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A-Designs EM-EQ2

By
Bryan
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Man, today is a slow day for recording news. Fortunately, I keep a few posts in the chamber to use just for a time like this. Not to say I’m with-holding current news but much like I’ve learned from dating girls, if you give them everything at once, they expect it forever. Who knew you would come to a recording website AND learn about how to deal with the ladies. Speaking of which, ladies Loooooove pultec style EQs and A-Designs has just the Valentines day gift for you special someone (if your special someone doesn’t like my gift ideas, drop me a line and I’ll take them off of your hands at NO charge!)

Following the success of its Pultec-style EM-PEQ 500 Series equalizer module, A-Designs Audio is proud to now announce the availability of a new two-channel rack-mounted version known as the EM-EQ2.
Well-suited for tracking, mixing and even mastering applications, the EM-EQ2 is a dual-mono equalizer housed in a rugged, all-metal 2U chassis. Sonically nodding to the classic Pultec EQP-1A sound, the EM-EQ2 utilizes the same discrete Class AB amplifier found in A-Designs’ popular solid-state EM-PEQ and Pacifica mic pres, putting a slightly unique twist on the classic filter design of yesteryear. That aside, the EM-EQ2 faithfully preserves the EQ section design, control layout and wonderfully smooth musicality of the original Pultec unit.
Additional features include a nickel core output transformer, gold Grayhill rotary switches, Wima caps, and a true hard bypass. Instead of using common off-the-shelf chokes, A-Designs uses a custom-wound tapped inductor wound to the same values as the 500 Series EM-PEQ. Fully balanced, noise-free performance with modern impedance specs make for intuitive operation and quick studio integration.

Available in February, retail pricing on the A-Designs Audio EM-EQ2 is set at $2,695.00 USD.
For more info, click HERE

Tama Simon Phillips Snares

By
Bryan
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I got this one from a random tip from someone by the name of “Simone Muffdangler” sounds French! about these new Tama Simon Phillips snares. Why am I posting about drum equipment on a mainly recording equipment website you say? Well that’s easy. You probably overlook this but a snare can make or break any song. The drum mix is the driving force in the song and if your kick and snare aren’t in tip top shape, your song will hurt for it. Its not that uncommon for a professional studio to have 10 – 20 snares on hand. Now most of us won’t need that many but you at least need ONE really good snare in the arsenal… Speaking of the Arsenal, strut dat @$$ over and watch this video.

Simon’s new main snare, which he appropriately christened “The Monarch”, produces regal, never-heard-before tones thanks to its unique construction and equally unique rims. The Monarch features an 8ply maple/bubinga/maple composite shell fitted with special “Customized Triple Flanged” hoops that offer slightly sharper attack than regular flanged Brass Mighty Hoops. The inspired combination of these original design ideas provides a remarkable combination of rich, warm controlled sound with a sharp and bright cut. His second main snare, “The Gladiator”, combines a 5.5″x 14″ size with a black nickel-plated bronze shell. His “The Pageant” model with its die-cast hoops and maple shell perfectly complements the Gladiator and Simon often uses it as the main snare on some tracks.

Wanna hear the snares in action? Of course you do so why don’t you stop re watching all of the lame superbowl commercials for a second and watch this.

Prices for these snares vary according to which one you want. For more info, click HERE

Dave Grohl: Enough Said

By
Bryan
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I was waiting for this. I knew Dave Grohl has an insane amount of analog gear and I knew it would only be a matter of time before he ditched all forms of digital recording and went all old school. I stumbled across this when I found the API Lunchbox post. Turns out Dave is using an API 1608 in his HOME FREAKIN STUDIO, which I might add is completely reel to reel. So basically this video below shows how they recorded their latest album. They use a method that some say is outdated but listen to the end result and try to explain yourself. NO Plug-in or digital hardware can get the mix he got out of that track. Video is HERE. Warning… there is some big boy language but what do you expect from one of the last real rock stars?
Now on to hear the end result, well a small clip of it. HERE

API Updates Lunchbox

By
Bryan
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Yessir its a saturday and I’m posting. Does he have a life?  Does he have friends? Has he even kissed a girl before? All of these questions and more will…. well they won’t be answered here. Lets all just assume I care about yall so much that I will post on weekends… Deal? Alright!
API, Creator of the fast growing 500 series modules has announced their new and improved version of their Lunchbox for the quickly growing 500 series modules. Who better to buy a module from than the people who invented the whole concept right? Exactly.

The API 500-6B lunchbox is a 6-slot rack designed to accept all API standard 5.25″ X 1.5″ modules. This quality allows an engineer the flexibility to bring along specialized EQ effects to any situation: 550A, 550b or 560. The lunchbox is self-powered with a rear panel selected AC voltage switch and a removable power cord. The input/output jacks are XLR. The lunchbox comes standard with a +48 volt internal phantom power supply, bussed to pin 15 for interface with the API 512c Mic Preamplifier.
API makes several modules for the 500-6B, including the 512c Mic Preamplifier, the 525 Compressor, the 527 Compressor, the 550A 3-band EQ, the 550b 4-band EQ and the 560 Graphic EQ. Combinations of these modules make perfect stereo recording packages (two 512cs and two 550bs) or vocalist’s box (one 512c, two EQs and one 527).
Features

  • Holds 6 API standard modules
  • 215mA per slot
  • DB-25 connectors for easy input and output connection
  • XLRs to access channels 7 and 8 of the multipins
  • Power rail LED indication
  • Self-Powered, 100 to 250 Volts switchable, 47 to 63 Hz
  • Rubber feet & carrying handle for portability
  • Rugged steel chassis
  • Perfect for remote recording of Vocalist and Instruments

Right now its near impossible to get one because they’re already sold out of the first shipment but at $499, what else would you expect. Once I get over the dent in my bank account from building a studio, I’ll have to pick one of these up. I gotta start trying out some of these modules fast.
For more info, Click HERE

Presonus SL Remote

By
Bryan
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*Not my hands in picture. My Hands aren’t that pretty due to the “Bryan’s Home Studio Fire of 02” LEAVE NO PIECE OF GEAR BEHIND!! Roomates?? They can fend for themselves.
So basically, Presonus has followed in the footsteps of iPad controller pioneer Neyrinck and have made a controller for their StudioLive Software. Suuuuwweeeeeet… except I use Pro Tools, but hey, its gonna be good for someone.

Have wireless remote control of any PreSonus StudioLive-series digital mixer’s channels, auxes, effects, subs, Fat Channel processors, and more.
PreSonus™ has released a dedicated wireless control software for its StudioLive-series digital mixing consoles: SL Remote software for the Apple iPad®. SL Remote, now available free from the iPad App store, provides direct wireless control over PreSonus Virtual StudioLive software for Mac and Windows, which in turn controls the StudioLive™ mixer. At last, you can have wireless remote control of any PreSonus StudioLive-series digital mixer’s channels, auxes, effects, subs, Fat Channel processors, and more. Not only can these functions be controlled from anywhere in a venue by the front-of-house sound person, but custom aux mixes can be simultaneously adjusted by any performer with an iPad.
Can’t set up your StudioLive mixer front-of-house? Put it on stage; grab your iPad, running SL Remote; and stroll to the back of the hall to adjust the main and aux mixes, channel settings, Fat Channel processing, effects, and graphic EQs. Need to tweak a monitor mix while on stage? Now you can!
SL Remote is a true iPad app, not a port. It provides multiple views of the key StudioLive mixer controls. The Overview displays the most- used parameters, such as channel levels, mutes, panning, EQ curves, and more for multiple channels at once. Tap a microview to zoom in on the Fat Channel processing, and navigate between gate, compressor, EQ, and so on with the flick of a fingertip. The Aux view shows you the levels, panning, and Fat Channel processing for the Aux sends and internal FX buses. Again, you can move between processors with a flick of a fingertip. And of course the GEQ view lets you adjust the graphic EQ; you can even draw in an EQ curve with a swipe of your finger. Finally, hold your iPad in Portrait position and scroll through the channels and buses to see every parameter up close.

Before you go crazy and start foaming at the mouth because your iPad isn’t playing nice with the software, a StudioLive firmware update is required in order to use SL Remote. Registered StudioLive owners can download this update at http://www.presonus.com/technical-support/downloads/drivers-software.
Check the app store on your iPad for more info.

Inward Connections Magnum

By
Bryan
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What’s better than having a preamp that does all of the work for you and has very few knobs to get in the way? Nothing, and I dare you to try to think of something better and put it in the comments! Bet you can’t…. Well Inward Connections have a new 500 series preamp and it looks very easy to use but I could be wrong. This is coming from someone who has slammed his own hand in a car door. I’ll let you be the judge of that.

With a warm and upfront low-end, punchy mid-range and open top end, the Inward Connections Magnum will bring new life to your recording rig. Classic sounding warmth, but with airiness and headroom for days. Magnum offers something different than the old standbys. Extra large tone for your lunchbox!
Features

  • Circuitry features two VF600 all discrete amp blocks
  • +48VDC phantom power switch
  • Phase reverse switch
  • -20dB pad switch
  • Hi-Z low level line input 1/4″ phone jack for guitars, keyboards and low level instruments
  • 12-position rotary trim (5dB per step), 25dB to 80dB selectable range
  • Three hi-pass filter selectable switches: 70Hz, 100Hz and 200Hz
  • Output level rotary control
  • Balanced input and output transformers
  • Fits standard 500 series slot configuration, mechanically and electrically
  • Powder coating in Gunmetal color

Price: $825.00
For more info, click HERE.
To buy, go HERE to the Toys R’ Us of the boutique audio industry

Prime Vibe System

By
Bryan
-

Recording acoustic guitars is almost an art and when you’re tracking, you want every possible thing going for you (much like having a girlfriend.) This device is one more thing on your side. The Prime Vibe System does what would usually take years to do, age your guitar. As your guitar (much like your spouse’s looks) gets older (don’t give me that look yet ladies) the sound improves. See, yall got worked up over nothing. Well this does what time and a great deal of playing does, it wears the tone of the wood in by pumping some other better guitar players playing into the top of the guitar. I suggest Monte Montgomery, but just know that yes, it will improve the tone of the guitar, but it won’t make you a better guitar player by osmosis. So don’t come crying to me when you have an incredible sounding guitar you can’t play. This device is basically like handing your wife over to a gigolo because you’re too busy huffing glue in your basement.
Personally, I’m out of town a lot so this is great for me. I have a broken in guitar with optimal tone when I pick it up and start recording.
All jokes aside, I’m probably going to get one of these for the studio. I’ve got a j-45 who doesn’t get enough attention.
I just got a GREAT Idea: While my room mate is sleeping, I’m going to pump a Fran Drescher audio book into this thing and put it on his neck to see if it makes him sound like her. Muuuhahahahahahahaha
Here’s a video of Prime-Vibe in action. Its a genius concept that I would have never thought of the get better tone out of your acoustic instruments.

Price $99.00
To order, click HERE

Drawmer MX Pro

By
Bryan
-

Trans Audio Group is a pretty big player in the high end audio sector of the studio industry and Drawmer is included in that heavy hitting lineup of products. Drawmer has decided to revise their already stellar MX series into the MX Pro series. They also put all of the pres at a competitive price. Speaking of competitive, I am completely stomping Everything Recording reader John at iPhone scrabble BAD. If anyone dares challenge me, I will destroy them… Unless your name is Colton because he kills me every single time and was starting to make me cry.

Drawmer, one of the last great English pro audio manufacturers proudly announces a revision to their popular MX Series – now called MX Pro. These single rack-space analog processors offer Drawmer’s best value and are still handmade in the Drawmer UK factory. Like all of the gates, compressors and preamps that bear Ivor Drawmer’s name, the MX Pro Series benefits from the renowned engineer’s gift for designing circuitry that is as musical as it is functional. Those in the know will
recognize the new MX Pro units have the traditional “Drawmer black” faceplates, a visual homage to Drawmer’s twenty-eight year heritage as the leader in dynamics control for live and studio applications.
Four units currently comprise the Drawmer MX Pro Series: MX30 compressor, MX40 four-channel gate, MX50 De-Esser and MX60 Channel Strip. All of them rely on Drawmer’s proprietary circuitry and deliver a well-considered mixture of automatic functionality and intuitive, musical controls. Combo XLR and 1/4-inch jacks accommodate any infrastructure, live or studio. “The MX Pro Series delivers unparalleled sound for the money with all the Drawmer
innovations while still being built to last,” said Brad Lunde, president of TransAudio Group, the U.S. Distributor for Drawmer.

For more info, Click HERE
To get stomped in scrabble, my user name is HELIXSTUDIOS on words with friends. BRING IT!!!!

Sontronics Drum Mics

By
Bryan
-

We all know I’m a sucker for drum mics. You can NEVER have enough and these look incredibly enticing kick mic that resembles one of the best kick mics in the biz, the Neumann Fet 47. I really want these mikes and its starting to give me a fever and we all know what the only prescription for the fever is – more drum mics? NO you idiot, Childrens Tylenol.. But these definitely would help too.

SONTRONICS has announced a further move into application-specific miking with the release of three condenser microphones designed specifically for drums: the DM-1T, DM-1S and DM-1B.
The DM-1T and DM-1S are small-diaphragm pencil-style condensers designed to work on tom (DM-1T) and snare (DM-1S). With a cardioid polar pattern and switchable -15dB pad, the characteristics of each mic have been tailored to pick up those specific nuances from the different drums. Each mic comes with a metal drum mount and mic clip.
The DM-1B is a large-diaphragm, end-fire condenser mic that can cope with up to 150dB (with the -15dB pad switched in) and comes in an aluminium flightcase. DM-1B is designed specifically for kick drum but also gives impressive results on bass guitar cabinets.
Designed from scratch by SONTRONICS founder and MD, Trevor Coley, these new mics represent more than two years of research, development and field testing. “Many of our existing mics work brilliantly on drums,” explains Coley, “but I felt that it was about time we made some dedicated mics for drummers and percussionists. I spent a long time researching how each component of a drum kit responded when struck – kick beater attack, kick thump, snare rattle, resonance, boominess and so on – and optimised each mic’s frequency response to deliver a great result with little or no EQ.”
As is usual with all SONTRONICS mics, the DM-1T, DM-1S and DM-1B have been tested to destruction before launch, so you can be sure they’ll perform perfectly, whether in studio or live sound applications. “The first prototypes were trialled by various session drummers and producers,” adds Coley, “including producer Flood (U2, The Killers, Arctic Monkeys) at Battery Studios, who discovered that DM-1B also gives great results on bass guitar cabs!”

The DM-1T, DM-1S and DM-1B are all covered by SONTRONICS’ Lifetime Warranty and come with a free download of Toontrack’s EZdrummer Lite. All three microphones are available to pre-order now – contact your nearest distributor or Sontronics dealer to order!
For more info, click HERE

Kick Port Expands With D-Port

By
Bryan
-

Chill out my illegal alien readers, not THAT kind of D-port. This is a port that you can use on your toms and snare that works like the sound hole on a kick to get more projection and tone.

Based on the same acoustic principles that have made the KickPort one of the world’s most popular drum accessories, D-Ports are one, two and three-inch, double-flared extrusions made from a soft, pliable, composite material that enhance the sound of snare drums and tom-toms. D-Ports are removable and reusable and can be quickly and easily installed in virtually any drum by cutting a small circular vent in the drumhead and mounting the port using a double-sided, adhesive D-Port ring. This procedure, in conjunction with the D-Port’s unique design, vents the drums to create a deeper, fatter, more balanced sound with increased clarity and articulation.
“Everyone knows what an incredible sound is created due to the relationship between the heads of a double-headed drum,” explains KickPort’s inventor Sam Millender. “But up to now, what happens inside the drum has stayed inside the drum. The KickPort showed us how much better bass drums perform when we let the sound that’s inside out, and that inspired us to begin experimenting with porting other drums. What we learned is that the same rule applies.”
“Just venting a drum won’t achieve the level of sound enhancement the D-Port offers,” KickPort President Jesse Bradman adds. “After extensive research we developed the D-Port’s proprietary materials and double-flare design to fully compliment and optimize the natural acoustics of a two-headed drum. Because D-Port lets the sound out, drummers, sound engineers and the audience can now hear all the sound that every drum produces.”
D-Ports are available in a choice of black and white and come individually and in convenient drumset pre-packs that include one 1″ port, two 2″ ports and one 3″ port with graduated mounting/reinforcement rings that can also be used as hole-cutting templates. Additional D-Port Rings are available as after-market accessories.

For further information visit your favorite drum dealer, go online to www.kickport.com

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