teenage son broke down in • Expensive.
• Very large and heavy.
surface area to be much larger than the gales of laughter the first time he saw me
• Require a powerful headphone amp.
dimensions of the AMT unit housing it, so wearing them. Being open-backed, they
even though the individual displacement radiate as much sound outwards as they summary
at any point along the diaphragm is tiny, do towards your ears. And although their The HEDDphones aren’t cheap, but they
the unit as a whole can shift a lot of air. nominal impedance of 42Ω is comparable have real value as a high-end monitoring
tool in the studio. If you’re in the market for
Theoretical advantages often fall to that of many moving-coil designs, the
a state-of-the-art pair of headphones for
foul of practical obstacles, though, and HEDDphones are quite a bit less efficient mixing or mastering applications, you need
following its invention by Oskar Heil, it than most, generating only 87dB SPL for to hear these.
has taken many years of research and 1mW power dissipation. This means that
ON TEST
HEDD AUDIO HEDDPHONE
way they could justify that price would be

to sound spectacularly good — and, to cut
straight to the point, they do.
The experience of auditioning music on
HEDDphones reminded me of some of the
shootouts I’ve done in mastering studios,
where the monitoring is simultaneously
revealing and forgiving. That might sound
an odd comment, but it contrasts with
a monitor system such as NS10s, which
reveal anomalies by sounding horrible. If
your mix has too much bass, or a honky
mid-range, or problematic sibilance, or
unwanted distortion, the HEDDphones
will also make that clear — but they won’t
do so by exaggerating the problem, or
making your music unlistenable. Which,
obviously, is a good thing, since you’re
going to need to do a lot more listening
to fix whatever the problem was in the
first place.
Unlike most headphones, moreover,
the HEDDphones are revealing not
only of frequency balance but of level
and dynamics issues. In my experience,
this can be very hard to get right on
headphones, and I’ve sometimes spent
hours honing what I thought was a finely
crafted balance, only to put it up on
speakers and find that it’s completely out
of whack. The HEDDphones are a much
more trustworthy tool in this respect,
making it far easier to form reliable
judgements about, say, the level of the
This diagram shows the construction of the HEDDphones’ Air Motion Transformer driver.
lead vocal in relation to the rest of the
track, or the amount of compression to treble has a different character from you could actually buy a very decent
apply to the drum bus. typical moving-coil phones. It’s possible loudspeaker-based monitoring
I suspect it’s no coincidence that I’ve to overlook issues that can become system, and for many people, the
only ever encountered this speaker-like problematic on consumer systems idea of spending this much on a pair
characteristic on headphones with this because the planar designs don’t have the of headphones will never be realistic.
sort of large earcup design that positions same weaknesses that can be triggered, But in a world where more music is
the drivers further from the ears. Like especially at the top end. now consumed on headphones, there
the high-end Audeze models, the If there are any such issues with the is an argument for taking headphone
HEDDphones make lesser headphones HEDDphones, I didn’t encounter them. monitoring as seriously as loudspeaker
sound strangely compressed and There’s neither too little nor too much listening. That’s especially the case for
two-dimensional. In comparison with top end here, while the bass is deep, mastering engineers, who are the final
something like the Audeze LCD-X, the clear and very even. HEDD don’t offer gatekeepers standing between our
HEDDphones perhaps don’t deliver any specifications for distortion, but the music and the Beats By Dre-equipped
the same ‘thump’ on rock drums, but impression is of a very clean monitoring masses. Not everyone is willing or able to
their presentation of things like hi-hats, system, which allows the listener to make this sort of investment, but if you
tambourines and other hand percussion discern very clearly any non-linearities in do, I think you’ll notice the difference
is remarkable. the source material. In fact, the biggest between HEDDphones and more
praise I can give them is to say that they affordable cans, and that this difference
HEDD Of The Pack don’t seem to have ‘a sound’, and I can’t makes them a more valuable tool for
One concern with new technologies really imagine feeling the need to correct mixing and mastering.
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ON TEST
Spitfire
Audio
Albion
Neo
Sample Library
Spitfire’s latest Albion library heads north in that constitute the heart of this library.
That would be a mistake: the strings’
search of new scoring directions. simple long‑note patches are captivating,
beautifully played, expressive and dynamic,
DAVE STEWART consisting of strings, woodwind and brass, with a sweet upper register and a sombre,
as well as loops, hybrid synths and evolving sonorous low range. Transitions between
O
ut with the old, in with the orchestral textures. The big, crashing instrument registers, often a stumbling
Neo. The latest addition to ‘cinematic percussion’ found in other Albion block in sampled full string sections, are
Spitfire’s popular Albion range titles is absent, but by way of compensation expertly handled, so you can move freely
pursues a fresh direction in film scoring there’s a pristinely recorded harmonium. up and down the entire range without
spearheaded by a new breed of composers (One small keyboard, no big drums — is this hearing any obvious jumps in timbre.
who ply their trade in European capitals the new austerity?) Neo (59.4GB installed) Legato performances are divided
rather than Hollywood. This band of requires Kontakt 5.6.8 or higher and into high- and low-range patches, both
musical thinkers avoid blockbuster clichés includes a free copy of Kontakt Player. of which sound fine and are eminently
by working with smaller instrumental playable for stately melodic themes
groups, exploring new, subtle playing
Neo Strings and expressive bass lines — being able
techniques and incorporating electronic Neo’s strings are split into two ‘divisi’ to crossfade between no-vibrato and
sound design elements. The results sections of a dozen or so players with an vibrato samples of these long notes
amount to a quiet revolution in music overall head count of 23. Though each is a great asset. Other standard artics
scoring, where Wagnerian bombast and section contains first and second violins, such as spiccato, tremolo, and pizzicato
conservatoire training are replaced by violas, cellos and basses, instruments are are of a uniformly good standard, and
subtlety and sonic smarts. not presented individually: they’re melded I particularly liked the lovely, tender sul
In celebration of this creative arising, together into a single playable unit, tasto (a Spitfire trademark) and flautando
Spitfire Audio have released Albion Neo, mapped according to range over the full bowings. When combined, these lush,
the latest in a series of themed orchestral strings C1-C7 playing range. In addition, breathy textures work a treat for soft pads.
libraries stretching back to 2011 (see the there are separate low strings patches in Moving off the beaten track, I enjoyed
‘Albion Endures’ box). The library is an which cellos and basses play in octaves. This the gentle oceanic ebb and flow of the
all-new sample collection which, while classic style sounds great, and I was pleased strings ‘long pulses’, and loved the ‘5th
drawing inspiration from previous Albion to see it presented as an optional extra Bend Up’ patches, in which the players
titles, doesn’t duplicate any of their content. rather than baked into the main patches. perform a strong, tightly played slide up to
Recorded via a two-inch tape path in the Amidst all the talk of experimental a sustained target note from a fifth below.
reverberant acoustic of Air Studio’s hall, the techniques, electronic textures and A ‘bend down’ version is also included,
new library (henceforth referred to simply hybrid synths, you might overlook the which you can layer with the first style to
as Neo) contains a chamber orchestra bread-and-butter string articulations produce a delightfully crazy effect.
Albion Neo’s Overview panel houses the
‘Seagulls’ also caught my ear: in
articulation switcher, expression controls and
this patch, a few violins perform quiet, the ‘Easy Mix’ microphone mixer.
high-pitched, descending harmonic
glissandos which mimic the distinctive flutes and alto sax operate in the higher
cry of the seabird (a sound guaranteed register. The substitution of saxes for
to evoke nostalgia in us British island oboes and bassoons creates an attractive
dwellers) while the rest of the section breathy sound which is softer-toned than
holds straight unison notes. I was less conventional orchestral woodwinds.
keen on the ‘slow detune’ artic — call The lower-pitched instruments also
me an old fuddy-duddy, but to my have a beautiful, velvety, peaceful and
mind it spoils what would otherwise solemn atmosphere.
be a beautiful sustain texture by This characterful section excels at
introducing tuning discrepancies too unusual-sounding, full-range legato
small to be truly scary. lead lines and chord beds. The quiet
Given their modest proportions,
I was surprised by how big and lush
these chamber strings can sound: Spitfire Audio Albion
though essentially intimate and Neo $449
clearly defined, they can be layered pros
to produce a convincing symphonic • As ever with Spitfire Audio’s orchestral
effect. Alternatively, since the two titles, this collection features the cream
sections perform more or less identical of London’s session players recorded
articulations, you can use them for in a superb hall acoustic from multiple
mic positions.
traditional divisi writing, or combine
• A top-class chamber orchestra features
their different playing styles into your divisi strings and an unusual woodwinds
own creative combinations such as the and brass instrumentation.
fabulous pizzicato/spiccato layering • Also contains a huge menu of hybrid
demonstrated in Paul Thomson’s video synths, evolving orchestral textures,
warped sounds and loops. Oh, and
walkthrough. a harmonium.
Neo Woodwinds cons
The library breaks with tradition by • The eDNA interface used for the synth
textures takes some getting used to.
including saxophones in its woodwinds,
• Many of the Brunel Loops percussion
prompting one forum member to stems have a baked-in sustained pitched
enthuse, “I REALLY hope that it’s jazz element which limits composers’
influenced.” Sadly, his hopes were dashed harmonic choices.
by Spitfire’s Christian Henson explaining
summary
that his personal sax inspiration stems
Inspired by new directions in media music
more from Michael Nyman and Philip scoring, Albion Neo adds fresh colours
Glass, neither of whom is known for his to the modern composer’s palette (NB.
hot jazz credentials. palette not included). Its non-traditional,
As with the strings, the woodwinds are chamber-sized orchestra turns in some
superb performances, and its vast
blended by range into a single section: collection of hybrid synth and evolving
bass saxophone, baritone sax and bass orchestral textures is the icing on the cake.
clarinet take care of the low range, while
ON TEST
SPITFIRE AUDIO ALBION NEO
Microphone Positions
Having apparently tried to break the world
record for multiple mic positions in their
BBC Symphony Orchestra library, Spitfire
revert to a more familiar scaled-down
approach in Albion Neo. The company’s
traditional close, Decca Tree, ambient and
outriggers mic positions are augmented
here by an alternative close ribbon miking,
providing a varied set of perspectives which
should keep most users happy. In addition
to the five mic positions are two full-bodied
stereo mixes created by Jake Jackson.
If you look closely at the walkthrough
video of the Neo orchestra strings, you’ll
see Paul Thomson using a blend of three
mic positions: close ribbon (50 percent),
Decca Tree (83 percent) and outriggers
(100 percent). Thomson explains that in
film scoring sessions it’s common practice
to augment the Decca Tree with the
wider-spaced outriggers, which creates
a nice sonic halo around the instruments. If
you want a more distant effect you can add
the ambient mics, which make the most of
Air Studios’ fabulous natural hall reverb.
mellow-toned flugelhorns play an octave

above the rest of the section, a classic and
effective timbre for lead lines. The brass
legatos also sound great for slow and
Resembling the control panel of the Alien medium-paced melodies, but, possibly due
colonisation ship Covenant, the eDNA interface ‘long pulses’ patch, where one player gets to the slowish release time (which can’t be
contains two sound bays, a gate sequencer, a bit carried away), the ensemble makes readily adjusted) and abundance of hall
‘wobble’ controls for pitch, volume and filter,
a fat, warm, pleasant sound reminiscent reverb, fast trills don’t work very well.
a simple arpeggiator and an automated Oscillate
Mixer which allows you to merge, layer, crossfade
of a brass band, a far cry from the steely The inclusion of a harmonium here is
and oscillate between the two sounds. triumphal blast of orchestral trumpets. a welcome surprise. Carefully sampled in
Though their ‘hollow’ performances the large hall, it has two very nice presets:
dynamic of the ‘long pulses’ patches works are less convincing than the woodwinds’ the second is a little softer than the first,
well for the latter, as does the delicate, version and their detuned patch sounds more muted and melancholy-sounding with
airy, somewhat disembodied ‘hollow’ style, more like the Portsmouth Sinfonia than an extended upper register. A combination
with a bass register consisting almost the ‘CS80-type sound’ claimed by the of the close and outrigger mics sounds
entirely of breath sound. makers, the brass players’ subtle swells great on this instrument.
If you need something more lively, patch would make a fine chord bed for
the woodwinds’ excellent staccatissimos a jazzy noir film score. I also enjoyed the
Segla Textures
(incorporating a pleasantly honky low-end steady, emphatic marcato short notes and Named after the mountain range in
combo of baritone sax and bass clarinet) well-played staccatissimos, both of which northern Norway, the Segla Textures
drive the rhythm along nicely, while their sound best from the close-mic position. section of the library contains a large
short marcato notes sound effective Being the proud owner of both libraries, collection of evolving orchestral textures
when used as the final emphatic chord I’m happy to confirm that these brass presented in a synth format. Though
of a passage. For horror soundtracks, the samples are not the same as in Albion Spitfire’s eDNA interface appears insanely
spooky detuned performances’ steady 2 Loegria, as implied by one suspicious complex at first glance, it’s based on
fluctuation between in-tune and out- commentator. As mentioned earlier, this a simple principle: load a preset into each
of-tune long notes generates a queasy, is an all-new collection: the mistaken of its two sound bays, and use the built-in
unsettling mood which would be difficult to comparison with Loegria arose because Oscillate Mixer to merge, layer, crossfade
emulate with conventional samples. Spitfire made a teaser announcement and oscillate between the two sounds.
referring to the new library as ‘Albion ***’, Versatile and ear-catching, the 84
Neo Brass & Harmonium which some interpreted as ‘Albion Two’. Segla presets can easily be adapted and
In another unconventional move, Neo’s In the ensuing speculation, some camp saved as user patches. Unconventional
brass section brings together flugelhorns, followers put two and two together and and mobile-sounding pads abound: the
French horns and euphoniums, with a solo made five. psychedelic ‘Shape Stretching’ starts out
bass trombone adding low-end oomph. Returning to solid factual ground, the with a strings fifth slide and then magically
Played without vibrato (except in the brass has its own octaves patch in which shape-shifts between transcendental winds
A 1:1 code port of
the EQ with no equal.
There’s a reason Weiss Engineering’s EQ1 has been at the top of the heap since
its release in 1996. The EQ1’s dazzling sonic qualities combined with its flexibility
have made it the must-have digital mastering equalizer.
The Weiss EQ1 plug-in crystallizes that legacy—in software form. A line-by-line
code port of the original, the EQ1 plug-in is the latest addition to Softube’s
successful partnership with Weiss Engineering, proving that Swiss and Swedish
engineering make a stellar pair.
ON TEST
Albion Endures
Spitfire’s best-selling Albion range has
spawned seven titles to date, five of which
are still in print (so to speak). Albion
Volume 1 and Albion 2 Loegria, reviewed
in SOS in October 2011 and February 2013
respectively, have now been discontinued:
the first was superseded by the confusingly
named Albion One (see SOS June 2016),
while Spitfire retired the second because “it
is no longer in line with the quality of our
other products”. Personally I had no qualms
about its sound quality, but the somewhat
eccentric instrumentation (sackbuts,
anyone?) did give me pause for thought!
Still available are Albion III Iceni
(oversized low-end sections), the
aleatoric, atonal Albion IV Uist and
Albion V Tundra, described as ‘capturing
a characteristically Scandinavian sound
at the edge of silence’. Following those
releases, Albion One pushed the boat out
with a gargantuan 109-piece orchestra,
including a thunderous percussion section.
The journey north continues with the
Scandi-inflected Albion Neo, which
focuses on the more subtle and intimate
areas of orchestral scoring. For this
project Spitfire employed a chamber-sized
orchestra and supplemented it with
a collection of rhythm loops, analogue
synth treatments and hybrid orchestral
The Motor FX page of the eDNA interface allows you to assign LFO modulation to the effects. textures, thus maintaining the format of all
Albion libraries issued since 2011.
and a heavenly organ, while the modestly engine. Various treatments, including
named ‘Best Ever Woods Pad’ continually Mr Henson’s modular rig, effects pedals Though fairly primitive, eDNA’s
crossfades between the woodwinds’ and vintage tape machines, were used to arpeggiator livens up some presets,
‘pulsing accents’ and ‘hollow’ patches, create these messed-up, mangled, warped, and while the interface’s effects section
creating a splendidly sumptuous pad which glitchy sounds. seems unnecessarily complicated, I found
is a dream to improvise over. In addition, Somewhat arbitrarily divided into it worthwhile to simplify some pads by
there’s a nice selection of rhythmic patches ‘electronic’ and ‘neoclassical’ categories, turning off the Oscillate Mixer and/or
created by the eDNA Gate Sequencer. this large collection’s complex, abstract unticking the ‘clone’ box, often used by
In a more disconcerting vein is the sci-fi soundscapes, evolving mobile the makers to add an extra upper or lower
haunting, wheezy and disembodied ‘Almost pads, synth basses, ominous drones and octave to the synth tone.
Nothing Strings’, in which the experimental shuddering pulses emphasise we’re not
‘col legno tratto’ bowing style forms an in traditional orchestral territory. Good
Brunel Loops
uncanny pulsating backwash to straight examples are ‘Golden Pad’, a lo-fi square Rather than reaching for your favourite
long notes. Other highlights include the wave pad accompanied by cosmic noise collection of funky breakbeats, you
fantastically scary ‘Bombers’, a low drone waves, and ‘Holmberg II’, a serene can add rhythm to Neo’s instrumental
sounding like a fleet of gigantic alien harmonium-based texture which undergoes Alternatives
spacecraft, and ‘Frozen Lake’, the sound amazing timbral contortions. As Spitfire invented the Albion template, one
of the frozen tundra crystallised into music: More extreme treatments include could reasonably consider other titles in the
engage the pitch wheel and you’ll hear ‘Theectovoice’, which sounds like series: the closest to Albion Neo is Albion
V Tundra, which introduced Neo’s general
a recording of a ghostly radio orchestra a malfunctioning Mellotron, and
musical direction and principles with a much
transmitting from a 1930s time capsule ‘Smoking Wires’, a distorted racket which larger orchestra. Though released a good
— or at least that’s how it sounds to me! disintegrates into glitchy fragments before few years ago, Project SAM’s Symphobia’s
finally spluttering out altogether (not blended sections and large menu of wild
Stephenson’s Steam Band recommended as a lead line instrument
orchestral effects and textures still have
currency. Alternatively, if you’re prepared to
Continuing a thread started in the original for a children’s TV cartoon theme). More forgo the sound design elements, you might
Albion, this section takes samples of the sensitive listeners may wish to skip ‘Black take a look at Orchestral Tools Metropolis
Neo orchestra and Christian Henson’s Eye’, a sci-fi version of the strings ‘seagulls’ Ark 4, which boasts small string sections
and some unorthodox woodwind, brass
vintage and modular synth collection and patch in which the birds sound more like
and mixed winds ensembles along with its
transmutes them into hybrid synth pads the carnivorous flying bioraptor creatures percussion and choirs.
and textures, again presented in the eDNA from the Pitch Black movie.
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ON TEST
Albion Neo’s ‘Section B’ string players, one half

of the library’s divisi chamber strings ensemble. the rhythm parts have a baked-in, sustained ‘Punch Cog’ feature been included it
pitched element which limits the harmonic would be easy enough for users to deal
textures by dipping into its Brunel Loops. choice of what you can add to them. This is with the offending samples, but as things
Performed by Spitfire’s musical staff not ideal for composers, and seems to go stand I couldn’t find a way of doing it.
members, the loops are presented as against the grain of an otherwise flexible
full mixes and also broken down into loops collection.
Conclusion
tempo-sync’ed, chromatically mapped Watching the amusingly bad 1966 horror
percussion, guitar, high synth, low synth
General Comments film Island Of Terror on TV the other day
and ‘organic’ stems, the latter consisting Neo’s orchestral sections are presented in made me reflect on how far soundtracks
of a wafty, reverberant sustained texture a choice of a single patch containing most have progressed in the last 50 years.
or chordal pad. articulations (selectable via keyswitches, MIDI Today’s film composers no longer routinely
Patches I liked include try to scare their audiences
‘Drifting’ (an atmospheric, with discordant brass
clean, echoey octave “Small is the new big, and subtlety is blasts and jarring atonal
guitar phrase played over harmonies; in many
a gently pulsating sus the name of the game, with expression contemporary dramas
4-type chord), ‘Fields’ achieved by stealth and guile.” the music score suggests
(a pastoral, euphoric rather than states, allowing
and uplifting major-key viewers time to absorb
mood) and the minimal, ethnic-flavoured control changes, etc) or separate patches and consider rather than immediately
‘Suspended in Space’ light percussion dedicated to each playing style. Judging telling them how to feel.
groove. My Best in Show award goes to by the screencasts one sees nowadays, it There are plenty of libraries on the
‘Nighthawks’, a terrific, original-sounding, seems that most composers prefer the latter market which cater for bombastic and epic
menacing reggae-ish groove featuring approach. In any case, all patches exhibit the approaches to film, TV and game scoring.
a cool single-note rhythm guitar part, an programming skill you’d expect from this Spitfire Audio’s Albion Neo achieves its
ethnic frame drum of some sort and hip experienced company, and the masterful objectives by other means; small is the new
synth offbeats. I was less keen on the naive range blending in all the sections is a credit big, and subtlety is the name of the game,
minor-key synth arpeggios found in other to orchestrator Ben Foskett. with expression achieved by stealth and
loops, though they do have a certain charm The only small fly in this huge jar of guile. This seems like a good way forward,
when played backwards via the handy ointment is the dodgy tuning of a few and I anticipate more libraries in a similar
‘direction’ slider. samples, such as the woodwind longs’ E5 vein from this innovative company.
While these idiosyncratic, tastefully and brass longs’ Ab4 loud notes. While
designed loops contain some interesting these will probably trouble only tuning
$$ $449
material, I was disappointed that rather martinets like myself, I hope Spitfire will
WW www.spitfireaudio.com
than being presented in isolation, many of fix them in an update. Had the ingenious
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ON TEST
Silo SoundLabs
Vintage Series
Trident Audio Equaliser Plug-ins
How close do these modelling plug-ins sound to the real thing?
SAM INGLIS CB9066 rackmounting parametric EQ. range, but the only intermediate marks
Both are available in all the major native are at 6.5 and 10.5 kHz, and it’s not clear
S
ilo SoundLabs are a new plug-in formats on Mac OS and Windows, and are whether it has the same uneven taper.
company with a new technology. authorised to an iLok account. In a sense this doesn’t matter, because
SiloDNA is a novel way of Launched in 1980, Trident Audio’s all the controls are continuous rather
recreating the behaviour of hardware Series 80 consoles built on the reputation than switched. But, as luck would have
processors, and is claimed to offer not they had forged with the original A and it, we happen to have an 80B 500-series
only extremely accurate modelling, but B Range desks. The channel EQ was module at the studio where I work. It
also far lower CPU overheads than existing arguably the star of the show in the proved surprisingly difficult to match the
alternatives. Their launch offerings recreate Series 80, hence its availability today as sound, and I can’t say how much of that
two hardware units from celebrated mixer a 500-series module. The rackmounting is down to the variant legending and
manufacturers Trident Audio: the current CB9066 is perhaps less well known: dating how much to intrinsic differences. My
80B 500-series EQ, and the vintage from 1974, it was the first Trident product general impression was that the high end
designed by John Oram. For its time, it was actually slightly nicer on the plug-in,
was extremely well specified, offering three
Silo SoundLabs fully parametric EQ bands plus versatile
Vintage Series high- and low-pass filters. Audio Examples
I compared the Silo SoundLabs Trident
pros Test Drive 80B 500-series plug-in with the real thing
• They sound good, if not completely
identical to the hardware. Neither a single-width 500-series module on these excerpts from a multitrack sent
• They don’t burden your CPU. nor a 1U rackmounting unit really lends to me by SOS reader Jimmy Kostelidis.
• Attractive GUIs. In each case, I auditioned the dry sound
itself to slavish recreation in a plug-in GUI
in isolation, adjusted the controls on the
cons so, sensibly, Silo have rearranged the front hardware to a setting that I thought worked,
• The legending is not consistent with panels in a logical way that preserves the and then tried to recreate that setting on the
the hardware. general look and feel. Oddly, though, plug-in. They were then level-matched. As
they’ve chosen completely different mentioned in the main text, the process of
summary matching them was made harder by the fact
legending schemes. On the original
Refreshingly light on CPU resources, these that the legending on the plug-in dials is
CB9066, for instance, the high band covers
new modelling plug-ins sound good, and different from that on the hardware.
could be used to deliver Trident-like EQ on 3.5-14 kHz, with 4, 5, 6, 8, 10 and 12 all https://sosm.ag/
every track in a large mix. marked off at irregular intervals. On the silo-sound-labs-vintage-series
plug-in version, this control spans the same
while the hardware offered more ‘bite’ bands cover a huge range and can be are astonishingly CPU-efficient. Even on
and authority in the mid-range. At the narrowly focused, expansively broad or my very modest MacBook Air, I could
bottom end, the combination of 50Hz anything in-between. The filters not only happily contemplate using either as
HPF and -15dB of low shelf that almost have fully variable frequency settings but channel EQ on every track in a huge mix.
completely took out a vocal plosive on fully variable slopes, which must have been In terms of system resources, they’re
the hardware was noticeably less effective highly unusual in 1974, and is still quite more comparable with the basic EQs that
on the software version. In most cases, impressive today. Having said that, if I had come with a DAW than with any vintage
though, the differences were small, and to choose only one of these plug-ins, it’d emulation I know of — which means
the plug-in definitely shares the distinctive, be the 80B. It’s not parametric and has you can treat Silo’s Trident equalisers as
and very usable, character of the original. fewer bands, but there’s just something a virtual console, rather than as special
You can find a few audio examples from intrinsically ‘right’ about the setup, and it’s processors that have to be rationed for use
these comparisons at https://sosm.ag/ quite a bit cheaper. only on key tracks.
silo-sound-labs-vintage-series.
I’ve never had the pleasure of using an
The Light Fantastic?
$$ 80B $89.99; CB9066 $149.99
original CB9066, but the plug-in version has What impressed me most about both
WW https://silosoundlabs.com
a lot to commend it. The three parametric plug-ins, though, was that they really
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ON TEST
Toontrack EZbass
Virtual Bass Instrument toolkit to add all the performance
nuances you want, the workflow is
Toontrack’s virtual bass player should have its slick; creating a complete, thoroughly
professional-sounding and very musical
human counterparts very worried indeed. bass performance can be done quickly.
All in, this list of top-level features sounds
JOHN WALDEN vintage and modern electric bass tones. very tempting.
Finger and pick playing styles are
T
oontrack have defined the covered, as are a comprehensive range of
Superior Looks
cutting edge in terms of ‘virtual performance articulations. EZbass’s UI shares much with SD3. The
musicians’ with Superior Drummer Alongside the sample library is a large top strip contains the usual array of main
3, EZdrummer 2 and EZkeys. They caused MIDI groove library covering a range of menu options, but also includes five tabs
a considerable buzz in early 2019 when musical genres, a Song Track system where — Bass, Grooves, Grid Editor, Drums &
they announced that EZbass was going to — like EZkeys — you can assemble a full Keys and Audio Tracker — that toggle the
be the next in their virtual session musician chord sequence with multiple song parts. display between the major elements of
line. The proposed feature list looked The UI allows you to fine-tune all sorts of the feature set. The top-right of this strip
impressive and, like the other EZ titles, it aspects of the performance either for the is also where you select and manage your
promised a combination of a high-quality whole song structure or just for selected sound presets. As with SD3, you first select
sample-based virtual instrument with sections. You can also dig right into the a sound library (Vintage or Modern in the
a virtual player. The product has been MIDI data itself with a very well-specified core EZbass library) and then a preset from
eagerly awaited and is finally now with us. Grid Editor MIDI editing environment. that sound library. The lower third of the
So, what’s the low-down on Toontrack’s new Also included are the options for dragging display contains the Song Track. This offers
source of low end? Let’s find out... both MIDI and audio into EZbass, and a three-lane timeline display that shows
a range of tools to then create bass grooves song sections, chord sequences and bass
EZ CV from those sources. As with SD3, there grooves, but there is also an impressive
EZbass is presented in a slick, modern, is a ‘Tap2Find’ feature, allowing you to selection of tools for customising aspects of
SD3-style UI. Sonically, the foundation manually tap a rhythm and let EZbass search the performance.
is a high-quality core sample set, built its groove database for the best matches. As well as a modern look, the UI is also
from two instruments, and covering Finally, while you have a comprehensive flexible. You get comprehensive re-sizing
The Effects panel offers a preset-specific set of
macro controls to further customise the bass sound. The Bass tab’s
Effects button (located
options and, if you want EZbass to fill top-right) pops
your display, that’s perfectly possible. open a number of
Equally, if you have the necessary screen macro-style controls
real estate, you can also separate out the specific to each
five main tabs and float them as individual preset, and that allow
windows. In use, I certainly found floating you to adjust the
the Grid Editor — EZbass’s MIDI editor, sound further from
with dedicated features specific to the within EZbass itself.
instrument — to be very useful while still These are intuitive
seeing my groove options and Song Track and flexible in use,
overview in the main window. but don’t force the
user to go full-on into
Touching Bass detailed amp, cap and
EZbass ships with two core sample libraries: stompbox editing.
Vintage and Modern. Both offer five-string MIDI Learn is available
basses, and both include a range of finger for real-time control
and pick played preset options. Sonically, and automation of
Vintage provides a warm, smooth, tone, these parameters. EZbass offers plenty of articulation options and,
while Modern seems to offer both extended The Effects panel includes a Sub-bass while these are already embedded in many of the
grooves, you can fully edit how they are applied
low-end and a nice dollop of bite in the control if you want to dial in even more
within the Grid Editor.
upper registers. The DI presets for both low-frequency beef and this is impressively
libraries — in both finger and pick variations weighty. Multiple outputs are supported window and the content is sensibly
— are excellent, so you could easily add and, if activated, you can route the DI sound organised into genre-based folders, with
your own amp modelling of choice should (outputs 1/2), amped sound (outputs 3/4) nested sub-folders based upon feel and
you wish. However, other presets span and sub-bass sound (outputs 5/6) separately time‑signature, and finally into tempo-based
a range of processed treatments, covering to your DAW for further processing. ‘songs’, each with multiple song sections
different amplified approaches, different Incidentally, there is also a Tuning button if such as intros, verse, pre-chorus, chorus
levels of overdrive or distortion and different you need to fine-tune how the instrument and bridge. Once you start browsing, each
combinations of effects. One obvious gap is is pitched. groove listed in the results panel includes
a fretless bass, although the Modern library On first audition, both the Vintage a mini graphic that gives an indication of the
does offer the ‘Fretless Feeling’ preset which and Modern instruments impress with rhythmic nature of the groove, the number
has a fretless character to it. plenty of detailed dynamics sampling that of notes and the pitch variation, and this is
responds to MIDI velocity. Play softly and very helpful in identifying the kind of groove
the tone can be muted and mellow but you are looking for.
Toontrack EZbass $179 play harder and things can get both louder While auditioning, the Velocity slider
pros and more aggressive; the response is very (located top-left) allows you to change how
• Both Modern and Vintage basses realistic. There is also an impressive array forcefully the groove is played and, when
sound fabulous. of articulation options for all the pops, you drag and drop the groove (either to the
• Excellent workflow. slaps, slides, ghost notes and harmonics Song Track or to your DAW), this velocity
• High-quality, realistic vbass parts are easy
to create.
you might need to make a sample-based scaling is retained. This feature (which
• Incredible value for money. performance sound indistinguishable from is also found in SD3’s groove browser)
the real thing. If you choose to use EZbass is an example of the kinds of detailed
cons purely as a sample-based sound source controls available throughout EZbass and
• Chord sequence entry can be a bit — ignoring all the performance options that make it so easy to humanise your
labour‑intensive.
• Limited fretless options in the core library. — it’s more than up to the task. final performance.
• Absolutely nothing else. The Tap2Find and MIDI Drop Zone
Grab A Groove features also work as in SD3. With Tap2Find,
summary EZbass includes an extensive catalogue you can tap in (and edit) a rhythm and
Toontrack have created a virtual bass player
of 1000+ MIDI grooves that span a range then search the EZbass groove catalogue
that is on a par with their ground-breaking
SD3 virtual drummer. EZbass is ‘superior’ in of musical styles, feels (straight and to find the best matches. Alternatively,
almost every way. swung), tempo and time-signatures. you might drop a MIDI clip (for example,
These can be browsed within the Grooves a drum pattern) from your DAW onto the
ON TEST
TOONTRACK EZBASS
The Song Track provides a powerful environment within which to build your EZbass performance, with
its Edit Play Style options making it easy to add performance variations. makes it easy to experiment with different
grooves as you build a full performance.
Drop Zone and the same groove-matching with something more bass-friendly. This
process can be based upon that source. doesn’t currently include all the chord
Being Human
In either case, the results panel shows extensions but, in my own testing at least, These top-level editing features of the Song
you a list of the suggested grooves and it did a pretty good job with major and Track are impressive enough, but it’s the
indicates the level of ‘match’. minor chord roots and any lowest note additional, more detailed, editing tools that
The only limitation to the search process inversions. Incidentally, dragging and really emphasise just how well thought out
is the library of grooves themselves. These dropping from EZbass to EZkeys is possible, and powerful EZbass is from the ‘virtual
certainly cover an impressive amount of but I would guess that this cross-instrument performer’ perspective. There are three key
musical ground but, as with EZdrummer/ communication might well be something elements to this: the Transition options, the
SD3 and EZkeys, I can only imagine that that Toontrack will aim to enhance in Play Style controls and the Grid Editor.
Toontrack will soon be tempting users with subsequent updates to all of the SD/EZ line. The Transition options are available
style/genre-based MIDI groove expansions The bottom lane of the Song Track is top-centre of the Song Track panel. When
to extend this core groove library. where your EZbass grooves are placed. applied, EZbass adds passing notes to
help the chord changes flow. There is an
On Song excellent range of transition styles, from
While the grooves allow you to find short to long and including swung, triplets
something that provides a rhythmic fit to and slides. What’s more, transitions can be
your project, the Song Track enables your applied as a single operation to whatever
bass line to follow the harmonic (chord events you have selected within the Song
sequence) structure. The top-most lane Track, be that a single chord, a whole
within the Song Track allows you to define song section, or multiple song sections.
song sections (verse, chorus, etc). The It’s a brilliant feature and instantly adds
middle lane is where your chord sequences additional character to the performance.
are entered. There is a comprehensive You can add further ‘human’ via the
toolset available for adding chord slots, Edit Play Style panel. Once opened, you
adjusting their length and for copy/paste can adjust the octave, velocity (velocity is
operations. Once you select a chord scaled), the amount of notes (more or less),
box within the lane, double-clicking While entering chord sequences is, inevitably, damping (degree of finger/palm muting)
opens a chord wheel (similar to that something of a repetitive process, EZbass’s and length (MIDI note lengths are adjusted).
found in EZkeys, but without the more toolset does its best to ease the process. Again, all these controls can be applied
complex chord voicings) to define each to whatever level of Song Track content is
chord, with major, minor and bass note When you drag from the Groove tab, you currently selected. As a means of adding
inversions supported. get two options upon dropping. If you dynamics and expression to a performance,
As with EZkeys, defining your full hover over the song section/chord lanes, it’s powerful, flexible and very easy to use.
chord sequence is the one element of all three lanes are highlighted and, when While the Transition and Play Style
the EZbass workflow that can take some you drop, you get a new song section controls are ‘macro’ in operation, the
time. Thankfully, you can copy/paste entire (overwriting anything beneath it), a new Grid Editor provides all the nitty-gritty
song sections to speed up your overall chord sequence (many of the grooves MIDI editing your bass-playing heart
workflow. Rather wonderfully, you can also have a chord structure embedded within might desire. Much of the functionality
drag and drop MIDI clips directly into the them) and the bass groove itself in the here — editing note pitches and length,
Song Track. This includes the option to lower lane. However, if you hover over quantising and adjusting velocity, for
drag and drop from EZkeys’ own pattern the bottom lane before dropping, the example — mimics what you would find in
browser and EZbass will attempt to pick current song structure and chord data is your DAW’s own MIDI editing environment.
out the chordal structure in whatever retained and just the new bass groove is However, it’s also here that you can define
is dragged and dropped, although the dropped, at which point, its note pitches performance articulations for any selected
piano MIDI data added into the bottom are automatically adjusted to fit the chord notes and apply different styles of slides
lane will subsequently need replacing sequence. This is really very neat and between notes.
D I S C O V E R
STRINGS • B R A SS • WOO DWIN D S • PERC U S S IO N
PE RFORMED BY T H E BBC S Y MPH O N Y ORC H ES T R A

RE COR DED AT MAI DA VAL E S T U D IO S
AVA I L AB LE FOR $49 O R F R EE

ON TEST
TOONTRACK EZBASS
data in a project, and want to encourage

EZbass to follow this, then the Drum & Te st Spe c
Keys and Audio Tracker tabs can be used to
Cubase Pro 10.5.12.
explore this possibility.
Apple iMac running OS 10.13.6, 3.5GHz Intel
The Drum & Keys window is conceptually Core i7, 32GB RAM.
straightforward in that it allows you to drag
and drop MIDI data into EZbass and the the sonic quality of the drum sounds it
software then extracts rhythmic data from produces in their own recording space.
it. However, drum and keyboard data is Recording an electric bass — whether
handled differently, and offers you different via DI, amp or both — is perhaps a more
approaches to generating a suitable bass realistic undertaking even in a modest
groove from that data. For drum data, home/project studio. However, sonically,
rhythm is the key element, with four options EZbass just sounds fabulous with no DI box
provided for bass notes to lock into. While it or amp required. Combined with SD3, you
doesn’t offer automatic pitch variation (other can have a killer rhythm section on your
than that subsequently generated by the recordings, whatever the status of your
chord lane or added via the Grid Editor), it physical studio space. These are virtual
does provide a means to lock your rhythm session musicians who can be your first call
Creating realistic passing notes between chord section together as tightly as required. For across a huge range of musical styles.
changes is made very easy with the Transitions
keyboard MIDI, EZbass can either follow just Excellent though this first iteration of
panel in the Song Track.
the left hand (the low notes) or the overall EZbass is, though, I don’t expect Toontrack
If you do eventually drag and drop MIDI rhythm and chords. Either way, the resulting will put their feet up just yet. EZbass is ripe
data from the Song Track to your DAW, bass groove provides both timing and pitch for the kinds of sound and MIDI groove
all the performance data is preserved (as data and, of course, you can refine this using expansions that already exist for both SD3/
keyswitch notes within the MIDI) but editing any of the editing tools described above. EZdrummer and EZkeys. A fretless electric
is going to be nowhere near as slick as The Audio Tracker window provides and an acoustic bass would be obvious
within the EZbass — and its well-featured a different approach. This is obviously sound expansions, while dedicated MIDI
Grid Editor — itself. In terms of workflow, similar to SD3’s Tracker option but, instead groove expansions from jazz ballads to
leaving your bass line MIDI data within of automatically turning drum audio metalcore will, I’m sure, be lapped up by
EZbass and letting playback sync with your into drum MIDI data, EZbass can turn many users. I’ll happily join the queue. Oh,
DAW is a much better workflow. a monophonic (single note, not chords) and surely Toontrack must have plans for
Finally, it’s worth noting that, if you want guitar or bass audio recording, or a drum an overhaul for EZkeys? It’s still a powerful
to try variations before committing to a final audio recording, into a bass groove. Results virtual instrument/player, but it would be
bass performance, you can create multiple are obviously dependent upon the source great to see it benefit from the UI and
tracks within the Song Track, with whichever audio and, in my own experimentation, feature sets that both SD3 and EZbass
one is currently in focus taking precedence cleaner, less effects-laden, audio sources now offer.
on playback. Data can be copied/pasted produced better outcomes. That said, this
between tracks as required. is most certainly not just a gimmick and can
Conclusion
generate some very usable results if you are In the teaser materials for EZbass, Toontrack
Follow The Leader working on a riff-based musical project. have emphasised EZbass’s role as a ‘tool
As noted earlier, EZbass’s groove library for songwriters’. If anything, I think this
is impressive and will, I’m sure, soon be
Repeat Booking? perhaps undersells its appeal. Yes, for solo
expanded upon. However, if you have The individual elements of the feature set songwriters looking to make release-quality
pre-existing MIDI or audio performance are impressive in their own right. However, recordings, EZbass will undoubtedly tick
in use, what’s particularly striking is just how a lot of boxes. However, whether it’s
Alternatives quickly you can go from zero to hero in bedroom producers, media composers or
There are plenty of alternatives when
terms of a complete bass part; the EZbass high-flying producers who, for whatever
it comes to conventional sample-based
electric bass instruments, with options such workflow is very smooth. While entering reason, can’t get access to their usual bass
as IK Multimedia’s impressively weighty complex chord changes or voicings into the session player, EZbass is going to be a very
MODO Bass or Steinberg’s more compact Song Track can take some time, the toolset attractive option.
Electric Bass spanning a range of prices.
does its best to assist with what is simply Oh, and one final point: the price. I did
And of course there’s Spectrasonics Trillian,
which has been doing sterling bass duty for an inevitably repetitive process. That said, a complete double-take when I saw just
a decade now. However, if you want a ‘player’ it’s worth it as adding chords is a key part where Toontrack had pitched this product; it
function, then the obvious alternatives are of getting EZbass to do its magic. In all is an absolute no-brainer bargain. Toontrack
UJAM’s three Virtual Bassist instruments,
originally reviewed in the July 2019 issue of
other regards, however, the workflow is very have completely knocked it out the park
SOS. These offer a very different approach efficient, including adding that essential with EZbass. It is brilliant and will sell by
to the creation of a bass performance and, ‘human’ character to the final performance. the bucketload.
as a consequence, are perhaps aimed at The results can be utterly convincing.
a somewhat different type of user than
EZbass, but also combine sample-based bass
For many users, one compelling reason
$$ $179
sounds with a ‘virtual player’. for using SD3 is that, regardless of the WW www.toontrack.com
performance itself, they could not match
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P R O F E S S I O N A L A U D I O H A R D W A R E A N D S O F T W A R E
ON TEST
Lauten Audio Lauten Audio LS‑208
LS‑208 & LS-308

$599 & LS‑308 $499
pros
• Excellent SPL handling on both models.
• Both mics are solid, well built and have
Capacitor Microphones good mounting options.

• LS-308 offers very high levels of rear and
side rejection.
These intriguing new mics are designed for • LS-208 sounds excellent on loud amps,
close drums and live vocals.
loud environments where spill is an issue — so cons
that’s exactly where we tested them! • High-frequency roll-off starts around
7kHz on the LS-308.
• LS-308 may be a little pricey for
NEIL ROGERS own thing, and that was certainly my a specialist mic.
overriding impression when I got my
C
summary
alifornian company Lauten Audio hands on the two microphone models
Lauten Audio have produced two new
launched their first microphone reviewed here. microphone models that can excel in
back in 2006. Since then, they The LS-208 and the LS-308 challenging recording environments.
have built up a varied range of capacitor are capacitor microphones designed for The LS-208 is a great all-round option
mic designs which includes a selection use in challenging situations. Very high for close instrument and voice recording,
and the LS-308 offers very high levels of
of large‑diaphragm tube and FET mics, SPL handling, strong off-axis rejection and
SPL handling and rejection which make
as well as a small‑diaphragm ‘pencil a variety of onboard low‑ and high‑pass it able to capture direct sound in very
mic’ option. The vibe is very much filters suggest a lot of potential roles for demanding situations.
of a boutique company doing their both live as well as in the studio. Both
models have simple black styling and
come in a no-frills hard case with some
well-thought‑out mounting options. They
feel solid and well built, and I found them
very easy to use.
LS-208
Looking at the LS-208 first, Lauten
themselves describe the mic as
a “professional front‑address
large-diaphragm condenser voice
and instrument microphone that
brings brilliance and expressiveness
to broadcast, sound reinforcement,
podcasting and studio recording”.
When fitted into its shockmount, it looks
like a mic you might expect to see in
a broadcast or podcast session, but
I found it very useful for music recording
too. This is partly because of its ability
to cope with levels up to 135dB SPL (for
0.5 percent THD at 1kHz) without a pad.
The first time I used the LS-208 was in
front of an extremely loud bass cab, and
the results were very impressive indeed.
A full, smooth bass sound was captured,
and it felt like the mic was handling all the
bottom end with ease.
As I had two of these mics to play
with, I used them next as snare top
and bottom mics. I know bottom The LS-308 is put to work
snare is not an application that will as an outside-kick mic.
get many people excited, but it really
revealed how good the mic is at mic I had positioned a bit further back. had packed an LS-208 if you were doing
rejecting what is behind the capsule. There’s one singer we record a lot any kind of live or location recording,
If you check out my audio examples at at our studio who has a very loud voice and it won’t gather much dust in the
https://sosm.ag/lauten-ls-audio you can that can make some capacitor mics in studio either.
hear for yourself just how well it performs our collection distort, but the LS-208 was
in this respect. It also worked really well clear and full‑sounding — slightly mid-
LS-308
as a top snare mic, and did a great job of forward and very usable indeed. Moving on to the LS-308, Lauten describe
rejecting the hi-hats whilst still capturing I used it on another session to it as a problem-solver that has been
a full snare sound, with more top end than track a guide vocal, with the singer specifically designed to have extreme
you would expect from the usual moving- positioned very close to a full drum kit, side and rear rejection and, again, to
coil dynamic mic options. It is quite and the off-axis rejection was impressive. handle loud sources. Like the LS-208,
a large mic for this application, however, Naturally, there was still some drum sound this mic can accept 135dB SPL without
and there’s a risk that heavy-hitting spilling into the microphone, but I would a pad, but the spec also states that it
drummers might give it a whack mid‑take. have had no problem at all if the singer has a “second‑order cardioid” polar
I also used the LS-208 in front of had wanted to keep the guide vocal. I was pattern that offers up to 25dB attenuation
a trumpet, where, again, I could place it also struck by the way the mic captured throughout a 270-degree arc. The
as close as I liked without having to worry the low end of the singer’s voice. He was description suggests that this is achieved
about switching in a pad. This application singing very close to the capsule, and using back-to-back capsules, which
made apparent the mic’s presence peak the proximity effect helped round out his would explain the mic’s ‘hammerhead’
at around 6.5kHz, and this worked well in voice in a pleasing way. appearance. It’s a pattern that has obvious
conjunction with a darker‑sounding ribbon I should make a quick mention of the benefits, but the physics of the design
onboard filters on the mic, as they are mean its frequency response begins to
Alternatives quite comprehensive: 50 and 120 Hz roll off at 7kHz. The mic comes fitted with
I’m struggling to think of many capacitor‑mic high-pass options are included, as well as a swing‑arm mount; this worked very well,
alternatives, but for close-up work and slightly more unusual 8 or 10 kHz low-pass but is also removable, and a standard
high‑SPL applications, the dynamic Shure
SM7b and Electro-Voice RE20 may be
filters, adding even more flexibility to hard mount is included with the package.
worth considering. what is already an impressive ‘Swiss The combination of high SPL handling and
Army’ mic. You would be very glad you tight polar pattern has implications for
ON TEST
L AUTEN AUDIO LS-208 & LS-308
The LS-208 worked well on snare,

providing a very useful amount of
hi-hat rejection.
positioning — indeed, Lauten

specifically advise you to
forget what you know about
mic placement when using
the LS‑308.
I had three of these
mics to play with, and the
first time I put them to use
was on a drum recording
session. I decided I’d use
LS-308s on the rack and floor
toms and as an outside kick
microphone. As a useful point
of reference, I also set up
a Sennheiser MD421 next to
the LS-308 on the floor tom.
The 421 is pretty much as
close as you can get to an
‘industry standard’ for tom
miking so I thought it would
be a useful comparison.
Comparing them directly is
difficult, of course, as the
308 definitely favoured non-
standard mic positioning.
Placing them side by
side, just above the drum rim, it was a rejection point of view, especially on it would work as well in this setting as
immediately noticeable just how isolated the bass amp, where the 308 was only it did in front of a bass cab, guitar cab
the toms were from the nearby cymbals, a few feet from the drums. It really does and as a close snare-drum microphone.
but in this position the 308 was noticeably do what it says on the tin! On guitar amp, A microphone that combines very good
darker-sounding than the 421. The the story was the same, but you might off-axis rejection with clarity even on loud
LS-308 features the same onboard filter want to add another mic if you need a bit sources is a useful tool indeed.
options as the LS-208, The LS-308 is exactly
and engaging the 50Hz what Lauten say it is:
high-pass filter seemed “If you work on heavy, loud genres and a problem solver. Some
to help sharpen things may feel it’s a lot to
up, as well as reducing
have to mic quite ‘busy’ drum kits, the invest in a mic that
some low‑frequency LS-308 could be very handy indeed.” does not have universal
sounds coming from the applications, and it isn’t
ride cymbal. the brightest mic out
Because of the amount of rejection more top end. With the outside kick, I got there, but for live band recording it works
available, I was able to position the mics a solid kick‑drum sound with minimal very well, even in a small live room. We
either a bit further away from the drums spill, but once again, you have to forget do a bit of live video/session recording at
than you might normally, or in more some of your go-to mic placements and our studio, and I think these mics would
hard-to-reach places under cymbals and experiment a little. I found a sweet spot be perfect for that. I also think that if you
so on. The resulting sounds were very for the outside kick, for example, by work in heavy, loud genres and have to
usable, and confirmed Lauten’s advice having the LS-308 about a foot back from mic quite ‘busy’ drum kits, the LS-308
about ignoring traditional positioning. the resonant head. could be very handy indeed. Both mics
One of the applications that Lauten are sturdy, come as well-thought‑out
suggest for the LS-308 is recording a live
Summing Up packages and offer lots of potential uses
band in a smaller room. With this in mind These are not necessarily microphones both in the studio and on the stage.
I set up a simple live session with drums, to wow your clients with, but they are
guitar and bass guitar in the same room, both very useful and really quite original,
amps included. I placed mics close to which is no mean feat these days. The $$ LS-208 $599, LS-308 $499
TT Lauten Audio +1 877 721 7018
the speaker on both the guitar and bass LS-208 is one of the more flexible mics
amps and another outside the kick drum. I’ve come across. I didn’t get a chance to WW www.lautenaudio.com
The results were very impressive from try it in a podcast‑type setup, but I think
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ON TEST
McDSP Moo X
SAM INGLIS
E
ngineers are often forced to trade
off quality against convenience.
& APB-8
Convenience usually wins in
the end, and when it does, we tend to
look for ways to rationalise it. Mixing ‘in
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Hybrid Processing System

practical advantages of instant recall and
go-anywhere portability are obvious — and
as plug-ins get better and better, any
sonic advantage that analogue outboard McDSP’s software-configured analogue processing
has gets narrower and narrower. Or so we
tell ourselves… system now has new hardware and software
Speaking for myself, I’ve been mixing options — and support for more DAWs.
‘in the box’ forever, and if I’m honest,
had stopped wondering whether it might with digitally controllable parameters, and experience of working with physical knobs
not be perfect. If I couldn’t always make sometimes these can even be manipulated and buttons, and you lose the option of
crushed room mics sound good, or I had through a plug-in interface in your DAW. tracking through compression in the normal
to laboriously automate fader moves to However, the Analog Processing Box way. But you also lose the headaches
make vocals sit in the mix, I took that as takes the concept much, much further. associated with patchbay wiring, level
a reflection on my own limited abilities Behind its none-more-green 1U front calibration and latency compensation.
rather than any inherent problem with panel there lurks an array of what McDSP And, more importantly, there are huge
plug-in compression. Then, last year, I tried call programmable analogue circuitry: gains. From a usability point of view,
McDSP’s APB-16 — you can find my review gain-reduction and saturation components the APB processing is no different from
online at https://sosm.ag/mcdsp-apb16 that can be configured remotely using a conventional suite of plug-ins. Simply
— and I changed my mind. digital control. This circuitry sits between saving a project in your DAW is enough
high-quality D-A and A-D converters, and is to save all APB parameters, meaning full
A Better Box topped off with a Thunderbolt connection recall is guaranteed. And not only are
There have been many attempts to that pipes audio directly in and out of an APB parameters controlled from plug-in
introduce digital convenience to analogue Apple Mac computer. windows, but they can be automated in the
processing. For instance, there are So, in comparison with conventional standard way too. The APB doesn’t tie up
analogue compressors and equalisers analogue hardware, you lose the tactile any of your audio interface’s I/O, or impact
on the 32-channel limit that Pro Tools users a word-clock cable but not a Thunderbolt audio. The idea is that you have a number
love to complain about. cable.) The only differences are, first, that of separate instances on individual channels
Better still, the programmability of it is limited to eight mono or four stereo or busses, plus an optional ‘master’
the APB makes it far more versatile and channels of APB processing, and second, instance. The individual channel Moo X
powerful than any traditional analogue that the price looks a lot more attractive to plug-ins have only the controls relating to
outboard unit. Depending on how those the penurious project-studio owner. And that channel, while the master instance
internal components are arranged, it you needn’t worry about the channel count displays a full mixer window with controls
can adopt a wide variety of compression being limiting in the long run, because the for all the individual channels. These are, in
characteristics, from valve and opto-like APB concept is inherently scalable, allowing effect, remotely controlling the individual
gooiness, through fast and hard SSL-style you to add further APB-16 and APB-8 units channel instances: the actual routing and
‘mix glue’ to full-on pumping. And the at any time — up to five in total can be summing of audio is still being handled in
number 16 in the model name is no connected in any combination. the background by your DAW.
accident: an APB-16 offers no fewer than McDSP describe Moo X as a “hybrid
16 mono (or eight stereo) channels’ worth of
On The Move mixer”, and that’s because the channel
analogue compression, each independently If this was just a review of the APB-8, it plug-in combines analogue saturation and
configurable using an instantly familiar would therefore be very short, but the compression with digital EQ. The latter
plug-in interface. review unit arrived in time for me to test is intentionally very simple, providing the
two new APB features. At its launch, the sort of basic tone-shaping you’d expect
The Better Half APB-16 was only compatible with Pro Tools, from a ’50s mixing console: broad treble
Compared with a native plug-in suite or and only with Apple computers. It’s still and bass bands, with continuously variable
a DSP co-processing box, the APB-16 Mac-only, but you can now use it with pretty frequency controls and up to ±12dB boost
is undeniably expensive. However, the much any DAW courtesy of VST and Audio or attenuation. The EQ can be placed
experience of using it quickly convinced Units support. Officially, only Logic and pre or post the analogue element of the
me that such a comparison is the wrong Cubase are qualified at the time of writing, processing, which is governed by just three
one to draw, because it sounds like no but I had no problem running the APB-8 controls: saturation, compression amount
digital compressor I’ve heard. Change plug-ins in Studio One, which is compatible and ‘TC’, which jointly varies both the attack
your parameters and compare a single with both standards. Functionally, VST and release times. A VU meter and an
APB-16 with an outboard rack containing and AU versions appear to be absolutely output fader are augmented by solo, mute
16 channels of top-quality analogue identical to the AAX ones. As before, and polarity switches.
compression, plus all the apparatus needed the only real restriction compared with The VU meters can be switched to
to integrate that into your DAW, and it’s not conventional plug-ins is that any bounces or display either output level or gain reduction,
expensive at all. In fact, it could represent renders have to be done in real time — just but there’s no visual indication of this setting
better value for money than almost anything as with any outboard processor.
else in your studio. The other new feature is less utilitarian
The fact remains, though, that you can and more sexy. Moo X was announced back
McDSP Moo X & APB-8
only access that value for money if you have at last year’s AES Convention, but has only
$3999
the money, and the APB-16’s price tag puts just become available. Like the other APB pros
it out of the reach of many. Comparing APB plug-ins, it’s included as standard with the • APB-8 offers a more affordable, yet still
to conventional outboard also raises the hardware, though it needs to be separately very powerful, way to access McDSP’s
question of whether 16 channels’ worth of authorised to an iLok account. Apparently analogue plug-in technology.
• Moo X sounds great and is very easy to use.
premium analogue compression might not a play on ‘mu’, McDSP use the name
• VST and AU support mean any Mac
be a bit of a luxury; even the most devoted Moo for a number of their offerings which owner with a Thunderbolt socket can join
advocates of hybrid mixing would be lucky emulate valve-based circuitry, and Moo X in the party.
to have 16 rackmount compressors on tap draws its inspiration from ’50s valve mixing
cons
in their control rooms. So the new APB-8 consoles by the likes of RCA. However,
• Metering in Moo X could be clearer.
makes perfect sense. there aren’t any actual valves in the APB
It is, in every respect apart from channel hardware: the Moo processors emulate the summary
count, identical to the APB-16. It’s the same same behaviour using solid-state circuits. McDSP’s APB system integrates analogue
size and shape, every bit as green, sounds Functionally, Moo X adopts the same processing into ‘in the box’ mixing as never
exactly the same, and likewise requires only paradigm as existing products such as Slate before. The APB units are more versatile
and more convenient than conventional
a Thunderbolt connection to the computer Digital’s VCC, Waves’ NLS and Softube’s outboard, but they don’t compromise on
and a word-clock feed from your audio Console 1, meaning that although it’s sound quality.
interface. (Like the APB-16, it comes with a mixer emulation, it doesn’t actually mix
ON TEST
MCDSP MOO X & APB-8
The APB units connect to your Mac via Thunderbolt, but also need to be sync’ed with your audio
interface using word clock (or both sync’ed using a master clock).
apart from the actual behaviour of the to the top you can find yourself in full-on the way from snappy to sloppy, and sounds
needle. It’s clear enough when the transport ‘Revolution’ territory. If warmth rather than great throughout.
is stopped, but less so when compression outright grit is what you’re after, it’s easier Even on an APB-8, Moo X gives you the
is happening, so it might be helpful if the to achieve by turning up the make-up gain resources to transform a drum kit recording.
background changed colour when you click on the Moo X Mixer’s bus compressor Place mono instances on the kick and snare,
to engage gain-reduction mode. — and it sounds rather fab when you do. stereo channels on the overheads and room
Each individual instance of the Moo X The channel EQ also takes a little bit of mics, and a Moo X Mixer across the drum
channel plug-in can be assigned a number, getting used to if your reference is anaemic bus, and if two minutes’ work with the
and appears in the corresponding slot on plug-in equalisers, because a couple of dB Compression knobs doesn’t bring a smile
the ‘master’ Moo X Mixer plug-in. You makes a serious difference to the sound. to your face, you’re in the wrong job. In
can then conveniently adjust all the particular, you can absolutely smash
individual channels’ controls from one a room mic without it sounding lifeless,
place. The Moo X Mixer plug-in doesn’t or jerky, or bringing up all those
include EQ for the bus or channel it’s unpleasant mid-range components
on, but has a somewhat more flexible in the way that plug-in compressors
master bus compressor with separate usually do. Nor is it only useful on
Threshold, Attack and Release controls. drums, and if you decide that the
Moo X can’t automatically pick up vocals, bass and electric guitars should
channel names or numbers in the way share in the love, they’ll certainly love
that Console 1 can, but this won’t be you back. Very shortly after this you
a problem in real terms unless you are might find yourself wondering what
lucky enough to have several APB-16s you can sell in order to add another
and want to run a huge mix. Channels APB to your system!
within the Moo X Mixer plug-in are In other words, Moo X
viewed in two banks of eight, and sounds great, and is yet another
a virtual scribble strip at the bottom lets demonstration of the worth of the
you name them manually if you wish. APB concept. The APB was already
Each Moo X channel takes up one a very powerful and versatile wolf of
APB processing ‘slot’, so on an APB-8, an outboard rack in plug-in sheep’s
you can have a stereo Moo X Mixer clothing; Moo X integrates all that
as your master along with six mono power into a single framework, with
or three stereo channel instances. benefits that are both audible and
At the other end of the spectrum, ergonomic. On an APB-8 you’ll have to
a single Moo X mixer can span multiple Each instance of the Moo X channel plug-in can pick and choose fairly carefully which
APB units; the limit is currently 16 stereo be assigned a number, and thereafter controlled channels should receive those benefits,
from the relevant channel on the ‘master’ mixer.
channels per Moo X. but whether you take this route or simply
Incidentally, one neat feature I’ve not Once you get into the swing of things, treat it as eight top-class compressors in
seen before is that if you bypass a single though, you quickly learn how to balance a single 1U rack, it offers more than enough
instance of Moo X in the Pro Tools mixer, channel EQ and compression settings to power to make a real difference to any mix.
all the other instances are simultaneously shape both the tone and dynamic response Revisiting the APB has only strengthened
bypassed. This makes it trivial to do A/B of the source, in exactly the way that my view that it’s a concept whose time has
comparisons, as long as the output fader in one might do with analogue outboard. come. It shows that with enough ingenuity
the Mixer instance is set appropriately. The limited control set on the channel on the part of manufacturers, there needn’t
compressor is much more of a blessing than be a compromise between quality and
Moo Music a curse, allowing you to very quickly dial in convenience. We can have both!
In use, I found I didn’t often employ the settings that just work. On many sources,
saturation on the individual channels. A little the default time constants do the job $$ $3999.
WW www.mcdsp.com
of this goes a long way, and if you crank it admirably; if they don’t, the TC dial runs all
OUT
NOW
ADDING BASS TO YOUR SONGS

HAS NEVER BEEN EASIER.
A new member of the EZ Line just stepped
onto the scene: EZbass. Complete your
virtual rhythm section today.
WWW.TOONTRACK.COM
ON TEST
Native Instruments
Session Guitarist
Picked Acoustic
NICK MAGNUS
Virtual Guitar Instrument
P
icked Acoustic is the latest in
NI’s Session Guitarist series of Is NI’s virtual picked acoustic guitar better
virtual guitar instruments. For
those unfamiliar with the range, let’s
than the real thing?
begin with a quick recap. Winding the into MIDI data. Chords played on a MIDI arranging of guitar parts, with consistency
clock back to 2015, Daniel Scholz and keyboard are converted to guitaristic of sound and performance, the latter often
Samuel Dalferth teamed up with Native voicings and tempo-sync’ed to the host being time-consuming to master on virtual
Instruments to release Session Guitarist DAW. Up to eight patterns can be mixed guitar instruments that require manual input
Strummed Acoustic, a Kontakt instrument and matched from any of the styles to of the strumming movements.
comprising a collection of strummed guitar create custom ‘songs’ and triggered by The original Strummed Acoustic was
performances played in different styles, keyswitches. Additional touches such as reviewed in the January 2016 issue of SOS.
with various patterns provided for each doubling, string squeaks, fret noises, body The Picked Acoustic instrument has eight
style. Featuring a sampled vintage Martin slaps, endings, low and high voicings pattern slots, into which complete Song suites
D-35, its patterns are derived from real-life and effects bring further realism. The key in specific styles can be loaded along with an
performances, accurately transcribed benefits of the concept are quick and easy associated Sound Preset, or a mixture of patterns
from different Songs, as shown here.
Native Instruments
Session Guitarist
Picked Acoustic $99
pros
• A beautifully recorded vintage Martin
00-21 steel-string played with fingers
or plectrum.
• Patterns can have complete harmonic
freedom using the ‘As Played’
voicing option.
• Flexible effects system benefits from
Kontakt’s new Reverbs and Replica delay.
• Melody instrument lets you play exactly
what you want.
cons
• A keyswitchable option for Melody
instrument’s Mono/Poly and Plectrum/
Finger controls would be more ergonomic
and convenient.
• The three-semitone slide-ins sound
musically awkward.
summary
Combining a wide range of patterns capable
of free harmonic movement together with
a playable and expressive instrument,
Picked Acoustic throws off the shackles to
reveal a creative and inspirational tool for
songwriters, keyboardists and — dare I say it
— possibly even some guitarists who might
be wooed by its audio quality.
Strummed Acoustic 2 followed, featuring
two guitars: a small-bodied Martin O-17
mahogany six-string, and a Guild F-412
12-string, each with their own ‘suites’ of
song styles and patterns.
Pick Axe
Session Guitarist Picked Acoustic
(henceforth referred to as PA) takes
a similar approach, this time focusing
primarily on a finger-picking playing style.
This library offers several enhancements
over its strummed predecessors, the most
significant being control over the harmonic
content of patterns, and the freedom to
play exactly the melodic parts you want. PA
achieves this with two separate NKIs, Picked
Acoustic and Picked Acoustic (Melody);
both feature a beautifully recorded vintage
Martin 00-21 steel-string — clean, clear and
full-bodied with bags of sustain and detail. The Melody instrument with four ‘freestyle’ guitar articulations on the left, and four pattern slots on the
From their specially developed miking right, with keyswitch mapping displayed. Melody articulations are selected with the yellow keyswitches,
techniques to the amount of vintage and patterns are selected with the red ones. Purple keyswitches trigger ending slides and body knocks/string
high-end gear involved in the sampling, the slap mutes; the green keyswitch triggers three-semitone slide-ins. Blue keys represent the playing area.
developers have clearly put a lot of effort
into getting it right. exactly the chords and inversions you want, movement. Walking bass lines, moving
no matter how abstruse — the patterns internal parts and leading voices bring
A Little Finger Exercise still provide the rhythmical framework, but a natural and convincing flow, as if the part
The Picked Acoustic.NKI instrument you have complete freedom of harmonic is coming from the hands of a skilled player.
operates similarly to the Strummed
Acoustics, having 37 Song styles and up to
six patterns for each style. Selecting a Song
loads its associated pattern variations (up
to six of them); eight pattern slots are Alchemy Microphone Series
Designed, hand-built, and tested to strict quality standards in Connecticut,
provided, each slot corresponding to one USA, the Alchemy Microphone Series is TELEFUNKEN Elektroakustik’s
of the keyswitches C1 – G1. There are TEC Award nominated next generation of large diaphragm condensers. These
always at least two vacant slots available new microphone models feature unique sonic profiles developed from the
ground up.
to contain additional patterns, either
‘tweaked’ variations from the current Style
or others culled from different Styles.
Loading a Song also loads a corresponding
Sound Preset if the ‘Link to Song’ option is
lit; these contain effects appropriate to the
Song style.
So far, this follows the Strummed
Acoustics model, but PA has a new feature:
chord-voicing options. A drop-down
list of five preset chord voicings shows
the relative pitches that will be played
if a single key is pressed. As you play
additional notes to build a chord, each
voicing follows its particular rules but
adjusts the harmonies wherever possible. If
a particular voicing doesn’t allow for certain
notes, another probably will. Although
PA includes a number of strummed
patterns, the finger-picking patterns
predominate and provide the most fun
and musical interest, and for these the
most rewarding option is the ‘As Played’ Read the full review on SoundOnSound.com
voicing. This gives the flexibility to play
ON TEST
N AT I V E I N S T R U M E N T S S E S S I O N G U I TA R I S T P I C K E D A C O U S T I C
Playing fewer notes reduces a pattern to tempo can also be halved or doubled
a simplified version using fewer strings; add relative to the host tempo — speaking of
more notes (no more than six, mind!) and which, PA’s tempo range is exceptionally
the pattern brings more strings into play, wide. Although the manual quotes a lowest
increasing in complexity. It’s absorbing and speed of 65 bpm, which does seem to be
quite addictive. the limit of the strummed patterns, I had
most of the picking patterns running quite
Pick’n’Mix happily down at 26 bpm, with some even
The Pattern browser provides filtering managing to achieve a mind-numbingly
options to help narrow the search for slow 20 bpm, and all the way up to
suitable candidates; you can search by a blistering 400 bpm. As no time-stretching
picking style, pattern type and time is involved, sound quality remains pristine
signature. Curiously, the ‘Riff’ type and even at funereal extremes.
3/4 time-signature filters return no results.
Perhaps this suggests plans to include such
Unchained Melody
patterns in an expansion pack or as a future As flexible as the patterns can be, they
update. To further assist in identifying don’t address the need to play something
suitable patterns, the browser’s Rhythm more specific. The Picked Acoustic (Melody)
Search tool enables you to tap in the rhythm instrument provides the solution, combining The Effects Browser: 13 effects are available,
you’re looking for using a keyboard, and PA patterns and a freely playable version of including Kontakt 6’s flagship Replika delay and
the new hall, room and plate algorithmic reverbs.
returns a list of the closest matches in order the guitar in one NKI patch. The lower
of relevance. Whilst PA’s patterns are all part of the GUI is divided into two — the began to appreciate the warm, almost
provided in 4/4 (32 steps) or 4/4 triplets (24 ‘playable’ guitar is on the left, with four lute-like finger-picked style and the clear,
steps), any non-compound time-signature articulations: Open, Muted, Flageolet and incisive plectrum tone of the guitar. It’s
can be realised by simply shortening their Tremolo, assigned to the yellow keyswitches. even possible, with a bit of careful post
lengths to an appropriate number of steps. Below those are two switches offering editing, to invoke hammer-ons and pull-offs
Although the patterns’ rhythmical content a choice of Plectrum/Finger-picking styles, in poly mode if you get the velocities just
can’t be edited or created from scratch, the and monophonic or polyphonic behaviour. right and overlap notes ever so slightly.
Shift function offsets them from up to -15 to When playing single-note melodies in The delicate tones of the finger-plucked
+16 steps causing the rhythmical emphasis Monophonic mode, overlapped notes Flageolets provide an intriguing alternative
to fall in different places, changing the feel. produce hammer-ons and pull-offs; press the to a harp — add a touch of modulated
You can also ‘focus in’ on a particular detail B1 keyswitch before playing a note and you delay and reverb ‘splosh’ for extra magic.
you like by shortening and/or offsetting the get an upward or downward three-semitone The Tremolos, which have a cyclical dynamic
pattern so that detail falls at the desired slide into the note, depending on the pitch ebb and flow, make atmospheric ensemble
position in the bar. Playing new chords with of the previously played note. Unfortunately pads with movement and interest, though
a high velocity generates an upward or you can’t change the three semitones one caveat is that they have no means of
downward slide, depending on the pitch to one or two, which would give a more dynamic control (PA does not respond
of the previously played chord. Patterns’ musical effect when transitioning between to CC7 or CC11). As the mod wheel is
dynamics can also be smoothly varied in smaller intervals. Alternatively, upward and redundant on the Tremolos, it would be nice
real time via the Impact slider, controlled by downward ‘fading’ slides can be triggered to see that used to control a combination of
the pitch wheel. by keyswitches after a note is played. volume and filter cutoff frequency for that
Patterns are individually customisable in When carefully placed, these create particular articulation. I would make only
further ways; there’s a choice of fingered or a natural flow between wider intervals and one other update request for the Melody
plectrum playing styles in Open, Muted and can also be used as ‘fall-off’ effects at the instrument; at present, the Plectrum/Finger
Flageolet (harmonics) flavours. The volume end of a phrase — slow or fast variations are and Poly/Mono buttons are assignable to
of each pattern can be offset relative to the triggered according to keyswitch velocity. MIDI controllers. However, it would make
others, and fret position can be adjusted Vibrato is available on the mod wheel ergonomic sense to have the option of
(depending on the chord’s played pitch as expected, but I’d always recommend selecting them via keyswitches.
on the keyboard) from a full-bodied open performing it manually on the pitch wheel So how are the patterns incorporated
string tone to higher up the neck for — the difference in realism is not to be into the Melody instrument? They occupy
a warmer, more muted tone. Each pattern’s underestimated. In polyphonic mode I really the right-hand side, with up to four patterns
that can be allocated, each assigned to the
red keyswitches. The Melody instrument
on the left plays by default — patterns
trigger only when one of their keyswitches
is held down; on releasing the keyswitch,
the Melody guitar takes priority again.
This behaviour can be reversed so that
Patterns can be manipulated in various ways: this one is shifted four beats to the left so the backbeat patterns are the default playing mode, with
(beat two) now falls on beat one; the picking is fingered open style, playing on the eighth fret where the Melody articulations being accessed
possible. The number of steps has been truncated to 28, giving a time-signature of 7/4. via momentary keyswitches. I found this
way round much easier to manage when Up to eight effects
combining patterns and melodies together. can be loaded into the
Although there are only four slots for slots, and re-ordered
patterns due to available space on the GUI, by dragging the
icons. Effects can
they are nevertheless identical in features
be edited in detail,
to those in the pattern-based NKI, but and the complete
with one exception — there are no ‘ending Effect chain saved as
chord’ keyswitches, so these must be a Sound Preset.
played manually following a swift keyswitch
to Melody mode. instrument when
the occasion
Guitar Settings demands
The Picked Acoustic library was recorded something more
with three stereo mic setups. Condenser spontaneous. The
(AB) uses two spaced condenser of convolution reverb and the new Hall, sound is also an appealing factor — many
microphones for a natural sound; Dynamic Room and Plate reverbs. Effects can be would struggle to record an acoustic guitar
(MS) uses a single vintage dynamic edited, arranged in any order and saved as as well as this without access to a top-
microphone combined with a tube Sound Presets. quality instrument, expensive microphones
condenser mic in figure-of-eight setting for and high-end audio converters, not to
what the manual describes as an ‘earthy’
Conclusion mention the right recording environment.
sound, and a pair of softer-toned Ribbon Although there may be a certain stigma Even if you have the keyboard chops to
(Blumlein) mics. These are selected one attached to anything involving automatic play convincing virtual guitar parts, PA
at a time — they cannot be combined. accompaniment, I have to applaud offers a seductive alternative that sounds
A Doubling feature creates the very Messrs Dalferth and Sholz for making this good and stimulates ideas, which can only
attractive effect of two guitars spread across a creative tool rather than a constraining be a good thing.
the stereo field; stereo spread is further one. The patterns are surprisingly flexible,
enhanced (or diminished) by the Stereo particularly with regard to harmonic
$$ $99
Width control. Fret noise volume is also content, and there’s always the option
WW www.native-instruments.com
adjustable. On the Melody instrument, to play ad-lib phrases on the Melody
velocity response of the Open, Muted and
Flageolet articulations can be compressed
to smooth out the dynamic range, and
the overall ‘in-tuneness’ of the guitar
is adjustable from ‘precise’ to ‘sloppy’,
a nice touch which, when set to around 20
percent, adds an agreeable and realistic
amount of imperfection. High detune
settings are best reserved for drunken
open mic nights in dodgy pubs.
Effects
The Effects tab offers seven slots into which
a predetermined selection of 13 Kontakt
effects can be inserted. These include
modulation, reverbs, delay, EQs and
compression. Some effects from Kontakt’s
arsenal are notably absent — amp sims
and distortion effects, for example — so
presumably the designers only included
those they felt most appropriate. The
selection is highlighted by Kontakt’s
excellent new Replica delay and a choice
Alternatives
Companies such as Musiclab, Ample
Sound, Vir2, Orange Tree and Indiginus
also offer a range of fine-sounding virtual
acoustic guitars that apply their own
particular methods to accommodate
strumming, picking and solo/freestyle
playing styles.
ON TEST
Coleman Audio TC4

HUGH ROBJOHNS
Mastering Transfer Console
C
oleman Audio’s TC4 is described
as a ‘Mastering Transfer Console’, The TC4 aims to make it easy to use mastering
meaning it combines a monitor
controller and a hardware insert switcher.
hardware with your DAW.
Like most Coleman products, the
monitoring and transfer signal paths and a mono summing stage. Insert facilities ordered correctly, so that
are entirely passive — the only active signal switching is performed with combining both allows auditioning of the
electronics comprise a headphone amp sealed relays. stereo difference (Sides) signal, which is
Although featuring fewer input especially useful when mastering.
sources and output destinations, the Controlling the monitoring output
Coleman Audio TC4 TC4’s monitor-control facilities are level is Coleman’s familiar 47-step rotary
$1950 essentially those of the company’s M3PH attenuator, with quad-ganged switches
pros MkIII, and it’s all very straightforward. fitted with precision-matched SMD
• Highly accurate switched volume control. Two stereo balanced inputs are resistors to create a balanced stereo
• Four selectable inserts with the first and provided, one on XLRs and the other volume control. The benefits are that
second reversible. on quarter-inch TRS sockets, with inter-channel tracking remains within
• Sides channel monitoring. a front-panel button as source selector. 0.05dB at all listening levels, ensuring
• Powerful headphone amplifier.
The chosen signal passes to the insert stable stereo imaging, and a good
cons chain, and then on to the monitoring common-mode rejection figure. The
• No trim facility to adjust monitor return facilities. Another button allows monitoring signal can be routed to either
from insert chain. monitoring of the source signal rather of two outputs for main and alternate
than the return from the insert chain. speakers, both connected with XLRs.
summary
More buttons mute the left or right A very beefy headphone amp with its
A very attractive passive monitor controller
that offers the ability to integrate outboard speakers, select the mono sum and own volume control feeds a front-panel,
mastering devices with a DAW. introduce a polarity inversion — with quarter-inch socket. The headphone
the polarity-invert and mono-summing signal isn’t affected by the speaker
volume control, mute or mono buttons, Initially, I assumed these would be leaving the chain, so the benefit of your
but the polarity inversion does affect wired to the AES59 (Tascam) analogue processing can be assessed.
the headphone monitoring. A second standard, with eight outputs on one
pair of TRS sockets on the rear provides socket and eight inputs on the other,
The Bottom Line
dedicated outputs for an external but Coleman have instead used the The TC4 is well thought out, and its
metering system, and these signals AES59 digital standard, which provides technical performance is limited only
are affected by the muting, mono and four inputs and four outputs per D-sub by the equipment you connect to it. If
polarity buttons. I assumed these meter connector. Although a non-standard I had to be critical, I’d say the volume
outputs would be actively buffered, approach, it makes a lot of practical control could feel a little smoother in
but plugging in while use (though the sound
monitoring a signal on
the speakers revealed
“The TC4 is well thought out, and its quality is very good),
and a level-trim control
that this isn’t the case. technical performance is limited only by for the post-insert
The ‘mastering monitoring signal
transfer console’ the equipment you connect to it.” would make it easier to
aspect of the TC4 is judge signal processing
the insert-switching section, which sense, as each D-sub carries all the at comparable levels. Entirely passive
is configured to route the selected signals for two stereo outboard devices, monitoring signal paths have both pros
monitoring source through a chain of making rack wiring a little easier and and cons, but in practice, when cables
four external signal processing devices, neater. The channel wiring is the same are kept reasonably short, they work
any of which can be individually selected for both AES59 formats, so AES3 well; that’s the case here.
or bypassed. The output from this breakout cables can be used for XLR This is a cost-effective, high-quality
processing chain is presented on a pair connections, or analogue breakouts with ‘baby’ mastering transfer console. It will
of XLRs as the ‘Master Output’ to be jacks for patchbay wiring. suit the requirements of many project
recorded back into the DAW (or other Four illuminated buttons on the front mastering studios seeking a convenient
recorder). The four stereo inserts are determine which insert points are active, and affordable way to integrate
accessed via a pair of 25-pin D-subs. and show white when bypassed and red mastering hardware with a DAW.
when engaged. A fifth button swaps the
Alternatives sequence of the first and second inserts,
Most mastering transfer consoles, such as the
allowing the order of a compressor and $$ $1950.
Dangerous Music Master, SPL’s DMC and TT Coleman Audio +1 516 334 7109.
Crookwood’s M1, cost two or three times EQ to be reversed, for example. As
more than the Coleman TC4. mentioned earlier, another button allows WW www.colemanaudio.com
comparison of the signals entering and
ON TEST
Golden Age Premier

GA-800G
Valve Microphone
The Sony C-800G is among
the greatest vocal mics ever
made, but getting hold of
one has never been easy.
Enter Golden Age, and their
faithful recreation...
NEIL ROGERS
something called a Peltier device, which and styling of the mic are very similar
ensures a higher signal‑to‑noise ratio indeed. It perhaps feels a little smaller,
I
t’s been 15 years since Golden Age than other tube-based designs. The valve and there seems to be less space below
Project released their first product, is mounted in an aluminium casing with the Gigeresque heatink into which to
the Pre-73 mic preamp. During a cooling chip attached to the bottom; fit the mic in its holder. It’s fine in use,
that time, the Swedish company have this allows the heat to be transferred however. There’s not much more to say
steadily built a reputation for reimagining to the large external aluminium‑alloy on how it looks, as the Sony was never
high-end outboard designed to impress in
and microphones at
dramatically more
“The voicing seemed instantly recognisable, the looks department!
As with the original,
affordable prices than with that bright top end, balanced the mic has two polar
the originals. In recent patterns — cardioid
years, however, they’ve mid-range and contained bottom end.” and omnidirectional
introduced a more — which are
upmarket range of products, under the heatsink, and then dissipate into the switchable on the mic itself. Again, like
name Golden Age Premier. This range has air surrounding the microphone. It’s the original, no pad options are present.
seen them combine premium components not a subtle design feature by any
with hand-built construction, as well as means but the original designers were
In Use
styling and accessories that are a great following a ‘no comprise’ brief, creating The C-800G is especially revered in pop,
deal closer to those of their inspirations. a performance-focused microphone that rap and R&B circles, partly by association
This is reflected in a heavier price tag did not aim to look like anything else. (it’s a favourite microphone for many
than their Project range, but they still Golden Age are, to my knowledge, the well‑known vocalists), and perhaps also
come in significantly cheaper than first company to create such a faithful because of a perception of exclusivity due
the original vintage products. They’ve version of this famous mic and its original to the substantial cost! It is, however, an
certainly not been shy with taking on specs — and this is reflected in the price, excellent‑sounding tube microphone that
some heavyweight designs under the new of course. There are inevitably a few has a bright, present sound that manages
branding, and I was impressed with their differences, but in the mic itself you’ll to sound simultaneously smooth, glossy
take on the U47 when I reviewed it in late find the same French 6AU6A tube, and and ‘expensive’. Based on my own
2018: www.soundonsound.com/reviews/ the circuitry is identical to the original. previous encounters with the mic it
golden-age-premier-ga-47. They did, however, take the opportunity manages to achieve this whilst also being
Recreating iconic German microphones to upgrade the material choice for the very sympathetic to sibilance and other
is a well-trodden path these days, but circuit board itself, from epoxy to a (much general harshness you might encounter
the company’s latest offering sees them more expensive) Rogers ceramic version. when recording vocals. Quite simply, if
taking on a more recent Japanese valve This, they claim, sounded better in blind I could afford it I would have one in my
design, and one of the more curious of the listening tests. Other than that, the power studio’s collection, so I was very intrigued
‘fantasy’ microphones. Curious not only in supply is where the most differences to see how close Golden Age have got to
the looks department but also in the fact can be found, as GA decided to use the original.
that it’s a very expensive mic, yet not one a solid-state design (the original used It was somewhat fortunate that
most people would describe as ‘vintage’. a valve), again based on listening tests — before the entire world shut down
Launched in 1992, the Sony C-800G and long-term reliability.
valve capacitor microphone is still
available new today, although it’s a little
First Impressions Golden Age Premier
unclear whether it’s actually in production The microphone ships in a sleek and GA-800G $3999
or if distributors are just holding existing sturdy hard case that holds the mic itself,
pros
stock. Either way, it’s one of the most all the cabling and the shockmount. • Sound is very reminiscent of the original
expensive mics available, and even if you There’s no room for the power supply, Sony C-800G.
are in a position to pay close to $10,000 however, which may be a minor • Case, power supply and cabling are all
to buy a one new, it might prove difficult: inconvenience to more mobile engineers, good quality.
• Much cheaper than its inspiration.
electronic devices sold in the European but I can see why they choose to keep the
Union have to be compliant with current hard case a more manageable size. The cons
ROHS legislation, and the C-800G is not. whole package — case and power supply • Still expensive.
Apart from the price, the most — does come in a cardboard carry case • No room for the power supply in the
distinctive feature of the C-800G is that you could keep and use again for carry case.
the large heatsink that protrudes from remote recording sessions if needed. summary
the rear of the microphone. This is no The microphone’s distinctive heatsink Golden Age Premier have gone where few
gimmick, and Golden Age say that when can make it a little tricky to mount, but others have gone before and produced a near
they were experimenting with how Golden Age have included a good‑quality identical recreation of the famous, and very
to recreate the sound of the original, Rycote shockmount that does about as expensive, Sony C-800G. The price is still
high, but it does bring the sound and look
they found it was an integral part of well as any mic clip could at holding the of the original within reach of many more
the design. The heat generated by the mic in place. It’s been a little while since engineers and studios.
valve in the mic’s casing is dissipated by I used an original C-800G but the feel
ON TEST
GOLDEN AGE PREMIER GA-800G
as I would have liked, but I did use it on

One of the few substantial changes to the original design an acoustic guitar recording and I got
is the use of a solid-state power supply.
a bright, open sound using it in the
omnidirectional polar pattern. I have little
doubt that you’d find plenty of uses for
this mic when you’re not recording vocals,
and I’m looking forward to trying it on
more acoustic instruments, guitar cabinets
or as a mono drum option.
Rarefied Air
I suspect the potential market for
this microphone is only going to be
concerned with one thing: does it
sound like the original? Based on my
experience I think it sounds very close
indeed, and in its own right, it’s a very
good‑sounding microphone. The voicing
seemed instantly recognisable, with that
bright top end, balanced mid-range and
contained bottom end. It’s clean and
precise‑sounding but still sounds like
a valve mic, and it’s easy to see how this
would be a great asset if you’re working
on musical styles where the vocal reigns
supreme. My only concern would be where
it fits into the very crowded microphone
market in general. Despite coming in at
around a third of the price of the original,
the potential outlay puts you into the
realms of some very well‑respected and
well‑known microphones that could hold
their value better — if that’s an important
consideration. Some observers may also
question how a company like Golden Age
can justify the asking price, while other
companies seem determined to drag the
due to Covid-19 — I had a session at the recordings at a later date, and this was price of classic designs as low as possible.
studio that proved to be an excellent test. where I got a chance to properly evaluate That’s not really what they set out to do
Once a year I help a local organisation the vocal recordings I had captured. here, though, as this is a custom‑made
record vocals for around 15 different On some of the more capable and product that aims to get as close to the
young singers performing covers of experienced singers, it was very easy to original as possible.
well‑known pop songs. The standard was hear why this style of mic is revered for Many engineers and studios would
quite mixed, but when evaluating a mic pop music. Once a little mix treatment like to have a C-800G in their locker,
that is predominately known for vocal like compression and reverb had been especially for certain genres where it’s
recording, having such a variety of voices measured in, the vocals sat wonderfully seen as the real deal, but the price makes
in quick succession was very revealing. against the music and felt very simple to this unfeasible for many. The GA-800G
I’ll talk a little more about how close place, level-wise. As with my recollections makes the prospect of getting ‘that’
I think it sounded to the original Sony of using the Japanese original, it almost sound and look more realistic. It is still
mic shortly, but first I’ll say that there was sounded as if some of the mix work had a substantial outlay, and I would always
not one point in the session where I was been done for you. Very minimal EQ recommend trying a mic in this price
aware that the GA-800G wasn’t working correction or enhancement was needed range out for yourself first, but I think
on a particular singer. This included on any of the singers. De-essing was Golden Age Premier have produced
a selection of both male and female required on some of the singers, but a very credible and more affordable
singers, and the vocal chain was a Neve for others, it just wasn’t necessary at all. recreation of a strange-looking but
1073LB preamp with a small amount It’s all about the top‑end ‘presence’ for wonderful‑sounding microphone.
of compression from a UA 1176 LN. As me with this mic, and the voicing of the
should be the case in a busy recording GA-800G definitely has that silky, present $$ $3999
session, the gear was a non-issue — a very high-end sound that I associate with the TT Rad Distribution +1 845 378 1189
WW www.raddist.com
good sign, in my opinion. original. I didn’t get a chance to try the
WW www.goldenagepremier.com
I had to do a quick mix of all the mic on as big a variety of instruments
REC O R D. P RO D U C E. A N Y W HER E.
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ON TEST
Elektron Model:Cycles
SIMON SHERBOURNE
FM Groovebox
C The Model:Cycles offers an easy and
ycles is Elektron’s second release
in their ‘Model’ range, joining the
Model:Samples. A lazy summary affordable way in to Elektron-world,
would call these entry-level Elektron
devices. They are certainly more affordable
and has a sound all of its own.
than other Elektron products, but there’s features and potential found on the other both 16 standard-issue ‘trig’ step buttons
more to them than that: they stand out Elektron boxes. and velocity-sensitive drum pads. As
in the range in terms of portability and on the RYTM, the larger pads require
straightforward performance control.
New Model Army a finger-bruising poke to reach high
Model:Cycles is a focused deployment In contrast to the metal militarism of velocities, and I couldn’t find an option to
of Elektron’s Digitone synth technology; the Digitakt and Digitone cases, the change the sensitivity globally.
the result of their sitting down to make Model:Cycles is slim, lightweight and The unit comes with a small power
a sequenced synth groovebox without plastic. It feels reasonably rugged, though, supply. As on the Model:Samples, there
samples. They’ve packaged up the and the stubby rubberised encoders are are connection points for a forthcoming
already accessible FM synth engine into tough and stable. The backlit buttons Power Handle (great metal band name)
six ready-to-play voices, each with four are small and a bit wobbly, but you get which will power the unit from AAs and
predefined macro controls. Driving these used to them. The panel takes a similar provide a handle-cum-kickstand (great folk
is a six-track sequencer, with all the familiar approach to the Analog RYTM in having band name). The battery port accepted the
Round the back things
are pretty simple, with
a micro USB port,
3.5mm MIDI In and
Out/Thru sockets and
three quarter-inch
sockets for audio out
and headphones.
connection from the small DC battery pack any machine on any track, and use the by category, and is useful for getting an
that I’ve used to run other Elektron boxes. same type on multiple tracks. You can also idea of the range of sounds available.
You can’t power it from the USB port, but parameter lock (automate) the engine Elektron devices don’t tend to do Kits as
I noticed the Model:Cycles only needs 5 selection so the sound type can change a concept very well. Here, the closest thing
Volts, so I tried a USB-to-DC cable into the within each track per step if you like. is the ability to load a folder of six presets
regular power port and it worked! I guess Though tones can be played melodically in one go. Saving your own kits in this
Elektron chose not to allow power via USB (monophonically), the Cycles is primarily set format is reasonably straightforward.
as it tends to cause noise problems. The up like a drum machine. Trigs placed on the But I barely touched the library, as it’s so
USB port provides MIDI comms with your step buttons play a designated pitch, as do easy and so much fun to dial in your own
computer, and lets you use the Cycles as the performance pads. You can adjust pitch sounds. The six sound machines in Cycles
a stereo audio interface. Sadly, there’s no per step easily enough, though, and in live are Kick, Snare, Metal, Percussion, Tone
Overbridge for plug-in-based control and recording mode, you can capture a melodic and Chord. Each comprises an algorithm
DAW integration. However, you can stream sequence using the trig buttons as built from the 4-voice FM synth engine,
audio using the audio interface feature, and a makeshift keyboard. External keyboards along with four macro controls for adjusting
I like that you can choose not to include can be used to record live, or to quickly key parameters. These Macros are adjusted
the effects. Unfortunately, I never got this enter note values into steps. with the Color, Shape, Sweep and Contour
to work. encoders, named vaguely enough to cover
The panel has a small display controlled
Sounds some quite different assignments within
entirely from a single push encoder. On The Model:Cycles has a sound preset the different patches.
the larger Elektron devices, all sound library, which is navigated a little awkwardly Kick can provide a typical range of
controls are based around screen pages. via the screen and encoder. It’s organised electronic kick sounds with a distinctly
On the Models, nearly all sound-design
parameters have dedicated encoders,
which is fantastic. The compromise is that
you have fewer parameters, and when you
do need to use the screen, it’s pretty fiddly.
The working structure will be familiar
for Elektron users. The basic building
blocks are Patterns, which store a six-track
sequence, but also all sound, effect and
Get the skills

modulation settings. Projects contain 96
patterns. There are six sound channels
to produce
or tracks, each of which triggers one of
the six sound types, called ‘machines’ in
keeping with the RYTM and Octatrack.
serious results.
Assignment is free-form: you could have
Elektron Model:Cycles
$299
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tone palette.
ON TEST
ELEKTRON MODEL:CYCLES
The Model:Cycles is compact and lightweight, measuring 270 x 180 x 39 mm and weighing in at just 0.8kg.
clean and solid character, but can be unison, through familiar chords, and on you want to be more positive) is that the
stretched further into extreme industrial to exotic territory. All four FM operators LFO can only be assigned to one thing
noise. With long decays, or with the are employed for the individual voices at a time. Velocity is the other available
Gate mode in the sustain hold mode, — a single encoder dials in how many, and mod source, although you need to use the
it will happily serve for 808 bass tones. which variation or inversion is used. Sounds display to assign this.
Unfortunately, there’s no glide! complicated, but you just twiddle until Finally, there’s a Punch button (I realised
Snare has a decent range, too, from it’s good! the loo-roll icon was actually a boxing
fairly realistic to traditionally synthetic, and All the sounds have Pitch and Decay glove) which adds boost and distortion
can do metallic clonks or tom-like tones as controls and sends to the two (sweet) to sounds. Like just about everything, this
well. Metal is set up for hi-hats and other Decay and Reverb effects. There’s also can be added to specific notes by simply
cymbals, which it does very nicely. With a dedicated LFO Speed dial and a Volume holding a step and pressing the button. In
low modulation it can work for detuned + Dist knob. This latter pushes the gain into this way it becomes a very effective and
melodic synth tones, too. a soft saturation; overall level and pan are pleasing Accent control, over and above
Percussion is best for pitched percussive track settings accessed on the screen. velocity variations.
sounds, from low tubs to higher clanks Beyond Decay, the only control you
and plops. Tone is the most conventionally have over envelopes is to toggle whether
Sequences
FM-like patch, with two operators that you sounds trigger and decay instantly, or The sequencer is the full Elektron family
can set a ratio and modulation amount for, sustain while a note is held. The only sequencer. As with all the other devices,
and some filter and envelope control to assignable modulation you have is a single the transport is always in Playback, Step
rein it in. LFO per track. This has suitable shapes Record or Live Record modes. You can
The Chord algorithm is the most fun, and trigger sync’ing to be used like an record unquantised, and you have full
and the one you’ll probably hear on a lot envelope if necessary. LFO assignment is timing nudge control over steps. I love the
of tracks in the next year or so! The two easy: you hold the LFO button, then turn non-destructive quantise feature. Patterns
primary macros here choose a chord and an encoder for the parameter you wish to can be up to 64 steps, across four pages.
which notes are played. There’s a huge modulate. Keep turning to set the depth. You can adjust the step resolution away
range of chords to choose from, from basic The big limitation (or simplification if from the standard 16th notes to get loops
longer than four bars. Tracks can all have mode. Very quickly, mad things can start
different lengths. to happen.
Parameter locking is the key to the What would be really useful when
power of the Elektron sequencer. It experimenting like this is an Undo
means you can stamp the level of any function. There isn’t a standard
parameter at any step, simply by holding Undo other than for Copy and Paste
the step and adjusting the controls. The operations, but there’s something
most fundamental parameter lock is the close that can be even better at
step’s note (set with the main encoder) times. A button shortcut can perform
but more complex settings such as the a Temp Save of the current Pattern,
machine type and LFO assignments while another shortcut Reloads the
can be locked too. Up to 80 different Pattern. These can be used for creative
parameters can be automated within performances and experimentations,
a pattern(!), and in fact you can lock allowing you to go off on a flight of
entire preset changes, which effectively fancy, generally messing up all your
changes every parameter at once. settings, then instantly returning to the
There’s a Retrigger button, which, stored snapshot.
very usefully, can have different settings The classic use for this Reload
for each track. Even better is that you function is to recover after using the
can lock Retriggers to steps for ratchets, All button (actually the Track button).
and can lock a speed, length and level Holding this modifier while making
fade-out for each instance — great for changes applies them to all tracks. It’s
beat-repeat effects. surprising how useful this trick is for
Conditional Locks are another creating breakdowns, build-ups and
trademark Elektron feature. These are weird variations. A more mundane
trigger parameters that determine feature that I found myself using all the
whether a trigger plays or not. The most time for jamming is that holding any
common ways these are used is to set up track’s pad works as a temporary mute.
Fill pattern variations, and to introduce That is, unless you latched Retrigger
randomness. All this is accessed from on for the track, which is itself a great
the Chance encoder, the default function impromptu fill maker.
of which is to apply a percentage
randomness to all trigs on the current
Conclusion
track. With the Func (Shift) modifier, this The Model:Cycles reminds me of
encoder accesses the other conditions some of my all-time favourite little
that can be applied to individual steps, grooveboxes, like Korg’s ER-1 and the
starting with Fill. This one-knob method rhythmic synths in Reaktor’s classic
takes what can be quite an esoteric library. It’s the easiest Elektron device
feature on most Elektron instruments and to master, and once you do, you can
makes it a whole lot more accessible. quickly lay down interesting rhythmic
parts with dynamic movement, and
Life Cycle then jam out a performance. Just like
You could go a long way with the with the ER-1, I really enjoyed trying
Model:Cycles sequencer following the to push it into weird territory to see
traditional workflow of creating and what it can do. As the sound is novel
launching Pattern variations. (It’s a shame and distinctive, I found myself worrying
you don’t have the Analog RYTM’s that it might be too recognisable and
Direct Jump or Temp Jump Pattern over-used on the next year of electronic
trigger modes, but to be fair, neither music releases, but then realised what
do the Digitone or Digitakt). But what a crazy thought that was against the
really brings things to life is setting up backdrop of 808s and 303s. Of course it
dynamic movement within Patterns, and doesn’t have the range of the Digitone,
interacting with them in real time. and the lack of Overbridge is a shame.
For example, you can punch in some But it has a focus and immediacy
hi-hats, then quickly lock longer decay that mean I’d probably end up using
times to some of the trigs. Now you this much more, especially for live
have open hats interspersed. Now try performance or jamming.
adjusting one of the other macros on
a few steps and you get interesting
$$ $299
expression. Maybe you could open the WW www.elektron.se
delay send on a step, or toggle the gate
ON TEST
JBL IRX108BT
PAUL WHITE
W
hen JBL designed the
compact, two-way, active
IRX108BT speaker, they
clearly went out of their way to make it
meet a wide range of needs. At one end of
the spectrum we have gig PA applications,
Active PA Speaker
perhaps using the speakers in pairs, while JBL’s compact new PA speaker is small and
at the other we have presentations and
other scenarios where a single speaker
cheap — but sounds quite the opposite!
might be adequate, as well as on-stage common applications, and basic mixing is At the rear of the cabinet is a metal
monitoring — it has multiple applications afforded courtesy of two mic/line ‘combo’ plate that houses the control panel, and this
wherever amplified sound is required. Its jack/XLR inputs and the aforementioned is recessed to keep it safe during transport.
onboard DSP provides EQ and features Bluetooth input. There’s also an XLR ‘thru’ The only variable controls are gains for
dbx feedback suppression, while for DJ use output that can be used to feed additional the two input channels and a master
the speaker also incorporates Soundcraft’s powered speakers. A larger 12‑inch, the volume — everything else is controlled
‘music ducked by voice’ system. Music IRX112BT, is available for those who need by buttons. There’s no phantom power,
can be streamed into the speaker via more power. though for larger‑scale applications most
Bluetooth 5 (supporting Bluetooth True Assembled in China to keep the selling users will probably employ an external
Wireless Stereo for when you’re using price down, the speakers are designed mixer anyway. At the top of the panel are
pairs of speakers), and everything has in the US by JBL. The cabinet is moulded the four voicing preset indicator LEDs,
been designed to be easy to use for from polypropylene and houses a JBL stepped through using a single button,
non-experienced operators. Four EQ 8‑inch bass/mid driver augmented by and there’s also a power button. In the row
presets called Music, Vocal, Speech or Flat a 1-inch titanium tweeter, both protected below are latching buttons to bring in Bass
match the speaker response to the most by a full-size frontal honeycomb steel grille, Boost, Anti-feedback and Music Ducking,
which is backed by plus there’s a momentary-action button for
acoustically transparent Bluetooth, which you press and hold for
fabric to prevent the two seconds to start the pairing process.
ingress of dust. The There’s no separate level control for the
cabinet shape means Bluetooth input, so this has to be adjusted
that the speaker can at source. All the Bass Boost, Anti-feedback
be positioned at an and Music Ducking functions are either
angle as a horizontal on or off — there’s nothing to adjust. The
floor monitor, if ‘combo’ and XLR thru connectors are
desired. A standard directly below the rotary controls, with an
35mm pole-mount IEC power inlet at the bottom of the panel.
socket is moulded
into the cabinet
In Use
base along with side In my practical tests this speaker didn’t
and top handles. disappoint: it is much kinder to music than
Dispersion is quoted as
90 degrees horizontal
by 60 vertical, and JBL IRX108BT $329
a frequency response
is given of 54Hz to pros
20kHz (±3dB), along • Loud, clear sound.
• Useful anti-feedback and ducking features.
with a peak SPL
• Bluetooth audio input built in.
specification of 124dB. • Can be used to mix in two microphone or
Power comes from line sources.
a Class‑D, 1300W • Light and portable.
(peak) bi-amping
cons
pack run from
• No phantom power.
a switch‑mode PSU,
so the speaker is fairly summary
light at under 8kg. The JBL IRX108BT is a very capable
Its overall size is 258 and good-sounding speaker well suited to
smaller pub and club performer ensembles
x 313 x 486mm, so and also loud enough to use with a band in
a pair should fit in small venues, as long as it’s mainly handling
the back of even the just vocals.
smallest car.
most two-way ‘box’ speakers equipped latter. This speaker can get surprisingly
with larger drivers, and while not quite loud before sound quality starts to suffer,
up to studio monitor standards, presents and the anti-feedback feature is a great
recorded music as well balanced, without help for those with quieter voices. A pair
losing mid-range clarity in the way would work well for solo artists, duos or
that some large PAs can. Vocals come even a full band, as long as you don’t put
over clearly without undue harshness drums through them. Add an active sub
or honkiness, and there’s also more of and you’d have a very powerful yet still
a punchy bottom end than you might compact system that would work well for
expect from such a compact speaker. If live music or mobile DJ use. JBL describe
vocals are all you’re putting through it, the IRX108BT and IRX112BT as entry‑level
though, the Vocal preset to curtail the low speakers, and their pricing reflects that, but
end helps avoid feedback problems and their performance may surprise you.
reduces spill from bass instruments.
Either mic input works to duck the
$$ $329 per speaker.
Bluetooth audio stream when the ducker
TT JBL Professional +1 818 894 8850
button is engaged: as soon as you speak WW www.jblpro.com
the music level drops significantly, then All controls and inputs reside on the rear panel.
fades back in as soon as you stop speaking.
The anti-feedback processing also works
very effectively if used correctly when
ringing out the system, and is able to get
rid of problem peaks and ringing without
compromising the basic sound. This feature
employs well-established dbx technology,
deploying very narrow notch filters to
match the feedback frequencies. There
are 24 notch filters in all and if you need
to reset them you can press and hold the
Anti-feedback button for three seconds,
upon which the Vocal and Speech LEDs
light three times to confirm your action.
The best way to set it initially is to turn up
the mic level until feedback starts, wait
for the filter to notch it out, then increase
the level a little more to tackle the next
peak that arises. If you do this four or five
times, there will still be filters left to step
in during performance if the mic is moved,
though pre-feedback ringing generally
becomes very audible before the feedback
suppressor catches it so the more you can
do at the setup stage the better. When
you’re done, it is safest to back off the
overall level by a few dBs.
Given its typical UK price of around
$300 in the stores, the IRX108BT is
extremely good value — you could buy
a pair for less than the cost of a typical
budget mini line array, and because
of the relatively small main driver, the
sound quality rivals that of compact
column speakers, albeit without the
wide, shallow dispersion pattern of the
Alternatives
The Mackie SRM350s would be worth
considering, but there are many small
active speakers on the market at a range
of different prices from companies like
Behringer, ART, RCF and others.
ON TEST
Sonokinetic Sample Library

Ibrido Cinematica
Want your spine chilled and your
nerves jangled? Sonokinetic are
on the case.
ROBIN BIGWOOD Ambiences,
Shorts, Noise
T
his first release in a new Sonokinetic & Drops and
‘hybrid’ product series focuses Shine & Crush.
on futuristic cinematic textures, That may not
atmospheres, hits and drops. Like its more sound like very
expensive orchestral-series counterparts, many, but as
Ibrido CInematica uses a chooser interface the majority
to load fully formed, production-ready are towards
samples into four playback slots. These are a minute long,
then triggered together or independently it actually adds
with MIDI notes, either live, or sequenced up to hours
from your DAW. Where it differs from the of content.
orchestral libraries is that the samples You explore
don’t conform to DAW tempo or follow and load them
your harmony: most have no discernible using a mouse
rhythmic or harmonic content. But with or NKS-driven
many playback features capable of chooser, in
The phrase chooser.
modifying and shaping the original material which everything is descriptively named
in quasi-musical ways, this compendium of and durations are given. Every sample also zone in on sample regions of your choice.
out-there effects could, I think, still offer as has a preview button which gives a brief Sample playback is monophonic, by
much to the electronica/dance producer as taster of how it sounds. Combinations of the way, but legato melodic playing will
to the film/TV/game composer. samples can be painstakingly assembled, seamlessly change pitch over the course
or you can opt to load four at random, of playback, and using long samples it
Nuts & Bolts which can be inspiring and at least a good is certainly possible to eke out weird
Ibrido Cinematica runs in Kontakt (and starting point for further explorations. almost-melodic lines that ebb and flow as
Kontakt Player) 6.2 and up, and is By default, all phrases are triggered
compatible with Komplete Kontrol/NKS across a wide C-1-B6 MIDI pitch range.
1.5 or later. It’s Sonokinetic’s first library They change pitch and duration across Sonokinetic
that has optional spoken parameter and the range too, in old-school fashion, and Ibrido Cinematica €79
value narration, which can be useful for there’s no attempt to preserve pitch or
visually impaired users. Samples are all duration as either changes. This is good, pros
44.1kHz, 24-bit, and the installed size actually, because it lets you mine the often • Hours of ready-to-use beds, textures, rises
on my Mac was 3.5GB. Installation, weird character that ensues with pitch and drops.
• On-board playback features allow
authorisation and updates are handled by extremes, and of course those minute-long extensive manipulation of original
NI’s Native Access app, and as is typical samples will end up far longer played material.
of Sonokinetic products, the supplied PDF down two octaves. However, it’s still easy • Simple to grasp, and fast and stable in use.
documentation is first-class. There’s also an to set a more restricted note range for
cons
excellent video tutorial on the Sonokinetic a slot, which allows it to be triggered
• No per-slot filters.
website that covers every feature in independently from others. Each also • The automation scheme, though useful,
about 10 minutes flat, and is useful at has adjustable attack and decay times can feel slightly underpowered with very
least to decode some of the more cryptic for volume (up to several seconds) and long-duration samples.
user-interface elements. multiple playback direction and looping
summary
modes (to turn drops into builds, set
The Full 360 up build/drop combos and much more
Need spacey, spooky, strange, quirky
atmospheres and hits to underpin your sci-fi
The library is based around 360 samples besides). Meanwhile, adjustable sample scores and electronica? Look no further...
organised into four main groups: start points and loop regions let you
Automation overlays (pitch is shown here, with four samples loaded)
let you twist the original material out of recognition.
they go on. Very interesting. At all times, playback volume can

be controlled in real time from your mod wheel.
Significantly more shaping potential comes via a graphical
automation scheme for volume, pan, pitch and a hall-type
reverb. By switching away from the uncluttered ‘Zen Mode’
your phrases suddenly gain automation curves/graphs that
can be modified with freehand mouse sweeps or a cluster of
controls that generate sine, saw, square and random curves with
adjustable amplitude, frequency and phase.
Scary Movie
Amongst the hours of sample content I found no duds, but
it’s fair to say the range of character is somewhat narrow.
Everything is skewed towards sci-fi, horror and fantasy, being
mostly electronic, complex and edgy in style. Cinematic yes, but
decidedly not for rom-coms or historical dramas! However, it’s
not all dark, spooky and threatening, and many long-duration
atmospheres and drones are usefully generic. ‘Shorts’ are varied
too, and aside from obvious weapon/android power-up/down FULL ISSUE PDF
FX there’s enough playback flexibility for these to be a useful
source of new textures or percussive hits too.
One thing I missed was a low and high-pass filter per slot,
to help dense multi-layer atmospheres sit together better. Sound
Sound OnOn Sound
Sound now
now offers
offers our
our Full
Full
You could work around this using multiple instances and DAW Issue PDF. This complete digital replica
Issue PDF. This complete digital replica
plug-ins, of course, but it’s not as convenient. Some users may of
of the
the Print
Print magazine
magazine includes
includes all
all
also wish that the fastest automation curve frequency was
greater: over the course of a very long sample, parameter
articles and adverts published
articles and adverts published
in that edition.
changes will occur relatively slowly. In fact I started to wonder in that edition.
if this was an aspect of the playback system that could usefully THE WORLD’S BEST RECORDING TECHNOLOGY MAGAZINE 1985 — 2018 THE WORLD’S BEST RECORDING TECHNOLOGY MAGAZINE 1985 — 2018 THE WORLD’S BEST RECORDING TECHNOLOGY MAGAZINE 1985 — 2018
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ON TEST
Wes Audio Prometheus

Digitally Controlled Analogue EQ
Two channels of Pultec-style EQ in a 500-series module would be
enough for most manufacturers. But not for Wes...
M AT T H O U G H T O N allows them to host double-wide modules. 10Hz and 150kHz, and there’s plenty of
With third-party racks, the USB connection headroom, with a maximum output of
W
es Audio are one of a small is via the front panel, but Wes also make +24dBu. Since it also permits precision
handful of pioneering a high-quality chassis with USB connection, matching of settings across the two
companies developing the Titan, which communicates with ng500 channels, it’s tempting to describe the
analogue hardware that can be digitally modules via the card edge connector . Prometheus as a mastering processor. It
controlled from a DAW plug-in. You just would suit that role, but given that it can
hook up their devices’ analogue I/O, as with
Overview be configured for dual mono, L-R stereo, or
any analogue hardware, connect to your The Prometheus is a high-quality device Mid-Sides use, it’s incredibly versatile, and
computer over USB, and enjoy two-way built with top-notch components. Noise just as useful when recording or mixing.
communication with your DAW. Importantly, and crosstalk are low, frequency response A single set of rotary encoders governs
though, Wes Audio’s implementation of this with the EQ set flat is within -2dB between both channels when in L-R stereo mode,
concept means that everything can also be
controlled from buttons and touch-sensitive
encoders on the front panel — while you can
enjoy the convenience of DAW integration,
you don’t have to.
One of the most recent additions to
their portfolio is the Prometheus, which
is, in essence, a two-channel, passive,
solid-state EQ, akin to the famous Pultec
EQP-1A but without the valve stages. The
design, which uses Carnhill inductors, is
delivered in the popular 500-series module
format. It’s one of a growing number of such
‘ng500’ modules from Wes, all named for
the Titans of Greek mythology. Consuming
only 70mA per rail, it will work in any VPR
Alliance compliant 500-series chassis/power
supply unit, as long as the physical layout
Wes Audio
Prometheus $1399
pros
• First and foremost, it sounds good!
• Two-way communication with the plug-in
allows automation to be read and written.
• Hardware controls for all parameters; no
computer required.
• Clean, punchy sound, but with harmonic
options to add colour when wanted.
cons
• None.
summary
Wes Audio’s Prometheus — which sounds
great, is easy to use, and offers good value for
money — integrates with your DAW better
than almost any other analogue hardware
I can think of.
96 July 2020 / www. s o u n d o n s o u n d . c o m

but when in dual or M-S mode, two large
buttons set whether they apply to the
Left/Mid channel or the Right/Sides.
The EQ control layout adheres to the
familiar EQP-1A paradigm, with three
separate EQ bands: a low band, with both
cut and boost controls at (nominally) the
same frequency, and separate high boost
and cut bands. The low band has three
encoders: one for cut, one for boost and
one to select the frequency (20, 30, 60,
100, 120 or 250 Hz). The high boost also
has three knobs: one for boost, one for
bandwidth, and one for frequency (2, 3,
4, 5, 8, 10, 12 or 16 kHz). The high cut has
two: one for the amount of cut, and one
for frequency (4, 8, 12, 20 kHz). One more
encoder sets the output level (±15dB), and
operates post the EQ circuit.
The collection of buttons below the
encoders allows you to select L-R, M-S or
dual mono operation, to engage a hard
bypass, and to make plug-in style A/B
comparisons between two settings —
I can’t emphasise enough how refreshing
it is to have that facility on a hardware EQ!
There’s also a button to engage a harmonic
distortion circuit. The link betweeen the plug-in and the hardware is two-way, so as well as storing/recalling presets,
The control plug-in is, sensibly, styled you can record and play back automation from your DAW.
to resemble the hardware, so you instantly
know where all the main channel controls hardware. The LEDs and backlit buttons convenience we’ve grown accustomed to
are. The main difference is that there’s a set make it easy to see what the current settings with plug-ins, but isn’t an option with most
of controls dedicated to each channel, are, and I love the way the LED circles glow hardware; you’d need to invest in a second
so you don’t have to switch between brighter for the encoder you’re turning. If unit. I’ve used a few plug-in controlled
them. There’s also a helpful graphical you’ve ever used a EQP-1A-or similar EQ, hardware processors, and this is one of
representation of the EQ curve beneath whether hardware or a plug-in, operation the most elegant and unobtrusive control
the virtual encoders. Beneath this are will feel instantly familiar. systems I’ve encountered.
the equivalent of the hardware’s button I’d characterise the sound as generally
functions, and you have access here to more clean and punchy, in that it doesn’t suffer
The Bottom Line
comparison snapshots than via the hardware from the low-end softening effect that Cutting to the chase, I loved the
(and, of course, to your DAW’s plug-in afflicts some valve-based Pultec clones I’ve Prometheus. It sounds classy and the layout
preset management system). used, and transients all emerged pleasingly is right too. The software is well executed
The installer is a chunky download. The intact. But there’s still a subtle character and hassle-free, and as you can also use it
Mac version (there’s a Windows one too) to it. It’s hard to ‘drive’ this processor into without a computer it’s as future-proof as
is a shade over 400MB, and contains AAX, distortion, given the acres of headroom, any other hardware. I’d probably invest in
VST2 and VST3, and AU versions of all but the THD adds a little more colour to a Titan rack if I were buying more than one
Wes’ hardware-control plug-ins. But once proceedings, which I often found very of these ng500 units, since the front-panel
downloaded, installation is pain-free, and welcome. It’s a pleasant, musical-sounding USB connections could get in the way. But
once in your DAW, you just select which distortion, and you can choose from two other than that, it’s all great. The price is
connected Wes unit you want to control and settings in addition to off: Med (1% THD) modest for two channels of this quality,
you’re off. Almost all the parameters are and a more audible High (2.5%). Switching even before you throw in the two-way
automatable, though I couldn’t find a way to between any settings, including the different communication with the plug-in. That it’s
automate switching between stereo, mono channel configurations, is quick and quiet. so configurable and versatile means it
and M-S modes. Not that I’d want to... Bringing the plug-in into play, it was great represents better value still. Did I mention
to have settings made using the hardware there’s a two-year warranty included in the
Hands On controls automatically recalled next time price? Bravo!
I started with the Prometheus as a standard I opened my DAW session, and automation
hardware device, not connected to my read/write is a great bonus — for example, it $$ $1399.
computer. The digital control makes it look allowed me to change settings in an instant TT MusicMax Distribution +1 614 897 0007.
WW http://musicmaxdistribution.com
and feel a bit different, but the layout is to process the different kick sounds I’d
WW http://wesaudio.com
clean and spacious, and it all feels like ‘real’ used in a verse and chorus. It’s the sort of
ON TEST
generators, a keyboard or four store. The pair of CV outputs above

independent LFOs. each slider changes depending on
On its own, the 20HP Tetrapad the chosen role. In fader mode,
makes an excellent multi-purpose the CV outputs will generate
controller. When adding the 8HP voltages dependant on position
expander, however, the functionality and pressure. In crossfader mode,
of the Tetrapad changes so much they will generate the two sides
that there is actually a separate of a crossfade, with both outputs
manual for the Tetrapad plus generating +5V when the crossfader
Tête. Everything the Tetrapad is in the central position. In
can do on its own is still possible, euclidean mode, the first CV output
but the Tête becomes the brains will generate triggers according to
of the operation adding extras the current tempo and euclidean
like an OLED screen, sequencer, settings. The second CV output
gesture looper, preset saving, plus reflects slider position. In switch
a selection of freely assignable mode, the physical slider is split into
Intellijel Tetrapad & Tête modulation inputs and outputs. two halves, each of which becomes
Together they work in one of a switch, with the CV outputs
Eurorack Modules three modes: Combo, Notes or generating on/off signals. In LFO
T
he Tetrapad and its expander, the Tête, offer Voltages. Combo mode is perhaps mode, the two CV outputs generate
a wealth of functions based around four touch- and the most flexible, allowing for each phase-opposite versions of the
pressure-sensitive sliders. On the TetraPad itself, of the four sliders to be configured chosen LFO shape, while the slider
each slider offers a pair of CV outputs and a clickable separately. Each slider can be controls the LFO speed. In voltage
encoder used for a variety of functions. In its default assigned a role as a simple fader bank mode, the slider is split into
mode, each slider outputs fader position and pressure (unipolar or bipolar), crossfader, four trigger zones, each of which
CVs, but by switching modes the sliders can be set to euclidean pattern generator, dual can store a pair of voltages which
function as switches, drum pads, voltage stores, chord switch, LFO or a four-way voltage appear at the CV outputs when that
zone is triggered.
Most modes
allow you to tailor
the CV output range.
For example, full
range for a bipolar
fader or LFO would
be -5V to +5V, but
this can be reduced
as far as -1V to +1V.
Additionally, and
where appropriate,
the CV outputs can
be quantised to
a chosen global key
and scale. It’s a lot of
fun generating scale-
quantised CV streams
from LFOs and sliders.
All modes also allow
latching, where the
slider remembers
the last position of
Intellijel
Tetrapad
20HP
+12V 130mA
-12V 15mA
Intellijel Tête
8HP
+12V 120mA
-12 6mA
the slider rather than snapping back to a zero position on a per modulation input basis. focused package. All three work in
when you remove your finger. Lastly, each slider can Phew. There is more that the same way. At the top are three
have variable slew applied to it, allowing for CV values to I haven’t covered, like the clever buttons which are used to select
glide smoothly from one to another. use of LED colours to indicate one of the 24 onboard algorithms.
In Notes mode, the four sliders work together as the type of CV being produced, A long press selects one of three
a touchpad keyboard of up to 16 keys. The CV outputs or the fact that you can save and preset banks, and then subsequent
are no longer grouped as pairs, but instead output four load entire setups to the internal short presses rotate around the
1V/oct CVs (so you can output four-note chords), trigger, storage. And I particularly like that eight algorithms contained in that
gate, key position and key pressure. The keyboard, and the Tête will automatically recall the bank. There is no screen, so the
its four pitch CV outputs, can be configured to work current settings when you power only visual feedback to show which
in a variety of ways. By Scale will auto-map keys to the cycle, so it will always boot up algorithm you have loaded is from
global key and scale, with diatonically shifted versions exactly as you left it. the three buttons which light up in
of the scale appearing at the four outputs. By Chord There’s a lot to like about the various combinations. The manual,
allows each key zone to output a four-note chord with Tetrapad and Tête combo. Intellijel of course, will enlighten you on
inversions and rotations supported. Finally, for those have made a feature-heavy module exactly which algorithms are which.
who like total control, you can manually map each zone which doesn’t feel overwhelming. Each module is mono in,
and output to a specific note. Reading the manual is a necessity stereo out. There are controls for
Voltages mode behaves much like Notes mode, but but, once you do, everything Time, Feedback (or modulation,
is not concerned with chromatic beautification, although becomes logical and well depending on the algorithm),
you can still quantise the output. Instead it stores eight implemented. If you’re looking for Fidelity, Input gain and dry/
voltages (one for each CV output) in up to 16 zones. a touchpad performance module wet Mix. Most of these will be
The voltages can be entered manually or randomised. with powerful sequencing and self-explanatory, but the Fidelity
Voltages is a great way to recall specific sound states in gesture recording, the Tetrapad control is worth a closer look.
the rest of your modular — a preset storage system — and Tête should be high on your Fidelity allows you to directly
and is especially fun with slew applied to the outputs. list. Rory Dow change the processing clock of the
In any mode, you can make use of the Looper, which $$ Tetrapad $299, Tête $299. CPU. This slows down the algorithm
will record and play back your finger movements on the WW www.intellijel.com processing in a very digital way,
sliders. A dedicated set of transport buttons triggers but has a rather delightful effect
recording and playback. Looping can be sync’ed to
internal or external clock, or not at all. In Combo
Tiptop Audio ZVERB, on the ensuing audio. Normally,
you would keep the Fidelity control
mode, any of the four sliders can be excluded from the ECHOZ & Z5000 at full, but if you begin to reduce
Looper, allowing you to mix and match ‘live’ sliders with Eurorack Modules it you’ll notice delays and reverbs
looped ones. getting darker and longer until they
J
In Notes and Voltages mode, the Looper can be ust over a year ago I reviewed begin to exhibit digital artifacts and
swapped for a fully fledged SH-101-style sequencer. This the Tiptop Audio Z-DSP NS. eventually turn into a lo-fi digital
allows you to program and play back up to 256 steps of It’s a large, flagship, modular landscape. It’s a feature passed
notes or voltages. Both the Looper and the Sequencer effects processor which uses down from the Z-DSP and I’m very
don’t record the actual CV values at the outputs, but removable cartridges to change the glad that Tiptop Audio decided to
instead record what you press on the sliders, which algorithms available within. I was keep it in these smaller modules.
means you can, for example, change a certain chord very impressed with the quality of In addition to the input and
shape in Notes mode, and the sequencer will output the the effects. output sockets, you get three CV
new chord when the appropriate zone is triggered. The first incarnation of the Z-DSP inputs labelled Filter, Time/Fidelity
When playing back, both the Looper and Sequencer was released in 2009, along with and Mod (or Feedback). The middle
benefit from what Intellijel call ‘Loopy’. It’s activated the original Z5000, and Tiptop socket has a small switch above it
using the dedicated button in the transport controls and have been quietly amassing a large to switch the destination of the CV
enables a sub-loop within the overall sequence. If you library of effects algorithms since to either Time or Fidelity. These CV
were playing back a 16-step sequence, and you have then. It makes perfect sense, then, inputs give you direct CV control
Loopy set to three steps it will, when enabled, loop the to release these effects in smaller, over the corresponding parameters
next three steps in the sequence until disabled, at which more focussed format. The Z-DSP in each algorithm.
point the 16-step sequence will carry on from where is a sizeable 28HP. The ZVERB, Let’s take a look at each module
it would have been. Loopy is a nice little performance ECHOZ & Z5000, on the other in turn. ZVERB is your choice for
trick, and becomes even more interesting when hand, are just 8HP each. That means reverb. The 24 algorithms are split
triggered externally using the Tête’s modulation inputs. you could own them all and still use into three groups: ‘70s, ‘80s and
The six modulation inputs and three outputs on the less space than the Z-DSP. ‘90s. I think this is a nice way of
Tête can be assigned to a huge array of functions, more The ZVERB focuses on reverbs, grouping reverbs, depending the
than I could possibly go into. By default they are set to ECHOZ on delays and the Z5000 vintage character you’re looking
clock functions, allowing you to use an external clock is an all-rounder with a bit of for. The 1970s reverbs were the first
to sync, trigger and reset the sequencer or looper. But, everything. These modules use the generation of digital reverberation
they can be re-assigned to control Loopy, automate slew, same processors and, largely, the and many classic units are still
offset slider values, change scales or select banks. In same algorithms as the Z-DSP, so revered. The ’80s saw the first
Combo mode, you can choose to target specific sliders you get all the quality, but in a more budget reverb units and the ’90s
ON TEST
saw further development and higher quantised chromatic intervals, micro multi-effects, and at this price and module size, I really
fidelity than ever before. Each pitch-shifting, shimmers or just cannot complain about the variety of effects on offer.
group contains reverb types like gentle detunes. My only gripe is that, for anyone wanting to own
Room, Hall, Plate and Ambience, The Z5000 is probably the more than one unit, the configuration of mono to stereo
but a few speciality algorithms are module to go for if you can only isn’t ideal (note the original Z5000 and Z-DSP from 2009
thrown in too. For example, the afford one, or have limited space. are stereo in/out). That means that, when cascading
‘70s bank contains ‘Space Station’, The effects are split into Reverbs, effects, you lose the stereo field of all but the last effect
a recreation of the Ursa Major Space Delays and Pitch/Modulation. Most in the chain, which is a shame. Had the modules been
Station. It is actually a multi-tap of the reverb and delay algorithms stereo in and out, this wouldn’t have been a problem.
delay, but capable of some lovely are shared with the ZVERB and The question comes down to which one(s) to buy (and
reverb‑style effects, and ‘Tape > ECHOZ, but the Z5000 only has whether you want black or white faceplates). Many of
Plate’, which emulates a tape echo eight of each. The third bank, the algorithms in the Z5000 are also found in ZVERB and
going into a Plate reverb. The ’80s however, contains modulation ECHOZ. As it stands, I would urge those that have big
bank contains a couple of ‘shimmer’ algorithms not found on the other systems to check out ZVERB and ECHOZ, and perhaps
algorithms, clearly influenced by two modules: chorus, flanging, add the Z5000 if it appeals. If you can only afford one,
Eventide‑style pitch-shifting, and string ensemble and formant filters. and have need for a variety of bread-and-butter effects,
a ‘Blooming’ algorithm inspired It must be said that the overall the Z5000 is the obvious choice. If true stereo effects
by budget Alesis boxes like the quality of the effects found in all are important to you, then you’ll have to look to the
Midiverb and Quadraverb. The ‘90s three modules is extremely high. Z-DSP. Whatever you choose, I promise you won’t be
offers more advanced pitch-shifting I really can’t fault them at all. disappointed with the sheer quality and breadth of
reverbs and even a formant filter Occasionally I found myself wishing effects on offer. Rory Dow
verb for vocal-like effects. for more parameters on a certain $$ $200 each.
ECHOZ groups its delay-based algorithm, but that’s the nature of WW www.tiptopaudio.com
effects into Tape,
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banks. The Tape
delays include mono
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three-head, chorus
and ‘wobbly’ effects
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tape motors. The
Digital bank offers
mono, ping-pong,
BBD, filter, diffused
and multi-tap
delays, and the
Pitch programs
cover a variety
of pitch‑shifter
configurations
both in and out
of the feedback
loops, or with
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ON TEST
dSONIQ Realphones
SAM INGLIS
Headphone Correction &
T Virtual Studio Software
here are now many ‘room
correction’ systems, which will
measure the acoustics of your
control room and attempt to flatten them Realphones aims to put all the software tools
out in software. The same principles can
be applied to headphone monitoring
you need for perfect headphone monitoring
— arguably, with fewer compromises in one neat package.
— but there seems
to be much less
choice. Sonarworks’
Reference system has
thus cornered a large
part of the market for
headphone correction,
and Toneboosters’
Morphit was the only
alternative I knew
of. Now, there’s
a third contender.
Realphones, from
Russian developers
dSONIQ, closely
resembles Sonarworks
Reference in many
ways, but there’s one
key difference. Whereas
Reference is designed
to work equally well
with headphones and
loudspeaker-based
monitoring systems,
Realphones is targeted
purely at the former.
But, unlike Reference,
it doesn’t just correct for the deficiencies as a ‘system-wide’ utility. This latter mono button, these include the option to
of your headphones: it includes optional interposes itself between your operating audition only the Sides signal, separate
binaural processing that attempts to system and audio interface, so it looks to left and right channel mutes, channel
recreate the experience of listening on music software like a stereo output device, swapping, right-channel polarity flipping
loudspeakers in a control room. So you and is certainly the easiest solution if you and a three-band DJ-style crossover that
could think of Realphones as combining never need to switch to loudspeakers. can be used to solo or mute the low, mid
the functionality of Reference with With the plug-in version, of course, you and high frequency bands. I could wish
that of Waves’ Nx (albeit without the need to take care to avoid inadvertently that they had gone still further and made
head-tracking), or the old Focusrite bouncing mixes through Realphones. the system-wide version a plug-in host
VRM Box. There’s no Sonarworks-style visual in its own right, so that you could use
indication of what EQ curve is being your own choice of analysis tools, but this
The Real Thing applied to your headphones but, to would be a huge development job.
I’m not sure whether Sonarworks will compensate, Realphones does have one Like Sonarworks, dSONIQ supply
feel more flattered or alarmed by the or two nice features that aren’t available generic correction profiles for various
similarities between Reference and in Reference. The system-wide utility has popular models of headphones; these
Realphones, but these similarities are too a built-in music player that could be used are averaged from measurements taken
obvious to go unnoticed. Like Reference, to house your mix references, and all from multiple test samples, so reflect
Realphones is available both as a plug-in versions boast a comprehensive set of mix the broad character of each model. If
(in VST, AAX and Mac AU versions) and checking tools. As well as the expected you want correction that’s accurate to

more than ±3dB or so, you can send
your specific pair of headphones to their
labs, where they will generate a custom
measurement file for you. Again, this
mirrors the identical service provided by
Sonarworks. At the time of writing, the
list of headphones for which a generic
Realphones profile is available isn’t quite
as comprehensive as the Sonarworks
equivalent, but it’s still pretty impressive,
clocking in at over 90 models. Pricing
varies depending on how many of these
you need access to, with the ‘full fat’
Ultimate Pack offering unlimited choice
and the most affordable Lite Pack
including only generic Open and Closed
profiles, rather than anything specific to
a particular headphone model.
Under Pressure
As with Sonarworks, it’s possible to apply
The ‘system-wide’ version of Realphones includes a built-in music player (lower left).
less than 100 percent correction, but there
are also a couple of other controls relating a bit of a boost in the upper mids, but switching to the C position in that module
to headphone correction that are unique Sonarworks applies it a touch more automatically loads the NS10 emulation
to Realphones: Presence and Pressure. vigorously. Headphone calibration is not in the Speaker Simulation module and so
Everyone’s head is a slightly different shape, an entirely objective matter, and neither on; but it doesn’t have to. There’s a total
and headphone earpads deteriorate with is right or wrong — but both are, in my of 12 options to choose from, including
use; Pressure is intended to compensate opinion, a worthwhile improvement on several other pairs of Yamaha monitors,
for perceived changes in headphone the unprocessed sound. BBC LS3/5As, Auratones and various
timbre due to tighter or looser fit. The However, that wasn’t the case with consumer systems. The amount of speaker
audible effect is of a very gentle shelving my Shure SRH1840s. I think of these as simulation can be varied using a wet/dry
EQ, bringing up the bass and low-mids at being pretty neutral to start with, and control labelled Speaker Response, and
positive settings and attenuating them at the generic Sonarworks SRH1840 profile you also get another pair of more obscure
settings below zero. I never found I wanted echoes that assessment, changing very controls labelled Density and Warmth.
to shift this away from this centre position. little below 8kHz or so. By contrast, Density is supposed to compensate for the
The Presence control is supposed to Realphones altered the sound of the absence of the low end that we feel rather
recreate psychoacoustic effects caused cans substantially, and not for the better.
by our own bodies, heads and outer ear, The ‘corrected’ SRH1840s sounded
which take place in a diffuse field but dull and honky. dSONIQ Realphones
are missing on headphones. The effects
Working The Room From $65
of this control are most apparent in the
upper mid-range; I found that the default The additional psychoacoustic processing pros
75 percent setting gave everything an in Realphones is divided between three • Effective headphone frequency correction.
unpleasantly gritty, sibilant edge, and related modules called Binaural Room • Versatile speaker and room simulation.
• Very useful ‘master section’ mix-checking
I much preferred it backed off a bit. Simulation, Binaural Sound Source
functions.
Creating a level playing field between Positioning and Speaker Simulation. The • Feels like a mature and polished product.
Realphones and Sonarworks requires first lets you choose a room and monitor • Can be used as a plug-in or as
Pressure and Presence both to be set to position from a drop-down list: currently a stand-alone system-wide application.
zero, and Realphones’ other processing this is populated only by the three options
cons
modules to be turned off. Doing this available for the unnamed ‘Moscow film • Some of the controls are quite obscure.
reveals that although the two packages studio’. An Ambience slider runs from 0 to • There seem to be one or two bad apples
usually pull in the same direction, there 200 percent, the centre position mimicking among the headphone profiles.
are differences in the detail. For example, the amount of room reflections a real-world • No way of visualising the correction curve
that’s being applied.
the generic profile for the Oppo PM-3s listener would hear. Thus, if you mute the
• It would be nice if user HRTFs could
in both cases attenuates the lower Ambience or reduce it to zero, switching be loaded.
mids and applies a broad treble lift, but between the monitor positions only
Realphones places more of an emphasis has an effect if the Speaker Simulation summary
on the 2kHz region, while Sonarworks module is active. Realphones is a heavyweight package that
combines headphone correction, speaker
seems to focus its efforts a little higher up The choice of virtual speaker can
simulation and virtual control-room
the spectrum. Likewise, both packages be set to follow the selection made in acoustics to powerful effect.
agree that the Audeze LCD-X need the Room Simulation module, so that

ON TEST
DSONIQ REALPHONES
than hear when listening loud

on speakers, while Warmth
is intended to mimic the
subjective low-mid buildup
that arises in real rooms due
to off-axis radiation from the
speakers, and room reflections.
Finally, the Sound Source
Positioning module feeds
the output of the emulated
speakers and room into your
ears via a generic head-related
transfer function (HRTF). You
can vary the apparent angle
of the loudspeakers, and
a control labelled HRTF Focus
“converts diffuse sound field
coloration to free sound field
coloration”. In practice, the
most obvious effect of this
is that the sound field seems
more evenly distributed at
high settings: at zero, there’s
You can choose between 12 sets of modelled
a tendency for sources within a stereo recommend as starting points for some
loudspeakers.
mix to bunch together at the extremes controls didn’t work for me.
or in the middle. In a product that is In other words, it takes some I remember it being a very useful aid
otherwise very comprehensive, I was confidence to work effectively with to ensuring that mixes would translate
a little surprised that there’s no option to Realphones, because you need to set between systems, and the same is true
load different HRTF files; you are limited it up by ear, rather than just relying on here. Without the head-tracking that
to the generic supplied profile, with no recommended settings or considering is used in products like Waves Nx, you
real way of knowing how well that suits what each control is supposed to do in don’t ever really feel like you are actually
your own hearing. However, one very neat theory. To arrive at settings that will work sat in a control room in front of a pair of
touch is the inclusion in the mix-checking for you, it’s pretty much essential to tweak speakers, but that’s not really the point,
section of a single-speaker button. This the controls while listening to reference and I tend to feel that head-tracking
is different from just hitting the mono material you know well. And with so many undermines some of the strengths
button, which produces ‘phantom centre’ different parts of the monitor chain being of headphones as a monitoring tool
mono with its attendant bass rise. modelled and corrected in so much detail, anyway. The extended (compared with
The control set is completed by a basic it’s no surprise that some combinations Sonarworks) mix-checking options on
three-band EQ, just in case all the other of settings can make music sound offer here are also really handy, and match
tone-shaping facilities weren’t enough over-processed or cloudy. those available on almost any large-format
for you, and an output limiter. A row of However, I don’t want to exaggerate console or hardware monitor controller.
five slots at the top of the interface can the difficulty here. A couple of hours All in all, although it’s new to me,
be used to store snapshots of the entire playing around will definitely get you into Realphones already feels like a very
setup, which is great when you want to the right ballpark, and in no time you’ll mature and sophisticated product, which
quickly switch to, say, a mono Auratone to have the five snapshot slots populated, simultaneously compensates for the
check vocal balance. ready for those instant switching moves foibles of your particular pair of phones
that can be so revealing. I didn’t get the and recreates many of the positive
Too Much Of A Good Thing? opportunity to try a pair of individually aspects of loudspeaker listening. Indeed,
In use, there were times when I felt that calibrated headphones, but apart from dSONIQ’s Alexey Khaiminov is insistent
Realphones offers almost too much the Shures, the generic profiles I tried that combining these effectively is only
control. For example, I understand that all struck me as very plausible, always practical in a package like Realphones
settings such as Density, Warmth and nudging the sound of the headphones in where the same measurement and
Pressure all simulate entirely different, and a direction that I perceived as subjectively calibration methodology can be applied
perfectly real, real-world phenomena. In more neutral — even if this wasn’t always systematically. If you have to mix on
practice, however, their audible effects exactly the same flavour of neutrality that headphones, Realphones has the
tend to be quite similar, especially at Sonarworks applied to the same phones. potential to make a real difference.
low levels. With obscure and relatively Once I’d got the room and speaker
subtle controls such as these and HRTF simulation set up to my satisfaction,
$$ Realphones Lite Pack $65. Professional
Focus, it can be hard to know what the I also found these features genuinely
Pack $89. Ultimate Pack $165.
‘right’ setting actually is — especially as, worthwhile. It’s been a long time since WW www.dsoniq.com
in some cases, the settings that dSONIQ I cranked up my Focusrite VRM Box, but

C E L E B R AT I N G
10 YEARS OF STUDIO ONE
Studio One is all about you: your place, your Melodyne® pitch correction, robust hardware
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©2020 All Rights Reserved, PreSonus Audio Electronics. PreSonus is a registered trademark of PreSonus Audio Electronics, Inc. Studio One is a registered trademark
of PreSonus Software Ltd. Melodyneis a registered trademark of Celemony Software GmbH. All other trademarks are property of their respective owners.
ON TEST
IK Multimedia Sunset
Sound Studio Reverb
DENNIS J WILKINS
Reverberation Plug-in
I
grew up just eight miles from Sunset
Sound Studio. Sadly, I never got Have IK managed to bottle the sound of the
the chance to visit, but like many of
you I’ve enjoyed many recordings made
famous Hollywood studio?
there over the years, by the likes of the Rolling Stones, the Doors, the Beach desirable mechanical reverbs. There are
Boys, Led Zeppelin and Bob Dylan. Now two plate reverb models, Plate 1 being an
IK Multimedia claim to offer some of Echoplate (an American device) and Plate
IK Multimedia Sunset the sound of that studio in their Sunset 2 the German-made EMT 140. There’s also
Sound Studio Reverb Sound Studio Reverb (let’s call it SSSR one spring type, an AKG BX-20E. Each plate
$250 from here on!). Available as a VST 2/3, model has controls for ‘phase’ and decay
pros Audio Units and AAX plug-in, and as times. The Echoplate and the Spring have
• Several excellent-sounding reverbs, a module for IK’s T-RackS software, SSSR three decay settings (Low, Mid and High),
including spaces and mechanical types. employs a combination of modelling and while the EMT 140 has nine, ranging from
• Clean, logical layout makes it quick and convolution techniques that IK claim is 300ms to six seconds. The Echoplate’s High
easy to use, while offering plenty of control. unique and which they call ‘Volumetric setting provides a slightly longer decay
• Thoughtful preset system.
Response Modeling’. There’s a low CPU time. But these are just the defaults, and
• Informative 360-degree images of each
modelled room, with historical notes. overhead but for the first instance there’s a handy Decay control provides flexibility: it
• Relatively light on CPU. a moderately high RAM requirement, allows the decay time of any of the reverbs,
though using multiple instances doesn’t including the rooms, to be scaled to taste,
cons
seem to consume much memory. The GUI with the 50 percent setting cutting decay
• Mic placement options may feel too
limited for the born tweakers out there! can be continuously varied in size from times in half, 25 percent reducing them to
852 x 461 pixels to your full screen width. a quarter, and so forth.
summary There are also a Pre-Delay setting (zero
This is a very fine emulation of a very fine Spaces, Plates & Springs to one second), high- and low-pass filters,
studio, with enough flexibility to cover
SSSR includes emulations not only of all low and high shelving EQs, a stereo width
pretty much any source. The interface is
quick and easy to navigate, and the results three of Sunset Sound Studio’s live rooms, control (of the reverberation signal), and
are uniformly excellent. but also their associated isolation booths, separate Wet and Dry level faders, each
the echo chambers, and the studio’s most with a Solo facility.

It’s not just the main studio
live rooms that are emulated
in this plug-in — there are
mechanical reverbs, echo
chambers and booths too.
The room models have

additional options. The
live rooms of Studios 1
and 3 have three damping
settings, and these
change the reverb tone
significantly. Studio 2’s
Live Room has three mic
positions. Every room,
and the plate and spring
reverbs, has a polarity-invert control, which each mic producing a different tone from To satisfy my own nerdy curiosity,
can create a rather interesting change to the other. More useful variation. I didn’t just listen, but I also analysed the
the tone when the reverb is mixed with A major design goal was making overall frequency response and decay at
the dry signal. Each room also has an impressive results both quick and easy and, different frequencies for each room. It was
associated chamber and iso booth, with to that end, IK have simplified options in the fascinating to see what gives these rooms
polarity inversion but no other controls. right places. There are over 160 parameters their character — just how ‘live’ these live
By default, options aren’t recalled if you to play with (before you engage the width rooms really are, with large peaks and dips
switch the room or reverb. For instance, if control, pre-delay or decay time), so there in the frequency response, and significant
using Room 2 set to mic Position 3, then you is plenty of control if you want it. But, for variations in decay times by frequency. You
switch to Room 1 and back again to Room instance, there are no movable mics such as wouldn’t want to mix in these spaces but
2, the Room 2 mic will be reset to Position 1. you’d find in IK’s Amplitube, and I found that they do sound great!
But if you do want to compare two or more refreshing; I didn’t spend ages tweaking mic One small issue I noticed was some
different configurations quickly, you can positions, and didn’t find myself wanting to overloading/clipping in my audio chain
use the handy ABCD quick preset control since the set locations sounded excellent. when a loud signal was fed into SSSR. It
— or, of course, save/recall full presets. Adding to the generally clean layout and surprised me, because peaks of the input
The 58 factory presets are organised in two fine graphics, a 360-degree image for the signal itself were several dB below full scale
categories (Insert and Send) and you can selected room can be rotated using your and the input fader of SSSR was at 0dB, yet
modify and add to these as desired. mouse, so you can see the layout. Each the output signal level was high enough to
room also has an info icon that provides clip further down the chain. It’s no problem
Tweaker’s Delight? some historical background on the room to correct this — you need only to lower the
A cleverly designed Mic selector control — you might call this a gimmick, but I found SSSR input fader or the signal feeding it, and
provides even more variation for all rooms. it interesting, and it’s something that might avoid the temptation to push those faders
Using just the left or right mic doesn’t just intrigue and impress some clients. Either up — but it’s worth keeping an eye on the
collapse the reverberation of a stereo track way, it doesn’t detract. meters and your gain staging.
to mono. Instead, the left and right tracks Ideally you’d apply this reverb to dry
are processed separately by the chosen
Sound Judgement sources; if your source track already has
mic, which is pretty slick. And if the input As pretty as SSSR’s GUI is, the sound is a room sound baked in, the results may be
track is mono, the Stereo mic setting will what’s important — and it sounds very less convincing. That said, I found that some
produce a stereo reverb image based on nice indeed! All the rooms and reverbs mixes with moderate amounts of existing
the complex reflections of the selected are excellent, each offering a different reverb could be usefully enhanced, and
room — very nice for widening a vocal or character from the others. I compared SSSR in some cases I found a touch of a Sunset
mono instrument track! Using the left or with several of my favourite convolution room added something pleasant to some
right mic setting with a mono input track (or and algorithmic reverbs, and, especially commercial recordings that already had their
‘pressing’ the Mono button below the Input for vocals, guitar and drums, I preferred own room vibe.
fader) will yield a mono reverb signal, with SSSR to the others almost every time. As On the whole, then, SSSR looks good,
intended, it sounds sounds great, is easy to use and doesn’t
much like a recording munch CPU cycles. It’s not the cheapest
in a very fine, reverb out there, but it’s not prohibitively
real space. expensive — and much cheaper and lower
hassle than renting the real Sunset Sound
Studio for a day! Recommended.
Both the damping
options and polarity
inversion controls add to $$ $249.99.
the tonal characters on WW www.ikmultimedia.com
offer from these reverbs.

ON TEST
AVP Synth ADS-7 MkII

RORY DOW Drum Machine
If you like your drum machines old school,
A
VP Synths are a Moscow-based
company who have tinkered analogue and ruggedly individualistic, you’re
with small analogue drum
boxes, desktop analogue effects and going to love the ADS-7 MkII.
analogue monosynths in the past. The
ADS-7 MkII is their biggest project yet
— a seven‑voice, discrete, analogue drum
machine with onboard sequencer, MIDI,
CV and individual outputs. It follows the
window-rattling traditions of the greats
by putting all the controls you need
directly in front of you. The seven drum
voices are custom-designed, through-hole
analogue circuits: bass drum, clap, closed
hat, open hat and three ‘generators’
which are flexible enough to yield kicks,
snares, toms, cymbals, percussion and
special effects. There are no menus,
digital control or presets (except on
the sequencer).
The sequencer occupies the bottom
third of the front panel and consists of 16
step buttons, a handful of mode buttons,
a three-digit LCD display, a tempo
knob and a single transport Start/Stop/
Record button. Sixteen banks of 16
patterns can be programmed in classic
X0X fashion, or recorded live. As well as
sequencing the seven drum voices, you
can also sequence up to four external
CV triggers or 16 MIDI triggers, which
means you can involve external samplers,
modulars or synthesizers.
The build quality feels reassuringly
solid. All knobs are bolted to the front
panel and exhibit no wobble whatsoever.
The casing is steel and the back of
the unit offers plenty of grown-up
connections. MIDI input and output are
on 5-pin din. There’s a pair of stereo mix
outputs and seven individual outputs, one
for each voice, all on quarter-inch jacks.
The four previously mentioned trigger
outputs and seven individual trigger
inputs are on 3.5mm jacks. The external
power supply is 15V AC wall-wart.
The Meat & Potatoes

The cornerstone of every drum machine is
of course the bass drum. The ADS-7 offers
six sound-shaping controls for its offering,
plus a volume control. There are two main
elements, Tone and Click. For the tonal
108 July 2020

part, you have pitch, decay, sweep and is always a kick drum, but by combining repeats two or three times to emulate
level. For the click part, you can adjust Click and Tone, you can achieve anything the sound of people clapping together.
tune and level. Tuning will allow the Click from short snappy ‘pock’ sounds to long The ‘Space’ parameter lengthens the
to go into low enough frequencies to room-shakers, and believe me these kick gap between these envelopes to create
make a short kick drum without using the drums have plenty of low end. a more ‘sloppy’ clap. The second element
Tone part at all, effectively giving you two Moving on to the clap, there are four is a more dull pinkish noise which
kick drums for the price of one. The Tone parameters plus volume and pan controls decays away over a longer time, giving
sweep allows you to add a longer ‘body’ (every drum voice has a pan parameter a reverb type of effect. The two elements
with some classic 808-style pitch envelope. except for the kick drum). The clap is are crossfaded using the ’Noise Mix’
Six parameters for an analogue kick drum again made of two parts, both based on parameter, which means you can eliminate
is quite generous and as such, there are a noise source. The first is an enveloped the clap part altogether and plump for
plenty of tonal possibilities. The end result noise sound where a fast AD envelope a simple noise snare if you prefer. Finally,
the ‘Filter’ parameter uses a band-pass
filter to adjust the overall tone of the clap.
This is one of the meatiest claps I’ve heard
on an analogue drum machine.
We’ll look at the open and closed
hi-hat together as they share circuitry.
Each has three identical parameters and
one shared parameter, plus the ever-
present volume and pan. Again, there
are two parts to the sound: a noise
element and a tonal metallic element.
The two are blended together and fed
through a high-pass filter. The pitch of
the metallic element is controlled using
the shared control which affects both
the open and closed sound. The filter,
decay and ‘Noise/Met’ blend controls are
independent, however, allowing you to
have different tonality for each. Finally,
there is a ‘Choking’ switch, which toggles
choking of the open hi-hat by the closed.
I like this design — there is enough shared
circuitry to make the open and closed hats
feel connected when they need to be, but
also enough separation that you could use
them as two independent drum sounds.
For example, with the choking switch
off, you could have one programmed as
AVP Synth ADS-7 MkII

€940
pros
• It’s built like a Russian tank with
a rock-solid analogue sound.
• One-knob-per-function simplicity.
• Individual outputs for all voices.
• Trigger inputs for all voices.
cons
• No analogue clock sync for the sequencer.
• No accent or velocity support, either
internally or via MIDI.
summary
This is a great analogue drum machine with
a beefy sound and an unflinching old-school,
stripped-back approach. It looks, sounds
and behaves like a classic and I can’t really
see any reason for it not to become one.
July 2020 109

ON TEST
A V P S Y N T H A D S -7 M K I I
a shaker (using the noise element), and

the other emulating a clave sound (using
the metallic element).
The last circuit is the ‘Generator’,
of which there are three. It is by far the
most complex circuit and, as a result,
is capable of a much wider palette of
sounds, designed to fill the gaps that the
kick, clap and hi-hats don’t reach. Each
generator is made up of three elements:
Noise, Tonal and Click. Each element has
a dedicated volume control, and there’s The back panel continues the theme of rugged construction and boasts a healthy array of inputs and
a master volume and pan control for the outputs for both audio and triggers as well as offering full-fat MIDI I/O ports.
overall voice. The Noise element consists
of noise going through a switchable By which I mean simple mixing and during a performance. For example, you
low-pass or band-pass filter, with separate filtering of noise, oscillators and clicks. might copy your basic rhythm pattern and
cutoff, resonance and sweep controls. There is no frequency modulation, ring make another which has a snare fill rolling
The Noise and Tonal elements each modulation, or anything else that might throughout. By quickly switching between
have their own separate decay controls be considered complex. This is simple the basic pattern and the fill pattern you
which allows you to use one as an initial analogue synthesis, but don’t take that as can effectively add snippets of snare roll
transient and the other for the body of a criticism. The resulting sound is massive. to the pattern on the fly.
the sound. As well as the decay, the tonal There isn’t a single sound here which In the default ‘Tap’ mode, the buttons
part consists of pitch and sweep controls. I would describe as weak or uninteresting. serve as triggers for the drum voices and
The pitch goes from sub-sonic to around The kicks and claps can be monstrous, anything connected to the trigger outputs
2kHz and sounds to me like a triangle the hi-hats cut though without ever being or MIDI outputs. Finger drummers are
waveform. The final element is the click, harsh and the generators will be pushed likely to be unimpressed. The buttons are
which, in a similar way to the bass drum into a multitude of uses. This is a flexible, small, stiff and click rather loudly, but they
circuit, adds a transient click which can be solid and pleasing collection of analogue serve a purpose and feel sturdy enough
tuned, although I found the tuning control drum sounds. to survive long-term. I can’t help wishing
changed the tone more than the pitch. there were some nice playable drum
With 11 different parameters to
The Sequencer pads instead, but the focus is clearly on
tweak, the Generator circuits can spit out The only digital part of the ADS-7 MkII is sequencing rather than performance.
a surprising range of sounds. It’s worth its sequencer. Up to 256 patterns can be In Step mode, the 16 buttons become
pointing out that all the circuits in the stored, recalled and chained. A pattern step on/off triggers for the currently
ADS-7 rely on fairly simple synthesis. is up to 16 steps long and contains 16 selected track. An LED above each step
tracks. Seven of those trigger the onboard shows its status. There are no additional
drum voices. A further four tracks send parameters to program.
MIDI Spec triggers to the 3.5mm trigger outputs on In Mute mode, the track buttons can
the rear of the unit, and all 16 tracks can be used to mute and unmute drum voices
MIDI is a reasonably simple affair on the
output MIDI, although not chromatically, from the pattern. This is where some
ADS-7 MkII. Each drum voice can be
assigned a MIDI note and channel, which just single-note triggers. There is no sense of performance can be achieved. By
dictates both the input and sequencer parameter automation, or even velocity manually selecting or chaining different
output. I was hoping that perhaps support — this is simple old-school patterns and muting tracks (track mutes
assigning a drum voice to its own MIDI trigger sequencing. are global, so maintained from one
channel would allow you to play that voice The tempo knob will adjust the pattern to the next), you can build up
chromatically, but alas it wasn’t to be. The
sequencer’s tempo between 24 and 279 a drum track and switch to different song
drum voice responds to a single MIDI
note only, no velocity either. By default bpm with the LCD reporting the exact sections. One thoughtful little feature is
the 16 tracks are mapped to white keys on value. Alternatively you can sync to MIDI that, by holding down the Step button
MIDI channel 1 from C2 upwards so you clock. Curiously, there is no analogue whilst in another mode, the sequencer
can access all the sounds (and any extras clock sync, which I was surprised about will temporarily enter step mode, allowing
connect via CV or MIDI) from a single considering the old-school approach of you to add or remove steps from the
keyboard or pad controller. Incoming
the rest of the machine. current track. As soon as you release
MIDI can be forwarded to the output, or
not, as you wish. The 16 buttons along the bottom of the Step button, it will revert back to
The MIDI input and output ports can the front panel perform a variety of tasks the previous mode. This is an excellent,
also be used for MIDI sync, with options depending on what mode you are in. fast way to move between Mute or
to respond to MIDI Song Position Pointer At the top level, they are used to select Pattern select mode and doing extra
(SPP) if your MIDI source supports it. For Banks and Patterns. Switching patterns programming on the fly.
backup, you can dump single banks, or all, is done instantly, but the patterns keep Each pattern can have 16th shuffle,
to your DAW via SysEx. Lastly, firmware
their relative playback position, which with up to eight levels, a clock divide
updates, if and when there are any, can also
be performed via MIDI SysEx. works quite nicely if you want to quickly value, which can slow down or speed
switch between two similar patterns up the pattern relative to the master

The ADS-7 MkII enjoys an
all‑metal construction and
measures 324 x 246 x 90 mm.
good design, of circuits really

comes through. You couldn’t
mistake this for anything other
than an analogue drum machine.
The sequencer isn’t quite as
easy to use as the sound-shaping
tools, but it is not prohibitively
complicated either. There are
a few less-than-obvious button
combinations to learn, but
a couple of hours spent with the
manual (despite its occasional
head-scratching Russian
translation) and you’ll be writing,
editing and performing with
a grin.
The focus is definitely on
programming and not finger
drumming, although if that
is important to you, it would
be simple enough to hook
up a MIDI pad controller and
bpm or incoming clock and a ‘last the selected chain position until you press record patterns with that. If you already
step’, which allows you make patterns the chain button again. You can still move have an analogue or digital sequencer,
which are less than 16 steps. It’s around within the chain whilst the freeze you might find it better to sequence
a shame the last step function doesn’t is active. When you’re in a chain, the the ADS-7 MkII externally. The internal
work per track, as that would allow LCD screen will update to tell you which sequencer is adequate, but it doesn’t
polymeters and ever-changing patterns. pattern is currently playing. have many bells and whistles, and
Perhaps AVP Synth could add this in Pattern chaining and performance because the internal sequencer is only
a firmware upgrade? wouldn’t be any fun if you had to program doing triggers, you won’t lose any sound
Chaining patterns is useful too. You can each pattern from scratch, but thankfully sequencing functions by switching to
have up to 16 patterns in a chain and they there are copy, paste and clear functions something external.
can be in any order and use a pattern as to assist. Both Banks and Patterns can
many times as necessary. One limitation be duplicated to empty slots, which
Conclusion
is that you can only use patterns from the makes developing longer pattern chains I like the ADS-7 MkII. It has won me
current bank. During playback, you can a breeze. Overall, I found pattern chaining over with a bold sound, rock-solid build
jump about within the chain by entering to be incredibly useful for creating longer quality and an unfussy approach. Sound is
chain mode and using the step keys to sequences and, when combined with live subjective of course, but if you’re a fan of
select a position. You can also freeze the muting of tracks, a lot of fun for building simple, confident analogue drum sounds,
chain by holding a pattern button down up and breaking down complex patterns. you won’t be disappointed. I love that
for longer than one second. This loops there is a separate output for each drum
In Use sound, and both MIDI and CV control. It is
Alternatives Right from the off, it’s clear what AVP a shame that there is no accent or velocity
There are not many drum machines still being Synth were going for when designing support as I feel this would have greatly
manufactured which follow the basic pure the ADS-7 MkII. It is unapologetically old opened up the expressiveness, however
analogue design of the ADS-7 MkII. To my school. Forget everything you’ve learnt there’s a lot of mileage in gently (or
mind, the most similar is the Vermona DRM1
MkIII. It has the same one-knob-per-function
lately about parameter locks, motion aggressively, if that’s your style) tweaking
approach and separate outputs for each sequencing or conditional triggers. sounds as the sequencer plays. This is
voice, but it has no sequencer, relying This about as far from an Elektron-style a drum machine with a 1970s heart, built
instead on MIDI or CV triggers (if you buy
machine as it’s possible to be. But that’s to last. It’s not trying to compete with
the upgraded trigger edition). For a more
modern approach, the Arturia DrumBrute (or not a bad thing at all. Everything is laid Elektron, Akai, Korg or any of the other
its smaller sibling, the DrumBrute Impact) is out in beautiful simplicity. And that follows modern drum machines, and for that
worth a look. It has a whopping 17 analogue through to the sound too. The ADS-7 I wholeheartedly admire it.
voices, plus a more sophisticated sequencer
has its own sonic signature which I think
and individual audio outputs but, to me, it
doesn’t deliver the same 1970s sound as the is best described as midway between
$$ €940
ADS-7 MkII. a Roland TR-909 (the analogue side) and
WW www.avpsynth.com
a Vermona DRM1. The simplicity, and

ON TEST
Becos CompIQ Stella Mono Stompbox Compressor

I spend much more time in the studio than plenty while still allowing usefully precise distortion and using this alongside the wet/
on the stage, and have grown so used to control. Setting it higher allows you to use dry mix control allows you to coax a much
the clean operation and degree of control this device with line-level signals, which is wider range of sounds from an instrument
offered by many studio compressors a nice bonus if you run short of hardware than I’d anticipated.
(whether hardware or software) that most compressors in the studio! Another toggle My tests were mainly with guitar, and
guitar compressor pedals seem frustrating. engages a side-chain filter with three for that instrument the huge configurability
Even the better ones seem to focus more on different options, to make it more/less is so welcome. You can control the peaky
saturation and character than on controlling sensitive to different frequencies. Next is the twangs of wayward picking, increase note
the dynamic range — great if you want to attack knob, which ranges from 0.12 to a 12 sustain, or raise low-level details with parallel
change the character, less so if you don’t. ms. This and the release (0.12 to 120 ms) are compression easily, and the tilt EQ and
The new Becos CIQ-5 CompIQ Stella, joined by a three-way toggle switch (bottom saturator are so useful. You can keep your
though, doesn’t suffer from such limitations right) which selects between manual and sound clean or dial in vibe and rebalance
— it can sound wonderfully transparent, or two automatic time-constant settings. The the tone as you wish. Bass players should
full of character, and there’s oodles of control make-up Gain and smaller wet/dry Mix absolutely love this thing (though I suspect
at your fingertips. knobs complete the top-panel compressor they may be even more enamoured with
The Stella is, essentially, a studio controls. So there’s bags of control on offer the company’s new split-band compressor).
VCA compressor in a pedal; it employs — just the thing if you’re a born tweaker, or In short, it’s what I’ve always wanted of
THAT VCA chips like those found in, are more familiar with typical studio tools. I a compressor pedal. But what about the
for example, modern iterations of the like it! (If you’re one of those who find this price? There are cheaper compressor
SSL bus compressor. But it’s actually much control daunting, Becos make the pedals, sure, but nothing like this. And the
more than that, since this ‘compressor’, simpler MINI and MINI One versions, which fact you can use it on line-level sources
as Becos humbly describe it, boasts use the same internal circuitry as the Stella). makes it better value still. You’d pay more
impressive configurability and some very The icing on the cake is provided by the if all this were mounted in a rack unit or in
handy tone-shaping options, including tilt EQ and Sat facilities. The Tilt-EQ knob, a 500-series module. Matt Houghton
a saturator and a tilt EQ. Importantly, it’s as you’d expect, simultaneously applies $$ €249 (about $275).
really clean-sounding, which is obviously a gentle (up to 6dB) shelving boost or cut WW https://becosfx.com
a good thing per se, but less obviously to the highs, and the opposite to
means you can use the compressor’s the lows. The final toggle switch
make-up Gain knob (from -6 to +20 dB) to allows you to choose between two
help your guitar hit an amp’s sweet spot turnover or ‘pivot’ frequencies.
without introducing lots of noise. The effect is to ‘tilt’ your sound to
This standard-sized pedal runs off favour brightness or deliver a more
a centre-positive 9-12 V DC PSU (not dominant low end. While 6dB
included) or a 9V battery; having to might not sound a lot, remember
remove four screws to access the battery there’s up to a 12dB difference
compartment is a minor frustration. The between the high and low ends;
pedal turns on when a TS jack is inserted it can make a very noticeable
in the input, and there’s a true bypass. difference to your sound, and
Six knurled knobs control the main I never found myself wanting
parameters, and four tiny toggle switches to apply anywhere near the
nestling between them offer options for maximum. Tilt EQ is a studio tool
different controls. Around the footswitch are I use often, but here I found it really
three more knurled knobs for less frequently useful in tailoring a guitar sound
used functions. Although these are much to a specific amp or song, even
smaller than the others, I found finger without the compressor kicking in.
operation easy enough, but they’re also The saturator, labelled SAT,
slotted for turning with a screwdriver or, affects only the dry signal path,
perhaps, a pick. With 14 controls in such and is intended to mimic the sound
a small space, I was surprised to find that of analogue tape distortion. There
nothing felt cramped or awkward to access. are internal jumpers to engage/
There are no lights other than the meter disengage high- and low-pass
LEDs (one for on/off, six for gain reduction) filters to tailor this effect, and the
but the white legends are crisp and clear and manual makes recommendations
the knob and toggle positions are easy to about how best to set these for
see at a glance. different instruments and effects.
The ratio control runs from 1:1 (no It’s not exactly like genuine
compression) to INF:1 (infinity or limiting), analogue tape saturation, of
and the adjacent toggle selects a soft or a course, but it is nonetheless
hard knee. The Threshold’s 50dB range is a pleasant-sounding harmonic

A Guide To Modular Worlds Book Review
The world of modular synthesis
is equal parts enticing and
daunting. The bewildering
number of modules, formats
and terminology can be
off‑putting to newcomers and
can even make it seem like
a secret society — if you don’t
know the club handshake,
you’re out.
A Guide To Modular Worlds,
by Rolf-Dieter Leib and Ulf
Kaiser, is aimed at beginner
to intermediate synth scholars
and, in 300 pages, seeks to
explain all technical aspects of
modular synthesis. Chapters are
split into logical groups with the
first covering history, East coast
versus West coast, various
modular formats and a brief
summary of relevant electronics.
The rest focuses on everything
you need to know about:
oscillators, synthesis types,
filters, envelopes, LFOs, clocks,
VCAs, sequencing, waveshaping, FM, like oscillators, the knowledge can be
AM, polyphony, controllers, MIDI, CV, applied to any synthesizer, modular or
effects and more. There are also chapters otherwise, so I think anyone interested
on software, DAWs and communication in learning more about synthesizers
between computers and hardware. generally could benefit from reading
Scattered throughout the book are it. The book sticks fairly rigidly to
a number of interviews with some of technical explanations of synthesizer
the industry’s big names and rising elements. It doesn’t really delve into
stars. The list is impressive, with heavy sound design. Throughout the wordy
hitters like Dieter Doepfer (the father technical explanations there are plenty
of Eurorack), Dave Smith (Sequential), of good diagrams and pictures to
Stephan Schmitt (Native Instruments), help visualise the information. The
Dave Rossum (Rossum Electro-Music editing and layout are excellent and
and Emu) and Gene Stopp (Moog). you certainly won’t feel short-changed
Also, there are artists like Jean-Michel on word count — this is a text- and
Jarre, Boris Blank (Yello), Richard information-heavy book. My only
Devine, Daniel Miller (Mute Records) complaint is that my concentration was
and Vince Clark (Depeche Mode and just occasionally broken by evidence
Yazoo). And not content with that, that English is not the author’s first
there are also interviews with relatively language. Happily, though, these
new companies like 1010music, Verbos issues weren’t widespread and I felt
Electronics, 4ms, Cwejman, WMD, Erica that, in general, the information was
Synths, Mutable Instruments and Expert conveyed clearly and accurately.
Sleepers. I’ve probably only listed half A Guide To Modular Worlds should
the interviewees here; suffice to say appeal to anyone looking to learn
that there are many. Each interview more about the fundamentals of
is a couple of pages long, and even modular synthesis and, together with
though the same questions were often the many excellent interviews, will give
repeated, I enjoyed them immensely. any newcomer to the scene a good
Back to the technical stuff, I was grounding on the modular industry as
surprised by just how much of the it stands today. Rory Dow
book was not modular specific. Of $$ €29.99 plus shipping. (About $33.)
course, when explaining fundamentals WW https://synmag.1a-shops.eu

ON TEST
Creative Intent Remnant Granular Effects Plug-in

Remnant comprises
two delay lines, from
which a granular engine
takes segments and
processes them in
various ways to create
a range of textural
sounds that run from
smooth and etherial
to rhythmically glitchy.
The plug-in, which has
a completely resizeable
window, supports
Windows and Mac OS
platforms and VST 2 and
3, AU and AAX plug-in
formats. A brief manual
describing the function
of all the controls is built
into the plug-in.
The delay lines are
modelled after analogue
tape, and a Warp knob
adjusts the amount of
pitch modulation. The
signal path feeds some
of the output back to
the input via the Feedback control, but there’s also a Crosstalk in small grey text at the bottom of the screen. These control
knob that feeds back some of the grain delay signal into the the grain Frequency, Spray, Spread, Pitch-shift, Reverse and
opposite delay line, for added complexity. An M-S button changes Feedback. Spray and Spread interact with the grains, such that
the signal routing so that instead of having one delay line working Spray introduces some randomness into how the grains are
on the left channel and one on the right, one works on the Mid derived and Spread applies stereo-panning to individual grains
signal and one on the Sides, making it possible to have different to create a wide stereo image. Reverse sets the probability of
effects applied at the extreme edges of your stereo sound stage. grains being reversed. The longer you set the delay time, the
A Delay knob sets the delay time in milliseconds, but at the time longer the grains can be.
of writing doesn’t have a sync-to-tempo option — there are plans There are over 50 presets, which cover a useful range
to add this. To the right is the filter cutoff control and Mix handles and show you what this plug-in can do. With tools such as
wet/dry balance. pitch‑shifting, reversing
Along the bottom are and filtering, Remnant has
buttons for M-S mode, high/ “You can get interesting results with some overlap with other
low-pass switching, Freeze granular effects (Output’s
and auto-ducking. The last just about any sound source... and Portal, for example) though
allows the initial sound
to remain clean, with the
the forthcoming tempo-sync delay some have modulation
controls that Remnant
granular delay then fading option will make life easier.” lacks. You can get
in. There’s also an Envelope interesting results with just
threshold amount knob for about any sound source,
use with freeze and ducking. With Freeze enabled, Remnant though, and the forthcoming tempo-sync delay option will
freezes the signal in the delay line and then continues to derive make life easier when creating rhythmic effects. Using the filter
grains from that sound. However, if your input signal exceeds to roll off some top end can help produce smooth, textural
the envelope threshold, Remnant allows the new signal to feed effects while keeping things bright, and adding some pitch‑shift
into the delay line and the process starts again. This works well gives you the familiar crystal delay kind of effect. If you’re after
with widely spaced sounds, as the space between them is filled something really silky and textural, then putting a reverb after
with a sustaining granular effect relating to the previous note Remnant really helps. Given the low cost of this plug-in, it could
or chord. prove very tempting for anyone into ambient or cinematic
The six upper and lower blocks, which are populated by music composition. Paul White
patterns that shift when moved, are in fact parameter sliders $$ $49.
that relate to the two channels, and their function is shown WW www.creativeintent.co

EchoBoy
The Pro Standard for Delay
Take Creative Control “ I use EchoBoy on almost

every mix for slap, doubling,
Insert decades of analog echo history into long delay and stereo size. It’s
your mix with EchoBoy. Its luscious tone so adaptable that I can always
and 30 built-in echo styles have made it the get what I want – quickly.”
go-to effect for top producers, engineers,
artists and sound designers.
The EchoBoy sound has made its way into

countless hit songs, movies, and games –
and it will find its way into every corner
of your mixes. We promise.
Reg $199. Worth Every Penny.
30-day Free Trial at soundtoys.com

ON TEST
Orange OMEC Teleport USB Audio Interface For Guitar

The Orange OMEC Teleport Guitar using the Teleport is almost instantaneous, the best from stereo apps. (The In and two
Interface is made specifically for use with as long as your connected system doesn’t Out connections are quarter-inch jacks,
electric guitars — it is designed with an add excessive latency of its own. as you’d expect). A 9V, centre-negative
appropriate sensitivity and high input Housed in a compact metal pedal external PSU (not included) is needed,
impedance. That said, it can also work enclosure, the Teleport uses a 16-bit as the Teleport can’t be bus powered.
with a dynamic microphone if you use delta-sigma A-D converter that can When powered up, and the footswitch is
a suitable adaptor cable. It can be used operate up to 48kHz with a specified engaged, a bright blue LED lets you know
with iOS (6 or later), Android all is well. There’s a mini USB 2
(4.2 or later), Mac OS (10.6 or socket and cable for connection
later) or Windows (7 or later) to phones, tablets or computers
without requiring additional and the footswitch allows for the
driver software, though Windows unit to be bypassed, feeding the
users might prefer to use the free input to both outputs.
ASIO4ALL driver for best results. Using the Teleport is easy;
Note, however, that you will need there’s nothing to set up other
to use a USB adaptor to work than selecting it as the active
with mobile devices — specifically audio device. The fixed input
a Camera Kit for iOS and an OTG sensitivity provides a sensible
for Android. To sweeten the deal record level from most guitar
further, a copy of IK Multimedia’s pickups. Tested with Logic
AmpliTube CS is included, and Pro, with Teleport selected
this comes with virtual Orange as both the input and output
amps (the OR120, Tiny Terror, audio devices, I experienced no
Rockerverb 50 and AD30) and significant latency issues. If you
matching Orange Cabs. rely on modelling apps when
In a live environment, Teleport playing live, then the OMEC
can provide an interface between Teleport provides a practical
the guitar and a suite of amp- and robust solution, and the
or pedal-modelling apps running on signal-to-noise ratio of 96dB and with bundled apps make it very good value.
a phone or tablet, or it may be used to distortion lower than 0.01 percent. On the other hand, if you only need an
drive something like Jam Origin’s MIDI Don’t let the fact that it is 16-bit rather interface for recording, there are plenty of
Guitar app to turn your guitar into a guitar than 24-bit put you off, as it still has alternatives from which to choose — many
synth. Its stompbox format means you a wider dynamic range than is needed offering greater functionality, with 24-bit
can bypass it just like a regular pedal. In for electric guitar, even if it is unusual resolution and the option of working at
the studio it provides a convenient means to find a manufacturer still using 16-bit higher sample rates. Paul White
of DI’ing your guitar, and with a specified converters. Teleport is configured as $$ $139.
latency of just 4ms, the experience of a one-in, two-out device, enabling it to get WW https://orangeamps.com
United Plugins MorphVerb Reverb Plug-in For Mac & Windows

MorphVerb’s stylish interface is dominated reverb decay time (Length) and Tone. well as Undo, Redo and Bypass buttons. In
by a large dial, around which are printed More advanced controls are to be found case you’re wondering about that 3D/2D
the various reverb types — and this on the darker panel to the right, along button, it simply switches between two
provides a strong clue as to what the with a spectrum display that sports GUI graphic styles. A right-click menu
name of this plug-in alludes to. Turning the two movable filters for trimming the allows the GUI to be resized. Double-click
wheel blends between the two algorithms highs and lows from the reverb sound. the relevant knobs and you get a pop-up
either side of the pointer, so you can At the top, there are controls to deal numeric pad for entering values if you
move smoothly from Spring right through with damping and ducking, while at the need high precision.
to Cathedral and then to Infinite using bottom are simple but useful controls Sonically, there’s a lot to enjoy here and
a single control. The graphic in the centre for adjusting stereo width right up to the sound stays reasonably smooth as you
of the wheel also changes as you rotate ‘ultrawide’, pre-delay time, reverb size, automate the blend control, providing you
it. Supported platforms are VST 2/3 and modulation, saturation and compression. stay between two reverb types or don’t
AAX on Mac/Windows, and AU on Mac. A Dry/Wet lock maintains the mix control move it too quickly. You can have fun
Authorisation is via personalised key file, setting when changing presets, which is gliding between reverb characters during
which allows you to put the plug-in on a thoughtful touch. a mix but moving too quickly over a wide
multiple machines. A library of factory presets is included, range causes the sound go a bit ‘lumpy’
The three orange knobs deal with and MorphVerb’s Toolbar has A, B and for a moment, presumably as a new
the main parameters: Dry/Wet mix, Copy buttons for comparing presets, as algorithm or lookup table is loaded.

I timed the Infinite reverb and it obvious early reflections, which helps
didn’t last forever — at 20 seconds create the impression of smoothness,
it’s long enough for most people, and that Infinite setting has a very
though. The Length control still has addictive tonality.
some effect on this setting, seemingly Add in some compression and
altering the rate at which the reverb the reverb tails linger on at a more
tail decays immediately after the consistent level while transients are
note before it settles down to its softened. Modulation adds a density
more relaxed sustain phase. At the to the reverb tail and, even near the
opposite extreme is Spring, which maximum setting, sounds lovely.
captures the metallic flavour of the Saturation doesn’t add much obvious
real thing but dials back the drippy dirt but it does further stabilise the
splashiness to make the sound more reverb level, adding sustain, and it
usable, perhaps at the expense of works well in conjunction with the
a little authenticity. Ambience runs compressor.
from a short enhancement to a school MorphVerb may not be the most
gym depending on the Length and realistic-sounding reverb on the market,
Size values, but nudge the dial towards and its interpretation of infinity is
Echoes and you get a few widely perhaps a little optimistic, but that’s
spread reflections added in to give not to say it’s bad by any means. In
you a useful echo-meets-reverb effect. fact, it sounds supremely musical
Room ranges in size from bathroom — smooth-sounding but with a vintage
ambience up to warehouse, and then we character — plus it has the ability to
come to Plate, which at longer settings produce pad-like long reverbs without
seems to include what sounds like four getting messy. Shorter settings are also
added delay taps, again producing effective for adding a nicely retro-style
a hybrid reverb/echo result. Move the ambience to guitar parts or drums.
dial towards chamber and these more In short, as long as you don’t want to
obvious repeats recede, the tonality recreate seat 23, Row G in the Sydney
changing to suggest a larger space. Opera House in minute detail, I think
Hall goes bigger still, and Cathedral you’ll find that this is a reverb that you’ll
goes further — at maximum decay use a lot. Paul White
and size it rings on for seven or eight $$ $163.
seconds. There’s little in the way of WW https://unitedplugins.com
TECHNIQUE
Headphone mixing is becoming a core skill for

everyone. We asked some of the biggest names
in engineering how they get the best results.
RYA N M C C A M B R I D G E able to work effectively on the road — and get their perspectives on the pros and cons
to keep working during the Coronavirus of mixing on headphones, and their advice
E
very audio engineer I know loves pandemic, which has closed the doors on how to make headphones a reliable
the studio, and there’s no denying of commercial studios worldwide. There means of monitoring when needed.
that working in a ‘proper’ space, are those who proclaim that mixing on
on studio monitors, is the most natural and headphones can’t be done, but I know
Moving On
comfortable way of doing our job. At the that to be false. So I reached out to some As freelancers, most mixers I know have
same time, though, we also need to be leading mixing and mastering engineers, to spent their careers moving through

various studios, and therefore Snow Patrol and Ed Sheeran
have had to learn to be for nearly five months. That’s
adaptable. “Engineers, by when I started trying to mix on
nature, we have to work headphones, because I had to
under any circumstance and carry on working.”
with whatever we have,” says It clearly worked, because
Manny Marroquin (Rihanna, Ali ended up mixing part of
Bruno Mars, Kanye West). “So the album back in his room
I could adapt to mixing on at Real World Studios, and
headphones, if needed.” says: “You’d be hard pressed
Much of the diverse career to tell the difference between
of David Bottrill (Peter Gabriel, the headphone and studio
Photo: York Tillyer

Tool, Muse) has been spent mixes, especially now that
in this nomadic lifestyle, they’re mastered.”
leading him to believe that
“You just tune yourself to your
Good Headphones
environment and the tools you Ali Staton: “I quite like the change and the challenge of it Or Bad Acoustics?
have on hand. If a client has but the biggest battle in any mix situation is with yourself. These days, there’s an
a deadline you just have to
make it work.”
That’s basically what mixing is.” abundance of great monitor
speakers that are relatively
This adaptability has neutral and flat. But in any
cultivated a resourcefulness in most as a mix engineer with the work he does studio, they’re only as good as the
engineers that I’ve met, driven by the as Ableton programmer for artists like control-room acoustics. Anything that
will to ultimately do whatever is needed Madonna, Richard Ashcroft and Snow comes between the sound itself and
to get a job done. Ali Staton (Seal, Patrol. “I did a record with George Ogilvie your ears will change your perception of
Madonna, Turin Brakes) exemplifies this which started at Real World Studios, the mix. This means that you are making
in how he’s managed to balance his life but then I had to be in the States with decisions based on the biases of your
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TECHNIQUE
MIXING ON HEADPHONES
monitoring and acoustics, which are “The key in all this is you’ve got to research towards figuring out whether
manifest in alterations to frequencies, know your headphones,” Manny adds. your headphone mixes are translating to
phase and imaging. Solutions such as “It’s all about time and repetition. Listen the outside world. David also suggests
Sonarworks Reference, IK Multimedia’s to mixes or records you enjoy, and pretty speaking with the mastering engineers
ARC, Dirac and the offerings from Trinnov soon you’ll understand the frequency that you work with for their feedback on
are amazing tools and are incredibly response of your headphones and you’ll the mixes you’re doing. Their perspective
helpful for tuning a listening space but, be able to adapt.” is valuable in that it’s often unbiased.
ultimately, this variable in your perception Once you’re relatively comfortable with By then applying all this research to
is at the mercy of physics, which doesn’t how your headphones respond, try mixing your mixing process, working through
often work in your favour. where you fell short on your
So, a mix is actually quite first attempts and how you
ephemeral and ever-changing, can make them better, your
depending on where it’s understanding of how your
played back, and your job as headphones respond will
a mixer is to create something improve and ultimately you will
that is the best representation build a trustworthy reference.
of the material wherever it There are tools to help
gets heard. This relies on your bridge the gap between
reference being as unbiased speakers and headphones.
as possible, and the argument Both Ali and Tchad Blake (Black
in favour of using headphones Keys, Arctic Monkeys, Pearl
to mix is that it removes the Jam) use Sonarworks Reference
most volatile of factors: room 4 Headphone Edition, which
acoustics. Tchad says “helps to match
As the gatekeepers my speaker experience very
between the mixer and well”. Whereas the Studio
the final release, mastering Edition aims to calibrate studio
engineers arguably have the monitors within an acoustic
best purview on this line of David Bottrill: “You just tune yourself to your space, the Headphone Edition
thought. “Assuming one has environment and the tools you have on hand. If a client irons out the inherent frequency
a good, calibrated room and
monitoring system, I would
has a deadline you just have to make it work.” biases of a particular set of
headphones. This can be done
never initially master or broadly, based on the make
mix on headphones,” says and model of headphone,
legendary mastering engineer or specifically, where you
Bob Ludwig (Led Zeppelin, send Sonarworks your exact
David Bowie, Jimi Hendrix). headphones that they then
“If one’s speaker setup is not use to make a calibration file.
satisfactory, then one must Ali chose this second solution
rely on headphones, which for his Sennheiser HD650s,
can qualify as ‘audiophile’ figuring the cost was worth the
Photo: Neal_Burstyn
quality for not crazy assurance. (A newer alternative

money.” All of the mixers is dSONIQ’s Realphones, whilst
I spoke to share similar Toneboosters’ Morphit also has
sentiments: they prefer their many fans.)
speaker monitor setup, but Manny Marroquin: “I can’t get dynamics as much as Eyes And Ears
agree that headphones
are a better option
I do on my monitors. It’s not to say I couldn’t do it on the A spectrum analyser inserted on
than unreliable acoustics. headphones, it’s just harder and not my workflow.” your monitor bus — before any
calibration — is also a useful
Earning Trust something solely on your headphones — reference. Mixing by meters is a dangerous
The fundamental reason that headphones ideally, a project that doesn’t have a tight practice, and an FFT display alone won’t
can be used as a reliable means of deadline or career-altering consequences. tell you whether or not your mix is working
monitoring is best summed up in a short When you’re happy with the mix, play well. However, once you understand what
sentence from Michael Brauer (Coldplay, it back on your usual monitors and note to look for, it can help to show you when
Rolling Stones, John Mayer): “It doesn’t the differences. If you’re just starting out you’re on the right track. It takes practice
matter as long as it’s a reference that you and you don’t have a monitoring setup to read an analyser well, and just as when
trust.” In other words, the impediments to check the mix on, try auditioning it at you’re adjusting to headphones, I suggest
of mixing on headphones are not so other studios, a home stereo, a car stereo, analysing multiple mix references to learn
much a consequence of the tool itself but and so on, and note any good or bad how what you see relates to what you hear.
rather a matter of adaptation. qualities that come across. This is vital I use NUGEN’s Visualizer, but there are

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TECHNIQUE
many good alternatives from companies David specifically uses a subwoofer in rough things in, but would avoid final EQ
such as iZotope, Waves, Voxengo and Blue a 2.1 setup for this reason, and Michael decisions on headphones.
Cat Audio. cites this as the exact reason he has
There are also room-emulation multiple sets of monitors, including large
Closing In
plug-ins, such as those on the Waves Nx ATC SCM50s and multiple Subwoofer Another difference between headphones
platform, Audeze’s Reveal+, Blue Cat’s Pros Studio Sub 12s. and loudspeakers is that the seal
new Re-Head, and the aforementioned However, it should be noted that which headphones form around your
Realphones. These use binaural many successful mixes have been done ears can create a perceived sense of
processing to simulate the programme on monitors that are very mid-forward compression. This is particularly an issue
material being played back in a room as with closed-back headphones, affecting
though you were listening on speakers. the openness of a mix and therefore the
Reveal+ differentiates itself by offering dynamics processing and balance choices
the ability to create an ‘aural map’ — in that you would make in your mix. It’s for
other words, a custom head-related this reason that mixers tend to choose
transfer function tailored to your own open-back headphones, which usually
hearing — simply by uploading a photo sound more natural in this respect. Manny
of your ear. says: “I can’t get dynamics as much as I do
Waves Nx (www.soundonsound.com/ on my monitors. It’s not to say I couldn’t
reviews/waves-nx) relies on a generic do it on the headphones, it’s just harder
HRTF, but has a different USP: by using and not my workflow.”
your computer’s video camera, or The most obvious difference between
a Bluetooth head-tracker, the plug-in speakers and headphones is related to
can follow your head movements. The how the stereo field gets represented.
experience is actually quite visceral, Headphones lack crosstalk: the bleed of
and though no one I spoke with the left channel into the right ear and
mentioned having tried it, I will say that
Michael Brauer: “It doesn’t matter as vice versa. There are headphone amps
the newest Waves Nx-based plug-in, long as it’s a reference that you trust.” and software designed to mitigate this
Abbey Road Studio 3 (www. by adding crosstalk to the
soundonsound.com/reviews/ headphones; this can help if
waves-abbey-road-studio-3), it’s included in your adaptation
is rather convincing. The process but it still doesn’t
head-tracking works fully replicate the spatial
well enough that I found experience of monitors. None
myself forgetting I was of this is necessarily a problem,
on headphones, which is but it does affect how we
impressive. I didn’t have experience the material,
a chance to work with it particularly the overall width
enough to make it a reliable of a mix.
reference, so I can’t speak Manny actually sees the
to its ability to improve the exaggerated stereo field as
translation of material mixed one of the advantages of
using the plug-in. However, listening on headphones,
I will say that the technology Tchad Blake: “I seem to hear my effects more with appreciating its expansive
shows promise for the future nature and being able to “hear
and is very relevant to this the headphones... and I like the ‘close’ sound of it even more”. How a mixer
discussion. headphones sometimes.” would choose to pan could
potentially be affected by this
The Feel Factor and bass-light, such as the ubiquitous perceived over-emphasis, although mixers
That said, even the best room simulation Yamaha NS10. The lack of ‘felt’ sub tend to know instinctively where to place
can’t compensate for the limitation cited information isn’t unique to headphones, most elements in a mix. That instinct is
most about mixing on headphones. and clearly isn’t an insurmountable largely built from experience. “Over years
Normally, we don’t just experience sound obstacle to mixing. Manny agrees that of mixing I’ve come to know generally
with our ears, and many engineers rely the excitement of a full-spectrum monitor where I pan things,” David adds, “and
on mixes ‘feeling’ right when played loud is preferred, but he adds: “Who could on headphones you understand that the
over loudspeakers. “With many genres, imagine I could mix 808s or trap music or interpretation is wider and you just take
one needs the physical impact of the hip-hop on NS10s? There’s no low end that into consideration.”
waveforms hitting the body to evaluate but we adapt.” Personally, my centre is dedicated
what is really going on,” Bob explains. However, Michael and Tchad both to vocals, kick, snare, bass and solo
Tchad agrees: “I prefer, even at mention that they find EQ’ing to be instruments that take the musical focus
moderate levels, the whole-body feel of more challenging on headphones; Tchad at a given moment. To clear space in the
the low end with my monitors.” implies that he can use headphones to centre and keep my mixes wide, I tend

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TECHNIQUE
Which Headphones, DACs & Amps?

Asked about which specific headphone models and because of their APEX (Air Pressure with in-ear monitors as a portable rig. With the
they prefer, many engineers name-check the EXchange) technology, which is an acoustic need of ‘mastering grade’ conversion, Bob uses
Sennheiser HD650s, which are Ali Staton’s vent that helps to prevent the compression a Mytek Brooklyn DAC+ (www.soundonsound.
choice. I enjoy working on HD650s because effect mentioned earlier. The A12t IEMs are com/reviews/mytek-brooklyn-dac), or his
they’re comfortable and sound quite honest, incredibly well balanced, with excellent bass exceptional dCS Bartók DAC with built-in
though they are somewhat bass-light. Bob representation, and an ideal solution for those headphone amp.
Ludwig also cites the HD650s, but also likes who are concerned about portability. While on the subject, headphone amps
his now-discontinued Oppo PM-3s (www. It’s also important to acknowledge the role should also be a consideration in one’s setup,
soundonsound.com/reviews/oppo-pm-3), that digital-to-analogue conversion plays in especially with headphones that require a lot
which are actually closed-back. Manny your signal chain. Better clocking leads to more of power to be driven sufficiently. This is tied
Marroquin often uses Audeze LCD-4s, while accurate imaging and the added detail achieved to a number of factors but particularly the
Tchad Blake, Michael Brauer and Manny all on headphones tends to reveal this more. impedance of the headphones being used. Most
use Audeze LCD-Xs (www.soundonsound. Michael is very enthusiastic about the sound professional headphone amps, even if they’re
com/reviews/audeze-lcd-x-el8), which have and flexibility of his Antelope Orion converters built into converters or interfaces, should
become very popular with professionals; their (www.soundonsound.com/reviews/antelope- have enough power to drive any headphones
planar magnetic driver design has much lower audio-orion-32-plus-generation3). David adequately. Amplifiers built into a laptop or
distortion than standard dynamic, moving-coil and Ali both rely on Universal Audio Apollos phone will likely struggle with many professional
drivers. This means they are more resilient to (www.soundonsound.com/reviews/universal- headphones, though. Tchad references the
extreme EQ adjustments. audio-apollo-x) for their headphone rigs, which highly respected and incredibly versatile Little
David Bottrill checks mixes on multiple pairs have the added flexibility of the UAD plug-in Labs Monotor, while Bob adds that aside from
of headphones, including Erzetich Manias platform that many mixers rely on these days. the dCS Bartók mentioned earlier, he likes the
and Bowers & Wilkins P7s, and also on basic The best pure DAC that I’ve used, Grace m900, which is also a portable DAC. The
Apple EarPods, given their ubiquity. David, particularly when portability is a consideration, is Rupert Neve Designs RNHP is a worthwhile
Michael and I all use 64 Audio’s A12t in-ear the Mojo from Chord Electronics. Chord design mention here as well, and David, Ali and myself
monitors as well (the non-moulded version, and code their own DACs, as opposed to using have all had good experiences using the built-in
the U12t, was reviewed in SOS Febuary 2020). third-party ones, giving them some of the best headphone amps on our Universal Audio
Michael uses them primarily for “surgical” distortion, signal-to-noise and jitter specs on Apollos. David also uses an Erzetich Perfidus
work because of the level of detail they reveal, the market. I find the Mojo pairs especially well headphone amp on occasion.
to be pretty extreme with my panning; Michael Brauer sees headphones Manny agrees, “especially panning and
bringing things in from the edges will start as a tool to help illuminate potential effects.” This intimacy changes your
to obscure the clarity of the centre. issues in a mix, like edits and excessive relationship to the material, in some ways
sibilance. Others agree, and there’s also connecting you to it more, and David
A Different Viewpoint a consensus around the perception of added that this closeness keeps him
Mixing concerns aside, not “hyper-focused”, which he
everyone who mixes on enjoys. It helps him to avoid
headphones does so just distractions, and parallels Bob
because they have to, or as an saying that “headphones force
alternative to poor acoustics. one’s brain to pay attention to
“For me, it’s when I want what is going on”. I see this
a different perspective,” as an opportunity for deep
says Manny, who sees the work, particularly when I’m
benefit of pushing himself using moulded in-ears. Not
out of the comfort zone of his only do headphones excel
standard studio monitoring at critical listening tasks, but
setup. “Perhaps I’m now there’s also an element of
able to go deeper because uninterrupted focus that can
I’m uncomfortable.” better productivity.
When you’re starting The price of this focus is
out, the act of mixing itself that working intensely leads
is the challenge. After years to mental fatigue. This comes
of experience, though, the Bob Ludwig: ““If one’s speaker setup is not on top of ear fatigue, which
difficulty can lie in keeping
things new and interesting for
satisfactory, then one must rely on headphones, which is cited by nearly everyone
I spoke with as a negative
yourself. Headphones offer can qualify as ‘audiophile’ quality for not crazy money.” of headphone mixing. When
a relatively accessible way to working on headphones it
change your workflow and make yourself effects. “I seem to hear my effects more is vital that you take regular breaks to
work, and think, a bit differently, as Ali with the headphones,” Tchad says, “and help mitigate this and stay as aurally
says: “I quite like the change and the I like the ‘close’ sound of headphones objective as possible. Fatigue is also tied
challenge of it but the biggest battle in sometimes.” to the level of physical comfort when
any mix situation is with yourself. That’s “I love the intimacy of headphones wearing headphones; how well a set of
basically what mixing is.” and the ability to pick up on subtleties,” headphones fits is incredibly important,

because you should enjoy over-arching personal one.
using them. This is obviously How do you want to work?
subjective, and isn’t What makes the most sense
always related to the price for your workflow and work
of the headphones. life? Understand that we
as audio professionals are
Whatever Works defined by our work, not
Regardless of anyone’s our workspaces, and our
workflow, it’s difficult to professionalism is built on
disregard the reality that the doing our job well, regardless
vast majority of music is now of the circumstances. We
consumed on headphones. ‘make it work’ because, well,
There is no consensus we have no choice. That’s
on whether that should how we earn a living, which
change how we monitor Ryan McCambridge: “How well a set of headphones fits is by its very definition is the
or approach mixing, but
the relationship between
incredibly important, because you should enjoy using them. mark of a professional. Don’t
let anyone tell you
consumers and their music This... isn’t always related to the price.” otherwise.
has undeniably changed.
There is a cautionary tale Ryan McCambridge is
deeply tied to this: “If you’re going to be keeping perspective and seeing the a freelance engineer, producer and
listen on headphones or in-ears, the forest for the trees. sound designer based in Toronto,
objective has to be maintained that you’re Ultimately, though, everyone I spoke Canada. His credits include Metric, Birds
listening to the big picture,” Michael with acknowledges that a good mix is Of Tokyo and IAMX, and he was awarded
says empathetically. With so much added a good mix. And how you get to a good a US Gold Album for his work with
detail heard on headphones, and a new mix doesn’t actually matter. Any technical Rush. For more information, visit www.
“hyper-focus”, the biggest concern should limitations are far less important than the ryan-mccambridge.com

TECHNIQUE
Elevate the clarity of your mixes with

our indispensable guide.

can go deeper than that. Ask yourself if the same way you listen to a new instrument
DOM MORLEY
there’s anything more than can be taken in your mix: which frequencies do you need,
O
ne of the biggest challenges when out without compromising the sound. Try and which can go? The creative use of
mixing is making your track sound pushing your filter a bit higher — does it mono and stereo applies too. Reverbs can
spacious and open, especially still sound good? If so, great, you’ve just definitely be mono; indeed, this is an easy
when there’s quite a lot going on. There are created more space without losing quality. way to add space and clarity to a mix. Try
some fairly simple steps that you can take, Now EQ a dip into where the vocal will be a mono reverb panned to the same position
however, that will help you achieve just that. sitting — make some pre-emptive space in the stereo field as the instrument that
I’ll break it down into five areas. for that. And try filtering off some top you’re applying it to. Much more focused.
end. Does that work as well? How far can Now try the reverb panned onto the
Filters you go with reductive EQ until it stops opposite side. Much more interesting!
First and foremost: filtering. I use filters on sounding good? Limit each element to the Pre-delay is a good thing to
almost every element in a mix. For example, frequencies it needs to sound good, and experiment with, too. Use of pre-delay is
I really want to have only the kick drum nothing more, and you’ll find you have a lot effective in making an instrument sound
and the main bass sound occupying the more space and clarity than you had before. close to you, but in a large space. This can
bass frequencies of my mix, so everything be very effective if you want something
else needs a filter on it. Even if a sound is
Panning like a lead vocal to have a long reverb but
only really audible in the upper mids, it’s Use mono. If you’re using soft synths, still sound present. The more reverb you
highly likely that there’s some low-level bass or even hardware ones, you’ll find most add, the bigger the space around your
in there which needs to be instrument, but with a long
filtered out. Otherwise, you pre-delay, it remains close to
end up with a couple of dozen “Limit each element to the frequencies it you instead of disappearing
elements with ‘hardly any’ off into the distance.
bass frequencies in them, and
needs to sound good, and nothing more, Delays are also a useful
then the clarity and punch that and you’ll find you have a lot more space alternative to reverbs as they
you originally had in your kick and clarity than you had before.” are often less dense, so take
and bass are gradually lost in up less space in a mix. If your
a cloud of subtle rumbling. track is beginning to sound
This applies to the top end as well. If you’re sounds come ‘out of the box’ in stereo. crowded, try reaching for a simple delay to
introducing an element to your mix that A lot of these don’t need to be. Assess set an instrument back a little before trying
doesn’t need brightness or ‘air’ on it then each element as you add it to the mix and a reverb.
put on a low-pass filter and leave that space decide whether it really needs to be in
in the high frequencies for the instruments stereo. If not, then mono it up and you’ve
Compression
that need to shine there. automatically saved space. As well as adding punch to an individual
Use stereo. Not everything should be sound, compression is great for glueing
EQ in the centre, or the ‘phantom centre’ of a number of elements together, and through
I know filters are present in your EQ a stereo source that’s panned hard left and that process, creating space around them.
plug-ins, but I think it’s good to talk about right. Having read the previous paragraph, This is easiest heard across the mix bus,
these separately — even if only to stress the you now have more mono sounds than where my favourite tool is the Fairchild 670.
importance of filtering! When introducing before, so place them all across the stereo While I don’t have a real one of these (check
a new element to your mix your first field. Try having more things on one side on Reverb or eBay to see how much these
thought should be: “What does this clash than the other. There are no rules. Even go for if you want to laugh, cry, or both),
with?” This isn’t a musical question but an stereo sounds don’t have to be hard left I do have the UAD plug-in version, which
EQ one. You’re listening to the new element and right. If you want to keep a sound is excellent. The 670 has a beautiful way
and trying to hear which frequencies now stereo, try panning it more to one side of pulling in the bottom end of whatever
sound crowded or muddy because of than the other. And a top tip: when you signal it is fed, making it tighter and more
the new addition. Let’s take an example. introduce a new element and are not sure focused. Now try that on your drum bus,
Say I have drums, bass and piano in my where it should go, just do a slow sweep across your guitars and so on. You’ll find that
mix sounding great, and then I add an from left to right. The area where it sounds bus compression can tighten up different
electric guitar. I know I don’t want any bass loudest is the area of your mix where there sections of your mix, and so leave space for
frequencies in the guitar, so I filter up to is naturally the most room for this sound. the other elements around them.
around 200Hz (because I’ve read this article Leave it there.
and that’s what I do now). Next I listen for
Space Exploration
what sounds cluttered and, doing a bit of
Reverb & Delay Hopefully that’s given you a few ideas to
an EQ sweep, I think the guitar and piano Use of reverb is a subject that very much work with on your next mix. If you only
are both quite present at 500Hz. To clear deserves an article of its own, but we should take one thing away from this, though,
this up I’m going to EQ a dip into the new touch on it here as it obviously helps space make it the point about listening for which
guitar part at 500Hz, which lets the piano elements out in a mix. The first thing to say frequencies sound cluttered when you bring
sit in that frequency. In this example we’ll is that all the filtering and EQ points that a new element into a mix. Getting good at
assume there are no other clashes, so the I’ve already made also apply to reverb. You this one thing will make a bigger difference
mix is sounding good now. However, you should always be listening to a new reverb to your mixes than anything else.

TECHNIQUE
Creating your own shimmer reverb effects is easy, and

gives you plenty of creative control.
PAUL WHITE we reviewed in SOS July 2019 (https:// allows you to use different processing to
sosm.ag/ehx-attack-decay). Numerous the dry part of the sound, such as a more
O
ne of the staples of ambient reverb pedals now include a shimmer conventional reverb and/or delay. Some
music is the so-called shimmer effect, but those that do it well don’t shimmer pedal designs also incorporate
reverb effect, in which each note come cheap. An inexpensive software a little feedback from the output of
is followed by a reverberant wash of option is the excellent Valhalla Shimmer the reverb back to the input, and this
sound an octave higher than the original. plug-in. But you can also set up your own configuration makes replicating that
Guitar players often combine this effect variation on the shimmer effect using trickier in most DAWs, but I’ve found that
with a slow fade-in to the note, which plug-ins that most of us already have. this step is usually unnecessary anyway.
can be achieved using a volume pedal, The two key components of the
a little finger wrapped around the guitar’s
Shimmer Basics shimmer effect are octave-up pitch
volume knob, or a dedicated slow-attack Taking the basic shimmer effect first, this shifting and a suitably long and washy
pedal, such as the EHX Attack Decay that is best set up as a send effect, as this reverb. But it’s also helpful to place

a compressor before the is sometimes what you want,
pitch-shifter — this can and sometimes not.
help to keep up the level
and density of the reverb
The Long Wash
tail, creating something For the shimmer chain
akin to a pad or string — which, as I said in passing,
machine sound. To reinforce should be set up as a send
the pseudo-strings effect, effect — you can again
try adding modulation start with pretty much any
to the shimmer sound compressor. Of course, the
using a subtle chorus or aux send control of your
ensemble plug-in. Using source track controls the level
a rotary speaker emulation, feeding into the compressor,
on the other hand, will and thus how much signal
give you something more For more instant gratification, you could try a commercial plug-in such as crosses the compressor
akin to (surprise, surprise!) Valhalla Shimmer! threshold, so it’s usually
an organ sound. best to leave the send at
As a Logic Pro user, I have its unity gain position and
my own template for the adjust the amount of added
shimmer effect that uses shimmer using the aux bus
only Logic’s built-in plug-ins, (effects return) track’s level
and you can download that fader. The compressor type
from the online version of and settings aren’t critical,
this article at https://sosm. but I tend to use a ratio of
ag/diy-shimmer-reverb. But around 4:1, a fast attack and
I realise that many of you a release time of about 200
use other DAWs, so in this to 400 ms. The threshold is
article I’ll try to suggest then adjusted to give gain
third-party plug-ins that will reduction up to about 10dB.
work well. The best place to Next up is a pitch-shifter.
start, of course, is with the Most DAWs have one now,
plug-ins you already have but if you don’t already have
— not least your own DAW’s something suitable, the free
bundled collection. Pitchproof from https://
aegeanmusic.com will do
Treating The the job nicely. This particular
‘Dry’ Path pitch-shifter has the added
By way of insert effects on benefit that it can generate
the main source track, I like key-related harmonies from
to add a little reverb plus a monophonic input, which
some quarter-note tape-style opens up further possibilities
delay, with the top rolled off such as having the shimmer
down to maybe 1.2kHz to The effects used by Paul for tail work as a harmony to
make the repeats sit nicely the DIY shimmer effect he the original sound. For the conventional
behind the main sound. describes in the main text. shimmer effect, however, set it to +12
(Without such delay and/or semitones. I also like to run the mix
reverb effects, I find the dry the compressor attack control at between 50- and 70-percent
part of the sound can seem time until it is suitably wet, so that some of the original pitch
rather too separate from the tamed. Add just enough also gets through to the reverb, which
shimmer reverb tail.) Pretty gain reduction (typically comes next. As a rule, the better the
much any basic reverb and 6dB or thereabouts) to quality of the pitch-shifter you use, the
a delay plug-in that also soften the note. Either smoother the sound. But as the reverb
includes variable filters will use an auto release or that follows does a lot to hide any rough
work for this part of the job. set it to around 200ms edges, the pitch-shifting quality doesn’t
If you’re working with for slowly played parts. need to be top-notch!
a clean, DI’d electric guitar, There’s also the option of I’ve achieved good sounds with
try putting a compressor at panning this ‘dry’ track to many different reverbs — there are
the start of the track’s plug-in one side and the shimmer countless options to choose from — but
chain — this will help even send bus to the other, I find an algorithmic reverb set to Hall
things up, and if the note which can create a bigger or ‘large’ usually gives the best results,
attack is too ‘pingy’, reduce stereo panorama, which and they don’t need to be expensive

TECHNIQUE
SHIMMER REVERB
Here, you can see the routing used

in Paul’s Logic session — note that
the ‘dry’ sound is treated to some
insert effects, before being sent to the
shimmer effect bus.
or sophisticated. For this

example, I’ve settled on the
Initial Audio AR1, which is very
straightforward and usually
available at a very substantial
discount. Again, you probably
already have something that
you can try.
The key settings are a long
reverb time, little or no HF
damping, and a 100-percent wet
mix. If your reverb has a top-cut
filter, as the AR1 one does, then
bring it down until the reverb
sounds adequately smooth. If
your reverb has modulation, try
introducing some of that too,
to add more texture to your
shimmer effect. When working
in Logic Pro, I generally use the
old Silververb plug-in — one of
Logic’s original ‘low horsepower’
plug-ins, it somehow captures that ’80s a similar thing. I often use Logic’s own later). But the plug-in I’ve found that works
digital reverb sound perfectly. Ensemble plug-in, but any multi-voice like magic in creating a slow-attack bowed
Another option at this point is to add chorus-type effect will produce broadly guitar is Eventide’s Physion. Set it to the
some soft tape delay to the shimmer similar results if used subtly. Bowed Guitar preset, adjust the Trans
effect, but I’ll leave that up to you. Finally, Decay knob to get the speed of attack you
we can add a modulation plug-in, to lend
Go Slow require and it’s job done!
further texture to the shimmer. As an Now for the slow attack. If you’re playing Finally, the shimmer effect also works
alternative to straight chorus, you could your part in live, while monitoring the really well in turning an eBow part into
try a Roland Dimension D emulation, or shimmer effect, you can use your guitar’s a rich pad — again, a common ambient
one of those ensemble effects that does volume control or a pedal as outlined music technique. To ring the changes you
earlier — many can also try adding a sub-octave as well as
ambient musicians an octave up; you just need a pitch‑shifter
do just that. that can generate two voices with
Alternatively, a gate different shifts. In fact, the more you play
plug-in that can be with this intriguing effect, the more you’ll
set to a fairly long find ways of adding your own twists to it.
attack time can be Things to try right away include putting
used to coax some heavy flanging before the reverb in the
passable slow attack shimmer path or using a sync’ed chopper
sounds, simply by plug-in to turn the shimmer tails into
setting the attack rhythmic elements. If you have a granular
to its maximum processor, try that on the shimmer bus
time (you can do too as the end result often sounds much
this during the greater than the sum of its parts.
performance, or Most importantly, remember that
this isn’t just an effect for guitarists.
It can work really well on vocals and
One of the presets of piano-style sounds too, but you can try
Eventide’s Physion it with any source, whether ‘playing’
will deliver the sort
the effect during a performance,
of slow-attack effect
that’s often used by or adding some atmosphere and
guitarists along with mystery after the fact. Have fun
shimmer reverb. experimenting — I know I have!

TECHNIQUE / LOGIC
On The Double
Create a convincing double-tracking effect in Logic Pro X
PAUL WHITE Make sure you use the
dual-mono version of
D
the Pitch Shifter. This
ouble-tracking is a great
allows you to set different
way to thicken up a vocal parameters for the left and
or instrumental recording, right doubles.
but it’s not always practical to record
multiple performances. In days gone side’s Timing type as
by, engineers would set up ADT, or Vocals and the other to
Auto-Double-Tracking, by recording Manual, you’ll be able
a vocal part onto tape and using the to increase the delay
delay between the record and replay time on the Manual
tape heads to achieve a double-tracked side to add a little
sound. There are numerous commercially delay between the
available plug-ins that offer the same sort left and right channel.
of sound, but did you know that Logic Something around
already has everything you need? 25ms works well. You
can either set the Mix
Ticket To Wide parameters to 100
Logic’s Pitch Shifter is a good choice percent wet, which
for fake double‑tracking, but since ADT will yield the classic
is most often used on vocals, and most plug-in. Logic’s Direction Mixer offers double-tracked, hard-panned sound, or
vocal recordings are mono, there are a good solution for this, as it allows you to you can allow some of the unprocessed
a few steps to go through before you load collapse the stereo width to mono prior to sound to get through, which in effect
it up. Pitch Shifter is a stereo plug-in, and any further processing, while still letting gives you three voices: double-tracked
to instantiate it in stereo or dual‑mono you use stereo and dual-mono plug-ins. versions left and right, with the original
mode on a mono vocal track requires Once you’ve set that up, insert recording in the middle.
that it comes after a mono-in, stereo-out a dual-mono instance of Pitch Shifter, This treatment works well for
plug-in. If you don’t set it up in this way, which you’ll find in the Pitch section of thickening vocals or beefing up big guitar
you’ll find your vocal suddenly moves your plug-in list. Set one side to a +3 solos, and if you find it useful, you can
off to one side of the stereo image as or +4 cents shift and the other side to save it as a Channel Strip Setting or put it
soon as you’ve inserted the Pitch Shifter a similar minus amount, and you have the in your user library for next time you need
classic detuning patch, as found on classic to call upon it.
First, load up Logic’s Direction Mixer plug-in,
Eventide effects units, and very popular
and set its Spread parameter to 0.
with ‘80s guitarists. On one channel, set the Timing mode to
If you also set one Manual. This lets you apply a delay between the
left and right channels.

TECHNIQUE / CUBASE
Delta
Force
With some simple signal
routing, Cubase can tell
you exactly what a plug-in
is doing to your audio.
JOHN WALDEN
A
limiter’s primary function is to prevent the loudest
signal peaks from exceeding a specified maximum
level, but they’re often also used as a ‘maximiser’ to
increase loudness: as you raise the input signal, everything
below the limiter’s peak detection threshold gets louder,
while the peaks are reduced to the threshold level. But the
latter tactic can mean the limiter both acting more frequently
and applying more attenuation, and the more you ask your
limiter to do, the more unwanted sonic artifacts it will leave
behind. Eventually, it will become audibly unpleasant.
You can’t simply crank up the gain and hope for the best,
then; you must train yourself to hear exactly how the limiter
is changing your audio. When you overdo it significantly, it’s
very easy to hear any damage being done. But, especially
when you first start experimenting with limiters, it can be
harder to judge where the sweet spot is. To make this a little
easier, you can use a technique that’s often referred to as
‘delta’ monitoring. Essentially, this requires you to subtract
the processed signal from the unprocessed one, so that
you can listen to the remainder, which is what your limiter
is removing. Some third-party plug-ins helpfully include
delta monitoring facilities (Tokyo Dawn Labs’ Kotelnikov and
Limiter 6, for example), but a little creative audio routing
allows you to achieve it with almost any plug-in in Cubase
(or, indeed, any other DAW). I’ve used Cubase’s simple
Brickwall Limiter for the examples that follow.
Hitting Bricks
You can start by familiarising yourself with the Brickwall
Limiter by using it on a drum bus track, as per the first
screenshot — I’ve used the Gain control in the MixConsole’s
Pre section to set the signal level coming into the Brickwall
Limiter. This plug-in offers switchable dual-mono or stereo
operation (via the Link button; best left engaged unless
you have specific reasons to change it) and an auto-release
option that generally works well. The most important
control, though, is the Threshold slider, which sets the
maximum level a signal can reach before limiting is applied.
The Brickwall Limiter inserted on a drum bus Group Track, with the
track’s Pre Gain control used to adjust the input gain.

Any peak that exceeds this level is doing. As a means of educating your ears,
quickly brought down to the threshold. Audio Examples it’s a really helpful technique. Hearing the
To reduce the possibility of exceeding I’ve created a number of audio examples differences isolated in this way can be really
0dBFS, you should set the Threshold so that you can hear what I’m writing interesting, and when you then go back to
to allow a small margin of error — the about. Stream them by all means, but as monitoring the processed signal in the normal
screenshot example shows 2dB of this is about critical listening you’ll have way, you’ll hopefully have a better idea of just
headroom left on a drum bus limiter. But a much better experience if you download what artifacts to listen out for as you adjust
the uncompressed WAV versions and
if in doubt, the DIC (Detect Intersample the plug-in’s controls.
audition them in your DAW.
Clipping) feature adds an extra level of WWhttps://sosm.ag/cubase-0720
safety; it uses a lookahead oversampling
process that, at the cost of an additional
1ms of latency, ensures the signal won’t forget’ parameter. It’s more interesting
exceed the Threshold, even at a point to change the input level (in this case,
between two samples. via the Gain control within the drum bus
track’s Pre section).
Take It Away As you’d expect, as you increase
Now let’s look at how we can set the gain, you force the Brickwall
up delta monitoring to better hear Limiter to work harder, and the
what this limiter is doing — the final differences between the processed and
configuration is set out in the second unprocessed audio become increasingly
screen, but a number of steps are obvious. These differences manifest
required to get there. I’ll assume we’re themselves in three ways. First, you can
starting with a limiter on the drum bus, hear which elements within your audio
as described above. are being altered most by the limiting
First, create two FX Tracks and insert (whether on a drum bus or a full mix,
an active (ie. not bypassed) instance of this will probably be the kick and snare
the Brickwall Limiter on each. Initially, drums). Second, you may be able to
configure these two instances identically hear some audio nasties, which may
to the one on your drum bus. Then encourage you to think about just how
disable the drum bus track’s output (in far you should push your limiter. Third,
the Routing section), and create two the delta monitoring signal will include
sends, each at unity gain (0dB), each any gain differences that are introduced
going to a different one of your new FX by the processor itself.
Tracks. The audio from the drum bus In my example, the gain change
now flows to the master output only via is applied equally to both FX Tracks
these two FX Tracks, so you can bypass because it’s performed on the drum
the Brickwall Limiter on the drum bus bus Group Track that feeds them — so
track. Don’t engage playback just yet, you won’t hear any gain differences.
though, or the signal will be twice as But if the plug-in being monitored is
loud as the original! one with an input gain control (Cubase’s
Now, in the Pre panel of the second Limiter, for example), and you adjust
FX Track, switch the ‘phase’ (polarity) this in the FX Track instance of the
from 0 to 180 degrees. Engage playback plug-in, then the delta signal will
now, and you should hear silence — the include this gain difference, and it will
two FX Tracks are playing identical audio be present whether or not the limiter’s
out of phase and therefore perfectly gain reduction circuit is active. (It’s also
cancel. Finally, bypass the Brickwall a great way to spot plug-in presets
Limiter on the second FX Track. Now, that try to trick your ears with a sneaky
identical parts of the audio will still ‘louder-sounds-better’ boost!) There are
cancel, but where the limiter has acted pros and cons to both approaches: it
you’ll hear only what it has removed. can be handy to hear just the limiting,
or a combination of the limiting and
Split The Difference any gain change.
That was easy enough, but what
does it tell you? Well, for a quick
Listen & Learn
example (because it results in an Of course, while I’ve used limiting
obvious difference), experiment with for this example, the same approach
the Threshold setting and listen to can work with almost any plug-in. For
Delta monitoring: the final track and routing
how the characteristics of the delta example, try it with a compressor, or configuration required to isolate the audio
signal change. In practice, though, tape saturation processor if you struggle differences between the processed and unprocessed
the Threshold is likely to be a ‘set and to hear precisely what it is they’re versions of the drum bus signal.

TECHNIQUE / REASON
Step Out
SIMON SHERBOURNE
T
here have been a couple of
significant updates to the Reason
Rack plug-in. As a Pro Tools user
I’m delighted to now have an AAX version
of the plug-in; we’ll explore that soon.
This month we’ll dig into the other new We look at what you can do with
feature: a MIDI Out device, which adds the
ability to patch MIDI from inside the Rack Reason’s new MIDI Out Rack device.
environment to other tracks in your project.
Why route MIDI out of the Reason device into the virgin Rack. Reason will monitoring mode. Now, anything I play or
Rack? Well there are the Players: various automatically add the new MIDI Out record via Track 1 will trigger the synth on
MIDI performance transformers and device and snap the Player to it. (Players Track 2, with my notes processed by the
sequencers that are just as cool when can’t exist on their own; if you try this in Reason Player.
used with your other instrument plug-ins the stand-alone Reason app it creates an An important point is that you always
(or hardware synths) as they are with ID8 instrument). need to use separate tracks for source and
Reason’s internal devices. There’s also the If you arm the track or make it the focus destination. It would be great if you could
still-great Matrix pattern sequencer, the for your MIDI keyboard controller, MIDI simply drop Reason in-line with another
analogue sequencer in Thor, Redrum’s will pass through the Player, and into the instrument, acting like a MIDI plug-in, but
multi-channel gate sequencer, and many MIDI Out device polyphonically. Different I don’t know of any DAWs that allow this
other sequencing Rack Extensions. Plus, DAWs have their own way to pick this up. kind of configuration.
the MIDI Output devices can translate In screen 1 I’ve got the Player on Track 1
Reason’s internal CV connections into CC, of a Live project, and Ableton’s Wavetable
Next Steps
so you can utilise any modulation source synth on Track 2. The MIDI source for Most DAWs could benefit from a built-in
from the Rack in your DAW. each track is set on the channel strip’s step sequencer as an alternative to the
MIDI From section. On Track 2’s MIDI piano roll approach. The Matrix pattern
Bring On The Players From selector I’ve chosen Track 1. In the sequencer is one of several options you
If you have an up-to-date version of second pop-up I’ve selected the Reason could access via Reason, and comes with
Reason installed, try inserting the plug-in plug-in specifically. Track 1 is armed and all versions, including Reason Intro. We
in your DAW and dropping any Player Auto Input monitoring, Track 2 is in Input covered the Matrix in detail all the way
back in July 2007.
Adding a Matrix to a fresh Rack plug-in
won’t add the MIDI Out device — you’ll
need to drag one in from the bottom
of the Instruments list. You’ll also need
to manually connect the devices on the
back of the Rack. In screen 2 I’ve got the
Reason Rack plug-in running in Pro Tools.
I’ve added a Matrix and cabled the Note
and Gate outputs to the MIDI Out. With
Out Of The Box

I’ve mainly focused on routing MIDI
from the Reason Rack plug-in to DAW
tracks. In fact the MIDI Out device is
also in Reason stand-alone, and replaces
the External Instrument device. Here,
the MIDI Out device is the key to
incorporating external hardware synths
into your Rack and the master timeline
Sequencer. The workflow in terms of
choosing a destination and how you route
audio from your synths back into Reason
is very similar to using the External
Instrument device. We explored this in
depth in April 2019. The big advantage of
the new device is improved handling of CC
messages, with eight individual connections
1. Using a Reason Player to arpeggiate Ableton’s Wavetable synth. MIDI from the master keyboard is and Scale and Offset parameters.
processed in the Reason Rack and routed back to the DAW via the MIDI Out device.

3. Recording the output of Reason’s sequencers
and Players is a fast way to lay down
direct cabling like this rather than via have to do this: the channels default to 0
a whole arrangement.
a Player, the MIDI will be monophonic. which is effectively Off. The FabFilter One
synth on Track 2 picks this MIDI, and I’ve
CC’ed assigned these CC values to Cutoff and cut off at the mid point. To manage this,
As well as handling Note and Gate signals Pulse Width. the MIDI Out device has Offset and Scale
from the Rack, each MIDI Out device Most LFO sources in Reason are knobs for each CC channel, allowing you
includes eight channels of CV to MIDI CC bi-polar (they have positive and negative to attenuate the modulation and slide it
conversion. In screen 2, in addition to the values), while envelopes are usually into the positive range.
Matrix sequencer I’ve got a Pulsar dual uni-polar, and the Matrix’s Curve mod
LFO connected to two of the CV inputs. sequence lane can be switched between
Making A Commitment
On the front panel zI’ve assigned the first the two. MIDI CC modulation is all positive When using a Player you can of course
two channels to CC numbers 2 and 3. You values, so bi-polar mods like LFOs get record MIDI notes on the Reason track.
Alternatively, you could record
to the destination track to
capture the processed MIDI.
With a Matrix sequencer
you can drop MIDI patterns
from the Reason plug-in
directly to a track: with the
Matrix selected, you’ll see
a blue notes icon to the left
of the device. You can drag
and drop this to print the
current sequence to your
DAW’s timeline.
Better than this, I like
to record the output of
the sequencers to quickly
capture a real-time
arrangement. In screen 3 I’ve
used the Drum Sequence
Player to program a number
of patterns triggering NI’s
Battery. I’ve then recorded
myself recalling patterns,
much like we did last month
in Reason with the BeatMap
Player. With this done you
can disable the Reason
2. A Matrix step sequencer is patched to the MIDI Out, and is being used to play the FabFilter One synth on Track 2 in sequencer, or switch it to an
Pro Tools. The MIDI Out is also converting Rack CV from a dual LFO generator into MIDI CC messages. empty pattern.

TECHNIQUE / STUDIO ONE
Spinning Plates
Making the most of Studio One’s templates.
ROBIN VINCENT templates, remap the I/O to your own plug in your microphones, DI the bass and
interface and resave the template. electric and you are ready to rock.
I
f you are anything like me then you The House/Techno template is a bit
enjoy the vast expanse and enormous
Style Guide more dubious. It loads up a sort of ‘my
potential of the empty project. The Style tab is where all the action is at the first techno track’, making good use of the
Anything is possible as I ponder whether minute. In addition to our favourite ‘Empty Pattern Sequencer for some four-to-the-floor
to add an Audio Track in mono or stereo, Song’, we get 11 other options which are kick and hi-hat action. It also loads up
or perhaps to kick this masterpiece off less about style and more about intention: a couple of Mojito synths for bass lines and
with an Instrument Track. I don’t tend to Band Recording is quite an intense Presence for chords. It is quite fun and if you
give the idea of templates much thought. template that assumes you’re at least were stuck for ideas or a classical composer
I mean, how on earth could a programmer a four-piece rock band with drums, bass, who just got commissioned to write some
at PreSonus have any idea about the guitar and vocals. It also assumes you’re techno then it could be perfect.
awesomeness I’m about to conceive, let using 11 microphones on the drum kit and Instruments Set loads up an instance
alone create a template for it? But looking prepares them all for the thrashing they are each of Mojito, Impact, Presence and
at the Podcasting template that we used in about to receive. On the kick, snare and SampleOne, with sounds loaded and a lot of
lasts month’s workshop reminded me that, toms, a Pro EQ, Gate and Compressor have EQ and compression, while Mixed Arrange
actually, these templates can be enormous been inserted and set up appropriately. The instantiates Presence plus some band‑style
time savers. But more than that they can be hi-hat gets some individual treatment but audio tracks, appropriately set up and EQ’d.
instructive in the sort of processes they have the overheads and room mics have nothing The Multitrack Recording template
set up, and give hints at how you should set up other than the panning. All the drum creates a simple eight-track project with
be handling various types of project. Useful tracks route into a group channel with inputs set up ready for recording.
and creative, eh? Well, in that case, let’s a Channel Strip inserted. Piano Ballad is a complete project with
take a deeper dive and maybe even create The bass, electric and acoustic guitar strings, piano, bass and drum parts all
our own. tracks have Ampire inserted, with no written and arranged into verse and chorus
Templates can be accessed whenever you amps, and some minimal differences — for sections. There’s a couple of audio tracks
create a new song. The New Song window example, where they’ve elected to add prepared for vocals and guitar.
appears and you can select a template from some modulation and EQ to the acoustic We looked at the Podcast Production
the Style, Interface or User tabs. guitar. The vocals get special attention template last time, of course, and
Interface templates are only relevant with the Tricomp, Pro EQ, Beat Delay and discovered that it was remarkably useful.
if you have a PreSonus audio interface, Reverb all ready to go. There are additional Rock Band is almost identical to the
and they generate multitrack projects that electric guitar and vocal channels set up with Band Recording template, but presumably
are handily configured to the specified no processing. with more rock.
interface. They are relatively simple, adding So, with little sound engineering Singer/Songwriter apparently means
in a couple of effects busses for reverb and experience you could load up this template, guitar, vocals and drums. The vocal
delay, inserting some
standard Fat Channel
plug‑ins across the
tracks and some
EQ and limiting on
the master outputs
— good solid
stuff and a useful
shortcut to having
to set up all those
inputs and outputs
yourself. Of course,
there’s no reason
why you couldn’t
commandeer one
of these interface
Making your own

templates can be a huge
time saver.

Studio One comes with a good selection of project
templates ready to go.
and guitar tracks are nicely set up with

compression and EQ on separate male and
female channels.
Vocal + Guitar is sort of the same as
Singer/Songwriter but without the drums.
They’ve used the Channel Strip plug-in
rather than a separate compressor and EQ.
Vocal Recording loads up an audio track
for backing, plus a group of four vocal tracks
that route through the same processing.
The included templates are a bit of
a mixed bag. Some are undoubtedly useful
if you want a starting point for mixing and
separation in multitrack recording. Others
you should treat, perhaps, as an example of
what you could do with your own template,
tailored towards the sort of music and
instruments you would be using.
Something that I didn’t expect was the
fact that these templates can contain clips, It’s a good idea to spend some time will be available to you next time you start
patterns and arrangements. Both the Techno browsing through past projects to see the a new song.
template and the Piano Ballad came with sort of plug-in chains and instruments you Your template could also be a lot
complete songs written inside them. This led use frequently. For instance, in your nice more complex, of course. You could have
me to discover that you can buy templates new empty template your first task could be audio tracks set up, record-enabled, inputs
that are complete projects in a chosen loading up the master bus with the plug-ins assigned and routing configured all ready
style that you can fiddle with yourself. For you always use at the end of the chain. This to go. You could map your entire studio
example, for under £30 you can pick up the may be the multiband compressor, Pro EQ, into a template so you never have to create
Melodic Progressive Template by Snydex Spectrum Meter or third-party plug‑ins another track — it’s already there. It is
& DenBray, or the Dope DAW Template (the included templates use only PreSonus a good idea to generate multiple templates
from DAW Templates. These contain entire plug‑ins, but you don’t have to!). You don’t for different tasks or variations on the basic
arrangements, with PreSonus plug-ins and have to try to imagine what settings would one. Just make sure you describe them
instruments loaded with the presets and cater to the most projects but if there are adequately in the Save Template window so
samples all included. It’s an extraordinary things that you find yourself always doing to that you can find them again in the list.
way of getting a window into how someone these plug‑ins then do those things now and If you want to delete a wayward template
produces that style of music and could be you are already saving time when you next that’s sitting there taunting you in the User
educational as well as fun to play with. use this template. list, you have to right-click it in the New
Next, you could create busses in the Song / Template window, select Show in
Creating Your Own console for instruments and audio tracks Explorer, and then manually delete the
Let’s look into how we can create our own that you are likely to use. Don’t forget to .songtemplate and .data file.
templates in Studio One. You could choose name them and colour them because now You can also use a template as
a song you’ve been working on and go to is the time to do all the boring admin tasks a repository of mixing and plug-in setups
the File menu and click on Save Template that can often get forgotten in the creative that you can import into another project.
— job done! But to get the most use out process. As with the master bus you could So, if someone has sent you a session to mix
of a template I think it needs a little bit drop in effects that you know you tend to you can use the Import Song Data option
more thought and preparation to create use again and again. from the Song menu to choose effects
something that’s going to save you the most Then we come to FX Channels. Add your busses or groups and import them directly
time in the future. It needs to be somewhat favourite reverb to an FX Channel, or set up into your session, with the plug-ins loaded
generic but also focused on what you use all a delay — whatever you often use. Then add and ready to go. There’s one caveat to that:
the time. the sends to your bus channels, saving you for your effects busses to appear in the
Start with an Empty Song and call it more clicks down the line. Import Song Data list they must be part of
something helpful. It’s unlikely that a single You’ve now got the bare bones of the arrangement structure. If they just exist
template will cover all your possibilities. a song template that’ll work in any situation. purely in the console then they won’t appear
You might want to create one for multitrack As you add audio tracks or instrument tracks in the list. The simplest way to enable this
recording, or just for mixing, or one you already have places to route them, is to right-click the fader and select Edit
that contains tracks set up for all your effects they can be sent to and processing Automation, which automatically generates
instruments, synthesizers and external that can create the sort of sound you tend an automation track in the arrangement. It’s
equipment. Maybe you want a template that to lean towards. Now you can hit the Save an annoying workaround in an otherwise
loads up your go-to software instruments. Template button, and this starting point fabulous feature.

TECHNIQUE / PRO TOOLS
Group Think
JULIAN RODGERS
M
ix and Edit Groups have been
a mainstay of Pro Tools for many
years, but I never really explored
the possibility of unlinking them. Instead,
I would set up a selection of tracks as a Mix Pro Tools’ new Folder tracks make a
Group, an Edit Group, or a Mix+Edit Group,
and simply enable and disable Groups
neat alternative to Groups and VCAs.
depending on what I was doing. The ability Folder track overview. This overview is the Shift+; you can extend this edit selection
to unlink Mix and Edit Groups would have only track view available in a Basic Folder up or down to include more tracks if you
saved me the trouble, as it meant that track, and it shows the clips as blocks like. All the tracks within an Edit Group will
Groups could be automatically enabled in representing their position in the timeline. share the same edit selection if any of the
the Mix window and disabled in the Edit The clips display in the correct colours, member tracks is selected. If you make the
window, or vice versa. However, in a rare but unlike in a Group, the contents of the same edit selection on the Folder track
example of Pro Tools losing a feature, the clips aren’t represented. (The overview is you’ll see a light edit selection that also
ability to do so has recently been dropped. identical to the often overlooked Blocks covers the member tracks. This is an implied
It has occurred to me that the view available in the Track View selector. selection (see Screen 2). All the basic
introduction of Folder tracks might lead Calculating and drawing waveforms used edit commands such as Cut, Copy, Paste
to Groups falling by the wayside for many to be far more taxing on host computers and Clear are available, and for common
users. In many respects, Folder tracks than it is now, hence the option to to display applications such as working on related sets
duplicate functionality that Groups also coloured blocks with no waveform.) When of tracks like drums, multi-miked guitars or
offer. However, they still differ in a few the Folder track contains a lot of tracks stacks of vocals, I can imagine Folder tracks
important ways, and Groups still have some the overview can get very crowded, and superseding Edit Groups for many users.
advantages over Folder tracks, as we’ll see can quickly begin to resemble the view It has to be said, though, that there are
when we dive in. presented by the Universe window (see more complex applications of Edit Groups
Screen 1). which can’t be replicated with Folder
Folder Track Overview Basic track editing is supported from the tracks. The necessity for the collection of
Pro Tools’ Edit Groups link all the member Folder overview. When an edit selection tracks which are being linked for editing
tracks in the Group, and only affect a limited is made in the Folder track overview, the purposes to be in a Folder does mean
number of attributes: specifically, the track selection is ‘implied’ in the member tracks that they are always next to each other. By
height, timebase and, of course, audio, MIDI in the Folder. To understand an implied contrast, the tracks linked by an Edit Group
and automation editing. The editing of the selection, just try making an edit selection in can be non-contiguous, and this offers
contents of a Folder track, whether audio or one of the member tracks of a Folder. You’ll a distinct advantage over Folder tracks.
MIDI, can be performed from the overview see a dark edit selection. Using Shift+P or The convenience and integration of Folder
tracks, however, suggests to me that Edit
Groups will become the exception rather
than the rule for many.
Routing Folders &

Level Control
Once you’ve used them in a mix session,
Routing Folders become a little addictive.
They combine quick and repeatable session
management with level control and bus
processing. Again, however, they don’t
provide exactly the same functionality as
some of the features they can be used
to replace.
A good example is track show/hides.
To my mind this this was always something
of a fudge in Pro Tools, but it was a fudge
that worked. Assuming you weren’t
using EUCON, the options were either to
Ctrl+click on a Group in the Groups sidebar
to show only the tracks within that Group
— a really handy feature — or to set up
a memory location with None ticked in the
time properties and Track Visibility ticked
Screen 1: Folder tracks can be a very useful way of managing your sessions, but since they apply the same in the general properties. This has been my
height to each track within them, heavily populated Folder tracks can quickly become unnavigable. preferred method for years, as groups of

tracks can be quickly toggled in and out of Screen 3: Using memory
view using the numeric keypad. While this locations, with None
gives detailed control, it does take time to checked in the time
set up; Folder tracks do nearly everything properties and Track
Visibility checked in the
that’s possible with the memory locations
general properties, lets
approach, without as much dedicated you toggle the visibility of
setup time. groups of tracks using the
When it comes to level control, things numeric keypad.
are less straightforward. In my pre-Folder
tracks workflow, I usually created an Aux and prior to the release
Input for any related group of tracks to of Folder tracks, it was
allow bus processing to be applied, and my preferred method
would set up a Mix Group specifically so to control these source
I could create a VCA master for level control. tracks. A VCA master
Using an Aux Input to submix through is best thought of as
creates a summing point in the mixer, and a Master Fader for
this is a very useful thing. The ability to a Mix Group: the level
apply processing to a combined or multed of faders in a mix group
signal is convenient for EQ and essential for is linked but VCA
compression, as the results differ so much masters bring additional
between compressing individual tracks at advantages, one of the
source and compressing them together at most significant being
the summing point. Bus compression often VCA Spill. VCA Spill
gives that desirable interaction between allows users of compatible control surfaces tracks to be soloed as well. This solo logic
tracks which so may refer to as ‘glue’. An to ‘spill’ the contents of the Group the VCA doesn’t happen when submixing via an
Aux Input fader controls the level of the is controlling out onto the control surface. Aux Input, forcing you to make decisions
audio after the summing point and the bus It’s an incredibly powerful way of working about whether to solo‑safe the Aux Input,
processing. Conversely, a VCA fader controls and one I’ve wished was available without and exactly how to manage solos in the
the level of the source tracks feeding in to a control surface. Although Avid haven’t source tracks.
the summing point, so the effect of either called it VCA Spill, unfolding a Folder track Routing Folder tracks bring some
of these faders is going to be very different is pretty much what I was thinking of when much-needed improvements to the solo
depending on whether you want to drive I imagined having software-only VCA Spill. logic applied to submixes, and the level
audio harder into the bus processing or control provided by the fader is perfectly
place the bussed audio into the context of
Null But Not Void capable of controlling the level of the
the rest of your mix. ‘Null Groups’ are Pro Tools Groups with submixed tracks. As for how to control the
The Routing Folder track offers the no attributes at all in the Attributes tab of level of tracks going into plug‑ins used
functionality of the Aux input, with the bus the Modify Groups dialogue, and they are for bus processing, while the threshold
processing and post‑summing level control, a useful way to be able to create a VCA of a single compressor can be adjusted
but there is still a role for the VCA master in master to not only control the level of easily enough, with the complexities of
all but the simplest of mixes. Trimming the the source tracks, but also to be able to analogue‑modelled plug‑ins being used
level of the tracks feeding into the summing quickly solo all the members of the Group in combination, being able to adjust
point can be performed using a VCA master, while still having the solo buttons of the the level feeding a plug‑in chain is best
source tracks unlinked, allowing individual achieved using the mixer architecture. With
Screen 2: An implied selection in a Track Folder.
the advantages of using a VCA master
to control solos duplicated by the Folder
track itself, the most obvious contender
to manage the level of the bus would be
the tool provided by Pro Tools to manage
headroom on busses at summing points: the
Master Fader!
Master Faders are present in the Pro
Tools mixer at at summing points precisely
for this reason. Whether or not you choose
to display them is up to you, but they
are there already and if you need to trim
back the levels feeding your drum bus,
for example, the quickest way to achieve
this is to create a Master Fader. I suspect
that in my Folder tracks workflow I might
be using Groups less but using Master
Faders more...

INSIDE TRACK
Secrets Of The Mix Engineers:

Clint Gibbs
Doja Cat’s ‘Say So’ was already a worldwide

hit when a new version featuring Nicki Minaj
rocketed to the top of the charts. One man
mixed them both.
PAUL TINGEN widely publicised legal problems which overseeing studio operations and being
appear to have diluted his stream of hits a mixer is my main one.”
‘S
ay So’ was both Doja Cat’s and to some degree. The production of ‘Say Renowned engineer Serban Ghenea
Nicki Minaj’s first US number So’ is credited to one Tyson Trax, and while remains Dr Luke’s go‑to mixer, but Gibbs
one. Doja Cat’s original version, neither Luke nor his team will confirm has increasingly taken to mixing the big
released on January 28th, reached number this, it’s an open secret that the name is songs, and mixed both the original version
two in the UK and number five in the US. a pseudonym for the great producer. of ‘Say So’ and the remix, as well as 10
A remix, with Nicki Minaj adding vocals and of the 12 songs on Doja Cat’s album Hot
a rap, was released on May 1st, pushing the
Man Of Many Hats Pink (2019). To be able to have the time to
song to the much-coveted top spot in the Clint Gibbs is Dr Luke’s chief engineer and do all his mixes, and be there for his wife
US (different versions of a song that meet occasional mixer, a role he also fulfils for and baby, Gibbs has taken a back seat at
certain criteria are counted as one). Prescription Songs, Dr Luke’s production Dr Luke’s studio and now mostly works
The track also marks the first number one company. “I do quality control,” explains at home. Engineering duties at Dr Luke’s
since 2014 for legendary producer Lukasz Gibbs, “final delivery, upload sessions studio tend to be performed by Kalani
Gottwald, aka Dr Luke. Known for big hits into the archive, and help songwriters and Thompson and Tyler Sheppard.
by Katy Perry, Pink, Avril Lavigne, Katy Perry, producers with their setups. I also do the IT Originally from Las Vegas, where he
Ne-Yo, Shakira, Miley Cyrus and many more, for the company, email, tech support, and played in garage bands and was a fan of
he’s spent the last few years embroiled in so on. I wear an insane number of hats! But metal, Gibbs moved to LA in 2007, when he

‘Say So’
Written by Amalaratna Zandile Dlamini,
Lydia Asrat, Lukasz Gottwald
& Yeti Beats
Produced by Tyson Trax
was 21. After studying at the LA Recording

School he started work as an intern at
Conway Studios in January 2008. It was here
that he met Dr Luke, and started working
for him and his then-chief engineer Emily
Wright, in December 2010.
“Luke had a run‑down studio in the
Hollywood Hills, but it was super-private and
great music was made there. Whenever we
worked with big artists and finalised things
we went to Conway or the Record Plant.
After that Luke had a house in Malibu that
we worked out of for a while, and in 2015
Clint Gibbs now mostly works from his home studio, which is based around a MacBook Pro running
we started building our current studio in Pro Tools, a UA Apollo 8p interface, a Grace Design monitor controller, a PreSonus FaderPort for vocal
Hollywood. The studio is pretty simple, with automation, and PMC, Genelec and Beats speakers for monitoring.
huge PMC speakers. We are big fans of
the PMC company, and they built us new also loves them. They warm up the top I will go to the artist’s place, or anywhere
speakers for that room. They really wanted end of the C800. We also have the new UA else. I also have Sennheiser HD650
to wow us, and to give us the volume we 1176 compressors, which are quieter and open-backed headphones. Jerry Finn had
needed. In fact, they built their huge QB1 more consistent. From there we go straight them when he worked at Conway, and
XPD-A speakers because of our room. into Pro Tools. Of course, there are tons he’s my idol. I really like to check panning
They are as tall as I am! The speakers have of vintage synthesizers and guitars in the on these headphones, and spatial stuff in
plenty of low end, but also are very detailed. studio, and they are recorded via DI and API general. They are easy on my ears, and
I often work on them at low volumes. We 3124 mic pres. Once we are in the box, we ideal when my baby is sleeping!”
also have some nearfield PMC twotwo8 are in the box.
speakers with two sub2s, and some small “I have spent most of the last 10 years
Watch & Learn
Genelec 8020s. trying to keep up with Luke, often going Jerry Finn, who died tragically young at
“Our mics are the Sony C800G and until 4am, but I now do almost all my 39 in 2008, worked with the likes of Green
Chandler REDD Mic, for backing vocals and mixing at my home, also because of the Day, Morrissey and Blink-182. Gibbs also
to record instruments. The C800 is great lockdown situation. My studio is pretty name-checks Emily Wright, Dr Luke, Max
for pop, because of the detail and the air, bare-bones, with a kitchen table with my Martin and Cirkut as other mentors, and
which helps vocals cut through the track. MacBook Pro and the latest Pro Tools, my elaborates: “I was pretty green when
But for hip‑hop, where the new style is to Grace m905 monitor controller, a PreSonus I started working for Luke. I’d sit on the
stand away from the mic and to the side, FaderPort single fader for vocal rides, and floor while Emily recorded Britney Spears,
with chains rattling, it’s more of a challenge. then I have my [Universal Audio] Apollo 8p, making sure Britney could not see me
Though I like all the extra noises! We want Genelec 8020 and PMC twotwo6 monitors, so she’d be more relaxed, and tweaking
quality stuff going on, so we also have a rack a Beats Pill for speaker reference, and my compressor settings. I learned a lot from
of top outboard, which contains Chandler Apple Mighty Mouse. I probably do the watching all these people work, and also
TG2 mic pres, which Luke has used since majority of my mixing here, but I am pretty from listening to Serban when he did live
I can remember, and I know [producer] Max flexible when it comes to my mixing. I can mixes for us via iTunes stream link. I’m
Martin [with whom Gibbs regularly works] be anywhere. I will take my laptop, and blessed to have worked with so many

INSIDE TRACK
C L I N T G I B B S • D O J A C AT
Clint Gibbs’ mix for ‘Say So’ included a parallel bus for Waves’ Aphex Aural Exciter plug-in.
what I focus on. But I don’t feel restricted,
talented people, and have over the years version of Pro Tools, with Auto‑Tune Pro. I just want to improve what is there. If I think
just slowly worked on my craft. Reading “Templates are important, but the main something different needs to happen, I may
SOS’s Inside Tracks also has been a big thing when recording is to have a good hit up the producer and ask if they mind
help! I never asked to be a mixer, but when front end, with a good microphone, a good if I try something. But when the artist is
the call came, it was great.” mic pre and a good compressor. I am not very married to the demo, no matter what
Gibbs also mixes for several other about adding 10 plug-ins to a bus to make changes you make, they are not going
artists on the Prescription Songs roster and something sound good. I really believe in to like it. So when I mix today, I need to
others outside the company, like Azelia making things sound good from the source. be very delicate. I really want my mix to
Banks, Kim Petras, Allie X, Bonnie Mckee If people manage to make it sound great showcase the production and the song.
and Emily Warren, to name a few. But for with 10 plug-ins, awesome. If it works, it I don’t need to reinvent the wheel. I just
most of his time, Gibbs is on call to mix works. But I personally believe in less is want them to go: ‘This is everything we
for Dr Luke. Because he’s less and less better, which you will see in my mixes. wanted, it just has more clarity and is louder
physically present at the producer’s studio, I don’t have plug-ins all over the session. than the rough.’ I am cool being the guy
he’s worked hard at streamlining the entire The productions I get from Luke’s camp who improves the rough, I don’t feel a need
process from recording to mixing. He’s always sound good, so I really want to just to put my stamp on it, beyond making
trained engineers Thompson and Sheppard hit the problems and not overthink a mix sure it sounds good. I just take what the
and set up recording templates for them to and re-engineer it.” producer has done and elevate it.”
record in, and which also make his mixing Part of Gibbs’ job is to make sure the
process easier.
Clarity & Loudness mixes sound good on all consumer playback
“We have, for example, vocal and comp With the latter remark, Gibbs hints at media. He mixes mostly on his PMCs,
template tracks that have been tweaked an issue that many mixers today are checks on his Genelecs, and, he adds, “I also
over the years, with EQ, compression,and confronted with: with producers getting check my mixes on my iPhone speaker,
de-essing plug-ins, and eighth‑note, increasingly good at mixing, artists and Airpods, on my laptop speaker, and so on.
quarter‑note and half‑note delays, reverb, producers are more attached to the rough Very few people are going to listen to the
and Antares Auto‑Tune 5. At Luke’s studio than ever, and this gives mixers less and less mix in a controlled environment. If it doesn’t
we are still on Pro Tools version 10.3.8, HD3, space to be creative. sound exciting on the phone, I’ll revisit the
HD I/O — the classic build — because we “When I first started, I might have been mix and see if I can add something. Most
really like the low latency on Auto‑Tune 5, a little more ambitious and artistic with my people will first hear the song as a little clip
which allows vocalists to hear the effect mixes,” concedes Gibbs. “I think back then on Instagram announcing its release. If it
while singing. However, during this year I was trying to find my sound. Nowadays sounds dope on there, people may go to
I plan to upgrade our rigs to the latest my sound is clarity, and loudness. That is Spotify or buy the track on iTunes. I do a lot

The Remix
The remix of ‘Say So’ adds Nicki Minaj on mastered, it was all approved, and the day before they killed my mix bus. I had to automate a new
vocals, and there’s a section with different the remix was supposed to come out, someone limiter during this part of the remix.
instruments, where she raps over 808s and wanted to change the beat underneath her “I put Nicki’s vocal at the bottom of the
claps. For the rest the instruments and drums vocals. All of a sudden there was an emergency! session, and just needed to pair them with the
are the same as in the original. Gibbs recounts “I got an email from Tyson Trax, saying: ‘Here track. I added all plug-ins on her vocals that
how the remix came into being... are the new beat stems for Nicki.’ Among other you see in the session, but I did not need to do
“The Nicki Minaj remix happened very last things they contained some heavy 808s. I had an much, because the processed stems Big Juice
minute. I got a text from her engineer, Aubry hour to mix in these new beat stems, because the sent me sounded great! The SoundToys Little
‘Big Juice’ Delaine, saying, ‘Here’s a link for remix was supposed to be released in Australia Radiator adds a little warmth, and the Metric
Nicki’s vocals.’ I opened it up and realised they a few hours later. I pasted these new beats in just Halo Channel Strip boosts some top end while
were for ‘Say So’. So I hit up the label and they above the vocal VCA of the original session, also cutting some low end. There are two Waves
confirmed that we were doing a remix. As I was and in Nicki Minaj’s first verse I deactivated the C6 plug-ins dynamically suppressing 177Hz
mixing, I was getting updated versions of the clips from the original beat files for this section. and 700Hz, with a -6db range. There was some
vocals, verses, and so on. We did the mix, got it But because the original did not have 808s, build-up in those frequencies that didn’t work
with the mix. On the inserts of the individual
vocal tracks there also is a Waves Q8 doing two
sharp 4-6 dB cuts at 10kHz and 11kHz, which
was to tame some ‘s’ harshness.
“One of the 808 audio tracks has the
FabFilter Pro-Q 2, with a high pass at 20Hz
and a cut around 40Hz, and the Oeksound
Soothe on a ‘melodic bass control’ setting. On
the 808s aux bus and 808 parallel bus I have the
FabFilter Saturn, Timeless, and the Waves F6.
These 808 busses obviously were added for the
remix. My approach with them was similar to
that of the bass aux. The Saturn is only active
on the parallel track, and is a bit dirtier on the
808 than on the bass. The F6 is side-chained
to the vocal to suppress the mids of the 808
while Nicki is rapping. The Timeless also is
only active on the parallel track, and adds a light
The stems for the beat section over which Nicki Minaj raps. chorus that spreads the 808 out slightly.”
of parallel bass saturation to make sure it and import the session into my system, and I then add the bass, and after that I’ll add
translates on phones.” the first thing I do is upsample from their the other elements, like guitars, keys and
Parallel processing is one of Gibbs’ main 24-bits to 32-bit float. I will bring in my mix so on, which are filling up the other space.
tools when mixing, and also plays a crucial template, with all my busses and aux tracks, I normally take four hours to do a mix, and
role in how he achieves maximum loudness. and then it is off to the races. then I’ll save it, do something else, and
“It starts with initial gain structure,” “I listen to the rough while I import the check it again later.”
comments Gibbs, “and from there parallel stems into my template, and then I start
processing to get added loudness to mainly listening to the tracks in the session. I listen
Drums
the vocals and drums. At the end there’s to the drums, and decide whether they “The only plug-in directly on an audio
also a limiter which averages between a 2-3 all should go to my drum bus, or maybe drum track is the NI Transient Master on
dB threshold. But I am a really big believer there should be a separate hi-hat or cymbal the hi-hat. The two cymbal tracks go to
in parallel processing, and it is my main bus, as I have in the ‘Say So’ session. Then an aux bus, on which I have a three-band
tool for loudness. I match the plug-ins on I organise all tracks and apply colour‑coding, UAD Massenburg EQ. The rest of the drum
parallel tracks to prevent latency between and create the drums, bass and keys groups, tracks all go to aux busses called Drums
the busses, so I know for sure that I have the and so on. In this session everything goes and D-Crush, which have identical plug-ins
exact same amount of delay compensation. to the All bus, which has the Aphex parallel, — as I mentioned, to make absolutely
I find this gives me the tightest sound that and then to the Sum bus. Once I have sure there’s no problem with plug-in delay.
I can get.” everything organised the way I want it, I do The first is the Avid Pro Compressor, which
a Save As, which I call ‘Ready’, and then is bypassed on the Drums bus. I wanted the
Mixing ‘Say So’ another Save As, and I start to mix. It means drums to go through uncompressed. Then
Gibbs elaborates on how the transfer from I can always go back to the ‘Ready’ mix if there’s an iZotope Ozone 8 EQ pushing
tracking to mixing was done. “Usually we I want to start over. at 60Hz. Because there’s no 808 in this
record to a two‑track of the production, and “I usually start the mix working on the version, I needed to add some meat to the
once we are going to mix, we will hit up drums and vocals. I get the drums to where kick. The Plugin Alliance Black Box adds
the producer to get the stems. In the case I want them, and then I’ll add the vocals. saturation. I turned the Pentode knob up
of ‘Say So’, Kalani created a Pro Tools stem For me, the kick, snare and vocals, and the and had the Mix down at 17 percent. It
session for me, cleaned it up and organised movement that they bring, are the core then goes to the Ozone 8 limiter, which is in
it in the way he knows I prefer, and he then of the song. If you have them in the right analogue mode, and does a lot of shaping
zipped it up and sent it to me. I unzip it place, your mix is in pretty good standing. of the low end.

INSIDE TRACK
C L I N T G I B B S • D O J A C AT
The bass track was treated

to a little Ozone EQ boost
at 60Hz, and then a dose
of Klevgrand’s Knorr Bass
Enhancer.
top-end wise. But pretty

much everything else,
except for the D-Crush
bus, was sent to this
Aphex bus.
“I tried the UAD
Ampex ATR-102 plug-in
on the All and Aphex
busses, but turned both
of them off, and forgot
to remove them from the
session. The FabFilter
Pro-Q 3 has a high-pass
and notches around 2.2
and 2.7 kHz, just some
frequencies that were
really piercing. After that
the Waves Aphex Aural
Exciter is bypassed on
the All bus, but really
cranked up on the Aphex
bus. I automated it, so
it’s bypassed in the intro
and the outro, and adds
excitement to the rest of
the track. It’s the first time
I’ve done something like
the Aphex bus.”
Instruments
“One bass audio track has
the Ozone 8 EQ, adding
some 60Hz, and the other
has the Klevgrand Knorr
Bass Vitalizer. It’s the only
time I’ve used the latter.
The company makes
some pretty cool stuff, like
a great cassette emulator
and an LP emulator, and
Processing the guitars are the API Vision channel strip, boosting at 240Hz and 5kHz, and
Brainworx bx_shredspread, adding some stereo width. A UAD Dimension-D chorus effect is this Knorr plug-in adds
applied on the parallel Guitar Dim bus. a little bit more attack. The tracks go to the
Bass bus and its parallel, the Bass Saturation
“The D-Crush parallel track below has “The outputs of both these drum busses bus, and they have the FabFilter Saturn and
the Pro Compressor activated, doing 12 to go to the All bus, and they both also have the Ozone 8 Vintage Limiter, but I bypassed
15 dB compression, so it’s really crushing! It a send to the Aphex bus, though this send the Saturn on the Bass bus.
has the same EQ around 60Hz, but I have is deactivated in the D-Crush bus. Normally “The guitar audio track goes to the
taken out some of the top end, because all instrument busses go directly to my Sum Guitars and Guitars Dim busses. This is
I felt it was getting a little too clicky. The bus, but in this case I got a last-minute note, a rare occasion where I didn’t double the
Black Box has the Pentode and Mix settings asking for the entire track to be hyped plug-ins. The Guitars track has the API
turned up a little bit more for more dirt, and up a bit. At this point it was a matter of Vision channel strip, adding 240Hz for
the Ozone 8 limiter is the same. I blended doing this quickly, and I also wanted to just more body and 5kHz for some bite, and
the Drum Crush bus in with the Drums bus, add a very broad stroke to everything. So the compressor is off. The Plugin Alliance
and I find that you get really huge-sounding I created the All and Aphex busses, and sent bx_shredspread adds some more mid-range
drums doing that. This song also sounded tracks to the latter as required. I didn’t send and widens a bit. The Guitar Dim bus has
very clean, and needed some more grit. the vocals to it, because they were fine, the UAD Roland Dimension D, adding

All vocal tracks are processed by Metric Halo’s
Channel Strip 3, Avid’s BF76 compressor, and
I worked on them, so I didn’t change them. because I wanted to take the ‘s’ frequency
the Avid Dyn-3 de-esser. The Metric Halo is doing a high-pass, the out of the reverb. All vocals go to the Vocals
BF-76 has all buttons in to give it that pop bus, which has the UAD 1176, switched off,
a chorus effect. This was a creative addition. vocal sound. I added the Q 3, cutting 1dB and the JSTClip for some level boosting.
I felt the track needed a little bit more of at 279Hz and at 740Hz. I like to do tons of The Vocal Rear track is the parallel,
a disco feel and that Nile Rodgers chorus minimal EQ cuts with many plug-ins. with -20dB compression on the 1176. This is
guitar sound. Both guitar busses also have “The lead vocal audio tracks also have where I get my vocal loudness from.
a send to the Aphex bus. a send called Voc SC, which goes to the “The All and Aphex busses go to the
“There are no plug-ins on the keyboards, side-chain input of the Waves F6 on the Sum bus, on which I have the Cytomic The
and the Keys bus has the UAD 1176, but Keys bus. It helps make a little extra pocket Glue compressor, the UAD Chandler Curve
it’s bypassed. There’s also a Waves F6, and for the vocal. It creates dynamic dips in the Bender, and the Ozone 8 Limiter. I actually
the Waves Spectre, which adds harmonics 900Hz and 2kHz range when she is singing. added The Glue later, because I wanted that
around 4.3kHz for more excitement. The I also have this F6 on the 808 bus of the pumping sound that Daft Punk gets, where
intro and outro tracks are stems, and remix, doing the same thing. All lead vocal you feed the kick hard into the compressor,
whenever I have several instruments printed audio tracks go to the LD Vocal aux, which and it really makes the compressor pump.
on the same track, I calle it Music. I have has another instance of the Q 3, taking out I am not a big fan of compression on the
Oeksound Soothe on the outro. It’s an quite a bit of low end to make space for the stereo bus, I prefer to do my compression
amazing plug-in. It’s my go‑to for unruly bass, and the McDSP AE600 dynamic EQ, in parallel with my sub mixes, but this one
808s. In this case Soothe got rid of some taking out problem areas only when they needed that little bit of extra squeeze that
harshness around 3kHz in the outro. The occur. I do a lot of vocal riding on the lead adds some character to the mix.
Music bus has the 1176, but bypassed, and vocal bus, pushing up specific syllables. “The Curve Bender EQ has a bit of that
the Pro-Q 3, and a send to the Aphex bus.” “There’s also a track called Echo FX smiley‑face curve, just pushing the lows and
Clean. When I have to mute a word, I will the highs. I normally use the FabFilter Pro-L
Vocals take the word before it and will delay it with 2 on the Sum track, but it wasn’t doing it
“All vocal audio tracks have the same some reverb to fill the empty space. The for me, because it was rounding off some
signal path: Metric Halo Channel Strip 3, additional plug-in by Vengeance, the VPS of the low‑end kick transients too much.
Avid Bomb Factory BF-76, Avid Dyn-3 philta XL filter, is doing a high and a low Instead I went with the Ozone Maximizer,
De-Esser and in the case of the lead vocals, cut to give it more of that radio sound. The with mode set to Transient, and this enabled
the FabFilter Pro-Q 3, all on the inserts, other vocal tracks are treated in similar ways me to get it loud without losing transients
plus sends to the quarter- and eighth‑note as the lead vocals, though the BG2 bus has on the kick. I took the limiter 1dB down for
delays and reverb. These are all part of the the Valhalla Vintage Verb, with a 2.4s reverb, the 24-bit mix I sent to mastering engineer
recording template, and came from Kalani. Mix at 18 percent. I think that came from Mike Bozzi, to give him some room to
I am familiar with the settings, because Kalani, but I added the FabFilter Pro-DS, work with.”

INTERVIEW
He might not be a household name, but Steve

Ouimette has made more people dance than
anyone else on the planet!
SAM INGLIS Konami, but since 2010 it’s been pretty tracks, has built-in EQ choices for isolating
much exclusively with Ubisoft and the Just frequencies and also has a handy tuner in
“E
ver since I was a kid, I used Dance franchise.” it so you can get the track to concert pitch
to drive my guitar teachers if they sped it up in mastering. Sometimes
and the other band members
Fact Finding a track will come in that’s slightly sharp
crazy,” laughs Steve Ouimette, “because The first stage in recreating any track or flat — mostly sharp — so that helps to
I couldn’t stand when we played a song is, naturally, research. “Usually it starts tune it. In many cases I’ll use that to tune
the wrong way, so I’d sit there with with just listening as much as I can. It’s the track and instruments to that pitch if
a cassette player or turntable and play rare that I ever get more than a stereo necessary. Other than that, I’ll use FabFilter
back parts until I could figure them out. track, and many of the times it’s an MP3 Pro-Q3 and some of the excellent tools
Then I learned about the karaoke trick these days. I’ll put it on during my cardio from iZotope like Neutron. But for the
of summing the two-track to mono and workout, before I sleep, while I’m having most part it’s just old-school listening with
flipping one channel out of phase so my coffee… whenever I can, to really get it my ears!
I could hear parts that might be hidden in into my head. “From there it’s just a matter of breaking
the mix.” “I use a mix of speakers and the track down to the most basic elements
Steve’s perfectionism has stood him headphones. My main monitors are and going in deep to listen and pick out
in good stead, both as a composer for Amphion One18s combined with four HSU the details. The Internet has been a huge
games and TV, and as the man behind 15-inch subs and a Linea ASC48, for a little help, especially as it continues to grow. I’ll
the acclaimed Cinematic Guitars series of DSP correction of my room. That’s the main find out where the song was recorded, who
sample libraries from Sample Logic. But it’s listening setup. And then, yes, headphones. the players were, what mixing console was
found its full expression in a more unusual I’ve been using Beyer DT770s, but they’re used, mics, instruments, amps, anything
specialism, which he estimates as making a little bass-heavy for my taste. Still, the and everything. You sort of become
up around a third of his work: recreating hit isolation can help pick out certain elements a detective, in that you’re always looking
songs for use in video games. “It became because they’re right there in your ears. But for clues as to what they may have used.
a big part of my work starting with Guitar the Amphions are definitely where I spend Interviews and other articles have been
Hero III in 2007. Activision/Neversoft hired 85 percent of my time. Those speakers very helpful in some cases where I might
me to record nine covers for the game were a revelation to me. It’s almost like they get a little information from a producer or
— ‘School’s Out’ by Alice Cooper was aren’t even there… it’s just music coming engineer or sometimes even a tech that
my test song — and I’ve been going ever at me! worked for the band at the time. Then
since. I think I’ve done somewhere around “I also use a program called Transcribe you work backward and try to eliminate
250-270 songs at this point. A good from Seventh String Software that does everything that couldn’t have been… like
number of those were with Activision and the karaoke trick as well as slows down an AMS RMX-16 in 1979. Nope, couldn’t

have been that! One time I was lucky to start from the drums or percussion much more inspiring to sing to a good
enough to find the original drawing of the — anything that lays the foundation — and track, and vocals are by far the most
layout of the studio and where all of the it always starts with an accurate tempo map. important element.”
instruments were placed and miked. That “My DAW is Studio One. I fell in love
was pure gold. with it about four years ago and doubt
The Human Touch
“Every now and then I’ll find a multitrack I’ll ever look for another one again. They Steve is happy to program elements of
master online that I can dig into. Man, that’s have excellent tempo-mapping tools the recreated track where he feels that
like getting the golden ticket! A couple that really speed up the process. But no approach will deliver the best results,
years back I did a re-record of [Elton John’s] matter what tools are available it’s still but he prefers to use real players where
‘I’m Still Standin’ and found the multitrack very listening-intensive to get the map possible. “Sometimes it starts with the
online. There was so much I learned from right. Where the software sees a transient sample library for strings or brass and
just listening and it did make the job a lot may not be the exact spot I need for depending on how convincing I can make
easier. But it’s incredibly rare.” a downbeat, but it gets me close to start them, they might stay. But most of the
In extreme cases, there can even be with. Then I tune it by ear until the click time I’ll bring in session players for the
more than one layer of production to doesn’t flam with the track and feels parts. Nothing beats the real thing. Over
exhume. “Quite a long time back I did good to play to. Then bass, but since I’m the past 13 years I’ve established a really
a cover of MC Hammer’s ‘U Can’t Touch predominantly a guitar player I will always solid group of players that I can always
This’, which sampled ‘Super Freak’ by Rick look for a guitar part just because it’s fun. count on for this, and that makes my job
James. In that case I ended up recreating Then I’ll move on to any strings or brass so much easier. I say ‘job’ but it’s really just
that section of ‘Super Freak’ as closely as and keys. a super-geek hobby I get paid for! With
possible, then sampled it with an Akai MPC “If it’s a more modern track it gets Dropbox, many of my sessions will be done
to mimic how they did it for the record. trickier because we have so many virtual remotely while I Skype in to help guide
In fact, I ended up helping out a classic instruments and synths available that it can them through. After working with some of
hip-hop band when they wanted to do be really hard to know what somebody the musicians for so long, there’s no need
a cover of one of their songs for commercial used. That’s why the older songs can be to be there as they know exactly what
purposes and recreated all of the samples easier in that way. It might be a Rhodes to do. My studio is a personal studio, so
they had pulled from records. That was or Clavinet, Hammond B3, etc. Now I rarely ever do sessions here.
a really fun project to try to match.” it literally could be anything, and that “Most of the time I focus on the
makes it tough to figure out. Vocals are performance from the other musicians,
Firm Foundations always last, and I prefer to do all of the because that’s what I need the most from
The process of recreating the song always background vocals before the lead vocalist them. It’s a bonus if they’re also engineers
begins with the rhythm section. “I like sings so there’s a complete track. It’s and if so, we’ll have long, gear geek talks

INTERVIEW
RE-RECORDING HITS FOR VIDEO GAMES
Steve Ouimette’s single-room studio

is highly tailored to his own needs as
a composer and self-recording musician.
about how it was done and they’ll do their sound like specific musicians, it’s nearly possible. Tone, equipment, technique,
best. If they’re not, I always just as for always on a case-by-case basis.” strings, picks, age of strings, and on and
the cleanest take possible. That way I’ve on. You can go down the rabbit hole very
got a great starting point and can start
Devils In The Details quickly on these things.
processing on my end to get the tones As a guitarist himself, Steve handles most “One technique that’s really fallen out
to match.” of the six-string work in his own studio. of favour is vibrato. Somebody once told
Good session players can handle Recreating guitar parts from old records isn’t me it was the easiest way to spot a geezer:
a variety of styles, but there are sometimes only about gear and recording techniques: just look for the vibrato and the guy has to
elements of the original track that are it’s also about playing styles. “I work very be old because nobody does it any more.
instantly identifiable, and can only be hard on my parts to incorporate as many I don’t know if that’s necessarily true, but it
replicated by a specialist. That is most often elements of the original performer as is one thing I have to be aware of because
the case with the lead vocal. “Singers are
by far the hardest, because it’s all about
DNA. I can’t plug them into a different
The Ultimate Challenge
amp to make them sound more like Ray Steve Ouimette has recreated over 250 hits Procussion, etc — as part of my employment.
Charles. Then again, there’s Pete Peterkin, for use in video games. Asked which ones Never thought I’d use them again but there
and that guy sounds so close to Ray it’s caused him the most trouble, he replies: “One they were! Once again, information and
that was incredibly difficult was Backstreet research is the best way to solve many of
unbelievable!
Boys’ ‘Everybody’. I mean, come on, have these problems.
“I’ll look for tribute bands or singers a heart! Max Martin? That was such a dense “What else? Getting Ray Charles’ voice to
in tribute acts and watch their videos. track that my secret weapon was a guy that sound right took a lot of work not because of
Most of the time they look more like the used to have a friend that worked at Cheiron. the singer, but because of the tape overload
singer than sound like them, but every He helped me sort through all of the various on a particular track. I ended up running
now and then one of them will be very pieces of gear that they had as a staple back the track through an old cassette multitrack
in that era. Turned out I had a lot of it machine to get it crunchy like the original.
close. A few years ago I saw a video of
because I once worked for a company that No plug-in could do it in that case… I had to
Marc Martel doing a Queen track and he bought E-mu Systems and they had given overload tape somehow, and I didn’t have an
was an incredible Freddie Mercury. When me this gear — Vintage Keys, Morpheus, original tape machine that matched theirs.”
it comes to other musicians being able to

PODCASTS
RECORDING ELECTRONIC
& MIXING MUSIC
Three Ways To Compress Snare Suzanne Ciani
Expert Tracking & Mixing Tips Synthesizer Pioneer, Sound Designer
by Mike Senior & Electronic Music Legend
Compression can do radically different things to Join composer and electronic musician Caro C in
the sound of a snare drum, depending on how it’s conversation with Suzanne Ciani, a synthesizer
set up. In this episode, Mike Senior explores three and electronic music legend who has pushed the
ways in which a compressor can help bring your envelope since the 1960s and is best known for
snare tracks to life. her use of Buchla synths.
PEOPLE & PEOPLE &

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Austrian Audio AMS Neve

Martin Seidl, founder and CEO of microphone and Mark Crabtree of AMS Neve chats with Sam Inglis
headphone manufacturers Austrian Audio, talks to about how two of the biggest names in UK audio
Sam Inglis about how the company inherited a unique technology came together, and how they are using
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INTERVIEW
RE-RECORDING HITS FOR VIDEO GAMES
One of Steve Ouimette’s many

meticulous recreations of
classic hits was his version of
Elton John’s ‘I’m Still Standin’,
featured in Just Dance 2019.
that it’s tough to tell the

difference at times.”
Where Steve knows what
gear was originally used,
his starting point will usually
be a plug-in emulation
of that processor. Often,
though, that information
isn’t available, in which
case it’s a question of
‘whatever works’: “There
are times when it’s totally
not the piece of gear that
they used, even though the
end result works great in
various vibratos just scream a particular era. “Back when we were doing Guitar Hero, the track. You never know. It’s like putting
Also, playing with a thin pick for rhythms, Ryan Greene had Crush Studios here in a puzzle together.”
and playing with no pick at all. Scottsdale [Arizona] with an SSL J-series Prior to the mid-’60s, records were often
“A good example of going off the deep board and a ton of outboard. Man, nothing made with the band tracked live on the
end in terms of trying to match an original sucked more than getting the mix feedback studio floor. This is sometimes an option for
sound would be when I played the classic and looking over the notes of the setup Steve, but often he needs to deliver isolated
guitar part of the 007 theme for a game for the board, the 480L, all of the external stems for the main instruments, so recreates
that Richard Jacques was the composer on. processing, etc. And then we’re have to the effect artificially. “That’s probably one
I recorded the Vic Flick guitar part here in bounce the stems in real time. Took forever. of the most difficult things to do. Everything
my studio with an old tube DI and then sent So for as long as I’ve been able to, I use mixed together in the air of the room, and
the track over to him at Abbey Road where emulations of the original gear. My main set the players played off of each other very
they reamped it in the same room as the is UAD, Waves, Softube, NI and Eventide differently than if it were all overdubbed.
original recording with the house Vox AC-15 for the most part. They’ve gotten so good One thing I’ve found is using Softube’s
amp! Sounded just like the original.”
Steve’s mantra of using the real thing
where possible applies to guitar gear as
well as to sample libraries. “There are so
many incredible amp sims out there. I use
all of the Mercuriall Audio sims and have
owned Axe-FXs and a Kemper, but I always
go back to the real thing when I can. For
the past year I’ve been using a UA OX Amp
Top Box for all of the really loud amps, since
my studio is a one-room studio with no iso
booth. That thing is so good! It’s perfect
for the Marshalls, Traynors, AC30 and big
Fender amps. When it doesn’t require the
big guns, I’ve got a really cool stash of killer
vintage combos that come out to play.”
All The Recall

When it comes to mixing, the convenience
of plug-ins trumps the authenticity of
hardware. “I got rid of all my outboard gear
a few years ago, aside from my mic pres.
Because I need total recall for sessions, it
was the only way to go and keep my sanity.
For years I used tons of outboard gear and Over the years, Steve Ouimette has moved to mixing entirely in the box in order to facilitate recall. As
while it was a lot more like making a record, a result, his remaining outboard consists only of ‘front end’ recording devices: in this rack, a Peterson
it didn’t have a good workflow for revisions. strobe tuner, Tech 21 SansAmp guitar DI, and Aurora GTQ2 and UTA MPDI-4 mic preamps.

Deliberate Mistakes
Many well-known hits are far from
perfect, either in terms of performance
or recording. Deciding how faithfully
to recreate these blemishes can require
delicate judgement on Steve Ouimette’s
part. “Once you start listening to a song
with a critical ear rather than for the joy of
it, a lot of various issues can tend to pop up.
I’ve never covered Zeppelin before, but if
I did, the print‑through on ‘Whole Lotta
Love’ would be a must to duplicate as it’s so
embedded in our mind’s ear over all of these
years. But when it comes to flubs, or issues
that happened when ‘all hands are on deck’
for a manual mixing session, I tend to make
them sound more or less ‘correct’ these days.
“In the past I would try to duplicate
mistakes and bad punches, etc., but they
ended up sounding forced and contrived.
As much as I can try to blend, smear, mask
or glue together what a ton of outboard
gear, tape and a particular mixing console
sounded like, these days with the clarity
and precision of our DAWs it’s very hard
to make something sound like an honest
mistake or bum note without it standing
out too much. Believe me, I wish I could
do it, but I haven’t found a convincing
way… yet. And I’d pretty much guarantee
that if those artists, mixers and producers For his own guitar parts, Steve Ouimette prefers to use real amps where possible,
would have had the tools we have today, often employing the UA OX Amp Top Box rather than a miked cabinet.
you wouldn’t hear those issues in those
classic recordings. I mean, listen to
anything modern and show me the
mistakes, if it was recorded professionally.”
Console 1 as well as StudioOne’s Mix FX

can really help glue the elements together.
Because you can have track bleed, you end
up processing a little bit of the adjacent
track with the one that you’re currently
processing. Another thing that helps is using
a single reverb or room simulator. Many of
the older records were recorded in studios
where the only effect was an echo chamber,
or perhaps a plate reverb.”
Carbon Copies
Recreating old hits is hard to do well — but
Photo: covingtonshoots.com
it’s also possible to do it too well. “I have

been hit with copyright claims from Harry
Belafonte’s publisher saying that I posted
his track on my SoundCloud page. That got
me a strike. But it’s a strike that I wear with
a certain amount of pride!
“Most of the time the listeners can tell on Guitar Hero, but in reality it was an to go back and make certain changes…
it’s a cover. People’s ears are pretty sharp, amazing singer named Brody Dolyniuk who sometimes specific ones at their request. But
especially when you get into classic music did the track with me. I was mad that they most of the time the re-record version, no
territory. One slight deviation will reveal it’s didn’t think I was the rest of Poison! And matter how close it is, will be different from
not the real thing. Imagine how many times I never let Brody live that down. the original. I’ll be the first to admit that the
somebody has heard ‘My Sharona’. I once “There have been times where I was magic is always in the original. I’m just doing
got flack from Poison fans that thought finished with a track and the publisher felt my best to fill a need for my clients and
Brett Michael sang over my backing track it was too close to the original, so I’d have having a blast in the process.”

INTERVIEW
No two Tame Impala albums

sound the same — but they’ve
all been driven by the same
experimental ethos.
TOM DOYLE
O
ver the course of nine years
and four albums, Kevin Parker,
trading as Tame Impala, has
made huge sonic leaps from his 2010
debut Innerspeaker’s modern reimagining
of ’60s guitar-based psychedelia to the
electronically coloured, kaleidoscopic pop
of The Slow Rush in 2019. Growing from
a bedroom project to one now operating
out of Parker’s elaborate beach-facing
studio in Freemantle, just outside of Perth,
Australia, Tame Impala remains a solo
recording project, but expands live to
a five-piece band.
Parker has chalked up two Top 10
albums in the UK and the US with The Slow
Rush and its 2015 predecessor Currents,
which successfully located the unexplored
middle ground between Pink Floyd and
Michael Jackson. At the same time, the
34-year-old has earned a well-deserved
reputation as someone deeply involved in
audio experimentation, through what he’s
previously described as the “juxtaposition
of sound quality”, mixing high-end sonics
with lo-fi.
When SOS connect with Parker in
Freemantle via Skype, with Western
Australia in lockdown and all of his touring
postponed, he is back to doing what he
loves the most, namely spending all of
his days and nights recording. “I feel as
if I’ve been tooting my horn about loving
working in isolation my whole career,”
he grins. “Now that this whole thing’s
happening, I have to go and put my money
where my mouth is.”

As Tame Impala’s success has vastly
increased, so has Parker’s collection of Kevin Parker at his studio near Perth, Australia.
gear, with his studio now equipped with an
array of vintage preamps and compressors
and a Studer 963 mixer. While having
an inherently rebellious attitude towards
accepted engineering techniques, he
admits he’s now doing things more by the
book, as well as continuing to bend and
break the rules.
“I rejected those kind of accepted
techniques, but I’ve been interested in
them recently,” he says. “Just because it’s
something new. I was afraid of learning new
things, from a narrow-minded perspective.
Or just because I didn’t want it to sound
like how everyone else’s albums sound.”
Epiphany
Kevin Parker’s fascination with recording
was sparked by his discovery, at home at
the age of 11, that he could record himself
playing drums on to a cassette using the
family hi-fi system. Then, in a crude form
of overdubbing, he’d tinker around on I always had the naïve opinion that if you and open-mindedness that he had mixing
a Casio keyboard as the drum tape played did it like everyone else did it, it’d end up an album that some kid had brought in on
in the room, recording the combined sounding like that. So, I kind of shut that a digital 16-track,” Parker says. “He didn’t
results onto a second cassette deck. whole world out and just did it myself.” even pull me up on the fact that it was
“I didn’t even know how to play As Tame Impala, Parker first began 16‑bit. He was completely open to working
keyboards,” he stresses. “I was playing uploading home recordings to MySpace with whatever weird system I had.
with, like, one finger. But I had this kind of in 2007, signing to Sydney-based indie “When I had to bounce a track out, it
epiphany, listening back to myself playing label Modular Recordings the following wasn’t like you just plugged your 16-track
keyboard over the top of drums. I just year. Given the budget for the debut Tame into a computer and then accessed the
thought it was so magical. Also, because, Impala album, Parker began buying up files. You had to click the export button and
in my 11-year-old naivety, I thought I was bits of equipment, upgrading to the Boss wait 10 minutes for it to process a WAV and
the first person to ever have done that BR-1600 digital 16-track and recording the spit it out, which you could take out one by
(laughs).” At 16, he was given the gift of live-band-sounding album alone — aside one. That was the system of getting it on to
a Boss BR-864 8-track digital recorder by from drummer Jay Watson on two tracks his Pro Tools computer. Which again he was
his parents. “I was cleaning some stuff and bassist Dom Simper on one — in never impatient about.”
out in the shed the other day and I came a secluded beach shack. Fridmann’s famously experimental
across it,” he says. “It’s the first time I’ve “It was kind of scary,” he admits. “I was attitudes towards sound were to influence
held it in my hands in years. It was almost like, ‘Uh oh, I’ve got to make something Parker’s future approach. “To this day,
kind of emotional, ‘cause it’s got bit of commercially viable on what is essentially I think about his processes a lot when
gaffer tape on it, and the dirt around the a home recording thing.’” I’m working. He’s able to eject what he
record button. doesn’t value, y’know. But he’s still able
“There’s no other piece of equipment
New York Times to be a madman in the studio [laughs]. He
I have that I’ve used as much as that One key purchase for the album that was values a good preamp and all that kind of
thing. Like, just every day, every night, to become Innerspeaker was a dbx 165 stuff, but he also values destroying it at the
with a pair of headphones. I was using the compressor, partly responsible for Parker’s same time. Which I think is commendable.
EQ and compressor without even knowing crunchy, John Bonham-like drum sound ‘Cause it’s easy to get lost down the rabbit
what those two things were. Just spinning on the record. “I probably just eBayed hole of the price of gear.”
the dial.” ‘vintage compressor’,” he says, “and that
Two years later, at 18, as the guitarist in was the first thing that came up and it was
Live & Let Live
a band who came second in a competition, available in Australia. To this day, it’s my Dave Fridmann, however, gently
winning a day at a top Perth studio, Parker favourite compressor.” encouraged Kevin Parker to think beyond
became instantly disillusioned by the To finish Innerspeaker (and also 2012 his Boss 16-track and Tame Impala’s tour
experience of working in a professional follow-up Lonerism), Kevin Parker flew to photographer introduced him to Ableton
recording facility. upstate New York to employ the mixing Live when the band were on the road.
“We were making kind of like ’60s skills of Dave Fridmann (the Flaming Lips, “He installed it on my computer one
music,” he explains. “And it sounded Interpol) at his residential Tarbox Studios. night and I didn’t leave my hotel room for
like absolute crap. I guess from then on, “I can’t imagine the amount of restraint days,” says Parker. “I was putting flanger

INTERVIEW
TA M E I M PA L A
on the whole mix as soon as I had it. I was

automating like someone on drugs [laughs]. At the heart of Parker’s studio
Yeah, it was an awakening, for sure.” is a Studer 963, which he uses
primarily for routing rather than
As a result, Lonerism was a completely
for mixing.
different-sounding album to its
predecessor, introducing layers of synths
and warped audio. “I guess the sound of
Lonerism is me having an unlimited amount
of tracks,” he says. “It’s a celebration
of possibilities.”
Recorded in a house Parker was
sharing at the time with friends, and
where he had rented a second room as
his dedicated studio, Lonerism is perhaps
best represented by the photograph on its
back cover, where he is pictured lying on
the floor amid a mess of synths and drums
and tangled cables. He remembers it as
a “period of discovery”, where he would
spend months working on particular drum
sounds using his ’60s Ludwig kit.
“It’s just my favourite thing to do,” he of ’80s movies. I love things that are just On The Slow Rush, Parker brought
enthuses. “I love the chase almost as much instant nostalgia. I love anything that’s kind other synths into the mix, including the
as finally getting that drum sound after of evocative.” Oberheim Matrix 6 keyboard and Matrix
days of just thinking, ‘This is absolute crap.’ 1000 rack unit, and the Roland SH-1.
Then suddenly tweaking something and
Current Events “That features a lot on the album,”
it’s the drum sound you’ve always dreamt Moving onto the third Tame Impala Parker says of the latter. “It’s just a really
of. That, for me, is on the same level of album Currents, released in 2015, Parker unique sound. I generally don’t care
satisfaction as writing a song that you think continued in this nostalgic vein, utilising for anything that’s high quality. Like,
could be the best song on the album.” what he describes as “naff” early digital I find the SH-1 to be a better synth
On Lonerism, Parker made endless synths such as the Roland D-50 and than the Minimoog. Just because it has
explorations into minimal drum miking, the JV-1080 module, whose sounds he more personality. Nothing against the
with two Shure SM57s on kick and snare recognised from pop radio as he was Minimoog — it’s fine and you get the
and a Rode K2 valve condenser as an growing up. thundering bass and all that kind of
overhead. “What I was into then were “That’s that evocative thing again,” stuff that everyone talks about. But I’d
those really kind of boxy, ’60s drum he says. “I’ll do anything for evocation. probably use the SH-1 for bass, just cause
sounds,” he says. “I didn’t want to use the Anything. I’ll forsake everything else to just it sounds so different. It’s not supposed
kick drum mic everyone else was using. It’s do something that transports me. Even if to be a bass synth. Something I get
so kind of stupid and rebellious, looking every classy bone in my body and my inner a kick out of a lot in the studio is using
back. But with blown-out ’60s psychedelic rock & roll producer is screaming.” something for what it’s not supposed to
drums, they don’t need that definition Elsewhere, in the drum machine be used for.”
on the kick. It’s this kind of pitter-patter department, Parker works often with the
in the background. I wouldn’t use a 57 Sequential Circuits DrumTraks. “I love
Evacuation
on the kick drum these days, but a 57 that it sounds like a LinnDrum,” he says. The making of The Slow Rush was not
will still pick up 60Hz. You just won’t get “It’s instant kind of disco, those sounds.” without its drama. In November 2018,
that impact.” Synths-wise, Lonerism was Meanwhile, ‘Glimmer’ from The Slow Kevin Parker rented an Airbnb in Malibu,
made using mainly a Roland Juno-106 Rush features a Roland TR-707 with — in California to work on ideas, in the process
and a Sequential Circuits Pro One. Parker the tradition of late ’80s house records buying up around $40,000 of recording
bought the latter after visiting his friends’ — a touch of blanket reverb. gear. One day, he looked out of his
studio and trying one out. “I played “Yeah, or more than just a touch, window, saw smoke and flames on the
a few notes and I just had this emotion, I think,” he says. “The 707 I love. That’s horizon and quickly learned that he was
y’know. Like, it made me want to cry. It another one of those things I just find being advised to evacuate the house due
had the portamento on and it was like instantly evocative. Especially when you to an enormous wildfire.
a long sawtooth note. I was just like, ‘Oh, drive it through a tape machine and Parker grabbed his computer, hard
this sounds heavenly.’ So, I bought a Pro you put reverb on it. That whole song is drive and 1960s Paul McCartney-style
One. Again, to this day, it’s probably my just like a snippet taken from a long jam Hofner violin bass, and left. The house was
favourite monosynth, easily. I had with myself where I sync’ed all the subsequently destroyed by the fire, along
“The Juno is just instant and you machines up. The 707 is easily my favourite with all of his new equipment.
feel like you’re in a movie when you’re of the Roland drum machine series, and “The Hofner was the only thing that
playing it. Y’know, you feel you’re in the I love it more than DrumTraks. Not that it’s was irreplaceable,” he says. “It’s one
soundtrack from any of those classic kind a competition [laughs].” of the only things that I own that I’m

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INTERVIEW
TA M E I M PA L A
sentimental about. Just because it’s been Things which Kevin Parker, for obvious recorded in the ’70s on, like, some old
with me through thick and thin. It accounts reasons, isn’t keen to divulge. But Turkish album. Then you’re trying to put
for almost every bass note in the Tame sometimes, he says, as when working on it on an album that’s like modern day
Impala songs. I had a Stratocaster in there the drum track for the bouncing funk of commercial pop. I was really into that
that was given to me by Fender, which ‘Borderline’, the second single released idea, so I was often destructive in that
I was kind of sad that I lost. That was from The Slow Rush, he’ll land upon way. I would do things in the track just to
new, everything else was new. A bunch of a sonic solution that he considers to be his fuck it up.”
preamps and stuff that I lost.” own personal breakthrough, only to see it In the past, particularly on Lonerism,
Work on the album continued back in by chance replicated elsewhere. Parker generally used a Sennheiser
Parker’s house in Freemantle where he’d “I wanted it sound like this kind of ’90s MD421 to record his vocals. These days,
previously made Currents in a corner of hip‑hop track,” he says of ‘Borderline’. he tends to chop and change between
one room, before moving to another house “Which was just incredibly hard to do with various other mic options. “I’ve got
two blocks away and turning his original real drums. Y’know, the drum samples on a few funky mics around,” he says. “I’m
property into his dedicated studio. He had those kind of things, the kick drum might obsessed with anything that sounds a bit
by now bought his Studer 963 console, be sampled from some old soul album and weird. But by the time it came to doing
which he uses only for routing. the snare is sampled from a completely proper vocal takes, I had an Electro‑Voice
“I don’t mix through it,” he says. “I just different album. They’ve got control over RE-20. I’d been doing most of my vocals
have it as permanent inputs for synths and the kick and snare. on that, but that was lost in the fire. My
drums. The drums are basically the first “So, I was doing a few kind of tricks. distributor guy in LA didn’t have another
eight channels and I never unplug them. I was doing this thing where I did a really one at the time, so I got a [Shure] SM7[B]
I just like to have everything up and ready thin EQ bump at about 60Hz and jacked it which was the same mic that I’d used on
for when I play. For me, nothing’s worse up so the kick drum was resonating. Then Currents for vocals.”
than wanting to do something and then about a week later I got Ableton 10 and Parker records his vocals alone, which
having to spend 10 minutes plugging in it has that on Drum Buss, as a little effect. he accepts can sometimes be hard, when
stuff. By then, the inspiration’s gone.” So, weirdly, after I felt like I’d invented there’s no one giving him direction or
In terms of monitors, Parker massively this new thing, which was make any kick asking him to do a take again. “But at
upgraded from the Yamaha HS7s he’d drum sound like an 808 by making the EQ the same time, I wouldn’t dare do it like
used to make Currents, to a pair of resonate, you can do that on Ableton now. that either,” he states. “Because I like to
ATC SCM45A Pros. “I went from $300 It’s something I wouldn’t have revealed but just have all the time in the world. For
monitors to $10,000 monitors,” he laughs. it’s on Ableton 10 [laughs].” me, doing vocals is such an intensely
“I had a bit of money from Currents, so Another important element in the private thing, and it always has been.
I was just like, ‘Fuck it, I may as well.’ The punchy drum sound that Parker achieves is I have nothing but admiration for people
HS7s, I was always fine with. But a few the fact that he’ll often feed a stereo mix who can record vocals with someone
friends of mine in LA have studios and of them onto one of his three reel-to-reel at the computer. It would give me such
they’ve got the ATCs. They just blow me tape machines — a Revox B77, Ampex anxiety, sharing that kind of moment
away every time.” ATR-700 and TEAC A2340R — for with someone.
Parker’s characteristically fizzy guitar added saturation. “I have moments of great emotion
sounds, meanwhile, are typically DI’ed “I’d say probably half of the drums on when I’m recording vocals, y’know. So, for
— his effects workhorse being a Seymour the album were run onto either the Revox me to be able to share that with someone
Duncan KTG-1 tube preamp. SOS tell him or the ATR. I bounced some drums, put would be massive. But then to have
that someone selling one on Reverb.com them on the tape, took them off and then someone that could go, ‘Alright, that’s the
recently noted that if you’d heard of the never went back to the stems. Even if it take’... that would be great.”
unit, you must be a Tame Impala fan. didn’t sound right, or something could’ve A case in point being the song ‘‘Cause
“Wow, that’s amazing,” Parker says. been better, I didn’t go revisit from before I’m A Man’ from Currents, which Parker
“There’s nothing else that sounds like it. the tape. It was like, ‘These are the drums remembers involved precisely 1056 vocal
It’s got a bass, mid and treble EQ and the now... deal with it.’” takes. “It wasn’t like I had a thousand
drive section. It makes your guitar sound complete vocal takes,” he stresses.
like it’s already coming out of an album.
Vocal Sound “But I pressed record and stop over
Without me realising, I fell in love with it When recording his vocals, Parker will a thousand times. Ableton automatically
because it sounds similar to the way that sometimes similarly and purposely create labels the WAV file, and it went up to over
producers were recording guitar in the limiting factors for himself, in an effort to a thousand for that. But that would’ve
’70s, which was just DI’ed straight into the create something different‑sounding. “With been me sometimes singing one word and
desk and then driving the channel. this album I didn’t want there just to be one then stopping. Most of those I wouldn’t
“Now, for me, the idea of tracking vocal sound,” he says. “Sometimes I’d be have got one line in.”
guitar without it sucks. But at the same totally aggressive with the EQ, for no reason
time, I hate saying that this piece of gear other than to make it sound like some shitty
Mixing
is essential. If you plug straight into that, old microphone. I’d spike it at 8kHz and Similarly intensive is Kevin Parker’s
you won’t get a Tame Impala guitar sound. put that at the start of the chain and then mixing process, which he told himself he
It’ll sound like what it was made for, which compress and then try and fix it afterwards. wouldn’t overlabour on The Slow Rush.
was like ’80s metal. But if you do a few “It was just for that feeling of, you’ve It didn’t quite work out that way. “Some
other things...” taken a sample of a vocal that was of my favourite albums are where you

Parker: “I find the SH-1 to be a better
synth than the Minimoog. Just because
it has more personality.”
can hear it’s been mixed really quickly,” which it just wasn’t. It was so tough.” “Because, before, I couldn’t listen to any of
he says. “And I think there’s a magic to On Currents, Parker’s summing chain my first three albums for years after I made
that. Because there’s something about involved a Neve 1073 DPA stereo preamp, them. But The Slow Rush I can. I almost
a mix sounding undesirable in some an SPL Vitalizer and a Manley Variable Mu enjoy it (laughs).”
way. Y’know, where it’s like you can tell compressor/limiter. This time around, for Looking to the future and the fifth
someone mixed this album and their The Slow Rush, he wanted to simplify the Tame Impala album, Parker says that for
monitors didn’t have much 3kHz, or process. “I completely 180’ed with mix him the possibilities are wide open. “I’m
something. You’re like, ‘How did they bus processing,” he says. “Nowadays, it’s interested by anything. Like, the more
bounce this not thinking this was gonna literally just a limiter, no EQ. I’m just a bit my perspective widens and I appreciate
hurt some people?’ But there’s something more minimal. I do use a couple of things, things I didn’t appreciate before, the more
wild and magical about albums that sound like SSL G Bus or whatever on some tracks, interesting everything sounds. The more
like that. but not all of them.” the prospect of recording in some other
“So, I told myself I wasn’t going Four very different Tame Impala albums way sounds appealing.
to labour over it too much. But I did. into his career, the ever self-critical Kevin “I also think we’re entering an
I laboured over it more than I wanted to Parker finds that he can now sometimes interesting time in recording music.
on the mixing side, and also went more sit back and enjoy listening to his own Because pop music is no longer the music
insane than I wanted to. Just with going records. “I can if it’s been long enough, that’s the most flashy. You’re perfectly
back and forth and having it remastered or if I’m drunk enough,” he quips. “I can likely to hear something kind of distorted
and remastered.” listen to Innerspeaker ‘cause I hear the and weird on a Top 40 song. I almost feel
One track, ‘Posthumous Forgiveness’, decisions that I made as a producer and like we’re entering this post hi-def era.
took Parker 10 months to complete. But I’m like, ‘Oh, that’s cute.’ I think we’ve reached the peak of HD and
he singles out ‘Borderline’ as being the “On a number of occasions, one of we’re kind of over the other side of the hill
toughest mix to nail. “I actually redid my friends has asked if we could listen in a weird way.
it a few times, performance-wise and to The Slow Rush late at night and I’ve “I’d love to make an album with no
instrument-wise and mix-wise. Which been like, ‘OK, whatever, I’m kind of computers and all just physical EQ,” he
I hardly ever do. I hardly ever re-record out-of-it enough.’ It definitely seems like says. “And I’d love to make an album
parts. But I re-recorded the bass for that a late-night album. that’s just digital and see if I could make
and the drums and all kinds of stuff. For “I think I’m maturing in my kind of it sound good, y’know. I’m intrigued to
me, it had to hit the spot sound-wise, artistic self-consciousness,” he adds. try everything.”

F E AT U R E
State Of Play
of iOS (the company’s mobile operating
system) for iPhones and iPads.
In 10 short years, the iPad has changed the way we Meet The Family
make and record music. We explore what the current The first member of the iPad family is the
line-up has to offer, and what the future might hold. iPad itself. A seventh-generation model
was quietly introduced in September
MARK WHERRY eclipsed every previous attempt at a ‘Tablet 2019, representing an entry-level step
PC’ ever sold. into the ecosystem for $329. This latest
I
t seems almost inconceivable that The iPad 2 was quite a step forward iPad obviously exceeds what was possible
a decade has passed since Apple for a new product category introduced a decade earlier, offering respectable
unveiled the iPad in January 2010. less than a year before. It was thinner and functionality powered by an A10 Fusion
Steve Jobs described it as the company’s lighter than the original, naturally, but chip and 3GB of memory (the previous
“most advanced technology in a magical with better performance, more memory, model also had an A10 but with only 2GB
and revolutionary device at an unbelievable front and rear cameras, and a gyroscope. of on-board RAM). This seventh-generation
price”. And while many derided the use Where Apple emphasised the original iPad enlarges the traditional 9.7-inch display
of the term “magical”, looking back 10 iPad as being suitable for productivity to 10.2 inches, with an increased 2160 x
years on, it really was. Here was a device with iWork apps such as Pages, Numbers 1620-pixel resolution. It’s aesthetically akin
retailing for just shy of $500 that provided and Keynote, the release of GarageBand to the iPad Air, with which shares the same
transformative experiences for basic tasks and iMovie alongside the iPad 2 showed 9.8 x 6.8-inch dimensions, whilst being
like web browsing, whilst also laying the that Apple also saw this device as being almost unperceivably thicker and heavier by
foundations for so much more thanks to the suitable for creativity. 0.05 inches and 27 grams.
sophistication hidden behind a multi-touch- Since then, the iPad has exploded, with The iPad represents tremendous value
capable, 10-inch piece of glass. new hardware and software appearing and is perfect for using apps to control
At an Apple Special Event held just annually. And with hindsight, I’d posit that another application. Such pairings include
over a year later, Jobs declared that 2010 2019 was perhaps the most significant year Logic Remote with Logic Pro X, Cubase
had been the “Year of the iPad”, and yet in the product’s life. This was the first iC Pro and Cubase, Avid Control with
it was certainly the year of the iPad for time all hardware variations introduced thus EUCON-compatible applications, and
Apple. With over 15 million sold in the nine far — the iPad, Air, mini and Pro — were so on. The A10 is capable of running
months the product had been available available simultaneously. And, in terms of more than just controller apps, of course,
from April to December, the iPad brought software, 2019 was the year Apple made although there’s no escaping the fact this
in a respectable revenue of $9.5 billion and a clear distinction between the versions iPad is designed with a budget in mind.

Trade-offs are especially noticeable when it
comes to the screen, which lacks features
such as True Tone and the visceral fit and
finish of more expensive models; reflectivity
is greater and the distance between
the glass and the display seems more
noticeable.
The more advanced iPad Air was
first introduced in late 2013 as being
“dramatically thinner, lighter and more
powerful”. However, after a second iteration
was released a year later, in 2017 this iPad
vanished into, well, thin air, only to be gently
reintroduced last year. Like the new iPad, the
third-generation iPad Air also has a larger
screen, growing from 9.7 to 10.5 inches with
a higher resolution of 2224 x 1668 pixels,
but with a smaller surrounding bezel and
maintaining a healthy depth and weight
of just 0.24 inches and 456 grams. Based
on the more powerful A12 Bionic (also
with 3GB memory), the neoteric Air offers
a perfect balance between performance,
size and price. It’s therefore the iPad most
Here you can see the relative single- and multi-core Geekbench scores between iPads, with
prospective users will likely choose if moths a mid-range 2020 MacBook Air included for good measure.
haven’t raised families in your wallet.
Accompanying the discreet
announcement of the new iPad Air was
a fifth-generation iPad mini, for those who
prefer a more Lilliputian size. The original
mini was unveiled at a Special Event on
October 23th 2012, having essentially the
same specifications as the iPad 2 but with
a 7.9-inch display. This new model has
similar internals to the latest Air, however,
featuring an A12 and 3GB of memory.
With a 2048 x 1536 resolution in a 5.3 x 8 x
0.24-inch form factor weighing just 300g, it’s
certainly a cute companion.
The Biggest News Since iPad

The flagship member of the family is the
iPad Pro, which was unveiled at an Event
in September 2015 as “the biggest news While not scientific, here are the percentage peak DSP loads as reported by Cubasis 3 playing back
in iPad since iPad”, introducing new the Smear demo Project. To what extent Cubasis supports multiple cores is unknown.
concepts, both technically and spiritually.
Powered by the A9X processor and 4GB the ‘biggest news’ of all, which is why the x 12.04 x 0.27 inches, it weighed 713g and
memory, the Pro was said to offer 22 and Pro was also a spiritual leap, was its support had a relatively large bezel accommodating
360 times more CPU and GPU performance for two new accessories: the Apple Pencil a Home button with Touch ID. Apple
respectively than its original ancestor. And, (see the ‘Who Wants A Stylus’ box), and seemingly responded to this observation
from a sonic perspective, it was perhaps the the so-called Smart Keyboard. The latter with the introduction of a 9.7-inch iPad Pro
point at which Apple started putting more was a keyboard cover not unlike Microsoft’s six months later, which was apparently the
resources into its audio hardware, with the Surface Type Cover, which magnetically company’s most popular screen size in such
Pro featuring a four-speaker array that could attached to the Pro and provided power a device. This smaller Pro looked like an iPad
balance both left and right channels and and data communication via a new three-dot Air, but was powered by similar internals
high and low frequencies depending on how Smart Connector. Today, all iPad models like an A9X, but with 2GB memory, adding
the device was held. except the mini include a Smart Connector technologies like True Tone.
Physically, the Pro had the same stylings on the side or rear of the device. Second-generation iPad Pros were
as the Air, but with a 12.9-inch display — the While the iPad Pro was a great iPad, to shown at the 2017 Worldwide Developer’s
“biggest” display Apple had (and have) be sure, this original model did feel slightly Conference, available in both the original
used in such a device. However, perhaps bulky in your hands. With a footprint of 8.69 12.9-inch size and a new 10.5-inch model

F E AT U R E
T H E I PA D D E C A D E
‘A’ Is For iPad

When discussing the iPad, it’s impossible
not to mention Apple’s series of custom
chips beginning with the letter ‘A’, which
are the engines that make these devices
possible, starting with the A4 in the
original iPad. Such a chip is known as
a system-on-a-chip (often abbreviated
as an SoC) because many or all of the
components required to implement
a computer are integrated on a single
chip: CPUs, GPUs, memory controllers,
input and output interfaces and so on.
Therefore, it’s no surprise that SoCs
have become commonplace in the mobile
world, where space and energy efficiency
is at a premium compared to a traditional
computer motherboard.
Apple have continuously improved
these A-series chips with newer versions
designated by numerical increments,
often baptised with an ‘X’ appendage to
denote enhanced graphics processing.
For example, while the iPad 2’s A5 chip
boosted overall performance with dual
CPU and GPU cores, the device had the
same 1024 x 768 resolution as the inaugural
iPad. However, the third-generation
iPad — the first iPad to feature a so-called
Retina display with a higher 2048 x 1536
resolution — featured an A5X chip with
a quad-core GPU to aid in processing the
increased number of pixels.
More recently, Apple have added
adjectives like ‘Fusion’ and ‘Bionic’ to
the naming schemes, although these are
mostly applied to communicate improved
performance from a marketing perspective.
replacing the previous 9.7-inch incarnation.

Based around an A10X and 4GB memory,
these iPads introduced ProMotion, enabling
a dynamic screen refresh rate that was
scalable to 120Hz. This made interactions
with the display smoother and more
responsive, improving the latency of the
Apple Pencil.
However, it wasn’t until the release of the
third-generation iPad Pro in October 2018
What a difference a display makes. Here you can see two approaches adopted by apps when handling
that the product hit its stride, redesigned
the different display sizes offered by an iPad mini and the larger canvases of the iPad Air and iPad Pro
with a minimal bezel, eschewing the Touch 12.9-inch. While Cubasis scales the controls, as you might expect, GarageBand presents two distinct
ID sensor in favour of Face ID. Aesthetically, views, with the largest revealing part of the Tracks view alongside the step sequencer.
Apple moved away from the chamfered
appearance of other iPads, returning to the Upgraded with an A12X Bionic and at term — you’ll probably need to purchase
original iPad’s straight edges with a design least 4GB memory in all models (more on USB-C to Lightning adaptors and cables to
conveying a Bauhaus seriousness. Weighing this later), the audio system was further use existing peripherals.
641 grams, the 8.46 x 11.04 x 0.23-inch improved with woofer and tweeter pairs
dimensions of the 12.9-inch model displayed for the four-speaker output. Apple also
The A & Z Of The
a 2732 x 2048 resolution, and felt more dropped the Lightning connector in favour New iPad Pro
comfortable than its predecessor. I really of a USB-C port that could output power, During 2019, then, Apple refreshed every
liked this size, though some will prefer the enabling audio interfaces like RME’s member of the iPad family except for the
11-inch model, measuring 7.02 x 9.74 x Babyface Pro to be used directly, or for Pro, which wasn’t surprising given this had
0.23 inches (with a smaller 2388 x 1668 charging other devices like, say, an iPhone. already received a significant redesign
resolution) and weighing 471g. But it does mean — at least in the short late-2018. But it therefore made sense for

I always thought my A second rear camera has been included
living room was missing for Ultra Wide shots, along with five
a baby grand piano! Here microphones described by Apple as offering
you can see Piano 3D “studio quality”. And while they do produce
position a grand piano in
cleaner-sounding results than before
a space and perform in
situ — all I need now is (presumably using the array to handle noise
a candelabra! cancellation), I think it’s fair to say readers of
this particular magazine will have a different
same eight-core CPU expectation of what “studio quality” means
design as the A12X, in this context.
but with an additional, However, one final addition of
eighth GPU core for noteworthy curiosity, and the reason
enhanced graphics I suspect the A12Z has an additional
performance. The GPU core, is the inclusion of a LiDAR
difference this makes Scanner next to the rear cameras. A LiDAR
can be measured essentially consists of a sensor that measures
running Geekbench’s the backscattering of different wavelengths
Compute test, with of light emitted, which basically means it’s
the Pro to be the first new iPad hardware the new Pro achieving a Metal score of an extremely accurate way of scanning
of 2020, once again further blurring the 10100 compared to the 8848 average the depth of 3D targets. Apple says its
lines between personal computing devices scored by the previous generation. (Metal is LiDAR Scanner can measure the distance
with the slogan: “your next computer is not Apple’s technology for low-level access to of a surrounding object within a five-metre
a computer”. OK, computer. graphics hardware, both for visual and other range with nano-second latency and works
The fourth-generation model is powered computational tasks.) indoors or outdoors (which isn’t uncommon
by Apple’s new A12Z Bionic chip, which, Benchmarks aside, there’s an important as LiDARs are often used by self-driving
as the nomenclature suggests, doesn’t change to the new iPad Pro’s viscera that cars). Data from this sensor, in concert with
offer the same significant silicon leap we’ve may have more impact. Even though Apple the cameras and motion sensors, enables
witnessed between previous generations. never discuss this specification, most 2018 the new iPad Pro to propel Augmented
The Geekbench scores for the new iPad models featured 4GB memory, except Reality (AR) experiences to a new level.
Pro 12.9-inch I had for review were 1128 for configurations with 1TB storage that Apple have been pioneering AR for
and 4689 in the single and multi-core tests, included an additional 2GB RAM. But with several years, leading to impressive support
whereas the previous model (according to the 2020 refresh, all Pros now include 6GB in both hardware and software. This could
Geekbench Browser) yielded average single — essential when you’re running a profusion be seen as premature, given the lack of
and multi-core results of 1112 and 4579. of music and audio apps simultaneously. what one might describe as ‘killer’ apps.
One reason for the similar results is that Otherwise, the specifications of the 2018 But without such momentum AR could
it’s been speculated the A12Z builds on the and 2020 iPad Pros are relatively similar. become a chicken-and-egg problem, so
Who Wants A Stylus?

When Steve Jobs introduced the iPhone The only flaw was how to charge it. Revealed purchases, such as Symphony Pro, where for
in 2007, he dismissed the use of a stylus as by an easily removable (and therefore losable) $14.99 you can easily select notes or, much like
the input method for the device by asking: cap at the rear of the Pencil was a Lightning StaffPad, draw in an active bar and the input
“Who wants a stylus?” further explaining his connector, which paired and charged the Pencil will be translated. If you’re a Notion user, $7.99
contempt by saying “You have to get them when inserted. And while an equally losable, enables handwriting input to be selected where
and put them away and you lose them. Yuck! small adaptor was included to plug the Pencil a separate input stave is displayed for Pencil
Nobody wants a stylus... We’re going to touch into a Lightning cable and charger, Apple input. Unlike StaffPad, both these options can
this with our fingers.” Therefore, given the presumably figured most users would just plug be used without the Apple Pencil, although you
iPad was based on a similar user interface the Pencil into the bottom of their iPad for won’t get the benefits of an active, Pencil-like
to the iPhone, it was no surprise it also charging. This method always left you with the input such as precision or palm rejection.
followed this lack-of-stylus paradigm for its worry you’d accidentally knock the iPad and A redesigned, second-generation Apple
interaction. Unlike the iPhone, though, after break the Lightning connector (something Pencil was unveiled with the third-generation
a few years it was becoming obvious to some I didn’t try), but it seemed as good an idea as Pro, and remains compatible with the new iPad
that perhaps fingers weren’t enough to fully putting the Lighting connector underneath the Pro. There were many improvements, such as the
exploit the iPad. Magic Mouse for charging. ability to for an app to recognise a double-tap
As mentioned in the main text, the A few unique apps have embraced the Pencil, on the touch-sensitive straight edge of the new
Apple Pencil was introduced as an accessory such as Pen2Bow ($7.99), which allows the Pencil — a feature many apps have used to toggle
for the original iPad Pro, although today Pencil to be used as a MIDI controller and this between input and erase modes. But, more
it’s compatible with every iPad model the is rather fun. There’s also been support, varying usefully, it now magnetically attaches to the side
company sell. It’s able to measure position, in quality and approach, in music notation apps. of you iPad for pairing and charging.
pressure and tilt data, and communicate this StaffPad (reviewed in the June issue) is now The first-generation Apple Pencil for
to your iPad over Bluetooth, offering a level of available on the iPad using the Apple Pencil all non-Pro iPads costs $99, whereas the
precision previously not possible with an iPad. as its primary input source. And existing iPad second-generation of the accessory for the iPad
It turned out people did want a stylus. notation apps have added support via in-app Pro is priced at $129.

F E AT U R E
T H E I PA D D E C A D E
the company are effectively providing the and interact with a virtual representation of desirable). The cursor is displayed as an
chickens with the expectation developers a player for added communication, such as easily visible translucent circle (except in
will supply the eggs. And, as Apple pointed individualised talkback. Or imagine you’re certain contexts, such as editing text) when
out to me, the company’s CEO, Tim Cook, remotely monitoring a mixing session... needed and uses inertia as is common on
has spoken effusively about this, remarking Why not have a console, where you could touch-based interfaces.
“I’m excited about AR. My view is it’s the adjust the controls to indicate (and irritate) The trackpad supports multiple pointers,
next big thing, and it will pervade our your mix engineer with ideas? Current apps such that apps can take advantage of the
entire lives.” like Piano 3D (see pictures) demonstrate extra input, and there are many multi-finger
That’s a bold statement, but something placing a virtual piano in your room, viewing gestures built into the system. For
else Cook said resonated with me more the keys being played from any angle; or example, you can swipe left or right with
specifically, having extra three fingers to switch
pertinence now viewed between apps, or return
through the unavoidable “Whether it’s because you want a device for to the Home screen by
lens of Covid-19. “I think recording an idea in a mobile environment swiping up, also with
it’s [AR] something that three fingers.
doesn’t isolate people. or studio, a device that can control your The most significant
We can use it to enhance Pro Tools rig, or a device that becomes change for music and
our discussion, not audio apps in iPadOS 13
substitute it for human
a tapestry for synths and effects, there are concerns the way apps
connection.” When you many moments where musicians and audio communicate audio and
contemplate the broader MIDI data with each
implications, consider the
engineers will benefit from having an iPad.” other. When the iPad first
human connection when appeared, there wasn’t
musicians play together and how unhuman you can hover your iPad above a real piano an official way to stream audio between
online collaboration currently feels. Don’t keyboard, superimposing notes to be played apps, whether it be for further processing
get me wrong, such tools are useful and as a teaching aid. And that’s just scratching in an effect app or as an ultimate end point,
have improved immensely, but it’s hard to the now easily measurable surface! such as a recording app. To overcome
escape the inherent social disconnection this limitation, a third-party solution called
when working this way.
Say Hello To iPadOS Audiobus gained popularity, allowing audio
AR could facilitate a virtual studio in Due to its heritage, the iPad launched and later MIDI to be routed and processed
any room, giving you the ability to watch running an operating system called iPhone between apps. However, Apple decided to
OS — iPhone OS 3.2 to be precise — which provide an official alternative, as they had
was rechristened iOS with the release of done with the introduction of Core MIDI, for
iPad Pricing Menu version 4 later that year, to remove the example, and introduced Inter-App Audio
• iPad: 32GB $329; 128GB $429. (Add device-specific naming. But at last year’s (IAA) in 2013 with iOS 7. However, although
$130 for Wi-Fi + Cellular) WWDC, Apple decided to change the name IAA could coexist with Audiobus, with the
• iPad mini (Wi-Fi): 64GB $399; 256GB of the iPad’s operating system again to latter supporting the former, IAA actually
$549. (Add $130 for Wi-Fi + Cellular) reflect the device’s evolution, renaming it to offered less flexibility and functionality for
• iPad Air (Wi-Fi): 64GB $499; 256GB
iPadOS whilst retaining the iOS moniker for the end user.
$649. (Add $130 for Wi-Fi + Cellular)
• iPad Pro 11-inch (Wi-Fi): 128GB the iPhone. Rather than continue to support IAA,
$799; 256GB $899; 512GB $1099; 1TB The most apparent changes in iPadOS 13 Apple decided to deprecate it in iPadOS
$1299. (Add $150 for Wi-Fi + Cellular) concern the user interface and multitasking. 13 in favour of promoting the use of Audio
• iPad Pro 12.9-inch (Wi-Fi): 128GB However, I don’t think these will be of much Unit Extensions instead, which are like Audio
$999; 256GB $1099; 512GB $1299; 1TB use for music and audio apps, since such Unit plug-ins on Mac OS. Audio Units have
$1499. (Add $150 for Wi-Fi + Cellular)
apps rarely provide a Slide Over interface, been part of the system from early on, and
One of two factors dictating prices within although you’ll still be able to access Slide Apple have gradually opened up their use
a given iPad line-up is storage, but how Over-capable apps within an app. And within individual apps before allowing an
much is enough? As usual, you should buy similarly, I haven’t seen any music or audio app to use Audio Units implemented in
as much as you can afford, but also with apps support side-by-side multitasking, other installed apps. Similarly, Extensions,
consideration to the apps you intend to making it unlikely we’ll see multiple projects which allow an app to use functionality from
use. For example, hosts and sample-based open side-by-side anytime soon as you can another app, were implemented in iOS 8,
instruments are generally larger than
with, say, Word documents. but Audio Units weren’t included in this
synths and effects; GarageBand, Cubasis
and Auria Pro (with the necessary content Of greater significance was the recent feature until iOS 9.
that’s downloaded the first time the app release of iPadOS 13.4, adding a seemingly Although it’s taken a while for all of the
is run) need 1.6GB, 1.2GB and 1.93GB contradictory feature to the iPad: piece to fall into place, the use of version
respectively, while Korg’s Module or IK comprehensive trackpad support. Pairing 3 Audio Unit (some referred to as AUv3)
Multimedia’s SampleTank have base an iPad with a trackpad allows control Extensions apps is now widely adopted by
footprints of 1.3GB and 1.6GB. However,
of a cursor as if you were touching the most host, instrument and effects apps.
each Eventide effects app requires less than
25MB, and synths such as Moog Music’s screen with a finger, although this pointer Developers can use this functionality can
Model D take around 100MB. support doesn’t attempt to simply mimic use a single app as a container for multiple
a mouse (which is supported, though less Audio Unit Extensions, and such Audio Units

It’s A Kind Of Magic
In addition to describing the iPad as magical, There’s an unexpected stiffness when you
Apple also offer several accessories with the open the Magic Keyboard, especially apparent
Magic prefix initially developed for the Mac. The if you try opening it with your hands in mid-air.
most germane of these accessories is the Magic But it clicks satisfyingly into its steepest angle,
Trackpad 2, which is compatible with any iPad and the iPad Pro is magnetically held in place
since 2015’s iPad mini 4 and fully supports the on a stand incorporating a cantilever hinge,
pointers introduced in iPadOS 13.4. Available giving the illusion your device is floating
in either Silver or Space Grey finishes to ensure above the keyboard. This hinge is adjustable
concordance with your iPad, at $129 or $149 to a 130-degree angle, although it’s perhaps
it’s not the cheapest Bluetooth trackpad, but a shame it can’t be lowered with a gentler
it’s probably the best. The edge-to-edge glass gradient like Microsoft’s Surface kickstand. The
surface with Force Touch provides a smooth feel backlit keyboard, based on a scissor mechanism
and effortless operation, handling multi-finger with 1mm travel, provides a superb mobile
gestures with the gracefulness of a swan. typing experience, and the trackpad, whilst
My only quibble is the Lightning connector smaller than those employed by other Apple
used for charging. Because, although a short products, supports Multi-Touch gestures and
USB-A to Lightning cable is included, users you’ll swiftly acclimatise to it.
of recent iPad Pros with USB-C will need an The Magic Keyboard is elegantly designed
adaptor or separate cable, and possibly an extra and engineered and deserving of its name. But
charger. When asked about this, Apple replied when I saw the price, I felt like a retromingent
saying “We wouldn’t have any additional info raccoon: $349 for the 12.9-inch iPad Pro, or $299 The Magic Keyboard’s cantilever hinge
on what future plans might look like. But of for the 11-inch variant! Now, Apple accessories makes the adjustable magic possible.
course we make a range of charging options.” can be tad pricier than the competition, but $349
However, since the company have spent years for what amounts to a cover and a stand with accessory for the iPad Air and iPad (or older
shepherding us to a USB-C- future, this is a built-in trackpad and keyboard? That makes 10.5-inch Pro). Offering just a single angle
likely a temporary situation. In the meantime, the 12.9 inch accessory more expensive than with a Folio-like keyboard, I’d recommend
though, it’s frustrating that Pro users might the entry-level iPad! And that’s not the only trying before buying to conclude whether it’s
need to purchase an extra item that becomes problem: to try one is to want one. right for you.
something else to pack when you’re on the go. Apple also offer an updated Smart Keyboard As a footnote, a keyboard isn’t just for typing,
However, Apple’s response also pointed Folio, with two viewable angles and space for as those who make use of keyboard shortcuts
me to another option: the new Magic the new camera system. The dome-switch in applications designed for conventional
Keyboard for iPad Pro, available in two sizes keyboard, finished with a woven fabric covering, computers will know. You’ll be surprised how
to accommodate the 12.9- and 11-inch third delivers a typing experience as comfortable often you try pressing the space bar to play/
and fourth-generations. The Magic Keyboard and convenient as a concrete pillow. However, pause the transport in an app after attaching
features a keyboard, trackpad and USB-C the 12.9-inch version feels easier to type with a keyboard to your iPad. An iPadOS OS app
pass-through port for power, so you can charge than the smaller option for the 11-inch Pro. will publish a list of shortcuts that appear when
the iPad whilst using its USB-C port to connect Costing $179 and $199 depending on the size, you hold down the command key, although
other peripherals. It’s also both a stand and cover, the price of a Smart Folio Keyboard with Magic keyboard support is currently fair-to-middling
with an opening in the back for the cameras and Trackpad 2 is basically the same as a Magic in music and audio apps. While Apple’s own
sensors, and feels sturdy when closed, although Keyboard. So yes, I’m already defending its cost. GarageBand is a first-class citizen in this area,
slightly heavier than you might anticipate. The Smart Keyboard lives on as a $159 as you might expect, most are not.
can also implement MIDI-only effects, and in As it’s turned out, the iPad’s main application running on another computer
iPadOS 13 user presets created by an Audio competition isn’t other tablets, but rather via an app, a touchscreen is all that’s
Unit in one app are accessible by that Audio devices enabled by Mac OS or Windows. required. But in other cases, such as
Unit in any app. The starting price of an iPad Pro 12.9-inch creating music in a more complex app, the
(with its 6GB memory and 128GB storage) value of the keyboard, trackpad and Pencil
iPad Therefore iAm is the same as the latest entry-level becomes apparent. Apple don’t need to
Given the iPad’s success, I’ve often MacBook Air, offering a 13-inch display, turn an iPad into a laptop computer, any
wondered if Apple created a new product a Core i3 CPU, 8GB memory,and 256GB more than they need to transform a laptop
category for the industry or just within storage. And less powerful devices like into an iPad — it’s about providing the
their own catalogue, since any attempt to Microsoft’s Surface Go 2 (which starts at best experience for what you’re trying to
imitate such a device has arguably produced $399 for a Pentium Gold 4425Y, 4GB RAM, achieve in any given moment.
a resounding failure. There’s been the and 64GB storage), or even the entry-level Therefore, whether it’s because you want
inevitable Android-based competition, Surface Pro 7 (with a Core i3, 4GB memory, a device for recording an idea in a mobile
such as Google’s own ill-fated Nexus line or and 128GB storage for $749), at least environment or studio, a device that can
newer Pixel Slate models, or products like open you to the world of more feature-rich provide remote control over your Pro Tools
Samsung’s Galaxy Tab range. But, other than versions of Cubase, Reason, Live, Pro Tools, rig, or a device that becomes a tapestry for
perhaps Amazon using Android as the basis Reaper and so on. synths and effects, there are many situations
for the company’s Fire tablets, these bids However, an iPad is not a laptop, where musicians and audio engineers will
to compete with Apple haven’t succeeded, and I don’t think Apple ever intend it to benefit from having an iPad.
largely due to a relatively weak and become one. For some use cases, such as Here’s to the following decade,
fragmented app ecosystem when compared working with the iPad purely as a surface where your next studio might not be
to the App Store. for playing an instrument, or controlling an a studio...

ON TEST
Sample Logic
Motion Keys
Kontakt Instrument
HHHHH
Sample Logic’s powerful four-core sound engine demonstrates that the underlying sample base
has been at the heart of a good number of their is very good indeed. Whether it is conventional
hybrid virtual instrument/sample library products acoustic pianos, harpsichords, organs or a variety
over recent years. It was recently refreshed in of synths old and new, Motion Keys offers a broad
their Cinematic Guitars Motion library and the palette of sonic building blocks.
same reworked UI is also found in Motion Keys. However, the real magic comes when the two
As the title suggests, Motion Keys is built upon components — underlying sounds and motion
a 12GB sample library derived exclusively from engine — are added together. The results are
keyboard-based sound sources. Requiring the fabulous, with a huge range of hybrid keyboard
full version of Kontakt 5.8.1 or later, Motion Keys sounds available. The presets are excellent the lead instrument, which also has
ships with over 480 presets and, while there is and span a whole range of moods. Film and the option of a light, fader-controlled
no ‘cinematic’ in the title this time around, media TV composers will love the instant inspiration vibrato (rare in orchestral scores).
composers are likely to be a big part of the target and Motion Keys would also be a great tool for The other three trumpets are mixed
user group. some electronic music styles. No, it’s not cheap together, and use no vibrato for fear
Sample Logic’s current iteration of their (although there are discounts for some existing of the section sound turning into
four-core sound engine is now a mature and Sample Logic customers and an intro pricing offer a dreadful Mariachi mash-up.
sophisticated environment within which to create at the time of writing), but this is a truly inspiring I was knocked out by the
sounds. Via the Core page, presets can be built by virtual instrument. Top-notch stuff! John Walden trumpets’ long notes, which
combining four of the underlying sample-based $299 remain remarkably firm, steady
sound sources. Essential mixing features are www.samplelogic.com and superbly controlled across
built in for each core alongside amplitude shaping their wide E3-G6 range. The
and LFO control over both volume and filter. The section also performs short, tight
Cinesamples
Core page’s central X-Y pad can be automated ‘secco’ staccatos, bright, attacking
to provide real-time changes to the blend of the
CineBrass Sonore sforzandos and one-second accents,
four sounds. Kontakt Instrument which the makers have used as
Things can get even more interesting with the HHHHH a velocity-driven overlay to add bite
options provided by the Step and FX pages. The Cinesamples are the sort of company who to the sustains. In addition, there
former provides comprehensive independent instigate a project, then stick with it. Since are useful forte-piano samples, short
arpeggiation systems for each core, with all releasing their inaugural CineBrass library ‘half notes’ and fast cresc-dim swells.
sorts of possibilities, while the latter offers (reviewed in SOS in March 2012), they gradually The four horns’ smaller
independent, six-slot, effects chains. The effects expanded the concept into the massive articulation menu includes majestic
options are rounded out by a Master page section multi-volume CineSymphony series, comprising sustains and some incisive beefy
with a similar six-slot effects chain available. strings, brass, woodwinds, percussion, harp and stabs. Both sections have an
Other key features include an excellent tag-based keyboards. Having grown up in an era when excellent, nimble and naturalistic
preset browser and the ability to export MIDI built-in obsolescence had not quite taken over the legato mode which responds equally
generated by the internal arpeggiators to your world, I appreciate this steadfast approach — it well to fast playing and slow-moving
DAW. The latter is a very useful addition to the indicates confidence and stability at a time when heroic lead lines. Recorded from
UI’s feature set. new products seem to come and go in a matter standard close, room and surround
This combination of features for providing of months. mic positions, the samples are
time-based control over the underlying sounds is The latest addition to the Cinesamples stable presented in a choice of mixes with
where Motion Keys fully delivers on the ‘motion’ is CineBrass Sonore, which focuses on orchestral optional tape saturation and reverb
promise of the title. However, it also delivers trumpet and horn sections played with maximum effects: I found the ‘JW Bright’ mix
fully on the ‘keys’ bit and auditioning some resonance to recreate the rich, warm, full-bodied added definition and presence to
of the single core sounds in isolation quickly tone heard in classic Hollywood 1990s film scores. the horns, thus tying them in with
The producers set out to capture the sonic DNA the brighter-sounding trumpets.
of Jurassic Park’s soundtrack by studying the So there you have it: ‘John
session recall sheets stored at the MGM Scoring Williams’ brass in a box’, as one
Stage, matching the microphones and replicating user put it. This library incorporates
the settings on the original vintage preamps and samples from Cinesamples’
historic outboard units — bringing these extinct discontinued ’90s Retro Trumpets;
creatures back to life, you might say. the content has been remixed
The results are immediately obvious: rather and reprogrammed, the legatos
than brashly brassy, the sections sound broad and
melodious, with a wide, generous timbre capable Audio examples of this month’s
of carrying noble fanfares and adventure themes. libraries are available at
The trumpets were recorded with separation on www.soundonsound.com.

have been radically spiffed up and French drones. There is plenty of content here
horns added, bringing the library up to though and loading both channels with
the requisite CineSymphony standard. one-shot groups can provide a lot of epic
CineBrass Sonore (7.12GB) works with the ear candy for use within a project.
free Kontakt Player and the full version of As well as effects chains for both
Kontakt 5.7.2 and above. Dave Stewart channels and a master chain, ADSR
$169 envelopes, and some useful pitch and
www.cinesamples.com reverse options, you also get the large
Distort and Mangle knobs. These do
exactly what you might expect and allow just a collection of playable phrases, some
Mammoth Audio
you to dial in some extra aggression to customisability and creative flexibility had to be
Density your sounds if required. On the whole, the included. The phrases are organised according to
Kontakt Instrument UI is very straightforward in use, if perhaps type and are accessed through the main Kontakt
HHHH not as feature-packed as some other interface (5.7 full version required). Users can mix
Density is the first virtual modern composer tools. and match phrases, assigning each performance
instrument released under the Mammoth When it comes to tools for epic/ to a note on their keyboard. Composers can
Audio banner. Mammoth’s creator is trailer music composers, there are some further change the start and stop locations of
music producer Vikram Gudi who has impressive options now available, whether each phrase, stretch phrases, reverse them and
a background within the competitive world it’s massive hits/risers, hybrid-style affect their envelope. Each phrase is recorded
of trailer music. It is therefore perhaps instruments or dystopian drones. At this on each note of the whole tone scale, and also
not surprising that Density is designed price, Mammoth Audio are taking the includes a drone bank for instant accompaniment.
primarily as a tool for media composers, ambitious step of putting Density right There are three microphone positions on
nor that it includes sounds suitable for the amongst the top end of that competition. this instrument, allowing the user to mix close,
epic/trailer genre. However, composers of epic and trailer Decca and hall mic arrays. Each array can be
Density is a Kontakt-based instrument music can try before they buy as there is panned, has a control for stereo width and also
(v.5.7.3 or later is required) and built a free trial option available on Mammoth’s individual high-pass and low-pass filters. When
from over 7GB of sample material. The website. If you need some fresh epic/ a phrase or melody is selected, its notation is
sounds themselves are split into two broad trailer music sounds, Density is well worth displayed in the root key of C. The blue keys in
categories: one-shots and playables. The auditioning alongside the more obvious the keyboard view control the standard drone
former include a whole range of hits, competition. John Walden pitch, while the red keys control at which pitch
risers, reverse effects, stutters, drones and $299 the selected phrase will be played. Finally, there
transition-type sounds, while the latter are www.mammothaud.io are multicoloured keys in the C3 to G4 region
further divided into instruments and loops which trigger any of the loaded phrases assigned
and feature are rather eclectic collection of to each key — custom presets can be easily
sound sources. In terms of the instrument
Strezov Sampling saved. As the library allows you to access the
selection, cello, tuba and throat singing are The Performers original samples, interesting new phrases can also
featured, while the loops include a broader Mountain Girl be developed using various pitch modification
palette with clocks, cellos, guitar, throat Kontakt Instrument software packages.
mantras, throat percussion, sousaphone The instrument is ultimately simple, transparent
HHHH
and tuba. Loops are presented in various and functional: transitions between phrases
tempo categories, but Density’s engine The Balkan spirit has come to your are relatively easy to play, while the crossfade
will, of course, tempo-match them to DAW courtesy of Sofia-based Strezov between them is generally effective. Composers
your project. Sampling, a virtual instrument company will find that compelling pseudo-ethnic phrases
The UI allows you to access any founded by composer George Strezov. are quickly arrived at, while Diyana’s vocal
two types of sounds at the same time Billing themselves ‘by composers for performances are pristine and compelling. On
(Channel 1 and Channel 2) and these are composers’, the creators at Strezov have the whole, it’s a useful and fun item to have in
mapped to different sections of the MIDI recently garnered positive attention for one’s scoring toolkit. For the price, however, it’d
note range. The playable instruments their powerful and original choral libraries. be nice to have a dedicated legato instrument
offer varying numbers of keyswitchable Their ‘The Performer’ series seeks to on at least one neutral syllable in addition to the
articulations and, while the instrument create virtual instruments “focusing on recorded drones, as such instruments can often
choices presented are limited in scope, virtuosic musical performances not possible bridge the gap between the compelling parts of
those included sound good. The loop to create with traditional multisampling pre-recorded phrases. The instrument would also
instruments also offer keyswitches, allowing methods’. In practical terms this entails benefit from an update including more phrases,
you to move between different rhythmic recording compelling phrases and as the selection here is somewhat slim.
groups, while also controlling pitch via performances and placing them into Despite a few shortcomings, Mountain Girl
the normal MIDI key range. The one-shot a sufficiently editable environment. brings the haunting sound of Balkan vocal styles
samples are particularly impressive and are Mountain Girl is their second offering to composers everywhere, and hopefully will
organised into some very useful categories, in this series, featuring folk vocalist Diyana serve as the basis for further such efforts straight
often with sub-categories available. There Vasileva, who received this nickname from from the heart of Bulgaria. Mark Nowakowski
are some epic hits, risers and braams none other than singer Lisa Gerrard. In €89
amongst this lot and also some nice order to keep this product from being www.strezov-sampling.com

Q
Q How Good
A Subwoofer Do
I Need For Mixing?
I want to get a subwoofer for mixing in

my home studio (I already have bass
trapping sorted!). The thing is, subs seem
to vary in price massively and I don’t
really understand the difference between
them — and lots of manufacturers don’t
even seem to publish the same specs! Will
a decent hi-fi sub do the job? Or do I need,
say, a PreSonus or ADAM one designed
specifically for the studio? And will more
expensive ones be better than those — and
if so why (and how much better)? I need to
draw the line somewhere, but I’ve no idea
where or how much I need to spend to
make it worthwhile.
Jack Lawson via email
SOS Technical Editor Hugh Robjohns

good mixes.
YOUR TECHNICAL QUESTIONS ANSWERED
transparency of their mid-range is going to
be masked behind a thick veil of harmonic
distortions thrown out by a poorly designed
subwoofer. It’s rather like monitoring
through an LF exciter, and it will not lead to
There are lots of factors involved in

how much distortion is generated by
a subwoofer, but a big one is how far the
driver cone has to move to generate the
required SPL, the strength and linearity
of the magnetic field, and whether the
voice-coil stays within the linear region.
Smaller ‘long throw’ drivers typically used in
consumer subwoofers tend to perform much
worse in this regard than larger heavy-duty,
custom-designed drivers working far less
hard. There are also issues over the size of
the cabinet, whether the cabinet is ported
and, if so, the port’s tuning characteristics,
vvwhich affect the overall performance and
SPL capability of the subwoofer. In a music
studio it’s often necessary for a subwoofer
Q&A
to adjust some, or even any, of these
parameters in a consumer subwoofer. An
independent DSP-based room-alignment
system might help in some situations, but
many deliberately don’t apply much, if any,
treatment at subwoofer frequencies because
of latency issues and the risk of damaging
the drivers. And in any case, there’s nothing
they can do to correct for the physical
limitations of an inadequate sub, or inherent
distortion products.
And as tainted icing on a disappointing
cake, many home-theatre designs use
unbalanced input connections, making nasty
ground-loop noises a strong probability.
So, if you want to add a sub for critical
listening applications, it really needs to be
one that’s been designed for studio use. As
to which models are up to the job, that’s
really about how good a monitoring system
you’re aiming for. There are significant
differences in price, and you’ll tend to find
that the more you pay, the lower distortion
replies: Setting aside the question of to generate relatively high levels of clean, they exhibit at the same playback levels.
whether adding a sub will help or hinder tuneful bass continuously, rather than just The biggest difference between smaller and
monitoring accuracy (it’s often the latter), generate occasional booms. larger models in the same product range
this is one area where you really do get what And then there is the question of how is likely to be how loud they can go before
you pay for! easy it is to align the subwoofer with the the distortion figure rises unacceptably. But
There are many different types of main monitors. If the subwoofer comes from as a general rule, the subwoofer will cost
subwoofer intended for several different the same manufacturer as the monitors rather more than nearfield monitor speakers
markets, but most ‘affordable’ subwoofers it’s a safe bet that the complexities of of similar quality.
are primarily intended for home-theatre integrating the whole system will have Of course, if all you want to do is add
applications and thus designed to be as been taken care of, and the performance trouser-flapping low end to impress band
small and efficient as possible. That means of the system will meet the required members, the quality is less critical — just
trying to extract a great deal of performance specifications. But that’s unlikely to be the don’t expect to make great mixes without
from an undersized driver in an undersized case when combining a randomly selected turning off the sub!
cabinet, which isn’t a recipe for high quality. home-theatre or hi-fi sub
Fundamentally, the requirements of with professional monitors.
a subwoofer in the domestic home-theatre To integrate
role are quite different from those a subwoofer with main
of a music studio. The subtleties of monitors, their crossover
low-frequency (LF) timing and tuning aren’t responses need to be
that important when someone is watching harmonised in terms of
a blockbuster movie — they just want the corner frequencies and
explosions and crashes to sound big and filter slopes and their
powerful, and so monotonicity, transient relative levels need to
overhangs and huge levels of harmonic be matched, as does the
distortion don’t matter. phase alignment. Often
These things really do matter in a music there is no provision
studio context, however. A subwoofer
needs to play all the notes equally well,
with tightly controlled starts and stops. Good, pro-quality
And LF distortion is a very real problem, subwoofers will feature
because the harmonics of low-frequency things like balanced
fundamentals obviously stretch out right connections and crossover
filter frequency options,
across the mid-range, which is the most
and they’ll also deliver your
critical part of the audio spectrum. It makes signal with much lower
a mockery of investing in high-resolution harmonic distortion and
monitor speakers if the accuracy and smearing of notes.

VIDEO DOCUMENTARY ORIGINAL S
IN ASSOCIATION WITH
Documentary series from the makers of Sound On Sound

From the people behind the greatest recording technology magazine in the world comes an exciting series of music-production documentaries.
So far, the series has offered a unique insight into legendary recording studios such as Capitol Studios in Los Angeles, GSI Studios in New York and Berlin’s
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Sylvia Massy, Vance Powell, Cenzo Townshend, Ryan Hewitt, Oak Felder, and many more.
www.youtube.com/soundonsoundvideo
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WHY I LOVE...
SOLDERING
ROBIN VINCENT Of course, I’m not really for engineers and enthusiasts early frustrations. My confidence
building a machine. I’m who seemed to speak a whole grew to the point that tackling
assembling parts using crude other language and have cases surface‑mounted components
T
here’s something tools to complete a flow of held together with gaffer tape was not the horror I was led to
wonderful about getting electrons on predetermined and Blu-tack. But my desire for believe. I found a way to do
up to your armpits paths: something that could a Music Thing Turing Machine it with just a pair of tweezers
in the guts of a machine — be done far easier and quicker pushed me into dusting off that and my trusty iron. I like to
although, when we’re talking by another machine. Soldering old soldering iron and giving it keep things simple and push
about soldering electronics, it’s is self-indulgent, and burns a go. It was deliciously easy and back against well-meant advice
more about getting up to your through time as though I have completely engrossing. It had on PCB ovens, heat guns and
fingertips. It may be small and an abundance of it to spare. elements of danger, areas of the solder paste. Armed with a pair
close work, but in your mind Nevertheless, it makes me feel unknown, moments of drama of ridiculous magnifying goggles
you’re wrestling with a machine like I am part of the creation of and then the sweetest feeling my dad found neglected in his
of epic proportions. Every an instrument, like a craftsman, of absolute joy when it powered garage, no job is too small.
stroke of the soldering iron is an artist. My slightly shaky up and started to function. I built Each kit is a new endeavour.
a two-handed slash and every hands and poor technique it. I made it work. Those LEDs Each PCB is scanned with
blob of solder is a cascade of are contributing to the further are lighting up because I put uncomprehending eyes as
lava splashing against the foe. adventures of my Eurorack habit, enough solder in the right place. every soldering session teaches
My mind wanders when I’m and as I breathe the fumes, It’s a simple victory: I triumphed me nothing more than how to
soldering. But that’s the joy of I wonder which frailty will get over technology and have power solder. I’ve no idea how these
it, the mindfulness of it: your me first. over electrons. pathways connect or how the
own personal ASMR‑fused I had never intended to build I was bitten. Over time, components influence the
environment of smallness, anything when I started my I acquired a better iron and outcome but by golly, the time
care, focus, and intention. I am journey into Eurorack. Getting some much better solder which spent poring over it is complete
building a machine. into the guts of modules was smoothed away many of the and utter bliss.
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July 2020 edition
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