Archive for 'Product Review'

Avid’s recent release of Pro Tools 10  has caused quite a sir in the recording world. Whether it’s because it dropped a mere 11 months after the launch of Pro Tools 9 or because it costs more than previous upgrades, a lot of people have been hesitant to make the jump to version 10.

I completely understand, and was curious to see how it stacked up in reality. So today’s video will cover a couple of cool new features as well as my final opinion on whether or not it’s right for you. Remember, no one is forcing you to upgrade. I’m just here to help you make an informed decision.

Unlock the power of Pro Tools with my REthink Pro Tools video series. Now updated for Pro Tools 10 www.REthinkProTools.com

As a long time Pro Tools user, I’ve never had the opportunity to wander outside the audio interface realm of Avid. Now, thanks to Pro Tools 9, I was able to make some changes in my personal studio and go with some 3rd party hardware. To me the choice was clear, the Focusrite Liquid Saffire 56.

After using it on the last few projects in my studio I wanted to give you guys a full video review including some audio samples. Really quick, here are some highlights:

Pros

• Great sounding pres and converters.
• Flexible sounds with liquid pres.
• More control on built in pres than typical interfaces.
• Expandability for a huge studio.

Cons

• A little pricer than some other units in this I/O range.
• 2 U rack space can be a bummer if there’s not enough room in your rack.

When shopping for a pair of studio monitors, you look for speakers that are detailed, clear, and flat. The new incarnation of Truth monitors from Behringer are just that. Whether you’ve used Behringer speakers in the past and are curious as to how the new versions stack up, or are simply in the market for a pair of good monitors, do yourself a favor and watch my review below.

Better Sound, Sleeker Look

Behringer is really stepping up their game with these speakers and I have already gotten great results mixing a recent album on them. Are they right for you? Here is my quick glimpse of pros and cons and then watch the video for the full report.

Pros

• Balanced and flat sound. No over hyped high end or low end.
• Flexible connectivity. Balanced XLR, TRS as well as unbalanced TS and RCA connections.
• Customizable sound based on placement of speakers in your room.
• Sleek new look. Love the yellow cones!
• Priced right. Hard to beat $300 a pair for this size speaker.

Cons

• Bigger/heavier than other speakers in this category.
• Yellow might just not go well with your decor!

Last week I spent some time on the show floor of InfoComm 2011 in Orlando. Specifically I got to check out some new products at the Behringer, Avid, and PreSonus booths and see what was happening in the audio world.

New Products, New Concepts

Behringer was promoting their new personal monitoring system, the Powerplay at their booth and it is awesome. It’s a super elegant and affordable way for bands to create their own custom monitor mixes for the stage or studio. Avid was showing off the new line of Mbox audio interfaces running on Pro Tools 9. And the guys at PreSonus were schooling me on some live integration of Studio One with their awesome line of live mixers, the StudioLive.

I want to personally thank John Dinicola (Behringer), Michael Pearson-Adams (Avid), Rick Naqvi (PreSonus) and Jonathan Hillman (PreSonus) for taking time out of their busy days to chat with me and show me around. I had a blast. Check out the video and see for yourself!

Right off the bat, I want you to know that I’m a big fan of PreSonus. They are a cool company that makes quality, affordable, and much needed products for the studio owner. In recent years they have created a much needed solution, the digital mixer with audio interface built in. Enter the StudioLive!

An All In One Stage To Studio Solution

I’ve been using the StudioLive for almost two years now week in and week out to run live sound, monitors, and record full bands. It sounds great, takes up almost no space, and is easy to use. Check out the video below for my full review, but first here are my brief thoughts:

The Good Stuff

• Excellent mic pres and converters, giving you great sound quality live and to “tape.”
• Easy to use “hands on” interface. No fumbling through silly menus on tiny screens.
• Tons of built in effects. EQ, compression, gates, limiters, on every channel!
• Great all in one Front Of House and Monitor World solution.
• Instant audio interface connects to any mac or PC with one single firewire cable.
• Ships with Studio One Artist, a full featured DAW.
• Total recall of all settings.

The Not So Good Stuff

• Only 16 channels. Granted there is a bigger brother with 24 channels, but in the price range some competitors have more channels.
• Faders aren’t automated. Not too much of a biggie since you can still recall their location.

I’m a big advocate of using the built in mic pres in your audio interface for two reasons: they sound good, and you’ve already paid for them! But if and when you decide to venture out in search of an external mic pre for coloration or a different sound then you may become fond of the Pre-73 from Golden Age Project.

This tabletop pre is a well made, vintage style mic pre that can add some character and warmth to your signal. In using it on a few projects recently, here are my top Pros and Cons as well as my full review with an audio sample:

Pros – Great sound, built tough, impedance switch, excellent DI, realistic price.

Cons – Mic/Line gain knob takes some getting used to, no low cut filter

As a Pro Tools user since version 6, I’ve seen this powerful DAW change each year and add more and more incredible features. Version 9 is no exception, and I finally upgraded to it in my studio. I wanted to highlight a handful of the big reasons why I made the leap and how I think it is a great step forward for Avid.

As I mentioned in my Pro Tools 9 first look, there is no longer an LE line of this software. Just a native version and the HD versions. You can purchase Pro Tools standalone for $599 US, or crossgrade from LE for $249 and from M-Powered for $349. For details on the product, check out Avid’s page.

If and when you are in need of more than just your go to $100 microphone in your studio, it’s helpful to know what other mics are available. With so many brands and types to choose from it can become overwhelming. I recently stumbled upon a small audio company in Canada called Kel Audio and they make some fantastic mics that are reasonably priced. Check out the video review below for some sound samples and more info about them, and also check out Kel’s website for more details on their entire mic line and info about the company!

Of all pieces of gear in your studio, one of the most helpful things you can own is a good pair of studio headphones. I recommend most people start out with a basic audio interface and one pair of headphones for a reason: they are an affordable and practical way to monitor, edit, and mix your material. Even as you grow your skill and eventually add a pair of studio monitor speakers to your arsenal, you need a good pair of headphones as part of your process.

Today I’m reviewing a pair of headphones from one of my favorite “new” companies, Editors Keys (www.EditorsKeys.com). I’m already a fan of their USB mics and portable vocal booths, so I knew I would be in for a treat with their entry into studio headphones. In a nutshell, the SH10s are a pair of closed-back, over the ear headphones that are great for tracking purposes as well as mixing. Let’s take a quick look at how they perform in both arenas.

Tuning Out The Noise

When recording with headphones you ideally want two things to happen: be able to hear your self and the recorded tracks clearly at a comfortable volume, and at the same time not let much if any of that bleed out into the microphone(s) in front of you. The SH10′s closed back design is perfect for this as it doesn’t let much sound leak out.

I recently recorded a project and  brought these headphones along for the ride along with my usual “go-to” tracking headphones from AKG. I told the drummer to try out both pairs of headphones when recording and tell me which pair he preferred. The second he put on the SH10s he was sold. Never went back to the other pair. His reasons: “They just feel so comfortable and I can hear myself better with these.” Bingo! That’s what I want to hear as an engineer and producer. If the talent is not comfortable and is struggling to hear themselves, you won’t get a great performance. So having the right tracking headphones is a must.

Revealing In The Mix

Although many people will tell you not to mix in headphones, for some it is their only option: and it can be a good one. I think mixing in headphones is given too much bad publicity and not enough praise. Granted the reasons for choosing to mix on monitors in a nicely treated room are justified (more accurate stereo imaging, less ear fatigue, proper bass response), there are a lot of reasons to mix on headphones as well, reasons I don’t have time to cover today.

But when you want to mix with headphones you don’t want an over hyped sound. Unfortunately many headphones are tailored to boost the bass response and upper frequencies to make your music sound more exciting. This is not useful to a mixer. Ideally you want to hear your music as flat as possible so you can make accurate mix decisions. What I’ve found with the Editors Keys SH10 headphones is a relatively flat frequency response, but with an audible bump in the mid range. At first I thought this made things sound a bit thin, but what I realized was I was actually able to better distinguish parts in that mid-range (guitars, vocals, snare) and I was putting mixes together much quicker.

Perhaps it’s a similar effect to many engineers’ experience with the classic Yamaha NS-1o monitor speakers. Supposedly a very “thin” mid-rangy pair of speakers but always used during the mixing process because “if it sounds good on NS-10s, it’s good.” Either way, the SH10s have now become an invaluable tool in my mixing workflow and I trust them.

Final Thoughts

All in all, the SH10s are an affordable monitoring/mixing solution for many home studio owners. Coming in at about $65 US they aren’t out of reach for most people and should seriously be in the running if you are considering a pair of studio headphones in the sub $100 category. And honestly, you have nothing to lose with these puppies as Mark over at Editors Keys is offering a 100% money back guarantee if you aren’t satisfied with them. You don’t see that with many other manufacturers!

Today is “Black Friday” in the US. The day after Thanksgiving, when the oficial Christmas shopping craziness is supposed to begin. I don’t know who makes up these rules, but that’s how it goes.

Now you know that I am kind of whacky when it comes to recording gear…whacky in the sense that I tend to tell you to NOT buy a lot of gear. I think we’re all obsessed with stuff, especially recording gear. So why am I writing a post on gear? Because I didn’t say you couldn’t ASK for gear as a gift. Bingo!

Affordable and Practical

Today I just want to highlight a handful of practical studio gift ideas. These items are all currently priced under $100 US so there aren’t outrageously expensive (which means someone might actually buy it for you)! More importantly, they can really make an impact in your studio right away. So get your wish list ready…here we go!

Shure SM57 Microphone – $99

If you don’t already have an SM57 in your arsenal, then ask for one this Christmas. This dynamic mic is an amazing example of flexibility. It’s great on snare drums, toms, guitar cabinets, and even vocals. I’m almost always surprised at how good this thing sounds. It won’t have that top end, airy crispness of a condenser mic, but what it does, it does well. Always have an SM57 on hand for any recording session. And if you have one already, it can’t hurt to have two!

ART Tube MP Preamp – $48

Do you have an audio interface with only one mic pre? Many of these boxes have a second line level channel that you can hook an external mic pre up to. If you are in need of another mic input there’s no better and affordable option for the home studio than the famous Tube MP from ART. This little tube pre is great for adding some color or “warmth” to your signal. It will sound different than your built in pre (not better necessarily, but different), and can give you more inputs of course. They are also great as a DI for bass guitar.

Behringer GDi21 Amp Modeler Pedal – $38

I reviewed one of these a while back and they are excellent. They act as both a simple overdrive stomp box, or as a DI with XLR outs to run analog amp modeling into your live rig or DAW. Three basic amps, with different gain and EQ controls makes it easy to get a good sound out of this unit. Plus if your guitar amp ever dies before a gig or studio session you can use this as a backup!

Auralex Aural-Xpanders Acoustic Treatment – $59

I got this little acoustic foam kit years ago when I started out. It’s basically some portable baffles and sound absorption platforms for your mic stands. It’s great for some sound isolation for your drum overhead mics, vocal mics, guitar cabinet recording, etc. It may seem subtle but some simple acoustic treatment at the source can go a long way as you layer track after track in your sessions. And for $59 you can’t go wrong with this handy kit!

Samson C-Control Monitor Management – $99

If you’re looking for a way to easily switch between multiple sets of monitors and speakers in your studio while you mix, or are in need of a an affordable talkback system for your studio, the C-Control from Samson kicks major butt for little cash. It couldn’t be easier to add powerful features like speaker switching, source switching (for referencing an iPod or something),mono, dim, and mute controls, as well as a built in mic for seamless talkback with your talent. A ton of value for your studio for under $100.