HIGH ON GLUE: THE WARM AUDIO BUS COMP

By

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BUS-COMP Rundown:

5 / 5 Reviewer

Pros

- Incredibly faithful take of the "infamous" British console sound
- HPF sidechain lets you keep the low end intact
- Sonically impeccable signal path
- Built like a tank with a sound to match

Cons

- A wet/dry blend knob would come in handy
- Output transformers really need to be driven to hear a difference
- If you have the actual SSL, you paid $2800 too much

Summary

Warm Audio have carved out an impressive niche, putting world-class studio technology within the reach of producers and engineers who otherwise would only use plug-ins. A five star piece of gear if there ever was one.

Rating

We’re pretty fond of our writing but for the illiterate or impatient, Click HERE to get straight to the audio at the bottom of the review.

British By Birth. Texas-Size Tone

Warm Audio’s latest entry in the world of analog compression takes inspiration from one of professional recording’s most famously used pieces of hardware: The stereo bus compressor from Solid State Logic’s large format consoles. Though certainly not the only high-end compressor available, it’s rightfully earned its place as many engineers’ immediate “go-to”.

Often referred to as “the glue”, this design has an almost mythical ability to put meat on the bones of even the skinniest of mixes. Elements that won’t “sit right” suddenly fold their napkins politely in their lap. Untamable Kilimanjaro-esque peaks become a bunny hill. And, for once, every member of the band stops saying they need to be louder (for an hour or two at least).

Meet The WA-Bus Compressor

That’s the sound that Austin, TX-based Warm Audio has set out to bring within reach of every even halfway-serious studio.The Warm Audio Bus Compressor is exactly what it says on the tin. Strapped across a stereo mix or subgroup, the Bus-Comp delivers a first-class, totally analog path of gluey squish, squeeze and polish. Priced at an almost-TOO-reasonable MSRP of $699, this is designed to do “that thing”… and it does the crap out of it.

Though the Bus-Comp may have some British DNA, a quick look reveals inside and out reveals as many similarities as it does differences. Housed in a sturdy black 1U steel chassis, the stereo-only unit keeps controls to just a dummy-proof set of bare necessities. Six sturdy detented knobs click in the “usual suspects” parameters – but with the addition of a selectable highpass sidechain frequency.

Wait, did you just say “sidechain frequency”?

A frequent critique of this style of compressor is the lack of an internal high-pass filter for sidechaining the detection circuit. Even SSL’s own stereo rack-mount version costing thousands more overlooks what is a very critical part of using this compressor to its fullest potential.

If you’re scratching your head at some of this, we’ll lay it out quickly (or you can check the glossary at the end): A compressor’s RMS detection circuit is triggered by the full spectrum of a mix. However, amplitude from bass-heavy instruments like kick drums, subs and low-end bass notes can force the compressor into what’s often called “pumping” or “breathing”. Cool for an occasional effect? Sure. Cool for your whole stereo mix? Probably not..

Setting a variable high-pass filter as a sidechain tells the compressor to “ignore” the rumble in the jungle below a certain point. The Bus Comp lets you dial this in all the way from 0 (off) to 185hz in roughly 30hz steps, more than enough range to find the sweet spot – letting the kicks and subs occupy their own crucial space below deck without sucking the other elements down with it.

Oh, The Iron-y

The Bus-Comp features a switchable discrete op-amp stage with two chonkin’ USA-made Cinemag iron 1:1 transformers. When engaged, the intent is to give the soundstage depth, while bringing out pleasing, subtle second- and third-order harmonics. When slapped around with too much signal activity at once, things can get wild and wooly – but not in a bad way.

This is the sort of thing that has given birth to dozens of nebulous audio industry buzz-words: “Depth”, “Warmth”, “Heat” and the dreaded “Mojo” come to mind. Warm Audio had the flash of genius to make this accessible at the push of a button, letting the user quickly decide between the two. Is it right for each application? Well, that’s why there’s an on/off button.

Warming It Up

Setting up the Warm Audio Bus Compressor is a fairly standard affair, with a beefy internal power supply fed by the included IEC cable. Inputs and outputs are available interchangeably on balanced TRS ¼” and XLR connectors, with the sidechain input on XLR only. Rack it up, plug it in, flip the switch on the front panel and the Bus-Comp is ready to go to work.

Getting your basic settings is the same here as it is with most other compressors, whether they cost half or twenty times as much. Bring your threshold down to just above where the gain reduction meter shows the compressor engaging with the attack and ratio at twelve o’ clock. Begin pulling the threshold down while simultaneously bringing the make-up gain up, keeping an eye on the meter to see just how much, and where, the Bus Comp is working. It’s important to keep switching the unit in and out to compare the compressed and uncompressed signals.

Some engineers (and I count myself among them), pull the threshold down until the circuits cry uncle and use that to dial in the attack and release times, as well as where to engage the sidechain (if at all). Then? Bring the threshold back to the land of the living and promise that you “won’t be that volume war guy”. Not today, at least.

Getting On The Bus

The other decision to be made here of course, is WHAT stereo bus is being compressed. The Bus-Comp doesn’t play favorites – and it’s just as happy to tighten the leash on your stereo mix as it is a drum bus, guitar, synths, drum overheads, room mics, vocal submixes, or any other source you desire. You could use it as a mono unit on things like bass guitar or synth – just remember that this IS a stereo only compressor without dual-mono operation.

Let’s Get This Bus Rolling

I set the Bus-Comp up as a hardware effect insert in Steinberg Cubase Pro, allowing me to quickly assign (and time-align) the unit on any stereo source in the mixer. Pulling up a mix project I’m doing for a particularly “punchy” metal-type band, I was eager to see how it performed… especially compared to similar plug-ins and hardware compressors in my rack.

Notably, the Bus-Comp was sharing space with one of my own GSSL builds using the original DBX 202 “Blackmer” VCA, as well as Cytomic’s “The Glue” and Waves’ SSL 4000 G Bus Compressor plug-ins. All close cousins of the unit being reviewed today, and all processors I am as intimately familiar with as I am the actual SSL console itself.

Observations

The very first thing I noticed is just how well the Bus-Comp exemplifies that famous, ‘grabby’ VCA sound. At lower (dare I say ‘normal’?) compression ratios and higher thresholds, the Bus-Comp efficiently and transparently tames peaks in the material while pulling up the space between the notes in a very musical, pleasing way. You won’t necessarily hear the compressor “working” with more conservative settings, but you’ll certainly miss it once it’s switched out, like getting out of a hot shower on a freezing cold morning.

I tried the Bus-Comp on a stereo pair of room mics spaced about 14 feet from the kit in a medium room that had been recorded through a pair of OktavaMod mk12’s. Instantly the room began to breathe more after every kick, hit and crash – stepping aside for the transient and falling in back on itself to give the overall kit sound some snark and presence. That’s certainly not a way you typically describe the way a metal band’s drum mix sounds in this day and age, but it was a refreshing change to hear the drums sound just a little bit more like, uh… drums.

On Drums

On the drum sub-mix, I high-passed out away the lowest registers of a particularly chesty 24″ kick drum, finally landing at 125hz, effectively splitting the drum’s effect on the compressor in half. Above that, the separation was just a little too… separate. Hearing the transients push the overheads out of the way then letting the cymbals and room wash back ashore gave the drums a huge presence in the mix – a previously unrealized bit of Bonhamesque bombast.

As an aside, while I was tweaking the Bus-Comp on the drum mix, the band’s drummer popped by to check out the progress. Seeing the new gear on top of the rack with its meter ‘thwapping’ away to the beat, he asked, “Is that what you’ve got on my kit right now?” When I replied it was and explained that I was reviewing it he asked when I had to return it, or if I could possibly keep it for long enough to finish their EP.

Switching in the transformers, things like the cymbal overtones became less “shrieky” and I found myself opening back up a few channels’ low-pass filters a bit. The highest discernible octave (9-18kHz) became less splattered and I felt much more confident that the mix wouldn’t blow out on “hyped” consumer playback systems.

On Guitars

Just for grins, I also strapped the Bus-Comp across the guitar submix (a grand total of four tight-miked cabinets over two separate performances). Sending the kick, snare and tom attacks to spike the compressor let me pull the guitars closer – though it was easy to overdo. I wound up just triggering one each of the cabinet mics and letting the other two stay constant. Tricks like this means less compression on the stereo mix.

Now that we’ve talked about how the Bus-Comp plays nice, let’s ponder for a moment how good it is when it’s used less responsibly. Pull the threshold and gun it on the ratio and we’re dealing with a whole new beast. Pushed into “compression as an effect”-land, it fights dirty. Like, stilettos in a back-alley dirty. A ho-hum drum mix becomes your new favorite loop. A bass synth with an aggressive ratio keyed off the bass drum will make EDM producers leap in literal ecstasy. A band-passed vocal getting spanked by this thing catapult the singer’s words into the listener’s nightmares.

As I only had the one unit, I printed some drum and guitar mults for safety and turned it back on the stereo bus. Of course, by now I had been mixing a metal track all day while getting giddy on new-gear-syndrome, so my ears were just a wee bit fatigued. But even after just a day in session, it’s needless to say the Warm Audio Bus Compressor has earned its place. I took that drummer’s advice and let the Warm Audio guys that this one would not be coming back..

Okay, So What’s Missing?

Sigh. Having cut my baby teeth on compressors half this good for twice as much, I would have to say “absolutely nothing.” It’s really that good, especially when you realize just how on-the-level it is with similar units costing five times more (and don’t have the HPF or transformers… which are VERY nice to have).

Price aside, I would have happily paid another $100 to have a “mix” knob, allowing parallel compression from right inside the box. Of course, when doing parallel compression in most DAW setups, you have the flexibility to automate the levels from section to section, which really helps bring out the dynamics of a solid drum mix. Still, it’d be a nice-to-have for those “set and forget” situations.

My only other niggle was that the VU only displays gain reduction and not input or output level. For those of us who are used to monitoring off our DAW’s display it’s maybe not so big a deal, but I can think of a mastering engineer or two who would be most displeased (you know how mastering engineers are, fainting on their tea sets over this sort of thing).

The Only Game In Town? Welllll……..

So let’s be real here – this design, this “thing” has been done before – and we don’t just mean by the people who make the original. It’s been done by the people who designed the original, too (the Alan Smart C1 or C2). And it’s been faithfully recreated by the TK Audio BC 1, the Dramastic Obsidian and the thousands of brave DIY-ers who’ve tackled the Gyraf SSL DIY build.

But for literally one fifth the price of the SSL XLogic G, you could just wait a couple days for the Men in Brown and enjoy your new rack candy from an established company with a solid warranty and great people backing it up.

Why Hardware? I’ve Got A Plug In!

Of course you do. So do I. They’re cheaper, you can use as many as your CPU’s resources allow and they don’t take up rack space or require a bigger interface. Hardware can’t easily be automated. I get it. It’s been over twenty years since the first modelling plug-ins began to appear. Back then the graphics were novel, the sound was hideous and even the best computers would be dragged to their knees. But plug-ins and emulation have reached the point where the difference is so near-undetectable that the simplicity, price and ease-of-use certainly justify the trade off of some minor differences.

The majority of engineers and producers I know use both. Plug-ins for the utility infielder duty, outboard for those special times where it matters. Think of it like dishes, or underwear. If you’re on the fence about adding your first or fifth piece of analog kit to your largely DAW setup, the Bus-Comp is an excellent addition. Having an analog path to create an analog effect is simply using the right tool for the job.

The Real, Real, Real Review

In all fairness, every type of compressor has one or two applications that they excel at and others for which they’re not as ideal. The DBX160 is a monster for bass, but I wouldn’t necessarily reach for it on a snare. The LA2A kills it on vocals, but I’ve never cared for using two on a stereo mix (this is subjective, of course). Though it’s a stereo design, I’d have to say though, the Bus-Comp is versatile and you could most certainly make it work on just about anything.

That aside, I don’t have a lot of room for new gear (NYC studios are like that). For something to earn a coveted space in my arsenal, it’s got to be unique or do one thing that other things can’t. Frankly I’ve got more than enough compressors (both virtual and real) than I need – including ones very similar to the Bus-Comp. But it’s an inventive, versatile facelift of a British legend that adds two extremely functional upgrades. It’s built like a tank with the sonics to match at an extremely handsome price.

Put it this way, if the WarmAudio Bus Compressor cost twice as much? I’d still have kept it. It’s really that good.

And Now, The Audio

In order to better get a sense of how the BUS-COMP faired against others (both hardware and software), we took three different tracks and ran each through their respective gear.

The Contestants:
The files below are labelled accordingly

Dry is… dry
GSSL is a GSSL with turbo mod and DBX 202 Gold-Can VCA’s
WarmAudio is… well you get the idea
Waves Plug In is the Waves 4000 G Channel Stereo Compressor

The Tracks:

“ATF” is a drum track you may recognize
“BleedingHeartSonatas” is from Revenge Fetish
“Encoder” is by Maxipok (for more of their music visit their SoundCloud)

The Approach

To bring out each compressor’s tone, thresholds were lowered more than usual, with slow attacks and fast releases. Levels were matched to the best of our ability to equal the playing field.

ASK AN ADULT – THE GLOSSARY SECTION FOR PEOPLE WHO NODDED ALONG POLITELY BUT DIDN’T KNOW THINGS MEANT

VCA: Voltage Controlled Amplifier / Attenuator. A transistor that raises or lowers incoming signal according to a “control voltage”. In other words, the part of the compressor that does the compressing. VCA’s are one of several “classic” compressor elements, including photo-resistors, FET (field effect transistor) tubes and diode bridges

RMS Detector / Comparator: The section of the compressor that “listens” and decides (based on a user-defined threshold). “Feed back” designs like the Bus-Comp are activated post-VCA and tend to sound ‘smoother’, while “feed forward” are placed before the VCA and tend to be more ‘obvious’ sounding.

“Keying” or “Side-Chaining”: Activating a compressor’s VCA with audio that is not the incoming signal. In the case of HPF side-chaining, the signal that activates the comparator/detector has had low-end removed, making the compressor only activated by signal above a certain frequency.

DBX 202 / “Blackmer” VCA: One of the original Integrated Circuit (IC) VCA’s, designed by David Blackmer of DBX, whose microelectronics division went on to become the THAT corporation. The DBX 202 was in the original SSL 4000E console’s compressor and, just as famously, the DBX 160. Subsequent revisions of the same design, like the THAT2180 and 2182 appeared in later applications, like the one reviewed today.

Transformers: Robot toys from your youth that could transform from ordinary items like cars and boom boxes. But, in the context of pro audio they’re big square horseshoe-esque pieces of iron, steel or nickel which create a magnetic field between the input winding on one side and output winding on the other. The amount of windings on each side create a ratio that brings the level up or down, adding a harmonic-rich artifact that is considered a hallmark of classic preamps, eq’s and compressors.

For more information and to buy, visit our link HERE.

Review: BABY Audio SUPER VHS

By

Bryan

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SUPER VHS Rundown:

5 / 5 Reviewer

BUY: $49

Pros

- Instant 80's vibe
- Saturation section of this plugin is top notch
- Easy to use. Just turn what you want up and blend with the Mix

Cons

- While there were no cons, I do wish I could get expanded controls for the under the hood enhancements.

Summary

Whether you just need subtle texture on a synth or all out "destroyed Wham Cassette" tone, SUPER VHS is the plugin for everything in between. While this plugin has all of the vibe of a hot pink Camaro IROC-Z, it feels just as comfortable in a modern track.

Rating

We reviewed Baby Audio’s I Heart NY parallel compression plugin and were impressed. To move onto their next plugin, we have to go back to a simpler time – a time that has recently made a massive comeback in pop culture. Where we’re going for this review, we don’t need any roads, or plugin presets (cue Back to the Future soundtrack). We head to the ’80s in this review of Baby Audio’s SUPER VHS.

The Company

Let’s dig a little deeper into the company that is Baby Audio for a second. In our last review, we learned the company’s primary platform: to make easy-to-use plugins that are so simple to use; presets aren’t even needed. Their additional objective is one I can genuinely get behind. This company doesn’t make exact replicas of old or new gear. Instead, they draw from great hardware to blaze an original path of plugins. Below is a quote from their “about” section, and I couldn’t love it more: “There’s a thousand 1176 emulations out there already. What the world needs is not #1001.”

The 80’s

From the looks of this plugin, I’d say these guys are right around my age, growing up in a time I look back on very fondly – the 80s. The music is as undeniably recognizable as the style. The two go hand in hand with the very essence of Hypercolor neon shooting neon laser beams from the speakers. The synths were somehow both warm sounding and bright at the same time, bathed in modulated reverb. SUPER VHS brings this back into a cold digital world.

The Plugin

Super VHS is all about that retro vibe. Instead of having to stack several effects plugins on a track, all of the tools for 80’s Synthwave is at your fingertips. SUPER VHS features six of the most useful tools in a producer’s belt. This plugin is a “more” type set of one knob effects, each working together to transform your DAW into a time machine. The list goes as follows:

STATIC – Remember the dirt and hum of the old analog synths? It’s back (but now controllable)
HEAT – That burning tape saturation that breathes life into cold tracks
SHAPE – While the producers back then would’ve killed for the clarity of current sample rates, sometimes things sound better reduced.
MAGIC – The Juno synth’s chorus that spreads the synth into the corners of the stereo field (but with Baby Audio’s tweaks)
DRIFT – You lent that Tears for Fears cassette to a friend and their cheap tape deck and stretched the tape on “Everybody Wants to Rule the World.” Well, now that’s an effect that we can put on anything.
WASH – Hardware reverb that lacked fidelity but had tons of “the feels.”

On top of the controls, Super VHS also includes a few additional controls that can’t be adjusted by the user (internal EQ, Limiter, and Bit Crusher).

The Time Machine

It’s funny how the very limitations that most likely annoyed some producers became the soundtrack to an era. Each of these effects adds personality on their own but combined, make something more significant than the sum of their parts. SUPER VHS has wrapped all of these magnificent artifacts into one simplistic package.

The Opinion

SUPER VHS adds vibe to tracks. Sure, the plugin can do the 80’s thing flawlessly, but it’s not limited just to that realm. Super VHS can sit only as well on a modern track as it can on your Stranger Things inspired opus. The ease of use makes dialing in your sound, lightning-fast.

HEAT’s saturation is right up there with some of the best in plugin dirt boxes. It works excellent on strummed guitar tracks that are lacking a little warmth. DRIFT can add subtle movement to dull synth pads, or background vocals, and WASH can push lead tracks more to the front with its gritty reverb. If you need to clear room in the center for vocals, MAGIC has you covered. While I like the sound, I do wish this control had a slider to control just how far on the corners of the stereo field the track will go.

On the subject of “things, I’d like to be able to control,” I’d also like access to the Internal EQ. I feel having a slider for a low pass filter or even the ability to bandpass for the “old speaker” effect would make this plugin even more useful. So many memories of listening to my tape deck had a bandpass effect, and I’d like to relive that in my music as well.

Despite a few creative improvements I’d like to see, I love the plugin. Super VHS is THE premier 80’s vibe plugin and more. I look forward to BABY Audio’s next release.

Review: Warm Audio WA273-EQ

By

Bryan

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WA273-EQ Rundown:

5 / 5 Reviewer

Price: $1499 (WA273-EQ)

Pros

- Same sound and quality of any model twice its price
- Front XLR inputs make tracking in the control room a breeze
- Tone Knob gives added weight to the signal - Helpful metering LEDS

Cons

- None

Summary

WA273-EQ meets and beats the competition in almost every area. While different brands may have different interpretations, this model hangs with units almost twice its price. From bedroom producers to the Chris(est) Lord Alge, the WA273 line finds a home at either level and anything between.

Rating

When Warm Audio sent over the WA-251 for us to try out, I pulled some strings and had them send over a WA273-EQ as well. After all, I was doing a mic shootout, so why not have two channels of Neve-inspired preamps to serve as the “equal playing field”? Quickly, mayhem ensued, two mics turned to 3, and another preamp entered the ring to challenge the Warm Audio WA273. The result is three reviews – one of the channel strip, one of the mic, and one of both of them versus the world. Let’s start with part 1 – The Warm Audio WA-273-EQ.

WA273-EQ

I’m not sure if it’s well known, but the WA-12 is not founder Bryce Young’s first venture in a preamp. Well, before Warm Audio was formed, he had his hand in a 1272-based preamp that featured Carnhill transformers. How do I know this? Well, I own two of them. They have been two of my most used preamps. These original models resemble a more stripped-down version of the WA73 with a few different controls. Now the masses can have one of my unique “secret weapons” with either EQ or not. Since I love my 1272s so much, I had to see what Bryce’s take on a 1073 preamp with EQ would be like.

The Build:

The WA273-EQ is a 2-RU, two-channel 1073 style preamp with EQ. Although the unit similarly mimics the classic preamp that has shaped music for years, Warm Audio have thrown their spin on the unit, offering several enhancements that make an already useful channel strip even more of a workhorse.

The build is very sturdy. Just watch body parts on the corners of the faceplate. They’re a little sharp! A quick look at the internals shows Warm Audio did not skimp on the internals either. The unit is hand-assembled and wired; the transformers are custom made Carnhill Transformers, especially for Warm Audio. Tantalum and polystyrene capacitors were used in the signal path, and the output transistor was carefully chosen to work a little more smoothly when pushed at a harder gain.

One inconsistency I did see on the test model was dealing with the knobs. Some knobs turned with less resistance than others on the unit. I attributed this to being a test model. Still, after doing a little searching on the internet, I saw that others had a similar experience. I can’t pin this one on Warm Audio because the knobs outsourced to another well-known company. The Blore Edwards concentric knobs for the EQ are one of the more costly parts of the unit, and even though Blore builds them to last a lifetime, there is a wear-in period where some knobs have more resistance than others. People who have owned the unit a while initially told me they even out over time, and mine did as well.

Features:

As far as physical inputs and outputs, the 273 has plenty, offering both an XLR and instrument input on the front and back. Front plugs are especially handy when tracking vocals or instruments in the control room. Easy access eliminates either having to go behind the rack or using a patch bay. Plug the mic or the instrument directly in the front and track away. The back has even more options with both balanced line inputs and outputs in XLR and TRS as well as a line input. To top the unit off, an insert has been placed in between the preamp and EQ, turning the WA-273 EQ into a full-blown channel strip if you have a favorite compressor.

Extras

You would think with a unit fractions of the price of other 1073-based preamps would cut corners, but clearly, this isn’t the case by looking at the controls. Just about any control needed is at your fingertips. The standard phantom power and input controls prominently sit on the two rows of switches, but what sets this unit apart is all of the extras. A polarity, insert enable, and Tone button are present as well. The Tone button is similar to the one in the WA-12. With the button engaged, this model switches the ratio of the input transformer and changes the impedance. The button works just as the name implies by imparting a thicker, punchier, and colored sound to tracks. While Warm Audio suggests to use the Tone knob for dynamic and ribbon mics, experimentation is always implied. The results of different mics can render new possibilities.

The input knob is a stepped 22 position gain switch that makes matching stereo pair mics much more manageable, and the 18dB per octave hi-pass knob offers flexibility in stepped increments of 50Hz, 80Hz, 160Hz, and even 300Hz. The remaining three EQ knobs offer the classic +/- 16db low shelf, fixed “Q” +/- 18db mid-band, and +/- 16db high shelf. Each band except has the same frequency points as the original 1073 except for the high shelf, which borrows from the shelf of a 1084 EQ. If EQ isn’t needed, a button has been placed right after the high shelf to turn EQ off.

The unit has an output control knob for dialing back the level of the signal going into the interface. This output control is especially useful when pushing the input to get that classic “Neve(y)” goodness. Just under the output knob is an especially helpful LED level indicator.

Thoughts:

For being one of the more wallet-friendly options when it comes to 1073-based units, the WA273-EQ doesn’t pull any punches. Coming in a $1499.00, this unit is no small purchase, but the number of extras the 273-EQ packs puts it in the same category as units over twice its price. The convenience of front panel XLR, hardware insert, and Tone knob make it a hard sell over any of its much higher priced competition.

Sonically it’s right up there with those very same brands as well. To my ears, it is a slightly more modern and open sounding version. The Tone button and a little EQ can transport tracks right back to classic sounding mixes using the original 1073. All with as much of the weight and drive people have come to know and love. I like having either option when I need it. Sometimes you need the best of both worlds in a preamp, especially for home studios on a budget. The 273-EQ delivers giving the option of either a cleaner sounding preamp or a weighty-toned classic. Other versions closer in price stick to the original 1073 design with the fixed high shelf, but Warm Audio sacrificed a little more money in their pocket for better functionality for you.

More Options

If you need to save a little money yourself, there are several choices to fit just about any budget. If two channels and EQ aren’t necessary, Warm Audio offers a one-channel version without EQ for $600. For only $200 more, the WA273 can add EQ. Two channels with no EQ is $1000, and for $500.00 more, front panel XLR and EQ is available. If you want my advice, save a little more and spring for the version with the EQ. How often are you going to get two channels of Neve 1073 EQ for 500$?

Complaints? I don’t have any. The ONLY improvement I would have liked to see was the ability to choose between placing the insert before or after EQ. That way, I can EQ into compression or vice-versa. I suspect that would have been a costly option to add that not many people would use.

Final Thoughts

The price gap between other versions of this rendition of a classic is pretty big. Still, the function and the sonic difference between the competition is not. I know everyone harps that Warm Audio is the budget-conscious alternative, but that can’t be farther from the truth. This unit does the same thing 3000$ versions do; it just does it at a different price point. The WA273 has just as much place in a home setup as it does in any professional’s A-Room. It’s a serious no brainer.

Join us for our next review, where we put the WA-251 against a $3000.00 mic and use the WA273-EQ as the preamp to run both mics through.

2020 NAMM Wrapup

By

B. Church

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After a whirlwind weekend in Anaheim, CA the ER.com crew are back to report on not only what we saw at this year’s four-day bacchanal, but what we didn’t. (Bryan promised us Magic Mountain if we were good – sadly, we were not. Blame the $2.99 Mango Bahama Blast Margaritas at the Applebee’s across the street from the Comfort Inn)

Of course there was the usual smorgasbord of the newest, hottest, latest, bigger-faster-louderest gizmos that are sure to make you want to cash in your 401k. Lots of boxes that go blinky-blinky and price tags that make your bank account go over-drafty are to be expected. That’s NAMM for you.

But we aren’t going to be talking about those. Not here, at least. We’re crawling out from underneath our rail-tequila hangovers to share six new products that you DIDN’T get to see at NAMM because they don’t exist… and hopefully never will.

Mackie Introduces “Virtual 8Bus” Plugin

“The pro audio community will always have an appreciation for the classics,” says Greg Mackie, CEO and founder of the eponymous Mackie Designs. “The past decade in particular has seen a virtual rebirth of designs from Neve, API and Solid State Logic – which are available in studios everywhere thanks to advancements in plug-in technology.”

Introducing Mackie’s Virtual8Bus (PC/Mac, VST/AAX/AU), a stunningly unimpressive recreation of the venerable Mackie 8 Bus mixer’s channel strip, he continues, “Engineers today may have never even touched the hardware behind so many demos and local jingles. So I figured let’s call it ‘vintage’ and watch the money will roll right in.”

First introduced in 1994, the Mackie 8 Bus mixer quickly found itself at the heart of budget recording and project studios everywhere. Though famous for little more than its competitive price tag and ability to withstand several drops of a cinder block, Mackie is confident that the ‘sound of the 90’s’ will find new fans everywhere.

“What do any of these people know about ‘the classics’? I mean, really…” Mackie says, motioning towards a group of EDM producers hovering over KRK’s latest Rokit line. “Did the original sound good? Hell no! But don’t tell these laptop douchebags that.”

Virtual8Bus will be priced at $49.99 and available in VST, AU and AAX formats for Mac and PC. True to the original, actual metering will cost extra.

Electrical Audio Introduces Steve Albini ‘Signature’ Plug-In

“You put my name on a WHAT??!?” screams legendary engineer Steve Albini, happening upon the Electrical Audio booth. “Oh, hell no. Absofuckinglutely no. This doesn’t even consider possible phase shift with incremental negative bias DC fluctuations post-transformer in the secondary op-amp stage! Not in this lifetime. No.”

Boasting a single room-reverb algorithm, Electrical Audio’s “Albino” plug-in (Mac/PC, VST/AAX/AU) puts the power of the outspoken industry curmudgeon’s bombastic signature live drum sound into studios and workstations around the world.

“So it’s just the one reverb, huh?” Steve mutters, looking at the screen with his usual disdain of anything digital. “Yeah, that’s great. Just great.” “A fucking plug-in…” he continued to mutter at nobody in particular as he walked off to give an impromptu keynote about whatever was bugging him that day.

Albino offers a custom-modelled IR-response of Electrical Audio’s famed Chicago studio live room, captured with Coles 4038 ribbon microphones and set to 100% “all-on”, with no ability to change the mix to taste. The application will be delivered as raw data encoded on analog 2” tape. See www.electricalaudio.com for optimal biasing.

As of press-time Albino is currently not slated for a release, pending a lawsuit recently filed in Illinois District Courts.

AMS Neve Steals The Show With New “Empty Box 13042”

Though the latest advancements in digital technology were seemingly the main focus of this year’s show, famed studio hardware designers AMS Neve garnered a lot of “oohs” and “aahs” with the unveiling of their EB13042 “Empty Box” Audio Comparator. Housed in a 1U steel chassis sporting their trademark blue grey, the EB13042 boasts the most minimal signal path in studio technology today.

“I’ve got a bet going with Rupert that you could slap our logo on literally anything and sell it in the states for 2000 quid”, remarks AMS Neve’s lead designer Robin Porter. “Gauging by the sheer amount of drool I’ve had to wipe off this thing, I’ll bet you preorders are going to be through the roof.”

Literally nothing more than a virtually empty box, Neve’s newest processor is solely aimed at only the most discerning of professional audio corksniffers, the EB13042 bridges its premium Neutrik inputs and outputs with 4” of Mogami cabling and two overload indicators. Robin chuckles, “I’m having a right good laugh listening to people saying how ‘warm’ and ‘round’ sounding it is. Jesus Christ on a ferris wheel, you Yanks will buy anything.”

The EB13042 will be available exclusively through Vintage King at an MSRP of $1999.

Alesis Proclaims “We’re Still A Thing!” With Two Classic Reissues

Thanks in no small part to being placed near the convention center’s restrooms, the Alesis booth attracted a few curious attendees. “Of course we’re still a thing!” says Alesis CEO Jack O’Donnell, showing off the company’s two new modern takes on their most classic, venerable designs.

First up is Alesis’ first foray into the plug-in / DAW market, with a digital recreation of their maligned 3630 Compressor (PC, VST). Boasting the same specs and painfully anemic sound of the original at a price only slightly higher than buying the hardware used, users can now experience the flat, lifeless fidelity and prohibitive signal-to-noise ratio that made the original internationally reviled.

“How does it sound? Oh my god – it’s freaking terrible!” Jack laughs in front of a peeling mural showing the company’s history of budget recording solutions for the home studio. “Nothing – and I mean NOTHING – will suck the life out of a perfectly good recording like the 3630. Other plug-ins get close, but nobody delivers “the real deal” quite like Alesis.”

But the real showstopper was the 25th Anniversary Alesis ADAT Digital Recorder. Honoring not only a quarter century of the home VHS digital multitrack revolution, but the ten year anniversary of founder Keith Barr’s untimely passing, the 25th Anniversary ADAT is a meticulous 1:1 recreation of the original machine in a stunning gold Krylon finish.

“Sync dropouts, interpolation errors and of course, chewed up tapes – you name it. It’s in there,” O’Donnell boasts before a small collection of disinterested onlookers. “Before the advent of the DAW, musicians would often find the two minutes of the machines rewinding and locking up to be creatively inspiring. You just don’t get that anymore in today’s ‘instant-on’ ProTools world.”

The Alesis 3630 plug-in retails for $19.99 and is available in VST format for Windows XP/2000 or earlier. The 25th Anniversary ADAT is priced at the original MSRP of $3995. Both will be available only through their exclusive retail partner, MusicGoRound (www.musicgoround.com).

Slate Makes A Splash With New “Raven” Cologne

In an ironic first, the biggest launch of this year’s NAMM wasn’t even musical equipment. Slate Digital made a huge, literal stink with the announcement of “Raven” – the new men’s fragrance developed by company founder and meticulously-groomed pretty boy, Steven Slate.

The result of Slate’s collaboration with international scent producer Parfums De Couer, Raven’s bold musk infuses the essence of every other cologne ever created, which is then boiled down and distilled with an off-brand automotive leather conditioner.

Though not exclusively marketed to audio producers, Slate was quick to comment that he had a particular customer in mind. “I want everyone to buy it, of course, but you gotta understand it’s not just a fragrance… it’s a lifestyle.” He continues, “Leather cafe racer jackets, Equinox Fitness memberships, waxed shoulder hair… that’s what defines today’s new breed of audio engineer.”

Presented in a handsome gift-box with complimentary eyebrow tweezers, Slate Digital’s “Raven” will be sold by subscription only at www.slatedigital.com.

Warm Audio Direct Box Active and Passive

By

Bryan

-

The guys at Warm Audio are really covering their bases. They’ve taken their concept of adding vibe to every section of your signal chain even further by catching your sound at the very beginning of your chain.

Whether you play guitar, bass, keyboards or another stringed instrument, you’ll need a direct box that won’t diminish your instrument’s tone, like the Direct Box Active and Direct Box Passive from Warm Audio. Every aspect of our direct boxes are designed for maximum sonic integrity, from the custom-wound CineMag USA transformer to the rugged metal knob and switches. You can expect warm, rich tone even after long cable runs, and the extruded aluminum enclosure ensures a long life span. When you need to convert an instrument-level signal to mic-level, with sonic quality as your top priority, you’ll be well-served with the Direct Box Active and Direct Box Passive from Warm Audio.

Built around world-famous CineMag USA Transformer topology and engineering, like no other DI Boxes in the world. Constructed with top-tier discrete components housed in rugged aluminum chassis’ that include switches, knobs and connectors that are all designed to withstand heavy abuse on the road or in the studio.
LIKE NO OTHER DI BOXES
The Direct Box Active & Passive by Warm Audio are stunningly transparent. It will not diminish your instrument’s original sound or tone in any way…other than making it sound better.

NEW DI BOX EXPERIENCE
Rare versatility of having an onboard variable pad which attenuates your input signal anywhere from -3dB to -30dB. This allows you to easily tame any instrument’s input source.

TYPICAL APPLICATIONS FOR A DI BOX
Connecting electronic instruments such as guitar, bass, keyboard, or drum machines directly to a PA or recording system. Simply put, a DI box converts the high impedance, unbalanced output signals to low impedance, balanced output signals. By doing so, the instrument signals are now converted to the proper voltage level for the PA or recording system – which greatly reduces and/or eliminates connections which could cause tonal shifts and distortion.

DIRECT BOX ACTIVE vs. DIRECT BOX PASSIVE
Direct Box Active is best for instruments with passive pickups, especially acoustic instruments. The Direct Box Active can also operate in “passive” mode. Direct Box Passive is best for balancing the signal of instruments with active electronics, but still performs extremely well on passive pickups by producing a frequency range that exceeds the bandwidth of most passive DI boxes on the market.
DIRECT BOX ACTIVE – CONVENIENCE JACK
Both of our Direct Boxes offer a Thru-put jack that is jumpered to the input jack. It is a convenience jack allowing you to send your instrument’s signal to a second place in addition to the live mixer or recording device. Our Direct Boxes can also take a recorded signal at line level and send it to another line input while simultaneously sending signal out of the XLR mic level output of the Direct Box.

DIRECT BOX ACTIVE – SPECIFICATIONS• Custom-wound CineMag USA transformer.
• Converts instruments to mic-level signals without signal degradation.
• Ideal solution for plugging your instrument direct into any mic pre, mixer or recording device.
• Top-quality discrete components with gold-plated traces on circuit board.
• Rugged aluminum chassis construction.
• Pad: Variable from -3dB to -30dB.• Balanced Output: 600 ohms, mic level.• Input Impedance: 1 Meg Ohms.• THD: .01% from 20Hz to 50Hz. Less than .003% from 50Hz to 20kHz.• Frequency Response: 10Hz to 90kHz +/- 0.5dB.• Linear Performance: +/- 0.05dB 20Hz to 50kHz.• Power: 48V Phantom or two 9V batteries. Can also be used passively.

DIRECT BOX PASSIVE – SPECIFICATIONS• Custom-wound CineMag USA transformer.
• Converts instruments to mic-level signals without signal degradation.
• Ideal solution for plugging your instrument direct into any mic pre, mixer or recording device.
• Top-quality discrete components with gold-plated traces on circuit board. • Rugged aluminum chassis construction. • Pad: Variable from -3 to -30dB.• Balanced Output: 600 ohms, mic level.• Input Impedance: 1 Meg Ohms.• THD: .01% from 20Hz to 100Hz. Less than .004% from 100Hz to 20kHz.
• Frequency Response: 20Hz to 70kHz +/- 0.5dB.

DIRECT BOX ACTIVE
MAP = $199 USD | 219 € INC VAT

DIRECT BOX PASSIVE MAP = $149 USD | 179 € INC VAT

Eventide Releases Spring Reverb

By

Bryan

-

In their continuation of innovative and unique plugins that “spring” from their H9 and H9000 Harmonizer, they’ve release Spring Reverb.

January 16, 2020, Anaheim, CA – The 2020 NAMM Show – Eventide Audio (Booth C7017) is releasing Spring – a new plug-in for desktop and iOS – at The 2020 NAMM Show in Anaheim, CA. Spring models the sound and character of the popular reverbs found in guitar amplifiers. It also goes a step further by allowing access to physical parameter controls not readily available in a real spring tank.
By tweaking these parameters, Spring can create faithful representations of real springs or push the physical boundaries to achieve new distinctive sounds. The Tension [TNSION] and Num Springs [NUMSPR] knobs work in concert to control the amount of “springiness” in the processed sound. Additional adjustable parameters include Resonance and Low and High damping. The beloved performance controls made popular in Eventide’s Blackhole, UltraTap and MangledVerb plugins are also available – Ribbon allowing users to program two settings for any combination of the controls and seamlessly transition between them, and the programmable HotSwitch offering an instantaneous jump to an alternate setting at the push of a button.
Spring also includes Tremolo – a tube amp style tremolo – to further nuance or exaggerate guitar tone with fun and intuitive controls. Tremolo can be inserted pre- or post-reverb for an even wider range of tonal options and sound exploration.

Price: (Intro) $29.00

For more information and to buy, visit our link HERE

T-RackS Sunset Sound Studio Reverb

By

Bryan

-

Sunset Sound is a legendary studio. Most of us will never set foot in there but now your tracks can with IK Multimedia’s new plugin.

The NAMM Show, January 17, 2020 – IK Multimedia presents Sunset Sound Studio Reverb, a new T-RackS® module processor that brings the reverbs and sounds of the studios in the iconic Sunset Sound recording facility in Los Angeles to musicians everywhere. Sunset Sound Studio Reverb is the first convolution reverb for IK’s industry-standard T-RackS 5 mixing and mastering software workstation.
IK worked in collaboration with studio owner Paul Camarata to give recording engineers “all access” to the sound and vibe of the studios in this landmark facility, where a who’s who of music has recorded for 60 years, including the Doors, the Rolling Stones, Janis Joplin, Joe Cocker, Led Zeppelin, Van Halen, Prince, Aretha Franklin, Rage Against The Machine, Audioslave, the Red Hot Chili Peppers and countless others.
Studio owner Paul Camarata notes, “For 60 years, the sound of our studios has been heard on hit records around the world. Now, we’re proud to be working with IK Multimedia to bring our famed sound to everyone’s recordings. Sunset Sound Studio Reverb really nails the essence of our distinct character.”

Each room of Sunset Sound’s three studios was recorded using its custom console and Sunset’s mic collection, to capture not just the acoustics but also the unique vibe of the space. IK recreated them using a powerful new dynamic convolution engine, and the result is a faithful studio quality reverb that offers the same iconic sound as countless hit records, complemented by an array of flexible control options for further tone shaping.

Abundant reverb
Users can select from among the various reverbs taken from the live echo chambers and each of the three studios found in the facility. The choices are:

Live room: Studio 1, Studio 2 or Studio 3
Iso Booth: Studio 1, Studio 2 or Studio 3
3 Live echo chambers
2 plate reverbs and 1 spring reverb

Control it all
An intuitive GUI provides a realistic experience, offering information and insights about each particular room, as well as additional controls to help users shape the sound to suit their tastes. Additional controls include:

Adjustable decay time and pre-delay
High-pass and low-pass filters
Low and high shelving EQs
Stereo image width
Wet/dry mix

and more.
Flexible use
Like all T-RackS modules, Sunset Sound Studio Reverb can be used as an individual plug-in within any recording software, or inside the T-RackS 5 shell for even faster workflow both as plug-in or stand-alone mastering software.
About T-RackS
T-RackS 5 is the latest version of IK’s industry standard mixing and mastering software workstation that has been used on countless albums by top engineers for more than 20 years. This powerful modular system offers maximum versatility via 43 high-quality processors (EQs, limiters, compressors, etc) that can be used in parallel or series, in a variety of working environments. In total, T-RackS 5 offers everything needed to professionally treat and finalize audio from raw mixes to a perfect finished product. For even more professional results, each version of T-RackS 5 also offers free downloadable signature presets from some of the industry’s top engineers.
About Sunset Sound Recorders
Sunset Sound was opened in 1958 by Tutti Camarata, then director of recording for Disney Studios, and initially handled in-house work for Disney, recording movies like “Mary Poppins” and “101 Dalmatians.” In 1962, Sunset Sound opened to external clients, and soon expanded to a 3-studio complex, welcoming artists like The Doors, Joe Cocker, the Rolling Stones, Led Zeppelin, Van Halen, Prince and countless more. Now owned and operated by Paul Camarata, Tutti’s son, Sunset Sound continues to welcome world-class artists to its iconic rooms. All three original rooms remain in operation, and with their custom acoustics and consoles, fully equipped echo chambers and comprehensive mic lockers, Sunset Sound remains a dream destination for musicians.

Pricing and availability
Sunset Sound Studio Reverb for T-RackS 5 will be available in January 2020 from the IK Custom Shop, the IK Multimedia online store and from IK authorized dealers worldwide for a special introductory price of €/$149.99* until March 31, 2020 (regular pricing will be €/$249.99).
* All prices excluding taxes

For more information about Sunset Sound Studio Reverb, please visit: www.t-racks.com/sunsetstudio

To see Sunset Sound Studio Reverb in action, visit: www.t-racks.com/sunsetstudio/video

To hear audio samples, visit: www.t-racks.com/sunsetstudio/audio

Audeze & Embody Present Reveal +

By

Bryan

-

First came the Waves NX system, which surprisingly is actually useful. What could have been considered a gimmick, has become a go-to for producers on the go or mixing film. Now as expected, the concept has been pushed even further with Reveal +, a plugin that actually maps your ear for an even more immersive experience.

ANAHEIM, CA – NAMM booth #14631– Live at NAMM 2020, Embody, an audio lifestyle technology company, in partnership with Audeze is proud to announce: Audeze Reveal+ the world’s first artificial intelligence-driven plugin that transports YOU inside multi-million dollar studios used by award-winning engineers.
Reveal+ is a personalized virtual studio plugin for headphones. A typical virtual studio plugin includes room recordings using regular microphones, or with the ears of a generic dummy head. Unfortunately, what you hear is not personalized to your unique hearing, leading to unwanted tonal coloration and artifacts in your mix. Reveal+ provides the critical missing piece, which is YOU. In Reveal+, with the help of a powerful AI engine called Aural Map, the precise response of the studio is personalized to the way you hear. You are virtually transported into a world-class studio, together with your ears.
The power of Aural Map is its ability to create a personalized audio profile from just a single image of your right ear. It creates a mathematical model of how you hear sound in the real world, based on your anatomy. With your personalized HRTF, Reveal+ gives the experience of truly being inside an excellent sounding, acoustically treated room. As a result, it sounds like YOU are in the studio. And, your mix finally gets all the benefits of the studio’s acoustics, speakers, and layout when in reality, you might be mixing in your bedroom on a pair of Audeze LCD-1 headphones.

“I think Reveal+ is great. When mixing a song or a record, it’s all about trying to ensure that it sounds good everywhere. With Reveal+, to not only have access to a studio that I’m familiar with, but access to other mixing studios to test and see how it sounds there. Reveal+ is an invaluable tool to help ensure the mix is as good as it can be.”
— Carlos de la Garza, Grammy Award-winning mixer, music producer, engineer, musician, and songwriter

Reveal+ features precise acoustical models from studios of Grammy-winning engineers and producers, including Carlos de la Garza and Warren Huart, with many more to come!

“Reveal+ is not only the future, but it’s also the present. This is the place to be. It’s the technology to embrace. And I say go for it.”
— Warren Huart, British multi-platinum record producer, musician, composer, and recording engineer

Reveal+ is compatible with any Digital Audio Workstation and features a free, fully functional 14-day trial. You can purchase Reveal+ for $199 retail. The LCD-1 headphone retail price is $399. Until January 20, Audeze is offering a NAMM 2020 discount. Purchase Reveal+ for $159, add Reveal+ to your cart and use discount code RVLNAMM2020. Purchase the LCD-1 & Reveal+ bundle for $449, add both products to your checkout cart and use discount code BNDLNAMM2020.

Audeze and Embody are committed to continuing cutting edge research, so stay tuned for new features, live rooms, and studios. Full details can be found at https://www.audeze.com/products/reveal

IK Multimedia Releases Z-Tone Buffer Boost and Z-Tone DI

By

Bryan

-

The NAMM Show, January 16, 2020 – IK Multimedia brings its award-winning Z-TONE® advanced tone-shaping, derived from IK’s AXE I/O® hi-end guitar interface, to two new products: Z-TONE Buffer Boost pedal and Z-TONE DI active direct box.

Both offer a unique active/passive pickup selector switch to ensure the ideal gain staging for any instrument; switchable PURE and JFET input circuits to adjust from pristine, transparent sound to added warmth and harmonics; and IK’s patented Z-TONE variable impedance control for powerful new ways to shape an instrument’s sound & feel.

Z-TONE Buffer Boost
This guitar/bass preamp/DI pedal adds Z-TONE tone shaping to any player’s pedalboard or stage rig. Now users can adjust the feel and tone of their instrument directly by adjusting the input impedance of their preamp pedal before hitting the rest of their pedalboard. Z-TONE Buffer Boost also offers premium sound, with a best-in-class dynamic range and extended frequency response, delivering superior performance as an instrument preamp.
A buffered signal preserves instruments’ tone when using pedalboards or long cable runs, and a boost control provides added volume and drive when needed. Both the Z-TONE circuit and Boost circuit can be independently bypassed for more flexible control.
Z-TONE Buffer Boost offers true bypass on the pedal & amp output, while both balanced & unbalanced outputs let bass or acoustic players connect directly to mixers and PAs for a wider range of tonal or routing options. A ground lift switch is also included to eliminate buzz and hum.
Z-TONE Buffer Boost runs off either a 9V battery or standard 9V pedal power supply to make it easy for users to add to their existing rig.
Z-TONE DI
This studio-quality active DI box lets users add Z-TONE tone shaping to line-level sources like mixers and interfaces, making it ideal for use both in the studio and on stage.
Like Z-TONE Buffer Boost, Z-TONE DI offers a best-in-class dynamic range for ultra-quiet operation, and a wide, extended frequency response that won’t cut off an instrument’s natural range. It features adjustable input and output gain, a balanced Main output with ground lift to eliminate buzz or hum, plus an unbalanced out for flexibility and a -20dB pad for an extended operating range.
A convenient “Link out” also mirrors the input signal directly, making it easy to capture a DI signal while still feeding an amplifier or pedalboard. Now users can record or mix both clean and amplified signals without the need for additional splitters or gear.
For added convenience, Z-TONE DI can be powered by either a 9V battery or +48V phantom power.
Made in ltaly
Z-TONE Buffer Boost and Z-TONE DI are both housed in sturdy metal chassis for extreme reliability and durability, and are designed and manufactured in Modena, Italy in IK Multimedia’s own state-of-the-art facilities.

Pricing and availability
Z-TONE Buffer Boost and Z-TONE DI will be available in March 2020, and are available for pre-order now from the IK Multimedia online store and from IK authorized dealers worldwide.

Z-TONE Buffer Boost: $/€169.99*
Z-TONE DI: $/€149.99*
*Prices excluding taxes

For more information about Z-TONE Buffer Boost: www.ikmultimedia.com/ztonebufferboost
To see Z-TONE Buffer Boost in action: www.ikmultimedia.com/ztonebufferboost/video

For more information about Z-TONE DI: www.ikmultimedia.com/ztonedi
To see Z-TONE DI in action: www.ikmultimedia.com/ztonedi/video

Mackie EleMent Series Mics

By

Bryan

-

Long a leader in live and studio sound, Mackie has now entered into the microphone sphere, introducing their new EleMent Series microphones. Like all Mackie gear, EleMent Series mics combine professional-caliber performance and Mackie’s famed Built-like-a-tank™ rugged reliability and outstanding value. The series consists of three models: the EM-89D Live Vocal Dynamic, EM-91C Large-Diaphragm Condenser, and EM-USB USB Condenser microphones.

The EM-89D dynamic microphone features a cardioid polar pattern and is primarily designed for stage use but also makes a fine addition to a studio microphone collection. It’s an excellent handheld vocal microphone and also excels as an instrument and amplifier microphone. The EM-89D comes with a mic clip, XLR mic cable, and zipper pouch.
Every studio needs a quality large-diaphragm condenser microphone, and the new Mackie EM-91C’s audio quality and classic cardioid polar pattern makes it suitable for a wide variety of studio applications. Choose the EM-91C when you want warmth and brilliance for vocals, to capture the nuances of stringed instruments, and much more. In addition to musical applications, it’s great for live streaming, voiceovers, and many other types of content creation. The EM-91C comes with a shock mount and an XLR mic cable.
With the Mackie EM-USB condenser microphone, you can get down to recording, live streaming, podcasts, and online content creation quickly, without requiring a separate audio interface. Connecting directly to your laptop or mobile recording device using USB-C and featuring a built-in headphone output with independent volume control, the EM-USB offers audio reproduction rivaling mics many times more expensive. It also provides controls for main input gain and mute. The included mic clip, tripod mount, and USB-C cable make it easy to capture great recordings anywhere.

Available in January 2020, the EM-89D carries a US MAP of $69.99; the EM-91C is priced at $79.99 US MAP; and the EM-USB is available at $149.99 US MAP.
For more information about Mackie EleMent Series professional microphones, visit www.mackie.com/element.

British By Birth. Texas-Size Tone

Meet The WA-Bus Compressor

Wait, did you just say “sidechain frequency”?

Oh, The Iron-y

Warming It Up

Getting On The Bus

Let’s Get This Bus Rolling

Observations

On Drums

On Guitars

Okay, So What’s Missing?

The Only Game In Town? Welllll……..

Why Hardware? I’ve Got A Plug In!

The Real, Real, Real Review

And Now, The Audio

ASK AN ADULT – THE GLOSSARY SECTION FOR PEOPLE WHO NODDED ALONG POLITELY BUT DIDN’T KNOW THINGS MEANT

The Company

The 80’s

The Plugin

The Time Machine

The Opinion

WA273-EQ

The Build:

Features:

Extras

Thoughts:

More Options

Final Thoughts

Mackie Introduces “Virtual 8Bus” Plugin

Virtual8Bus will be priced at $49.99 and available in VST, AU and AAX formats for Mac and PC. True to the original, actual metering will cost extra.

Electrical Audio Introduces Steve Albini ‘Signature’ Plug-In

As of press-time Albino is currently not slated for a release, pending a lawsuit recently filed in Illinois District Courts.

AMS Neve Steals The Show With New “Empty Box 13042”

The EB13042 will be available exclusively through Vintage King at an MSRP of $1999.

Alesis Proclaims “We’re Still A Thing!” With Two Classic Reissues

The Alesis 3630 plug-in retails for $19.99 and is available in VST format for Windows XP/2000 or earlier. The 25th Anniversary ADAT is priced at the original MSRP of $3995. Both will be available only through their exclusive retail partner, MusicGoRound (www.musicgoround.com).

Slate Makes A Splash With New “Raven” Cologne

Presented in a handsome gift-box with complimentary eyebrow tweezers, Slate Digital’s “Raven” will be sold by subscription only at www.slatedigital.com.

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