Welcome to Part Two of the Tape Op AES Buyer's Guide!
For the first time in maybe forever, the AES Show in NYC has been moved online due to COVID-19. It makes sense, but we’re going to miss seeing all of our friends in person at the show.
Make sure to check out the online AES show here: https://aesshow.com/
In lieu of walking the floor we thought it'd be fun to put together a virtual walkthough of the floor and what you would have seen from some of our advertisers who we meet with at the show. If you see something you like, please support our retail advertisers and know that when you purchase via links in this guide that you are helping Tape Op keep the lights on! Enjoy!
The C705 microphone is the new and most affordable model in the Josephson Engineering large diaphragm microphone line. It features the same large single-diaphragm condenser capsule used in the Josephson Engineering C715, with cardioid pick up only, the transformerless discrete output circuit and internal shockmount used in the C716 and C700 microphones, and a new housing.
One of the big challenges with a new microphone is producing a robust housing with minimal acoustic impact, which will last for decades and still look great. To achieve this goal, a new reduced resonance grille was designed, and Josephson Engineering is using an all steel housing, case-hardened using ferritic nitrocarburizing for a rugged grey-black finish often used for truck drivetrain parts and firearms. The major housing parts (aside from screens) are precision fabricated by Latch Lake Music of Eagan, Minnesota, where their process was perfected for their micKing® stands, well known for their high level of quality and durability. The remainder of the microphone is made in the USA at Josephson Engineering’s factory in Santa Cruz, California.
The C705 is suitable for detailed vocal and instrument recording as well as live sound reinforcement.
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The e22S microphone was developed in response to Steve Albini’s request. He needed ruggedness (to withstand drumstick hits) and a lower profile (preferably side-address). The e22S is now his “one mic in the studio that gets used on every session.”
The physical profile allows unobtrusive placement in tight percussion layouts, and the capsule geometry is optimized for spot miking. The circuit uses a cascode discrete FET front end, combined with a custom Lundahl output transformer. The e22S has low self-noise, and handles high sound pressure levels for minimal distortion on extremely loud passages.
“The specific need addressed by the e22S was drum kit recording, and the mics are used in that capacity nearly every day, but once they were in our hands, they quickly became a favorite mic for many instruments, including acoustic guitar, mandolin, banjo, guitar amplifiers, organ and horns. The e22S is easily the most versatile microphone in our cabinet.
“On loud sounds like drums and guitar cabinets, the 609 head amplifier delivers a crisp, clear signal that is free of distortion, at a level that doesn't require an external pad.” —Steve Albini
Go-to applications include; drums, stringed instruments, electric guitar cabinets, piano and vocals.
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The C725 provides classic large diaphragm studio microphone performance using a hybrid of tube and solid state technology. The included separate power supply provides switchable directional patterns, and a special selector for sun and moon modes. “Sun” mode provides full level operation with many of the sonic attributes of classic vacuum tube microphones, and “moon” mode provides increased linear character with a higher maximum SPL.
The head grille uses Josephson’s patented aluminum foam, combined with an internal highly open mesh added for contamination protection. No other structure is needed, so internal reflections are random and minimal, allowing improved sound pickup. The capsule assembly is internally shockmounted and the housing features a satin nickel finish for durability in studio use. The internal circuitry is related to other Josephson mics, with a cascode topology for best linearity. Instead of two FETs to build the cascode, the voltage-gain section uses a custom low-noise FET, while the current gain stage uses a new production pentode vacuum tube. This allows the low noise of the FET to coexist with the dynamic characteristics of the vacuum tube. The output is provided through a custom nickel-core transformer.
The C725 is suitable for detailed vocal and instrument recording.
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Create haunting echoes, ethereal landscapes and otherworldly ambience with Blackhole, a reverb pedal as big and as mysterious as the cosmos. Blackhole lets guitarists and bassists explore beyond the ambience of mere earthly Halls, Rooms, Plates or Springs. Blackhole will take you on a journey from cathedral-type spaces to a universe of out-of-this-world soundscapes. The pedal includes onboard tone controls, modulation, and infinite reverb settings with mono or stereo operation, MIDI, preset storing, and most importantly a new compact, easy-to-use interface.
Features:
- Five presets loaded at your feet with dozens more available with Eventide Device Manager (EDM) software
- Freeze footswitch holds the effect allowing you to play over the reverb tail.
- Unique Gravity control to custom-tailor the reverb tail in two realms: Normal or Inverse decay
- MIDI capability over TRS (use with a MIDI to TRS cable or converter box) or USB
- Multiple Bypass options: Buffered, Relay, DSP+FX or Kill dry
- Rear panel Guitar/Line Level switch for selecting use with guitar, synths, FX loop or DAW interface
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Take Chaos to the next level with Generate. Developed by Newfangled Audio, Generate is a marquee polysynth combining several revolutionary chaotic oscillators with all the features you’d expect in a first-class synthesizer. Create beautifully complex pads, warm moving keys, jittery sequenced basses, out-of-control leads, and 'oh my God' textures.
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Price: $149 / $99 thru October 19
Price: $99 / $39 thru Nov 9
TriceraChorus is inspired by the classic tri-choruses and stompbox choruses of the 1970s and early 1980s. These units used bucket brigade delay (BBD) chips to create chorusing. TriceraChorus pairs rich BBD-style tri-chorusing with another classic effect of the 1980s: Eventide MicroPitch detuning. This effect can be used to thicken the sound, to add static chorusing, and to spread the stereo field by detuning the left and right signals in opposite directions.
TriceraChorus features three chorus voices: Left (L), Center (C), and Right (R). A three-phase LFO modulates the delay times for the Left, Center, and Right voices. The frequency of the LFO is set by the Rate knob. The Left and Right modulation signals are always -120 and +120 out of phase relative to the Center modulation signal, as shown below. This combination of the three modulated delay voices creates lush chorus sounds. Price: $99 / $39 thru Nov 9
The TG Microphone is a solid-state large diaphragm condenser microphone. The TG Microphone is unique in its feature-set, isn’t a clone of any other microphone, and as the name implies, the sound is TG.
The TG Microphone’s unique on-board EMI ‘Tape Equalizer’ section—from the TG12410 mastering consoles—combined with its ‘Dual Tone System,’ dedicated PSU and other features create an extremely flexible microphone capable of rivaling scenarios where the U87, FET47, C414 and U47 traditionally have found favor. It’s a true studio workhorse, capable of handling sensitive vocals to raging guitar cabs and sounds finished from the get go. REVIEW
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MC-3 Multi-band Compressor for the APB
The all new MC-3 Multi-band Compressor is the world's first fully automated analog multi-band compressor, made exclusively for the APB. Like other APB plug-ins, all MC-3 parameters are automatable and can be saved as a preset for instant session recall. The matched and calibrated analog channels of the APB-16 and APB-8 hardware make the MC-3 one of the most precise analog multi-band compressors available. The MC-3 supports Pro Tools, Logic, Cubase, and other AU/VST3 hosts.
The McDSP Analog Processing Boxes
The McDSP Analog Processing Boxes (APB-16, APB-8) combine the flexibility of software with the fidelity of premium analog processing. Each channel can be controlled by an AAX, AU, or VST3 plug-in, giving true digital workflow with genuine analog performance. Processing options include compressors, mastering limiters, transient enhancement devices, multi-channel and multi-band applications, and so much more... we're only getting started. REVIEW
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The Moo X Mixer plug-in is the world’s first fully automated hybrid mixing console under total software control. Session recall is instant, and all mixer controls can be automated or saved as a preset. Features include channel equalization, analog compression and saturation, and a master section with stereo analog compression and saturation. An audio track can be processed by a Moo X Channel, and up to 32 Moo X Channels (mono or stereo) can be controlled by a single Moo X Mixer.
How many pro audio products can you point to and say “that amplifier has been sitting in my studio operating flawlessly for over 40 years!” The legendary Bryston 4B Pro has been manufactured continuously (though often refined) since 1978. Currently on its 6th generation, the 4B3 Pro (Cubed Series) is rated at 300 watts per channel into 8 ohms and upwards of 500 into 4 ohms from a true dual-mono design that is powerful enough for practically any application. The 4B3 Pro features a 19-inch rack mount dress panel and rear panel channel trim pots (-14 to 0dB). This outstanding amplifier delivers a degree of clarity, power, nuance and transparency combined with legendary build quality that simply cannot be matched. All Bryston power amplifiers are backed by a 20 year warranty. (131)
The Bryston 9B Cubed Series amplifier is the ideal solution for all types of multichannel applications including home cinema. Unlike most multichannel amplifiers, the 9B Cubed features up to five self-contained 200 watt channel modules, each with a dedicated, fully independent power supply. This design ensures that the listener enjoys maximum clarity, dynamics and detail from each channel, even at high output levels. The 9B Cubed employs Bryston's patented Salomie circuit to a 5-channel architecture for the first time, delivering the astonishing clarity and miniscule distortion specs that have set the standard for high-performance amplification. Network monitoring and control is built into every unit to make integration with control systems easy. Keep tabs on the temperature, see overdrive warnings, and even mute individual channels all from the amp's dedicated webpage. All Bryston power amplifiers are backed by a 20 year warranty. (141)
The Bryston 10B Crossover is the ultimate tool for engineers seeking to precisely divide audio frequencies in the analog domain. There are three available configurations of the Bryston Model 10B Electronic Crossover that combine ideal signal handling with an enormously flexible control functionality. Simple, direct front-panel switches allow any crossover curve to be set instantly, and the signal purity is always maintained in classic Bryston fashion. The 10B Sub incorporates frequencies more suitable to subwoofer applications, the 10B Standard is more applicable to speakers requiring frequency control in the mid-band and high-frequencies. There is also a fixed frequency Linkwitz-Riley alignment available with steep roll-off curves of 24dB/octave. With the Bryston 10B, all crossover selections are extremely accurate and repeatable, being implemented with the highest quality components such as 1% selected metal-film resistors and polystyrene capacitors. All switches are heavily gold-plated to guard against corrosion. Most importantly, the Bryston 10B Crossover uses zero integrated circuits in the signal path. All internal buffer and amplification stages are Bryston’s exceedingly linear and superbly quiet discrete op-amps. The Bryston 10B provides vast adaptability, signal integrity and legendary build quality making it the ideal choice for the widest range of multi-way speaker installations. (198)
We are a state-of-the-art mastering facility offering the highest quality stereo and 5.1 mastering, CD, Apple Digital Master, and full audio restoration. Our GRAMMY-nominated engineers Maria Rice and Jeff Lipton are exceptional at giving their clients the best quality and service, guiding them through the final phase of their sonic process with ease and expertise. As more and more artists are choosing to record in project and home studios, professional mastering in an acoustically accurate room has never been more important.
You’ll be amazed when you hear how incredible your music can sound.
www.peerlessmastering.com
The most powerful loudness solution for your DAW - the Loudness Toolkit bundle is arguably NUGEN Audio’s flagship offering, including everything you need to produce reliable, loudness-normalised audio, from stereo up to 7.1.2-channel surround. Three products working in concert to deliver unsurpassed quality and workflow efficiency.
VisLM is a timecode-locked loudness meter with a unique history function. With a full set of international and regional presets - including ATSC A/85, EBU R128 and Netflix Best Practice - VisLM is ready to go immediately. And for legacy, station specific or internal specifications, VisLM can be fully configured to handle any situation.
LM-Correct is an automated, faster-than-real-time loudness correction tool. Used in conjunction with a real-time meter, it is an indispensable part of your loudness workflow. The optional DynApt extension (included with Loudness Toolkit) offers dynamic adjustments for more complex audio.
ISL is a world class, broadcast quality True Peak limiter, giving you peace of mind about potential inter-sample peaks further downstream.
Loudness Toolkit has been included in the audio tool category of Netflix’s Post Technology Alliance. Any product that bears the alliance logo has been assessed to ensure that it meets with Netflix’s technical and workflow requirements.
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SEQ-S is an EQ plug-in with ‘match’ and ‘morph’ functionality - sculpting power beyond any other EQ. The resizable direct-draw interface makes it easy to quickly fine-tune your audio, with incredible resolution that you can’t get with a traditional parametric interface. The 3 independent EQ curves can be individually assigned to channels across the surround panorama, giving complete control over your spatial environment, with access to stereo, mid/side, 5.1 and 7.1 surround sound operation.
The ‘match’ function analyses the frequency profile of one piece of audio, and match it to another. This can be used to unify different takes or microphone positions, or as a reference point for mastering. And by inverting the match curve, you can achieve a minimally invasive technique for carving out perfect EQ space in a complex mix.
The ‘morph’ function seamlessly moves between two discrete EQ curves. This can be used to smooth out (or perhaps even emphasise) transitions, or linked to the project BPM in order to create rhythmic effects.
The latest SEQ-S, version 1.3.0.7, was released in January, and is a free update for all existing SEQ-S users.
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Paragon is a brand new, state of the art NUGEN Audio plug-in, due for release on the 21st of October. The plug-in offers a completely unique, groundbreaking new spin on an already-common audio process.
Check out the NUGEN virtual booth at AES for more information.
The Buzz Audio DBC-20 is a 2 channel audio compressor that utilizes a “diode bridge” as the gain reduction element, made famous by legendary Neve 2254 compressor. The unit features a specially designed transformer to couple into the diode bridge to produce a unique sound that is rich in harmonics and colour. The DBC-20 features a progressive ratio whereby the more gain reduction applied, the higher the compression ratio, which make it an excellent choice for tracking vocals and instruments and across the drum buss or stereo mix. Controls include switched attack and release, a “soft” mode and a “bass” mode for added punch. The 2 channels can be linked for stereo tracking and there is plenty of make up gain available. The DBC-20 is available with a black or silver face plate and also in a fully stepped mastering version, the DBC-M. REVIEW
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The Buzz Audio Zodiak is a 2 channel equalizer designed for studio recording or live sound applications. It features a “tilt” eq control which when turned clockwise from centre the treble is boosted and the bass is attenuated. Anti-clockwise rotation results in the opposite effect, the bass is boosted and the treble attenuated. This allows you to brighten or darken the sound source. A lo-cut filter with a wide range is provided to remove unwanted low frequency information that might result from boosted bass and likewise the hi-cut filter is useful to remove unwanted high frequencies. In addition, a wide range parametric mid-band with adjustable Q allows you to pin point and remove unwanted resonance or highlight a range of frequencies. The combination of all these controls makes the Zodiak a truly unique equalizer and opens up new ways to eq sound in your studio or on stage. It is available in a high end all discrete version or cheaper I.C. based model and with black or silver face plate options.
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The Buzz Audio SOC-20 is one of the finest optical audio compressors made today and features much improved function compared to the optical compressor from the past. Variable ratio, attack and release allow for a lot more control than previous vintage designs. The SOC-20 features a very smooth soft knee compression characteristic making it ideal for tracking instruments and vocals as well as providing nice glue on the mix bus. Unique to the SOC-20 is a mid-side matrix allowing for compression and/or widening of a stereo signal. It also sports a fully balanced side chain insert so you can apply equalization to the side chain or use the insert return to “key” the compressor. The “bass” mode removes low frequency content from the side chain signal for added bass output. The all discrete audio path is coupled to a Lundahl output transformer which simply sounds fanstastic. The SOC-20 is available with a black or silver face plate and also in a fully stepped mastering version, the SOC-M. REVIEW
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Discover Excellent Clarity and Full Richness!
The Black Hole Series is the result of relentless improvement of technology, spanning more than 30 years and it has repeatedly questioned the status of the all-time classics.
Excellent clarity and full richness are how industry professionals describe the sound of the Black Hole series microphones BH2 and BH1S.
These handcrafted studio microphones are designed for engineers and producers demanding only the best and give true confidence in any kind of recording situation!
“When it comes to microphones, I keep my Black Hole at the top of my mic arsenal. Truly stunning on acoustic instruments. So clear, smooth, and versatile. A real winner in all applications!"
-RAFA SARDINA – 15 Grammy Awards
Classic Vintage Vibe Loved Throughout Decades!
The soul of many classic recordings we all love so much are the legendary microphones that shaped the sonic characteristics of the golden age of music.
The natural warmth and seemingly effortless precision of the recording achieved back in the day inspired JZ Microphones to re-imagine the beautifully sounding microphone, giving it the benefits of today’s available technology.
All JZ Microphones products have been designed with strict “no-compromise” rules and are handcrafted and tested in Latvia (EU) by a team of highly qualified experts!
“The JZ V67 has become one of my main vocal mics. The amount of detail is outstanding and I keep picking it over some of the classic microphones! It’s an extremely balanced mic and makes any vocals I record with it so easy to mix.”
-ROMESH DODANGODA - Bring Me The Horizon, Motorhead, Funeral For A Friend
Full and Rich Vintage Sound That Sits in The Mix Without EQ!
Revered by top professionals in the industry The Amethyst gives you that classic vintage sound attributed to the golden age of music.
While simultaneously offering state-of-the-art components and showcasing the possibilities of modern technology, each and every Amethyst is carefully hand-made by our senior craftsmen and thoroughly tested until there are absolutely no doubts about the end result! The technology behind JZ Microphones has tested and polished for more than 30 years and today combines best technical solutions traditionally found in classic microphones as well as widely recognized, innovations and improvements, achieved through painstaking research and application.
“These mics truly sound great on everything. From orchestral recording to drum overheads, the Amethyst is a Swiss Army knife of recording. Warm, detailed, and useable in any situation.”
-SCOTT MICHAEL SMITH – Katy Perry, John Mayer, The Revenant
The EXTC-SA is a unique studio tool designed to interface guitar effects pedals with pro audio equipment such as mixers and recording interfaces. Reamp™ your guitar tracks through different pedal combinations to audition your effects while preserving the original performance. The EXTC-SA makes it easy to optimize signal-to-noise with send and receive level controls, and blend in the effect with a variable wet/dry knob. Try it on vocals, brass, or even drum tracks to utilize your pedal collection in new and creative ways and help your mix stand out from the rest.
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The HDI is Radial’s latest flagship studio-grade direct box and instrument preamp, with a streamlined yet powerful feature set designed to produce superior sonic results within moments. A color control knob allows you
to blend between an ultra-clean signal path and amp-like character that imparts unique drive and grit onto the signal, employing an oversized custom Jensen transformer for additional saturation. The HDI can be used as a standalone device or mounted in a 2RU rackspace, with a stylized design that will turn heads in any studio.
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Hear your instrument like never before with the PZ-Pro, an acoustic command center that gives you total control over your tone. Two input channels allow you to connect any type of pickup system, with separate EQ and filter sections to shape the sound of each source. A Mic input makes it easy to blend in an instrument microphone for studio quality sound, and a switchable effects loop and clean power booster can be activated in an instant to accommodate any setup perfect for live or in the studio.
LUNA gives Apollo interface owners the fastest recording environment for music production, editing, and mixing. LUNA’s Accelerated Realtime Monitoring (ARM) gives users seamless hardware-software integration for capturing audio through UAD plug-ins with no discernible latency, offering Mac-based Apollo users the most natural, analog-style workflow of any DAW available.
With LUNA Extensions, unlock analog sounds and workflows including premium Neve Summing and Studer A800 and Ampex ATR-102 tape machines. You can also sculpt warm analog tape tones with the included Oxide Tape Extension. Far beyond plug-ins, LUNA Extensions are built into the fabric of LUNA's mixer, giving you authentic analog sounds without having to manage multiple plug-in windows.
LUNA Instruments bring UA’s expertise in modeling, sampling, and synthesis to software instruments, featuring the most expressive and realistic software piano ever made — Ravel — and the holy grail of analog synths, perfectly emulated in software — Moog Minimoog.
LUNA is constantly improving through its integrated user feedback tool. Thanks to generous input from the entire LUNA community, the latest software update features over a hundred user-requested enhancements and fixes, with many more to come.
Take your recording further, and work faster and smarter than ever in LUNA Recording System
The channel strip powering a handful of rare Neve 80 series consoles, the Neve 1084 channel amplifier and EQ is a lusted-after audio masterpiece. Its class-A preamp offers signature Neve clarity and character, while its colorful palette of EQ options take it several steps beyond the famed 1073.
Exclusively for UAD hardware and Apollo interfaces, the Neve 1084 Preamp & EQ plug-in impeccably emulates the analog character, warmth, and color of this 1970s British channel module. UA delivers all the features of Neve's original analog design by thoroughly modeling the dual-stage class?A "Red Knob" preamp, post-fader output amplifier, and musical EQ filters.
Harnessing Unison technology, the Neve 1084 plug-in captures the hardware’s mic preamp impedance, gain stage “sweet spots,” and circuit behaviors, giving you all the sheen and punch of the original module. Easily add shimmer to vocals with the three selectable high band filters. Use the mid band to inject muscle into piano and strings, or use the selectable Hi Q and shape more surgically. The plug-in's low band lets you tighten a kick drum, push guitars, or beef up a synth bass. Plus, you can clean up sibilance and low-end rumble with selectable high and low cut filters.
Apollo x4 allows musicians and producers to easily track, overdub, and mix larger projects with elite-class A/D and D/A conversion, four Unison-enabled preamps, and QUAD Core realtime UAD plug-in processing — all in a desktop Thunderbolt 3 audio interface for Mac and Windows.
Built upon UA’s 60-year heritage of audio craftsmanship, Apollo x4 confidently outperforms everything in its class with 127 dB D/A dynamic range, along with an included bundle of UAD analog emulation plug-ins and LUNA Recording System, giving you a fully-stocked analog studio, right on your desktop.
Beyond the included Realtime Analog Classics Plus plug-ins, Apollo x4 lets you tap into the full library award-winning UAD Powered Plug-Ins at near-zero latency, regardless of your audio software’s buffer size and without taxing your computer’s CPU.
The Unison mic preamps on Apollo x4 let you track in real time through exacting mic preamp emulations from Neve, Helios, API, Manley, Avalon, Universal Audio and many more. Exclusive to UA Audio Interfaces, Unison technology nails the tone of these sought-after tube and solid state mic pres — including their input impedance, gain stage “sweet spots,” and the component-level circuit behaviors of the original hardware.
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KeyStep 37 is a controller evolved to meet the creative needs of musicians across the board. Intuitive features like Chord mode, Scale mode, Strum, and real-time LED note feedback make it the perfect option for beginner and professional beat-makers and composers combined. Instant MIDI CC control, advanced connectivity such as USB, CV pitch, gate, and mod, as well as a high-end compact 37-note keybed that make it a reliable controller for your workflow.
The unique interplay between KeyStep 37’s features is designed to unlock and connect musical ideas in real-time. It encourages spontaneity and experimentation, letting musicians and producers dive into the creative process.
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Arturia is thrilled to introduce PolyBrute - a 6-voice analog powerhouse, with unprecedented expressivity and sound morphing capabilities, built to let you perform fearlessly, compose with fluidity, and infinitely explore sound in perpetual motion.
Imagine being able to sweep all the parameter settings between two different patches all at once. PolyBrute goes even further with its groundbreaking ability to gradually morph between two completely different states within any patch.
Each pure analog voice is a feature-packed ,sonic power tool featuring two highly versatile Brute waveshaping VCOs, a full-spectrum noise generator, enhanced Steiner multimode filter, custom low-pass ladder filter, 3 LFOs, 3 Envelope Generators, and more. They all meet up in the Matrix to bring you patching flexibility normally reserved for modular systems.
An instrument that responds to your every command for ultimate performance control. The new Brute flagship has landed. Raw, powerful, organic - the Brute range is all about the tactile immediacy of analog synthesis. Explore it for yourself…
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Our entry model into the world of 120V VOLTAiR headphone amplifiers.
The Phonitor se has the same audio signal amplification as its bigger brothers Phonitor x and Phonitor xe and therefore offers the same sound experience. The DAC768xs is optionally available.
Source Selection
In addition to an analog source, three other digital sources can be connected to the Phonitor se with the optional DAC.
The Revolution
In the headphone amplifier is the Phonitor Matrix, with switchable crossfeed, that allows you to listen to music through headphones with the sound experience of listening through speakers. The tiring super stereo effect and the exaggerated reproduction of reverberation and effects are a thing of the past. Enjoy your music without fatigue and exactly as it should be heard. The Phonitor Matrix in its largest expansion stage has three setting parameters: Crossfeed, Speaker Angle and Center Level. In Phonitor se the Center Level is preset to -1 dB and the speaker placement Angle to 30°. These are the most common values. The Crossfeed function determines the crosstalk of the channels, the so-called interaural level difference. There are two switch positions C1 and C2 for the intensity of the Crossfeed.
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A studio or control room for recording, mixing and mastering or broadcast should assure a clear and complete representation of the acoustic original message, without any distortions that could compromise its perception.
You must control first reflections, the back-wall diffusion and low frequencies in order to achieve proper acoustic conditions within your room, either it’s a control room, a recording booth, a home studio, a rehearsal room or a broadcast studio for TV or radio.
Vicoustic’s range of absorbers and diffusers help you to neutralize your acoustic environment in a controlled, effective manner.
In order to solve insulation issues, Vicoustic also offers a wide range of solutions.
Clear Professional headphones represent the essential tool for the most demanding professionals. The only objective: to be the ultimate tool for high quality playback. These open circum-aural headphones incorporate a remarkable evolution of the driver and an extremely open design aiming to make the headphones disappear, for the benefit of the sound. Clear Professional headphones are so comfortable that you forget you are wearing them and the listening experience feels like studio monitors. Its M-profile Aluminium/Magnesium dome has a new copper coil which provides total dynamic respect over the entire audio spectrum, with an extremely well defined and always controlled bass. At the same time, the very low-mass speaker moving parts mean that these headphones reproduce the finest details in the higher frequencies.
Turning to the headband and yokes, their design ensures that the headphones are in full contact with the head, for optimal comfort. The new generation of perforated microfiber ear cushions provides an extremely open design.
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Learn the art of record creation from the world's top producers and engineers!
The MWTM Pro membership offers more than 300 hours of high quality video content about recording, production, mixing, mastering, and career management.
These masterclasses are conducted by the world’s top audio engineers and producers who share their expertise through our platform.
We offer a variety of payment plans for the Pro membership — standard, student (50% off), and our new educational package deals for institutions (up to 70% off for students and faculty).
Individual standard and student memberships are now available with monthly payment plans, in addition to yearly!
As a Pro member, you have unlimited access to our entire library, along with two new video releases every month and downloadable multi-track sessions.
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The Zen Tour Synergy Core creates the ideal environment for you to craft album-ready recordings on your desktop and have the most fun while doing it. The interface provides a professional recording path with four discrete ultra-linear preamps, 124dB of headroom on the A/D converter, 127dB on the D/A stage and Antelope’s renowned clocking technology.
Start producing with a collection of 36 included real-time analog-modeled plugins while tracking live or mixing at near zero latency. Thanks to the Synergy Core plugin processing platform, you will be able to work on a session with up to 256 plugins loaded simultaneously without CPU load and no need for external DSP accelerators. A growing library of expansions is available to you in the Antelope Audio software store.
The cross-platform interface features Thunderbolt 3 and USB 2.0 connections with custom-built low latency drivers. Other connections include four instrument line ins, eight DC-coupled line outs on DB25, two reamp outs, S/PDIF & ADAT, two stereo headphone outs and a stereo monitor out. Eliminate the need for moving cables by re-routing all your audio through a software matrix.
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With high-fidelity sound and comprehensive I/O the cross-platform Orion Studio Synergy Core has no trouble being the heart of your studio. Capture the sounds of all your instruments with 12 discrete preamps and signature clocking technology that set apart Antelope’s famed master clocking. Employing a sophisticated design with ultra-linear components, the preamps give realistic detail and micro-dynamics. If you want no coloration you have the option to hard-bypass the preamps via Direct-In feature and hit the 124dB A/D converter directly. With 128dB on the D/A stage and the DC-coupled line inputs and outputs, the interface is specially designed to bring any synthesizer to a whole new level.
The interface presents you with your own virtual studio by allowing you to create with 50 included real-time analog-modeled plugins from an expandable library. Thanks to the Synergy Core plugin processing platform, you can work on a session with up to 256 plugins loaded simultaneously with no perceived latency. This happens with zero CPU load and no need for external DSP accelerators.
Other connections include sixteen line outs on DB25, two analog inserts, two reamp outs, S/PDIF & two ADAT, word clock I/O, two stereo headphone outs and two stereo monitor outs.
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With Orion 32HD | Gen 3 you get high-fidelity sound straight into your HD rig. The multi-channel interface is compatible with the Avid HDX, HD Native and HD Thunderbolt Native systems via two HDX ports allowing for a total of 64 channels of audio. The interface also works with MADI and USB 3.0 for easy integration with your studio. Avoid bouncing between session by taking advantage of simultaneous operation from all ports, and work on multiple DAWs at once.
High-resolution audio on the way in is provided by an A/D converter with 124dB of headroom and 129dB on the D/A stage. Your recordings and playback sound will greatly benefit from increased width, separation, and detail thanks to Antelope’s signature Acoustically Focused Clocking technology with DDS. Articulate audio reproduction is provided by a mastering-grade D/A monitor converter with 136dB of headroom.
Start producing with 38 included plugins from a collection of emulations of rare and vintage analog gear. Every plugin runs in real-time with imperceptible latency on an integrated FPGA platform, which saves your host computer CPU and memory.
Connectivity options include 32 channels of analog I/O via eight DB25 connectors, S/PDIF, two ADAT ports, word clock I/O and an atomic clock in.
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AT4050 Multi-Pattern Condenser Microphone
For more than 25 years, the Audio-Technica AT4050 studio condenser has been celebrated as the mic that captures every nuance. The large-diaphragm AT4050 exhibits a remarkable combination of qualities: high-SPL capability with transparent uppers/mids complemented by rich low-end qualities. Its dual large diaphragms are gold-vaporized and aged for consistent, outstanding performance. A precision-machined, nickel-plated brass acoustic element baffle provides rock-solid element stability and exceptional sensitivity. The microphone is equipped with three switchable polar patterns (omni, cardioid, figure-of-eight), plus a switchable 80 Hz hi-pass filter and 10 dB pad. Ideal for studio use and live sound productions with vocals, piano, strings, drum overheads, guitar amps, and more, the AT4050 comes with a custom shock mount for superior isolation.
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AT5045 Studio Instrument Microphone
Available as a single mic or as a stereo pair, the AT5045 is Audio-Technica’s premier condenser instrument microphone, offering the performance of a large-diaphragm, side-address condenser in a convenient, stick-type body. In fact, despite the space limitations imposed by its housing, the AT5045 boasts Audio-Technica’s largest single diaphragm. The instrument microphone’s circuitry has been honed to the essentials, allowing the AT5045 to achieve an unprecedented dynamic range that’s one of the widest of any microphone on the market.
Every AT5045 is hand assembled and individually inspected for 100% quality control. Each microphone is enclosed in an elegant housing of aluminum and brass with a high-quality gray finish for durability and low reflectivity.
Discrete components have been selected for optimized performance. The circuitry and capsule assembly are mounted as a single block within a floating internal shock mount, effectively decoupling the capsule from the microphone body for excellent vibration isolation. In fact, every aspect of the microphone has been carefully considered to minimize any negative effects on the audio signal.
The AT5045 instrument mic comes with Audio-Technica’s innovative AT8481 isolation clamp, an AT8165 windscreen and a protective carrying case that holds a single AT5045 microphone or a stereo pair of AT5045 microphones.
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ATH-R70x Open-Back Reference Headphones
The ATH-R70x is Audio-Technica’s premier model of open-back reference headphones for professionals. Featuring specially designed 45 mm drivers and acoustically transparent housings fashioned from aluminum honeycomb mesh, these headphones provide an accurate and natural open-back sound, perfectly balanced to reproduce extreme low and high frequencies (5 to 40,000 Hz). The R70x is robust but exceptionally lightweight (approximately 210 g without the cable) and features Audio-Technica’s popular 3D Wing Support system along with breathable fabric earpads to keep you comfortable during extended listening sessions. The headphones also include a unique, dual-sided detachable locking cable that is L/R signal independent to ensure proper stereo orientation no matter how it’s attached. An ideal choice for mixing and mastering.
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https://www.audio-technica.com/en-us/
The R-10 is Royer’s least expensive ribbon microphone at $499.00 US and it’s all of a Royer, from being hand-built in Royer’s Burbank CA factory to utilizing the same ribbon element and magnet/frame structure as used in the R-121.
The R-10 is an excellent choice for high SPL instruments like live electric guitars (it was the only mic on Dave Grohl’s guitar cabinet on the last Foo Fighter’s tour) due to its internal 3-layer wind screen system, which provides additional protection to the ribbon element against air blasts. The wind screen also cuts back on proximity effect, letting you close mic a guitar cabinet with less bass buildup. The ribbon transducer is internally shock mounted, protecting the ribbon element from vibrations and shocks and its hum-bucking design delivers extremely low residual noise
Paired with the dBooster, the R-10 is great on acoustic instruments like acoustic guitar, fiddle, and ukulele.
The R-10 ships in a compact carrying case that includes an adjustable swivel mount.
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The R-121 is Royer’s flagship ribbon microphone, extremely natural sounding and used by studio and FOH engineers around the world as a #1 call for electric guitars, trumpets and brass sections. It’s also used heavily for drum rooms, drum overheads, percussion, acoustic instruments and strings.
One of the most widely used methods for recording electric guitar is to blend an R-121 with an SM57. The R-121 reproduces the guitar with the sound and feel of standing in front of the amplifier, with all the body, mids and highs your speaker cab is delivering, while the SM57 adds upper midrange punch and high end bite. Blending the two mics to taste offers a great variety of tonal options.
The R-121 can handle up to 160 dB SPL (@ 1kHz), so close miking loud electric guitars and trumpets is no problem. R-121s are used extensively onstage for live electric guitars.
The back side of the R-121 records slightly brighter than the front when it’s two feet or closer to an instrument, making a backward R-121 a nice choice for acoustic guitar and other acoustic instruments.
Hand-built in the USA, the R-121 comes with a lifetime warranty to the original owner and the first re-ribbon is free within five years of purchase.
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Royer dBooster In-line Signal Booster
Royer’s “dBooster” is a high-end, in-line, phantom powered signal booster for use with non-powered ribbon and dynamic microphones. It offers two switchable levels of gain; 12 dB or 20 dB, giving your mics plenty of level for use with virtually any preamplifier.
The dBooster is designed like the input stage of a high-end microphone preamplifier, and it sounds like it. Rather than the inexpensive FETs normally used in in-line lifters to achieve gain, the dBooster utilizes a series of paired bi-polar transistors and op amps for extremely clean boost. It also has regulated power and gobs of noise suppression.
The dBooster’s Class A, 3.6K-Ohm input is perfect for passive ribbon and dynamic microphones and helps the unit deliver clean gain with virtually no noise or self-distortion. Its 300-Ohm low-impedance output keeps things clean in the studio and also shines on live stages, driving long cable lengths and difficult loads like mic splitters and vintage-style preamps with no loss of gain, no increased distortion, and excellent headroom.
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Round and Wound is an audio tape transfer facility. We have many years of experience transferring some of the very biggest names in the music business. We specialize in the normal classic formats: DAT, ADAT, DA88, and analog tape from 1/4" to 2" (mono to 24 track.) We also have unusual formats like AKAI 12-ch, Tascam 1" 24-ch, Otari 1" 16ch, or Mitsubishi X86, microcassette and even wire recorders. We even have added some vintage data formats, such as ZIP and JAZ discs, 3.5", 5.23" floppy, magneto-optical, and AIT tape storage. Reasonable prices, and discounts for bulk transfers. Full info at - www.roundandwound.com
Years in the making listening to every component, Terry Audio's 6 Band Passive 'CEQ' Mastering Equalizer has created the mountain to consider the question: “Can there be better than vintage?” With clever adaptations of heritage circuits from 60's program equalizers and lathe cutting amps, Terry (Chief Technician for Shadow Hills for almost a decade) delivers the passion project for total tonal craftsmanship to keep the depth of modern mastering walking hand in hand with the vibrant tonality and soundstages of past decades.
Along with the equalizers' wide palate, several switches allow transformers and buffer amplifiers to be added for coloration or removed for true 'single-ended' mastering in his new expanded build for 2020. To top it off, a 'Shift' control selects either heritage metalized paper-in-foil capacitors or polypropylene filter banks for two fundamental equalizer builds on a switch. Fully stepped, 1/3db controls built with Elma switches and custom wound in house inductors. Available in black or antique white. $4900
Upcoming in 2021, Terry Audio will offer Urei 811/813 Mastering Crossover modifications and updates designed in tandem with Ed Long’s “Time Align” calculations as well as roller guide upgrades for Ampex 440 and Scully 280 tape machines.
The MPDI-4 is musical, it's powerful, and, man, is it flexible. It features four individual Mic Preamp/DI circuits housed in a single 1RU chassis. With by-passable transformers, switchable output headroom, and adjustable THD characteristics, the sound of the MPDI-4 can range from clean, lean, and pristine to warm, thick, and harmonically colorful. Whether you're working with a high-energy punk band, a quiet jazz trio, or a symphonic orchestra, the MPDI-4 can bring out the best elements of any musical instrument. If you're a novice recording engineer just starting out; if you're a studio on a budget; or if you're a recording artist wanting to get your sound to a more professional level, the MPDI-4 is the mic pre you must have in your tool box. Don't believe us? A-B your vocals, your drums, your guitar on the UTA designs versus any other mic pre out there, and then you'll hear it for yourself -- UTA wins again. REVIEW
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The MPEQ-1 is what you get when you merge Undertone Audio's EQ and our custom UTA mic pre. It features the same flexible and musical Class A discrete circuitry, the uniquely powerful HP/LP filters, and an exciting new approach to a Class A mic pre. You can use the equalizer and the mic pre separately or as a complete channel strip. The mic pre has a custom input transformer and a carefully chosen output transformer -- both are optimized to accentuate the most flattering sonic qualities inherent in audio transformers. The unique mic pre design makes both of these transformers bypass-able, offering users a choice between the detailed clarity of a Class-A transformer-less design or the vintage musicality of a dual transformer mic preamp. Whether you're a high-end mix engineer looking for surgical precision or a hobbyist looking for pro-grade tools that can be scaled down for a home studio, the MPEQ-1 is a game-changer.
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Can you say instant classic? A painstaking recreation of the much-loved Fairchild, the genius of UTA's UnFairchild 670M II is the simplicity of the audio path, which consists of only two transformers and four paralleled Vari-Mu tubes, and that is it. But UTA has added features that were never available on a Fairchild. The UnFairchild sports 6 original preset Time Constants and 4 variable Time Constants (attack and release), MS function, side chain processing, a true bypass, fine adjustment of left/right balance, user adjustable DC Threshold, and Feed-Back vs. Feed-Forward functionality. With the UnFairchild, we've made this extraordinary circuit flexible enough to handle every compression task on any style of music. When your work as a recording engineer is ready for the next level, adding the UnFairchild to your repertoire of gear will set your tracking, mixing, and mastering apart from the crowd. REVIEW
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Regardless of how many microphones you’ve used, you’ve never seen — or heard — anything like the Aston Element. Developed with input from over 2,000 musicians, engineers, and producers, this microphone’s active, moving-coil design gives it a sound that’s different from dynamic, ribbon, and condenser mics. In other words, if you want a mic that sounds like the Element, you need to get an Element. And how does it sound? “Full,” “wide-ranging,”and “detailed” are some of the descriptors we threw around here at Sweetwater. But, no matter what words you use to describe it, the Element’s extended bass, natural-sounding smoothness, and fast transient response will deliver a vibrant sound that you’ll reach for again and again.
This RP-1 preamp brings out all of the nuances of a ribbon or dynamic microphone before connecting to your recording interface or mixer through long cable runs. The low cut filter allows the removal of wind noise and plosives before adding additional gain. Discrete preamp circuitry inside is designed for low noise and transparent operation. Balanced output drives long cable runs, allowing the preamp to be placed as close as possible to the mic before picking up any noise or interference.
The ART Dual RP Mic Preamp is the ideal solution for increasing the performance of your ribbon and dynamic microphones. This two-channel preamp brings out all of the nuances of your mic before running into your recording interface or mixer via long cable runs. With the Dual RP you can tailor the loading on the mic through the variable impedance controls. The discrete preamp circuitry inside is designed for low noise and transparent operation. The balanced output drives long cable runs with ease allowing you to place the preamp as close as possible to the mic before picking up any noise or interference.
Storybook Sound and friends enthusiastically support the excellent missions shared by AES, TapeOp, and all virtual attendees during this time of reinvention. Since March, we’ve been hunkered down mastering music with Chris Harford, Blanc du Blanc, Rebecca Turner’s Omniana, Sad About Girls, Emily Hurd, Electroluxx, Speed the Plough, Girls on Grass, Nation Beat, the Cucumbers, Keith Kenny, Naughty Clouds, OPTO-S, Hani, David Greenberger, the Reducers, Halse, Ivan Nahem, the New Jersey Symphony Orchestra, and many more. We’d love to hear from you!
Portable Recording Wall
Our Portable Recording Wall is two 24″ x 84″ x 2″ panels hinged together, both sides covered in fabric. They fold up and are easy to store. Clients have used them to create acoustic walls for mixing environments, tracking vocals and other instruments, and used as gobos in live rooms. They are very versatile and effective for any commercial or home recording studio.
24" x 48" x 2" Acoustic Panel
LA Sound Panels 2″ Acoustic Panels are ideal for first and second reflection points in your room. We recommend you begin the treatment of your room with these broadband panels and you will immediately hear a difference in your listening environment. Our 2″ panels also work great for “deadening” rooms such as vocal booths, home theaters, restaurants, event spaces, art galleries, music venues, rehearsal rooms, and any other space with acoustic issues.
Acoustics/Studio Buildout Consulting
LA Sound Panels now offers consulting services for everything from basic acoustic fixes, sound transfer issues, to full studio build outs. Consulting can be done on site or remotely through Zoom. We can help you turn your home studio into a professional sounding recording environment, help fix exterior noise pollution in your recording environment, to building out your dream studio.
The Overstayer Stereo Voltage Control combines the gain control and punch of VCA gain cells, the warmth and character of our discrete analog Harmonics circuitry, and the sculpting power of an ultra-smooth 2-band shelving EQ. The SVC has dynamics control from fast peak limiting to smooth RMS compression, with multiple starting ratios and a Behavior control to create new and unique envelopes. Use the LEVEL control to drive into Harmonics to further bend transient peaks, adding musical harmonic color and cohesiveness as well as increasing apparent volume. The EQ and filters allow you to shape and drive as much low warmth or smooth top presence as desired. Each of its multiple stages can add its character and harmonics, cumulatively transforming the signal in a way not normally possible within a single device.
The integrated blend control allows even aggressive settings to be balanced tastefully. You can further create custom compression shaping by using the sidechain high-pass filter for low end response, or even further by using the external sidechain insert. REVIEW
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The Modular Channel is a fluid analog stereo channel instrument for music, tracking and mixing, capable of sophisticated processing from subtle layed shaping to total chaos.
The 8755D is a stereo channel with filters, eq, compression, and harmonics stages throughout, with sophisticated routing and a series/parallel mixer matrix. High-quality components and circuitry are used throughout. Though the unit can get extreme, the design aesthetic is that of a console in that it is capable of handling and maintaining the fidelity of a full mix through the unit. REVIEW
The 877 series modules are self powered, self contained channels that can be used on their own (no chassis required) or as part of a larger framework for recording and mixing. The 8776A features mic, line, and instrument inputs, as well as filters, 4 band eq, FET limiting, and controls to shape and exploit the harmonic character of the circuitry throughout. Modules can be mounted vertically in dual, quad, or a 10 space rack-mountable chassis (5RU high). Audio connections are via XLR and TRS connectors with access to several points in the signal path.
The Imperial Channel’s preamp and drive amps were inspired by late 60’s English solid state consoles. Their primitive design makes them incredibly forgiving with a wide range of nonlinearities before overt clipping (a wide sweet spot), and with that they are generous with low order harmonics, and can be driven into full distortion. These stages are ‘cushioned’ in this design allowing them to be used exploited in new ways.
Actually this mic is an exact replica of the U47. It is equipped with F7 capsule – our exact replica of M7 capsule, our replica of BV8 transformer and TELEFUNKEN EF12 or Andreas Grosser EF12ER tubes. We focus on EF12 tube as we consider its sound character closest to original. This mic is possible to use for almost everything and always sounds perfect. The body is duraluminium and is nickel plated . The grille is available in two versions: glossy chrome or matt nickel.
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This mic is an exact replica of C12 and involves a modern style power supply with integrated pattern switch. As standard, it is equipped with Tim Campbell's CT12 capsule - great choice if you are considering the clones of original CK12 - and with 6072 tube. The transformer is our own replica of original. Considering the sound, it is simply "Rolls-Royce". In some applications this mic will seem somewhat neutral, but it benefits will stand out during mixdown. It's fantastic for vocals, acoustic instruments as well as ambient miking. Those, who have not experienced, will not believe.
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FLEA 49 is an exact replica of M49 microphone. All mechanical parts are absolutely exact replicas. FLEA 49 is fitted with capsule F7 - our exact replica of legendary M7 capsule. Another important part is transformer which is also our exact replica of transformers used in M49 mics. The last important part of the electronical system of the microphone is its tube, triode, carefully selected for noise reduction. This mic is fantastic not only for female vocals. You can - taste it !!! The sound is soft and pleasant.
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AES Buyer's Guide Part One
AES Buyer's Guide Part Three
