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ARTURIA

Bigger. Better. Freakier!

‘Bad Habit’ WIN
Mixing Steve Lacy’s mega-hit

The best new gea

Beware of the car test WOR TH €1462
Why you shouldn’t check mixes on the move
w

REVIEWS: EVENTIDE / UST / DACS / ABLETON / PMC / PRESONUS / NUGEN / JBL / ZOOM / NI / TOONTRACK
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 LE ADER

LOOK SHARP
Many years ago, a manufacturer who shall remain But even when we can separate the cosmetic
nameless sent us two iterations of their new from the functional, why shouldn’t the former
product. An initial prototype was followed, a few influence our buying decisions? Studios are meant
Sam Inglis
Editor In Chief
weeks later, by a production version. This in itself to be creative spaces, and as such, many people
isn’t unusual, as we insist on reviewing exactly put a lot of thought into decoration and furnishing.
what our readers will be buying. What was less Any equipment we buy is going to be part of that
normal was that the production unit weighed twice decor, whether we wish it or not. Design features
as much as the prototype. A peek inside confirmed that were once indicators of better quality end
that the circuit board was exactly the same. They up becoming purely aesthetic preferences, and
“At the end of the
hadn’t added any new, massive components, or that includes size and weight. There’s no reason day, how a piece
beefed up the case. They had simply bunged in why a modern transformerless microphone made
some chunks of metal to make the production with surface-mount components needs to be as
of gear sounds is
version heavier — reasoning, presumably, that big and heavy as a U87; but we’re used to large no less subjective
buyers would associate a weightier unit with microphones, and their familiarity perhaps helps
better quality. engineers and artists use them more effectively.
a factor than how
If this sort of cheap trick leaves a bad taste, it’s And, at the end of the day, how a piece of gear it looks.”
mostly because it actually works. We like to feel sounds is no less subjective a factor than
that we make our equipment choices on the basis how it looks.
of how things sound rather than cosmetic factors. So I don’t think it’s shallow to allow cosmetic
But if you take some time to think about it, that’s features to influence our gear choices. In fact,
obviously not true, and nor should it be true. I think it’s unavoidable. But I also think it’s
In plug-in design, for example, aesthetics and probably a good idea to be honest with ourselves
ergonomics often go hand in hand. Some might when we do so. The more awareness we have of
reach instinctively for a plug-in that apes an SSL the motives that guide our decisions, the more
channel strip; others prefer an interface designed secure we will be in those decisions, and the more
from the ground up to be mouse-driven. And both we’ll enjoy using the gear we do buy.
might be right. Not only that, but they might use Talking of which, doesn’t that new Arturia synth
these tools to achieve sonically identical results. look great on the cover?

A DM I N I S T R AT I ON E D I T OR I A L ADV ER T ISING
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4 December 2022 / [Link]

High-end audio now
affordable and portable.
Introducing Apogee’s newest entry-level interface,
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TECHNOLOGY
Distributed in the UK & Ireland by Sound Technology Ltd | [Link] | 01462 480000
 100 GILLA BAND

IN THIS ISSUE [Link]

December 2022 / issue 2 / volume 38

FEATURES WIN
S
34 Talkback
Tayo Alemi, aka Authentically Plastic, talks simple studios and
complex music.
62
42 Ten Essential Mix Checks
Learn to stop worrying and love your mixes with our
10-point checklist! PAGE 142

50 Charlie Puth
To find himself as an artist, Charlie Puth swapped high-profile 100 Gilla Band: Recording Most Normal
co-writers for fan reaction on TikTok. It seems to have worked... The Irish rock band’s new album is one of the least normal things
you’ll hear this year...
58 Seven Reasons Not To Check Your
Mixes in The Car! 124 Inside Track: ‘Bad Habit’
We’re often advised to check mixes on a car stereo. But how Want a hit that transcends genres? Hire a mix engineer who does
useful is the fabled ‘car test’ in reality? the same — as Steve Lacy did with Neal Pogue.

64 Modular 138 Mixing Atmos: Ricardo Bacelar

We look back on our favourite modules from 2022. The ultimate one-man band, Brazilian artist Ricardo Bacelar uses
layers of drums, percussion, guitars and keyboards to build up
dense immersive mixes.
70 How I Got That Sound
Andy Wright tells us how he created the distinctive percussion
on Jeff Beck’s ‘Dirty Mind’. 160 Q&A
Your studio and recording questions answered.

86 Gear Of The Year

The SOS team pick their hardware and software highlights from 162 Why I Love... Distortion
the last 12 months. Misty Jones explains the cathartic qualities of distortion.
 26 STUDIO ONE 6

ON TEST
8 Gauge ECM-47 63 Bastl Instruments Pizza 144 Source Audio Atlas
Valve Microphone Eurorack Module Compressor Pedal

10 Toontrack Hitmaker SDX 66 DACS Audio Purity 145 Origin Effects Halcyon
Superior Drummer Expansion Stereo Headphone Amplifier Green Overdrive
COVER

14 Eventide Physion Mk II 72 Arturia MiniFreak Overdrive Pedal

Multi-effects Plug-in Polyphonic Synthesizer 146 Conversations With Women In
16 Sonuscore Time Textures 78 Tech 21 SansAmp Character Plus Music Production
Sampled Instrument Analogue Amp-emulation Pedals Book Review
20 Vir2 Phoenix 82 Zoom PodTrak P8 146 Caveman Audio AP1 Compact
Virtual Instrument Podcast Workstation Acoustic Instrument Preamplifier
24 JBL EON710 96 Native Instruments Komplete 14 148 Sample Libraries
Active PA Speaker
Software Instruments & Effects Big Fish Audio Smack 2
26 PreSonus Studio One 6 Collection
Heavyocity Aspire Modern Mallets
Digital Audio Workstation
106 VSL Synchron Woodwinds, Teletone Audio Ondine
36 Nugen Audio Halo Vision Percussion III & Harp
Analysis Plug-in For Stereo Sample Libraries Fallout Music Group
& Immersive Formats Hybrid Studio Taiko
112 Ableton Note
40 United Studio Technologies
UT Twin87
Sketchpad App For iOS
WORKSHOPS
Large-diaphragm Capacitor Mic 116 Audient ASP4816-HE
Mixing Desk
46 PMC6 152 Digital Performer
Active Monitors 130 ReProducer Epic 4 154 Pro Tools
Active Monitors
62 Rides In The Storm DOC, XXM, 156 Cubase
QEG & CON 134 Sonible Smart:Comp 2
Eurorack Modules Compressor Plug-in 158 Logic
 ON TE ST

Gauge ECM-47
Valve Microphone
This classy valve mic proves its worth on a range
of sources.
Electro-Harmonix-owned was generally flattering. There was also
factory there, and it is held no tendency to exaggerate any sibilance
in place by a heat-resistant in the source vocal. I found the optimum
silicone band. I noticed that it’s working distance was around 25cm from
possible to reattach the body the mic, and even without a separate pop
180 degrees rotated, in which screen in place, there was good resistance
case the logo ends up on the to popping — though, for persistent
back side of the mic rather than poppers, use of the included screen would
the front, so take care to fit it be advised. If you work closer to the mic,
the same way it came off if you the bass lift due to the proximity effect is
do decide to have a look inside. evident, though this becomes less so as
The mic’s frequency curve wider cardioid patterns are selected, and
changes depending on the disappears in omni mode. Going in the other
pickup pattern selected, but direction, the closer you get to a figure-8
in general there is a slight pattern, the more pronounced the proximity
mid scoop augmented by effect (as is invariably the case), reaching
a presence hump, with a further the point where a bass-cut switch might
peak at around 10kHz, which have been a useful addition. Apart from
suggests it may add some that, the tonality on vocals doesn’t change
PAUL WHITE
airiness to the recorded significantly between patterns, except
he Gauge ECM-47 is a variable-pattern valve sound. The nominal response inasmuch as it’s influenced by the amount of

T microphone built around a two-sided, 1.38-inch

capsule fitted with six-micron, gold-sputtered,
centre-terminated diaphragms. Finished in bright chrome
is 20Hz to 20kHz, though
the curve between those two
points deviates from flat in
room ambience that is picked up.
On other sound sources the impression
of a gently flattering sound remains: the mic
with a satin chrome sleeve, the mic has no pad or roll-off several other areas as well sounds solid and detailed without being
controls on its chunky body or on the power supply, as the presence peaks — but too obviously hyped in any way. I was
which is slightly unusual, but otherwise follows the that’s what gives this type particularly impressed by the performance
conventional format for a multi-pattern valve mic. of microphone its character. on an electric guitar amplifier: with the mic
Supplied in an aluminium case with a lined wooden A maximum SPL of 135dB is set up around 30cm away from the speaker
box to hold the mic itself, the ECM-47 comes with a pop specified, while the sensitivity and a little off-axis, the recorded sound was
screen, elastic cradle shockmount, power supply and is a typical 16mV/Pa. An pretty much as I was hearing the amp from
a 7-pin XLR cable to connect the mic to the power equivalent noise figure of my seat a few feet away.
supply. A voltage selector switch on the PSU offers 18dBA is specified, which is On balance, the ECM-47 is a strong
a choice of 110 or 220 V 50/60 Hz. A rotary pickup about what you’d expect from performer given its non-exotic pricing, and
pattern control switch located on the front of the power a valve mic. the pairing of selected Chinese capsules
supply allows nine polar patterns to be selected, from All valve mics take a few with audiophile circuit components
omnidirectional, via various widths of cardioid, to minutes to settle after being seems to have paid off. There’s still strong
figure-8. Power comes in via an IEC socket and mains powered up, and Gauge competition in this price range from the likes
switch, and this being a valve mic with its own PSU, also recommend allowing of Sontronics, sE, MXL, Warm, Golden Age
phantom power is not required, though applying it a three-minute settling time and so on, but I’d recommend you audition
accidentally won’t blow anything up. The audio output is when switching patterns. the ECM-47 if possible, as it can seemingly
on a standard 3-pin balanced XLR. turn its hand to just about anything.
Unscrewing the heavy base ring allows the body
In Use
sleeve to be removed, revealing a single circuit board, On male vocals, with the pattern summary
neatly built and populated with good-quality discrete set to cardioid, this mic delivers A highly capable and sensibly priced valve
components that include WIMA film capacitors and the kind of lower-mid heft that microphone.
parts from Panasonic, NEC, NSC and other premium you’d expect from a good valve
manufacturers. A separate output transformer is mic, balanced by a smooth high
£ £899 including VAT.
located just above the output connector and the end that captures detail but T Nova Distribution +44 (0)203 150 4446
valve is fitted into a ceramic base. The valve is without sounding in any way W [Link]
a Russian-made 6072A/12AY7 dual triode from the harsh. Overall, the impression W [Link]

8 December 2022 / [Link]

ALPHA E VO SE RIES

d
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Immersive or Atmos.

Reveal Everything

Also available: Sub One | Alpha 80, 65 & 50 Evo

SCV Distribution - 03301 222 500 - [Link]

 ON TE ST

Toontrack Hitmaker SDX

JOHN WALDEN
Superior Drummer Expansion
f the iconic tom fill halfway through Toontrack and Hugh Padgham bring the drum sounds
I Phil Collins’ 1981 hit ‘In The Air Tonight’
doesn’t give you chills every time you
hear it, then please check your pulse. While
that defined the 1980s to Superior Drummer.
equipment and recording space of British Sting, Jeff Beck and others) and Stewart
Collins undoubtedly worked magic with the Grove Studios (based in London and Copeland. These drumming targets strongly
sticks, the sonics of that memorable drum owned by Mark Knopfler), and Padgham’s influenced the selection of acoustic drum
recording — with its understated electronic recording and engineering expertise (oh, kits used for sampling.
elements, unforgettable tom sound and and a Ball & Biscuit; read on...), the Hitmaker A great deal of effort seems to have
massive snare with gated reverb — was SDX is a mouthwatering prospect. So, is it been expended in sourcing the specific
very much a Hugh Padgham design. Indeed, a hit? kits so that they were as close in both
with production and engineering credits that brand, model and era to those used in
include an all-star list of 1980s and 1990s
Kit Collection some of Hugh’s iconic recordings. So, for
musical greats, he created an approach to Hugh Padgham’s history of hit making example, a Premier Elite Concert kit — with
drum recording and mixing that influenced is seriously impressive. His production, a suitably good selection of tom sizes and
a whole generation of hit records and can engineering and mixing credits include a smaller 20-inch kick drum — was acquired
be heard even to this day. artists such as Genesis, Peter Gabriel, to accurately reflect the kit used by Phil
Now, with Toontrack and Hugh Padgham Phil Collins, the Police, Sting, XTC, Paul Collins for ‘In The Air Tonight’. A Yamaha
collaborating on the latest SDX for Superior McCartney, the Human League, David 11000 Maple Custom kit from the early
Drummer 3 — simply titled Hitmaker — you Bowie and Kate Bush amongst many ’90s was used to capture the sound of
can bring the same approach, and the others. For the Hitmaker SDX, Toontrack Vinnie Colaiuta’s drums used on Sting’s Ten
same epic sounds, to your own recordings. and Padgham focused on his work with four Summoner’s Tales album. The same model
Combining a collection of period-accurate particular drummers; Phil Collins, Vinnie of Tama Imperialstar kit — including a set of
acoustic drum kits, a goodly crop of classic Colaiuta (Joni Mitchell, Frank Zappa, Sting octobans — from the ’70s used by Stewart
drum machines, the undeniably magnificent and others), Manu Katché (Peter Gabriel, Copeland in Montserrat’s AIR Studios for the

10 December 2022 / [Link]

 ON TE ST
TOONTRACK HITMAKER SDX

Synchronicity album (including the classic

‘Every Breath You Take’) was also sourced.
These, alongside three equally
impressive Yamaha kits from the 1980s and
’90s (and also linked to specific projects
from Padgham’s recording CV), and some
further kick and snare options, were
meticulously recorded in British Grove
Studios’ impressive live room using both
digital and analogue platforms. Alongside
close miking, an impressive array of
Neumann microphones was also used in
the room and configured to provide both
conventional stereo room ambience and
It’s great to see some classic drum machine
a range of surround-sound possibilities. character to the sounds is replicated here,
sounds available within SD3.
The user can choose whether to install the allowing you to blend in the room vibe via
samples for the various surround-based SD3’s Mixer. experimenting with contrasting patterns
microphones or not (they make up nearly It’s worth noting that, a couple of between an acoustic and electronic layer
60GB of the 95GB of sample data) EZdrummer expansions aside, Toontrack and seeing what happens. Equally, playing
depending upon their needs. A further have never ventured too far into the world the same patterns with layered acoustic
microphone was the aforementioned STC of electronic drums before now. While their and electronic presets is hugely satisfying,
4021 Ball & Biscuit (so called because that’s inclusion here is an essential element of allowing you to easily blend the electronic
pretty much what it looks like). This was emulating Hugh Padgham’s approach to kick/snare with their acoustic counterparts
originally used as a talkback microphone drum production, it’s also great to see these to provide some tremendously impressive
suspended from the ceiling in Townhouse sorts of sounds now available directly within results. It’s also sonically flexible. Used dry,
Studios’ live room when Phil Collins the SD3 workflow. I do wonder if, at some the acoustic (or indeed, the electronic) kits
was tracking drums for a Peter Gabriel stage, we might see a dedicated ‘Best Of would work in almost any musical style but,
solo album but, as discovered by happy The Best’ electronic drum SDX or EZX, but if you want the processing options — gated
accident, with a great dollop of compression the electronic offerings included here might snare and gritty room ambience included —
it provides a very distinctive and characterful be all the encouragement some users need then it’s all at your fingertips.
room sound that can be blended with the to explore the Hitmaker SDX, regardless of
more conventional drum sounds. This is the (excellent) acoustic sounds.
Make Some Hits?
also available as a channel option within It’s difficult to be anything but seriously
SD3’s Mixer.
Name That Tune impressed by Hitmaker SDX. The
Without exception, the acoustic kits As ever with SDX and EZX releases, the sounds are undeniably excellent, and
sound absolutely fabulous, and across included MIDI grooves are an integral (and, the selection of presets makes it easy to
the six kits, you also get a lot of flexibility. for non-drummers, important) part of the apply all the necessary effects and room
Whether it’s the massive gated snare found package. Given the dual acoustic/electronic ambience options that characterised Hugh
in some of the Centre Stage (Premier nature of the sounds, the groove library Padgham’s approach. Whether acoustic,
Elite) presets, the control offered by the includes patterns for both sets of samples. electronic or a blend of the two, Hitmaker
Dry preset for the Storyteller (Yamaha Interestingly, the song-based folders makes it possible to add the iconic drum
11000) kit, or the high snare crack of the feature names that hint very clearly at the sounds that characterised so many hit
Stewart Copeland-inspired Reggae Rock original songs that they are inspired by. For recordings from the ’80s and ’90s to your
presets, sonically, the Hitmaker SDX oozes example, there are no prizes for guessing own productions. No, it won’t necessarily
class, quality and, when required, some what a suitable combination of the ‘Airy’ guarantee you a hit song, but you will be
room-based grit for added attitude. presets and grooves delivers (yes, including able to get the sound, whatever constraints
some epic tom fills), or what the ‘Every in space or equipment your own recording
Machines & Mics King’s Breath’ or ‘Synchronous’ groove space might apply when it comes to
Padgham was also among the pioneers folders might supply with the Tama kit. actual drum recording. The Hitmaker
in combining electronic drum sounds Interestingly, for some of named folders, SDX is a sure-fire hit for Toontrack —
with acoustic drums, creating a hybrid of there are complementary patterns for both just brilliant.
the two. The SDX reflects that approach the acoustic drums and electronic drums
with a second sound library built from an (and Airy is one of these). Pick suitable summary
impressive list of hardware drum machines. acoustic and electronic presets for separate
Sources here include the Roland CR-78, instances of SD3, layer what are obviously Toontrack and Hugh Padgham have
absolutely nailed it with the Hitmaker SDX.
TR-707, TR-727, TR-808 and TR-909, related MIDI patterns, and see just how The iconic blend of acoustic and electronic
LinnDrum, Oberheim DX, E-mu SP-1200, two scarily close you can get to both the sound drums featured on so many hit records is now
Wendel Jr units and the Simmons SDS-V and performance style of some of these readily available in your own studio.
and Clap Trap. Padgham’s original approach very recognisable mega-hits.
of feeding their output into speakers within That said, there is a tremendous £ £139 including VAT.
the drum recording room to add life and amount of creative potential in simply W [Link]

12 December 2022 / [Link]

 ON TE ST

Eventide
Physion Mk II
Multi-effects Plug-in
We check out the updated version of
Eventide’s creative ‘Structural Split’ effect.
PAUL WHITE

hysion separates the incoming audio signal into Transient and

P Tonal signals such that they can be treated independently

before being recombined. It can be used for corrective
purposes, such as emphasising or de-emphasising the transient and start adding effects. With seriously good. The same is
of a drum hit, or for creative effects such as adding dreamy delay all the new effects options, true of the pitch-shifting, though
or reverb effects to guitar parts. A favourite trick of mine has been the range of results you can one limitation is that you can’t
to use only the Tonal sustain portion of a guitar signal to create an achieve is expansive, from adjust the balance of the three
excellent slow-attack effect which works reliably, regardless of the EQ’ing transients or dynamic pitch-shifters; they’re either on
input signal level. Physion Mk II takes the concept further, largely by modifications to huge ambient or off. Having only an on/off
adding a raft of new effects. washes. Those into ambient button for the Crystals effect
Many of these effects have been ‘borrowed’ from other Eventide guitar or keyboards will is less restrictive, as it seems
products; the filters, for example, are the same as those developed appreciate the Reverse Delay, perfectly dialled in to add just
for Eventide’s Split EQ. The spectral pitch-shift is a new one to me, as engaging Crystals produces the right amount of glitter and
though, and apparently it’s based on Eventide’s new SIFT (Spectral the same kind of result you interest to the reverse delays,
Instantaneous Frequency Tracking) technology. It’s very different might expect from a dedicated though there’s no option to add
from the traditional ‘slice and crossfade’ approach, and the practical granular processing effect, it to regular delays.
outcome is that the result sounds much smoother. There are now adding an interesting texture The outcome is most
side-chain Inputs for dynamics effects too, and a choice of three to reversed delays without predictable when using sounds
colour schemes: Normal, Dark, and Alt. getting in the way. Meanwhile, with a clear attack, such as
A moving waveform display shows the separated transient and a different effect could be guitar, piano or drums, but
tonal components, and if you simply want to use one component (for added to the transient part of you can have plenty of fun
example, to create that slow-attack effect), you can turn down or off the sound. For example, the Tap processing vocals or other
the Transient or Tonal section. A Structural Split control section allows Delay allows the user to set the less obviously percussive
the user to set the decay time of the extracted transient; Smoothing number of taps and then adjust sounds. For example, adding
and Focus controls adjust how the algorithm classifies Transient and their level taper and whether a long reverb to a vocal’s
Tonal material. The Transient signal can be treated to Delay, Tap or not the time between transient but a reverse delay
Delay, Dynamics, Phaser, Reverb, Gate with EQ, or Reverse Delay. taps progressively increases to the tonal portion produces
For the Tonal component, the choices are Delay, Dynamics, Pitch, or decreases. a very ethereal result! In short,
Chorus, Reverb, Tremolo, EQ and Reverse Delay. For the dedicated There are 500-plus presets, Physion Mk II is a real step up
Pitch effect, three pitch-shifts can be engaged simultaneously, which demonstrate the full from its predecessor, and given
each with a range of ±1 octave and fine-detuning options. When range of effects on offer, but my penchant for incorporating
Reverse Delay is selected, buttons for Ping Pong and Crystals creating new ones is easy. ambient elements in my own
allow presets for these effects to be added, and there’s a single In fact, I soon found myself compositions I can see it
pitch-shift option. A further control sets the Envelope Retrigger creating and saving new user getting a lot of use.
threshold for the reverse effect, and a button allows reverse effects presets, and it was such fun that
to be triggered manually. Normal delay offers Modulation or Warp I found it hard to drag myself summary
options, again in preset amounts, and delays may be adjusted freely away and focus on this review!
or tempo-sync’ed. Each effects section has its own wet/dry mix and An A/B Comparison and Undo/ With a raft of new effects on
board, Eventide’s wonderful
gain controls, and master Mix and Gain controls as well as a Bypass Redo feature can speed up
‘structural split’ plug-in now
button are found at the bottom. Either section can be soloed. workflow, as do the optional boasts more creative potential
In use, the first step is to optimises the splitting algorithm for the Tool Tips. than ever.
source: you select from a list of instrument or voice types (a general Eventide have always
setting seems to work pretty well for most unlisted sources) and, produced excellent effects, and £ £165 (discounted to £91 when
when using pitch-shifting, choosing mono or poly mode (the latter when you dial in reverb, delay going to press).
uses the new SIFT algorithm). Then you adjust the Structural Split or modulation, it always sounds W [Link]

14 December 2022 / [Link]

 WORLD CLASS MONITORS
MAKE WORLD CLASS MIXES.

ATC SCM25A PRO PMC 6-2 NEUMANN KH 310 HEDD TYPE 20 Mk2
A high-performance 3-way active ported design well Part of their new active studio range, 6-2 uses two Active 3-way nearfield with Neumann’s Mathematical 3-way design based on Klaus Heinz’s development
suited to smaller & medium studios. A long-standing custom 6” ultra-long-throw bass drivers for powerful Dispersion Waveguide offering a wider sweet spot of Oskar Heil’s Air Motion Transformer tweeter. CoP
favourite with superlative imaging and mid-range LF reproduction. Powered by four 400W Class D while also minimising reflections from the mixing (closed or ported) technology provides wide room
detail. ATC specify all components in-house and amplifiers with PMC’s latest DSP-based crossovers. desk. 4-position LF, low-mid and HF controls allow a integration & Lineariser® time domain compensation
hand build their monitors to meticulous standards. A great choice for Dolby Atmos systems. tailored response to different room conditions. ensures perfect impulse response for pin-point imaging.
£8150 pr £9360 pr £3780 pr £3458 pr

Kii THREE DUTCH & DUTCH 8c STUDIO PSI AUDIO A23-M GENELEC 8341A SAM
Groundbreaking monitor delivering 1500W per speaker Revolutionary design with powerful DSP ensures Stunningly accurate monitor with new in-house mid- 3-way point source monitor with coaxial acoustic
across 6 drivers. DSP controlled cardioid polar pattern. perfect integration in any room. Wide sweet spot. range driver. Outstanding linearity and low distortion. radiation. Smart Active Monitor (SAM) system auto-
Main monitor performance in a nearfield-sized cabinet. Rear subwoofer extends LF down to 30Hz. Compensated Phase Response for precise time alignment. calibrates the monitor to your room. Great separation.
£13950 pr £9948 pr £9336 pr £4598 pr

AMPHION One18 BAREFOOT Footprint02 FOCAL Twin 6 ST6 QUESTED VS2108

2-way passive monitor with passive radiator. Aluminium 3-way nearfield with dual-opposing 6.5” subwoofers, Focal have updated their popular Twin6 BE monitor Traditional 2-way monitor from legendary British
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 ON TE ST

Sonuscore Time Textures

Sampled
Instrument
Sonuscore transform
the sounds of
the orchestra
into cinematic
soundscapes.
JOHN WALDEN

onuscore have

S carved an enviable
reputation for their
virtual instruments such as
The Orchestra, Action Strings
2 (in collaboration with NI),
Elysion and Dark Horizon.
These products offer media
and film composers a range
of orchestral, processed
orchestral and non-orchestral As shown in the screenshot, a Time Texture in a literal sense as well, given that much of
sounds within an innovative preset can use either one, or a blend of two, of this is linked to the large Macro knob that
and very creative performance these underlying sound sources. In the first of those dominates the centre of the UI’s Main page.
engine. Their latest release aforementioned novel twists, Sonuscore refer to these By default, this is linked to your hardware’s
is Time Textures and, while two sound slots as ‘sound-emitting devices’, emitting mod wheel (via CC11, although you can
the underlying sound sources ‘particles’ at different ‘seeds’. While the documentation change this to another CC number if you
are orchestral in nature, this doesn’t detail the specifics of how the engine works, prefer) for hands-on control. You can link
time the engine is something I suspect there is some sort of granular synthesis almost any parameter within the engine to
new, aimed at transforming and resampling of the sample base being used this Macro control and the range over which
the sound of the orchestra during playback. each parameter is mapped is represented
into evolving, complex Over 200 preset patches are provided. This by an individually coloured line running
soundscapes. So, is it time includes categories for Natural (the original orchestral around the knob itself. While the engine
to add some texture to your flavour of the sound is more obvious) and Cinematic includes an LFO for each sound emitter slot
Sonuscore composing toolkit? (more processing and modulation applied), as well as for further modulation (this can target either
Single (a single sound source) and Couple (a blend of an EQ parameter or the overall gain level of
Source Of All Sound two sound sources). A useful set of character tags — the slot), and you can also use automation
Under the hood, Time Textures dark, ambient, rhythmic, evolving, magical, etc — let within your standard DAW for further
is built from a selection of you easily identify the sort of mood you are seeking. modulation options, this Macro control is
orchestral string, brass, very much the start of Time Textures’ sound
woodwind, piano and harp
Sound Emission evolution show. Pretty much every preset
sound sources. Samples for The sound creation process is visualised in real time includes several key engine parameters
each of the 12 main instrument within the UI, with the sound particles for each of the that can be simultaneously modulated via
types included feature two emitters being shown in their own X/Y displays. In this control.
a number of performance each case, the X (horizontal) axis shows the left/right The key targets for this modulation
articulations, up to six pan of each particle, while the Y (vertical) axis indicates process lie within the Control tab (the
round-robin samples and the different dynamic layers. The shape used to icon with three horizontal faders) and
up to five dynamic layers. represent each sound particle reflects the articulation Emitter tab (four circles icon) within the
However, while this sampling from which the particle is taken, and the engine’s Main page. On the Control page, Dynamic
architecture might sound like modulation system allows you to control how particles lets you influence which of the sampled
a conventional orchestral are drawn from the different articulations to shape the dynamic layers sound particles are drawn
instrument, Time Textures’ sound texture in real time. from during playback, while Movement
sound engine brings a number The modulation system is perhaps where the influences which articulations might be
of twists to the sonic plot. second twist in the feature set appears, and it’s a twist used, with both allowing you to ramp up

16 December 2022 / [Link]

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 ON TE ST
SONUSCORE TIME TEXTURES

The Control tab (shown for slot 1 on the left) and the Emitter tab The LFO and FX tabs add plenty of further creative options.
(shown for slot 2 on the right) provide plenty of targets for the Macro knob
modulation system.
mysterious, magical or tense perhaps even a step-based
the intensity of the sound generated at higher values. Octaves soundscape moods. The pattern modulation option?
adds in sound particles pitched one or two octaves above the preset names draw heavily on The latter may be particularly
note(s) played, while Speed determines the rate at which sound geology, ecology and biology, greedy, but I had a lot of
particles are emitted by each slot, changing the density of the and this perhaps reflects the fun adding some further
resulting sound. somewhat organic nature of processing to Time Textures’
Within the Emitter tab you get Attack Volume, Seed, Note the underlying textures the sounds via Cubase’s FX
Select, Pan, Spread and Gain controls. The latter three are fairly instrument features. There are Modulator plug-in (in the same
obvious. Attack Volume provides a means of intensifying the presets tagged as distorted or ballpark as Output’s Movement
initial attack of the sounds (it’s especially noticeable when playing aggressive, but perhaps not or Lunatic Audio’s Narcotic,
chords), while Note Select allows you to constrain which pitches in the hyped way an action for example), particularly for
within a chord are triggered by each of the two sound slots (so, movie trailer composer might creating rhythmic effects.
for example, if you have a Cello patch selected, you could force routinely require.
this to just play the lowest note, or lowest two notes, in any That said, if you are
Time To Add Textures?
chord). While it can’t be automated, Seed gives you an element seeking some inspiring Time Textures undoubtedly
of control over the underlying random elements within the sound textural elements or delicate suits a more thoughtful musical
particle generation process. The effect is generally quite subtle melodic parts to add to your context and it’s not designed for
but, if you want to ensure that your Time textures preset is at compositions, Time Textures crash, bang, wallop cues. And,
least going to start at exactly the same sonic point when you has some truly wonderful while it might be somewhat
open your project, this is apparently the way to do it. options. And, in almost every niche in sonic nature, it does
Assigning a parameter to the Macro knob is fairly case, there are additional a wonderful job of managing
straightforward, allowing you to specify both the range of beautiful details within the to add fabulous orchestral
mod-wheel motion over which a parameter is automated, and sounds to be revealed by textures to a composition but
the range of values for the parameter controlled by the specified appropriate use of the mod without just sounding like
mod-wheel range. Some of the controls are a little on the small wheel. Whether used on their another conventional orchestral
side but, once you have got the hang of the various options, the own in a cue that requires cue. This is both an impressive
sound-design potential is considerable. a more minimal underscore, trick and very inspiring to use.
There are further options within the LFO and FX pages. The or combined with more While the price might put it
former actually contains both a three-band EQ and an LFO conventional orchestral sounds out of reach for a more casual
modulator option. All the parameters here can be linked to the (such as those of Sonuscore’s user, I suspect busy media
Macro knob (so you can add EQ shifts to your sound design) The Orchestra), Time Textures composers are going to lap
although, as mentioned, the LFO (which offers sine, rectangle, sounds fabulous. it up. Sonuscore have done it
triangle and sawtooth shapes, all with beat-division tempo sync In use, I would make two again; Time Textures is highly
adjustment) only has a limited number of targets (EQ and gain). additional comments. First, recommended.
The FX section offers separate, send-based, convolution reverbs some of the presets do seem
for each sound slot, as well as options to define your own bank to be pretty CPU intensive. In summary
of four effects based upon Kontakt’s built-in processors that span fairness to Sonuscore, they Time Textures delivers some
dynamics, distortion, modulation, filters, reverb and delay. And, do state this in their marketing beautiful, often delicate,
again, individual effects parameters (for example, a filter cutoff/ material for the instrument. orchestrally inspired sounds with
resonance, or overdrive level) can all be linked to the Macro knob That said, given just how good fabulous sonic details that can
be revealed via the powerful
for real-time control. the sounds are, a little of Time macro-style modulation system.
Textures can easily go a long Busy media composers will
Texture Tryout way in a typical cinematic love it.
Even on first pass through the various presets, it’s clear that music cue. Second, I’d love to
Time Textures is very well stocked with ethereal, evolving see some additional targets £ €249 including VAT.
sounds, with plenty of options for creating dreamy, romantic, available for the LFO, and W [Link]

18 December 2022 / [Link]

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 ON TE ST

from Kontakt’s top-most control strip,

while Kontakt’s virtual keyboard displays
the well-thought-out trigger key mapping.
Phoenix’s controls themselves are
contained within a number of tabbed
pages. The upper third of the UI can be
toggled between Time, Sample, Mods
and Effects displays, while the lower zone
can be switched between the Waveform
and Edit screens.
This lower zone shows the four
engine lanes (layers), each of which can
be configured (via the buttons located
on the far right) to operate as a riser (on
the left side) and hit (on the right side)
combination or, spanning the full width of
the UI, a whoosh engine. Each engine can
be toggled on/off individually as required.
The Waveform view provides access to
some key controls (for example, volume
and pan). For risers or whooshes, you can
adjust the playback start position via the
Waveform display and, within some limits,
move the sample left/right to adjust its
playback position. The Edit view swaps
out the Waveform display for access to
a fuller set of controls for each engine.
These include a very useful low/high-pass
filter, pitch and, for the hit engines,

Vir2 Phoenix
a Speed control that, alongside the Rel
(release) control, can be used to adjust
the length of the hit portion of your sound.
In the upper portion of the display, the
Time panel allows you to set the length
Virtual Instrument samples, a user-friendly
engine for combining,
of your riser (or the rise portion of your
whoosh), either in seconds or beats (from 1
Vir2’s Phoenix is a one-stop shop manipulating and triggering to 32) and sync’ed to your project’s tempo.
your chosen combination of Whichever timing method you use, when
for rises, hits and whooshes. samples, and full control over you make a change, Phoenix stretches/
their timing and sync to your compresses the samples as required.
JOHN WALDEN
host project. The Sample panel lets you access
ound-design elements such as risers, hits In principle, this is very the neat tag-based browser so you can

S and whooshes (a riser that also includes

a similar tail/fade portion to the sound) are
now a common production element in all sorts of
similar in nature to a number
of the other tools designed
for the task such as NI’s Rise
audition and pick individual samples for
each engine. The Mods panel provides
access to four user-selectable processing
musical contexts. While building these sounds using & Hit or UVI’s Meteor. The options that offer either step-based or
old-school manual sample layering from scratch is relative appeal of Phoenix LFO-based sound modulation. A button
a lot of fun, it’s also time consuming. Thankfully for will therefore depend upon array on the far left of each engine lane
busy composers and producers, the last few years a) the capabilities and user allows you to enable any of the four
have seen the arrival of a selection of tools designed experience it offers and b) modulation effects for that lane. There
to take the heavy lifting out of this task. Vir2 are the the quality of the underlying is lots of fun to be had here and options
latest developers to pitch their hat into this particular samples (although, as we will such as adding a wash of reverb only at
ring. So, if you need to rise, hit and whoosh with see later, Phoenix includes the end of the hit phase, or a pitch drop
the very best, is Phoenix less mythical, but just as a cool twist in this regard). to the hit to create a ‘downer’ effect, are
magical, as its namesake would suggest? Let’s consider these two key easy to configure. The Effects panels
elements in turn. provide easily configured effects chains
It Is No Myth for both the individual engines and the
Conceptually, Phoenix is fairly straightforward in
Phoenix Sighting master output.
that it builds directly on the DIY process of sample Phoenix’s extensive It’s also worth noting that the keyboard
layering. In essence, therefore, what you get is an snapshot-based preset mapping for triggering your riser, hit and
underlying 14GB collection of rise, hit and whoosh collection can be accessed whoosh sounds is very well implemented.

20 December 2022 / [Link]

 61-KEY

73-KEY

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Redefining performance workstations, the Nautilus packs the power of
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Nautilus represents a new generation of keyboard workstation.
 ON TE ST
VIR2 PHOENIX

Switching the lower portion of the

display to Edit view provides access to
more detailed controls for each engine.

For example, it provides both

a global trigger (mapped to G1)
but also options for triggering
individual riser, hit and whoosh
engines (so you can mix and
match between your four
layers for added variety). The
hit engines are also velocity
sensitive, so you have control
over the intensity of the hit via
your MIDI input.

Drag & Drop DIY

I’ll come to the included sample
library in a minute but first let’s out of ways to blend and manipulate the but Phoenix can also do the lightest of
deal with the cool twist I mentioned supplied content. Oh, and do note the whooshes if you just need to create the
earlier: the ability to drag and drop your UI includes a simple randomise system faintest hint of a ghost passing behind you.
own samples into the engine. Each (via the dice icon located top-right of the If I was feeling greedy, there are
engine has a drag-and-drop zone (the browser panel) that offers a number of a few small additions I think would be
small downward arrow boxes located different ways to take a lucky dip with the great to see at some stage. For example,
at each end of the waveform display). included samples. the ability to adjust the end point of
Once imported, you have access to all Stylistically, the content covers the a sample in the rise engine would be
of Phoenix’s processing options and can kinds of ground you would expect and, useful (particularly when loading your
also save snapshot presets that include while that perhaps favours cinematic own samples of this type). A similar option
your own sample content. over more conventional pop music in the whoosh engine to adjust the end
During testing, this worked very applications, the ease with which you can of a sample (or adjust the release of the
smoothly although, of course, you have tweak the sounds (especially via those sample as you can in the hit engine)
to apply some common sense in placing very neat high/low-pass filters and the would also be helpful.
a suitable sample into the respective pitch-shifting) means that it’s very easy
engine type; Phoenix isn’t intended as to transform any sample into something
Conclusion
a full-fat sample editor. However, as even its own mother wouldn’t recognise. Phoenix has definitely risen out of the
a means of getting a new lease of life The Browser tags for the hit, riser and box with some style. If you already have
out of any riser, hit or whoosh samples whoosh sample categories give a good a well-established workflow with one
you have lying around, Phoenix does sense of what’s here. For example, we of the established competitors, then
an impressive job. Sample import will have Intense, Airy, Metallic or Sci-Fi perhaps Phoenix would be ‘good to have’
undoubtedly be something that attracts amongst the Riser tags; Dark, Drum, rather than ‘essential’. However, having
the attention of potential purchasers. Destruction or Sub amongst the Hits; or used a number existing riser/hit/whoosh
High End, Low End, Motion or Non-Tonal designer instruments that Phoenix is
Transformed Transitions? amongst the Whoosh tags. And, for trailer now going up against, I have to say
Sample import notwithstanding, it also has music composers, yes, there are plenty that I think the engine and front-end is
to be said that Phoenix’s included sample of hits that are big enough to do justice as good as it currently gets. The actual
library is well stocked with top-quality to worlds colliding and lots of edgy riser sound-design process manages to be
content. What’s here could be used in sounds to ensure the audience is already conceptually straightforward, efficient
the most sonically demanding of contexts on the edge of their seat before the worlds to use and very flexible. Add in that the
and it will be a long time before you run do actually collide. Epic is supplied... sounds themselves are excellent, plus the
ability to import your own sounds, and it’s
a winning combination. Media composers
are going to love it.

summary
For busy media composers, Phoenix makes
the creation of stellar riser, hit and whoosh
sounds a breeze via a well-designed UI and
slick workflow. Top-notch stuff from Vir2.

£ $199.95
The Mods page offers some powerful sound-design options via a pair of LFO and step-sequencer modulators. W [Link]

22 December 2022 / [Link]

 iD 44
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 ON TE ST

JBL EON 710

PAUL WHITE

hen choosing active PA

W speakers for smaller venues,

the options usually come
down to either a two-way, ported
Active PA Speaker
speaker or a mini line array. Both have
their advantages; as a general rule, JBL’s latest EON speakers integrate powerful digital
compact line arrays deliver a very
natural sound and they don’t block the
technology into traditional point-source PA.
sight lines in smaller spaces, such as they can be teamed with a suitable frequency response points are at 65Hz
pubs. They include a sub, so tend to powered subwoofer. They can also be and 20kHz.
have reasonable low-end performance, used on their sides as a stage monitors.
and they also score highly on their JBL’s EON700 series comprises
Round The Back
directivity, which is typically very wide three two-way cabinets with 10-, 12- or All the controls and connections are
but shallow so that little power is wasted 15-inch woofers, plus a subwoofer mounted on the metal rear panel, which
on the floor or ceiling and acoustic model. The EON710 is the smallest in also hosts the LCD screen. The power
feedback becomes less of an issue. the range, combining a two-way, ported button LED changes from red to green
If you favour this approach, JBL can active speaker with integrated DSP, and when the speaker is powered up. The
accommodate you — but a well-designed a backlit colour LCD screen that provides mixer has two physical mic/line inputs
two-way active speaker can also deliver access to a three-channel digital mixer, on combi XLR/jack connectors, while the
high-quality sound, and to my mind its output EQ, Bluetooth 5.0 audio streaming third channel accommodates streaming
main advantage is its flexibility. In smaller and Bluetooth remote control using the over Bluetooth, which is convenient for
venues, powered two way speakers can JBL Pro Connect app (iOS an both backing tracks and general music
be used singly or in pairs, and where It also includes processing ba playback. A thru XLR allows the mixer
more power or more low end is needed, dbx DriveRack technology to output to be sent to additional speakers,
automatic feedback suppress and user options include filter settings for
ducking, limiting, speaker de a subwoofer. The only rotary controls are
eight-band parametric outpu gain knobs for the two mic/line channels,
Protection limiting is al and a press-and-turn Main/Menu encoder
The 10-inch woofe used to access and adjust parameters.
a 2-inch voice coil, i A Back button below the Main/Menu knob
designed for the 70 lets you backtrack through the menu tree.
and is paired with a A single press of the Main/Menu knob
neodymium-powere opens the main menu, while holding it
compression driver down for more than two seconds mutes
a waveguide shape the speaker. Pressing and holding either
a dispersion of 110 channel knob for more than two seconds
the horizontal plan will mute just that channel. Separate LEDs
degrees in the vert indicate power on and limiter action, with
The injection-mo two further triple-colour LEDs above the
polypropylene enc channel gain controls acting as basic
fitted with a perfor meters with clip indicators.
grille and measure The mixer includes a few sophisticated
x 300mm. There’s options, such as having one of the audio
carrying handle an
mount, as well as m
points for optiona
brackets. The cab
designed to be sta
they can also be u
their sides as floo
where they point
45 degrees. At 11.
they are easily tra
and handled. Pow
from a Class-D am
at 650W RMS/130
the speakers pro
a maximum SPL o The EON710’s onboard mixer can accommodate
at one metre. The two mic/line sources, plus a stereo Bluetooth stream.

24 December 2022 / [Link]

 SONTRONICS
S
O
N
T
R
O
N
I
C
S ® ®

inputs duck the Bluetooth mic stream. Output EQ offers

task-specific presets and an optional 2dB bass boost, as
well as an eight-band graphic EQ. One thing to note is that
the speaker firmware may need updating from the app,
cardioid valve condenser microphone
and even if it claims to be up to date, tapping the orange
‘Check for Updates’ button may well reveal that one is
available. Until I did this, the app refused to communicate
control instructions to the speaker. The firmware update
took around 10 minutes, with the percentage counting
down in the app. After re-pairing as per the instructions,
the app worked fine, with physical control movements
being reflected by the app faders, and vice versa. “Sets
e s a new benchmark”
Jack Ruston, Reviewer
R (Sound On Sound)
On The Road
After doing some listening test indoors, I took a single
“Easily competes
o with
h
EON710 speaker to an outdoor pub gig to use as one side any vintage mic”
Paul Epworth (Adele,
e e U2, Coldplay)
d l
of the PA, with my usual mini line-array system handling
the other side. This allowed me to compare performance
during setting up, and I found that even without the
“An
A absolute
eddream!””
PJ Harvey, A
Artist/Composer
st/
feedback suppression active, I could get a very healthy
level from the EON710 before running into feedback. “So silky smoothh and
Activating the feedback suppression damps out the main
feedback frequencies as you raise the gain, and helps
beautifully
t y designed”
de
Andrew Dudman,
D Engineer (Abbey
( Road)
claw back a few dB of additional level as well as controlling
annoying ringing. As the EON710 was being used without
a subwoofer, my tests were based mainly on acoustic , DEVELO
ED

PE
DESIGN
guitar, electric guitar and vocals, but I also fed some cajon

D
K
through it. All tests were done with the system EQ set flat.

EU
M
&

Importantly, vocals come over cleanly as does acoustic ADE IN T

guitar, and while the low end can sound a little coloured if
pushed hard, I’d say that in that respect the EON710 fares
better than many similarly sized plastic-cabinet systems
I’ve tried. You can always use the output EQ to shape the
sound to your own requirements, and if you really need
a lot of low end, you should be thinking about adding
a sub anyway. There was also plenty of clean volume.
Though not directly pertinent to this review, I can also
confirm that, when teamed with my mini line array, the
EON710 produced a very credible stereo image for my
stereo effects, so this type of setup is a practical option for
enhancing the sound of a single mini line-array system.
The EON710 is neatly engineered, sounds clean and
punchy, and has some useful DSP features. As its basic
mixer can accommodate two analogue mic/line sources
plus an additional Bluetooth audio stream, it is also
a practical choice for solo artists or duos who use backing
tracks, and DJs will appreciate the ducking facility. There’s
also the remote-control option that could be particularly
useful during soundchecks.
In summary then, this is a very practical choice for
smaller venues, with the alternatives of its larger siblings
and/or adding a subwoofer if you need more heft.

summary
The EON710 is well made, flexible, and above all it sounds good,
whether used on its own or as part of a wider system.

£ £565.83 per speaker, including VAT.

T Sound Technology +44 (0)1462 480000
E info@[Link]
W [Link]

All our mics are covered by Sontronics’ unique LIFETIME WARRANTY

Find out more at [Link]
 ON TE ST

PreSonus Studio One 6

Digital Audio Workstation
PreSonus’ DAW software continues to grow and improve as PreSonus Studio One 6
it reaches version 6. £339
that they’re most proud of: the interface.
ROBIN VINCENT PROS
Change is risky, let’s see if it’s worth
• Brilliantly integrated Lyrics engine.
’ve been reviewing Studio One and the gamble.

I writing the monthly workshops for

Sound On Sound since version 4.
It’s been interesting to observe the
Start Page Smart Templates
Studio One 6 starts up in a very familiar
• Workable Video track.
• Super customisable.
• Track Presets and Templates.
• Expanded Channel Editor.
development, the movement and evolution way. They’ve modernised the option toolbar CONS
from a position of catch-up to a place across the top, so it looks a little bit less • No new instruments.
where it pushes the DAW paradigm into Windows 95 and a tad groovier. Previously • No improvements to Project or
interesting places. Studio One is both an when you hit ‘New’ you’d get a window Show Page.
• Not as much content as previous
innovator and an assimilator of features. It offering you a list of ‘Styles’ for different
updates.
desires to be all things to all people while song scenarios. These were called things
filling out the back catalogue with things like Band Recording, House/Techno, Piano SUMMARY
you may have missed along the way. Ballad, Podcast Production and so on. Each Studio One version 6 nicely shaves
off the workflow corners, gives us
In version 6 PreSonus have brought style would load up a selection of relevant
video and lyrics and makes everything
in some good stuff, expanded into much tracks and plug-ins ready for that particular optional. It’s a thoughtful update rather
needed stuff, and messed with the thing style of music making. than a meaty one.

26 December 2022 / [Link]

 PreSonus have now replaced these producing. When you load the Template, producing beats, if that’s what you want,
slightly patronising styles with ‘Templates’ you get a version of Studio One tailored to and point you to video tutorials if you still
that make a lot more sense. The choices that scenario with a couple of tracks loaded need more help.
are colourful and inviting with options and plug-ins ready to go in a similar way
like Record and Mix, Master and Release, as to before. But with Studio One’s new
The Writing’s On The Wall
Rehearse and Perform, Play Now, Record Track Presets and Customisation (which One innovation introduced by Studio One
Now, Create Content and Produce Beats. we’ll come to) this is more detailed and 6 is a lyrical engine. Thankfully that’s not an
They incorporate the Song, Project and intentional. Of course, you can also create AI powered song word generator, but it’s
Show pages without having to specifically your own. more than adding text under your notes.
separate them. Once selected you have PreSonus call them Smart Templates; It’s not very surprising because the recent
some options on the right to add audio files I wonder what that means? It could mean addition of score writing and the potential of
or make further choices. the inclusion of brilliant little tutorials that the Show Page all lead towards the need for
What immediately impressed me about talk you through a few steps of what you’re words. While being able to enter lyrics is not
them was how quickly they got me to probably going to be doing. I’m sure they’ll particularly innovative, the way PreSonus
what I wanted to do. Often, I’m dipping be annoying to seasoned users but to have baked it into the workflow is well
into Studio One to play something, or do newbies these are excellent. It’s like you’re thought out.
a quick recording and these templates get being warmly invited to try something The first place they appear is as a Global
me right there without having to start from out, which is so much better than staring Lyrics Track. This is in the increasingly
a completely blank project and without at a blank project wondering what to do crowded section at the top of the arrange
having to commit to the style of music I’m first. It will literally show you how to start page where you can currently display

Plug-ins
People hoping for some new and exciting plug-ins or
instruments will be disappointed with the version 6 update. It’s
been a long time since we’ve seen any additions to the Studio
One instrument line-up but that’s not to say there haven’t been
some improvements. MPE support comes to all the instruments,
giving in to the pressure parameter and offering per-note
modulation control. Side-chain support has been added to
the virtual instrument engine so that any plug-in that accepts
an audio input can take that audio from anywhere in Studio
One. These are good things, but a new and innovative synth is
long overdue.
On the effects plug-in side, the Autofilter has had some work
done, and the ProEQ is raised to version 3, with frequency band
soloing and dynamic boosting. Making the ProEQ dynamic is
a very welcome move, and they’ve built it in so it’s a feature you
can enable on each of the middle bands, meaning that it doesn’t
have to be dynamic if you prefer things a bit more static. The
side-chaining function works really well here as you can pipe in
audio from another track to attenuate similar frequencies when
it’s playing. It’s an elegant way to automate some of the mixer
functions you would normally do by hand and ear.
We do have a couple of authentically new plug-ins, though.
The De-Esser is designed to tame those difficult sibilances,
which is something you would have sworn was already there,
but the standout new plug-in is the attention-seeking Vocoder.
If you’re someone who is into vocoding then this plug-in The ProEQ update introduces dynamic elements.
is going to give you those warm and fuzzy robot feelings. The
Patch Matrix makes is brilliantly easy to use and invites you to
experiment even when you have no idea what you’re trying to
achieve. It essentially has you messing about with 20 band-pass
filters, which can do interesting things to your sound. The
result depends on the relationship between the Modulator
signal, which is the audio you’ve dropped the Vocoder onto,
and the Carrier signal. The Carrier can be a simple waveform
generated by the vocoder or, perhaps more musically, you can
take the output of another audio track or virtual instrument and
side-chain that in.
The Vocoder will nail those robotic vocals for you and can
be an interesting experimental tool. But it’s unlikely to be
a bread-and-butter plug-in that you’d be pulling out for every
mix. And so it does leave you feeling, in terms of new plug-ins...
is that it? Vocoder is impressive, but it and De-Esser are the only new plug-ins in this update.

[Link] / December 2022 27

 ON TE ST
PRESONUS STUDIO ONE 6

Arranger, Marker, Chord, Time Signature

and Tempo tracks, a Ruler, and the new
Video track, which we’ll come onto in
a minute.
With the Lyrics track active you can add
words into the timeline just as you would
with a Marker track. If you have your lyrics
in a text file, then you can drag and drop
that directly onto the Lyrics track and they’ll
get automatically extracted. Studio One
will see each line in the song as a separate
event and you can hit a key combination
during playback to snap each line to the
right place. It’s not lining the syllables up
with beats or notes or anything at this stage,
this is purely putting a line in at the start of
a bar or when it comes in. What’s nice is
that Studio One gathers all these words into
a Lyrics Display and highlights them as the
song plays back. It’s a cool karaoke-style
function but it’s actually more useful than The new Lyrics track and live Lyrics Display bring songwriting and navigation elements together nicely.
that. The Lyrics Display also functions as and this is where we get into syllables. words into the Lyric Lane, place them where
a navigation tool. So, say your vocalist wants You could have different lyrics assigned to you want them to be and then you can drag
to go back to the second line of the chorus, different voices within a choir, with Studio them into the piano roll where notes will
you can click on that line and your song One giving each track its own words. This obediently appear in a string. You can then
pointer leaps to that section of the song. is achieved by adding a Lyrics Lane to the move the notes to whichever pitch you want
Another vocalist-friendly feature is the increasingly versatile Automation Lane at and rearrange them. Mostly the notes and
ability to offset the highlight so that the next the bottom of the Edit window. Traditionally words stick together but not always, and I’m
line illuminates a few beats before it hits. this is where you’d find the velocity stalks for a bit unclear on the rules as to when they do
You can also edit the lyrics in the display, the notes in the piano-roll editor. PreSonus and when they don’t.
copy and paste, and move them to different have built on this space to include MPE Meanwhile, back in the editor we find we
bars. Editing in the Lyrics Display is a bit control, Aftertouch, Sound Variations in can also add lyrics in the Score editor view.
clunky and I’ve found it easier to make Presence XT, Musical Symbols, Modulation A new tool has appeared — the ‘Lyr’ tool
adjustments in the timeline. and more. But for this scenario It gives the — and just like adding accents and other
Coming back to the karaoke angle, the per-note detail that lyrics require. symbols, we can add words and syllables
lyrics can be pulled into the Show Page. It Each note in the piano roll gets to each note. The music with lyrics can be
only gives you a global view, though, not a corresponding text box in the Lyric Lane printed out as a song sheet.
the individual instrument lyric choices that that lets you enter a single word or syllable. All the time, the lyrics are carried
we get from the Lyric Lanes in the main Using space or tab you can quickly move through between editors, updated to the
page (see below). Put the Lyrics Display from note to note adding words. These Lyrics track and exposed on the Lyrics
window up on a separate screen for your lyrics can be seen in the Lyric Track if you Display. It’s very neat, very connected and
vocalist and that’s a perfect addition to your select the appropriate instrument from the nicely implemented.
Show Page performance. drop-down menu. And they come up in
the display but with the added bonus of
Video
Lyrical Lanes highlighting each word in turn rather than The largest feature assimilation of version
The Global track is not the only place the whole line. 6 is to finally sort out the video support. Up
where Lyrics can play. Lyrics can be tied to You can also produce notes from lyrics, until now Studio One has offered us a video
individual notes of individual instruments, which is as weird as it sounds. Write a few player, but with version 6 we get a whole
Video track. And yes, it’s another track that
appears in the Global track area at the top
Advanced Sphere Collaboration of the arrangement window.
The PreSonus Sphere is an online space where computers of collaborators. So, you can all be Video clips are treated like any other
you can share projects and invite collaboration sure you’re working on the latest version. event in Studio One, and you can drag and
with other users. This is now better integrated You can also invite non-Sphere users by drop them on to the track from anywhere
into Studio One. Rather than archiving projects simply entering their email address and they’ll on your computer. You can pack the track
and uploading manually, you can right-click and be able to download the project files into Studio with as many as you like, move them
send songs direct to your Sphere workspace One without needing to have an account. If you
around, change start and end points and
from the File menu. are the collaborator, you can join the session
When working with a project online, things from the File menu or go all the way back at the even do a reasonable amount of editing.
that have changed get updated between your Start Page where there’s a new ‘Join’ button with Trimming, cut, copy, paste, slip moving,
local computer, the online workspace and the an icon of a person. duplicate, ripple edit and clip replace are
all available in the same way as they are for

28 December 2022 / [Link]

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audio. While you can trim the video there’s The Video track lets you arrange and trim clips, leads us towards the new reality behind the
and extract the audio.
no fading or ability to crossfade clips at the tweaks — everything is optional. I’ve often
moment, but I wouldn’t be surprised if these importing MP4 and WMV videos, although it commented in the past on the tiny little
were features waiting to be rolled out in wouldn’t accept MTS. icons that Studio One enjoys and how they
a 6.x update. The video track is nice and smooth can get lost; well, now you can lose them
You can extract the audio from the video when zooming or scrubbing. The thumbnail completely. Or, to look at it another way, you
clips, and it’s placed in a sub-track. You can generation is good, and you don’t feel like can leave out the ones you don’t need and
do all the usual edits to the audio including its presence is dragging your project down. focus on the things you do.
crossfades, which is a little odd because You can easily pop the video player on to Right-click in a toolbar or the Inspector
the linked video doesn’t. However, it’s just another screen for monitoring, and that and you get the option to ‘Customize’. In
behaving like audio in Studio One does. If works well. I did encounter a bit of frame the Customization window you now have
you want to de-link the audio from the video freezing on the player when scrubbing with the option to turn various tools and options
you can untick the ‘Link audio track editing’ the transport, but a stop/start would sort on or off. DAWs can get busy. I mean, if you
button in the inspector or simply drag it to that out. take a moment to look at the transport bar,
a regular audio track and it becomes its it’s almost the entire width of your screen.
own thing.
Interface Overhaul And what is all this stuff anyway? Select
For frame-rate considerations Studio After spending so long crafting the ‘Minimal’ from the drop-down menu and
One lets you pull the frame rate from your streamlined workflow of Studio One it’s as if Studio One lets go of a deep sigh
video and use that as the timeline for your the stakes involved in messing with the of relief. Space is regained, the Inspector
audio. You can set this to be an automatic front-end are very high. So, when they talk goes blank, and the transport bar just has
function every time you import video. about powerful personal customisation it transport controls. It’s like dipping into
Once you’ve assembled your video makes me wonder about how much trouble GarageBand, and it makes you wonder how
clips and written your soundtrack you can I’m about to get into. much unnecessary information your creative
export the video and mixdown as a single Overall the differences are pleasingly brain was previously being pummelled with
video file. The choices I’m offered are slight. There’s some fattening, some during a session.
MPEG, MPEG-4 and M4V. I had no trouble rounding, some compartmentalising, which Of course, it’s only going to be good until
you’re trying to find that button that
did that thing that you do that you
now can’t remember the name of but
is essential to moving you forward.
But hopefully those moments of
mystery are few and far between.
It’s somehow ironic that as we like to
pack more and more features into
our DAWs the one feature that really
speaks to me is the one that hides all
the others.
There are a few other interface
developments that are worth noting.
The Channel Editor is massively
improved and utilised. Previously
it would take you to a blank MIDI
controller template which didn’t
seem to have much of a purpose.
With customisation you can disregard
superfluous toolbars and inspector fields to
focus on what’s important.

30 December 2022 / [Link]

 into the Channel Editor, you’ll find a bunch
of Macros already mapped to the most
relevant controls.
There are plenty more covering different
instruments and different scenarios, and it
looks like a lot of work has gone into making
them deep, integrated and useful.
To create your own all you have to
do is drag your track into the browser, or
right-click and select Store Track Preset.
You can do it with one track or with many
and it takes everything with it including all
the effects and routing. These could be
great and are certainly comprehensive
and a huge time saver. You could then
The vastly improved Channel Editor gives an overview of work them into your own Smart Template,
each channel including micro-controls for third-party plug-ins. although I’m still not clear as to why they are
‘Smart’ as such; smart-looking perhaps?

Now you have this lovely expanded view Send amounts across the whole console,
Conclusion
of the channel with columns for the Inserts, but it’s not totally there yet. Expectations are always very high when
Sends and Cue Mix. I’ve found the Insert Last but by no means least, we get track a new full update comes along. Previous
and Send fields in the Console, while very icons! I actually quite like this because I get updates have been overflowing with
compact and efficient, to be a bit fiddly, and a bit track-blind in Studio One and having new ideas, creative directions and the
this is so much easier on the eye. Studio a visual pointer to what a particular track welcome filling in of holes. Version 5
One likes to use what they call Microview is supposed to be about is helpful. There’s gave us Score editing, the Show page,
Controls, which give you access to plug-in a whole bunch, including a washboard and plug-in overhauls, Mixer Scenes, MPE
parameters on tiny sliders without having to a smiley face. and Sphere collaboration. In comparison
bring up the whole GUI. These are useful, The MIDI controller page is still there but version 6 feels a little underwhelming, more
smart and very fast for quick edits, but PreSonus have redesigned it to be more of an incremental update than a whole
they’ve only been available on PreSonus in line with the Show Page controller. It new version.
plug-ins. In version 6 this idea is extended looks nice, more compact, it’s all on the one That’s not to say the updates are not
to third-party plug-ins. And you can choose page with no scrolling and is overall less impressive. The Video track is well overdue
what parameters you’d like to see. This is intimidating. You can of course map these and very well implemented, and the Lyric
a superb development. controls to any parameter on any part of system is thoughtful, helpful and deftly
We now have three panning modes; any plug-in that’s loaded on the channel. It’s integrated. But those are very specific
Dual, Balance and Binaural. And the a great way to pick out the main controls updates that are really only of use to
Sends panning can now be locked to the you’re interested, in particularly if you use specific sets of users. The main update
channel pan. Another new Console feature this channel as template or saved preset for that affects everyone is the changes to the
that I can’t quite decide if it’s cool or a bit multiple projects. interface, the customisation, Track Presets
gimmicky is the Fader Flip. Basically, you and Templates. These are excellent and
can hit a button to change the main fader
Track Presets take Studio One’s workflow forward into
from controlling volume to controlling Send, Which brings us to Track Presets. Studio a neater, fast and streamlined paradigm.
Bus or Cue Mix amount. It does it for all the One already had the ability to store and load All of it is great, it’s just not as meaty
channels at once, not individually, and only plug-in chains for a channel. They’ve taken as the updates we’ve come to expect
makes sense for channels that have that this a step further by letting you save every from PreSonus.
destination in their channel strip. So, you aspect of a channel for instant recall. Track On the other hand, PreSonus have
end up not being able to move most of the Presets appear in the browser and can be a great track record of decent sub-updates,
faders because they aren’t routed to the dragged into your song. So, you might have and you could see version 6 as the starting
fader-flipped destination. You can right-click saved a combination of instrument and point for some of these new features
any of the Sends to flip it to the main fader, effects, or an effects chain for vocals, your which will get fleshed out and built upon
although the level control is just a millimetre favourite processes or group of tracks for over time. But my overriding impression of
from your mouse and it would be less effort recording drums. Studio One 6 is that it’s now a very mature,
to simply move the control than it is to flip PreSonus have made some factory comprehensive and versatile DAW that
it. I also found the options to be strangely presets for you, like the Beats+Vocal. can tackle almost every music and content
inconsistent when you right-click the When you drag it in it creates a vocal track, production scenario with confidence
channel strip and try to select the flipped loads a copy of Impact XT and generates and aplomb.
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then not, and then listed under a drop-down tracks already have appropriate plug-ins £ £339. Upgrade pricing available.
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[Link] / December 2022 31

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 TALKBACK

Authentically Plastic
Inga Copeland. So I’ve been listening to I need a good pair of monitors. Like, crystal
WILLIAM STOKES
that a lot. Mostly because it’s been very clear sound. At the studio here we have

U
gandan producer and performance moody in Kampala. It’s the rainy season. KRK monitors, which are usually OK, but
artist Tayo Alemi, aka Authentically So everything’s a bit hazy. It’s unusual for I tend not to be very specific about gear.
Plastic, creates experimental Kampala, but it’s nice. Things cool down Because in Kampala, we don’t have so
electronic music they describe as “free form a little bit, but I still prefer sunny weather! much access to it, you know? It’s not that
femme fuckery”. A mainstay of the Nyege Also an artist called Astrid Sonne. I’ve easy to find. And if you do find it, it’s not
Nyege festival, they are also associated been really into her stuff. It feels, kind of, cheap. So most of the gear that we have,
with the Kampala-based Nyege Nyege orchestral... I don’t know! Because I have we get when we’re travelling to Europe.
Tapes label and its offshoot, Hakuna Kulala. this obsession with music that sounds like We put some money together and try to
Authentically Plastic gained recognition there are chance operations in it. Accidental buy gear there. But, because it’s quite
in Kampala, DJ’ing at queer house parties things. And I get that feeling from this music. expensive, it’s still out of reach for most
as part of the underground dance music In my compositions I like to have some, like, artists here. So, this hyper-specific outlook
scene. “Even when I’m producing,” they say, unruly element in there, that sounds like it’s towards gear... I don’t really have that.
“I have the approach of a DJ; I come at it accidental. A chance element. Because we just make do with whatever
with that outlook. I started out with DJ’ing we have.
with controllers and playing on four decks. The project I’m most proud of
A lot of layering stuff on top of each other, I feel like I want to say my album that’s The person I would consider my mentor
getting loops and layering them, like, four coming up — but then, I don’t know, I think My Mentor is Rey Sapienz [artist and
different tracks on top of each other. A very I would need a bit more time to know if I’m founder of Nyege Nyege Tapes imprint
granular approach. really proud of it! I’ll say, the compilation that label Hakuna Kulala]. He was pushing me
“I’ve always been into music, but I think I released with ANTI-MASS, called DOXA. to come to the main studio and residence
it really exploded when I was in South It’s kind of like a mini-compilation, and it’s of some of the Nyege artists, where he
Africa for university. My first exposure to done in collaboration with my friends Nsasi was teaching classes on production. It was
electronic music was, you know, kwaito and and Turkana. The three of us make up very informal, it felt like being taught by
gqom music, all the stuff that was coming the musical side of ANTI-MASS collective, a friend in his bedroom. I started learning
out of South Africa. Those things were like and we did a bunch of collaborative tracks with Ableton. And the rest is history! It put
really new to me. That sound. I found it so through the pandemic. We were spending me into a space of wonderment, really, of
moving. I mean, it pierced me, with so much a lot of studio time together. It’s a reflection being inquisitive about how stuff is made.
intensity. I was also listening to a lot of stuff of so many things I feel about electronic A lot of my interest in experimental music
that was not from the continent, though. music and the direction that it should go— came also while I was in architecture
Experimental and noise stuff, from artists the direction that I want it to go, personally. school. I was learning this very critical way
like Gang Gang Dance and the Knife.” And making music collectively, with other of looking at things and thinking about
Since then, Authentically Plastic has people, is just really great! how things are made. That was my first
been a central resident of the maverick My favourite track on there is one exposure to the idea that music could
collective ANTI-MASS, which describes that I made with Nsasi, called ‘Galiba’. It’s be a tool for world-building, basically. So,
itself as having a “common interest in influenced by an intense acid trip that we being in those classes, finally learning how
shaking up traditional forms, techniques had together on Lake Victoria. We were out to make actual music... I felt, ‘OK, I can
and palettes; exploring them in all on a boat on the lake, and we had this acid use this to say something. To open up
directions, discovering new tensions in trip where the waves were just crazy on the a unique space.’
familiar methods, always with an eye lake and the boat almost capsized. But we I could say a lot about Rey. Rey is just
towards the alien and disorienting”. were hearing sounds on the lake. We were one of those people who lives and breathes
both hearing the same rhythm. So we tried music. Constantly making music and, like,
At the moment I can’t stop listening to to recreate those sounds on this track. has no other source of sustenance! Yeah,
Recently, I’ve been listening to stuff by his whole outlook is informed by it. For him,
like Dean Blunt and Hype Williams. Hype The first thing I look for in a studio it’s this solo thing that he does, but it’s also
Williams is his collaborative project with My studio setup is not very complex. But a communal thing that he also does. Rey is

34 December 2022 / [Link]

 Also with the beat, these very like sharp
highs. I really like that.
Also Hieroglyphic Being, I feel like
he does that a lot with his music. Very
saturated highs. I don’t know if it’s because
I’ve got some kind of hearing damage,
which makes me seek that out! When I was
learning how to produce, Rey was always
complaining, ‘The highs are like too high!’
but I’ve always been drawn to that.

The producer I’d most like to work with

It’s funny, because he’s in my mind... but
yeah, Hieroglyphic Being. I love that his
music is so saturated. I mentioned liking
these rolling highs — I find it kind of
hypnotic, and I feel that with a bit of his
music. There’s an intensity there that I don’t
hear from so many producers. I love that it’s
rhythmically complex, in the same way that
I try to be rhythmically complex. He’s from
Chicago. You can draw a line between Sun
Ra and Hieroglyphic Being. I think it’s very
much that same world. He has the same
kind of obsession with world-building and
Afrofuturism that Sun Ra had. Yeah. There’s
always this narrative, hinting at ancient
Egypt and things like that. There is even
an album that he did in collaboration with
members of the Sun Ra Arkestra.

The part of music creation I enjoy the most

I like sampling sounds from other releases.
But also making them go in a different
direction. Often I’ll just put effects on effects
on effects onto the sound, until it sounds
nothing like what it was originally. There’s
an enjoyment I get from that. Lots of the
samples I use are really unrecognisable
always checking up on everyone, seeing be able to move around in space. I cannot from what they sounded like originally.
if they’re making music! Seeing what new be inside, in the studio for long hours, just I like the process of getting something
stuff I’ve made. We’ll go to the studio and creating a track. Outside, I’m seeing other familiar and taking it in this completely
play stuff, which he’s always curious to hear, people around me, or I’m just on my own. alien direction. I really do like that. But also,
and he’ll give his feedback... yeah. he’s just Maybe it’s because that’s how I learned I like it when I sample something, maybe
a very open and caring, sharing person. He how to produce. a certain rhythm or a vocal, and there are
just has no limits. traces of the original sound in there. I think
The studio session I wish I’d witnessed that can be like a nice tension to have in
My top tip for a successful session There’s this track that I recently discovered, the track.
First of all, I like to limit it to just one day, at called ‘BB’ by Shygirl. I would like to make
least to build the skeleton of a track. I don’t a track like this. I find it really interesting. It The advice I’d give myself of 10 years ago
like coming back to things too much, unless feels like the studio session with this track I would say, ‘Just start making music!’ These
I’m mixing or trying to master something; must have been really fun, and I’d love to days, I just think, ‘Why didn’t I get into
those parts of the process. But yeah, for have been in that space. I always wonder this sooner?’ Not that I feel like I’m on the
me the studio is something I come to later. how they felt, making this. I like the very clock or anything, but I didn’t know I was
I don’t build tracks in the studio. I normally saturated highs in the track. It almost feels so into music at that time. ‘What are you
prefer to be outside! In an open space, sparkly but also very... deadly, also! The flow doing in architecture school? Learn how to
I suppose, where I can move around a lot of her voice on the beat is really incredible. like create music! Learn how to produce,
and feel the intensity of what I’m producing. I haven’t worked with vocalists before, somehow. Just get into Fruity Loops!’
So, usually my setup will just be my laptop but I’d like to think that if I did work with Because there are all these kids who are
and a Bluetooth speaker, outside. I cannot a vocalist it would sound like this. I would 21 or 24 and doing world-shattering stuff,
separate producing music from the need to aspire to like create something that level. you know?

[Link] / December 2022 35

 ON TE ST

Nugen Audio Halo Vision

Analysis Plug-in For Stereo & Immersive Formats

TREVOR MICHAEL A good real-time analyser can draw attention to what our
ears miss, and with multi-channel formats that second
ugen Audio have a strong

N reputation for their analysis and

metering plug-ins and their latest,
Halo Vision, works not only with stereo
opinion can be invaluable.
versions of Windows Vista and above, and
a surround-compatible DAW that supports
can be moved, enlarged or reduced, and if
there’s one you don’t need to see you can
signals but also 3D and immersive audio the usual 64-bit AAX, VST3 and AU plug-in remove it from the display entirely. You can
formats up to 7.1.2. The minimum system formats. My own Atmos-equipped studio is also store and recall customised layouts.
requirements are Mac OS 10.9.x or 64-bit based around a Mac Mini running Pro Tools. You might have, for example, a master-bus
layout displaying all modules, and another
Nugen Audio Halo Vision Seven Wonders setup showing only the correlation meters.
£250 Halo Vision can pack seven handy analysis In the top right-hand corner of each
tools into a single interface: a correlation module, a drop-down menu allows you to
PROS
• Clear, intuitive display.
matrix, a correlation web display, close that module or expand it to use the
• Can customise the GUI, including a frequency ‘haze’ display, a location entire display. You’ll also find settings which
hiding modules. haze display (energy distribution), an allow you to customise the module, for
FFT spectrum analyser, peak meters, example by changing meter colours, setting
CONS
and a timecode display. And you can tell the frequency haze range, and specifying
• None.
straight away that someone has thought hold times for PPMs. More on that below.
SUMMARY it all through: the GUI is neat and cleanly
Halo Vision is a beautifully designed laid out, so that it all feels uncluttered; it’s
Correlation
real-time visual analysis suite for
super-easy to see what’s going on. It gets When working in stereo, we have two
surround and immersive audio that can
put everything you need to know about better, though, because you can customise channels that may occasionally get ‘folded
a signal in a single, good-looking GUI. the layout to meet your needs: each module down’ to mono, and when that happens,

36 December 2022 / [Link]

 Figure 1a: A default stereo instance of Halo Vision. Figure 1b: Essentially the same view, but this time for a 7.1.2 project.
out-of-phase components cancel. When that channel pair. In Figure 2 below, the Next up is the timecode module, which
working with multichannel or immersive arc meter is locked to show the correlation can be toggled between frames, samples,
audio there’s more scope for such between the left and right channels, and we and milliseconds. Working in music as I do,
cancellations to occur, since there are more can see there’s no problem. this bit seems almost unnecessary: I have
channels and more potential formats: your Both correlation views indicate what a timecode display in my DAW, so why
7.1.2 mix may get folded down to 7.1, 5.1, 2.1 Nugen call ‘contextual phase correlation’, would I need another one? One reason
2.0, etc. So a meter that can alert you to any which they developed for this plug-in. might be that if you wish to fill a separate
problems in this regard is very welcome. Essentially, it’s a form of weighted screen with this plug-in, you can have your
Figure 1a shows a default stereo instance correlation metering, whereby the greater transport information there. Also, I guess
of Halo Vision with all seven modules, and prominence is given on the meter to the that if, like me, you always have your
Figure 1b a 7.1.2 instance. In the top-left of highest-level signals in a multi-channel DAW display bars and beats but clients
each is the correlation web module, which setup, whereas lower-level ones — which come back with comments in minutes and
shows the phase relationships between the are often dominated by noise and other seconds, it could be a useful to have both
different audio channels, and in the stereo largely unimportant low-level information displayed. Of course, if you have no use for
instance it’s pretty straight forward. The line — are given much less prominence. Thus it then you can simply close the module to
between the L and R glows red when the the meters lead you to focus much more free up a little more space for those PPMs...
correlation between L and R falls below strongly on where real-world problems Speaking of which, the PPMs (Figure 3)
a user-defined threshold (specified in that are likely to reside. This makes total sense are by default ITU-R B.S. 1770-compliant
module’s settings pane). The same concept to me, but if you think it’s not for you, you True Peak meters, and in this modern
applies in the 7.1.2 instance, but the picture always have the option to turn contextual world of streaming that’s invaluable. They
is inevitably more complex, since there are phase off in the settings! can be switched to indicate conventional
now 10 channels at play instead of two — sample peaks though, as well as Apple
the line between each pair lights up when afclip (another inter-sample peak standard,
there’s a problem. this is similar to ITU-R B.S. 1770). You can
Moving right, the correlation matrix adjust the meter’s display range and specify
module again shows the phase relationship the colour of various ranges on the meter.
between pairs of channels, but in this case There’s also a handy peak-hold feature.
the small squares change colour from
green (in phase) through yellow (zero on
Hazy Shades
a conventional goniometer), to red (out The two haze views are my favourite meters
of phase). in this plug-in. After all, they involve lots of
There’s also an arc view, which by default pretty lights and colours and who doesn’t
shows the correlation between L and R and love that? Seriously, though, there’s more
in stereo mode works in a similar way to the to these displays than a pleasing lightshow.
web correlation meter. In a multi-channel As the manual puts it, the frequency haze
configuration, though, hovering over display (which you can see on the left of
Figure 2: The arc meter. In multi-channel
a square changes the arc meter to display formats, hovering over a square causes the arc to Figure 4) shows “frequency content across
that pair of corresponding channels, and display the relationship between two channels; the surround panorama, providing a general
clicking on the square will lock the arc to clicking the square locks the meter to them. perceived location of tonal information,”

[Link] / December 2022 37

 ON TE ST
NUGEN AUDIO HALO VISION

whereas the location haze display (on the

right) “shows the energy distribution across
the surround panorama”. The frequency
haze display shows lower frequencies at
the centre of the circle in dark colours,
higher frequencies towards the circle’s
edge using brighter colours, and channel
positions around the outside of the circle.
The location haze display works in a similar
way, with brighter colours indicating
more energy. When running in a 7.1.2
configuration (as in Figure 4) extra meters
appear in both displays to show you the .2
height information. Figure 3: Halo Vision has several options for true-peak and conventional sample-peak metering.
The final module is the FFT spectrum
analyser, which you can see in the picture at
the top of this article. This has two modes.
Combined mode shows the loudness at
different frequencies across all channels.
Handy, but I find Groups mode much more
useful. In this mode, you can create groups
of channels, colour-code them, and display
them all on the same analyser.

In Use
That’s the theory, but how valuable is all
this in the real world? Those who work in
Dolby Atmos for music will be aware of
the beds versus objects discussion. This
isn’t the place to go into that in detail, but Figure 4: Halo Vision’s two haze meters look great — but they’re much more than a fancy lightshow!
if you’re mainly using objects and only use
the bed for LFE content, then you may not The first plug-in on that aux input has could not be 100 percent confident in
need Halo Vision. Or, rather, you won’t need long been a PPM, on a second screen off what I was hearing. Halo Vision helped me
all of its features. In my Dolby Atmos Pro to one side so that it’s always visible as confirm that I was in the right ballpark. Other
Tools template, I rarely use the bed, but I build my mixes, and I know as I’m getting meters can offer that sort of feedback, of
I’ve created what are becoming known as the drum sounds together exactly where course, but having everything on one clear
object beds. I have a 7.0.2 channel object I should be hitting the meters; when the mix and intuitive GUI was really helpful.
bed on an aux, to which I send anything in is ready, I know my levels are good going
the mix that won’t need to move around the into Pro Tools and I’m hitting the limiters on
Conclusion
room too much. I also have a quad object the aux channel just right. I’ve now replaced We all know that we shouldn’t rely on our
bed for my height channels, and with an that meter with Halo Vision. With one eyes to tell us what’s going on with audio;
instance of Halo Vision on both those beds, glance, I can now check not only the levels we should use our ears. But sometimes,
I find the ability to see how the channels but also phase, width, and frequencies. especially after long days in the studio,
are interacting with each other valuable, Here’s another useful tip. In my main our ears can deceive us, so a good visual
especially on the 7.0.2 object bed. If I switch Pro Tools mix template, I now have a stereo ‘second opinion’ of what we’re hearing is
the spectrum analyser from Groups to aux labelled ‘phase check’. Its outputs are indispensable. In Halo Vision, Nugen Audio
Combined mode, I can see a representation muted, and on it I have an instance of Halo have come up with a product that I can’t
of how things will fold down into the Vision. For any instruments in the mix that recommend highly enough. In the two or
stereo or binaural version of the mix. So were recorded with multiple mics (typical for three weeks that I’ve been using it prior to
Halo Vision allows me to see pretty much kick drums, snare, electric guitars and more), writing this review, I’ve found it incredibly
instantly what’s going on. it’s quick and easy to send them to this aux useful in various scenarios, in immersive
When I mix in stereo, I use a hybrid to see what the phase meters are telling audio workflows and in stereo projects,
analogue/digital setup. Everything comes me; I don’t have to insert and open/close on location and in the studio. You needn’t
out of Pro Tools, through various bit of a separate plug-in for every source. take my word for it, though: Nugen Audio
analogue outboard and into analogue Finally, last week I recorded two nights’ offer a 15-day fully working demo of all their
summing, and the stereo mix gets routed performances in a live environment. At the products so it’s well worth a trial.
back to Pro Tools using an aux input. On end of each night, I had to run out a rough
that aux, a few final plug-ins complete my mix of the recording so the producer
£ £250.80 including VAT.
mix-bus processing, and the signal is then could hear what we’d captured. As is often T Nugen Audio +44 (0113) 357 2250
routed to an audio track, so I can print the the case, I was in a poorly treated room E sales@[Link]
mix with all this processing. backstage, using unfamiliar monitors, so W [Link]

38 December 2022 / [Link]

 ON TE ST

Another impressive distinction

United Studio compared with similarly priced mics I’ve

looked at is that all the key components
of the Twin87 were developed by UST
themselves, without any outsourcing. The

Technologies
capsule is a custom-made, gold-spluttered,
dual-diaphragm K87-style capsule, while
the US-made output transformer was
developed specifically for this mic, with
much more ‘metal mass’ than would

UT Twin87
Large-diaphragm Capacitor Microphone
typically be found in a mic of this style. All
other components could be described as
‘high end’, and the price appears to be very
competitive for a mic conceived in such
a boutique style.

Twin Features
UST’s latest mic gives you claim the newer ‘Ai’ version has a brighter,
less pleasing tonal character than the older All the features you might expect of
two Neumann-inspired ‘vintage’ model. Despite the differences a U87-style mic are present on the Twin87,
classic flavours. between the versions, both are excellent so you have a choice of three polar
and very popular studio microphones, and patterns, a -10dB pad and a high-pass
NEIL ROGERS
with their Twin87, UST are claiming to offer filter. The filter is specified as being 12dB
reviewed UST’s debut microphone in the sound of both in the same microphone. down at 80Hz, and with a “gradual” slope.

I late 2020 and was impressed by how

they had accurately captured the sound
of the Neumann U47 FET — to the point
One of the key differences between
the original U87 and and the newer
U87 Ai relates to the capsule and how
This suggests a high turnover frequency
tailored to compensate for proximity effect,
much like the filter on the U87 and Ai.
where I was very happy to recommend it was polarised. When the U87 was first The key selling point of the Twin87 is
it as a direct, cheaper alternative to the introduced, Neumann had to modify the K67 its ability to replicate both incarnations
original. Their latest release attempts capsule, originally developed for the classic of the U87. The switch that chooses
to do the same with another Neumann U67 valve mic, to run on 48V phantom between them changes the way the mic’s
model, but adds an interesting twist that power. The new capsule was designated electronics interact with the capsule,
offers a solution to a classic audio Internet the K87. However, when Neumann decided remaining faithful to the different originals.
forum debate. to revise the U87 in the mid-1980s, In Vintage mode, the Twin87’s circuitry
The Neumann U87 needs little a DC-to-DC converter was added, and this polarises the capsule directly using
introduction, having been a mainstay allowed Neumann to revert to the original phantom power, as on the early U87, whilst
in studios since the late 1960s. Known K67 capsule. The now-redundant battery in Modern mode the capsule is polarised
for being a high-quality, reliable studio compartment was removed and Neumann at a higher voltage, using a FET oscillator
workhorse, the mic was revised in 1984 as also raised the polarisation voltage to circuit as found on the U87 Ai.
Neumann attempted to improve certain 60V, delivering a 3dB improvement in There are a couple of additional
aspects of the design. Many engineers signal-to-noise ratio, as well as a hotter features that might be of interest to U87
output. It’s perhaps not a great surprise that aficionados, the most significant being
United Studio these changes produced a slightly different- the addition, as standard, of an apparently
Technologies sounding microphone, and many claim common modification (though one that
that the newer model is brittle and harsh I personally wasn’t aware of). When the
UT Twin87 compared to the original. Certainly, non-Ai Twin87 is set to cardioid, the mic mimics
£795 versions fetch more on the used market. the ‘true cardioid mod’ that some U87
PROS owners choose to get done. This takes
• Good all-rounder studio mic.
What’s In The Box the rear diaphragm of the capsule out of
• Vintage mode sounds very similar to The UST Twin87 comes in a stiff foam-lined circuit, apparently yielding a purer cardioid
a vintage U87, while Modern mode cardboard box, and includes a slightly polar pattern and better signal-to-noise
offers a slightly brighter sound.
• Includes additional U87 mods for
disappointing sleeve-type case of the type ratio. If that’s not enough for you, you can
those so inclined. you would typically use to store a cheap also go down the rabbit hole of engaging
• Good value. dynamic mic. I can appreciate the tough or disengaging the output filter that was
decisions that have to be made to bring added at some point in the U87’s career
CONS
• Despite the low price, I still want
a quality-sounding mic in at a certain price to remove RF and EM interference, and
a proper case with my mic. point, but I would happily pay a little more which some people think has an audible
for a proper case to store the mic in. The effect on the sound,. The Twin87 ships
SUMMARY mic itself looks solid and professional, and with the filter disengaged, but it can be
The UST Twin87 offers users a clever
the cradle that is included is of a better activated by a fairly accessible DIP switch
way of combining the sound of both
versions of a studio classic in a single, quality than other mics I have reviewed inside the mic. While I wasn’t prepared
affordable microphone. around this price range. to go down this route myself, it might

40 December 2022 / [Link]

be a fun experiment if you purchase the
mic, and be a useful feature if you are in
a working environment that is prone to
electrical interference.

In Use
The Twin87 arrived during quite a varied
and busy period at my studio, and it struck
me as I started writing this review just how
much I ended up using it. It was one of
a couple of mics that stayed on its stand
throughout a busy few weeks, and without
me giving it much thought, it ended up
filling the role of studio all-rounder with
ease. Its jobs included lead and backing
vocals, a drum room mic, acoustic guitar,
podcasting, and an ADR session for a short
film. On listening a bit more forensically
once I had some downtime, the UST in its
Vintage setting sounded very close indeed
to my own 1971 U87, which explains why
I immediately felt confident using it on
vocals, and why I also didn’t particularly like
how the forward midrange sounded in front
of a drum kit in my live room. Switching
between the two settings, the Modern
option clearly sounded a little brighter,
drawing your ears more towards the
higher end of a voice or instrument whilst
sounding a tiny bit leaner in the low mids.
This isn’t a ‘night and day’ difference, but
provided a nice option for tailoring the mic
to a source. I tended to prefer the Vintage
setting on voice work, but liked being able
to introduce a bit more high-end detail on
guitars and other other acoustic recordings.
It never felt like I was swapping out the mic
for a different one, just introducing a subtle
change in character.

Summing Up
It was only after using the mic that
I checked to see how much it was selling
for. I was quite surprised when I saw the
figure as I was expecting it to be around
the £1000 mark, based on my experience.
I was immediately happy using it in place
of and alongside my own vintage U87,
and found the ability to quickly change
settings to introduce a bit more top end
to be very useful, and more than just
a novelty feature. There are a couple of
good options now for a U87-style mic
around this price range, but the Twin87
should definitely be near the top of
your shortlist.

£ £795 including VAT.

T SCV Distribution +44 (0)3301 222500
W [Link]
W [Link]

[Link] / December 2022 41

 TECHNIQUE

Learn to stop worrying and but even if you don’t care about how your guitar track was hard panned left and right
music sounds on phones or cheap radios, with different amp simulator settings, but
love your mixes with our auditioning the mix in mono will give you I’d failed to spot that one of them was
10-point checklist! another window on your mix balance, inverting the polarity of the signal. So
especially if you A/B your own mix against much for my lovely wide guitars...
SAM INGLIS your references. Most decent monitor
Small Speaker Listening

T
he hardest thing about mixing controllers and many audio interfaces
is stopping mixing. No matter have a dedicated mono button, and if not, Some engineers like to do the bulk of
how many songs you work on, it’s easy to use a plug-in in your DAW’s their mixing on small, bandwidth-limited
you never lose the fear that comes master channel. If at all possible, I strongly speakers such as NS10s or Auratones.
with pressing Send. Have you missed recommend using a single speaker to do Others prefer to use the best monitors
something obvious? Will the client or the your mono checks. available. Either way, though, it’s
mastering engineer throw up their hands On a related point, it’s also worth looking a confident engineer who allows their
in horror? Does your mix contain some at your mixes through the prism of a phase mixes to go to mastering without
deadly flaw that will make it unlistenable correlation meter. A consistent negative having listened to them on some sort
on phones or over the radio? reading may indicate problems that aren’t of consumer playback system, whether
It’s easy to worry too much, and at obvious even on a quick mono check. For that’s a boombox, a car stereo, or
the same time, you can’t anticipate what example, in a mix I did recently, the same a modern device such as a smart speaker
other people will think of your mix. But if or digital radio. But what are you
peace of mind is what you’re after, there listening for?
are a few simple checks that can help
you pick up on common problems while If your monitor controller or
there’s still time to fix them! interface doesn’t have a mono button,
there are lots of free plug-ins that will
do the job for you. I like Mono from
Mono Compatibility Hitshaper because it offers the option
There are still plenty of mono or of routing the mono signal only to the
near-mono playback devices around, left or right speaker.

42 December 2022 / [Link]

 Avantone’s Mixcube is a popular update on the Simply compressing a vocal or other lead
classic Auratone 5C, and fulfils the same role in the level is relative, not absolute. Simply instrument hard is no guarantee that it will sit in the
studio, throwing the focus on the midrange. pinning a compressor doesn’t guarantee mix at a consistent subjective level. Use your ears
that the voice won’t subjectively be too and, if necessary, fader automation.
The point of doing this is to check loud in some parts of the song and too
what’s often called translation: that the quiet in others. It will depend what else applying pitch correction to anything, it’s
mix balance doesn’t change too much is happening! Check, too, that elements alarmingly easy to go too far. Take a step
from system to system, and that all the such as breaths, lip smacks and sibilants back and ask yourself whether your work
important mix elements can still be heard. aren’t distractingly loud. actually enhances the track, or whether it
So, for example, in most genres you’d stands out as clumsy and heavy-handed.
probably want the bass instrument and Tuning & Timing
the kick drum still to be audible even on It shouldn’t be the mix engineer’s job to Mix Tonality
small speakers, but you don’t want to make sure things are in time and in tune, By far the most common mix issue
achieve this by piling on 50Hz until the but it often is. And because fixing those I encounter is a lack of balance across
speaker can’t cope any more and starts to things is tedious and difficult, it’s easy to the frequency spectrum. This is often
distort! Small speaker listening is also very put it off, or turn a deaf ear to problems caused either by a deficient monitoring
useful in implementing several of the other that really should have been dealt with environment, by only monitoring
checks I’ll be describing in this article. further up the production chain. Vocal on headphones, or by forgetting to
tuning is the most obvious issue here, reference against known good mixes
Vocal Level, Tone & Intelligibility but don’t ignore the possibility that other in the same genre. Most often, the
One reason why some engineers work aspects of the performance might need symptoms are too much or too little
on small speakers is because they find touching up. The drums might have been going on below 100Hz, exaggerated
it easier to get the vocal level right that played to a click, but how closely do they treble, or a deficient upper midrange.
way. Mono listening can also be a great actually follow it? Does the guitarist tend Matching the tonality of a reference
way to confirm that the vocal is sitting at to lean forward just a bit too much? Are by ear is not always easy, especially if
the Goldilocks point in your mix. Either those doubles as tight as they could be? the tracks themselves are noticeably
way, what’s vital is to be clear about what Is the bassist really in the pocket? Does dissimilar, so don’t be afraid to use
you’re trying to achieve with the vocal. he or she tend to push the odd note a bit metering tools to compare them.
In general, it’s desirable that the words sharp when fretting hard? Frequency-matching equalisers such as
be intelligible and that the voice sits at Depending on the genre and the Logic’s Match EQ can also be a great
a consistent level in the mix. But that can artist’s preferences, it may be that you way of experimentally putting your mix
be achieved in many different ways. In should leave well alone. But one thing in the ballpark of another. Be aware that
a sparse piano ballad, you’ll probably to be careful of is the possibility that the window of acceptability in terms
want to keep the vocal very forward, the your mixing work has actually created of tonality is fairly broad, though. If
vocal sound full-range and hi-fi, and the or exaggerated issues that weren’t matching the tonality of a reference track
effects quite lush. In some rock genres, obvious in the rough mix. For example, would require extreme EQ, and the only
the aim might be to get the voice to cut compression is a time-based process, good-sounding way to get there would
through despite it being quite low in and applying audible amounts of gain be to re-record the entire song, you might
level relative to the guitars, and doing reduction with different time constants to be better off finding more references!
so might involve audible distortion and different sources can alter the perception Note, too, that if your reference track is
considerable sacrifice in the low-mid of musical timing — sometimes in ways in a different key from the song you’re
department. Note that consistency of that you don’t intend. And once you start mixing, the low end is unlikely to measure

[Link] / December 2022 43

 TECHNIQUE
10 E S S E N T I A L MI X C H EC K S

many cases it’s also necessary to fulfil

a technical specification, and before
you upload your final version, make
sure you know about and meet any
such requirements. For example, many
broadcasters and production music
libraries will lay down fairly detailed
stipulations about sample rate, loudness
and so on. You may be expected to
supply vocal up and instrumental versions
of your mix, or worse still, to generate
stems. Some clients will even check that
your stems sum perfectly to match the
stereo mix you’ve supplied, and if you’re
using any sort of dynamics processing on
the mix bus, this is not trivial to achieve.
Many DAWs and third-party plug-ins offer EQ
matching features, as well as spectral analysers when close-miked, and in many cases it Development Opportunities
that will compare your mix against a reference. contributes only mud. Most of the checkpoints I’ve covered
so far are more technical than creative,
exactly the same, because the root notes Devils In The Detail but as with anything in music, technical
will be at different frequencies. Mixing on headphones alone is fraught perfection is ultimately secondary to
with difficulty, but as a mix checking artistic value. That doesn’t necessarily
Bass & Kick Level tool, they can be very valuable. That’s mean your mix will be better if it’s full of
In most rock, pop and electronic music, especially the case when it comes to glitches, or if no-one can hear the bass
the low end of the mix is provided by ironing out those little glitches and drum — but it does mean that a mix can
just two parts: a bass drum or kick, and gremlins that can creep into any mix. So be technically adept whilst also being
a bass guitar or synth playing a melodic give your track the once-over on cans utterly boring, or missing the point of the
line. These are key elements in any mix, and listen out for hiss, bad edits, clicks, song. So I think it’s worth asking yourself
and they need to be at the right level. plosive pops, messy fades, parts that whether you’ve really made the most of
They also have a strong influence on the don’t start and end in quite the right the materials at your disposal.
tonality of the mix, as described above. place, rogue snare hits that haven’t made For example, one common mix failing
A synth bass that is all 50Hz sine waves it past your gate settings, clipping on loud is being too safe. It’s easy to fall into the
might simultaneously make the mix too notes, and so on. trap of thinking that your job is done
sub-heavy whilst also being inaudible on when every part in the multitrack has its
nearly all playback systems. A bass guitar Delivery Requirements own little niche in the mix, allowing the
played aggressively through a distorted Mixing is primarily about making a track interested listener to clearly hear each
amp might cut through the mix perfectly sound as good as possible. But in instrument at a respectable level. But
well without actually anchoring it at the
bottom as it’s meant to do.
Checking the bass and kick level,
therefore, means two things. On the
one hand, those elements need to sit
consistently at the right musical level
within the track, regardless of the
playback system in use. And on the
other, they need to contribute the right
amount of sub-100Hz content to the mix
as a whole. Generally speaking, this is
a lot easier to achieve if the two parts
are tonally complementary: for example,
your bass drum might provide most of
its low-frequency energy in the 50-60
Hz region, whilst the bass guitar mainly
occupies the next frequency band up. It’s
also a lot easier to achieve if there aren’t
too many other parts using up the limited
headroom in this part of the spectrum.
Pianos, guitars, voices, snares: there are The kick drum is one of the most important elements in nearly all rock, pop and dance mixes. Whether it’s
lots of sources that can have significant acoustic or electronic in origin, it has to deliver the right amount of low-frequency thump, yet usually needs to
low-frequency content, especially be audible on small speakers too.

44 December 2022 / [Link]

 Mixing on headphones you send yours in, carry out an honest,
alone is not recommended, level-matched comparison. Have you lost
for good reasons, but mix some of the excitement? Have you missed
checking on headphones is the point of the production? Could the
a very good idea!
things you’re hearing as flaws actually be
qualities that they like in the rough?
and compressing the In the DAW age, over-mixing is
room mics to snot. Or a constant danger, and it can manifest
maybe there’s more itself in all sorts of ways. It can mean time
you could do with wasted pursuing technical excellence at
spot effects, risers the expense of making the results sound
and so forth to create too polite. It can mean over-using effects.
attention-grabbing It can mean compressing and EQ’ing
moments throughout things that don’t need compressing and
the song. Would it EQ’ing, including the mix bus. It can mean
be a better mix if it over-reach on the part of the mixer, for
is that actually the approach that best focused more strongly on a few key instance by using samples to replace
serves the song? parts, rather than presenting everything perfectly good drum tracks, or quantising
Another common issue is that a mix at once? Does the chorus feel like parts that actually had good natural feel.
doesn’t develop or maintain the listener’s a let-down after the verse and bridge? Don’t feel that you need to justify your
interest. Perhaps you’ve thrown the existence as a mix engineer by doing
kitchen sink at the intro in order to Beware Of Over-mixing needless or intrusive work for the sake of
grab attention from the get-go, and left When you’re hired to mix someone doing it! If in doubt, open up your DAW’s
yourself with nowhere to build. Perhaps else’s track, there will usually be a demo mixer and scan quickly across all the
you’ve been too afraid of making big or rough mix. Very often, the artist or plug-ins you’ve used. Can you, hand on
gestures such as dropping parts out producer will be attached to that mix, heart, give a simple and clear explanation of
altogether, or muting all the close mics and not just because it’s familiar. Before what each of them is doing, and why?

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 ON TE ST

PMC6
Active Monitors
PMC’s new nearfields push the boundaries of
what a compact, two-way speaker can achieve.

PHIL WARD
transmission-line flow conditioner construction avoids the sometimes
present an aesthetic vibe that says negative acoustic effect of a dust-cap glue
reviewed the three-way PMC6-2 back “tool for the job” rather than “feast for joint, and also results in a much neater

I in SOS April 2022 and was hugely

impressed, not only with the monitor’s
performance but also with PMC’s new
the eyes”. You perhaps don’t buy one
of PMC’s profesional monitors for its
looks, you buy it because you need it
appearance. The concave dome form of
the diaphragm is also relatively unusual
and is likely to display a mechanical
Soundalign browser-based monitor for work. And the work in the case of resonant signature somewhat different
configuration app. the PMC6 primarily covers traditional from that of more conventional curved
The two-way PMC6 reviewed here stereo nearfield (approaching midfield) conical diaphragms. The diaphragm roll
effectively borrows half that monitor’s monitoring, and secondary roles (for surround is a large-diameter rubber affair
low-frequency elements (one bass driver example, surround, rear and height that provides generous low-frequency
rather than two, in a half-sized Advanced speakers) in multi-channel systems like displacement. One of the significant
Transmission Line enclosure) and also its Dolby Atmos. And speaking of Atmos, challenges presented by the need for
tweeter. The resulting monitor is not only PMC appear to have successfully the same driver to cover both low and
significantly more compact dimensionally positioned themselves as major players midrange bands is that a surround
than the PMC6-2, with comfortably in the Atmos mix studio market, with that works for one is not necessarily
nearfield proportions, it’s also multiple high-profile installations in both optimal for the other. At low frequencies,
significantly less expensive — though still Europe and the US. I think it’s likely that the surround needs to impart as little
not exactly cheap. The PMC6 is in the a lot of PMC6s will find themselves in mechanical resistance as possible over
upper price tier of similarly dimensioned Atmos studios. significant degrees of movement, while
two-way nearfield monitors, and in fact, The PMC6 front panel carries at mid frequencies it needs to terminate
is pretty much a direct competitor for a nominally 150mm diameter and dissipate the vibrational energy in
the PSI A21-M that I wrote about in the bass/midrange driver fitted with the diaphragm. One of the advantages
September 2022 issue. a coated-paper diaphragm that, rather of electro-acoustic engineering-led
than carrying a conventional central dust organisations such as PMC is that they
Business End cap, is a one-piece item. A one-piece have the in-house skills and resources
The PMC6’s appearance very much diaphragm makes driver assembly more required to make such compromises work.
follows the template set by the PMC6-2. complex because the traditional technique Mentioning the bass/mid driver brings
Its edge-softened and black-painted for centring the voice coil around the me to the PMC6’s Advanced Transmission
MDF enclosure, black plastic tweeter pole piece from the front using a circular Line low-frequency loading technique,
plate, and similarly black plastic shim isn’t possible; however, one-piece because by its very nature, transmission

46 December 2022 / [Link]

 Diagram 1: The
PMC6’s frequency
response, measured on
axis (red trace), and 30
degrees above and below
(green and blue traces,
respectively).

line loading
makes significant
demands on bass
driver diaphragm
displacement.
I included
a reasonably
comprehensive
description of how
transmission lines
work, and how they’re implemented of speaker design. One of the great driver can still be competitive. Success is
by PMC, in my review of the PMC6-2 advantages that companies such as as much about how you build a tweeter
([Link] so I won’t repeat PMC, who design and engineer their own as it is about what you make it from.
that material here. drivers rather than buying OEM items,
Despite my comment earlier that possess is the ability to control and
Making Connections
the PMC6 behaves at low frequencies specify all the significant components. Around the back of the PMC6, in the
like ‘half’ a PMC6-2, it’s not quite that Adjacent to the PMC6 bass/ traditional location, sits the connection
simple (nothing with speakers ever is). midrange driver, but arranged slightly and heatsink panel. Connections
In terms of its enclosure, the PMC6 asymmetrically (pairs of PMC6s are comprise a mains socket, an XLR
is in fact a little under half the size of ‘handed’), sits the PMC6 27mm-diameter socket that can be configured for either
a PMC6-2, so that means the length soft-dome tweeter, which rolls in at balanced analogue or AES3 digital
and cross-sectional area of its internal a relatively low 1800Hz. A low crossover inputs, an AES3 through socket, and an
transmission line are also both a little frequency takes some of the pressure RJ45 Ethernet socket. The rear panel
smaller. That’s reflected in a 3dB drop off the higher-frequency performance also carries a two-line LCD display and
in maximum sound pressure level of the bass/mid driver diaphragm, but it a couple of rotary encoders that together
and an increase, from 33Hz to 39Hz, requires a tweeter that has particularly enable access to the various monitor
in low-frequency cutoff (at the -3dB good power handling and distortion configuration menu items. It is far, far
point). Thirty-nine Hertz still represents performance at the low end of its band. easier, however, to configure PMC6s
impressively extended low-frequency The PMC6 tweeter is the same newly via a network connection and the PMC
bandwidth for a relatively compact developed driver as employed in the SoundAlign browser app. If that option is
monitor — especially as it’s achieved PMC6-2 and it’s mounted in a similar available, the rear-panel encoders and
without the troublesome time-domain ABS moulded trim plate. The trim plate display are effectively superfluous.
and port-compression issues that reflex incorporates a very short waveguide I covered SoundAlign in my PMC6-2
loading might bring. profile around the dome that’s probably review so I won’t repeat myself, except to
most significant in terms of softening
Drivers the edge that results from mounting the
Along with enclosure dimensions, the tweeter body to the back of the trim PMC6
other significant difference between panel. The tweeter dome has a notably £5010
the PMC6-2 and the PMC6 is the small surround component. This probably PROS
latter’s two-way format. Without a helps with response linearity but • Trustworthy and extended bass.
separate midrange driver to handle also might tend less helpfully to raise • Neutral tonal balance with minimal
the band from around 350Hz to 2kHz, the tweeter’s fundamental resonant coloration.
the PMC6 bass/midrange driver takes frequency. Surround size against • Exceptional detail-resolving power
and stereo imaging.
on that responsibility. And as with any resonant frequency is another of those • Configurable using SoundAlign.
such driver, it’s primarily the relationship pesky speaker design compromises
between the behaviour of the diaphragm that has to be managed. Designing CONS
and its surround that will define its a successful high-performance dome • None.
success at the job — in particular at tweeter has always been mostly about SUMMARY
higher frequencies (above, say, 500Hz), getting the small details right rather than The PMC6 is a perfect example of the
where the diaphragm stops moving as making huge strides in, say, material kind of thing that a monitor should do:
a whole and enters a more resonant science. This is why, even though it’s wide bandwidth with tonal accuracy
so that work translates well, combined
mode. Resolving these sorts of design perfectly possible these days to create
with great detail-resolving power so
challenges, where material science and a tweeter dome in beryllium, diamond or that mix decisions can be made with all
acoustics meet, is a fundamental aspect even graphene, a traditional soft-dome the information audible.

[Link] / December 2022 47

 ON TE ST
PMC6

Diagram 2: The output

of the PMC6’s ATL vent,
between 10Hz-1kHz.

the third harmonic

by offsetting the
driver one third of
the way down the
transmission line, but
this leaves the fifth
harmonic as the first
really challenging
one. In the case of
the PMC6 though we
were really trying to
push the boundaries
of bass extension
and headroom from
a small cabinet, and
this made it much
more challenging to
completely remove
the fifth harmonic
from the vent
output. In the end
we decided that
a small dip around
300Hz was a small
price to pay for the
improvements we
Diagram 3: The PMC6 impulse response. were able to achieve
off-axis curves show well-controlled in the extension, headroom, impact and
say that SoundAlign continued to impress driver integration (as witnessed by the clarity of bass.”
with its combination of intuitive operation sharpness of the suck-outs caused by Toby’s explanation confirmed what
and comprehensive functionality — off-axis path-length differences between I suspected: that the 300Hz dip is
including its provision of seven EQ drivers). The tweeter response also created by out-of-phase vent output, and
bands (two shelf and five parametric). holds up particularly well above 10kHz in the reason I suspected that is illustrated
It’s not easy to go back to the old way the off-axis curves. in Diagram 2. The diagram shows
of configuring active monitors, reaching There is one intriguing feature in all a response curve generated by placing
around the back to search blindly for the three curves, and that’s the dip at just the measuring mic right in the mouth of
correct switches and knobs, and never over 300Hz. This is within the bass/mid the PMC6 vent. The expected peak at
being sure that both monitors of the pair driver’s band, where its diaphragm around 45Hz reflects the fundamental
are in the same configuration. will be working as a simple piston, so resonance of the vent, above which
Downstream from the PMC6 input if the discontinuity is not driver-borne, frequency the output generally drops as
and DSP-based EQ and crossover stages some unknown phenomenon must be the vent lining absorbs the rear-radiated
are Class-D power amplifiers rated at at play. I had my suspicions, but instead energy of the driver. However, the output
200 Watts for both bass/midrange driver of speculating I enquired of PMC’s temporarily kicks up again in the 300Hz
and tweeter. Principal Acoustic and R&D Engineer region, and it’s this feature that interferes
Toby Ridley, and he explained it thus: with the driver output to create the
Hot Fuzz “The dip around 300Hz is caused by response dip.
As is my usual custom, as well as the fifth harmonic of the transmission This all raises a few questions. Firstly,
listening to the PMC6 I indulged in line’s resonant frequency. We typically if the fundamental resonance is at 45Hz,
a little FuzzMeasure acoustic analysis. employ several techniques to minimise why is the fifth harmonic not at 225Hz
Diagram 1 shows the axial frequency the effects of harmonics bleeding from (5 x 45)? The answer, again from Toby, is
response curve I measured from the the transmission line and impacting the that while the cross-section tapering used
PMC6, along with response curves overall sound field, but some of these in the transmission line acts to lower its
taken ±30 degrees vertically off axis techniques become more challenging fundamental resonance, higher harmonics
(with the monitor in portrait orientation). to implement and less efficient as the are less affected by the taper, so the
The response curves are fundamentally cabinet dimensions shrink and the harmonic series is stretched. The second
very tidy. The axial curve is mostly transmission line length is reduced. For question raised is: considering all the DSP
free of major discontinuities, and the example, we can completely remove power in the PMC6, why not equalise

48 December 2022 / [Link]

 ALTERNATIVES
If I were in the fortunate position to be considering a pair of
PMC6s, on my list also would be the ATC SCM20ASL, the
PSI A21-M and the Genelec 8341A.

the 300Hz dip? The answer is that, as the dip is caused

by a phase cancellation, it will not occur at all positions
in space around the monitor. At locations where the path
lengths of the outputs from driver and vent approach half
a wavelength at 300Hz, they will add and create a peak
in the response. So using EQ to correct the dip will result
in a peak in the in-room response of the monitor and
a subjectively unbalanced result.
I’ve included one final response curve, Diagram 3, from
my FuzzMeasure analysis simply because it’s impressively
clean. Diagram 3 shows the axial impulse response of the
PMC6. The impulse response impulse is notably compact,
with very little smearing or ringing. Monitor impulse
responses are rarely as tidy. A tidy impulse response is
very often, to my way of thinking, a positive indicator of
subjective performance.

The Joy Of Six

And speaking of subjective performance, as with my
experience of the PMC6-2, the PMC6 sounds spot-on from
the first note. The tonal balance on naturally recorded
voices and instruments is convincing (no subjective sign
of that 300Hz dip) and trustworthy in translation terms, INCREDIBLE POWER
and there’s a satisfying freedom from boxy or nasal
speaker coloration. The PMC6’s low-frequency bandwidth AT Y O U R
is clearly extended beyond the traditional expectation of
its enclosure dimensions, and the extension is achieved
without any obvious cost in terms of time-domain artefacts.
It’s truly impressive bass from a relatively compact box
and it remains so even when the volume gets genuinely
FINGERTIPS
loud. At the other end of the spectrum, PMC’s new tweeter
impresses just as it did in the 6-2. I praised its “detailed Pro Tools® has long been the top choice of
and insightful high frequencies” back in my 6-2 review and music professionals and hobbyists alike.
I’ve no reason to revise that opinion.
I was also immediately struck by the PM6’s stereo That’s because it provides everything you
imaging. I quite often listen in mono when first trying need to record, edit, and mix to the
a monitor, and the stability and focus of the phantom highest standard. It’s the ultimate
mono image created by the PMC6 was genuinely
noticeable. This says to me that a monitor is producing platform for creating music, no matter
little in the way of low-level noise (non-harmonic your process, skillset, or budget.
distortions, miscellaneous structural resonance, and so
on) that isn’t correlated with the input signal. The quality
of the imagery generated by the PMC6 remained really Get started with Pro Tools today,
impressive once I moved on to listening in stereo, with starting for free at [Link]/protools.
great focus of off-centre as well as central mix elements.
Hand in hand with the stereo image quality, the
PMC6 displays great resolving power of fine mix and
performance details. I was struck repeatedly by hearing
subtle new quirks and perspectives on material I thought
I knew. So, to my ears, the PMC6 marks another great
success for PMC. It’s just as impressive, I think, as the
6-2 but, as it’s more
© 2022 Avid Technology, Inc. All rights reserved. Avid, the Avid logo, and Pro Tools
£ £5010 per pair including VAT. affordable, perhaps an are trademarks or registered trademarks of Avid Technology, Inc. or its subsidiaries
in the United States and/or other countries. All other trademarks are the property
T PMC +44 (0)1767 686300 even more significant of their respective owners.
W [Link] achievement.

[Link] / December 2022 49

 INTER VIE W

Artist, Producer & Songwriter

To find himself as an artist, Charlie
Puth swapped high-profile co-writers
for fan reaction on TikTok. It seems to
have worked...
PAUL TINGEN

I
t’s easy to imagine that life is a bed of
roses for an insanely talented artist who
hit the big time at the age of 24, and has
had half a dozen multi-platinum hit singles and
five Grammy Award nominations. However,
in the case of Charlie Puth, you would be
wrong. The American has perfect pitch and
the aural equivalent of a photographic
memory, an endless stream of high-quality
creative ideas, and a way with social media
that attracts audiences by the million.
Yet despite this abundance of talents
and achievements, Puth’s big challenge
throughout his career has been to find his
own direction and identity.
Puth broke through in 2015 with
three major hits in one year: ‘Marvin
Gaye’ (with Meghan Trainor), ‘See You
Again’ (with Wiz Khalifa), and ‘One
Call Away’. Several more big hits
followed, including ‘We Don’t Talk
Anymore’ (2016, with Selena Gomez),
‘Attention’ and ‘How Long’ (both
2017), and ‘Done For Me’ (2018,
featuring Kehlani). Following his 2016
debut album Nine Track Mind and
2018’s Voicenotes, Puth then released
a number of singles that were due to appear
on a third album called Sick. The co-writers
included big names like Andrew Watt, Louis
Bell, Ryan Tedder and Benny Blanco. But in
early 2020, the project was ditched. Puth
wrote: “I scrapped the album I was working on
because none of the music felt real. It’s almost
like I was trying to be too cool in a way. It’s
back to the way it used to be. Me, alone in my
messy-ass room making beats.”
A dressing down from Elton John, who told
him that his 2019 music “sucked”, played a part
in the decision. “It was a bit of a wake-up call!”
says Puth. “But I agreed with him. I also met

50 December 2022 / [Link]

him in a restaurant, and he told me that because I had been working in this way some of my biggest songs after coming
I was working with too many people, and for six years. I was also surprised by how off stage. I made ‘We Don’t Talk Anymore’
that I should go back to producing my similar the feeling was of the crash-burn and ‘Attention’ immediately after having
music myself. ending of both the professional and the played a show, still feeling the energetic
“I went through two major break-ups, romantic relationships, even though the connection with the audience. Also, not
one professional and one romantic. two had nothing to do with each other.” having that key person at the record
I relied on a group of people at my record company any more to give me feedback,
company, and one person in particular,
Flicking The Switch and having Elton, in the nicest, most loving
to give me feedback on whether this or Around this time, the Covid epidemic way, tell me that my stuff was no good,
that song was good enough. forced Puth to spend a lot more time in his I did not know whether anything I made
The break-up left messy-ass room, where the songs for his was any good.
me uncertain eventual third album Charlie would come “So I turned to TikTok, and basically
of myself, together. “The pandemic hit and we were gave a preview of a song idea I had
forced to not see a lot of people. I had to for ‘Light Switch’, and asked ‘What if
start the album by myself, and by having there’s a song that starts with... would
conversations with myself. I almost called it be good?’ I really meant that. When
this album Conversations With Myself, I uploaded the video with the ‘Light
tapping into feelings that I had never Switch’ song idea, I thought, ‘If it gets
addressed in any musical form before.” a thousand views, maybe I’ll finish it.’ But
Deprived of the opportunity it got 10 million views in one evening,
to interact with other writers I believe. That was a big, affirmative
in person, Puth reached thumbs-up to finish the song!”
out to his fans online. Puth first presented his ‘Light Switch’
“I have written song idea on TikTok in September 2021,
and continued to post new videos with
developments of the song and details of
his production process. He then teased
his audience about release dates, creating
a viral storm even before the song was
released. It’s been described as the next
step on TikTok, from songs going viral on
the platform after their release, to songs
being made and going viral even before
being released.
Puth has since posted countless
entertaining videos along the lines of,
‘What if I used this or that sound?’ and
then building a song arrangement around
said sound in Pro Tools. Sometimes the
sounds are given to him by fans, with
Puth using his perfect pitch to great
effect, immediately identifying that, for
example, two dog barks are a B and
a Bb, and putting a groove and bass
line underneath. In the end, several of
the songs on his new album grew in
interactions with his fans, because, says
Puth, “I was yearning for the energy of
people. So I got that through the Internet.”
ello
app

Sound & Vision

th C ne
Ken

In many of his online videos, Puth turns

to:
Pho

his perfect pitch into a party piece, as

well as his seemingly encyclopaedic
knowledge of recorded music history,
which he says is the result of his aural
photographic memory. When asked
whether these talents are a help or
a hindrance when writing music, his
answer is elaborate. “The best thing
about perfect pitch is that I hear songs I’m

[Link] / December 2022 51

 INTER VIE W
CHARLIE PUTH

writing in my head all the time. I may work

out, or eat lunch, and if the song has not
left my head while I’m doing other things,
after a while I give myself permission to
take it out of my head and put it into my
DAW. I take these stems out of my mind
and put them into Pro Tools. I don’t allow
myself to do this if the song does not
stick in my head.
“Perfect pitch allows me to do this,
I guess, but it’s not essential for making
music. It’s like the cherry on top of the
whipped cream. Another thing that perfect
pitch is good for, is that I never forget
a song once I hear it. Maybe the two
things are distant relatives. All I know is
that I am profoundly terrible at everything
else in life. I can’t cook, I can’t clean, but
I certainly can hear a song and play it back
for you.”
It seems that for Puth, his aural
photographic memory is more important
than perfect pitch. “I would not be able
to make music without that memory. My
previous album, Voicenotes, was all about
that very important time period of the
late ’80s, going into the ’90s, with Lisa
Stansfield’s ‘All Around The World’, and
Johnny Hates Jazz, when sonically drums
got beefier, and everything led into dance
music. Voicenotes was heavily nodded to
that sonic period.
A few of Charlie Puth’s 27 synths. Top:
“With my new album, I am not really never make a song like that again, but it is Korg Poly-61M and Roland D50; middle, Roland
sure what to call the genre. My record what I was feeling in the moment.” Juno-60 and Yamaha DX7; bottom, two Sequential
label asked, ‘Is it a rock album, is it a pop Prophet-5 polysynths.
album?’ I guess it is a pop album because
At The Keyboard
all of the 12 songs came about from the Puth has referenced feelings, titles, “Although piano is my instrument, my
feeling that I got from listening to some unusual sounds, new songs appearing first two albums do not have a whole lot
of my favourite pop songs. For example, in his head and songs from the past as to do with playing the piano. I did not
there is a song by Jimmy Eat World, called inspiration for new material. Being a skilled conceptualise the songs at the piano.
‘The Middle’, that came out in 2001. It piano player, he also sometimes writes I started off with a random synth sound,
reminds me of going to the mall with my at the piano, singer-songwriter style, or something that’s not an instrument
friends. I made ‘Charlie Be Quiet’ thinking though this process is less typical for him but that I turned it into an instrument, like
‘How can I come up with a song that gives than one would expect. “I started playing the wind or something. I still do that, but
me that same feeling that Jimmy Eat World classical music when I was four, and also a lot of these new songs actually started
song did in 2001?’ Maybe somebody know a lot about music theory. But that on the instrument. It makes me really
will listen to that track and have a similar doesn’t necessarily make a good pop happy, because that is how, for example,
feeling. I did that for all 12 songs. record, because you don’t want to go over Carole King wrote Tapestry [ ], which
“Songs don’t often start by thinking people’s heads and for songs to become is a non-skippable record. It is one of my
of the title, but I always have to feel unapproachable. You sneak a little bit of favourite records. All those songs, from ‘I
something or see something. With dissonance in there, but still make it like Feel The Earth Move’ all the way to ‘(You
‘Attention’ I had the title, and then, it a record with open arms that a listener Make Me Feel Like) A Natural Woman’,
sounds ridiculous, 100 bpm popped in my can jump right into. If you make it too started off with her at the piano. So I was
mind, and the kind of bass you hear on avant-garde, it becomes a jazz record. happy to be able to kind of do that for this
Luther Vandross’ ‘Never Too Much’ [ ], But Quincy Jones told me that you have record. Not that I am comparing my album
particularly the tone. ‘Light Switch’ also to have a little bit of an understanding of to a brilliant album like Tapestry.”
started with me thinking of the title, which jazz to have the upper hand when you
came about from me actually seeing the are making a pop record. You can hear
Studio Native
light switch. I finished the song with Jake it a lot in American music, where there Despite the recent switch to more
Torrey and Jacob Kasher, and it became is a greater appreciation of somewhat piano-based songwriting, Puth’s first
a borderline theatrical song. Maybe I will dissonant chords in pop music. instrument remains the recording studio.

52 December 2022 / [Link]

 INTER VIE W
CHARLIE PUTH

Puth’s synth collection

also includes several digital
workstation keyboards as well
as a Minimoog and an E-mu
SP-1200 drum sampler (centre).

Growing up in New Jersey with a mother and MacBook Pro M1 Max running Pro [Marroquin] then takes my records to
who is a music teacher, he initially Tools, an Apogee Symphony I/O audio the next level. He has a way of not only
attracted attention performing covers interface, two UAD Satellite Octo DSP making things sound better, but also
playing piano and singing. But in 2013, co-processors, ATC SCM45A monitors and bringing out the feeling. I double-check
Puth graduated from the Berklee College sub, Yamaha NS10 monitors, a Dangerous my mixes on the Sennheiser HD650
of Music in Boston, with degrees in monitor controller and Shure SM7B headphones, which are wonderfully flat,
music production and engineering, and and Telefunken U47 microphones, plus and the Bose QuietComforts. When I get
production has become second nature outboard including a Universal Audio reference mixes back, I play them on
to him. 1176 compressor, Neve Shelford and 88R the QuietComforts because they sound
There are several videos online of channel strips, a Chandler Limited TG2 somewhat similar to what the average
Puth showing people around his Los preamp (for synths), an Akai MPK 61 MIDI person is listening on, with an 8kHz boost.
Angeles studio, but these videos date controller and, well, 27 synthesizers. “I also run everything through the
from a few years ago, and his equipment “I started out using KRK monitors, NS10s; there’s something magical about
has continued to change. The latest and then I worked with Focals. I mixed them. I like mixing at low volume, and
incarnation contains an Apple Mac Pro ‘Attention’ on Focals, though Manny then play it really loud in the car. I got the

54 December 2022 / [Link]

 INTER VIE W
CHARLIE PUTH

1176 and Chandler because I saw that

Max Martin has these in his main room.
People will be surprised to know that I am
not as technically savvy as I make myself
out to be. The idea is the most important
thing, and I just want to get that out. I do
engineer myself in my studio, because
when I’m coming up with intimate songs
that I try disguise with artful colours, I want
to be by myself. But when I go to other
studios, I work with my regular engineer,
Ben Sedano.”

Layer Cake
“I went a little overboard,” says Puth of
his synth collection. “You don’t need
27 synthesizers to make music! I like
hardware synths, not only because I like
collecting them, but also because they
have a human element that is lacking in
synths today. Sometimes the Oberheim
or the Prophet goes out of tune, and my
Roland Juno breaks every other day. I try
to include imperfection in every bit of
my music. Some of my synths have MIDI
capability, but I really dislike MIDI, and
just play the synthesizers and record the
audio. Max Martin told me: ‘Record the
audio, and if it sounds fucked-up, it is All of Charlie Puth’s hits have
probably going to add some cool artefacts featured what he describes as “demo”
to the record.’ vocals, recorded at home either on
“I like soft synths, but I don’t start a Shure SM7B or his Telefunken U47.
records off with them. Output’s Arcade
has really useful sounds, and it’s the important thing. After layering for an hour, not a drummer, but I got into the music
closest thing you can get to a vintage we just highlighted everything in Pro Tools industry producing hip-hop, and just have
synth, because real humans make that and deleted it. We then played the melody a borderline sophomoric approach to drum
plug-in. I also have a crappy version of that you hear, using a [Native Instruments] progressions and rhythm. I have a sample
reFX Nexus, and I like the 2010-ness of Alicia’s Keys piano sample, and that made library, and I will just choose a sample
it, and bury it inside a sonic palette of me sing the melody that you hear today.” blindly, and for example manipulate it like
layers to raise other instruments. Layering 16 times, so it does not sound like a snare
is inspired by getting the occasional call
Power Hitting drum any more. It turns it into a hi-hat-like
from David Foster, who is the king of The album that eventually became Charlie noise that you put at the tail end of the
layering. Listen to the big record he did does not conform to recent trends. There transient. I try to find interesting sounds
in 1996 with Celine Dion, ‘All By Myself’. are no 808s, no rapping, and no trap that nobody has used before, and that are
There are probably 100 different inaudible influences. The only bow to modern times not presets.
layers in that last chorus. But if you were and the TikTok generation is that many of “I import drum sounds into Native
to take one out, you would feel the the songs are under three minutes, but the Instruments Kontakt, and lay them out over
difference. The record would not sound feel, sounds and arrangements have more the keyboard. Even though the drums are
as big. That is where my obsession with of an ’80s feel. There are plenty of synths, going to end up being quantised, there
layering comes from. but also rock-like drums, bass lines, and is something about the velocity of them
“However, I tend to start a song with heavily distorted rhythm guitars. being played by a human that you can’t
a unique, singular sound, which usually “I love muscular drums,” comments get from dragging and dropping them into
comes from just one synth or sample. Puth. “It comes from listening to records the timeline. Sometimes, if it is a quick
I then live with that for a couple of days, like ‘Easy Lover’ [ ], by Philip Bailey little fix, I will drag-and-drop a sample from
and figure out how I can make that and Phil Collins. It was unusual in the Splice or something, and I will put it in as
singular sound more interesting. With ‘See ’80s for those types of records to have a layer. But when it is an important drum
You Again’ we had the chord progression, the drums that are so loud. ‘In The Air part, I will play it.”
and we had the sample, and we just kept Tonight’ [ ] is another classic example
layering and layering, and it was not going of the drums being really in-your-face.
Feelings First
anywhere. It was exciting to listen to, but I am heavily influenced by Phil Collins Puth regularly works with guitarist Jan
there was no song, which is the most and his pop approach to drumming. I am Ozveren, saying, “I often put him through

56 December 2022 / [Link]

 Charlie On Charlie
Charlie Puth dives into some of the standout tracks a loser how could I ever lose her.’ This was when
from his new album Charlie: I heard the synth arpeggio, and I made it on the
[ ] Juno-60, using the arpeggio setting on
‘Charlie Be Quiet’ the keyboard. There are certain notes that it was
“This is a song that I wanted to make for myself. not hitting, so I pitched them, and made my own
The TikTok video was part of it, but it is a song rainbow visual arpeggio in Pro Tools, each track
about what the inside of my brain sounds like separately, with different velocities. Eight notes up,
when I drink too much caffeine, and go to bed and and eight notes down. I did that for four bars, and
can’t sleep, and my mind is racing. These almost once I got the loop, I put the drums in.
too-loud guitars going into the pre-chorus are “I wanted the same kick drum as in ‘Stay’, the
what an overactive brain before sleeping sounds Bieber track. I could hear in my head that that kick
like. So this song started off with these really loud would cut through really well. I then decided that
fake guitars that I made using the Yamaha Motif I wanted the kind of snare that you hear in a Kacey
ES7, which came out in 2001. They sound pretty Musgraves song, that everybody uses in country
realistic, and I knew I’d layer them later with real music, but nobody in pop music. Like the snare
guitars for texture. I was listening to a song by Kurt in ‘Vultures’ by John Mayer. And then it becomes
Cobain, in which he uses many chromatic notes, more of an acoustic thing.
and also to the legato bass in ‘Californication’ by “My initial pre-chorus was a little too complex, so seriously, and knowing that everything will
the Red Hot Chili Peppers, and I wanted to make and Jacob Kasher, who has worked with Max ultimately be OK. This track was the first instance
something like that for the verses. Martin, really opened my mind, and made it more of me wanting to take something super beautiful
“There is a stark difference between the verses simple. Initially I thought it was going to be a synth and then combine it with something super ugly. So
and the choruses, and I thought that if I called it song, but I was picturing a dirt road, and I was I also added a really fat Moog sound, and distorted
‘Charlie Be Quiet’ and it would get really loud with thinking: What reminds me of a dirt road? An the hell out of it, using the Soundtoys Decapitator.”
loud guitars, it would be delightfully unexpected. acoustic guitar that sounds like Peter Gabriel, like
I was also thinking of a song by 100 Gecs, the ‘Solsbury Hill’.” ‘I Don’t Think I Like You’
duo with Dylan Brady and Laura Des, where it “It sounds ridiculous, but I was driving on the
is borderline crazy hyper-pop, and I wanted to ‘That’s Hilarious’ highway that brings me to my parents’ house in
take 10 percent of that. I was influenced by the “I was trying to get out of manipulative types of California, and it was a very nice day, and people
snare drum of that song, and made a very roomy, relationships, and I wondered what instrument drove very slowly, so I could just be with my
ambient snare drum that hits you in the face.” represents that feeling. I thought of a beautiful thoughts, and the chord progression popped in my
Fender Rhodes, playing chords that start in head. It’s a bit similar to the Beatles’ ‘Blackbird’ in
‘Loser’ major but then become minor. I knew I wanted to the sense that there is a different chord for every
“This song started with me showering, when I am side-chain the Rhodes with a little bit of noise, and phrase. The guitar tones are similar to Queen’s
most relaxed in this turbulent world, and I was at the time I am literally singing, ‘You took away ‘Killer Queen’. Yes, I am heavily influenced by
referencing real-life experiences. There was a year of my fucking life,’ in the pre-chorus. It’s very British music. Everybody’s favourite song is ‘Angels’
a time period where I felt like a real loser, because heavy stuff, but I balance it out with the ‘hahahas’, by Robbie Williams. Or listen to a Rolling Stones
I thought I had lost someone that I could benefit which kind of take the heat off. I guess that is record like ‘Miss You’, it has almost like a hip-hop
from being around. So I had the lyric, ‘I am such indicative of my personality, not taking myself section. I like to be influenced by everything.”

the wringer when he has to play guitar They wrote in the manual at the time that I find that if I overthink the production,
lines I made on the piano. He now records you should never turn the input up and it is going to end up sounding stiff, and
his parts at his own studio, while we are on the output down at the same time, but of obscure the actual song. I have learned
FaceTime.” However, all Puth’s vocals are course it’s the first thing people did, and to not care so much about whether this
recorded at his own studio. it made such a cool sound. You hear it in or that song sounds like what’s on the
“What is crazy is that all these songs that song ‘Summer Breeze’ [Isley Brothers, radio, or whether people are going to
that have reached millions of people ] on the guitars. like it. That used to be foremost on my
have demo vocals. I’ve never been “I love the UAD stuff. It sounds so real, mind, but this album is the first time I have
able to re-record vocals that I was it sometimes makes me question why put my feelings first, and the music and
happy with. Even if there is the sound of I bought the real stuff. I also like using the production came after that.
air-conditioning on the demo vocals, which FabFilter and Soundtoys plug-ins, and “I finally had the record label that
there often is, as LA is hot, I’ll still stick I love the Sound Radix SurferEQ, that kind encouraged me to do that, and to make
with them. I will then tune the vocals, and of does what the name suggests. It’s like a whole body of work. I always had it
use compression and EQ. Over the years an automated EQ. My favourite reverbs are within me, but it was being suppressed
I have calmed down on the Auto-Tune, those by Valhalla, which are fantastic, and by the need to get hit songs out, one
but I still sprinkle some on. I remind myself the LiquidSonics Seventh Heaven, which is song at a time. Prior to that, nobody
of John Lennon, who used to drench his an emulation of the Bricasti M7 reverb.” wanted me to finish an album. I had a lot
vocals in delays, because he was really Naturally, Puth’s producing chops have of people encouraging me, because
insecure about his voice. greatly improved ever since graduating I wanted to make a body of work. Maybe
“Plug-ins that I use on my vocals from Berklee College of Music in 2013, people are focused on individual songs
include the Waves NS1 Noise Suppressor but he downplays the importance. “Yes, at the moment, but I believe that people
at the start of the chain, to get rid of the I have become a little bit more proficient, still like bodies of work and will be
air conditioner, and the UAD Pultec stuff. just from doing it so many times. But obsessed with them.”

[Link] / December 2022 57

 FE ATURE

Seven Reasons Not To Check Your Mixes in The Car!

We’re often advised to check mixes on a car stereo. response, the overall frequency response
of the typical car audio system is
But how useful is the fabled ‘car test’ in reality? deliberately skewed, losing high end by
PHILIPP PAUL KLOSE
keep in mind if using car audio systems about 1.5dB/octave in many cases. The
for mix checks. goal is to be easy on the ears in prolonged

T
he idea of checking your mixes on driving sessions, and the tilted curve is
your car’s stereo system must be
The Only Way Is Down achieved by acoustic engineers through
one of the most often-repeated The first thing to note is that audio a combination of the modal bass boost of
music-production tips. But have you ever systems in cars are far from linear: almost the car, the contributions of the midrange
stopped to think why it’s suggested — all have their bass frequencies boosted. and tweeter speakers, and the ‘correction’
or even whether it’s genuinely useful? This is partly due to unavoidable physics of their outputs using DSP filtering. But
Although lots of music is consumed in cars and partly by design. Small mixing not all troughs and peaks in the frequency
(and looks set to be for years to come), rooms have room resonances (‘modes’), response can be compensated for; DSP
and the change of listening environment where reflected signals make it hard to can do a lot but it cannot fix everything.
might helpfully put you in a different judge bass notes because they either When driving, the noise produced by
frame of mind, cars don’t generally offer sum to make a frequency massively the car through its engine, exhaust, tyres
a great listening environment for all sorts over-pronounced or cancel out to a greater and flowing wind noise is also significant,
of reasons. In fact, I’ll go as far as to say or lesser degree. Obviously, cars are and it doesn’t contain much high-frequency
that you cannot really trust what you hear, smaller ‘rooms’ than even (most) home content. So the perceived balance when
particularly in modern cars. And what’s the studios, so have significant resonances travelling is different from that when the
point in doing a listening test if you don’t from the deepest bass notes right up to car is stationary, and the same can be said
know how to interpret the results? around 350-400 Hz. In the extremes, there when stationary of when an engine is idling
In this article, I’ll explain what you need may be up to ±12dB of variation from the or the engine completely switched off. If
to know about in-car audio so that you average level at a given frequency. your mix sounds bloated, bass heavy and
have an idea of if/how to adapt your audio Unlike studio monitors, which are even a bit dull in the car, then, especially if
for in-car listening, and what you should typically designed for a flat frequency that’s the case when the car is stationary,

58 December 2022 / [Link]

 Figure 1. The frequency
response of a 2022 Audi A6 (in
black). The light blue line is the
average, while green is the ±3dB
border. The HF response falls
by 1.5dB/octave. Note the troughs
too, especially at 180Hz.

‘sound philosophy’, leading to

very different choices in DSP
processing techniques, user
options and speaker selection
and positioning. So there is
no one standard design.
In some cabins, space is
at a premium, and this leads
not only to small speakers
but sometimes even the
omission of essential (sub)
woofers. Cost is also
a factor and good speakers
this could well be due to the frequency warning-sound playback must be served. are expensive. At one end of the price
response of the car. It’s very important There are also some complex audio spectrum, high-end sound systems may
that you consider this before you rush functions which affect audio playback have up to 39 speakers (eg. the current
to reorganise your mix’s low end after directly: loudness alignment, road-noise Mercedes Benz S-Class), while lower-end
listening in your car! adaptation and air conditioning fan models (commercial vehicles and cheap
compensation, for example. These all cars) will have to be content with four or
Is Your Car’s Amp Lying? either manipulate the overall volume of even two speakers.
In the last decade or two, cars have the audio system or boost/cut energy in So if your mix sounds different in two
become rolling computers. Customer a certain frequency band. cars, it is almost certainly because the
demand and even more so legal What can we take away from this for cars’ sound systems are different. If you
requirements make the integration of our listening tests? Well, if your mix sounds aren’t already accustomed to the sound of
equipment like auto emergency braking, thin, variable or over-compressed in the a particular system, then, you have to take
modems for emergency calls, speed car, depending on the driving situation, what you perceive it to be ‘telling you’ with
limitation and energy consumption then this could well be because of a pinch of salt.
reporting mandatory. And, as with every adaptive processing by the entertainment
other aspect of motoring, computers now system’s DSP.
User Settings
play a key role in managing the in-car How often have you changed settings on
audio experience, with DSP systems
Every Car Sounds Different your phone or computer without really
similar to those found in digital audio Depending on the market segment and understanding them in the first place,
equipment such as mixing consoles and body style of the car, sound systems are and were later surprised by unexpected
audio interfaces. designed differently — they have to cater behaviour? Similarly, every car sound
Why is so much calculation power for the circumstances they are confronted system has options which can be set by the
needed? Largely, it’s used to integrate with. Also, every car maker also has its own user. A simple shelving filter and balance/
the speakers with each other
in the ‘cabin’ through delay,
equalisation, crossover filters,
gain and routing. Also, the
high number of additional
audio applications such as
phone-call integration, engine
sound generation (in electric
cars), and both sat-nav and

Figure 2. The purple line is an

average of 10 tested in-car audio
systems. The average is not linear,
tilted, and bass boosted. Green is for
comparison: a very linear Neumann
KH310 studio monitor. Dark blue is
driving noise at 100kph of a 2022
Audi A6; the noise inside the car is
mainly in the low frequencies.

[Link] / December 2022 59

 FE ATURE
CHECKING MIXES IN THE CAR

Figure 3. DSP Concepts’ AudioWeaver, a visual programming environment for DSPs. The user interface is
similar to some DAWs, with virtual wires being plugged into modules and virtual speakers. noise remains a real issue for in-car audio.
While this could help you notice sounds
fader controls are standard, but per-seat weird in the car, you should always ask which ‘jump out’ above the average
optimisation and feature retrieval for 3D yourself whether the sound system settings level, if your mix contains lots of layers
speakers and surround sound can also might be causing the problem. You can try and dynamic passages these can easily
be found at the higher end of the market. listening to some other material, of course, get lost in the noise floor. In other words,
(Volvo even offer the user the ability to to see if you hear similar problems. But if in because details can be masked, you need
add reverb from the Gothenburg Concert doubt stick with the factory settings. to be very careful about judging levels and
Hall to the playback!) If someone has dynamic range.
tweaked these options to personal taste
Cars Are Loud! By the way, one might imagine that this
(or just because they were fiddling with Although in recent years the noise isn’t such an issue for electric cars since
the controls!), this could be a cause of pollution of engines and exhausts has their engines are not so noisy. But actually
poor sound quality. So if your mix sounds been massively reduced, background the average electric car is no quieter
than its combustion-engine
counterpart because the
biggest source of noise in
most cars, under normal
driving conditions, is the
tyres. Electric cars are
heavier, which means there’s
greater displacement of the
rubber, and the tyre acts like
a toroidal speaker membrane.

Seat Positioning:
Every Little Counts
The above-mentioned
characteristics of small-room
acoustics also affect the
quality in the mid and high
Picture courtesy of Audi AG

Figure 4. Speakers in every

corner: the 16-channel Bang &
Olufsen audio system used in an
Audi e-tron.

60 December 2022 / [Link]

frequencies, and lead to fluctuations in If your music excites the resonance
every seat. Even the slightest movement frequency of a trim piece like the About The Author
of your head can make a difference to the dashboard or a metal piece, then, you’ll
frequency response at your ears. hear the vibrations as harmonic distortion. Philipp Paul Klose is a senior engineer for
Some auto-makers optimise the It’s often not that elegant-sounding either, automotive audio concepts and functions at
CARIAD SE, and has served as audio system
sound performance for the driver’s seat, because their harmonic structure and
development engineer and infotainment test
and leave the other seats out of their phase relations are not generally pleasing engineer for EDAG Engineering GmbH and
optimisation efforts. For sports cars, for to the ear! So, if you’re performing the P3 Systems GmbH. He holds a BA (Hons)
example, it makes no sense to think about car mix test and you hear distortion and degree in Audio Production, and his 10 years
sound in the back seats, since they’re unpleasant buzzing noises, then this could of automotive experience includes work for
rarely (more probably never) used. For well be due to trim pieces which rattle or Audi, Volkswagen, Porsche, Lamborghini
and Ferrari, amongst others.
executive sedans/saloons, on the other have resonance issues.
hand, the sound in the back seat is much
more likely to be important, and will
Conclusion?
therefore probably be accounted for in the So, with all this in mind, is it really a good
development phase. And as I mentioned idea to check your mix in the car? I’m afraid
above, some cars’ sound systems feature I must answer in the same way my lawyer
DSP options for the user to tweak the always answers my questions: it depends!
sound for specific seat positions. I would not advise anyone to use the car
So if your mix shows problems only on as a must-not-be-questioned, absolute
a certain seat (like the back seats or front reference, but as a place for fun listening
passenger seat), then this can be due to and enjoyment. Some audio-quality
the seat-to-seat variations. Once again, evaluations, though, can be performed
then, before you rush to make judgements with sufficient experience and critical
about your mix, make sure you know what listening. If you’ve spent time in your car
it is you’re hearing! and know it well, having listened to lots of
familiar material in it, then you’ll know the
Rub, Buzz & Distortion frequency limitations, noise, functions, and
Trim pieces in cars are, in many cases, goals of the audio system intimately. In that
fixed with clips to the chassis. It’s case, then yes, it can be a good idea to If, on the other hand, you have just
not a cost-cutting measure but good use the car’s sound system as a secondary hopped into the car of a friend for a quick
engineering: conventional screws don’t reference. (Really, you should be able to listen and think you might want to change
hold up well because vibrations loosen rely on an accurate monitoring system in your mix because you feel it sounds
them over time; that’s not a problem with your studio, and the main benefit of the car muffled overall and the background
clips. A downside of the clips, though, is is that it can put you in a different frame vocals sound piercing on the back seat,
that they can vibrate in their holders, and of mind, which helps you to notice when I’d suggest that it’s not a good idea — you
this can lead to audible rub and something might warrant closer attention can’t rely on that car check as a reference,
buzz sounds. back in the studio.) because it would be misleading.
 ON TE ST

review the whole box, but here are sound, plenty of bottom end, and
some of the highlights. a great sounding PWM.

DOC — Discrete Analogue VCO XXM — 2x4/1x8 Channel Mixer

We’ll start with the obvious, the Packing an eight-channel mixer into
humble VCO. This 6HP oscillator 8HP is no mean feat, especially
is a discrete design with individual as each channel has a dedicated
sawtooth, pulse, and triangle volume control. The XXM seems
outputs. PWM is possible via like the perfect small-format CV or
manual control or CV input with audio mixer.
an accompanying attenuator. The The eight channels are grouped
pitch tracking is excellent, and the into two sets of four, and each group
separate controls for coarse and fine has a separate output. Although it is
tuning mean you shouldn’t have any essentially a mono mixer, you could
problems hitting the correct pitch. use it as a four-channel stereo mixer
Sync is possible thanks to the by using Mixers A and B for left and
Rides In The Storm DOC, Reset input that will reset the right signals. If you want all eight
XXM, QEG & CON waveform’s phase, and there are
separate inputs for both linear and
channels mixed together, there is also
a combined output. Mixer A has an
Eurorack Modules exponential FM. Finally, there’s additional inverted output, which is

R
ides In The Storm are a German company based a low-frequency switch, so the handy when mixing CVs. Both mixers
in Berlin. In an impressively short time, they’ve module doubles up as an LFO. are DC coupled, meaning they can
released a lot of modules, and they were kind One excellent addition is that, accept CV signals, but if you wish,
enough to send us an entire box to check out! along with many other Rides In you can switch Mixer B to AC coupled
Their modules follow a fundamental design The Storm modules, DOC supports via a DIP switch, although most
principle: high sound quality and solid construction Bus CV — you can use the 16-pin people will probably never need to.
at an affordable price. The range covers mainly Eurorack power cables to receive The XXM is an excellent example of
no-nonsense essentials like VCAs, VCOs, VCFs, pitch CV information; a way to a utility module done right.
mixers, envelopes, LFOs, etc. They remind me in some pre-patch specific modules without
ways of the core Doepfer modules that are ubiquitous needing any patch cables. QEG — Quad Loopable ADSR
thanks to their unflinching usefulness and jolly good Overall, this oscillator sounds Envelope Generator
value. Sadly we haven’t the time or print space to excellent. It has a ’70s Roland-esque At 20HP, this is one of Rides In The

62 December 2022 / [Link]

Storm’s larger modules. But it packs in four loopable 2HP. It does an unglamorous get line-level signals in and out of
ADSR envelopes, which could be all the envelopes you yet necessary job — converting your modular.
ever need (who am I kidding?). Each envelope is identical modular-level signals to line-level CON is an excellent, low-cost,
and includes a set of push-button switches. There is and vice versa. Modular signals low-footprint utility module that
a manual gate, fast/slow switch, loop on/off, one-shot usually carry voltages up to 10V performs a vital role.
mode on/off, and a reset/legato switch. peak-to-peak, whereas professional Rides In The Storm cover a wide
Each envelope has a trigger input, CV input for line-level signals are 1.75V range of cornerstone modules, the
switching the envelope speed, inverted output, standard peak-to-peak. Therefore, some kind of modules everybody needs.
output, and four trigger outputs that send triggers at gain or attenuation is needed The value for money is excellent,
various envelope stages: beginning of gate, end of attack, when moving signals from one to and the build quality is solid. If
end of sustain, and end of release. The idea behind the other. you’re the kind of person who likes
having so many trigger outputs is that you can chain CON comes in two versions, all your modules colour-matched,
envelopes together to create longer, complex envelopes. Normal and High. The Normal the two-tone abstract faceplate
Want a DADADSR envelope? No problem. There is version is suitable for professional design might not suit you, but you’d
a handy mix output (and inverse) when using the module line-level equipment, and the High be missing out on some frankly
like this. version is better for consumer-grade excellent modules. A small rack
The QEG reminds me of the Doepfer A-143-2, which equipment, single-coil guitars, or filled with Rides In The Storm will
is no bad thing — a versatile module that is simple to synths with a low output. make a superb start if you’re setting
operate but has plenty of scope for new tricks as you The module has two modular out on a modular journey. Highly
learn more. to line converters and two line to recommended. Rory Dow
modular converters. They can, of £ DOC €90, XXM €60, QEG €230,
CON — Quad Gain Convertor course, function as dual-mono or CON €60.
CON is the smallest module from the box, at just stereo and provide an easy way to W [Link]

Bastl Instruments Pizza the Main oscillator phases and

folds the other two get stuck into
Eurorack Module FM’ing the heck out of it while being

A
re you frustrated with audio-rate modulation? Does shaped and ring modulated. The FM
FM leave you cold? Would you like to play in the Index crossfader pulls modulation
more complex realms of digital modular tone but from a mixture of Ratio and Octave
want to keep things musical? Then maybe swap your oscillators. With a button press
analogue pineapple for some digital jalapeño and grab you can flip the Ratio between
a slice from the Bastl Instruments Pizza. four user-set frequency ratios, and
The Pizza was introduced to us as an animated the Octave between one of four
oscillator that fizzed with energy and strange, otherworldly octaves. The result is a contrasting
tones. It was an oscillator born in universal chaos and cascade of sound that you twist and
formed through a journey of shapes and interactions. The tumble with the Shape slider.
sounds that were pouring out from the launch video were There are some deeper levels at
undoubtedly modular but strikingly unfamiliar. It was like play. You can route out the Octave
a series of explosions followed by the folding of space oscillator or replace it with one of
and time as sounds undid themselves and fell apart at the your own, you can pull out a slightly
seams while never losing their sense of drama. noisy pulse wave and modulate it
In the safety of your rack the Pizza serves up slice separately, and you can map the
after slice of surprising and magnificent timbres under Ctrl knob to a number of possible
the fumbling of your fingertips. I usually find complex parameters for multiple modulations.
oscillators, well, complex, but there doesn’t seem to be On the downside, it does have
anyway to fudge this up. With FM you often find yourself some sharp edges and a tendency
searching for something good, whereas here you keep to overpower anything else in
searching because you are fascinated as to what you your rack. Most digital modules
might find next. can sound a bit brash, cruel and
There’s something in the layout that lends itself heartless at times and there’s
to fiddling. The mixture of sliders and knobs invites some of that here, but Pizza is
experimentation. The jaunty angle of the Shape slider also capable of pulling loveliness
is somehow exactly how it should be for maximum and spacey weirdness out of the
manipulation. It has beauty, it has peril, it has wobble and clutches of digital distress. If you’ve
throatiness, it has the dissonant clangs of clashing cycles never really enjoyed FM in your
and the frazzle of being pulled through a digital hedge modular then this Pizza is for you.
backwards. And then, in a moment, it’s different. Robin Vincent
Pizza has a Main oscillator and two modulating ones £ £249
called the Ratio oscillator and the Octave oscillator. While W [Link]

[Link] / December 2022 63

 ON TE ST

Modular Gear Of The Year a beautiful-sounding, highly drivable discrete multi-function module, which does not feel
JFET circuit, it also boasts an onboard bloated or cumbersome in operation.”
The Best Modules Of 2022
asymmetry switch and a zero-cross detector,

E
very year modular developers are which serves to musically eliminate clicks Neuzeit Instruments Quasar
faced with the challenge of outdoing and pops when modulating signals. The kind of module that can turn your
themselves with ever more inventive system’s mildly interesting stereo image
and useful modules. Some opt for tried and SOS said: “I genuinely cannot fault the into a swirling, whirling experience of
tested functions but with a certain angle or Persephone for its functionality or for its immersive audio, the Quasar can augment
special sauce drizzled on top, some aim to scope [...]. Overall, and I do not say this the sonic image of your patches in incredible
encourage fresh approaches and some seek lightly, the Persephone is probably the best ways. A pretty-looking module to boot,
to expand the capabilities of a system into small-format VCA I have come across in it uses a combination of panning, level,
other realms completely. The last year has Eurorack.” frequency content, phase-shifting and
been a difficult one, with parts shortages, reverberation to give the impression of
economic woes and political upheaval — Modbap Modular Osiris sounds moving around the listener’s head in
not to mention the fallout from the Covid Modbap Modular’s oscillator manages to a three-dimensional, binaural space.
pandemic either exacerbating or precipitating cram an astonishing amount of wavetabling
all of the above. Nevertheless, 2022 has goodness into a modest 16HP. Boasting four SOS said: “Having analogue synth leads fly
seen some fantastic products released from banks of 32 wavetables, each containing around your head is quite intoxicating. I didn’t
developers the world over. From 3D audio 32 waveforms, it also offers a Timbre Mode expect to like it as much as I do. It’s one of
to sequencing powerhouses and ratcheting to bend, fold and sync your wavetable those modules that can add some special
madness, here is a rundown of the best however you wish. A sub-oscillator with its sauce to just about any signal — highly
modules we covered in 2022. own volt-per-octave input expands the Osiris’ recommended.”
functionality considerably, while a Fidelity
ALM/Busy Circuits Tyso Daiko knob, also CV-controllable, allows its output [Link] Ground Control
ALM/Busy Circuits have certainly lived up to signal to be turned from crisp 96Hz all the Barcelona-based [Link] has had
their name, with a host of excellent modules way down to junkyard lo-fi. a lot to deal with over 2022, with Ukrainian
released this year. The Tyso Daiko is an co-founder Julia Bondar no doubt feeling
exceptionally flexible drum module capable SOS said: “Osiris is a different class of the weight of concern for her home country
of pulsing kick drums, clanging metallic Eurorack oscillator. It somehow manages to amid its current ordeal. The developers have
tones, punchy snares and even melodic sound fabulous whatever you try to do with nonetheless produced some phenomenal
synth lines. It can fold, filter, accent or ‘choke’ it. What really impressed me though was modules of late, not least their flagship
its output, create a faux-delay effect and how creatively expressive it can be without sequencer, the Ground Control, which,
much more. Excellent stuff. being remotely complicated. Bravo.” despite being announced as far back as
2019, hit its stride this year. With three
SOS said: “The Tyso Daiko is fantastic. It Qu-Bit Cascade separate gate and pitch tracks and a drum
presents a sophisticated palette of drum Another developer to bring forth not just track with eight separate trigger outputs and
synthesis excellence while keeping the one but several impressive contributions its own keyboard — not to mention MIDI and
crucial element of fun completely intact; this year, California’s Qu-Bit Electronix outdid USB compatibility — the Ground Control is
one small parameter change might reveal themselves with the Cascade, a ratcheting begging to be the hub for your entire system.
characteristics you never knew were there envelope generator, VCA and sound source
and open up worlds of sonic possibility.” all packed into a neat 10HP. Be it rhythmic SOS said: “Very impressive indeed.
repeats, multimode enveloping or even [Link] have endeavoured to come up
Expert Sleepers Persephone 808-style drum sounds, the Cascade packs with a module that capably rubs shoulders
One of a flurry of all-analogue modules a punch. with Eurorack’s star sequencers, and they
released by Expert Sleepers this year, have succeeded. After leaving it patched in
which also included a mightily impressive SOS said: “A perfect demonstration even for a short while, I honestly wasn’t sure
filter, phaser and oscillator, the Persephone of neat and clever design. Add in the how I ever worked without it.”
is a VCA that you will go back to again additional sound sources, compression and
and again. Not only does it feature envelope follower, and you’ve got a useful Will Stokes

64 December 2022 / [Link]

 WEATHERIZED BATTERY-POWERED LOUDSPEAKER
WITH BLUETOOTH® AUDIO AND CONTROL

REAL PRO-AUDIO PERFORMANCE

121 dB EVERSE 8’s superior sound quality, output capacity, and wide, even coverage is unmatched
by any other battery-powered loudspeaker available today. The difference is clear to hear
SPL via an 8” woofer mounted using EV’s patented SST (Signal Synchronized Transducers)
port design, and a high-output titanium tweeter mounted onto a custom constant-directivity
MAXIMUM waveguide. System reliability is verified with extensive music abuse and endurance testing.
Decades of pro-audio know-how delivered in a super-portable package.

BATTERY-POWERED CONVENIENCE
UP TO EVERSE 8 is powered by a custom-designed high-capacity
Li-ion battery pack, fully optimized for audio use and providing
12 HRS plentiful power for up to 12 hours of run time. Protection circuitry
reduces the risk of your battery discharging to such a low voltage
OF RUN TIME that it can no longer be recharged – for example, after long
1

periods in storage. Tool-free screws make removing the battery

pack effortless. Uncompromising sound quality, unplugged.

IP43-RATED WEATHERIZED DESIGN 2

In combination with the rugged polypropylene enclosure, use of

the included weatherized input cover allows EVERSE 8 to meet
the IP43 rating (water resistant for splashes and light rain) when
running on battery power and while Bluetooth® streaming. Built-in
feet with no-skid rubber pads ensure the system stays put. Bring
EVERSE 8 outside for busking, marching band practice, or the
backyard BBQ – wherever you need a PA, whatever the forecast.

[Link] | #EVERSE8
Information in this document is subject to change without notice. All trademarks are the copyrights of their respective owners.
1
The EVERSE 8 battery pack will provide 12+ hours at 95 dB SPL average with typical program material, or 6+ hours at maximum output level before limit indication.
2
Always use the supplied weatherized input cover, or the Electro-Voice approved accessory rain resistant cover in wet or damp environments.
 ON TE ST

DACS Audio Purity

Stereo Headphone Amplifier

HUGH ROBJOHNS If you’ve invested in a pair of high-end headphones, you’ll

want a high-quality headphone amp to power them. And
ritish pro-audio electronics

B manufacturers DACS have

built an enviable reputation for
high-quality studio headphone amplifiers
headphone amps don’t get much better than this...
The design took two years of careful
development, and the result is this: the
inlet with integrated fuse and separate
120/240 V AC mains voltage selector,
over more than two decades. Mostly, Purity stereo headphone amp. while the audio connections are a pair
these have been marketed under of RCA phono sockets for unbalanced
the ‘DACS HeadLite’ banner, and I’ve
Black Box inputs and a pair of combi XLRs for
reviewed several models over the years, Shipped in a surprisingly large, velvet-feel
all of which have been highly capable cardboard case and well-protected in DACS Audio Purity
and versatile, with the latest version (the fairly dense, moulded, black polystyrene, £1800
HeadLite 3+, reviewed in SOS August the Purity itself is a pleasingly simple
2021: [Link]/reviews/ and understated black box, with few PROS
• Simple and elegant styling.
dacs-clarity-headlite-3-plus) having connections and even fewer controls.
• Effortless power and control
been upgraded to provide sufficient A brief user manual describes some regardless of headphone impedance
power for even the most demanding of the technology and design choices, or volume setting.
of low-impedance headphones which but it really isn’t needed to get up and • Four-wire connection via XLR to avoid
dominate the market today. running. Also included with the review channel crosstalk.
• Multiple input connection options.
Today, the very best headphones tend unit was a hand-made, heavy-duty IEC • Excellent build quality.
to be relatively power-hungry ‘planar mains cable (using oxygen-free copper
magnetic’ models, which only achieve wire). I can’t say I noticed any audible CONS
their true potential when paired with very difference between that and a cheap, • You’ll need demanding headphones
or ears to justify the cost!
well-designed and capable headphone standard moulded IEC cable but it’s a nice
amplifiers. To that end, the boffins at inclusion, nonetheless! SUMMARY
DACS decided they’d set out to build The sturdy steel chassis measures An impressively capable headphone
the ultimate headphone amplifier — one 210 x 100 x 300mm (WHD, including feet, amp with remarkable transparency,
control, and effortless power. Both
that could realise every nuance in the knobs and rear connectors), and it weighs
XLR and TRS output connections are
audio signal with total fidelity through the a little under 5kg, which is lighter than it provided, along with XLR/TRS and
world’s most demanding headphones. looks. The rear panel carries an IEC mains RCA phono inputs.

66 December 2022 / [Link]

balanced inputs. It’s worth noting that
as these inputs feed physically separate
circuit boards for the left and right
channels, the left and right connectors
are spaced 55mm apart. While that won’t
be an issue for XLR or TRS cables, it
might be a challenge for some exotic
hi-fi RCA phono cables built with the
expectation of closely adjacent sockets.
A pair of spring-loaded connection
posts is also provided on the rear panel,
for external access to the chassis/mains
safety earth (black) and the audio ground
(green); these two ground references are
kept separate internally. I expected to
find a suitable rod or wire link in the box
to couple these terminals, but none is
supplied and I operated the unit without
linking the audio/chassis grounds in
a variety of systems without any issues
at all. As the headphone amplifier is
Connection posts on the rear panel provide external access to the chassis/mains safety earth (black)
biased into Class-A mode all the time
and the audio ground (green), and the two are kept separate internally.
(see ‘Technology’ box) the output drivers
get quite hot, and so a large cooling fan effective and elegant feature. To the right on 2; right channel positive on 3 and
is built into the lid of the unit. However, of the huge volume control is a miniature negative on 4). Both outputs can be used
this is genuinely completely silent toggle switch selecting the unbalanced simultaneously if needed, albeit without
in operation. RCA phono or balanced XLR/TRS inputs individual level control.
Moving around to the front, a very (via sealed relays), and a circular mains The XLR output is described as
large volume knob dominates the centre on/off rocker switch is also present. ‘differential’, which I think is actually
of the panel, with an embedded light Over to the left are two separate a misnomer (see ‘Balanced Headphones’
to indicate the Volume setting. Initially headphone outputs in the form of box). Its key advantage is that with
glowing red, the light gently fades and a standard quarter-inch stereo TRS socket suitably wired headphones the signal
pulses like a heartbeat as the unit warms and a 4-pin XLR. The manual doesn’t currents flowing through the two
up, gradually moving through purples specify the XLR wiring configuration, but drivers are kept completely separate
and on to blue as the unit reaches it appears to conform to the ‘standard’ and returned directly to the power
its optimal operating condition — an (left channel positive on 1, negative supply in a star-earth arrangement

Balanced Headphones
Headphones are traditionally connected using using a four-wire cable. In theory, the headphone amplifier requires two output amplifiers for each
three-pole plugs (either quarter-inch or mini-jack) socket’s sleeve connection at the amplifier should channel instead of one, with the headphone
and a connecting cable with three wires. The plug be solidly grounded, preventing currents from the earpiece connected between these amps (and
tip carries the left channel, the ring carries the two channels mixing and hence preventing the no ground connection at all). This is the same
right channel, and the sleeve carries a common crosstalk. Many Sennheiser headphones are wired configuration as the ‘bridged’ mode offered in
ground connection from the negative sides in this way, for example. some stage power amplifiers, where the speaker
of both earpiece drivers. However, although However, it has become increasingly popular is strapped between two amplifier channels
cheap and convenient, the inherent resistance to avoid the shared ground connection altogether configured so that one ‘pushes’ while the
of the cable itself can cause unwanted crosstalk by employing a four-pin connector instead other ‘pulls’!
between channels. of the traditional TRS plug and socket. Most In theory, a bridged amplifier configuration
Current passing through both earpieces returns manufacturers have adopted the four-pin XLR for applies double the signal voltage swing of
to the amplifier via the shared ground wire, but this purpose — as on the Purity — although I’ve a single-ended setup, making it significantly
this has a small but finite resistance. Consequently, seen some bizarrely choose a pair of three-pin louder and more dynamic, and also more able
a small signal voltage develops across this wire XLRs instead! to cope with low-impedance headphones. It’s
(an attenuated mono sum of the left and right So that’s the connection format... and it is a useful solution in battery-powered devices where
channels) which gets added to the wanted often associated with the idea that the headphone the power supply rails are restricted, or where
channel signal voltages feeding each earpiece. amp uses ‘balanced’ or ‘differential’ connections. low-power amp modules can be doubled up to
Consequently, some left channel signal inherently However, the vast majority of mains-powered provide greater power. However, for a high-quality
crosstalks into the right channel, and vice versa, headphones amps actually use standard design doubling the number of amplifiers makes
and although quiet it can be surprisingly audible, single-ended amplifier configurations driving only it a more costly and complex solution, and the
which is clearly undesirable! the positive terminals of each earpiece, returning same peak voltage swing benefit can be achieved
Some headphone manufacturers obviate this the signal current directly to ground in the usual simply by providing a single-ended amplifier with
problem of a shared ground return by cabling way (just via separate ground connections). a higher-voltage power supply — which is exactly
each earpiece separately back to the jack plug A true ‘balanced’ or ‘differential’ headphone what DACS have done in the Purity!

[Link] / December 2022 67

 ON TE ST
DACS AUDIO PURITY

(with near-zero-Ohm impedance).

The benefit of this approach is zero
crosstalk between channels; something
that can’t be guaranteed with more
conventionally-wired headphones
connected via the quarter-inch socket.

Bench Testing
The balanced input can easily accept
+26dBu (the limit of my Audio Precision
test set) without overloading the circuitry,
while the power output stage starts to
clip at an output level of +23dBu (0.5%
THD, with a 600Ω load). That equates to
about 31V peak-to-peak, or about 1.2W
(RMS) into 100Ω headphones. In other
words, there’s more volume here than
anyone is ever likely to need! Frequency
response measures ruler-flat between
10Hz and 20kHz, reducing -0.5dB at 5Hz
and 30kHz, while THD measures below
0.002% at all sensible listening levels
with an even balance of odd and even
harmonics. Amplifiers just don’t get any
The cooling fan, which you can just about make out here in the top-right quarter of the unit behind the
cleaner or more transparent than that.
grille, is a technical necessity — but it’s also slow and inaudible.
I auditioned the Purity with my full
gamut of headphones and in-ears sound so revealing, with outstanding TRS connections, but I couldn’t hear
(headline models: AKG K702 and K812, control and definition across the full a reliable difference. There was no
Sony MDR7509, Sennheiser IE800 bandwidth. It mattered not that the audible crosstalk when driving a single
in-ears, HD25-II and HD600). Most of Sennheiser IE800s presented a lowly channel with either format, but this isn’t
these have impedances between 16Ω and 16Ω impedance, or the Sony MDR7509 a fair test as even the standard TRS
80Ω, although the HD600s are 300Ω. All just 24Ω — the Purity delivered oceans cable maintains four wires back to the
were connected via the quarter-inch TRS of transparent power and vice-like plug, avoiding the common ground
socket, except the Sennheiser HD600s dynamic control, dealing easily with return issue. In contrast, though, driving
which I modified to connect via the these low-impedance, current-hungry a single channel of either the AKGs or
XLR output. headphones. The amplifier’s high the Sony headphones (through the TRS
My overriding impression with all voltage swing deals equally well with socket) revealed surprisingly audible
these headphones was of effortless high-impedance headphones, and the crosstalk on the undriven channel, which
power and stunning clarity, with superb HD600s performed superbly well with certainly proves the technical benefit of
dynamics and a 3D-like separation fantastically crisp transients. a four-wire connection. In practical terms,
between individual elements of complex I also compared the sound of I was occasionally aware of low-level
mixes. I’ve never heard the K812s the HD600s using both XLR and crosstalk on carefully chosen tracks with
all of my TRS-connected headphones,
but it was totally absent using the
Purity Technology HD600s with either connection format.
Technology-wise, the Purity employs an inevitably generating unwanted heat, which is
internal linear power supply installed along why an ultra-low-noise PWM-controlled fan is
Heading Out
the right-hand side of the unit with a compact fitted to the case lid directly above the heatsinks. The DACS Purity is a mighty headphone
toroidal mains transformer feeding sophisticated Convection cooling alone was never going to cut amp. Its understated styling and
balanced ±16.5V regulation circuitry on an it with practically sized heatsinks! simplicity belies its impressive sonic
adjacent circuit board. Two tall heatsinks cool the The rest of the active audio circuitry on
voltage regulator chips. each card comprises a pair of Analog Devices
credentials and outstanding capabilities.
A pair of independent headphone power AD823 dual-JFET op-amps used to provide an If you want your headphones to deliver
amplifiers are built on two more circuit boards instrumentation-style differential input amplifier their full potential the Purity can certainly
running the full length of the unit, front-to-back, and to drive the output devices. Sealed relays ensure that, and although it is far from
down the centre and left-hand side. Each of are used to select inputs, and audio-grade JFX an impulse purchase I doubt you’ll find
these cards also employs heatsinks to cool polypropylene input capacitors are in evidence. better at any price. Simply stunning!
the discrete output transistors, which are A trio of multi-turn cermet trimmers on each
complementary Darlington transistors (MOSPEC board ensure accurate factory calibration of
TIP115 and TIP110). Although using a push-pull offset and bias voltages. The front-panel volume £ £1800 including VAT.
output configuration, the devices are biased control is an ALPS Blue Velvet, which has T DACS Audio +44 (0)191 438 2500
at around 200mA to operate fully in Class A, a smooth and nicely weighted feel. E sales@[Link]
W [Link]

68 December 2022 / [Link]

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Christmas
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[Link]/tom-quayle • 01204 47 47 47
 FE ATURE

Andy Wright: Jeff Beck ‘Dirty Mind’ Hear The Track

loops and samples on Logic with an Akai W [Link]
J O E M AT E R A
S1000, he filtered a lot of the sounds track/4q0aql5UsIYmUU9Nrqy9O3
W [Link]/watch?v=irfVCl9LIDg

L
ondon-based record producer, through his pedalboard, which notably
programmer and session musician had a Morley Power Fuzz pedal on it as
Andy Wright began his studio well as a RAT distortion and a Boss DDL.
career at Trident Studios in 1984 and He would then resample these loops with
went on to work with artists such as real-time performances on the pedals
Simple Minds, Simply Red, Jeff Beck, and compile powerful loops.
Eurythmics, Atomic Kitten, Imelda May “Jeff Beck has always been an
and many, many others. In due course his innovator, and I felt that he would find
work earned him a slew of gold, platinum it inspiring to play over all these kinds
and multi-platinum awards. In 1995, of beats. I briefed Aidan with the idea
a decade after beginning his career, of making the drum parts sound like
he created the unique sounds and pieces of music in themselves, and for
beats that featured on Simply Red’s first a songwriting share of course!
number one UK single, ‘Fairground’. This “At this stage of the process, I also
led to Wright receiving production credits requested that they had no pitch tonality
on every Simply Red album since. except for the basic tonality of drums, brief was to make it sound like a piece
Asked to select a favourite among the so that we could compose over them of music, Aidan built some form into his
thousands of sounds he’s had a hand in without the restriction of keys, something part with fills, drops, builds and effects.
creating, Wright chooses the drum sound I had learnt from trying to write songs I would then use the different parts to
from ‘Dirty Mind’, on Jeff Beck’s 2000 over loops many times before. The brief punctuate the changes in the song as it
album You Had It Coming. It’s a tale that was to make it sound like an instrument was written.
highlights the influence that the record in itself. We built it all on Logic Pro “Critically, a few weeks into the
producer can have on the sound of as a sound and we were going for process we moved to a big studio to
an album. something that was quite industrial and record the work down, and found that
a little bit in the style of the Chemical outputting individual sounds across
Love Story Brothers, who were contemporaries at 10 tracks of multitrack tape sounded
“The drum sound on ‘Dirty Mind’, and the time.” significantly inferior to the composite
many of the others on that album, was sound coming out of the stereo output
created largely by programmer Aidan
Straight To Stereo of the Akai S1000. It was my decision
Love, who I had brought in to work on the “Once we had a sound which was then to commit to the stereo on tape,
album with me. Aidan had a programming rocking, interesting and crusty, we would which is how it stayed. A Grammy Award
room next to my studio in West London record that down onto a DAT tape as for Best Rock Instrumental Performance
and I regularly heard cool beats spewing a piece of music running live, and I would helped continue to cement Jeff’s place
out of his room at high volume and record that back into Digital Performer, as one of the greatest musicians in
tempo. Whilst programming beats with which I was using at the time. As the rock history!”

70 December 2022 / [Link]

 ON TE ST

Arturia
MiniFreak
Polyphonic Synthesizer
Much more than just a bigger
MicroFreak, Arturia’s MiniFreak
is a six-voice polysynth with
a character like nothing else.

72 December 2022 / [Link]

 analogue clock, and a sequencer reset sonic range and wildness. The range of
SIMON SHERBOURNE
out, but no CV/gate ports. This is another tones you can reach is inspiring, and all
rturia’s MicroFreak was a breath card that the Micro still holds. come alive with some modulation of the

A of fresh air, something different

at a time when you could barely
move for small analogue monosynths.
Sometimes it’s fun when a synth
arrives before its manual is ready,
sending you on a journey of exploration.
orange parameters. It’s interesting to
play with each engine in isolation in an
INIT patch, but what’s really illuminating
The Freak’s pressure-pad keyboard Predictably my journey started with is to take a lush moving patch like Preset
and eclectic collection of digital sound playing presets. I noted in the original 1, and step through all the different
generators lent it an experimental, Freak review that some of the opening modes. Each patch becomes a doorway
modularish vibe. In the last three years it’s factory sounds didn’t do it justice, though into a new world of sounds if you scan
probably been my most-used synth, so that changed with later updates. The through the algorithms.
I was really excited to get my hands on its opposite is true with the Mini: if you Much of this was true of the
new big-not-big brother. play through the first 20 or so (or even MicroFreak, but with the Mini you can
It would have been easy for Arturia to listen to the sound examples on the run two oscillators in tandem. All of the
have simply repackaged the MicroFreak web page) your credit card is put at risk. same modes are available in osc 2, so you
into a larger frame with a ‘normal’ There are gorgeous crystalline poly can double-up your sound or blend two
keyboard and some effects. They’ve keys and plucks, warm evolving pads, completely different types. Additionally,
done a lot more than that, taking the big dirty stinking basses, weird sci-fi osc 2 has the Chord synth, and six new
key ingredients and greatly expanding effects, massive rave stacks and hoovers, modes in which the oscillators switch
on them to make a new polysynth that industrial/EBM sequences... I could go on from parallel to serial operation. Four of
can stand alongside new players on the but you probably get the idea. these are digital filter styles and Destroy
scene like ASM’s Hydrasynth Explorer The sounds are great in their own is a distortion and bit crusher. Most
and Modal’s Argon8. right, and are presented at their best interesting though is the FM/RM mode,
The heart of the Freak is the same: courtesy of the onboard effects, but which is the only place on the Freak where
a multi-mode digital oscillator offering what makes them especially engaging you can cross-modulate the oscillators.
diverse synthesis methods, including are the macro modulators: the two touch The dual oscillators are independently
algorithms sourced from Mutable strips that adjust multiple parameters tuned, and by default osc 2 is slightly
Instruments and Noise Engineering or modulations with a slide of your left detuned. Although the main pitch mod
designs. But now there are two oscillators pinky. This and aftertouch (albeit mono) point on the matrix affects both oscillators
that can work in parallel or interact serially. from the keyboard provides plenty at once, you can set up either as an
The other big change is that the Mini has of expression and movement before independent destination — handy for the
six voices of full polyphony, including the resorting to cutoff cranking. serial FM/RM scenario and for fattening
analogue filter and all modulators. up any patch. A great feature is that you
Pick’n’Mix can quantise pitch mod per oscillator:
Le Freak The defining feature of the Freaks is their chromatically, by fifths or octave, by
The MiniFreak is a similar size to Arturia’s hot-swappable oscillator section. There various scales, etc. What you can’t do is
KeyStep Pro (just an inch deeper) and are currently 22 algorithms to choose pan the oscillators — perhaps the signal
appears to have the same 37-key mini from, and I’d be surprised if that number path is mono up to and through the filters.
keyboard. The panel is graphite-coloured didn’t grow over time. These are compact There are, however, many opportunities
plastic, but unlike the Micro the main sound engines employing diverse to add stereo width in the effects section.
housing is all metal. At first glance the synthesis schemes, each with three
control panel is the same as the original, tone-shaping parameters (the orange
but closer inspection reveals quite encoders) in addition to pitch and level. Arturia MiniFreak
a few additions. All the same sections For example, Basic Waves gives you £529
are present: oscillator, filter, envelopes, a morphing saw/square starting point,
PROS
LFO and mod matrix, all of which are with pulse-width control and a sub
• Wide range of interesting synth
expanded, and there’s a wholly new blend. Cosier dual-osc analogue tones engines.
section for effects. are served up courtesy of the VAnalog • Feature-rich generative sequencing
A strip of 16 touch buttons operates algorithm, where just three parameters and arpeggiation.
the sequencer and arpeggiator, among (detune, shape and wave) somehow • Comes with a plug-in version.
• Conventional keyboard...
other things. To the left of the keyboard cover a large chunk of classic polysynth
you’ll see two touch strips. Even if you sounds. Other relatively conventional CONS
prefer mechanical performance wheels, engines are Waveshaper, 2-Op FM and • ... but keyboard loses polyphonic
I think you’ll come around when you see Formant. Then there’s Karplus-Strong aftertouch...
• ... and some would prefer a bigger
what these can do in their default macro for lovely plucked or bowed strings and keyboard on a poly.
mode. Around the back you’ll find a set SuperWave for big detuned stacks. • No wavetable or vocoder modes —
of full-sized MIDI ports, audio in and out, The second half of the list moves for now.
USB and power. Unlike the MicroFreak into more experimental territory, like
SUMMARY
you can’t power the Mini from USB, but the Modal and Speech algorithms from
The Freak has blossomed into
it does work with my mini 12V battery Mutable’s Plaits, and four synths from an intriguing and lush-sounding
pack. There are inputs and outputs for Noise Engineering with their trademark polysynth, without losing its raw edge.

[Link] / December 2022 73

 ON TE ST
ARTURIA MINIFREAK

Round the back are full-size MIDI In, Out and Thru sockets, a USB port, 3.5mm clock I/O, and audio in and stereo outs on quarter-inch jacks.

Definitely mini, the MiniFreak measures 578 x 231 x 55mm and weighs 2.74kg. We look forward to the
MaxiFreak, which will be the size of a Yamaha GX1 and weigh as much as a small car.

A couple of things are missing from do that too!’ The hint from Arturia is that amount. Active mod pairings stay lit
the Mini’s synth engine repertoire, at new and improved wavetable synthesis so it’s easy to see at a glance where
least for now. One is the vocoder mode should come to MiniFreak at some point modulations exist. Looking at the matrix
which was added to the MicroFreak in in the future. reveals a number of differences from the
an update. The Mini does have an Audio MicroFreak. For a start, there are now
In mode which uses external audio as
Voices & Modulators three pages of freely assignable mod
a voice source, but perhaps we’ll see The Mini has the same sweet-sounding destinations, for a total of nine. These
the vocoder return at some point as an (and self-oscillating) tri-mode analogue can be mapped to any control on the
effect module that takes advantage of filter as the Micro, except here it’s panel, or to a number of other parameters
the dual synths. The other gap in the six-voice polyphonic, as are the in a list. You can also scale modulation
engine list is the Micro’s Wavetable envelopes and LFOs. On the Micro most amounts from other modulators.
mode, and the WaveUser variant that of the architecture has four available One of the key performance
was added for wavetable imports. Given voices but the filter and cycling envelope modulators on the Micro is the pressure
that the competition is largely wavetable/ are monophonic. The Mini provides pad keyboard, which is swapped out on
scanning-based, it would be nice for the true six-voice polyphony and, perhaps the Mini for the standard keyboard. This
MiniFreak to be able so say, ‘And I can uniquely, has a paraphonic mode where is a downgrade in one sense: the Micro’s
both oscillators gang up to run one pressure modulation is polyphonic,
algorithm with 12 synth voices, sharing whereas the equivalent aftertouch source
Evolutions the six available filters, etc. on the Mini is monophonic. Of course with
Since the initial release of the MicroFreak, The main envelope (which unlike a regular keyboard you gain back velocity,
which we reviewed in June 2019, Arturia the Micro is hard patched to the VCA) and the loss is further mitigated by the
continued to add and refine features and has been upgraded with independent macro control feature which provides
we’re now on version 4 of the firmware. decay and release times. The stages a new and easy way to add expression.
There were new oscillator types including
can be switched between normal and The macros map up to four other
the Noise Engineering set, voice unison,
and the scales and chords modes which ‘percussive’ curves. The Cycling Envelope parameters or modulation amounts
have gained a dedicated button on the Mini. has become even more useful now that to the two performance sliders. Not
However, not all the new goodies have it’s polyphonic, but the biggest upgrade only is it the multi-way assignment that
made it into the new synth. The vocoder goes to the LFO section. Not only are makes them superior to a traditional
mode is not present, even though the Mini there two LFOs, there’s a 16-stage mod wheel: because they are touch
has an audio input. Also, as the wavetable LFO shape designer, which uses the faders you can store a starting position
oscillator is missing so is the updated feature
sequencer button strip to help you draw for them within your presets. You can
that allowed import of user wavetables.
However, if Arturia’s track record is anything custom modulation shapes. even choose the macros as modulation
to go by we’ll likely see the return of these Assignment of the modulators is via targets if you can’t be bothered to use
features plus more in the future. the matrix, which uses a single encoder your fingers. Traditional mod and pitch
to target patch points and dial in a mod wheel functionality is still present, but

74 December 2022 / [Link]

Unrivalled sound
and workflow
An equalizer is probably the tool you use most while mixing and
mastering, so you need the best of the best! With FabFilter Pro-Q 3,
you get the highest possible sound quality and a gorgeous,
innovative interface with unrivalled ease of use.

[Link]fi[Link]
 ON TE ST
ARTURIA MINIFREAK

you need to flip the touch strip mode. An

extra, dedicated LFO for vibrato can be MiniFreak V
switched in for the mod wheel.
The MiniFreak comes with a plug-in: MiniFreak hardware, but if you link to existing instances in
Freak Step V. The V signifies that this is much more than your DAW the hardware will simply control it.
just a companion app or preset manager While the plug-in is the same synth as the
The MiniFreak’s arpeggiator and
(though it is that) — it’s a virtual instrument that hardware (albeit with a digital emulation of the
sequencer section takes full advantage completely recreates the synth. MiniFreak V can filter), it doesn’t emulate the control panel. The
of the extra panel space. The strip of run independently, standalone or in your DAW plug-in makes many tasks like modulation routing
touch buttons has room for transport, (VST, AU or AAX), but will also link up with the faster, and also reveals features that you might
16 step buttons and page buttons for hardware if it sees it over USB. When linked, the not spot so readily on the hardware. For now,
instant access to up to 64 steps. This plug-in is controlled entirely from the hardware. MiniFreak V is only available with the hardware
It behaves really intelligently — when you add synth — perhaps it will be available separately in
means that as well as real-time recording
a plug-in it will grab the current patch from the the future.
and SH-101-style step recording, you can
directly enter or edit notes/chords by
tapping a step. If you start playback from
the transport you can jam over the top, or
while in Stop you can play and transpose
sequences from the keys.
In arp mode the sequencer buttons
become mode buttons, of which there
are loads to choose. Beyond the usuals
it has some particularly interesting tricks
like the Pattern mode, which generates
a new pattern each time you play a new
chord or tap the button. Ratchet and
Repeat are handy momentary variations
(it’s just a shame they can’t be used with
the sequencer as well). Mutate introduces
other permanent changes.
That’s not the only way to mix things
up though. The Spice and Dice concept
from the MicroFreak is here too, allowing
you to generate new variations (rolling the
Dice) and then morph into them with one wireframe animations, and with three aggression. It has a gift for classic club
of the touch faders (adding the Spice). tweakable parameters. sounds like hoovers and saw stacks, and
With this system you don’t lose your The three available slots route in is awash with grimy drum & bass basses
original sequence. And it is one sequence: series, except for the reverb and delay, — all relevant again as dance music is
the MicroFreak’s ability to store two which automatically get patched in as joyfully re-exploring old school rave,
sequences per patch and flip between sends unless told otherwise. All the jungle and garage vibes.
them has not made it to the Mini. time-based effects (chorus, phaser, When designing your own sounds,
Parameters can be sequenced. You flanger, delay and reverb) add some there’s an accessible level at which you
can capture automation in real time, or welcome stereo width. They also all can get satisfying results just treating
hold a step and dial in a value at that sound really good — these are not the oscillator section like a standalone
point. You can even choose whether a generic set of off-the-shelf effects module — there’s so much to explore with
automation points are smoothed between slapped on as an afterthought. As well just those four orange encoders. This
steps or fixed and discrete in the fashion as the stereo effects, there’s a distortion, compares favourably to typical wavetable
of Elektron parameter locks. This is typical bit crusher, wave folder, a couple of EQs synths where raw oscillators can sound
of the MiniFreak: it over delivers and and a multiband compressor. This last is lifeless without modulation. Having said
surprises with its depth at every turn. a monster. It can really push the sound that, to level up your sound design on
— so much so that it can bring the noise the Freak and get the kind of glorious,
Effects Modes floor well into play, but even that sounds nuanced and playable patches found in
Here’s another example: it was only after rather appealing. It’s pretty epic for big the presets you need to put a little time
a couple of weeks of using the MiniFreak in-your-face synth sounds, imparting into learning how the modulation and
that I realised each of the effects had a fabulous sandy grit. macro systems work, and of course the
multiple modes! I was all set to say that sequencer. Experimentation is rewarded
the reverb was lovely but I wished it could
Conclusion and you continue to find new and cool
go a bit shorter, and then I stumbled upon The MiniFreak really is a great-sounding sounds and ideas. The MiniFreak is
a whole set of sub modes. In keeping and uniquely versatile synth. It’s amazing a synth you won’t get bored with.
with the Freak oscillator paradigm, the for captivating pads and delicate
MiniFreak’s effects section features crystalline keys, but there are also £ £529 including VAT.
multiple components represented by cool multiple pathways to extreme dirt and W [Link]

76 December 2022 / [Link]

 ON TE ST

Tech 21 SansAmp the analogue speaker sim response means

you can still use it into a real guitar amp,
with a bit of EQ, whereas you can’t usually

Character Plus
do that with the greater complexity of an IR.
At just over seven by two inches, the
housings really are significantly smaller
than the Fly Rigs, but nonetheless feature

Analogue Amp-emulation Pedals three footswitches and 12 self-illuminating

rotary controls. An included external power
Tech 21’s renowned Character pedals get a new lease adaptor supplies the required 9V DC
200mA, and there are quarter-inch jacks
of life in the form of the compact, channel-switchable for guitar input (1MΩ) and unbalanced,
Character Plus series. low-impedance signal output, plus
a balanced XLR.
DAV E LO C K WO O D
the ‘Marshall’ gets a Fuzz Face distortion, All four pedals are organised as
the ‘Vox’ has a choice of Rangemaster-style two-channel ‘amps’, with dedicated A and
ech 21’s Character series of treble boost or midrange boost, and the B settings for both Drive and Character,

T analogue guitar-amp and

speaker emulations launched in
2008, into a world in which digital amp/
‘HiWatt’ amp gets a Big Muff fuzz. There’s
certainly a logic to this: many of what we
all think of as ‘classic amplifier tones’ are in
albeit with a shared three-band EQ. The
latter acts after the amp and speaker-sim

speaker modelling had already reached fact combinations of amps and pedals. Tech 21 SansAmp
a considerable degree of maturity. Yet there The all-analogue amp emulations are Character Plus
was still a place for the immediacy and paired with Tech 21’s analogue speaker-cab
musicality of an all-analogue signal path, emulations, each in a style frequently
£329
combined with a simple, intuitive interface, associated with the nominal amp. There is PROS
and the various dedicated amp-design no facility for switching off just the speaker • All-analogue signal path.
emulations became a fixture in many emulation in these designs, however, so • Very low noise at high drive levels.
• Character controls offer a surprising
a pedalboard and DI recording system. This we have to assume the primary application
amount of tonal versatility.
year sees the Character concept receiving to be direct recording or a direct feed • PSU included.
something of a re-launch, but is there still to a PA system or full-range stage amp.
a place for an analogue speaker sim in the Being created entirely in the analogue CONS
• No speaker-sim defeat switch.
era of the digital IR? domain, a SansAmp-style speaker/mic
• No onboard reverb or delay.
sim doesn’t have the narrow peaking
Getting Into Character and notching of a real miked speaker or
• Insert point would be handy.

Tech 21’s new Character Plus series impulse response taken from one. This SUMMARY
Despite the goofy names, there
marries a scaled-down version of their is audible as a less complex sound when
are some really good DI recording
popular Fly Rig housing with amp-specific clean, but a smoother one with heavily or direct-to-PA sounds in these
analogue emulations similar to the original distorted sounds, which can sometimes boxes. Analogue speaker sims have
Character series pedals. The ‘Plus’ factor be exactly what you want — one of the their limitations, so don’t expect ‘IR
here comes from the integration of primary reasons why we often double-mic reality’, but if you prefer to stay in the
analogue domain, you’ll appreciate the
a ‘popular choice’ pedal with each of the guitar cabs is precisely to try to even out breadth of tonality available and the
four different amps emulated. Thus the some of the peaks and dips in the overall amount of subtle fine-tuning offered by
‘Fender’ unit gets a Tube Screamer type, response. The comparative smoothness of the Character controls.

78 December 2022 / [Link]

 The Fuzzy Brit model aims to deliver a range of Marshall-like tones, with a distortion based on the Fuzz Face.

The English Muffy: think HiWatt and EHX.

use it as a conventional stompbox distortion choice with Fender amps. At the minimum
stages and is analogous to using an EQ on into the front end of an amp drive setting this one is a little cleaner
a mixer to affect a miked-up source, rather than a classic 808 or TS-9, and there’s no
than being a part of the virtual amp circuitry,
A Timeline Of Classic Amps additional volume available on the Level
so common ‘amp-user conventions’, like The ‘Screaming Blonde’ model’s Character control until you start to push the Drive
cutting bass as you increase distortion to control takes you backwards through the up a little, but it works pretty much as
prevent flubby bottom-end, don’t apply timeline of classic Fender amp designs, you’d expect, although I daresay some
here. The fixed EQ band’s frequencies are starting out anticlockwise in the Black/ users would prefer a little less bass cut, as
subtly different for each model and allow Silverface era, passing though the found in many of the popular tweaked TS
for a lot of fine-tuning of the final output. Blonde/Brown models, and then back circuits. A switch to assign the ‘pedal’ to
The Character controls and their interaction to the Tweeds. Tonally, this means fully only come on with the selection of one of
with the Drive setting is where all the ‘amp’ anticlockwise is a bit scooped in the the two channels would have been a nice
action is to be found in these units. On the midrange for sparkling cleans, and fully extension to overall usability, but I guess
‘Vox’ model (not sure I can bring myself to clockwise offers up the midrange focus of you can’t have everything in a unit this
keep referring to it as a ‘Mop Top Liverpool’) a Tweed, with a nice compromise balance compact. You can actually hit both switches
Character A and Character B access of the two somewhere around the middle. at the same time, just, if you’ve got really
a different range of tones, but in the other Combine that with different Drive and big feet, or you come at it sideways!
modes they facilitate alternate settings of Volume levels available in each channel, The High, Mid and Low EQ controls
the same parameter, sweeping through and it is easy to get, say, a clean rhythm offer plus or minus 12dB, centred on
a range of classic tones associated with sound that will go into a bit of crunch 3.2kHz, 1kHz and 125Hz respectively. In
the general amp style. Channel A/B choice when you turn up the guitar volume, and general, I found I didn’t really want to do
is via footswitch, with a buffered bypass then switch to the B settings for a louder, much with them other than roll off a tiny bit
footswitch taking the whole amp/speaker higher-gain, ’singing’ lead tone. Or, indeed, of the highs on very distorted tones and
emulation stage in and out of circuit, and the other way round, as neither channel is take out a little of the midrange on cleaner
the third switch activating the distortion dedicated to any particular tonality. settings. The most useful tonal tweaks are
pedal. The latter will still work even when For further variation you’ve got a Tube all to be found in the Character controls
the unit is switched to bypass, so you could Screamer-type overdrive, often the drive of and the Drive settings. This unit’s speaker

[Link] / December 2022 79

 ON TE ST
T E C H 21 S A N S A M P C H A R A C T E R P L U S

ALTERNATIVES
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Despite the tonal complexity of Vox amps, this model offers a commendable emulation.
present on a real Fuzz Face, of course.
sim tonality is based on the Jensen 12 inch an all analogue speaker sim albeit one There’s certainly plenty of fuzz even
models widely regarded as the archetypal mimicking the familiar response shape of with single-coils, and more level than
Fender speaker, and within the constraints Celestion Greenbacks, to handle without I’d imagine anyone could ever use, but
of an analogue response, some of that a bit of a tonal reset. Patching the output the one thing there isn’t is the classic
characteristic is certainly audible. through a hardware IR box, leaving the fuzz pedal instant, dramatic clean-up
The ‘Fuzzy Brit’ model takes us into EQ flat and accepting that the onboard when you turn the guitar down, as that
the world of classic Marshall tones, with speaker sim was still in circuit, produced requires a direct connection between
a Character control that spans from an immediate improvement, but then the the guitar and the fuzz input. Serious fuzz
the warm overdrive of the JTM45 (and clean tones had lost their sparkle. That’s aficionados will miss that performance
Bluesbreaker combo) of the mid-1960s, up the trade-off with an analogue speaker characteristic, and would be better off
to the biting, high treble of the Super Lead sim — you can usually dial-in something using a real fuzz in front of the Fuzzy Brit,
models of the ’70s and beyond, with the that works, even without external which works perfectly well, I can attest.
‘not as dark as a JTM and not as bright as assistance, but it won’t necessarily
an SL’ Plexi models to be found in between. work for a whole range of tones without
The Less-often
Marshalls may be renowned for their a certain amount of tweaking. Emulated HiWatt
distortion, but non-master-volume models The three-band EQ is once again The ‘English Muffy’ (and I shall say
have particularly nice clean-up when you centred on 3.2kHz, 1kHz and 125Hz: that only once!) gives us the sound of
turn the guitar down, and that’s something I wonder if a ‘fill out the lower midrange’ a HiWatt DR103, with Fane speakers.
that is really well emulated here. The virtual 500 or 600 Hz might have been a more Think Pete Townshend crunch, or Floyd’s
Plexi with the Drive at about 70 percent useful post-amp centre frequency with the Dave Gilmour-style soaring lead lines,
and a Strat with the volume half down is brighter Marshall sounds. but also the driven bass sounds of John
a delicious tone, indeed. The Drive pedal in this model is Entwistle. The Character control goes
By contrast, a screaming Super Lead a somewhat Fuzz Face-like distortion, with from subjectively clean, even with a fair
setting is a much tougher challenge for the addition of a low-pass Tone control, not amount of Drive, to full-on distortion.
And if you want more distortion, there’s
an emulated Electro-Harmonix Big Muff
pedal, too. Not sure if this is a particular
one (there are versions) or just covering
the range, but it certainly does ‘the
Muff thing’ of flattened dynamics and
practically infinite sustain. The Tone
control is more than just the usual
low-pass, operating as a ‘tilt’ EQ centred
around 1kHz and allowing for quite a lot of
subtle tonal fine-tuning.
The bass-amp emulations are aided by
a significantly different EQ setup, with the
High and Low bands apparently based
on ’70s British console EQ. The Mid band
boosts up to 12dB at 400Hz, but cuts
(again up to 12dB) at 750Hz, whilst the
As well as the unbalanced TS input and output you’d expect to find on a guitar pedal, there’s Low band offers 22dB of boost or a 12dB
a balanced line-level XLR output, making direct recording or a feed to the FOH desk easy. cut at 120Hz. The High band goes even

80 December 2022 / [Link]

further, with a whopping 30dB of boost, to find myself concluding that it is one of a compact, more affordable, two-channel
or 12dB of cut, at 3.2kHz. I can’t say that the most successful in the Character Plus format with an integral drive pedal makes
I’ve ever used 30dB of boost on an EQ range, especially in its clean to semi-clean good sense as a product. I can’t help
band before, and may not do so again, ranges. Rather than a drive pedal, this one feeling, however, that a very slightly less
but it’s certainly there if you want it! has a single-knob Boost that operates as compact unit which had room for an insert
The Vox model (Mop Top Liverpool, a treble boost clockwise from the centre point that would allow you to get a delay or
if you must) is the most different of the and a midrange boost turned the other reverb into the post-amp signal path before
four models, with the A and B Character way. The EQ, too, gets a tweak in the form it exited via the XLR would have been even
controls representing opposite settings of shift switches that move the Treble more appealing to many.
of the Treble and Bass controls of a Top control from 3.2 to 4.5 kHz and the Mid The last word, though, should be
Boost model Vox. Anyone familiar with from 325 down to 250 Hz, both useful in about what is here and not what isn’t:
the operation of vintage Voxes will trying to replicate the clean ‘chime’ and the SansAmp Character Plus series
know that this has a dramatic effect on sometimes gritty crackle of that most offers a range of very usable amp and
the amount of midrange, versus top classic of Vox speakers, Celestion AlNiCos, speaker sim tones, with each unit offering
and bottom, as well as affecting the in the analogue domain. something unique. If you are just starting
overdrive tonality. Not that you need to out down the amp sim path, or backing
be familiar: a bit of tweaking will soon
The Last Word? your way out of a menu-driven rabbit hole,
reveal that you can get warm clean Even in the era of super-accurate maybe the immediacy and simplicity of
or thinned-out clean, and a choice digital-modelling replicas of amps and a WYSIWYG analogue interface is just the
of big ‘throaty’ drive, or uniquely Vox speakers, I have to admit to still enjoying thing you need.
‘bracketed’ midrange drive, and a whole the tactile immediacy of a good analogue
range of flavours in between. Voxes emulation. It’s not as ‘real’ and you always
are tonally complex beasts with many have to tweak something to get a range £ £329 each including VAT.
T Rocky Road Distribution
important subtleties that make them of useful tones, but there is still something
+44 (0)1494 535333
what they are, and I expected this to be very musical about all-analogue circuitry — E sales@[Link]
the hardest of the amps to emulate well and the people of Tech 21 are very good at W [Link]
in the analogue domain. I’m surprised it. Repackaging the Character series into W [Link]
 ON TE ST

Zoom PodTrak P8
M AT T H O U G H TO N

odcasting is now a very big

P business, and the market for

podcast production tools has
really heated up in recent years. As well Podcast Workstation
as the various audio interfaces, USB
mics and apps that have been targeted We get hands-on with Zoom’s new dedicated
at podcasters, there have now been
several standalone devices which aim
podcast recorder.
to put almost everything a podcast purposes — those mentioned double
producer needs in a neat and convenient up as standalone multitrack recorders
package. I recently reviewed Rode’s and USB audio interfaces — they
revamped RodeCaster (SOS August also offer a number of
2022: [Link]/reviews/ broadcast-style
rode-rodecaster-pro-ii), for example, and features,
a couple of months earlier looked at
Tascam’s Mixcast 4 ([Link].
com/reviews/tascam-mixcast-4). While
such devices can, if desired, be
used for other recording
and production

Zoom PodTrak P8
£369
PROS
• Sounds good.
• Easy to use.
• Keenly priced.
• Can run off batteries.
• On Air buttons are handy.
• Multitrack recording.
• Basic editing on board.

CONS
• Button clicks could be quieter.
• Bluetooth a cost option.
• Sound pads could do more.

SUMMARY
This streamlined podcast
production station is incredibly
quick to set up and easy to
use, and deserves to do well.

82 December 2022 / [Link]

including multiple headphone outs,
connectivity for phone and VOIP
calls, and sample pads, for live
Sound Pads
DJ-style triggering of sound effects The nine sound pads are similar to those I’ve pause/play); loop (pressing starts/stops again, but
and, potentially, adverts. They also used on other devices, though unlike on the this time sample playback is looped); and hold
Rode and Tascam equivalents these are for (press-and-hold to play, release to stop). You can
attempt to present a less-daunting
sample triggering only — they can’t be used, for also set the level of the file. The colour of the pad
interface than a typical recording instance, to apply real-time effects to the mic reflects the colour you assign to the file, which
console, for example by using channels. There are four banks, with nine factory might not be a major issue but can be a touch
presets to manage things like mic sounds assigned to Bank 1, and the other three, frustrating since you can’t assign that colour from
preamp gain and phantom power. which you access with a swipe or pressing an the smart pad setup screen — hopefully that can
Japanese audio electronics on-screen arrow, left blank. You can populate be revised in a future update. On a similar note,
boffins Zoom have long had them really easily with any mono/stereo WAV you cannot rename the individual pad — they’re
files you record to or pre-load onto the SD card; always labelled Pad A, Pad B and so on, up to Pad
a foothold in this market with 16- or 24-bit 44.1kHz mono and stereo files are I — and the settings screen displays the name of
their R and LiveTrak L ranges, supported. You can name each bank with an the audio file, which, again, can only be edited
which combine multi-channel on-screen keyboard, and each pad can trigger in another screen that’s not directly navigable
mixers with audio interfacing and the sounds in one of the several modes we’ve from this one. Minor gripes in the grand scheme,
standalone recording capability. come to expect on such devices: one-shot (press but I think they’re worth mentioning. The sound
Their LiveTrak L-8, for example, once and it plays the sound to the end); pause pads also have a secondary function as buttons to
(press once to play, and then again to toggle press during startup, to load firmware updates.
which I reviewed back in SOS
January 2021 ([Link].
com/reviews/zoom-livetrak-l-8), P8 has plenty in common with the connection for a smartphone or similar, or,
gained an enthusiastic following LiveTrak L-8 (which remains available), with power supplied by a smaller socket
amongst podcast producers. But but there are plenty of differences too. It’s next to it, Zoom’s separately available
none were devices designed a similar sort of size (large enough that BTA-2 Bluetooth adaptor. This TRRS (or
specifically and solely with the control layout feels suitably spacious; potentially Bluetooth) input has its own
the podcast market in small enough to be easily portable). It stereo channel and level fader. As on
mind. So while the has six mic preamps, and can run off the most such devices, there’s a ‘mix-minus’
LiveTrak L-8 did offer supplied mains AC to 5V DC PSU or USB feature to prevent feedback/echoes on
power (whether that be from a computer’s any USB-connected device.
USB port, a wall-wart or an external USB The main stereo outputs are on
power pack). But it can also be powered quarter-inch TRS jacks this time, and the
by four AA batteries, if you prefer, for up headphones on mini-jacks, and the output
to 1.5 or 2 hours (Zoom’s published specs level is set using a knob in the bottom
are inconsistent on this point, and I didn’t right-hand ‘master’ section. Here, you’ll
fancy burning my last set of batteries also find a knob for the USB stereo output
to discover which figure was correct!). level, as well as four transport buttons.
There are more headphone outputs: six A large record button, whose big red
to the L-8’s four, matching the number of dot and protective surround (to prevent
mic input channels, and each has its own accidental presses) make its function
level knob. So you’re able to record six unmistakable, is joined by a button each
people in conversation in the same room, for stop, play/pause, and to add markers
with each having their own mic and able while recording (helpful to flag up issues
useful podcasting to set their headphone levels to taste. that need attention in post production).
features, and seasoned The P8 has nine sound pads (each The casing is a slightly metallic
recording types won’t have with four virtual banks) compared mid-grey colour and the various features
had any issues using it (I loved with the L-8’s six, and this time they’re hosted on its top panel are helpfully
it!), many amateur podcasters treated to their own, dedicated stereo colour-coded, with each channel’s
would, I imagine, have found some mixer channel. One limitation of the L-8 physical control set having its own
features superfluous or potentially is that its sound pads share a stereo colour. So, for example, the fader cap,
complicated, while others might have channel with line, phone and USB-C phantom-power switch, headphone
found the number of headphone inputs. Instead, on the P8, mic channel socket and headphone level knob of
outputs lacking, or wished for more 6 doubles up as the USB channel. The channel one are all picked out in red,
obvious visual clues to help them run P8 is compatible with Mac, Windows, while those for channel two are orange,
multi-user sessions. iOS or Android devices, and the USB-C channel three yellow... and so forth.
port allows you to include phone This scheme extends to the controls on
Overview calls or an audio feed to/from VOIP or the large touchscreen, which itself is
For such users, Zoom have since video-conference apps (such as Zoom perhaps the biggest departure from the
created a couple of dedicated — no relation!) in your podcasts; to use L-8. The only hardware controls I’ve not
podcast production stations: the the P8 as a 2-in/2-out audio interface; yet covered are each channel’s mute
PodTrak P8 reviewed here, and or for file transfer. An adjacent TRRS and On Air buttons, which are brightly
a smaller sibling, the P4. The PodTrak mini-jack socket provides a two-way backlit when their function is engaged.

[Link] / December 2022 83

 ON TE ST
ZOOM PODTRAK P8

The former’s purpose is obvious, but the

latter’s may be less so: when On Air is
engaged, that channel’s audio is routed to
the main stereo mix bus; when not active,
the channel can still be heard on all the
headphone outs but not the main mix, and
will not be recorded either.
On the home screen, a multi-channel
meter shows the post-fader level of each
channel, the bars helpfully adhering to the
channel colour scheme. Beneath each
meter is an icon button (capacitor mic,
dynamic mic, phone or sound pad), which
you press to bring up another screen in
which you can tweak settings for that
channel. For the master stereo bus (which,
by the way, doesn’t have its own physical
fader) there’s a stereo level meter, and
beneath this an On Air button which
accesses settings for live streaming/
broadcast; more on that side of things
later. Other settings (eg. power settings,
SD card, date and time) are accessed
using buttons at the top of the screen,
where a counter also indicates either how
many hours/minutes/seconds of recording
time are available on the SD card, or how
many have already elapsed. A different
mic icon in the top left takes you to
any recordings already on the SD card,
whether made by the P8 or not.
The P8’s A-D/D-A converters are 16-bit
44.1kHz which might, I realise, seem
somewhat old-fashioned to seasoned
music recordists, but I reckon they’re
perfectly adequate for this application. For
one thing, the mic preamps themselves The main mic channel setup window, which is used to set the mic preamp gain and to access some quick
are low-noise and clean-sounding. And and easy processing for a live show.
for another, close-miked spoken word isn’t colour LCD touchscreen, you’re prompted you can set the input gain using a long
the most dynamic sound you’ll ever have to set the date/time and desired language horizontal slider. It’s accompanied by
to capture. It does, though, mean that (English, French, German, Italian, Spanish a virtual LED meter, marked with regions
if you wish the device to serve in other or Japanese), and a helpful setup wizard to indicate Low, Good or Over levels
applications, including music, there are presents some On Air options: you can — it’s all really beginner-friendly. There
almost certainly better choices out there switch on ‘noise reduction’, which is are a limiter and a low-cut filter too,
— not least the 24-bit LiveTrak L-8. While a noise gate that effectively auto-mutes the parameters for which are fixed (not
we’re on the subject of word length (or ‘bit (in the main mix) mic tracks on which a problem, though it might have been
depth’, as it’s often described), the P8 is no signal is detected, and you can nice to have a couple of different filter
capable of reading and playing back any choose whether or not to capture all frequency options; one to remove rumble,
16- or 24-bit files already on the SD card, the individual tracks as separate files, and another to counter proximity-effect
though while it can detect and display which are always pre-fader but you can bass boost. Next comes the Tone section,
32-bit files (such as you might record on specify whether processing should be an EQ which takes the form of a single
Zoom’s F3, reviewed last month) these included. Those processing options are slider, with the neutral setting in the
can’t be played back. fairly minimal but well judged, which is middle, and which you slide right for
as it should be for a device aimed at more treble or left of centre for more
In Use this market. bass; it can also be switched off. For
On powering on, you’re greeted with To access the processing/settings a third section, Comp/De-ess, the slider is
a short multi-colour lightshow on the screen, you click on a channel icon at the neutral at the far-left position, and as you
sound pads (which triggered in me bottom of the main mixer screen — the slide it to the right increasing amounts
a sudden craving for wine gums!) before features presented on the next screen of compression and de-essing (both
they all settle on the default white. Then, depend on the track type (mic, USB, simultaneously; you cannot switch only
on the generously proportioned (4.3-inch) phone or sound pads). For the mics, one on/off) are applied.

84 December 2022 / [Link]

 The SD card slot is on the rear, along with a USB-C connector (for power and data connections) and
a power inlet for the included adaptor — though the P8 can also run off AA batteries if you wish.

Studio stalwarts might think this for post production purposes, and can close-up dynamic mics, but could be if six
a meagre amount of control over the pause/resume a recording whenever people had their own desktop capacitor
sound but it’s deliberate and, as I say, in you want, rather than stopping and model around the same table!
my opinion well judged. The idea isn’t starting afresh. The On Air and mute buttons are, it
to create a polished studio production, Hit the red mic button on the home has to be said, more clicky than I’d like.
but to allow quick and easy control over screen, and you can view the files on the On the plus side, there’s good tactile
a live-streamed podcast, and creating top-level folder of the SD card, including feedback (you certainly know when
an acceptable sound takes mere those you’ve just recorded. Select a file, you’ve pressed one), but the sound
seconds. You can record the multitracks and you can perform basic edits such as could be picked up in nearby mics and,
without the processing, giving you all start/end time trim, split, and applying of course, at least one person needs to
the post-production control you need in separate in/out fades, as well as adding be near enough the P8 to operate it. The
your DAW. You can store current settings music to the podcast and basic loudness sound pads are softer, slightly rubberised
to the SD card too, so setup for regular normalisation. You can also export to affairs which make barely a whisper,
podcasts (same guests, same mics...) MP3, and on the main file-browser page and the use of this style of button for all
can be even quicker, even if the device are able to stitch multiple files together the other functions would have been
is used by multiple people on different to create one podcast. Depending on an improvement in my view.
projects. Something that would speed the nature of your podcast project, this
things up that bit further would be a way could well be enough to do what you
Conclusion
to switch channels from within the channel need to get it ready for upload, but On balance, I reckon the PodTrak P8
settings screen. obviously you have more control over this scores very highly in terms of bang for
For the other (non-mic) channels, the stuff on a computer. From this browser buck. It’s a very focused product, of
options are more limited. For the USB screen you can also engage USB transfer course, and this means it lacks some of
you have separate cut-or-boost sliders mode, which inhibits other activity on the bells and whistles we’re used to in the
for the Treble and Bass, as well as being the P8 while you use it as a USB card traditional recording studio (eg. gain pots,
able to switch on/off mix-minus (it’s off by reader. The computer can see the full file panning, 24-bit recording). But bar the
default). For the phone TRRS socket, you structure, which is not visible from the mics, headphones and SD card, there’s
have the same but without the mix-minus P8 itself, and this includes a sub-folder everything you need here to capture
option. The sound pads’ page is more with any multitrack recordings you a great-sounding podcast involving
complex — I’ve explored these in more decided to capture. multiple people, and the multitrack
detail in the separate box — and the In my tests, all the channels recording feature means you can transfer
On Air page is where you can engage worked as expected, including the everything to a computer should you
the noise gates and choose whether/ USB mix-minus feature. I didn’t have want to roll your sleeves up and finesse
how to do multitrack recording, as access to a Bluetooth adaptor to test its the result in a DAW. Most importantly of
discussed earlier. performance, though have used them on all, it’s incredibly easy to use — in fact,
other Zoom devices in the past without I’d say that I’ve found it easier to operate
Recording problem. The captured sound comes than any recording device since the
Once you’ve set things up as desired, across as clean and crisp, in a good cassette-tape-based Portastudio I started
recording literally couldn’t be simpler: way, and I experienced no problem out on back in the ’80s! And with the
hit that big record button, start talking, setting appropriate levels or refining the ability to power the P8 from batteries
and when you’re done press stop. While sound with the processing options. The or any USB source, this is a genuinely
you’re recording you’ll see a red circle mute and On Air button status is really portable device — you really can record
at the top of the screen and a red LED easy to see, and it’s a really intuitive anywhere, even ‘off grid’.
by the record button. You can press way to manage those ‘back channel’
the mute/On Air buttons as required, to conversations. Of course, you do have
£ £369 including VAT.
prevent people hearing your mic, or to to make sure the person speaking is far
T Sound Service MSL +44 (0)207 118 0133
provide a ‘back channel’ that doesn’t enough away from other people’s mics, E sales@[Link]
make it on air. You can if you wish press to avoid what they say spilling onto the W [Link]
the marker button to leave aides memoire recording. Not generally a problem with W [Link]

[Link] / December 2022 85

 FE ATURE

The SOS team pick their hardware and software

highlights from the last 12 months.

SSL The Bus+

Studio Hardware gain-boosting product, the dBooster, We all know that cables and audio
which contained an extraordinary amount equipment choose the least convenient
of sophisticated circuitry and delivered time to break down, and speedy
The people who made the VCA stereo superb technical specifications, setting the identification of most problems typically
mix bus compressor famous recently gave benchmark for devices of this type. requires some basic test equipment which
the concept a thorough reworking — and This year the company produced the we rarely have to hand when we’re rushing
added an interesting dynamic EQ stage to dBooster2, effectively combining two about on a dark stage or in a crammed
boot. The SSL The Bus+ hardware oozes dBoosters into one unit for convenient studio trying to resolve the issue as quickly
class, and the digital control is all about stereo applications while improving the as possible.
precision, while the analogue signal path technical specifications even further. Professional live sound engineer David
sounds as great as ever. There’s a huge Additionally, by fitting combi XLR input Scorteccia was all too
range of options and clever secondary connectors and additional high-impedance familiar with this scenario,
control functions on board, so it’s hats off to FET circuitry, the unit can now be used as and so designed and built
SSL for managing to make it all accessible a high-quality recording DI unit for electric the Sonnect Audio Sound
without compromising operation of the (and electronic) instrument inputs, with Bullet — a masterpiece of
essential parameters. Matt Houghton a deliciously musical character. engineering that combines
[Link] Four paralleled pairs of discrete a basic signal generator,
transistors at the front end guarantee signal checker (with meter
Royer Labs, famed for their splendiferous exceptionally low noise for microphones, and speaker), phantom
ribbon microphones, are not a company and the highly capable OPA1692 op-amp power checker and cable
that cuts corners. This was made drives the output with a generous tester, all in a compact
abundantly clear in their first inline headroom margin. A considerable portion and rugged box with
of the surface-mount electronics is given rechargable battery,
over to providing a clean and quiet power which sits neatly and
supply for the audio circuitry, too, which is inconspicuously in a belt
more evidence of Royer’s exacting attention pouch when not in use.
to detail. For me, Royer’s dBooster2 The clever design
represents the state of the art when it allows direct connection
comes to high-quality gain boosters, and it to cables and equipment
is the perfect partner for low-output passive with XLRs or quarter-inch
ribbon mics. Hugh Robjohns jacks, to serve as Sonnect Audio
Royer Labs dBooster 2 [Link] a convenient sound source Sound Bullet

86 December 2022 / w w w. s o u n d o n s o u n d . c o m
 here that will appeal to podcast producers,
such as the ability to connect to two USB
devices simultaneously. And the best part?
It’s easily good enough to act as your main
audio interface, whether you’re into making
podcasts, music or anything else.
Matt Houghton
[Link]

SSL have done a phenomenal job of

keeping up to date with the changing
landscape of mixing technology. The BiG
SiX, a more fully featured version of their
highly successful mini-mixer, feels like the
Rode RodeCaster Pro II perfect mixer/soundcard amalgam.
Its flexible design and built-in 16-channel
soundcard combine modern needs
whilst giving the feel and sound of a big
console. Whether you’re tracking, analogue
summing, DAWless jamming, podcasting, or
enduring another endless Zoom meeting,
Heritage Audio Motorcity Equalizer the BiG SiX handles it with style. Its
im
bu
ma
stu Rory Dow
htt

S
Ar
A ’s Efx Fragments is a granular
de
ac
Wes Audio Rhea SSL BiG SiX an
granular plug-ins such as Output’s Portal
or for monitoring outputs. It can also test Heritage Audio are well known for their and Unfiltered Audio’s Silo. It is capable of
XLR cables for constant or intermittent recreations of Neve gear, but for their gentle, dreamy enhancement at one end
problems, and establish the presence Motorcity Equalizer, they looked to the of the spectrum and glitchy stuttering at
and status of phantom power. The built-in States, and Motown’s celebrated (and the other, with applications that include
speaker is surprisingly powerful, but it extremely rare!) inductor EQ, for inspiration. spicing up drum loops, turning non-
can also be used with headphones or Its fixed bands might at first appear limiting, rhythmic sounds into rhythms and adding
an earpiece. Such a sophisticated and but in practice I found I could achieve things shimmering clouds of texture to pad
specialised device is naturally expensive, that would have been difficult or impossible sounds. Its modulation section makes it
but will earn its keep and I wouldn’t be with a more surgical EQ. There seems easy to add movement to the sound, and
without mine! Hugh Robjohns to be more going on than just boosting it is certainly seeing a lot of use in my own
[Link] and cutting at different frequencies, and compositions at the moment. Paul White
whether I was adding presence to a bass [Link]
Polish manufacturers Wes Audio have guitar, ‘opening up’ drum tracks with a mid
long been at the head of the pack when cut, or massaging a complete mix, the I’ve tested some impressive sample-based
it comes to digitally controlled analogue Motorcity Equalizer was inspiring to use. instruments this year, with offerings from
hardware, and the stereo vari-mu Rhea Neil Rogers Zero G warranting an honourable mention,
didn’t disappoint. As with their other ng500 [Link] but the one that stands out for me is Drop
modules, there’s two-way communication Pad, co-developed by German company
between the front-panel controls and the Despite having a few reservations, Soundtrax and UK sound designers
associated DAW plug-in — so not only I very much enjoyed using the original Sub 51. It satisfies my desire to achieve
do you get to decide how you use it, RodeCaster Pro. In the RodeCaster Pro II, musically interesting results without making
but there’s zero risk of it turning into an which is a from-the-ground-up redesign, my brain ache, and as an ex-Yorkshireman,
expensive doorstop as DAWs and operating those reservations have been obliterated, its very low price also appeals to me!
systems evolve. Most importantly of all, it in no small part that’s thanks to some Essentially Drop Pad is a four-layer
sounds wonderful. Matt Houghton seriously upgraded mic preamps, but there sample player equipped with modulation
[Link] are bags of other interesting features on options for dynamic fading between the

w w w. s o u n d o n s o u n d . c o m / December 2022 87
 FE ATURE
GEAR OF THE YEAR

Steinberg Cubase 12 Sub51 & Soundtrax Drop Pad

Arturia Efx Fragments Toontrack EZdrummer 3

layers, followed by filters and effects that highlights list would be the very slick new What is almost certainly the best-selling
may also be modulated, either freely or MIDI Remote system that makes integrating virtual drum instrument ever created
in sync with the DAW project. Its included almost any hardware control surface into received a refresh that delivered bigger,
library has an impressive selection of loops, your Cubase workflow a breeze. Equally better, more on every front. The new 18GB
toppers, pads, leads and basses that can eye (ear?) catching is the new Audio To MIDI core library gives EZdrummer 3 users
be combined in different permutations, and Chords feature, which will analyse any audio access to some truly fabulous acoustic drum
its architecture makes it ideal for creating recording and attempt to extract the chords kits; they are incredibly versatile and would
moving pad sounds, shifting rhythms, from it before adding said chords to the grace any commercial recording project.
drones and organic textures. Cubase Chord Track. Esoteric jazz aside, it Enhancements within EZdrummer’s mixing
Importantly, the four sample pads does an impressively good job. The addition environment provide more control than ever
support Kontakt’s drag-and-drop import so of the Scale Assistant within the VariAudio before. An impressive new library of MIDI
that user samples can be dragged directly system is also incredibly useful. With grooves is included, alongside the superb
onto the interface to create new sounds. a slick workflow, allied with powerful and suite of user-friendly tools that let you quickly
NI’s Komplete Kontrol is also supported. transparent pitch-correction for monophonic adjust the playing style and intensity of any
Drop Pad is easy to use, it is capable of audio, VariAudio is very difficult to beat. groove. However, the highlight addition
some great sounds that evolve over time These additions would have been enough in this element of the software is the new
and it is cheaper than a takeaway curry for me but, amongst a bunch of other things, Bandmate window; drag and drop existing
for two. Paul White Steinberg also added a brilliantly simple MIDI or audio parts from your project into
[Link] creative effects plug-in in FX Modulator, Bandmate and it will find grooves from
a very cool new sample-based piano in your library that provide the best musical
While Cubase has been my personal Verve, powerful new editing features within match. For non-drummers, this is a massive
DAW of choice for many years, I do think AudioWarp and the flexible new Raiser limiter songwriting assist. And, of course, Toontrack
Steinberg knocked it out of the park with plug-in. Oh, and removed the licensing also brought Superior Drummer 3’s excellent
Cubase 12. The release combined a whole dongle while also adding M1 support. Grid Editor — a full-blown MIDI editing
host of general improvements with some Awesome stuff. John Walden environment — into EZdrummer 3. Combined
stand-out new features. Top of my personal [Link] with the Song Track and Song Creator, you

88 December 2022 / w w w. s o u n d o n s o u n d . c o m
 FE ATURE
GEAR OF THE YEAR

Warm Audio’s approach of picking a classic

microphone, identifying what made it special
and then recreating those qualities in an
affordable mic has been a huge commercial
success, and this year they perfected it
with their take on the AKG C12. The CX-12A
captures the essence of the C12 very well,
but more importantly, it sounds exceptional
in its own right, and produces excellent
results on a variety of sources. Neil Rogers
[Link]

Monitoring
We’re spoiled for great headphones
nowadays, and several impressive designs
have crossed my desk this year, with the
Rode NTH-100 setting a new value-for-
Austrian Audio OC16 Warm Audio WA-CX12 Mojave MA-37 Milab VIP-60
money benchmark. For pure sound quality,
can now craft every aspect of your drum end. As a studio all-rounder, it’s easily up though, the Neumann NDH 30 shows it’s
performance within EZdrummer itself; it’s there with the Neumann U87s and AKG not only planar magnetic designs that can
a big deal in terms of workflow. Toontrack C414s of this world. deliver low distortion, balanced sound and
are going to sell fewer copies of Superior [Link] exceptional clarity. Sam Inglis
Drummer, because EZdrummer 3 is simply [Link]
brilliant. John Walden A modern take on the classic Sony C-37A,
[Link] but not a slavish recreation of it, the Mojave In my job I get to listen to a lot of different
MA-37 excels most of all in roles where you monitor speakers. Obviously, the expensive
Microphones wouldn’t usually dream of using a capacitor models tend to be more capable, but it’s rare
mic, let alone a valve model. Jammed that I’m surprised by what a new speaker
It’s been a vintage year for microphones, against a cranked 4x12, close up on a snare offers. Yet the PMC 6-2 genuinely caused
in every sense of the word. I’ve reviewed drum or staring down the loudest brass me to sit open-mouthed, wondering how
excellent models from Audix, Alder Audio, player, this is a mic that will take everything on Earth the PMC boffins managed to get
Earthworks, Hohm, Manley and Vanguard, you throw at it. such a huge and impressively accurate and
all of which I’d be very happy to have in my [Link] informative sound from such a compact box.
studio; and Neumann’s reissue of the M49 The inherent weakness of smaller speakers
is the ultimate ‘bucket list’ mic. But you can’t The OC18 and OC818 were already two is always low-end power and extension, but
nominate them all, and so I’ve grudgingly of the biggest bargains in the quality mic this sophisticated design — with only a pair
limited myself to three models that made world, so I was mighty impressed by the of 6-inch bass drivers working in PMC’s
a particular impression on me. Austrian Audio OC16. They’ve taken the latest ATL enclosure iteration — reaches
The brutalist visual aesthetic of the same Vienna-made, AKG-derived capsule down smoothly to 33Hz, and maintains
Milab VIP-60 stands in perfect contrast to that’s used in the OC18, made cost savings an even and detailed response at both
its sound, which is as smooth and balanced elsewhere in the design, and brought it to quiet and silly volumes, achieving the latter
as any capacitor mic I’ve heard. It’s one of market at an incredibly competitive price. completely effortlessly. At the same time,
those mics that just seems to tune out the As a value-for-money proposition, it’s hard the midrange is beautifully revealing and
bad qualities of a source, without resorting to beat. Sam Inglis unnervingly natural, while the high end is
to cheap tricks like exaggerating the top https
[Link] clean, open and precise. A stereo pair

PMC 6-2 PSI A21-M ReProducer Epic 55 Neumann NDH 30

90 December 2022 / w w w. s o u n d o n s o u n d . c o m
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 FE ATURE
GEAR OF THE YEAR

Oberheim OB-X8 Moog Mavis

I bought a Yamaha CS80 in 1985 and played

it pretty much every day for over a decade.
In a moment of madness (probably after yet
another custom IC randomly died), I sold it,
and for the last 20 years I’ve been seeking
a replacement keyboard offering a similar
level of expressive playability.
With its poly-aftertouch keyboard, ribbon
controller, innovative sound engines and
Akai MPC Key 61 clever macro control system, the original
ASM Hydrasynth ticked most boxes for
me, but its bizarrely short keyboard was
a total deal-breaker. However, when the
Hydrasynth Deluxe model was announced
earlier this year it didn’t take me long
to quote credit card numbers down the
phone! Not only does the Deluxe have
a performance-oriented 6-octave keyboard,
it adds note-release velocity control for even
ASM Hydrasynth Deluxe
more expressivity and squeezes a second,
delivers stable imaging that portrays scale design of the Epic 55 is firmly rooted in complete Hydrasynth engine into the box,
and depth in a tangible 3D image. The PMC sound electro-acoustic principles. From its allowing 16-note polyphony with layering or
6 series also incorporates versatile DSP ABR-loaded bass to its overengineered splits for even more luscious sonic capability.
correction facilities to for room optimisation. cabinet, the Epic 55 is capable of genuinely I’ve owned and played a lot of synths
Accessed over a network connection, full high-end performance. Phil Ward over the years, but the Hydrasynth stands
system integration and alignment is amongst [Link] out for me as one of the easiest and
the best and easiest I’ve used to date. The most flexible polysynths to program, with
PMC 6-2 is one of those rare monitors that Electronic Instruments extraordinary flexibility and creativity, and
truly raises the standard of what is possible. it’s a real joy to play, with as much real-time
Hugh Robjohns It’s been an interesting year in SOS land, fingertip expression as the CS80 pioneered
[Link] and I have reviewed some exceptionally over 40 years ago. And the most amazing
good software (M-Tron MkII sticks out in aspect of the Hydrasynth Deluxe is its
Another win for expensive monitors, but in my mind), the best Hammond clone I’ve astonishing value for money — there’s
the case of the PSI A21-M, the high cost is yet played (the Hammond SKX Pro), and nothing else that comes close matching the
undoubtably justified. Boasting impressive a lovely-sounding modern workstation sound, performance or price! Hugh Robjohns
proprietary technologies and employing (the K2700). But the guys at Sound On [Link]
PSI’s own impressive in-house drivers, the Sound tell me that I can only choose one
quality and fundamental accuracy of the product here, so I think that it has to be Affordable is a relative term, but the Mavis
A21-M extends all the way through the audio the Oberheim OB-X8. Why? Because of its is certainly more affordable than most Moog
band. It’s a great example of what can be purity of vision. If you love the OB sound synths. What I really like about the Mavis,
achieved when you build a speaker without and design, it’s exactly what it ought to though, is that in making an ‘affordable’ synth
cost-driven compromises. Phil Ward be — a large 1980s analogue polysynth Moog haven’t taken the easy route. Yes,
[Link] reborn as a large 2020s analogue Mavis makes that famous Moog sound more
polsynth. It’s not for everyone. Far from it, affordable, but the carefully chosen controls
ReProducer Audio Labs are one company in fact. But for aficionados, it’s remarkable. and patch points make it a surprisingly deep
who aren’t afraid to do things differently, Gordon Reid and expandable synthesizer, capable of
but despite its otherworldly looks, the [Link] sounds no Moog has made before. Mavis

92 December 2022 / w w w. s o u n d o n s o u n d . c o m
 FE ATURE
GEAR OF THE YEAR

is not a cut-down version of another synth,

but an instrument in its own right. That it’s
cheaper than the average Moog is just
a bonus. David Glasper
[Link]

Unusually, the best production workstation

of the year is not a squarish panel filled
with drum pads — it’s a keyboard. Yes, the
Akai Pro MPC Key 61 does also have the
iconic 4x4 grid, and does all the things that
MPCs do, but this one is set up perfectly for
composers, and live and session keyboard
players. A new front-end user interface
makes sound browsing, tweaking and
Zoom B6
layering much more approachable, and
is backed up by a host of new virtual
instrument engines running independently
on the device. Simon Sherbourne
[Link]

Guitar Technology
Of all the pedals I’ve looked at this year,
my final choices boiled down to the Boss
Space Echo RE-202, the Line 6 DL4 Mk II,
IK Multimedia’s X-Space and Red Panda’s
Particle II. It was a tough call but I finally went
with the IK Multimedia X-Space, part of IK’s
X-Gear series. X-Space is a sophisticated
stereo reverb pedal and is one of the
few devices that bears comparison with Universal Audio UAFX Amp Pedals
Strymon’s flagship reverbs. As a sweetener,
when you buy one, you also get its plug-in
equivalent free of charge. It covers all the s
obvious reverb types, delivering high-end hs
studio rack reverb quality, but it also includes on from testing and reviewing the FX
some lovely ‘trick’ reverbs in the form of Amp Pedals ate
two Shimmer options, Bloom, Magnetic, ite
Etherial, Extreme and Swell. It also has an working in a room full of vintage and
amp/cab simulator section with a choice of n
five impulse responses as well as four guitar them for more of my recording work than
amp/speaker IRs. New patches created in r IK Multimedia X-Space
the software version can be transferred to to say that UA’s amp emulation pedals —
the hardware via USB and there’s also full Ruby 63 (Vox AC30), Dream 65 (Fender time: I don’t even fire up the app anymore.
MIDI support. Paul White Deluxe Reverb) and Woodrow 55 (Fender If I want to change the sound I’ll t
[Link] Tweed Deluxe) — rather polarised opinions knobs and cr
in the guitar world. Whilst most digital same things happening as I would expect in
Zoom’s B3 was an impressive device, and modellers offer at least a few amps and the real thing.
solved a number of my gigging problems often hundreds of presets, UA offered just Digital amp modellers have come a very
(including the need to switch instruments a single virtual amp per unit and nothing long way from the initial designs that made
and EQ settings mid-set), but I wasn’t in the way of effects other than those that it to the mass market, and most of today’s
always convinced by some of its effects. might be found on the original amplifier, class-leading products are all capable of
The Zoom B6 is a completely different and a room simulation. Whilst other control pushing the boundaries of new sounds as
kettle of fish, because everything I tried sat apps allowed deep-level editing, UA just well as rehashing vintage tones. But if, like
somewhere between genuinely interesting offered the ability to load a single preset me, you grew up with classic tube amps, and
and creatively inspiring, and the fact that the and tweak some footswitch options. love to use them for that thing that only those
B6 makes using the effects so intuitive is Doesn’t sound like a winning formula... amps can do, nothing else that I’ve heard in
really impressive. You can’t ask much more until you hear them. Or, perhaps, until you the modelling world comes closer than the
of a multi-effects box. Phil Ward feel the touch responsiveness under your UAFX amp pedals. Dave Lockwood
[Link] fingers. Mine now stay in ‘live mode’ all the [Link]

94 December 2022 / w w w. s o u n d o n s o u n d . c o m
Blue is the
new gold.
Happy accidents can’t be planned; they happen on their own.
And sometimes those magical moments hit the gear itself.

Legendary recording engineer, Chris Lord-Alge, depends on a

rack of original Blue Stripe limiters, but there’s been one little is-
sue: one of them has a certain magic that the others don’t. That’s
why Black Lion sent our team to study his #1 unit, Bluey, and learn
what made this unit so special, with an unreal grit for lead vocal.
}ìÐ Ìð­æĊďĮðĮȤ řЭīĮ ďå ȿì­ĨĨř ­ÆÆðÌÐĊĴĮɀ ­ĊÌ ďÌÌȷũŘÐĮ œÐīÐ
made just to keep it working — but had accidentely created a mon-
ĮĴÐīǪǪǰǯȢă­ÆāOðďĊ­Ċ­ăřšÐÌăķÐřðĊÐŘ­ÆĴðĊæÌÐĴ­ðăĴďīÐÆīЭĴÐ
this beast of a compressor, and now we’re bringing it to you. Black
Lion Audio’s Bluey: engineered and built in the USA.

}ďæÐĴĴìÐÐŘ­ÆĴðĊæÌÐĴ­ðăĴì­ĴìīðĮOďīÌȷăæÐì­ĮÐĊþďřÐÌåīďĉ
the original Bluey, we not only used custom Cinemag transform-
ers, we actually recreated his console’s insert path and built it
right into Bluey — giving everyone the same console feel! But we
ÌðÌĊɂĴ ĮĴďĨ ĴìÐīÐȤ ”Ð ­ăĮď ­ÌÌÐÌ ­Ċ ­ÆĴðŒÐ œÐĴȯÌīř ĉðŘ åďī ЭĮř
parallel compression, as well as a stereo link!

Bluey: pure sonic gold. Learn more at [Link].

 ON TE ST

Native Instruments
Komplete 14
Does the latest iteration
Software Instruments
& Effects Collection
of NI’s Komplete music
production suite provide all
the tools you need?
JOHN WALDEN

or a number of years, Native

F Instruments have bundled their

industry-standard Kontakt sample
engine with collections from their extensive
range of sample-based instruments,
virtual synths and effects into a package
known as Komplete. Available in multiple
versions, each offers an ever-increasing
range of NI’s software products at
correspondingly increasing prices. There is
also a compact (or should that be Kompakt?)
subscription-based option — Komplete
Now — for those that want to dip their toe
into the NI waters by means of a modest
monthly fee.
NI have now released Komplete 14.
It brings some new options across all of Kontakt 7 and the new Factory Library a considerably expanded palette of
Komplete versions and, significantly, also found in all the other editions. The move synth options (both for Kontakt and as
sees the release of Kontakt 7. So, if you are from Select to Standard adds a significant stand-alone plug-ins).
looking to solve your (virtual) sound source amount of Kontakt-based content including Taking the final step up to the Collector’s
needs in one fell swoop, is Komplete 14 some very good orchestral options Edition adds additional, high-end orchestral
a contender? And, if so, which version is (including within the new Factory Library), libraries including the solo Stradivari Violin,
most likely to meet your personal needs additional synth options (including Massive Amati Viola, Stradivari Cello and Guarneri
and budget? X), drum options (including the full version Violin. You also get Arkhis, the relatively
of Battery 4) and a significantly wider choice new Lores, and the new Choir: Omnia
Edition Audition of effects (including the full version of Guitar instruments, all aimed primarily at media
As well as Komplete Now, NI offer four Rig 6 Pro). composers and described more fully below.
versions of Komplete: Select (£179), Moving up to Ultimate adds even It’s also worth noting that, as you move up
Standard (£539), Ultimate (£1079) and more extra content. On the orchestral through the various Komplete versions,
Collector’s Edition (£1619). With download front this includes the excellent Action you also get increasing numbers of NI’s
sizes of 34GB, 230GB, 680GB and 1TB, and Strings 2 (which we reviewed in the genre-based loop and sample-based
sound preset numbers of 15,000, 43,000, March 2022 issue of ), the various Expansion products, designed with
84,000 and 141,000 respectively, just how Symphony Essentials Kontakt libraries, Maschine in mind but with Battery kits
complete Komplete is as a one-stop sonic the new Piano Colors, and relatively and presets for the Massive and Monark
source will obviously depend upon the new Sequis instruments. There are also synths included.
depth of your pockets. a number of sound-design instruments In addition, as part of the Komplete 14
NI’s website provides a useful overview ideal for media composers (eg, Straylight, package, NI have teamed up with both
of what’s included within each version, Mysteria, Thrill, and Rise & Hit, all of which iZotope and Plugin Alliance, with increasing
and potential purchasers will find this SOS have reviewed previously), a range options as you move up through the
particularly useful. However, some of the of Kontakt instruments suitable for both Komplete range. These partner products
more fundamental version differences are song and score work (such as a number bring plenty of added value.
worth highlighting here. For example, Select of the Session Guitar titles, Alicia’s Keys For the purposes of this review, I had
offers Kontakt 7 Player and the Kontakt studio piano, Session Horns Pro, and access to the full 141,000 sounds of the
Factory Selection rather than the full version various ‘world’ instrument libraries) and Collector’s Edition. In the absence of

96 December 2022 / [Link]

devoting a full issue of SOS to Komplete
14, I’ll focus here on some of the stand-out
highlights to give a sense of how NI have
moved things forwards. Let’s explore...

Making Kontakt
For many media composers and music
producers, Kontakt is a key ‘hub’ of their
workflow alongside their DAW of choice.
A whole point update is therefore going to
be a big deal for both developers and users
alike. For users (the likely majority within
the SOS readership), two new features
are worth highlighting; the new Factory
Library and the significant revamp of the
sound Browser.
From Komplete 14 Standard and
upwards, Kontakt 7 ships with a new,
expanded (40GB as opposed to 25GB)
Factory Library. This covers a lot of musical
ground and is presented in a set of
sound categories. A new set of traditional
orchestral sounds is included courtesy of Kontakt 7’s redesigned Browser provides a much slicker way to find and audition sounds.
samples taken from Orchestral Tools’ The basses, acoustic drums, a whole series of Kontakt product about 12 months ago
Berlin Project. For someone looking to get keyboard-based sounds such as pianos and (priced at £179) but is now included in
a start with orchestral scoring, or needing classic organs, and more pop-orientated both the Ultimate and Collector’s Edition
a core palette to sketch ideas, this covers brass. The Factory Library is rounded off of Komplete. While the underlying sample
all the key bases and sounds very good on by a suitably quirky collection of ‘Vintage’ base (all 28GB of it) leans heavily on
the ear. instruments in which the sound sources the piano, the engine, and the sound
The new Factory Library also includes span a very broad spectrum, but the design it enables, deliver a huge range
a good selection of other acoustic underlying theme is some lo-fi vibes thanks of truly inspiring sounds. It combines two
instruments drawn from around the world, to suitable addition of (mostly gentle) tape piano-based sound layers, a Noise layer
choir options with a range of articulations saturation or distortion. and the intriguing Particles layer (which can
and vowel performances, and a very good The Browser redesign provides a much introduce all sorts of other sonic elements).
selection of synth sounds covering pads, slicker (and fully resizeable) environment You also get a powerful arpeggiator and
leads, basses and soundscapes. The ‘Beat’ within which to find the library or specific a suite of effects and modulation options
section provides a collection of drum sound that you need for your project. for each layer. The UI is a bit of a work of art
sounds and loops, while the ‘Band’ section A tag-based system lets you quickly and, while things can get pretty deep once
covers electric and acoustic guitars and narrow down your search while the panel you start to explore the options available for
on the right shows all the current presets each sound layer, tweaking one of the many
Native Instruments that match your search criteria. Rather presets, or designing your own sounds from
Komplete 14 wonderfully, single-clicking on any of the scratch, remains a very accessible process.
From £179 listed presets provides an audio audition And it’s certainly worth it; Piano Colors
of the sound (these audition presets are sounds magnificent and media composers
PROS installed via Native Access and will also will absolutely love the hybrid nature of
• Useful array of prices to suit different
recognise any third-party libraries you have the sound. It can be beautiful, mysterious,
potential users.
• Kontakt 7’s new Browser is installed), while double-clicking on a preset mystical, whimsical, and downright
a workflow game changer. automatically loads it. Also very usefully, the dissonant and scary. It can do melodic lines,
• Standard offers great value as a point Browser can now be ‘pinned’ open (button chords, pads, evolving sound textures,
of entry. located top right) so you can load a preset, rhythmic patterns and lots more. While it’s
• Ultimate and Collector’s Edition are
both epic.
start playing and, if it’s not quite what you great for film scores, you could also find
are looking for, quickly pick an alternative. a place for these sounds in all sorts of pop
CONS You can also favourite any sound within the production contexts.
• No, it’s not cheap. list of presets. For dedicated Kontakt users,
Ashlight
SUMMARY these Browser enhancements will bring
NI’s various Komplete 14 bundles add considerable workflow benefits. Also appearing in the Ultimate and
useful new features and content at Collector’s Edition versions is Ashlight,
all levels. Standard makes for a great Piano Colors a granular synth that specialises in
workhorse bundle, while either
Ultimate or Collector’s Edition could
Komplete 14 also brings new instruments, atmospheres, rhythmic textures and various
easily offer all the sounds you will and top of my personal list would be Piano key-based sounds. This sits alongside —
ever need. Colors. This was released as a standalone and shares a UI/engine with — the existing

[Link] / December 2022 97

 ON TE ST
N A T I V E I N S T R U M E N T S K O M P L E T E 14

Pharlight (vocal-based sounds) and Starlight

(soundscapes, pads, drones). Put these
together with the likes of Thrill, Mysteria
and Rise & Hit (all also included within these
two upper tiers of Komplete) and you have
another impressive arsenal of sounds that
could easily form the basis of a complete
film score.
I particularly enjoyed Ashlight’s various
rhythmic presets, and many of these deliver
the sorts of drum- or percussion-free
rhythmic elements that modern scores are
based upon. There are preset categories
aimed at more peaceful or meditative
moods, but Ashlight’s real strength is its
darker, more sinister sounds. For modern
drama, horror, sci-fi or crime, Ashlight is full
of wonderful underscore possibilities.

Sequis Choir: Omnia delivers stunningly good choir sounds via a slick and flexible UI.
Sequis — also originally released as include the likes of clarinet, two different performance modes offered. In Keys mode,
a stand-alone Kontakt library about a year saxophones, flute, medieval pipes, cello, you get conventional keyswitching for both
ago (£179) — has now also been added violin, hurdy gurdy and vocals, so the vowel/syllable sounds and performance
to Ultimate and the Collector’s Edition. underlying sonics are definitely organic in articulation (sustain, marcato, staccato and
Developed in collaboration with Orchestral nature. However, you can blend three sound staccatissimo, and each syllable can also
Tools, it’s based upon a sample library of sources within a single Lores preset, and have a specific default articulation specified),
mainly orchestral and organic instruments, the engine includes the Expression control with dynamics controlled by the mod wheel.
but its unique element is the four-layer that provides the ability to smoothly blend The substantial range of presets includes
sequencing engine that allows you to add between articulations as you play. different combinations of syllable sounds
all sorts of rhythmic and repeating patterns The various microphone/ambience that, when combined, can form a simple
to your compositions. The orchestral options can be adjusted via the very phrase. The keyswitch mapping adjusts to
sound sources make themselves heard, stylish ‘cloud’ graphics within the main reflect this for each preset.
but they can be performed, processed screen of the UI, and the engine includes In Sequence mode, those same phrases
and modulated to generate results that a multitude of sound-design tools and are organised into a mini-sequencer to
would not be defined as coming from provides lots of options for sound form the full phrase, with the ability to set
a traditional orchestra. modulation. The huge selection of presets the note length, and the articulation used,
Two distinct performance modes are ably demonstrates these features. Lores for each syllable. When triggered by a MIDI
provided for triggering the four layers of offers some breathtakingly beautiful sounds note (or notes), each step of the phrase
sounds. Layer triggering can be controlled and, again, it’s ideal for music-to-picture is performed in sequence, with the last
via the mod wheel, allowing you to gradually work, where it would make a perfect syllable being sustained for as long as the
make the overall sound more complex by complement to sounds from conventional note or notes are held. The engine provides
blending in additional layers. Alternatively, orchestral libraries. a very simple workflow when building your
layers can be triggered based upon the own word-like sounds/sequences.
number of MIDI notes played, where
Choir: Omnia Sonically, Choir: Omnia is undeniably
each additional note generates sound The Collector’s Edition also gets Choir: good. As you might expect, four instances
from a different layer. This latter mode is Omnia, NI’s brand-new sample library of a deeply sampled choir does place
a little more complex in use but provides created in collaboration with Strezov a noticeable demand on your host system,
interesting ways to use the layers within Sampling. It is based around a choir of 40 but it’s certainly impressive stuff when you
a specific preset. There are some truly singers and comes in at 70GB (and £359 if get your virtual choir fully fired up.
beautiful sounds available and, whether for purchased outside Komplete). The stylish
pop or score, it’s undoubtedly an inspiring UI is shared by four individual Kontakt NKI
Best Of The Rest
instrument to work with. instruments, one each for soprano, alto, While the above additions might represent
tenor and bass sections. This does mean the most obvious ‘new for v14’ headlines,
Lores you have to write your choir performances there are plenty of other additions from
For some of the highlight new additions, in a more traditional fashion using multiple NI’s range that have now found their way
you have to go right up to the Collector’s instances of the library, but it also ensures into one or more of Komplete’s editions.
Edition. This includes Lores. Available as maximum realism. For example, I particularly enjoyed
a stand-alone Kontakt library for £179, it The detailed sampling allows for experimenting with Playbox (Standard and
is built on detailed sampling (70+GB!) of very dynamic performances, from soft, above). This is a quirky, sample-based
16 organic instruments spanning some hushed sounds right up to full-throated Kontakt instrument that allows you to
300+ articulations. Those instruments demonic epic-ness. There are two main generate cool-sounding chord sequences

98 December 2022 / [Link]

with a minimum of effort. It is great for pop Depending upon
or lo-fi contexts. which Komplete 14
Standard (and up) also includes some version you opt for,
the partner products
excellent guitar/bass options. First, you
from iZotope and
get a number of the Session Guitarist Plugin Alliance can add
titles including the excellent (and new) considerable value to
Electric Mint (which includes a new chord the overall package.
‘Progression’ feature and MIDI export) and
Prime Bass. You also get the latest iteration synth inspired
of NI’s very capable Guitar Rig 6 Pro, which by Oberheim’s
provides a comprehensive guitar amp, cab classic SEM.
and effects modelling package. Ultimate adds
And, while Standard (and above) also the very polished
offers a number of very usable drum bx_Console N
instruments such as 40s Very Own Drums (a Neve console
and Butch Vig Drums, I got particularly emulation) and
caught by the Empire Breaks instrument bx_Limiter True
with it’s various hip-hop drum sounds and Peak, while the
patterns and easy options for dialling in Collector’s Edition
a grungy lo-fi vibe to the beats. also adds the bx_Console Focusrite SC users, it is worth noting that NI do offer
and the totally brilliant Knifonium synth, an a simple and competitive pathway between
Plugin Alliance/iZotope emulation of Knif Audio’s uber-expensive versions; if you start with Select, you can
Hookup hardware synth. This emulated version is easily move up to Standard (or beyond) as
From Standard upwards, NI’s collaboration both mind-bogglingly bonkers to program your needs grow.
with both iZotope and Plugin Alliance and somewhat demanding in terms of host If starting from scratch, in terms of which
brings some very attractive additions to resources, but it’s worth it because the version provides the best bang-for-buck,
the Komplete package. Ozone 10 Standard sound can be massive. it’s difficult not to suggest Standard. Yes,
might not have all the bells and whistles it’s still a significant outlay, but it delivers
of the Advanced version, but it is still
Personal Shopper a substantial amount of material, supplying
a very capable tool for both mixing and There is no doubt that NI have added some all the core sound content you might need
mastering duties and includes the option very worthwhile additions to Komplete 14. If for a very wide range of musical styles, plus
for AI-assisted processing chains to be you are considering taking the plunge (for enough of those creative extras that modern
suggested based upon ‘listening’ to your the first time or by upgrading), the obvious pop or film/TV scoring often requires. It’s
target audio. question, therefore, is where might you a true workhorse version.
As you go up the Komplete food-chain, find your personal sweet spot within the However, it’s also true that many of
a growing list from PA’s plug-in catalogue Komplete 14 line-up? For those who have the real big-hitting headline additions to
is included. In Komplete Standard, perhaps been building a virtual instrument collection v14 are to be found in Ultimate and the
the highlights are Lo-Fi-AF, which provides for some time, areas of overlap between Collector’s Edition. By the time you reach
plenty of options to make any audio source Komplete and your existing sound sources these versions, pricewise, you are likely in
suitably grungy; and bx_Oberhausen, will obviously make any purchase decision the ‘working professional’ bracket. However,
which provides a juicy-sounding analogue more complex. However, for potential new what you get is an amazing amount of
high-quality instruments and effects. This
is desert island territory; abandon me with
my computer, DAW of choice, and either
Ultimate or Collector’s Edition (oh, and some
solar panels), and I probably still wouldn’t
have run out of sounds or inspiration even
if it took 10 years to get rescued. Don’t
get me wrong; I currently have access to
lots of non-NI sample libraries and virtual
instruments that I absolutely love, but
either of these versions might easily supply
all the sounds you will ever need. All the
Komplete versions have plenty to offer but,
from Ultimate and beyond, Komplete 14 is
truly epic.

£ Komplete Select £179, Standard £539,

Ultimate £1079, Collector’s Edition £1619.
Prices include VAT.
The Standard edition (and up) provides plenty of options for guitar sounds. W [Link]

[Link] / December 2022 99

 INTER VIE W

Gilla Band
Daniel Fox: Recording Most Normal
Gilla Band’s new album is one of the least
normal things you’ll hear this year...
SAM INGLIS
we hadn’t really written most of the song
when we tracked the drums. We just knew

“O
ur unplugged set isn’t very that we wanted this one drum beat to go
good!” laughs Daniel Fox. pretty much throughout the whole thing,
And that will come as no and then wrote the song around that.
surprise to anyone who’s heard Gilla “So it really did vary, because we were
Band’s new album Most Normal. Building recording it over such a long period of time.
on their previous work as Girl Band whilst We didn’t write all the songs and then go
also leaving it far behind, it’s a whirlwind into the studio and record it. We were more
of sonic experiment. In fact, although the just chipping away at it. We’d get some
Dublin group nominally have a conventional demos together, have an idea of what we’re
line-up of drums, bass, guitar and vocals, doing and maybe book a day or two up in
there’s almost nothing on the album that is the studio where I work, just do the drums
identifiable as a guitar sound at all. for maybe three or four songs, and then go
“Sometimes even when we try to do back to our rehearsal room and work away.
things that are normal, it doesn’t really When we were recording all the bass and
pan out that way!” admits Daniel. “We’re guitar and everything, we just did that in our
always trying to get a few chords into songs rehearsal room, because I own mics and
these days, but sometimes it works and we just bought some preamps and stuff
sometimes it doesn’t.” like that.
“The backing track of ‘Capgras’ is just
Sharing The Load a rehearsal recording. We basically made
So how does a band evolve a sound like that rehearsal demo recording, fed it back
this, and compose material that would be out into Al [Duggan]’s guitar effects, and
impossible to sketch out on an acoustic blew it out with a bunch of guitar pedals.
guitar in front of the fire? “In terms of the And then while we were recording it back
songwriting, it’s totally collaborative,” in, you’ll notice, it only happens once
explains Daniel. “It isn’t like one person or twice, but the whole track will go out
goes and sits down and writes the song, of phase with itself. It was split into two
and then the song is there. Sometimes it’s preamps, and we flicked on and off the
from playing together, jamming and feeling phase switch of one. So if you listen to it on
out sounds, or sometimes we might have a phone or something, the whole track will
a rhythm idea and just put that down and just disappear for a second.”
then just go fishing for interesting sounds,
and go back and forth and with each other
Pedal Pushing
and build up the track that way. Many of the extreme sounds were created
“A lot of the tunes were composed by feeding guitar effects pedals straight
through recording them. They would have into the recording rig, and sometimes by
started off as demos, and then we would overloading mic preamps on the way.
replace our rehearsal space drums and “There’s lots of DI guitar on it. I think if
so on. Some of them we would have just I’d suggested that to myself when I was
tracked the live demo and then started younger, I would have thought it would be
again when we went into the studio, just a terrible idea, but it really, really works on
with some guide bass and guitar. And then this. I think we’d taken some influence from
there’s a couple of them that we built upon St Vincent, whose guitar sounds I think are
the demo. More so the more abstract tunes, all DI guitar. You just get this inhumanly
I suppose. There’s a tune called ‘Pratfall’, ‘close’ kind of sound.”
and I think ‘Post Ryan’ is like that, as well. Using a DI box to record extreme guitar
We basically just had that drum beat, and sounds also means losing the safety net

100 December 2022 / [Link]

 Daniel Fox in the control
room at Sonic Studios, Dublin.

[Link] / December 2022 101

 INTER VIE W

Photo: Mark McGuinness

The songs on Most Normal were worked out over
is a small amount of synth stuff,” he admits, good. So the Radial thing really, really helps
a two-year period in Gilla Band’s rehearsal space.
“but most of it is bass guitar through pedals with that, because the amp head is just
of a loudspeaker or other filter to roll off again. We’d just mic up the cab and then going to level a lot of that out, anyway.”
the resulting jagged highs. “That inhuman get a good bit of use out of those Radial As regards studio gear, meanwhile,
amount of top on it was part of the appeal JDX things, because a lot of it is about Daniel says: “We, I think, owe a lot of
of the sound to us. If we wanted it to be pushing the amp pretty hard. I’ve got this thanks to the people at Thermionic Culture
a bit more regular, we did it through the pedal made by WMD, and it’s just like regarding doing this record. When we
amps. But most of the time when it goes a parametric EQ. I’m just boosting the low were recording, I’d just take parallels while
too far, everyone’s like, ‘Oh, yeah! Can you end loads and loads, and taking out all the we were recording through the Culture
do that more?’ So I think a lot of what we mid and top. And when that hits a bunch Vulture, and just being able to use the
were going for was being heavy handed on of 10-inch speakers, it will blow them out, really extreme setting, like pentode two
the effects, like filth.” obviously, and you get this low subby thing or whatever, with the overdrive it sounds
Daniel’s own instrument is bass, and with a little kind of kernel on top of it. like a mad gate kind of thing. A little really
again, this is usually processed to the point “On a regular DI, you have to compress does go a long way so you can kind of
where its origins are not obvious. “There it into next week, and it doesn’t sound very get this, like the feeling of it being really

Vocal Effects
Whereas the guitar and bass on Most Normal are effects. And then, a lot of that kind of pitch-shifty, if you cut the vocals and solo with the effect on it,
often unrecognisable as such, Dara Kiely’s vocals warbly thing is off a guitar pedal called Count To 5. it sounds really stupid. But once again, it has this
walk a finer line, being obviously processed in You can loop into it, and it will scramble the loop. kind of inhuman quality where it’s like, you know
extreme ways, yet retaining their intelligibility. “To We were basically trying to get a formant-shifting what it is, but it kind of just skews the picture
start off, we just try to get a nice vocal sound and effect. There was this tune by a hip-hop group of it, which once again, kind of psychedelic,
then go from there,” says Daniel Fox. “A lot of it, once called Standing On The Corner, called ‘Angel’. It’s basically. So you get all these little constantly
again, is effects processing, and just turning things this nice slow tune, but the vocal is just doing this shifting sounds.
on and off. We track most of the vocals on a [ ] slow, quite heavy formant-shifting thing going “The reason for doing it with guitar pedals is,
CMV 563. It’s funny to go use a really nice vocal up and down. So we were basically trying to do they’re cheap, for one, and we already own them,
mic and then just ram it to shite afterwards, but it something like that. We tried with the [Soundtoys] so it was kind of nice just doing re-amp passes
works. We tracked it, and then we’d sit and re-amp it Little AlterBoy, but it was kind of too good at doing like that. We just go out of the patchbay, through
through, and have a few different passes, and just try it. It is doing what it says on the tin, but it just felt a passive DI, into the pedal and back in through
different things, and then just go out and maybe pick a little maybe too clean of a version. But that pedal a preamp. You can just play into it, and then at the
words or little phrases where we’d want something kind of does it, but doesn’t do exactly it, so it was end of it, you have a lucky dip of nice unexpected
and just see what we got from the different passes or maybe a bit more interesting. things you can get. And even if you go through it
the different effects we would have used. “I guess some of those pitch-shift effects would and you don’t get what you want, you probably
“A lot of the effects would be off a [ ] be pulling down from Joe Meek, that varispeed have a better idea of what you want through the
RE-501 Chorus Echo, for a lot of the little delay kind of thing. And you get sometimes in isolation, process of doing it.”

102 December 2022 / [Link]

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 INTER VIE W
DANIEL FOX • GILL A BAND

distorted and heavy, while still maintaining

its danceability, I suppose.”

Out Of The Box

Talking of danceability, one of the reasons
why Most Normal sounds as it does is that
Gilla Band look outside their own genre
for influence. “A lot of it came down from
contemporary hip-hop records and stuff.
There’s this Earl Sweatshirt record called
Some Rap Songs where the whole track
will just be phased for a couple of seconds,
or things will filter down. And it just has
this really kind of psychedelic effect to it,
where it’s a whole head trip. Obviously, we
like guitar music, otherwise we wouldn’t
be doing it. But it isn’t like we all just listen
to rock music all the time, and I guess a lot
more of the adventurous production things
at the moment would be coming from
hip-hop, especially. A lot of the time, it isn’t
like you’d hear something and try to do
exactly what the thing was. More trying to do
something like it and probably failing in that
respect and coming out with your own kind
of thing.”
The influence of dance music is apparent
in the drum sounds, which owe less to
contemporary rock and metal, and more to
jungle, drum & bass and even jazz. “When
Covid hit, we’d just put in for the advance for
the record, so we’d nothing to do except sit
on Reverb for like three months, going, ‘Let’s
buy some gear!’ So Adam, our drummer,
bought an old Buddy Rich Signature
Slingerland kit, which is of more of a jazz
kit really than an out-and-out rock kit. We
knew that we wanted it to be different from
our other records, which have a meatier
drum sound in general, so it just seemed like
a natural way to achieve that. Sometimes, if
you just paint yourself into a corner, it can be
a good thing. It’s like, ‘Well, this is the thing
we have, and that’s the style.’”
The kit was tracked by Daniel at Sonic
Studios in Dublin. “It was pretty standard, in
a way,” he says of the recording. “The room
that we recorded them in isn’t particularly
big, so we just wanted it dry and punchy
with a few options for different kinds of
sounds. More so using mutes of the parallels
than trying to fit it all in into one big thing.
“I wanted to just get a fairly malleable
drum sound, so I used ribbons and
condensers on basically everything. It’s just
trying to minimise trashiness in the spill,
a lot of the time, because a lot of the other
instruments are pretty blown out and can
Sonic Studios is home to a large outboard
collection which saw extensive use in the recording
and mix of Most Normal.

104 December 2022 / [Link]

be a bit harsh. Minimising that on the drums give them an external side-chain signal,
as much as possible really helps, so you can but with the latency coming out of Cubase
manipulate the drum sounds without having and back in, I couldn’t really get it to work
to do lots of corrective EQ and using gates without it being unreliable. So I did all the
and stuff like that. side-chain compression in the box. You
“And then while we were tracking I would don’t really need a character compressor
send the mono overhead, or the room mic, or for a side-chain.
the overheads through various compressors, “We’ve also figured out how to do the
to have some different flavours to be able side-chain thing live, which is nice. Empress
to blend in, to give us an idea of where make a compressor pedal which you can
we were going, as opposed to recording put a side-chain input into. So we had to go
a totally clean drum sound, and then trying to and buy four of them. One for guitar, bass,
manipulate it later. So you have a few exciting a sampler and the vocal. And then we just
things to throw into the mix from stage one. trigger it off the kick. So if you set it on that
“And then Adam uses lots of little stacks setting, it will be side-chaining coming out
of broken cymbals and stuff like that, so a lot of side-chained compression across the through the amps. I don’t think I’ve ever
of the weirder things that might sound like master bus is taken to new and strange seen anyone do that before in a rock band.
eight claps or something, are just stacks places. “I mix hybrid, and pretty much “They’re not the cheapest pedals, so
of broken cymbals. So I just used pencil all the compression would be outboard we bought two, and we were just like,
condensers for those. We’ve got a pair of compressors, except for the side-chain ‘Right. Well, we’re already 600 quid in the
those sE Rupert Neve RN17s. And they’re stuff. There’s some pretty heavy-handed hole on this effect. It better work.’ And it
nice. You can get a good bit of detail on side-chaining in the mix on a lot of the tracks did, and it’s really effective. So it’s been
them, and they’re pretty neutral.” — pretty much the whole track will be getting fun. It’s been challenging, because I guess
side-chained off the kick drum or whatever previously, on our other records, we’d
Side-chained Melody — but you can’t apply the side-chain until written the songs, recorded the songs, put
The influence of other genres is also you have all the levels set. I’ve got a pair the record out. So the reverse-engineering
apparent in the mix, where the technique of the Kush Audio Tweakers, and you can aspect of it is a fun challenge.”

[Link] / December 2022 105

 ON TE ST

Vienna Symphonic Library

Synchron Woodwinds, Percussion III & Harp
Sample Libraries woodwinds, harp and a third percussion
The addition of woodwinds, a third percussion collection to the Synchron range has
seen them achieve that goal.
collection and concert harp sees VSL’s Synchron Apart from the imposing hall acoustic,
Orchestra reach maturity. the chief difference between the earlier
Vienna Instruments libraries and the
DAV E ST E WA RT
VSL continue to record new orchestral Synchron series is the latter’s multiple
samples, adding further instruments, mic positions. All Synchron orchestral
nergy prices go through the ensembles and voices to their vast libraries include Close, Mid, Decca

E roof, global warming spins out

of control, UK prime ministers
come and go and the cost of a Royal Mail
symphonic stockpile. Since acquiring the
Synchron Stage (formerly Synchronhalle)
in 2013 the company set their sights
Tree Stereo, Decca Tree Mono (centre),
Main Surround, High Stereo (3D) and
High Surround (3D) positions. When
first-class stamp steadily rockets, but on creating a complete hall-recorded buying a Full library you’ll get all seven,
some things never change. Ensconced orchestra to stand alongside their Vienna enabling mixes in up to 9.1 surround and
in their state-of-the-art concert hall, Instruments series. Now, the addition of immersive audio formats such as Auro 3D

106 December 2022 / [Link]

 each of the three instrument collections and I reviewed the company’s
which collectively bring VSL’s Synchron “unprecedentedly vast” First Editions
Orchestra to full fruition. back in May 2003, I was curious to hear
how the new Synchron instruments
Synchron Woodwinds compare to their Vienna Instruments
Overview forerunners. The short answer is,
Sounding confident and secure in their very well. I was impressed by the
natural recording habitat, the Synchron library’s oboes: Oboe 1 manages to
Stage Orchestra’s woodwinds consist of sound dulcet while retaining the
13 newly recorded solo instruments and instrument’s penetrative timbre, while
seven pre-existing ensembles. As with the Oboe 2 is a touch more assertive
old VI series, there’s a choice of two solo and brighter-sounding. Both sound
flutes, two oboes, two Bb clarinets and two great. Filling out the low oboe range,
bassoons, but as yet no supplementary a hugely playable English horn played
instruments such as bass flute, clarinet in by Alejandra Piegala is a formidable
Eb and contrabass clarinet. My covert VSL expressive lead instrument in its own
intelligence source tells me these extras right — I particularly liked its legato
will “most probably” be added at some ‘marcato start fast’ artic, which enables
point, but not in the near future. If you you to articulate and emphasise note
need one of those instruments in a hurry, attacks within a flowing legato melody.
they’re still available as Vienna Instruments I was never a fan of VSL’s original
single downloads. solo clarinet, complaining in the 2003
The woodwind ensembles were SOS review about its relative lack
airlifted in from VSL’s affordable, of playability. Given the company’s
easy-to-use Big Bang Orchestra series,
which kept Vienna followers entertained Vienna Symphonic
through the dark days of lockdown. Library Synchron
BBO Orion’s three-player flute, oboe, Woodwinds, Percussion III
clarinet and bassoon ensembles adopt & Harp
the classic format of Miroslav Vitous’
trailblazing 1993 Symphonic Orchestra PROS
woodwind trios, but as you’d expect 20 • Synchron Woodwinds is a superior
hall-recorded collection of solo
years on, the Orion samples offer a lot instruments and ensembles.
more in the way of articulations, dynamic • The woodwinds’ musically intelligent
depth and overall performance usability. true legato mode (which VSL
Featuring a pre-orchestrated live invented) creates superbly realistic
melody lines.
ensemble of 13 players, BBO Neptune’s
• Synchron Percussion III adds
tutti woodwind section perform a menu cinematic drums, a superb marimba
and Dolby Atmos. Alternatively, you can of common styles over a full A#1-D6 and exotic bells to the percussion
make considerable savings by buying range, giving you a perfectly blended menu.
the Standard version, which omits the symphonic sound at the touch of a finger. • Synchron Harp is to die for.
• All three libraries benefit from
last three positions with no detriment to For further musical gratification entailing elaborate multi-miking and
sound quality. minimal effort, the played octave runs, a top-class, sumptuous hall acoustic.
Individual mic positions are available arpeggios, cluster chords and swells
as separate channels in the mixer section taken from BBO Solaris dish up instant
CONS
• In my experience the installation
of the free Vienna Synchron Player, along orchestral colour and drama. These process can be very slow.
with a suite of built-in effects and a large ensembles follow the standard Synchron • The Full collections are pricey — but
selection of mixer presets ranging from miking scheme and correspond exactly do you really need those extra mic
naturalistic to heavily processed. Before to their previously issued Big Bang positions?
you ask, there’s no Kontakt version, and Orchestra incarnations. Accordingly, SUMMARY
never will be — with these samples, the anyone who already registered one Now boasting a woodwinds library
Synchron Player is the only game in town. or more of them will get a crossgrade comprising 13 solo instruments and
For users who haven’t heard the news, discount when purchasing the Synchron seven ensembles, a third and final
percussion collection and a gorgeous
it’s worth noting that in August 2021 Woodwinds Standard or Full Library. The
concert harp, VSL’s Synchron
VSL switched their licence protection latter requires 182.4GB of free storage Orchestra is a comprehensive tool for
system from eLicenser to iLok. You can space, while the Standard Library all composers and music producers
read more details in the box below, and requires 109.9GB. who require high-class orchestral
I’d also recommend that prospective samples. Perfectly played, bang in
buyers check out the company’s news
Solo Woodwinds tune, musically detailed and bathed
in a splendid hall acoustic, the three
page: [Link]/en/News/Hello_iLok. Having enjoyed playing VSL’s solo latest Synchron libraries maintain VSL’s
In the meantime, we’ll take a look at woodwinds since Mark Wherry exemplary standards.

[Link] / December 2022 107

 ON TE ST
VSL SYNCHRON WOODWINDS, PERCUSSION III & HARP

its clipped, ultra-short staccatissimo

style sounds unmusical. As ever, for
those keen on flatulent humour, its
flutter-tongue marcatos are a good laugh.
Meanwhile at the opposite end of the
pitch spectrum, I enjoyed the piccolo’s
tuneful and pure-sounding high register.
The instrument was played by the
versatile Boris Lipov, who also brought us
Flute 1 and the excellent alto flute.
With the exception of the clarinets,
all of the Synchron solo woodwinds
play regular, marcato and espressivo
sustains and long portatos with and
without vibrato — you can crossfade
between their no-vibrato and vibrato
performances; a nice expressive device.
The legatos have an optional marcato
attack and an auto-speed option which
selects authentic note transitions
depending on your playing speed. For
more rhythmic work, the short and long
staccatos and short portatos have ‘bold’
The Vienna Synchron Player’s colour-coded switching system shows all available articulations for an
instrument with corresponding coloured keyswitches enabling on-the-fly musical changes. and ‘agile’ variants, while VSL’s traditional
sforzato, sforzatissimo, crescendo,
impeccable reputation this always three instruments for three-part flute diminuendo, flutter tongue, trill and fast
seemed something of an anomaly, inventions. With the two bassoons, the note repetition artics are all present and
so I’m pleased to say that the new pecking order is reversed — Lisa Maria correct. Due to the miracles of modern
pair of Bb clarinets have dispelled my Kogler’s Bassoon 1 sounds imperious, science, you can now use integrated
historic gripes. The first instrument big, bright and bold, while Bassoon 2 is time-stretching to fit the repetitions to
has a beautiful smooth tone, and its softer and more laid back, better suited your project tempo.
player Wolfgang Klinser performs to supporting parts.
liquid gliding legatos, mellifluous Of the remaining instruments, my
Woodwind Ensembles
trills and astonishingly precise fast favourite is the bass clarinet — its Despite their origins as inexpensive,
note repetitions. The second clarinet superbly deep, rounded tone is a joy user-friendly sound packs, there’s nothing
also turns in impressively accurate and, when required, its quicksilver legato cheap or amateurish about Synchron
and expressive performances. Both delivery can be just as nimble as the Woodwinds’ ensembles — they sound
instruments are played in the traditional Bb clarinets’. The library’s fine-toned great, and contain some excellent
no-vibrato orchestral style — a vibrato contrabassoon contributes some great, material. The 13 tutti woodwinds’ and
option (as in VSL’s earlier Clarinet 2 stentorian room-shaking long notes but three-player flute, clarinet and bassoon
single instrument) would
have been nice, but I guess
you can’t have everything.
While Flute 1 is
perfectly serviceable and
playable, I preferred the
lyrical, plaintive tone and
faster-speaking vibrato
of Veronika Vitazkova’s
Flute 2. A stellar alto flute
generously extending
to a low F3 has glorious
low notes and is equally
blessed with a heavenly
high register, so you
can happily use all

Synchron Woodwinds’
elaborate microphone set up,
showing surround and height
mics at the rear.

108 December 2022 / [Link]

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 ON TE ST
VSL SYNCHRON WOODWINDS, PERCUSSION III & HARP

Flute, alto flute and

piccolo player Boris Lipov.

Synchron Stage Orchestra harpist Tina

ensembles’ long notes sound sumptuous, chords, an atonal effect widely used in Žerdin’s YouTube video offers useful tips to
and while three unison oboes sound 1960s scary British film scores. All of composers writing for harp.
shrill when played loud, they can add the above ensembles include individual
a brilliant trumpet-like edge to woodwind close mics for each instrument family, SPIII’s new samples feature the
arrangements. All performances are bang giving you enhanced control of your same five timpani drums found in SPI
in tune, underlining the value of owning woodwinds mix. and SPII, this time played with hard
your own recording facility — if a player mallets for a more martial effect. The
fluffs a note, there’s always time for
Synchron Percussion III timps sound clean enough to eat your
another take! Released in April 2017, Synchron dinner off and tolerably powerful, but
I enjoyed the tutti woodwinds’ palatial Percussion I was the first library to be if you’re after the archetypal battering
quiet sustains and tight, motoring recorded at VSL’s Synchron Stage, with cinematic drums racket you’d do better
note repetitions, the latter played in Synchron Percussion II following in July to use the percussion ensemble’s hits
a choice of four tempos. All good stuff, 2020. Both collections are divided into and riffs drafted in wholesale from the
but as mentioned earlier, the most Timpani, Drums, Cymbals & Gongs, Big Bang Orchestra libraries Dorado
attention-grabbing artics reside in the Mallets, Bells, and Orchestral Percussion and Eridanus. These feature a six-player
so-called ‘FX Woodwinds’ taken from sections, all of which can be purchased percussion ensemble bashing hell out of
BBO Solaris. A 10-player high-woodwind separately in Standard or Full Library Monster Drums (large taikos, orchestral
ensemble performs ascending and formats. Synchron Percussion III adds bass drums and surdos), Bass Drums
descending octave runs in all 12 keys a total of 48 new instruments and (including more taikos) and Thunder
with a variety of starting notes, offering ensembles across the six categories. Toms. While you’re at it, you’ll probably
a choice of scales comprising major, This third and final collection’s Full want to add the triumphal piatti splashes
minor, chromatic, whole-tone and five Library is 229.6GB installed, or you of ‘Super Crashes’, rousing marching
modal scales with intimidating names can buy the Standard version and save snares, doomy field drums and the
— Phrygian mode, anybody? The yourself 103GB of disk space and about hellish clang of tam tam gongs, plate
high woodwinds also play a full set of 250 quid. bells and anvil, ideally not at a time
triplet-based triadic arpeggios in three
tempos featuring eight common chord
types. You can set the arpeggio direction Hello iLok
to up, down or ‘cross’ (simultaneous up
Having used eLicenser dongle-based protection protection you want to use. Furthermore, due to
and down), the latter creating a great,
for many years, VSL began to transition all their changes in the sample encryption existing users
chaotic swirling effect. products to PACE’s iLok licence management wishing to move to iLok will need to re-download
Underpinning these animated system after Steinberg ditched eLicenser in the iLok-protected sample content of all their
performances is a low-winds section of March 2022. For existing VSL users, moving licensed products along with the associated
bassoons, contrabassoons, contrabass licences from eLicenser to iLok is free of charge, sample player software. The company’s new
clarinet and two bass clarinets. Voiced and you can choose between an iLok hardware Vienna Assistant software will help with this task.
key or iLok Cloud licence storage. Owners of large Vienna sample collections
in octaves, these guys sound like they
VSL say that eLicenser-protected software who can’t face re-downloading their libraries
mean business, honking out menacing and library products will keep on working on may wish to consider buying the 4TB VSL
sforzatissimos and growling flutter existing systems. However, it’s not possible to Hard Drive (€195), which contains the library
tongues. Media composers engaged in run iLok and eLicenser versions on the same installation files (though not the licences) for all
horror productions will also appreciate computer, so you have to decide which copy current VSL products.
the section’s three-semitone cluster

110 December 2022 / [Link]

 The ingenious Synchron
Harp Player design replicates the
harp’s pedalling system, enabling
you to perform glissando sweeps
on the keyboard white notes in
a scale or chord variant of your
choice. Alternatively, you can
play it chromatically.

software player. A glance

at the controls shows
why this was necessary
— in order to replicate
the complex pedalling
mechanism which
determines the pitch of
the harp’s 47 strings, VSL
created an ingenious
Pedal Mode allowing you
to replicate all possible
real-life tunings by means
of seven keyswitches
corresponding to the
when an aged relative is asleep in cencerros (search for ‘Spike Jones Chloe’ seven harp pedals. You can then use
a neighbouring room. and you’ll get the idea), some pretty your keyboard’s white notes to perform
One item conspicuously missing from chromatic hand bells and an ethereal real-time glissando sweeps in whatever
previous Synchron Percussion titles is set of rin bells, a resonant metal bowl scale you choose, with common scale
the marimba. Five years is a long time to used in Buddhist meditation. Added to types and chordal variants available as
wait for such an essential sonority, but these otherworldy chimes are exotic presets. Alternatively, you can select
it was worth it — this five-octave Adams high and low bells ensembles taken from Chromatic Mode and play the harp freely
model is a gem of an instrument, whether BBO Fornax and a large miscellany of like a keyboard instrument.
played with soft mallets to create gently orchestral and Latin percussion including The harp has three essential
propulsive bubbling ostinato passages congas, timbales, claves, wind chimes, articulations: regular plucks, harmonics
or using the characteristic incisive hard car horns, bird calls and slide whistles, and bisbigliando (tremolo), each with
mallet sound for accented riffs and the last three of which would come in a ringing and dampened option. Its sound
patterns. VSL went to town and sampled handy if you fancy recording your own is gorgeously luxuriant, deeply dynamic
multiple articulations at up to eight version of ‘Chloe’. and affective, a lovely, immaculately
dynamics with nine or so round robins, For more details of the BBO Dorado, played instrument captured in a superior
resulting in a supremely charismatic and Eridanus and Fornax libraries and the recording space. Highly recommended.
organic-sounding marimba — in a word, first two Synchron Percussion collections, Synchron Harp’s Standard Library
beautiful. see their respective reviews in the requires 55.3GB of disk space, while the
Other patches which caught my September 2020 and May 2021 issues of Full Library eats up 92.2GB.
ear include a nice set of cloppy tuned SOS, both of which can be read online.
temple blocks, tuned cowbells known as
Conclusion
Synchron Harp There you have it. Though the Synchron
If one were allowed to bring sampled Orchestra will no doubt organically
Pricing instruments in as hand luggage at expand in future in the manner of its
• Synchron Woodwinds: Standard Library the Pearly Gates, one I’d be sure to multi-tentacled Vienna Instruments
€595, Full Library €850. pack would be the original Vienna predecessor, VSL now have a second
• Synchron Percussion III (All): Standard Instruments Harp. This superb sonority ready-to-go complete symphonic
Library €395, Full Library €690. was eventually joined by a second collection, recorded in a hall praised
• Synchron Timpani III, Mallets III, Cymbals
VI harp of identical quality, causing by luminaries such as Hans Zimmer
& Gongs III: Standard Libraries €95 each,
Full Libraries €165 each. a severe deterioration of my work rate and Conrad Pope for its outstanding
• Synchron Drums III: Standard Library since I could never decide which one to acoustics. Synchron Woodwinds,
€115, Full Library €195. use! With the release of Synchron Harp, Synchron Percussion III and the
• Synchron Bells III, Orchestral Percussion my dilemma just got worse — this Lyon delectable Synchron Harp put the seal
III: Standard Libraries €75 each, Full & Healy Concert Grand harp also sounds on a great body of work which can now
Libraries €135 each.
fantastic. Maybe I’ll just have to toss take its place among the ranks of elite
• Synchron Harp: Standard Library €195,
Full Library €345. a coin? sampled symphonic orchestras.
Played by long-time Synchron Stage
Prices include VAT. Orchestra harpist Tina Žerdin, the £ See ‘Pricing’ box.
Synchron Harp has its own dedicated W [Link]

[Link] / December 2022 111

 ON TE ST

Ableton Note
Sketchpad App For iOS
Ableton’s first app puts a Live-compatible ideas
machine in the palm of your hand.
SIMON SHERBOURNE which track, but there is a limit of eight
total tracks and eight clips per track.
ote is an aptly named iOS Once you’ve chosen a preset or

N app from the makers of Live,

providing a musical notepad
for capturing ideas on the go. It mirrors
tapped on an empty clip slot you jump
to the play/capture view, which sports
a virtual trigger pad at the bottom
Live’s Session View workflow, with drum, and sound macro controls above.
sampler and synth tracks. Your creations Disconcertingly at first, as you start
can be kept in sync across multiple playing you see notes appearing in the
devices and opened in Live via a new pattern lane in the middle. Fear not,
Ableton cloud service. nothing gets committed without your
Note is Ableton’s first venture outside say-so. The capture system is ingenious:
of Live, Push and sound packs, and they it’s essentially doing what Live’s
are taking it in cautious steps, starting retrospective record functionality does,
with a fairly focused feature set. This but it’s more visible, and for me more
seems wise. There are lots of phone- and usable. To make the ghost notes stick
iPad-based music apps that promise lots you tap the commit button at the bottom.
of features but are just no fun to use. It Or you can tap X or stop playback and
sounds like Ableton want to get the basics the notes will be cleared.
right, get feedback and build from there. Like Live, when you’re in an empty
slot you can choose to record to a free of 10 if I have a MIDI keyboard, it’s my
Take Notes length, or start with an empty clip of one laptop I’m going to use it with. Despite
Note presents you with a simplified to eight bars. Likewise you can decide to Note being self-contained, it does support
version of the Live clip launch grid, with work with a pre-determined tempo and Link so wireless jamming is possible.
columns representing tracks. Icons at the a click, or to record freeform and have Manual clip adjustments are made
top represent the instruments used on Note figure things out afterwards. Again with easy gestures. A quick swipe
each track, which are mobile versions of this is a Live feature that I’ve never got through bars duplicates them; a press
Live’s Drum Rack, Wavetable synth, and into the habit of using. It works really and hold brings up more options such as
Sampler devices. There are no audio well here, and I grew to trust that I could Crop. Note selection within the clip works
tracks so all clips are MIDI-based. The play a pattern and Note would guess the way better than you’d expect — someone
sound presets you choose determine tempo and trim/extend the end of the clip has really put some work in here. There’s
which instruments are used; there are no to loop correctly. a dedicated Quantize button in the main
restrictions on which instrument goes on As well as the pad grid there’s pad view, or, if you’ve selected notes,
a jumbo pad mode, which records more options pop up for quantising
Ableton Note velocity based on how high up your and velocity editing. The Operation tab
£5 screen you tap. In synth and sampler provides buttons to move and transpose
patches, a global key and scale setting notes (or delete them) — which works
PROS for the Set determines which notes are much better on a phone screen than
• Designed for touchscreens. shown in the grid, and you can also trying to grab and drag things around.
• Simple, fast cloud sync.
• Uses the same devices as Live.
choose a keyboard view and perform Another great design choice for mobile
• Fast, on-the-fly sampling. with velocity by varying where you displays is only showing MIDI lanes that
tap the keys. All instruments have actually have notes on them.
CONS a Note Repeat option with a range of
• Not easy to expand sounds.
subdivisions including triplet variations.
Instruments & Sounds
• No audio clips.
• No Android version. I did try plugging a mini-keyboard into A selection of Acoustic, Electronic and
my iPad, but Note does not currently Hybrid drum kits provides sample-based
SUMMARY support external MIDI. This is consistent sounds. Three control tabs house eight
Note hits the sweet spot for music
apps of being fun and easy to pick up,
with Ableton’s focused use case for Note, overall macro controls, a page of pad
but capable of yielding useful results which is simple handheld capture rather effects controls, and a set of kit effect
that can be shared with your main rig. than being a tablet DAW. Nine times out parameters. A further tab shows the

112 December 2022 / [Link]

 My Note project after transferring to Live.
current sample’s waveform, where you are Channel EQ, Chorus-Ensemble,
can change level and use pinch and Delay, Phaser-Flanger, Redux, Reverb and sampling on a pad, you can switch to
zoom to change the start and end points. Saturator, all using the same engines as another pad and it will automatically
A mic icon lets you record in a new the devices in Live. All effects in Note are take over sampling. You can very
sample. Double-tapping exposes choke inserted onto instruments in tracks; the quickly sample a whole drum kit like
group, trigger and filter modes, plus an simple Mixer view just has level, pan and this, or live chop a loop, and Note will
option to import a different sample. mute/solo functions. auto-trim to the transients.
Synth patches are powered by Live’s The lack of audio clips and
versatile Wavetable synth. You don’t get
Sampling recording in Note will probably be
full access to the synth, only the eight Samples can be loaded into instruments disappointing to singer-songwriters
macros that are exposed in each preset. from the core library, from a user folder and rappers. However, it is possible
However, template patches give you of imported samples, or by recording. to capture some audio ideas using
macros tuned to create particular sounds Single samples can be shared into Note old-school sampling with either the
like 2-operator FM. The Sampler is very from other apps like Dropbox, but if Drum Rack or Sampler instruments.
simple, offering polyphonic, chromatic (or you have a Mac you can use AirDrop This is aided by the fact that you can
scale locked) playback of a single sample, to transfer multiple samples or whole sample on the fly during playback
with filter and envelope controls. folders. Unfortunately, you can’t save (you’ll need to use headphones
Adjusting parameters during playback your own kits or presets. obviously). Use the drum pads to
draws temporary automation lines into Live sampling is available in all drum quickly swap to a new take or section
the clip, ready to be committed in the pads and the Sampler instrument. As while recording. The super-fast trim
same way as notes. If you dismiss this well as your device’s mic, you can and gain gestures will help you tidy
the macro will be left static where you record from a class-compliant USB things up after sampling, and then you
last set it. A nice touch is being able to device. I plugged in an Elekton drum drop triggers to play the samples.
anchor a static setting in a clip, so you machine with a Lighting adaptor and
can have different sound and effects this worked without any setup. In fact,
Sets
snapshots per clip. what was great about this was that As Note is focused purely on the
The two effect slots can be swapped the output was fed back through the Session View there’s no arranger or
out in any patch, although the limitation in device, giving me great monitoring and linear timeline. Like Live, you launch
kits is that you can only choose one Pad much improved latency compared to clips individually, or in rows or Scenes.
FX type for all pads. The available modules Bluetooth AirPods. After you initiate Launch quantising is fixed at one bar

[Link] / December 2022 113

 ON TE ST
ABLETON NOTE

Up to five Sets at a time can be sync’ed A drum track with a four-bar clip. Synth tracks use Live’s Wavetable instrument.
via your cloud space.
and always triggers clips from their start. or M4A file with all your Scenes stitched future though, such as sharing samples
Song arrangement ideas can be laid out together in sequence. and presets from Live to Note.
using Scenes, within the eight-row limit. On a mobile device, Sets appear as
Ableton are not pitching Note as a thumbnail (which rather brilliantly you
Conclusion
a song finishing or live performance can set by taking a photo), and can be Note is not trying to be a mobile studio
tool. The idea is that sketches you played instantly from the Browser. In or DAW. It seems Ableton have thought
create in Note can be moved across to Live they appear as a folder, much like carefully about what you are really going
Live for further work. To facilitate this, a regular Live project, with the project to do with some spare time on your phone
Ableton have developed a cloud service file and all referenced samples. Like or iPad, and have zeroed in on capturing
alongside Note, which appears in an a Live Set the project can be opened in ideas with drum kits, synths and samples.
update to Live 11. Once you’ve opted its entirety, or you can bring in individual They’ve then focused their efforts
in with your Ableton account details, tracks or even clips to another Set. on designing elegant, touch-friendly
you can park up to five Sets at a time Once opened the Set will appear in the interactions for these workflows. Having
in your cloud space. These projects Session View just as it did in Note’s nailed usability with this bare-bones
are sync’ed to your other iOS devices grid, and should sound the same. approach, hopefully Ableton will start to
and also appear in a new cloud area in The imported tracks reveal how the reintroduce select features like audio clips
Live’s Browser. I tested this with various building blocks of Note are the familiar and maybe more sound-design scope.
projects, sync’ing between a phone, devices from Live, which can be further Note is particularly successful as
iPad and my Mac, and it worked tweaked with their full UIs. As far as a sketchpad companion to Live. Cloud
flawlessly and quickly. Live is concerned, the cloud interface is sync across your devices and from the app
You don’t have to use the cloud a one-way street; any changes must be to Live on the desktop is great, and what
service to get stuff out, though. If you saved locally as a new Live project. You you get in Live is exactly what you had on
share your set to another destination can’t export anything in the Note format your device. The £4.99 price tag makes
such as a text or Dropbox, Note packs or drop files into the cloud folder. This is it an essential for any Live user, and well
up the project as a bundle that you can understandable as Note only supports worth a look even if you’re not.
send to someone else to open in Note a subset of Live’s devices, and a limited
or Live 11. Alternatively you can create set of Scenes and tracks. I can see £ £4.99 including VAT.
an audio export, which creates a WAV plenty of potential for more uses in the W [Link]

114 December 2022 / [Link]

 H ers:

Grip a !
Grab one while you still can...
before Santa snatches them all up.

Celebrate in Stereo with two  EQualizers!

This Holiday Season treat yourself to some Motown Magic!

[Link] The sound of yesterday.....

® built for tomorrow.
 ON TE ST

Audient ASP4816-HE
M AT T H O U G H TO N
Analogue Mixing Console
or years now, since people first The ASP4816 offered big-console features in a project-studio
F started working ‘in the box’ without
a recording console, we’ve seen
countless standalone products emerge
footprint, but its new souped-up sibling offers that bit more...
anything else requiring lots of inputs and Perhaps this is why recent years have
whose purpose is to deliver separately monitor mixes, you might find yourself seen the launch of several high-quality
the various functions once performed adding several of these products to analogue consoles, from the likes of
by a traditional mixer. You can buy your setup. And in that scenario, there’s Neve, SSL, API and Trident. Another
racks of preamps, EQs, compressors, a very strong argument that you should name that has earned a very strong
summing boxes, monitor controllers, just go back to using a console! A good reputation in this market is Audient,
cue-mix facilities... the list goes on. Some console can prove more cost effective who were founded by Dave Dearden
of those can, of course, be very useful (assuming equivalent quality), but an and Gareth Davies back in 1997. The
in their own right, but if you do a lot of analogue console in particular gives you heritage stretches back further than
recording, particularly of drum kits, full hands-on, one-knob-per-function control that, though: the pair were behind the
bands, other multi-player ensembles, or in an intuitive, convenient layout. respected DDA consoles of the ’80s and

116 December 2022 / [Link]

 exactly the same as on the original The metering has been treated to
ASP4816, released a decade ago and a refresh, with the LED meters now
reviewed by Hugh Robjohns back in a classy-looking white — not so bright that
SOS October 2012 ([Link]. they dazzle, but they always remain easy
com/reviews/audient-asp4816). That to see. This change isn’t solely cosmetic,
model, which remains in production since the LEDs chosen are low-power
alongside the HE version, drew heavily ones, and contribute to the console’s
on the original ASP8024 (SOS October lower power consumption compared with
2000: [Link]/ the earlier model. Speaking of power,
reviews/audient-asp-8024), which was another tweak you probably won’t notice
treated six years ago to a Heritage at first glance is that the HE version has
Edition refresh (SOS September 2016: a fanless, noise-free, switch-mode supply
[Link]/reviews/ built into the console; you won’t need
audient-asp8024-he). The ASP4816-HE is to find a home for a separate rack unit.
a revision along similar lines, but includes I spent a full day checking out a console
some features not found in the 8024-HE, that was recently installed in Tileyard
and lacks some options that aren’t really Studios, London, and nothing really ran
needed due to the lower channel count. particularly hot; there’s a little warmth in
At heart, then, the ASP4816-HE is places, of course, but the whole case has
a [Link] in-line recording console, with 16 been designed to promote airflow up and
dual-input mono channels being joined by out the back. And talking of the case, the
16 mono subgroup busses and a master top can be lifted up like a car bonnet/
stereo bus. But that’s underselling hood, for ease of servicing.
it a little, as will become clear when Among other cosmetic refinements
I discuss the subgroups below. Each since we reviewed the ASP4816 is
input channel has one of Audient’s the classy-looking, sustainably sourced (in
wonderful, clean-sounding mic preamps, the UK) wooden armrest. Other aesthetic
along with an EQ section, six aux sends, improvements have been made with
two cue-mix sends and two faders: one a more practical purpose in mind, with
long, one short, each with a pan pot and reworked fonts and legends, and better
independent routing. Channels 5-16 come use of colour, backlighting and lines to
as one of Audient’s standard 12-channel differentiate features and signal paths in
blocks (as used in other consoles), a clear and consistent way. Since a big
while channels 1-4 are on a separate part of the market for such desks is likely
four-channel block. Amongst the other to be multi-user studios, that’s probably
features are four stereo monitor outputs more important than you imagine!
and monitor-control facilities, a talkback
mic input with footswitch-operated
Input Channels
talkback control, as well as a (post-insert, As I mentioned above, the 16 main
pre-fader) stereo bus compressor. Bar channels are in-line types. Each has
’90s, and worked on a range of consoles some cosmetic changes, all of this is just two independent signal paths, either of
for other famous names over the years. as it was on the original ASP4816 model. which can access various features. One
In the last decade or so, Audient have New features in this Heritage Edition
increasingly catered for in-the-box and include what Audient describe as
home studio producers, with two popular Vintage Mix Bus Processing, which can
Audient ASP4816-HE
audio interface ranges (which offer be switched in/out of the stereo mix bus £16,798
remarkable quality for the money), as well signal path (pre inserts and compressor), PROS
as ADAT-equipped preamps and monitor and which I’ll cover in more detail below. • Wonderful tracking console with
controllers, among other things. But they There’s now a moving-coil gain reduction loads of I/O.
remain very active in the studio console meter for the mix-bus compressor, • Great value for money.
• Wonderful mix-bus colour options.
market too, through their acclaimed ASP and the compressor now also includes • Internal power supply.
range of analogue mixers. They’re not a ‘bass expansion’ feature — a side-chain • Relatively low power consumption.
‘cheap’ by any means, but they’re far high-pass filter to you and me! Audient • Now has a headphone amp.
more keenly priced than anything I know seem proud about the use of discrete
CONS
of that’s comparable in quality. John Hardy 990 op-amps in the signal
• More flexible routing for the bus
path and bus-processing chain, the main
Overview purpose of which is to lower the already
processors would be nice.

The latest model, the ASP4816-HE is low noise floor. There’s now a dedicated SUMMARY
Nothing comes close to being as good
very much a case of evolution rather headphone amp too, a feature which
as this mixer for the price. Genuine
than revolution, with much of its more than one Audient console owner big-console functionality and a great
construction, circuitry and features being I know will welcome! sound, in a project-studio footprint.

[Link] / December 2022 117

 ON TE ST
A U D I E N T A S P 4 816 - H E

Each of the 16 input channels has

a mic/line preamp, as well as a separate
DAW input, each with its own insert.

path Audient refer to as the Long

Fader (LF) path, and the other the
Short Fader (SF) path. Essentially
these are equivalent to a traditional
console’s recording inputs and
tape returns. The idea is that you
can record using the SF path
(which you route to your interface
via the subgroups; more on that
later) and bring the returns from
your DAW back on to the LF path,
for playback/mixdown.
On the rear, you’ll find dedicated
mic and line inputs for each
channel, the former on XLR, the
latter on TRS jack. Some might
prefer a couple of DB25s for so
many channels, but I’m a fan of
the XLR/jack approach, particularly
since there’s no dedicated
patchbay: it’s much easier to
integrate new gear or something
brought along by a visiting producer/ stage is a pair of high and low shelving subgroup busses — the routing buttons
artist this way. There are also separate filters, and the second comprises two are located between those for the
TRS jacks for the insert sends and parametric ‘mid’ bands, one ranging from channel’s preamp and EQ. Each of these
returns, which is a nice touch given that 50Hz to 1.5kHz, the other from 450Hz to 16 busses feeds into the stereo master
most processors you’ll want to insert are 20kHz. From here, the signal goes to the bus but also has line-level outputs on the
balanced these days. Short or Long Fader section, where you rear. Subgroups 1-8 also have TRS insert
The mic and line inputs share the have a fader, pan pot, and cut (mute) and sends and returns, and two line outputs,
same preamp stage, which is capable solo buttons, and then on to the mix and one pre insert and one post fader. The
of up to 60dB of gain, and it’s followed solo busses. 24 line outs are presented as three DB25
by a switchable high-pass filter, polarity D-sub connectors on the rear, which is
inverter, and the insert in/out switch.
Subgroups & Auxes a sensible choice for hooking it up to an
Phantom power is switchable too (and, To route the signal from a recording input audio interface or patchbay.
rightly, only ever present on the mic input). to your DAW using the ASP4816-HE, you’d Not only does the subgroup 1-8
You can switch between mic and line usually route the channel to one of the 16 configuration mean you can use
sources for each channel just beneath
the meter. There’s a separate line-level
DAW input, which bypasses the HPF and
polarity inverter (presumably a case of
them being on separate cards) but does
have its own switchable insert, again with
separate TRS send and return, should you
want to mix through outboard gear.
Either path can be routed through
the ‘split’ EQ section, which is a pretty
conventional console-style EQ in many
respects, though it offers more versatile
routing than most: the word ‘split’ denotes
that there two separate EQ stages, and you
can either route the SF path through one
stage and the LF path through the other,
or route one path through both. The first

The console has a ‘split’ EQ section, which

allows the shelving and parametric EQ sections to be
accessed separately by the channel’s two inputs.

118 December 2022 / [Link]

 ON TE ST
A U D I E N T A S P 4 816 - H E

One of the most useful features on the ASP

consoles is a humble one: the Solo In Front mode!

them to print the same signal pre and

post processing, but they can also
be used to expand the ASP4816-HE
for 24-track recording. You could,
for example, hook up an external
eight-channel mic preamp such as
Audient’s ASP880 to give you 24 mic
inputs, each with a line out to your
DAW. Or you could leave synths or amp
modellers permanently wired into the
returns, while keeping the main input
channels free for other things. A bank of
16 knobs above the master section sets
the levels going from the first 16 outs to
your DAW, while the faders set the level
going to the mix bus and to outputs 17-24.
As well as the fader, each subgroup
channel has pan, solo and cut controls.
It’s a clever, versatile system.
Beneath the main channels’ routing mixes. Again, using these stereo returns That would, for example, allow you to
section are the aux send controls, with can free up input channels. process only the drum bus or route some
eight send-level knobs arranged as four sources ‘around’ the compressor. I gather
pairs. Each knob governs the level going
Stereo Bus Processing that implementing such a change would
to a mono XLR aux output, and the first We’ve seen this stereo bus compressor have entailed a much more fundamental
three pairs can be set (in pairs) to be pre before, a VCA design not a million miles (and expensive!) redesign, but perhaps
or post fader, and to send the LF or SF away from the famous SSL type, and it’s a good plan for a future console?
signal. The final pair, designated Cue, has of decent quality. As well as the new A more interesting addition is the
the same options but the SF/LF paths can gain-reduction meter, you get the old Heritage Edition Mix Processing, which
be switched individually for each control. controls to set the ratio (2:1, 4:1 or 10:1), again can only be applied to the stereo
They can be used as regular aux sends, attack and release time (each with six bus. Some might call the effects subtle,
but are the ones you’d normally use to settings, and the last release position but I enjoyed them a great deal! Button
balance a foldback mix. being Auto), threshold and make-up 1 is marked Xfrmr Drive, and pressing it
The return signal from any aux effects gain. A new Bass Expand button inserts passes the signal through some Carnhill
can be fed either to spare input channels, a high-pass filter in the compressor’s transformers. The next two add a Low
or into four dedicated mono/stereo inputs side-chain, to reduce its sensitivity to low Bump and High Lift to the sound, with
(four pairs of TRS jacks, left-only being frequencies (and thus any tendency to a pretty broad EQ curve. These are
mono). These don’t have any EQ but do pump in time to kick drums); a modest suitably subtle for the intended mix bus
have a ±20dB input trim knob, level fader, but very useful tweak. It’s a great duties, but as they affect the sound going
solo/cut buttons, and the ability to route compressor for that little bit of ‘glue’. My into the transformers the three buttons
to subgroups, the main mix, and foldback only real misgiving is that it can only be give you rather more control than you
used on the might imagine. That pair of discrete
stereo mix John Hardy 990 transistor amplifiers
bus. I’d love to remains in the signal path too, of course.
have the ability I loved being able to switch between
to reassign the pretty clean and clinical sound I’ve
it to a stereo grown accustomed to from Audient
subgroup or (and which I regard as a great asset
have direct in a multi-purpose console) and more
access to its colourful, vintage tonalities. I’m a fan!
I/O on the rear.
Monitoring
The signature Bar the headphone output, there’s nothing
Heritage Edition particularly new on the monitoring and
Mix Processing control room front. You can select from
section allows you
four sources (named Mix, Ext 1, Ext 2 and
to choose between
‘clean and pristine’ DAW) and between four speaker outputs
or a more vintage (named Main, Alt 1, Alt 2 and Alt 3). The
vibe at the mix bus. last three have a separate level knob,

120 December 2022 / [Link]

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 ON TE ST
A U D I E N T A S P 4 816 H E

The ASP4816-HE, in a custom

wooden frame, that was recently
installed at Tileyard Studios, London.

and the larger Main Volume control is I’d prefer the socket to appear on the fader pack, monitor controller, cue-mixing
joined by Mono, Cut Left, Cut Right, Cut front corner of the console, beneath the facilities, stereo bus compressor,
and Dim controls, the last two muting the master fader, but as with the compressor saturation options... and more), the final
outputs and attenuating them by 15dB, routing, I’m told that this would have figure was much higher than the asking
respectively. There’s no way to preview necessitated a much more extensive and price of the ASP4816-HE. It really is
only the Sides signal (ie. a left or right expensive redesign; despite the apparent remarkably good value for money, then,
channel polarity inverter), but there is an space on the top panel, the circuit boards and arguably its only direct competitor
Integration Port, which allows you to sync beneath it are packed cheek by jowl! is the ‘vanilla’, non-HE version of the
the console with a separate, more fully ASP4816, which costs a couple of grand
featured monitor controller.
The Price Is Right less and now benefits from the same
There’s also an oscillator section, for Acquiring a high-quality mixer such power-efficient metering. Personally,
aligning tape machines and checking as this inevitably means a serious I’d very happily mix on either. If I were
signal paths, speakers and so on, and outlay, but Audient have long been at buying, I’d have to weigh up whether the
beneath this are the solo controls. Again the keenly priced end of the ‘serious’ extra bells and whistles of the Heritage
there’s some very thoughtful design market. It’s a niche where there’s very Edition are worth it, and on balance
at play here: as well as solo being little in terms of direct competition too. I reckon they are: the transformer
switchable for AFL or PFL, and having The signal quality and feature set puts it saturation option sounds great, the specs
a level control, there’s a switchable Solo well above the Mackies, Allen & Heaths are a touch better, the onboard PSU is
In Front mode. This dims rather than and Soundcrafts of this world, yet the more convenient, the headphone out is
mutes other channels relative to the solo ASP4816-HE ‘saves’ you many thousands handy, and all that work that has gone
bus, and you can set and fade that dim of dollars compared with a Neve 8424 into colour coordinating the control set
amount with a dedicated knob. It’s really (even before you add 16 mic preamps, and signal flow has really paid off. But
easy to ‘focus in’ on one sound without which aren’t built in) or a fully loaded the best thing is that I’m pretty sure that
losing the all-important mix context — it’s SSL XL-Desk. It’s also less expensive anyone who’s used a console before will
similar to how I usually tend to use solo in than API’s The Box 2, yet offers more find that the learning curve is pretty much
software when working in the box. channels, more preamps and more non-existent — you could walk up to one
The headphone amp sounds great, versatile routing. of these in any studio and understand
naturally, and seems capable of driving I wrote at the outset about the how to pilot the thing within a matter of
pretty much anything you plug into it. proliferation of products that replace minutes.
While it’s a very welcome addition, the the various console functions, and on
headphone jack is placed beneath the mentally totting up all the separates £ £16,798 including VAT.
meters, which can mean the headphone you’d need to replace the ASP4816-HE T Audient +44 (0)1256 381944
cable trailing across the master section. (16 preamps, EQs, summing amp with W [Link]

122 December 2022 / [Link]

 INSIDE TRACK

Neal Pogue
Want a hit that transcends genres? Hire
a mix engineer who does the same — as
Steve Lacy did with Neal Pogue.
PAUL TINGEN

S
teve Lacy’s song ‘Bad Habit’ has
the honour of being the first to
top five different Billboard genre
charts at the same time — the Hot R&B/
Hip-Hop Songs, Hot R&B Songs, Hot Rock
& Aternative Songs, Hot Rock Songs and
Hot Alternative Songs charts — as well
as all five American streaming, airplay
and sales-based rankings. It reached
number one in the main US Hot 100
singles chart after spending a month
at number two and, at the time of
going to press, could be found in
the UK top 10.
This genre-crossing hit
is a strange mashup of
rock, R&B, indie pop and
hip-hop, with some unusual
ingredients including
messy-sounding drums,
a heavy bass, a repetitive
guitar part that has been
described as “evoking a car
engine struggling to turn
over”, haphazard-sounding
vocals mixed relatively far to the
back, and a chaotic breakdown
at the end. It lacks the typical
trappings of modern hit songs:
no 808s, no hard-hitting drums,
no ultra-tight, quantised synth and
sample-dominated arrangements, no

‘Bad Habit’ is Steve Lacy’s breakthrough hit.

124 December 2022 / [Link]

 Neal Pogue.

‘Bad Habit’
Written by Steve Lacy
Produced by Steve Lacy, Diana
Gordon, John Kirby, Britanny
Fousheé & Matthew Castellanos

Auto-Tune, no in-your-face hooks. What

the song does have is attitude, which
is most likely the reason for its initial
popularity on TikTok and subsequent
commercial success.

The Real Thing

Steve Lacy has form when it comes
to releasing low-budget, DIY material.
His first EP, Steve Lacy’s Demo (2017)
was made entirely on an iPhone, using
GarageBand to edit. The singer, guitarist
and producer also did everything himself,
including mixing, on his first solo album,
Apollo XXI (2019). But while he handled
most of the songwriting and production
on his second album and major-label
debut Gemini Rights (2022), he had more
outside help this time, including several
co-writers and producers, musicians, and “I like to work with Sound Master Recording school. After
an engineer and a big-name mixer. genuine, unpretentious that he was given a break by Michael
Gemini Rights, which contains ‘Bad artists, like Steve Lacy. Jackson’s brother Randy. Pogue interned
Habit’, was mixed by Neal H Pogue, who, A song like ‘Bad Habit’ at Larrabee Sound Studios and went on
despite his five Grammy Award wins is just a genuine song to establish himself as one of the US’s top
and a hugely impressive list of credits, is that comes from a pure, engineers, mixers and producers, with
not part of the go-to elite for pop mixes innocent place. For credits like Outkast, André 3000, Pink,
dominated by Serban Ghenea, Manny example, his vocals Nicki Minaj, Lil Wayne, Macy Gray, Haim,
Marroquin and a handful of others. “It’s are not Auto-Tuned. Doja Cat and Tyler, the Creator. While he
hard to get to number one, especially It’s a different type of predominantly works as a mixer, Pogue
for me, a guy who does not do very pop that feels more like has also worked an arranger, composer
pop-driven stuff,” he says. “I kind of mix punk or new wave, and and/or producer with Earth, Wind & Fire,
the cool kids, and the cool kids don’t does not have a place Nelly Furtado, Busty and the Bass, and
go to number one all the time. I do the in anything. It creates its many others.
non-trendy stuff. I am who I am. I don’t own place. That’s why it’s Pogue has moved back and forth
pretend to be something that I am not. been number one in so between Atlanta and Los Angeles during
I don’t chase things. I’m just blessed many different charts. You his career, and his current studio is in
to get calls to mix stuff that I like. I’m can’t put it in a box.” LA. It is called The HotPurplePettingZoo,
at a point in my career now where because, he says, it has “purple fur on
I can pick and choose what I want to
Purple Palace the walls and when people come in they
work on, and what I don’t. I come from Originally from New start petting the walls. And with all the
a musician and producer standpoint. I’m Jersey, Neal Pogue equipment in here it gets kind of warm.”
a mixer-producer. I’m heavily into melody, started out as a drummer, It’s not only the name and the purple
I’m heavily into grooves, and if I don’t like and moved to California, fur that are unusual. Some of his gear
it, it’s hard for me to work on it. where he studied at the choices are unconventional, particularly

[Link] / December 2022 125

 I NSI
SIDE
DE T RA
R CK
K
NEAL POGUE • STEVE LACY

The current incarnation of Neal Pogue’s

HotPurplePettingZoo studio. a space, and there’s something in front of Room they have an SSL J Series, and
you, but also over there, and over there. I mixed some of Igor and all of Tyler’s Call
his JBL monitors, and a notable feature “I love mixes where you may hear Me If You Get Lost [ ] on that board.
is the rack of well-worn vinyl. “I have to something years later that you never It’s between those two places. But when
have these records near me,” says the noticed. I think that’s cool because there the budget is not there, I mix at home.
mixer-producer. “Most of the vinyl in are times when we give away too much “It’s always about the sonics,” he
this room is from my childhood home. It in mixes. Many producers and artists says of his fondness for analogue gear.
inspires me, because as a kid, I used to want everything to be heard the first “It’s not a romantic attachment to the
spend hours in my room listening to these time, and it doesn’t make the song more process. It’s something that I want to hear
records. The sound and feeling of those interesting. It’s such a psychological or feel in a particular moment. Or that is
old ’70s and ’80s records is what inspires thing, because if you hear everything the a reminder of something, that makes me
me to mix. If you compare vinyl to CD or first time, if everything is right there on think back, ‘Oh, it’d be great to use that
streaming, they have a totally different that wall, why do you want to go back and for that particular sound.’ It’s hard to even
sound. Years ago, I compared a Talking see it again? There’s something about explain. Analogue just feels warm and
Heads vinyl record to the same CD, and hidden gems.” soft. Like when you go to an LA-2A, it has
I was blown away by how much the vinyl this sound, which is hard to get otherwise.
sounded superior. Of course, we like the
In & Out Of The Box The plug-ins are closer now, but when
clean CD sound, but the low end of the HotPurplePettingZoo is set up for you go to the real deal, it brings you
vinyl was amazing. I was in my early ’20s, working in the box, and the only something else.”
and it was a wake-up call.” outboard consists of a Universal Audio Even when Pogue is mixing in a studio,
Thirty years later, Pogue’s outlook on LA-610 channel strip for cutting vocals. though, he doesn’t always choose to patch
mixing is still heavily influenced by his He has two sets of monitors, by JBL and in the hardware. “It just depends on what
experiences with vinyl records. “There Reftone (see box), a Mackie Big Knob type of mood or headspace I’m in. If I’m
are songs that I heard in the 1970s, or Studio monitor controller, his Avid HD I/O in a mood where I want use the outboard
the ’80s, where I’m like, ‘Wow, I’ve never interface, and a Mac running Pro Tools. gear more, I’ll go that route. But most of
heard that little part back there.’ Because “It’s come down to budgets. Whenever the time I’m in the box because I’m in
everything wasn’t in your face. It was I mix Tyler, the Creator, I mix on a board a groove, I’m right here, and I’m just going.
a different mixing style. I guess that’s why in a studio. The same when I mix It can be hard and disturb my flow to turn
people say that my mixing is so different, Kaytranada. When I have the budget, I’ll round and patch something in. In the box
because I have an old-school way of go to The Mix Room or to Paramount. everything is right at my fingertips.”
doing it. People say, ‘You mix like an artist.’ The room I like to use at Paramount has To get the same feeling when mixing
I guess it is because I’m not ready to turn an old SSL E Series, that sounds really in the box, Pogue often uses plug-ins that
everything up. When I’m mixing, I think good. I mixed Tyler’s Flower Boy [ ] evoke gear from the past. “It’s not rocket
of dimensions. I look at it as going inside and Igor [2019] on that board. In The Mix science. It’s about depth and balance and

126 December 2022 / [Link]

 MAKE
MIDI
WORK
FOR
YOU

CONTROL
Control CV synths from your
MIDI keyboard or sequencer.

When he’s not mixing on an actual SSL console, Neal Pogue

makes heavy use of Waves’ SSL Channel plug-in.
making sure a mix resonates in a certain way. I came up MERGE
in the era of new-wave-punk-pop, which is what Steve’s Combine the data from a number of
MIDI sources to a single output.
stuff sounds like, so it’s easier for me to know what he’s
going for. I also try to make things sound cohesive, and
sometimes this means that I have to talk to my clients, as
in, ‘Let’s not have everything in your face making it hard SPLIT
to figure out what’s happening.’ Many clients want their Split a single MIDI source into
a number of identical copies.
vocals super-loud, and I’m like, ‘Where does that leave
room for the music?’ Or they want it to sound exactly like
the rough, which makes me say, ‘What am I doing here?
Why don’t you master the rough then?’
CONVERT
“Sometimes the rough does not sound particularly MIDI IN and OUT for USB - only
keyboards and controllers.
good, so why would I want to match that? My name goes
on it as well. I can’t do that. Sometimes people have lived
with the rough for months, and you change one thing, and
they think it’s all wrong. If that’s the case, I may go back to
RETROFIT
the rough and try to find out what it is they’re so focused MIDI for your vintage synth or drum machine.
on. It can be the simplest thing. ‘Ah, there’s one synth New MIDI Kits now available for
the Roland SH-1000 and SH-3, and
that’s really loud.’ So I turn it up, and they go, ‘OK, that’s
miniKORG 700 and 700S.
right.’ They’ve had one little thing hit them over the head
for months, and if I match that, I can put my own thing on
the rest of the mix.”
I use Kenton on everything I do live. They are
Into The Groove R^LTYTKTWFQQYMNSLX2.).9TSXTK‫ܫ‬J]NGNQNY^
In the case of Steve Lacy, though, it seems artist and and so reliable. Perfect on any stage.
mixer were on the same page from the start. “Steve Matthew Carroll, Keyboards for Dua Lipa

Contact the MIDI Specialists

[Link]
 INSIDE TRACK
NEAL POGUE • STEVE LACY

UA’s Fairchild 670 emulation was used to give The Waves Infected Mushroom signature
something new,’ and I’m just scrolling
the lead vocal some vintage-style compression. plug-in saw plenty of use in the mix of ‘Bad Habit’.
and searching.
wants his vocals in a certain space, “Once I have finished the first pass they cut through. And then it’s vocals and
not too loud. He wants the vocals and of a mix, I’ll send it to the client and they harmonies, and what is left.”
the music to be as one. That’s what send me back their notes. With Steve,
I love too. I was really ecstatic that he it was minimal things, like ‘Turn up the
Kick Up
wanted his vocals like that. I think what guitar a little bit more,’ or ‘Turn my vocal “In this session, the drums was mostly
I brought to his songs was mostly depth. down,’ which surprised me as most artists about the kick. My go-to for the kick is the
They’re not complicated songs. They’re want their vocals turned up. I mix many Waves SSL EQ, which I use first on almost
straightforward, simple songs. albums, and don’t do many single mixes. everything, and that my ears are just used
“The focus of ‘Bad Habit’ is the main But I still approach each song differently. to hearing. The bass has to be very big
guitar, and everything else supports that. People may go, ‘Really?’ But yeah, I’m old these days. It is such a hip-hop era that
That guitar is hooky. It’s that guitar that school. I look at an album as a TV series, low end can’t be skimpy. In this track, to
keeps you there. Of course, everybody and each song as a different episode. keep the bass sounding round, I inserted
listens differently, and it’s subjective. “I always start mixing by organising the UAD Fairchild compressor, and after
But for me that guitar is the focus of that my session to suit my personal flow, that a Waves SSL EQ. Waves have a new
track. My job was to make sure I brought first by giving tracks my own colours. SSL plug-in, the EV2, that I used as well,
it out and kept it edgy, and balanced it The drums are always at the top, in plus the McDSP CB101 compressor on
with the vocals and the other instruments. black, and after that I have the bass in the back of that. I normally don’t do
The song is predominantly about the blue, the guitars in orange. If there are that. Maybe there was something that
guitar, the bass and the vocal, and there pianos they are dark green, if there’s I needed to control.
also are drums and several synth tracks. a Rhodes it’s a slightly lighter green, “I had the Waves Infected Mushroom
The groove is like the glue that keeps it and synths are in much brighter green. on the main guitar that drives the song.
all together. It’s how I envision it. Strings will be light I love that plug-in. It has different things
“When I mix an entire album, as blue, male vocals are red, female vocals, on it, a compressor, an EQ, an Imager,
with Gemini Rights, it is a process, but pink, and backgrounds are in the purple and something called Body, which
I still approach each song differently. world. I’ve been doing that for years. makes things sound fuller. On this guitar
I don’t use templates. I create every “Once I have the session organised I used it to add a little bit more edge. All
mix from scratch because I’m always the way I want it, I’ll start the mix by compressors sound completely different,
reaching for something different. I like working on the drums first, and then the but this compressor makes things punch
to be creative. I’m not saying that bass. Because I’m a drummer, it is always more. The Push button also gave the
I reach for different plug-ins all the time, about the groove first. In the case of guitar a little bit more crunch.
because I do have my go-to things. But ‘Bad Habit’, because it’s a guitar-driven “After that I had the Waves Scheps 73
sometimes I’m in a different mood and track, I then worked on the guitars, and EQ, where I added a little more high end.
I’ll look for something else. I have so after that I worked on the keys. The I didn’t want it to be overbearing, so I just
many plug-ins now that I forget what keys are not really that loud in this song, added some more edge without going
I have and sometimes I’m like, ‘Let me try they’re kinda under everything else, but too far. After that I put on a Kilohearts

128 December 2022 / [Link]

Chorus. I also had a UAD API 550A EQ on
the guitar aux track, adding more low end Speaking Of Speakers
at 200Hz, plus a Soundtoys Decapitator.
All the main guitars on the verses and “My main monitors are the JBL 708Ps,” says Neal ‘There is no subwoofer.’ I thought, ‘OK, I need to
choruses went through this aux. There Pogue. “I was never a JBL fan. One day, a friend take these home because there must be some
of mine called me up because he got a gig with trickery going on here.’ I brought them home in
also were three to four synths that are
JBL, and they were about to come out with these my room to see if it would sound different, and
doing small parts, and I put an Infected speakers, the 708P and 705P, and they had they sounded so real, I was like, ‘Wow.’ What you
Mushroom and API on each of them, and revamped everything. But I didn’t like JBL at all, put in is what you get out. I also use the smaller
there’s an Infected Mushroom Wider on I didn’t like how their speakers were designed and nearfield JBL 705P speakers when I go to another
a Moog track. how they sounded. I didn’t like the EQ curve. So studio. My other speakers are Reftones, which
“The lead vocal has the UAD Fairchild I went to the headquarters and sat down sceptical, are Auratone-like speakers, but they sound much
and they put on this song, and I was blown away. better than Auratones. It’s so funny. I now have
670, for that analogue sound. It is such
I was looking for the subwoofer, and they said, two speaker types that I was never a fan of!”
a lo-fi sounding song, so I wanted to
keep that. It needed to stay in that realm.
That throwback feel is what makes the I love to use the EQ, the Maximizer, and Grundman Mastering, who I like working
song sound cool. After that the vocals the Imager. My master bus remains more with in general.
went through the Waves API 550A, and the same in each session than the chains “No, there aren’t many plug-ins in
the Waves SSL Channel, to filter out on the track inserts. I guess it’s like using my sessions. You can see that I’m really
some of the highs, because they were the same paint brush on the master bus simplistic when it comes to plug-ins. I’m
a little too bright. At the end there’s every time. Many mixers take things off a boring mixer! I never feel the need
a Soundtoys MicroShift to widen the vocal their master bus before sending it to to add a lot of stuff. The new-school
a little bit more. I didn’t really do much mastering, but I don’t understand that. If approach, where they just reach and
to the background vocals, because they they do all that work to put stuff on the reach and reach for new plug-ins, it’s
sounded pretty cool. master bus, then why take it off? For me a mystery to me. Each to his own, and
“On the master bus I usually have it’s part of my sound, and that’s what it’s all very subjective, but the more
the Waves L2 and the [iZotope] Ozone goes to the mastering engineer. For minimalistic I can keep it to get the feel
9, and recently the Ozone 10. In Ozone Gemini Rights it was Mike Bozzi, at Bernie I’m after, the more I like it.”

w u o o d / 22002
022 1 9
 ON TE ST

ReProducer Epic 4
PHIL WARD
Active Monitors an input gain knob, low- and high-frequency
shelf EQ knobs and a switch that engages
t’s not a trivial task to conceive, and disengages the auto-standby feature

I engineer and bring to market a new

range of active monitors, especially
one that features an innovative and
If you need a pair of
portable and compact
monitors, the Epic 4s have
that legislation often requires. The two EQ
knobs provide ±5dB of adjustment below
250Hz and above 2.5kHz. Downstream
unusual industrial design philosophy, so of its inputs, the Epic 4’s amplification
ReProducer Audio Labs ought to be proud
you covered! comprises 50 Watts of Class-D power
of their achievements so far. In previous shoulder bag. The Epic 4 enclosure each for the bass/mid driver and tweeter.
reviews, I’ve looked at the company’s follows the unusual skewed trapezoid form The crossover between the drivers occurs
Epic 5 and Epic 55 active monitors and first established by the Epic 5, and uses at 3kHz, with symmetrical 24dB/octave
been decidedly impressed. The subject the same classy construction materials. filter slopes. The last rear-panel feature
of this review is their most compact, A CNC-machined and paint-finished of note is a pair of blind tapped holes
entry-level model. aluminium front panel is attached to intended for the attachment of mounting
At 24 x 16 x 17.5cm, ReProducer an MDF carcass finished with a faux hardware — including ReProducer’s own
describe the Epic 4 as a nearfield monitor, brushed-aluminium laminate. Around soon-to-be-introduced wall bracket. It
but to my eyes it has a portable/location the back of the enclosure is a heatsink, seems to me that the rapid increase in
monitor kind of vibe, not least because connection and control panel that offers multi-channel monitoring installations
the monitors ship in a smart zip-up fabric balance XLR and unbalanced phono inputs, means mounting bracket facilities have

130 December 2022 / [Link]

become almost obligatory on compact
active monitors. ReProducer have probably
made a smart decision to have that kind of
practical need covered.
The front panel carries an
85mm-diaphragm bass/mid driver and,
behind a perforated grille, a 30mm-dome
tweeter. The bass/mid driver incorporates
a copper pole-piece cap and secondary
magnet in its motor system aimed
at reducing distortion and voice-coil
inductance modulation, and it features an
aluminium diaphragm with a rubber half-roll Diagram 1: The Epic 4’s axial frequency response, with the EQ set flat (red trace) and at +3dB (green).
surround. The aluminium dome tweeter to minimise bass/mid driver diaphragm as you might expect, perpendicular to its
features a damped chamber behind its displacement by having the ABR do the back-tilted front panel but parallel to the
diaphragm that will serve both to lower its lion’s share of the work at a musically busy horizontal. This puts the listener slightly
fundamental resonance and reduce the part of the audio band. Even with the help of off-axis of the tweeter. Vertical listening
degree to which energy radiated from the its ABR loading, the Epic 4’s compact nature position might seem a minor consideration
rear of the diaphragm reflects forward and means it can’t avoid being relatively limited but when I came to make some acoustic
causes response and anomalies. in low-frequency bandwidth. ReProducer measurements of the Epic 4 it did seem
claim a -3dB cutoff point of 80Hz, which in relatively sensitive to microphone position in
ABR my experience of similar-sized speakers the vertical plane.
Like both the Epic 5 and Epic 55, the Epic seems about right. A subwoofer seems the
4 is reflex loaded courtesy of an auxiliary obvious next step for ReProducer Audio
Measuring Up
bass radiator located in the underside Labs, especially in the light of the Epic Diagram 1 shows an axial frequency
panel of the enclosure. The ABR is slightly 4’s suitability for surround multi-channel response of the Epic 4, with the measuring
larger than the bass/mid driver, at 110mm applications, and they confirmed to me that mic aligned midway between the two
diameter, and employs an injection-moulded one is scheduled for launch in the first half drivers, leaving the path length from the
polypropylene diaphragm. Using an ABR of 2023. tweeter slightly longer than that from
for reflex loading is more expensive and One consequence of mounting the ABR the bass/mid driver. There’s three things
complex to implement than a simple port, on the underside is that when installed to note. Firstly, the basic linearity of the
but it can offer advantages. It side-steps the on a monitor shelf, the Epic 4 needs to be response curve is impressive. Secondly, the
compression and distortion mechanisms raised to give the radiator clearance to tweeter level seems somewhat attenuated
that ports can introduce — although ABRs work. To that end, each Epic 4 ships with compared to that of the bass/mid driver.
also potentially have compression and four screw-in, blunt-ended conical feet that Thirdly, the response displays a noticeable
distortion mechanisms of their own — and lift the enclosure by 30mm. In addition to suck-out in the crossover region around
enables lower reflex tuning frequencies to the feet, some small neoprene pads are 3kHz. The green overlay curve of Diagram
be more easily achieved. also supplied to provide a little mechanical 1 illustrates the effect of using the HF EQ to
Having said that, the Epic 4’s reflex decoupling if desired. The use of four feet raise its tweeter level by 3dB. It flattens the
tuning frequency is at a relatively high is fine if the surface on which the monitor is overall balance (before measuring the Epic
75Hz. This is mostly explained by the installed is perfectly flat, but if the surface 4 I’d already concluded that its subjective
monitor’s diminutive dimensions and need is uneven, as is the repurposed scaffold balance was somewhat shy at the top end
plank that comprises my monitor shelf, of the band), but also makes the 3kHz
ReProducer Epic 4 a degree of rocking results. It is possible suck-out a little more apparent.
£999 to accommodate some unevenness by Diagram 2 investigates the 3kHz
PROS unscrewing one of the feet slightly, but suck-out a little further with a couple of
• Compact, high-quality monitoring. there’s no second nut provided that would vertical off-axis measurements: one 10
• Portable. enable such an adjustment to be locked. degrees upwards and one 10 degrees
• Capable, ABR-loaded bass. The Epic 5 overcame this problem by downwards. I was expecting one of these
• Classy tweeter performance. providing a central screw fixing point that measuring positions to identify a sweet
• Travel bag included.
optionally enabled three-footed installation, spot where the drivers integrate more
CONS but there isn’t space on the underside of
• Midrange tonal quirk. the Epic 4 to allow such an arrangement.
• Limited bass bandwidth.
ALTERNATIVES
My solution was to use a coin beneath the
Compact and genuinely
SUMMARY raised foot to fix the potential for rocking, high-performance monitors are not as
The Epic 4 is perhaps not as but it never felt quite right. common as might be imagined, but the
striking, visually or in performance Along with ensuring that the ABR is able Epic 4 doesn’t have the market entirely
terms, as ReProducer Audio to work properly, the height of the Epic 4 to itself. For example, the Genelec 8020,
Labs’ first two products, but it’s Neumann KH80 and Focal Shape 40
in use is significant in a further respect.
undoubtedly another highly able and are three that would probably be worth
convincing monitor. It’s compact and This is that the acoustic integration of its considering.
affordable too. drivers defines a prime listening axis not,

[Link] / December 2022 131

 ON TE ST
REPRODUCER EPIC 4

too, lack a bit of snap. This kind of tonal

fingerprint is, of course, something that
almost all monitors possess to some
degree, and, as is the case with the Epic 4,
where it’s not associated with a significant
resonance phenomenon it can be learned
and factored into mix judgments.
The tweeter fitted to the Epic 4 is the
same as that employed in the Epic 5 and
Epic 55 and, as in those two monitors, it
performs to a very high subjective standard
in achieving a good balance between overt
Diagram 2: The Epic 4’s on-axis response (red), and as measured 10 degrees above and below (blue and clarity and natural ease of presentation. It
green traces, respectively). doesn’t scream for attention but just gets
on with the job. In fact, the combination
of the Epic 4’s recessed upper midrange
balance and high-quality tweeter makes for
a particularly relaxing listen. I can imagine
long mix sessions with the Epic 4 without
suffering listening fatigue.
Once I’d reached around the back
of the Epic 4 and used its EQ to turn the
tweeter up a little, things snapped into
focus, and it revealed itself to be a highly
capable little monitor. It has that mild
tonal quirk in the midrange, and, given
Diagram 3: Close-mic measurements of the bass driver (green) and the ABR (purple).
its dimensions and consequently limited
seamlessly, but neither quite did the bass the Epic 4 can play, though, it manages low-frequency bandwidth, it will never cause
trick. The flatter response came from the well, with a good level of pitch accuracy and any earthquakes in the studio — but it does
downward measuring position, but of dynamic detail. I’d be reasonably confident an extremely competent job of compact,
course that listening position is the less of judging, for example, a kick drum and portable monitoring. If I found myself
likely one. However, I don’t feel that the bass guitar balance with it (though anything working away from home and needed some
suck-out is a deal breaker — it’s more an happening much below about 70Hz would accomplished yet diminutive monitors that
unexpected quirk, but it will colour the be a closed book). The Epic 4 also manages happened to come in their own padded
Epic 4’s subjective tonal balance, and its to retain its usefully informative bass up to shoulder bag, a pair of Epic 4s would
presence is slightly surprising considering surprisingly high volume levels. exactly fit the bill. They’re pretty cool to look
that the closely spaced drivers and relatively While the fundamental midrange at, too.
steep active filter slopes ought to result in quality of the Epic 4 is good — in that it’s
more seamless integration. well able to reveal a high level of useful £ £999 per pair including VAT.
My final electro-acoustic investigation midrange detail and create well-focused W [Link]
was very close (under 1cm) microphone stereo images — the upper-midrange
measurements of the output of the bass/mid frequency response quirk identified in the
driver and the ABR. Diagram 4 shows very measurements does, I think, impact on its
clearly the drop in output (and diaphragm subjective performance. There’s a mild
displacement) just where the ABR output extra degree of warmth and a slight
reaches its peak, around 75Hz. Also softness of impact to higher-pitched
revealed is the suitably clean decay of the voices and instruments. Snare drums,
ABR above its resonant peak — there are
no obvious resonant features that would The Epic 4s ship with a padded carry case.
point to midrange energy escaping from
the enclosure.

In Use
I’ve already mentioned that I initially felt
the Epic 4 tonal balance was a little dull
and needed some help from its rear-panel
EQ, but of course there’s much more to
any monitor than just tonal balance. In
a monitoring context, the Epic 4 can’t really
avoid being defined by its size. It’s small so,
try as it might, it can’t play deep bass. What

132 December 2022 / [Link]

 ON TE ST

Sonible Smart:Comp 2

Smart:Comp 2 has some of the most useful

Compressor Plug-in visual feedback of any compressor plug-in

currently available.
Sonible have packed even more ‘smarts’ into their the learning process. The list includes
second-generation AI-driven compressor. candidates for all the most obvious
cases, including your master bus, various
JOHN WALDEN
simply trigger playback (Sonible suggest instrument busses and a goodly selection
using one of the louder sections of your of individual instrument types. If you
onible make an impressive range projects) and click on the large green go on to make manual changes to one

S of plug-ins which offer the user

the choice of an ultra-simple
control set or the ability to dive much
Learn button. The plug-in listens to
around 10 seconds of your audio before
analysing what it has ‘heard’, and then it
or more of the controls, clicking on the
Smart State button (with the interlocking
waveform icon, next to the profile
deeper. This dual-level approach to applies what it considers to be suitable drop-down) will take you back to the
complexity is made possible by the settings to produce transparent-sounding AI-suggested starting point.
use of AI (predominantly, I assume, compression. While its processing choices Of course, once the AI has done its
machine-learning). Smart:Comp 2, then, perhaps tends to be on the conservative thing, Smart:Comp 2 can be tweaked to
might be yet another compressor but it’s side, that’s a sensible design choice in take things further. Staying in somewhat
a very different proposition from most! my view (better than the opposite!) — it’s shallower waters, the plug-in provides
a super-simple process and a solidly a fairly conventional combination of
Compress De-stress effective means of gently smoothing out Threshold, Ratio, Attack and Release
If it’s a software-assisted easy life you the dynamics of almost any signal. controls. But while the selection of
are after, you can confine your attention If you want to give the plug-in a gentle controls may be conventional, their
to the Learning section (top left) of nudge in the right direction, which graphical representation is perhaps less
Smart:Comp 2’s UI. This consists of should increase the probability of more so, and they all interact directly with
three very simple controls. Once the pleasing results, you can pick from one the real-time waveform display. So, for
plug-in is inserted on each of the desired of the many profile types available in example, as you change the Threshold
tracks in your DAW, and you can then the drop-down menu prior to executing and Ratio values, you see a clear visual

134 December 2022 / [Link]

 With Smart:Comp 2, initial configuration of the release phases are applied. This can be
compressor for almost any audio source is as close as particularly interesting with percussive
it gets to a one-click job. sounds like drums, as it allows you very
precise control over the transients.
representation of what this does to the Equally, it’s useful for refining the sustain
audio waveform in ‘before’ and ‘after’ portion of toms.
displays. Hover the mouse over the Input, output and gain-reduction
Attack or Release (both of which can be meters are on the right of the UI, and
adjusted by dragging up/down), and the several further controls include options
waveform display highlights (in green) to adjust input gain, output gain and
the portion of the signal impacted by the wet/dry balance (so simple parallel
that specific setting. These visuals can compression can be configured easily).
be used alongside the Delta monitoring Rather wonderfully, if you do disable
option (located towards the top right, this the Output Gain Auto option and make
lets you hear just the audio difference manual adjustments here, the Level
between the processed and unprocessed Histogram shows you exactly what that’s
signals — ie. what’s being removed). doing to the overall loudness.
So even if you choose to confine your At the top of the output level display
manual adjustments to the familiar is a simple on/off switch to engage
Threshold, Ratio, Attack and Release a limiter. More interesting is the Input
settings, you do so with some of the Riding feature, which, once engaged,
most helpful feedback I’ve ever seen in automatically adjusts the gain of the
a compressor plug-in’s UI — it could be incoming signal and can help you
a great learning aid. balance out level differences in different
song sections before the audio hits the
Deeper Dive compressor. I can see the potential here,
Smart:Comp 2 also caters for those who though I’m not sure I really discovered the
like to dive in rather deeper, and perhaps best way to approach using this feature
most interesting for such users will be during the review period, and I’d have
the combination of the free-form Transfer welcomed more detailed guidance from
Function and Level Histogram that Sonible on this.
dominate the left side of the display. The The other ‘deep’ aspect of
Transfer Function line neatly visualises Smart:Comp 2 is the plug-in’s spectral
how the compression settings will alter compression functionality. With the
the audio level above the threshold, Spectral Comp dial (bottom centre) set
relative to a 1:1 ratio (ie. no compression, and edit nodes on the curve beneath to zero, Smart:Comp 2 functions as
shown as a faint grey line). What’s really the threshold. This lets you configure a conventional broadband compressor,
powerful, though, is the ability to add different compression (or expansion) but as you increase the Spectral
characteristics within different parts of Comp value you gradually blend in the
the level range. Usefully, a set of Transfer contribution of an AI-driven multiband
Sonible Smart:Comp 2
Curve presets provides you with some compressor — or rather a ‘many band’
€129 initial shapes for common tasks, such as one; there are some 2000 at play! This
PROS standard compression, expansion, parallel selectively applies more compression
• AI-based learning produces solid, compression or gating. to any frequency ranges with excessive
transparent compression settings. The Level Histogram display (as energy and, again, is neatly visualised,
• The best visual feedback I’ve seen in
shown in the main screenshot) provides this time in the spectral display at the
a compressor plug-in.
• Highly configurable spectral real-time comparison of audio levels base of the UI. As with Oeksound’s
compression. between your unprocessed audio (the popular Soothe 2 plug-in, the aim is to
• Very deep feature set once you thinner line) and the processed audio
dig in. (the thicker line). It’s a very clever means
CONS of visualising the change in the overall
• Initially, the UI can seem intimidating. dynamic range and loudness that your
• Getting the most from the deeper Smart:Comp 2 settings are producing —
features could take time. it’s an incredibly informative tool once
SUMMARY you get the hang of it.
Smart:Comp 2 manages to be Smart:Comp 2 also include a number
both smart and deep, making it of more detailed control options. For
a tempting option for both new and example, if you click the small downward
more experienced users. The UI
arrow next to either the Attack or It might offer simplicity but Smart:Comp 2 also
provides real insights into how your
compression is changing the dynamics Release control labels, you can access allows detailed control. For example, the Attack and
of your audio source. controls to shape the way the attack and Release curves can be tweaked to taste.

[Link] / December 2022 135

 ON TE ST
S O N I B L E S M A R T: C O M P 2

The compression
Test Spec Transfer Function opens
up some sophisticated
Cubase Pro 12.0.40. Mac OS 10.15.4 running on iMac
additional options for
3.5GHz Intel Quad Core i7, 32GB RAM.
dynamics control.
signal that you
deliver a more balanced tonality. It’s an route to the
impressive AI-powered ‘make it sound plug-in using your
better’ feature off the bat, but it can DAW. Combined
be refined further. On the far right of with the spectral
the spectral display, you can limit the compression, this
frequency range within which spectral opens up all sorts
compression is applied. In addition, the of sophisticated
Spectral Link control lets you specify the possibilities,
degree to which conventional broadband especially for
compression is applied to the frequencies ducking one signal
outside this range. Also in this part of out of the way of
the UI, the Color dial acts somewhat like another in specific frequency ranges. pretty intimidating to the less experienced
a tilt EQ for the spectral compression, Finally, it’s also worth noting that user. In addition, with all those controls
allowing you to gently shift the emphasis Smart:Comp 2 allows you to link or unlink to explore, the temptation to venture
of the spectral processing towards lower the left and right channels, or to operate beyond the initial ‘smart’ compression
or higher frequencies. You can, therefore, on the Mid and Sides signals when solution might lead you rather too quickly
darken or brighten the overall tonality to working in stereo, and it supports 5.1 into the deeper waters I keep talking
suit your needs in a very useful fashion. surround too, with independent control about — and results here may vary! For
The nearby Style dial allows you to over the compression of the centre and more experienced users, that same deep
determine the character of the overall side/rear channels, as well as an option control set will undoubtedly be a major
compression (broadband or spectral), to include/exclude the LFE channel within attraction; it’s powerful stuff. The other
moving from clean and transparent the compressor processing. observation is an entirely practical one.
through to a ‘dirty’ (saturated, slightly Calculating all that processing (remember,
overdriven) sound. If you want to add
Compression For Dummies? there are 2000 bands of compression...)
a dollop of sonic grit, this works very So what we have here is a very capable obviously takes some time, and in my
nicely and can be very effective on all compressor with some impressive stuff Cubase Pro 12 sessions the plug-in
sorts of sources including drums, bass, for seasoned engineers, but also the produced a latency of around 43ms. This
guitars and vocals. ability to keep things simple. With that is obviously not an issue when you are at
Before moving on, it’s worth in mind, could Smart:Comp 2 be a smart the mixing or mastering stage of a project
mentioning the eight States buttons at (sorry!) choice for those dipping their first — which is what this plug-in is really
the top of the UI. These allow you to save toe into the compression waters? Well, intended for — but is probably too high
a complete configuration of the plug-in yes. The AI-based Learn functionality for real-time monitoring when tracking,
and can be used to experiment with is very impressive, producing suitably and if you’re the sort of person who likes
different settings without fear of losing transparent results for almost any to write, record and mix all at once, that’s
a specific starting point. routine compression task, while helping worth bearing in mind.
you avoid some of the more obvious I have to say, though, that on the
Chains & Channels compression pitfalls. In addition, the very whole I have been very impressed
It’s almost a default now for software clever UI provides great visual feedback with Smart:Comp 2. The AI-based
compressors to provide side-chain that can be highly instructive. Learn process produced solid,
processing options and Smart:Comp But there are a couple of qualifications transparent-sounding results with the
2 is well equipped in this department. too. The UI may, initially at east, seem vast majority of sources I tried it on, and
Directly above the spectral display, you the UI provides the best visual feedback
can configure a very flexible EQ filter to With spectral compression, a versatile of any compressor plug-in that I’ve used
side-chain filter, and the ability to change the
operate on either the default internal to date. If you’re looking for a more
compressor’s sonic character, Smart:Comp 2 has
side-chain, or an external side-chain plenty of options to satisfy more demanding users. efficient workflow, then, or simply lack the
confidence to find suitable compression
settings from scratch, it’s well worth
checking out. The same goes for those
who are already confident with their
regular compression tools but wish to
take the control that bit further — the
spectral compression is impressive.

£ €129
W [Link]

136 December 2022 / [Link]

 Black Friday Deal

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 FE ATURE

Mixing Atmos:
Ricardo Bacelar
The ultimate one-man band, Brazilian artist Ricardo Bacelar
uses layers of drums, percussion, guitars and keyboards to
build up dense immersive mixes.
SARAH COLLINS
As if this wasn’t enough, last year Congênito, which will feature 12 songs
he finished building a house for himself where once again Ricardo will sing and
and his family in Fortaleza, on the coast play every instrument.

R
icardo Bacelar is a renowned of north-eastern Brazil, and equipped
jazz pianist, composer and it with a state-of-the-art Dolby Atmos
Thought Processes
record producer, whose music recording studio, which he has named “I ‘think’ in music,” he says, “Good music
is loved in North America and Japan Jasmin Studio after his Jasmin Music is what drives me, and I wanted to
as well as his home country of Brazil. label. Bacelar spent three months have a space at home to produce and
He is also a diplomat (Honorary Consul experimenting in the studio before record, to have more comfort to work
of Belgium), President of the OAB embarking on his new album Paracosmo, with my compositions and develop my
National Culture and Art Commission, which he produced last year alongside own catalogue. The studio is a place for
and a copyright lawyer. He manages Brazilian guitarist Cainã Cavalcante, and creativity where my ideas can flow, and
this multi-threaded working life, he says, on which he played every instrument. I can develop them at will. Five years ago,
through his close relationship with his Since then, he has worked on several when we started thinking about this studio,
family, and the practice of yoga. other projects, including another album, Dolby Atmos was still very much focused

138 December 2022 / [Link]

 The six isolation booths in Jasmin Studio each offer a different acoustic environment, which Ricardo
Bacelar often captures using the Neumann KU100 dummy head (left).
technology. A key priority was the ability a 1969 Leslie cabinet, a drum room, a full
to use an analogue console, analogue keyboard set, various stringed instruments
outboard units and plug-ins at the same such as guitars and bass, and amplifiers.
time. SSL’s Duality Delta console made Ricardo Bacelar also has a wide selection
this possible: it’s an automated analogue of microphones at his disposal. Modern
mixing desk that also has comprehensive Neumann models including the U87Ai,
DAW control features. D-01 and KM184 sit alongside vintage
“Of course, the SSL is of a very high reissues such as the U47 FET and U67,
standard overall, but it also has a great as well as an original Telefunken U47.
personality because of the preamps, More unusual options include the KU100
and the architecture presents a host of binaural dummy head and a 1950s
possibilities to work with,” Bacelar explains. RCA ribbon mic. He often records with
The SSL Duality Delta console is the centrepiece “It also works as a controller for Pro Tools immersive presentation in mind, and will
of Ricardo Bacelar’s hybrid analogue/digital studio. or any other software I want to work with. typically close-mic each instrument to get
It’s almost as if Duality were two devices in the dry sound, but augment this with the
on movie theatres, but I already had the one: you can use it both as the input for the KU100 or a Sennheiser Ambeo Ambisonic
feeling that it had to serve the music field, recording channels and as the controller mic to capture the ambience of the studio.
too. Designing a room, specifying the for Pro Tools. This gives a lot of flexibility. At the same time, by his own
equipment and ensuring the microphones “It has analogue inputs and outputs, admission, he is not primarily an engineer,
are set up to capture sound in an AES-3, Dante, MADI, and these are and he does not like to follow convention.
immersive way offers us a great advantage precisely the protocols that we are using “I respect my ear when I record, and avoid
in the initial mix and in post-production.” here in this studio. Due to its monitoring equalisation,” he says. “It gives the sound
Bacelar worked with architectural role, it also makes it easy to control more personality. I use filtering judiciously:
acoustic company Walters-Storyk Design different environments, which means that for example, when I record a hi-hat, I know
Group (WSDG) on the build, and with one moment we can work with stereo I don’t need the low frequencies, so I cut
Daniel Reis from Sennheiser on the using the analogue console, and at the them out. But I try to keep true to the
configuration of a 7.1.4 array of Neumann push of a button, we start working with form of the music and the way I play, the
KH420, 120, 310 and 810 loudspeakers. It Atmos, listening to all the different formats sound of the room, the instruments, and
was Reis, notes Bacelar, who had the idea such as 7.1.4, binaural, stereo and 5.1.” the position of the microphones. You can
to create a hybrid studio where it would change the way the drums sound simply
be possible to move seamlessly between
Respect The Ear by the force with which you play, the
the analogue and digital worlds, using The studio has a Yamaha CFX concert position of your hands, your arms... all this
Burl converters and Dante networking grand piano, a Hammond organ with changes the sound. This is why I like to

[Link] / December 2022 139

 FE ATURE
MIXING ATMOS : RI C A R DO BAC E L A R

Miking the grand piano at Jasmin

Studio can be a complicated business.

Maximum Piano
To record his piano, Ricardo Bacelar deploys no “Occasionally, I will move it closer to the piano; of the piano, I used a pair of Neumann KM184s.
fewer than 12 mics, using a combination to blend then, when you listen in 7.4.1 you can hear the I also used like to use Neve preamps as they have
into the mix, then adding more reverberation, environment of the piano and you stay ‘inside’ it.” a very specific sound to them.”
more reflection, more live sounds. A current On his latest album, he recorded a song which His main live room also has movable wooden
favourite is the Neumann D-01, chosen for its was just piano and voice, using the KU100 plus diffusion panels and curtains to vary the acoustic
clarity. He notes that is it highly sensitive and can a selection of other mics near the piano’s strings, and shape the piano sound. “After a year of
pick up noise from the bench or pedal, but the with its lid open, to record its detail. “I used research, trying different microphones and
sound it records is gorgeous. Again, he favours a Neumann KM184, a pair of D-01s in the back, and preamps, I have settled on a certain configuration,
the Neumann KU100 binaural stereo microphone, the KU100 for small ambient sounds. For bigger but the size of the reverberation and resonance is
which he finds advantageous for working in Dolby ambience I used the Sennheiser Ambeo mic. I also important. Sometimes you need more reverb for
Atmos. “I put the KU100 in the middle of the room used a pair of Audix SCX25As, which were very a big sound, so the curtains are open, other times
to capture the sound of the environment,” he says. good for picking up the hammer strikes. At the end you want it to sound more dry.”

play every instrument myself. It enables can create a different ambience working with a Shure SM57 taped together with an
me to create the sound I want.” with the position of the microphones.” AKG C451 on the snare, a Neumann U47
The studio includes six isolation Bacelar loves the RCA ribbon mic for FET plus a Yamaha Subkick for the bass
booths, each of which was designed vocals. “It’s incredible,” he says, “but you drum and five Sennheiser MD421s on the
by Bacelar to have different acoustic need to be careful as the temperature toms, including the floor toms. He passes
characteristics. “If I want to record of the room or temperature within the everything through a Neve 1081R preamp.
percussion instruments, for example, microphone itself changes, and the “It has a very special sound,” he smiles.
I try them out in three or four different sound can be very different from one day Bacelar’s approach to recording is
booths,” he says. “When I play back the to the next.” fluid and depends on the music. “I prefer
recorded sound, I then choose the best to embrace the music with my ears and
microphone. There are rules that people
Finding The Sound do whatever is appropriate for my vision,
follow about what mics should be used When recording alone, Bacelar’s musical my creation,” he explains. “There’s a lot
where, but I like to experiment. If you want knowledge allows him to form a vision of of rhythm in Brazilian music, so you need
to make a record with personality you the final mix before he starts, and recording to discover the pace of the music, think
have to escape from the rules. Particularly ‘conscientiously’ in the room avoids phase about the flow.”
with jazz music, I like to move away from issues. “I mic everything very carefully,” he He typically starts with the bass drum
what’s expected and make a different says. “For example, for the congas I use to define the pace of the song, then works
sound with each microphone.” a Sennheiser e904 to record dry sound out how the other instruments fit in, using
For Ricardo, the position of the and have the Neumann KU100 head a click track for synchronisation. “It’s
microphone is important as the mic placed to the side to record ambience. If a process,” he says. “We like tambourines
itself. “You must find the raw sound, then you don’t add the KU100 and record the and a big drum sound here, so I add
you can filter it or compress in the mix, ambient sound, then it just sounds like you layers to recreate that. Sometimes,
whatever you want. But the source is need reverb; it’s too dry with just the e904 I will double a drum and double it again
very important to me. If you have a good to capture the ‘size’ of the sound.” to create the sound of the percussion
source from a good musician, a good Bacelar deploys a pair of Neumann of the streets. It’s the same with the
microphone, preamp and console, you TLM103s for overheads on drum kit along tambourines, and I use one mic to record

140 December 2022 / [Link]

 Jasmin Studio is equipped with a 7.1.4 Atmos
monitoring system from Neumann. “But it’s not easy,” he cautions. “If you but then you can add the counterpoints
use too many effects, you scramble the and the ornamentation: percussion,
the dry sound and the KU100 or Ambeo reverbs, and it doesn’t sound good.” The little effects to create the environment,
VR mic to record the reverberant sound to information from the front and centre of making it more complex with reverb,
get the personality of the instrument.” the mix is vital to understand the message with delays, with a lot of other toys. But
Bacelar also works with Brazilian of the lyrics or the solo instrument. “But the most important thing is always to
engineer Melk, who has a vast amount of the listener should not always be in its remember that you are telling a story, and
studio experience. “We will record a little, absolute centre,” he says, “and we must you need to include surprises. You can
perhaps exchange surprise the audience
one microphone for with different
another, listen again, Ricardo Bacelar: “There are rules that elements, emotions,
and then decide what unexpected
is the best sound,” people follow about what mics should be moments; a pause
he explains. “I will or a silence, which
never be happy with used where, but I like to experiment. If you in some ways is
the first sound I hear. more important than
I’m always striving
want to make a record with personality you the sound itself. If
for what we can
do to make it more
have to escape from the rules.” you explore these
moments, then you
innovative. The art of can create colour.
recording is to research and to find a song keep the format of the music and the “Recording is my passion,” he
with a personality, find what the music acoustic function of the ears in mind. But concludes. “I record and mix my albums,
needs, or what your heart needs. The it isn’t a formal rule, only a natural flow of and I like to make it into an experience.
most important thing is the music and the the audio to our perception. In the history The studio, for me, is a way to develop
techniques are secondary. It’s the details of recording, there are rules about where my happiness. Music is a form of
that make the final product and that you place things to produce a stereo communication; we make the music to tell
comes with experience and a good ear.” image. But I believe that by using Dolby a story. It’s powerful and we must deliver
Atmos you can listen like you listen to our emotions to our audience. I like to
Place Marking a live session. find new ways to explore music and the
Working in Dolby Atmos has been a good “Of course, you have to maintain the transformation from stereo to immersive
experience for Bacelar, and the immersive central point of the performance, whether is part of that process. Maybe we are
format gives him more space in the mix. that’s the voice, the guitar or the drums, making a little history.”

[Link] / December 2022 141

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THE [Link] LEGACY.

X + Xa + 8

[Link]
 ON TE ST

Source Audio Atlas The bypass footswitch (configurable for

true relay-switched or buffered bypass)
Compressor Pedal shares a dual-colour LED that doubles
Just another compressor pedal? Not as a bank indicator and a gain-reduction
at all! Right out of the box, the Source meter, which shows for a few seconds
Audio Atlas compressor, designed in after any adjustment is made to the
collaboration with Christopher Venter of Threshold or Ratio.
SHOE pedals, offers six types of digitally On the rear is an inlet for the included
modelled compression based on revered 9V, 300mA switch-mode power supply,
studio hardware such as the LA-2A and and if using the Atlas with a pedalboard
1176, and classic LED-driven optical PSU a supply capable of 165mA or more
compressor pedals. A-D/D-A conversion is required. There’s also a control input
is 24-bit, with a real-world dynamic 3.5mm mini-jack, used for connection to
range of 110dB, while the digital path is external control devices such as a Source
56-bit. Inside are two separate stereo Audio Tap Tempo Switch, Dual Expression
compressors that can be configured in Pedal, or Neuro Hub. Next to the Control
series (one after the other) or parallel button is a mini-USB port for connection
(each processing the signal separately), to a Mac or Windows PC hosting the
and there’s a Band Split mode that has free Neuro Editor. There’s also an iOS/
separate controls for the high and low Android Neuro Mobile app. If a third-party
frequencies. In addition to being able USB MIDI controller is connected, the
to work in mono or stereo with a host pedal can be used to store and recall up access via MIDI or used to replace one or
of routing options, the Atlas can store to 128 presets. Many of the compressor more of the existing six presets.
128 MIDI-accessible presets, respond parameters can also be controlled via MIDI Using the Neuro Editor, there’s scope
to real-time MIDI parameter control, Continuous Controller messages. A control for some very deep editing, including
integrate with Source’s familiar Neuro status LED is located top centre on the applying look-ahead compression,
Hub and be tweaked at a deeper level front panel. soft-knee compression, multiple signal
using the free Neuro Editor software. There are pairs of quarter-inch jack routing options that include side-chain
It’s also possible to use the Atlas with sockets for the inputs and outputs, to compression with side-chain filters, an
line-level signals, as long as you don’t accommodate stereo signals when eight-band graphic EQ, a parametric EQ
get too generous with the levels, which required, and input 2 can also connect and flexible knob assignments. When
means that it’s not only for guitar — it to the Neuro Mobile app from a phone’s set up for side-chain compression, the
could double up as a studio compressor. headphone jack. Similarly, the ring contact input 2 jack dictates the amount of gain
The maximum input level is +8.76dBu, of output 2 can be used to link through to reduction applied to the signal fed in
which equates to 6V peak to peak, and another Neuro-enabled device. Up to three via input 1. There are two other modes
the maximum output level is the same. parameters can be controlled at once using available in the Hardware Options section
The key controls are on top of the a Source Audio Dual Expression
pedal: Threshold, Ratio, Blend (wet/ Pedal and its 3.5mm jack and
dry) and Output. Secondary knob a 3.5mm TRRS cable.
functions allow control over Make-up The default presets are
Gain, Tone, Attack time and Release Studio Snap, which uses two
time, and these are accessed using different compressor settings
the small Control button on the rear. in parallel to manage RMS and
The Tone control response changes peak levels; Optical (LA-2A
according to the selected compressor style); and Dual Band, which
type. A three-way switch selects from splits the signal at 333Hz.
Studio, Optical and Dual modes, with two Bank 2 has another Studio
bank options providing access to the six setting, this time emulating
presets. Bank switching is achieved by the 1176, as well as an
moving the toggle switch while holding optical pedal emulation and
down the Control button — the bypass a dual-compression preset.
LED changes from green to red when The last is designed to add
the second bank is active. To avoid jangle to guitars by splitting
excessive level changes as the amount the band at 2kHz. Additional
of compression is adjusted, the Atlas presets are available via
includes an auto make-up gain feature, the Neuro Editor and can
though you’ll probably also need to be loaded into the pedal for
adjust the output level. Other pro niceties
include a switchable bass-guitar mode, The software editor, displaying
activated by holding down the Control a list of the different compressor
button at power-up. types offered.

144 December 2022 / [Link]

of the Neuro Editor: Preset Mode, which Plugging in a Telecaster, I was as the Dan Armstrong Orange Squeezer
allows the user to save any adjustments impressed by the very first preset, which and the original MXR Dyna Comp pedal.
by simply pressing and holding the adds a touch of country-style snap while Again these bolster the note sustain in
footswitch for a few seconds; and also adding welcome sustain. The Blend a flattering way. I also really liked the effect
a WYSIWYG Mode, in which the physical control is useful because by mixing of the Split Band Jangly preset, which
knob positions always reflect the in some of the original sound, note really helps lift the sound out of the mix.
parameter values. attacks sound more natural, while the In conclusion, then, Atlas is an
There’s a lot of sophistication for compression lifts the level as the note impressive-sounding compressor but
a compact pedal with just four knobs, decays. The usual studio trick when using also very versatile, with applications
and the six factory presets cover a lot parallel compression is to apply heavier that go well beyond guitar and bass. In
of ground. Even though the settings compression when mixing in some of true Source Audio fashion it’s deeply
are presets, you are still likely to need the dry sound, and that works beautifully and easily editable using the free Neuro
to adjust the Threshold control as the here to preserve a natural sound with software, though most guitar players will
pedal doesn’t know if you have a guitar more of the original note attack dynamics already find what they need amongst the
with hot humbuckers or low-output intact but with extra sustain blending in presets. Whether on a pedalboard or in
single-coil pickups, but if you are as the original note or chord decays. The the studio, the Atlas should make a lot of
hooked up to the Neuro App, you can various optical options provide a slightly friends. Paul White
always re-save your revised settings in different but no less attractive style of £ £239 including VAT.
place of the factory presets. compression, reminiscent of pedals such W [Link]

Origin Effects Halcyon Green Overdrive presence peak that can help if using
humbuckers that could benefit from a little
The Voice switch adds
a quite noticeable presence
Overdrive Pedal more ‘edge’. For a classic TS808 sound peak — when playing
Origin Effects’ new Halcyon Green Overdrive pedal is and response, then, you can select 808 a Strat I found that I didn’t
based on the classic Ibanez TS808 Tube Screamer (which mode, set Dry to 50%, and not switch in the really need it, as using the
can sound really good on synth sounds — don’t dismiss it Adaptive circuitry. pedal’s Tone control I could
as a guitar-only pedal!), but the company have worked hard As well as Off, the Adaptive toggle get the bypass tonality to
to overcome some of the limitations of the original. While switch gives you two options — match the drive tonality
the TS808’s mid hump and bass roll-off a semi-adaptive mode pretty well. However,
work well when you’re pushing it hard, or a fully adaptive I did find it really useful in
the tone is rather less impressive when mode. A second toggle helping thicker-sounding
you play quietly or back off your guitar’s switch brings in the humbucker-equipped
volume control. Origin’s newly developed aforementioned presence guitars to cut through.
e voicing option, while If it seems a little too
ng a conventional footswitch forward-sounding, you
ws is used to engage the can back off the pedal’s
the input signal dynamics such that, when buffered bypass. An Tone control a touch to
switched on, it automatically achieves LED indicates whether compensate for that.
a flatter response for quieter inputs. In the pedal is active If you’re a fan of the
other words, the tone is prevented from or bypassed. classic TS808 Tube
ou I found that the straight Screamer, then Origin
back off the volume. Screamer sound, whose Effects’ Halcyon Green
Designed and built in England, the settings I described above, Overdrive comes under
Halcyon Green Overdrive has a compact matched up well against the category of ‘better
ge originals that I’ve used. mousetrap’. If you always
to allow close spacing on a pedalboard. Back off the guitar volume pick hard and set everything
The casework is fabricated from stainless and the sound does lose to 11 then maybe the
steel and it’s a few millimetres taller than a bit of vitality, just like on benefits won’t be so
a typical compact pedal. A standard 9V the original. But with the obvious, but it will be of
e guitar volume backed off particular benefit to those
of at least 100mA is required; internal circuitry boosts the and fed into a clean amp channel, the full players who employ a lot of
supply voltage to increase the available headroom. Adapt setting retains more of the low end, picking dynamics or guitar
The four knobs adjust Level, Drive, Tone and the Dry while also adding a useful clarity to the volume control adjustments
level, and there are two Adapt options. The original Tube highs. The semi-adaptive position still helps as part of their playing style.
Screamer added a fixed amount of clean signal to improve bolster the lows and highs, just to a lesser This is a really well-designed
note definition, and the Halcyon Green’s Dry control gives extent; it’s good to have the option. In both drive pedal with a lot to offer
you more control over that. Setting Dry at 50% adds the cases, when you put the guitar back to to the discerning player.
same amount of dry signal as a classic Tube Screamer. full volume and play normally, the tonality Paul White
There’s a choice of two Voice settings: 808 replicates the is similar to what you’d hear without the £ £239 including VAT.
classic Screamer mid hump, while Mod adds a stronger Adapt settings. W [Link]

[Link] / December 2022 145

 ON TE ST

Conversations With Women In interviews have

been collated and
challenges, but a great
many of the more subtle
Music Production transcribed by Kallie yet important ones were
Book Review Marie, herself an new to me and far from
It’s obvious to anyone working in any acclaimed engineer/ obvious, so I found the
aspect of pro audio that it’s still a very producer working book both enlightening
male-dominated industry. Some areas mostly in America, and and thought-provoking,
employ a more even balance of men include contributions and I genuinely learned
and women, of course (notably radio from Abhita Austin, much from it.
broadcasting), while others, such as Leslie MG Bird, Hilary Of particular
traditional studio work, remain depressingly Johnson, Sylvia Massey, fascination was where
unbalanced. The reasons for this are Johnette Napolitano, the contributors’ views
complex and probably have origins Kerry Pompeo, aligned and diverged;
stretching right back into pre-school Ebonie Smith, Andrea major issues for some
indoctrinations, but there are encouraging Yankovsky, and Kallie were not perceived at
signs of gradual improvement, as more herself, of course. all by others, and some
girls are studying STEM subjects and more Spanning six chapters, employers (and, it must
female students enrol on music technology the conversations cover be said, musicians and
and related higher-education courses. gendered influences — such as the impact artists) are clearly far more forward-thinking
Young women generally now have greater of ‘male arbiters of taste’, microaggressions, and supportive than others. In other words,
confidence in choosing their own career and soft sexism — the role and impact everyone’s experiences and challenges are
paths, too, at least in the Western world, and of women in music production, the way different. This is as true for men as it is for
there’s a little more awareness and support changing technology has democratised women, of course, but it’s abundantly clear
from male colleagues generally. music production for women, and the that women face legitimate difficulties that
Nevertheless, it’s inherently difficult for barriers still faced by women and the aren’t even recognised by many of their
any man to fully perceive and understand obstacles yet to be overcome. male colleagues.
the real-world challenges facing women To be perfectly honest, I didn’t find this Ideally, everyone should absorb the
trying to build a career in the industry. the easiest of books to read and, needless substance of this book, but I would certainly
So I was delighted to be asked to review to say, there are no pictures of big consoles recommend it for anyone involved in the
a new book, Conversations with Women in and no discussions of the merits of the U87 hiring, management, or training of women
Music Production (Blackbeat books, ISBN versus C414. Instead, Kallie has given us in pro audio to gain really valuable insights
978-1-4930-6506-6), that explores this a lot of words describing and explaining into an industry as viewed from an entirely
subject through interviews with genuinely real-world difficulties and injustices every different perspective. Hugh Robjohns
successful female engineers and producers, woman currently faces in trying to build £ Paperback (as reviewed) £18.99.
each describing their first-hand experiences a career in the industry. Like most of us, eBook £17.99.
as they’ve built their own careers. These I was aware of some of those issues and W [Link]

Caveman Audio AP1 Compact reduction in cost and size has been
achieved by stripping the AP1 back to its
Acoustic Instrument Preamplifier core functionality (a piezo preamplifier
Just as I’d put the finished touches to my driving a balanced XLR DI output), and
review of Caveman Audio’s wonderful AP1 adding unbalanced quarter-inch (6.35mm)
acoustic instrument preamp (SOS October jack sockets for a high-impedance
2022: [Link]/reviews/ instrument input and a tuner output, as well
caveman-audio-ap1), the company released as a mute switch (with LED indicator) and
the more affordable AP1 Compact. Since a socket for an (owner-supplied) 12V DC
it retains its larger sibling’s cross-sectional power source.
dimensions, it is ‘compact’ in a relative There’s little point me regurgitating
rather than an absolute sense, and on what I’ve already written in the AP1
investigating this new model it seems to me review, but overall I’d say that the
that no corners have been cut in terms of Caveman Audio AP1 Compact offers
construction and component quality — as a comparatively cost-effective way of adding
with its larger sibling, the AP1 Compact is a superb-sounding piezo preamplifier to your
unlikely to ever need you to claim against its live or studio setup. I’d even go as far as to
standard 10-year warranty. say that this (or one of its bigger siblings) is
Internally, the AP1 Compact features an essential audition if a piezo pickup sits at
the same proprietary preamplifier circuit the heart of your music. Bob Thomas
as the AP1, and delivers a superb sonic £ €399 plus shipping,
performance that gets very close to that customs charges and VAT.
of its larger stablemate. The Compact’s W [Link]

146 December 2022 / [Link]

 Inside The Abbey Road
Reverb Chamber
Located deep in the heart of Abbey Road Studios, the original
Studio Two echo chamber has lent its rich ambience to everyone
V IDEO DOCUMEN TARY ORIGINAL S
from Cliff Richard to the Beatles. Resurrected in the 1990s, it’s
a part of recording history and a unique resource for today’s
IN ASSOCIATION WITH artists and producers. In our exclusive video, Mirek Stiles explains
how EMI’s studio boffins developed their secret weapon, and
puts it through its paces on drums, guitars, vocals and more.

[Link]/soundonsoundvideo
 ON TE ST

Big Fish Audio

Smack 2
Kontakt Instrument
+++++
Big Fish Audio’s Smack
became something
of a staple for stomp, UI also gives you the options to orchestra of the future. That orchestra has now
clap and finger-click control performance dynamics via been expanded by Aspire Modern Mallets, which
sounds after it was MIDI CC rather than MIDI velocity. introduces tuned percussion with a distinctly
released in 2015 (see Linked to your mod wheel, this is modern twist.
the September 2015 issue of SOS for a review). a tremendously effective way to Aspire features two instruments no serious
BFA have now released a follow-up suitably add performance expression. sample user should be without, namely
titled Smack 2. With over 3GB of sample content, BFA offer a discount on Smack marimba and vibraphone. Both were recorded
a considerably expanded range of sounds/ 2 for owners of the original and, playing straight long notes and a separate
articulations (including some electronic sources), if Smack is something you use softly-played ppp layer from close, room and
and multiple room and mic options, BFA are regularly, then Smack 2 is most under-the-instrument mic positions, while
clearly attempting to deliver the complete certainly a significant step up in the vibes player adds a set of muted short
one-stop shop for your body percussion needs. terms of sounds, articulations and notes. Also included are bowed vibraphone,
The four main Kontakt presets each provide flexibility. There is also a bundle granular-synthesis treatments and an ambient
different mixtures of the various stomps, claps pricing for both libraries but, for pad which blends both instruments.
and snaps. Three of these are based upon those just looking for a first Smack Powering these sources is Heavyocity’s
‘human’ sounds recorded in a small studio, (eek!), personally, I’d go straight to triangular Ascend mixer, which allows you to
medium hall and large hall respectively. The Smack 2. Highly recommended. crossfade between three patches by clicking
combination of three mic options (close, stereo John Walden and dragging a cursor around the triangle.
and room) and a comprehensive effects section £106.04 These actions can be recorded, modulated
(top left), including delay and reverb, means [Link] and randomised, enabling you to add dramatic
you can dial in any ambience style to suit your ear-catching movement to your mixes.
musical needs. Smack 2’s articulations are much Heavyocity While the two instruments sound fine in
expanded over the original. It includes the single/ their natural state, the main thrust of the library
group versions of claps, snaps and stomps, but
Aspire Modern Mallets is its processed material. The producers have
there are articulations such as chest hits, leg Kontakt Instrument thrown in a versatile arpeggiator, a musically
slaps and stomps based on a whole range of +++++ intelligent MIDI delay/repeat and tempo-sync’ed
different surfaces such as wood, concrete, plastic When not dropping school busses convolution effects including reverb, reverse
packing materials, a blanket, and a guitar case from cranes, shattering car and a rhythmic gater. Coupled with a large suite
with a tambourine on top. Within each of the windscreens with sledgehammers of master effects, the results are transformative.
main presets, these are mapped in colour-coded or maniacally whacking waste Presets such as ‘Octave Angels’ sound like the
groups across the MIDI key range, with each containers with iron bars, magical chimes of a heavenly clock, while the
group getting its own fader (and effects options) Heavyocity keep themselves beatific ethereal wash of the ‘Wandering Tones’
within the lower half of the UI. Alongside an busy producing innovative and ‘Creeping Shivers’ pads is a delight. In
expanded set of options in terms of group orchestral libraries. Standing a similar vein, the celestial ‘Sleepy Chatter Bows’
playing (single, duo, four person, eight person alongside the company’s arsenal is ear candy of the highest order, an invitation to
and 14 person in some cases), these additional of industrial-strength percussion play slow, sparse dreamy melodies and wallow
articulations provide you with a huge variety of are Novo Modern Strings, Forzo in the preset’s lush endless reverb. (Sorry,
sounds to work with. The sampling seems deep Modern Brass and Vento Modern beginning to sound like a bath salts ad there.)
and there are plenty of round robins. Woodwinds libraries, each In the rhythmic department, I liked the
Additional presets are provided for individual combining traditional and hybrid propulsive rippling 16th-note marimba ostinatos
articulations, as well as some with alternative elements with visceral sound of ‘Ascending Mallets’ and ‘Rise and Fall Once’,
key mapping. However, the real bonus is the design to create a powerful virtual both of which work well with chords. ‘Random
fourth of the main presets. This is an excellent Compute’ ensures you never get the same note
addition, providing an electronic suite of clap, pattern twice (part of the fun of arpeggiators), but
snap, percussion and stomp (kicks and toms) the charming ‘Muted Raindrops’ offers a simpler
style sounds. These complement the actual and more predictable eighth-note option.
body percussion really well and add both further Unusually for this company, there’s no heavy or
variety and value to the overall library. scary stuff here: ‘Overdriven Sequence’ is only
The single-window UI is also pretty slick and lightly distorted, and ‘Haunted Organs Rising’ is
includes a separate preset system for the effects a tranquil rising arpeggio. Though some presets
section. This is well populated with presets are listed with a key signature, you can make
that can instantly add a range of mix flavours to them fully chromatic by activating all notes on the
any of the instrument presets. In addition, the Echoes page.

148 December 2022 / [Link]

AWARDS
The Best New Products Of The Year,
chosen by the readers of Sound On Sound
Voting is now open for the 13th annual SOS Awards and
continues throughout the rest of October to the end of
November 2022 at [Link]. The results will then be
compiled, ready for announcement during January 2023.

Each category consists of a shortlist of nominations, chosen by

the SOS editorial team, and we’d like you to tell us what you
think are the outstanding products in each of the groups. As
always, you are not required to vote in every category — if you
don’t have any strong opinions on some of the product groups,
there’s no need to vote for anything in those categories.

The categories are:

Audio Interface
DAW
Effects & Processing Hardware
Guitar & Bass Technology
Software Plug-in
Music Software
Performance Controller
Keyboard & Synth
Drum Machine, Sampler & Sequencer
Microphone
Mixer & Mixing Controller
Monitor
Hardware Recorder
Mic Preamp
Software Instrument
Studio Headphones & IEMs
Live Sound Product

To be nominated for an SOS Award a product has to have been

on sale, or tested and reviewed by us, in the 12 months prior to
the voting period. This year’s nominations can be viewed at the
URL below until the end of November 2022, and we very much
look forward to seeing your choices for all the best new products
of the last year in music technology and recording.

[Link] awar ds .com

(voting closes 30th November 2022)
 ON TE ST

A far cry from the bone-splintering hits the decay stage starts. Sounds sizes. And, while there are plenty of round-robin
and impacts found in Heavyocity’s Damage that include a pulsing modulation and velocity layers, as well as centre, off-centre
and Symphonic Destruction libraries, Aspire don’t have a ‘lock to tempo’ option and rim hits to enable nuanced performances,
succeeds by blending two superb instruments but rather start their cycle each the compact drum selection means that the
into beautiful hybrid textures. The library is time a new note is triggered. entire library is also compact. At around 1GB of
5.44GB installed and runs exclusively on Kontakt There’s also a straightforward 24-bit/48kHz samples, it is a resource-friendly
or Kontakt Player 6.6.1 or later. Dave Stewart way to map controls to MIDI option. These samples are presented in four
£119 Continuous Controllers. Hooking up Kontakt presets, with the main ‘full’ preset
[Link] Modulation, Movement and Mood complemented by ensemble presets for each of
to be controlled at the same time the low and high sounds plus a separate preset
Teletone Audio by the mod wheel, for example, for the solo (non-ensemble) sounds.
can produce quite complex An additional factor in this compact nature
Ondine timbral changes. is that all of the source recordings were close
Kontakt Instrument Exploring the sounds, you’ll miked, with no additional room mic options to
+++++ find pads, leads and basses, the provide ambience. The underlying sound is close
There are many common theme being that most and tight, without the boomy decay you find in
software instruments have a genteel and slightly dreamy some big drum libraires. However, as the very
that create big nature — though there are a couple intuitive UI provides both plate and hall reverbs
sounds with lots of complexity but sometimes of more wild sounds. Those with amongst its effects options (alongside high-
you need something more genteel, either to slow, shallow pitch modulations and low-pass filters), you can easily control the
use alone or to layer with the more complex slot well into lo-fi or ambient tracks degree of ‘space’ you require.
sounds. Teletone Audio’s Ondine certainly and can sound quite trippy, but However, it’s the ‘Hybrid’ element that
leans towards the lighter, less complex end of the neat thing is that you can very is perhaps the most interesting. All of the
the synth spectrum, but although the samples easily change the character of each underlying samples have been subjected to
upon which the instrument is built started life preset instrument with just a handful a sound-design process based around synthesis
as sounds from popular analogue synths, most of controls to create a mix-ready and saturation/distortion. You can blend between
have been treated and processed to give them version of the sound that includes the tight studio sound and this hybrid version
a more organic texture. Ondine can be hosted appropriate effects. Those skilled via the two main faders within the UI to create
by Native Instruments’ free Kontakt Player or the with analogue synth programming whatever balance you wish. In use, this is really
full version of Kontakt (5.8 or later) and works could probably come up with cool; blend a combination of the studio and
by offering a series of over 50 instruments and similar sounds using instruments hybrid samples, add some reverb, and things
25 multis that can be modified using a very they already own, but for the can get suitably epic. And, on the epic front,
modest number of controls. 700MB of disk space composer who needs quick access the macro-style ‘Wrecking’ knob lets you dial in
is required. to a range of genuinely musically further energy via a combination of distortion and
The straightforward GUI is based around useful sounds that can be dropped compression. The UI has further useful sound
just seven knobs and two sliders, the two larger straight into a mix, Ondine does customisation options including individual attack
knobs appearing to control multiple parameters a great job. Paul White and release controls for each layer, while clicking
at the same time. Mood has a different function $89 on the Studio or Hybrid labels
depending on the patch, but in general it fades [Link] provides access to layer-specific
from a simpler version of the sound to a more saturation and EQ.
complex one, typically introducing distortion, Fallout Music Group FMG have made some very
noise, reverb and delay. Movement does much clever design choices with HST and
as its name suggests, going from a fairly static
Hybrid Studio the sum of the whole belies the
sound to one with modulations in pitch, level, pan Taiko seeming simplicity of the parts. The
position and so on. Again this works differently Kontakt Instrument underlying studio samples sound
for different instruments; for some instruments +++++ great ‘as is’ but, with the Hybrid
Movement acts as a Sensitivity knob, where note blend, some well-chosen reverb,
velocity is mapped to an additional parameter Like many of their saturation and envelope controls
such as pitch. products, Fallout (the Release controls make it very
The Modulation slider might better be Music Group’s latest easy to dial in the drum decay to suit
described as a Special Parameter control, as release — Hybrid Studio Taiko the tempo or intensity of your overall project),
it can control a low-pass filter, add noise, bring — is very much aimed at media HST delivers some excellent (and epic if you
in another octave, or control overall volume composers. HST is not, of course, want it) sounds with an absolute minimum of
depending on the selected instrument. As with the first taiko sample library (and nor fuss. Hybrid Studio Taikos is also sensibly priced.
the Mood and Movement controls, the best will it be the last) but, compared to Well worth auditioning. John Walden
way to explore is simply to try it to see what some of the obvious competition, it $119
it does. Expression sets the overall volume of does have a number of interesting [Link]
each patch, while the envelope section adds design features.
a Hold control to the familiar ADSR controls. The library is tightly focused.
Audio examples of this month’s libraries are
Hold, which can be as long as 20 seconds, sets It’s based upon a fairly compact available at [Link].
the amount of time the peak level is held until selection of taiko drums of differing

150 December 2022 / [Link]

The New Home For Music Software Downloads
Buy and download any product in minutes
Exclusive Offers Special Deals Plug-Ins Sample Libraries

Soft Synths Loops Beats Reverbs

Delays Compressors Mastering Filters

Drums Effects

[Link]
SOS MusicTools is a division of Sound On Sound Ltd.

Three dedicated channels each with their own series of

episodes to keep you entertained throughout the month.

ELECTRONIC
RECORDING
MUSIC PEOPLE &
& MIXING MUSIC INDUSTRY

The Recording & Mixing channel The Electronic Music channel The People & Music Industry
takes the practical approach and is for everyone interested in channel features the great and
will keep you inspired with expert synths, samplers and the world of good in engineering, production
hints and tips. electronic music. and manufacturing.

Follow our channels by subscribing to the shows on

Apple Podcasts, Google Podcasts, Spotify, Amazon Music or wherever you get your podcasts.
 TECHNIQUE
Digital Performer
DP’s Mix Modes can help you keep track of your mix revisions.
necessary adjustments before bouncing It’s important to understand the difference
MIKE LEVINE
out the mixes. between the two.
ne of the critical elements of To get the most from Mix Mode, it’s When you select New Mix, DP creates

O a mixing workflow is versioning:

that is, saving incremental versions
of your mix as you go along so you can
essential to understand what it does and
does not do when you turn it on.

In The Mode
Mix 1 (or an incrementally higher number
if it’s not your project’s first Mix Mode mix)
and makes it active. A mix generated with
backtrack if your session goes off the rails. the New Mix command retains many of the
DP offers a unique solution for that and Mix Mode is off by default when you open properties of your current project — but
other alternate-mix issues with its Mix Mode a new Empty Project. You can only turn it not all. It includes volume and pan settings,
feature. Instead of saving your session on manually. To do so, look at the bottom send configurations, send levels, send
under a new file name each time you make of the Mixing Board window for the words mutes, track volume, track play enable/
a significant change, you can save multiple Mix Mode Off. Clicking on that label or its disable state, and track automation mode.
mixes inside one DP Project. corresponding disclosure arrow opens the However, it doesn’t carry over your inserts
Mix Mode lets you revert to an earlier Mix Take pop-up. You’ll be presented with or track automation data.
mix, and it’s also useful for quickly two choices: New Mix and Duplicate Mix. If you want Mix 1 to be an exact copy of
your project’s state when you activate Mix
Mode, use the Duplicate Mix command
instead. This advice also applies when
you’re already in Mix Mode and creating
another version. Duplicate Mix retains
everything in your mix at the point you
activated Mix Mode, including inserts.
There’s one exception, however. Any
automation data on nested takes will not
be transferred into your mix. Mix Mode
supports only one set of track automation
data, which comes from the active take
and will apply to all others. As the DP User
Guide puts it: “All mix automation belongs
to that mix, regardless of which take you are
dealing with.”
If you decide that you want the
automation data from a non-active take,
follow these steps:
• Turn Mix Mode off.
• Activate the take that has your preferred
automation data and copy the data.

The Mix Mode controls are accessed from the

bottom left of the Mixing Board.

comparing different mix versions. Let’s

say there’s a song where you’re trying
various ideas for the reverb treatment of
the lead vocal. Turn on Mix Mode and make
a version of the mix for each alternative, and
you can quickly bounce them out to play for
your client or bandmates.
You may have a client who wants you
to deliver a variety of mix versions, such
as an instrumental mix and one with, say,
the lead vocal up higher or the drums
lower. Rather than creating a separate DP
project for each — which can get confusing
— you could duplicate your full mix in Mix
Mode for each alternative and make the

If you want your current mix to be copied when

you turn on Mix Mode, select Duplicate Mix.

152 December 2022 / [Link]

 R
t
If you’re working in Mix Mode and decide
y
o
w
t
b
In the Mix Mode menu, in addition to
N
y
a
t
t
I
a
y
a
d
o
m
Turning Mix Mode on and off does not affect the t
• Turn Mix Mode back on. Control Panel settings. y
• Paste the automation data into the track. Even though Mix Mode makes it possible
mixes in the V-Rack mixer’s Mix Mode menu. to use only a single DP Project file for all
There may be situations where you want As a reminder, you can use multiple V-Racks your alternate mixes and mix versions, it
to apply the same automation to all the in the same project at the same time. doesn’t lessen the importance of backing
takes on a track. If so, switch on Mix Mode When you load or duplicate Chunks in up your project regularly. If anything, it
and use the Duplicate Mix command to the Chunks window, Mix Mode mixes are makes it even more important, because all
accomplish this. preserved. This is another example of the your mix versions are now in a single Project
MIDI tracks are an exception: automation power and flexibility of Digital Performer: file rather than saved in separate ones.
on MIDI track takes remains unaffected by in a single project, you could have multiple Although DP’s Autosave will automatically
whether Mix Mode is on or off. You can have versions of a song or cue as separate back up your file (based on your settings in
multiple takes with unique automation data Chunks, each with discreet, uniquely saved Preferences / Document / Autosave), you
on each take. Mix Mode mixes. still are best off creating manual backups
or using backup software to duplicate
V-Racks & Chunks Mix Mode Miscellany your project to another drive (preferably
V-Racks have their own mixing boards. As Here are some additional points to consider in the cloud) to make sure you always
you might expect, each V-Rack mixer has when using Mix Mode. First, the transport have access to a complete and up-to-date
its own Mix Mode menu and mixes, and will keep its place when you switch between backup, in case something happens to your
these are completely independent from any mixes or from Mix Mode on to Mix Mode recording drive.
Sequence mixing boards (and their mixes). off (or vice versa). You don’t have to worry DP is an extremely deep application; not
Even though mix automation can’t be about resetting the counter. The same is every user needs or even knows about all
written in V-Racks, volume, pan, inserts and true for Track Groups and VCAs: they are its features. Some are specific to specific
send levels can be controlled with multiple preserved when switching between various types of music production, like film scoring
mixes in Mix Mode. or EDM. But Mix Mode is one that any DP
Also, all Control Panel settings will stay user can benefit from. If you haven’t tried it,
the same. If you have, for example, Auto you should.

Making Notes
When you name a new or duplicated mix in
Mix Mode, you may want to add descriptive
information to distinguish each mix by more
than just the song name and an incrementing Consider using DP’s Project Notes feature if
number. For example, you might want to call you want to write detailed notes about your mixes.
it “Mix 3 with bass down 2dB and vocals up If you have too much information to fit
1dB”. To activate a text box for the name of the comfortably in the name field, you could keep
currently active mix, Option-click (Alt-click on notes about your mixes in DP’s Project Notes
PC) on the mix’s name or select Rename Mix window. Just open a sidebar, set the window
The Delete options let you remove from the Mix Mode menu. to Project Notes and start writing.
unwanted mixes.

[Link] / December 2022 153

 TECHNIQUE
Pro Tools
Avid’s latest release introduces a new free edition of Pro Tools.

The new Aux I/O feature lets you access

additional inputs and outputs — either from software
or from secondary hardware devices — from the
compensation), but for most uses, Pro Tools I/O Setup window.
JULIAN RODGERS
performance is acceptable. Virtual devices
n September 2022 Avid not only such as other software applications have The principal feature of this cluster

I released Pro Tools 2022.9, but also

a brand-new free version of Pro Tools.
The former introduced the much-anticipated
the restriction that they can be either an
input or an output but not both. However,
you can round-trip audio to/from software
is a big button marked with a Q, which
quantises the selected MIDI data. This
‘Quantize Selected’ command has been
ARA integration with Melodyne, as applications by setting up two separate available since the introduction of custom
discussed last month, but also Aux I/O, Core Audio devices, which avoids the risk of keyboard commands in Pro Tools 2022.4,
a feature which extends the input and creating a feedback loop. but was unallocated to a keystroke. Of
output options available to Pro Tools Pro Tools 2022.9 comes with a course you can now allocate it to any key
by allowing Mac users to add any Core pre-installed virtual device, which is combination you like, but if you are more
Audio devices as extra I/O to their current simply a software pipe through which audio mouse-based, this new cluster of controls is
playback engine. This functionality provides can be transported between applications. very convenient. You can set the quantise
solutions to a number of issues, many of This virtual device — the Pro Tools Audio resolution from this new location, and adjust
which no doubt were brought into very Bridge — comes in channel widths of 2, Strength and Swing, or Timing and Velocity
sharp focus by the acute need for easy 6, 32 and 64 channels, with two versions when using a Groove. If you need greater
integration with online tools which became of the 2-channel virtual device available. control, the button with the big gear icon
necessary with the pandemic. Additional hardware interfaces can be takes you to the Event Operations window.
Pro Tools, and particularly DSP-based clocked using word clock where available, Another change concerns Pro Tools
Pro Tools systems like HDX, have in the past and the Pro Tools Audio Bridge incorporates Studio users, who now qualify for the Avid
been awkward to integrate with hardware a mechanism to control clocking drift. It Edition of SoundFlow alongside users of
and software outside of the Pro Tools is also possible to create custom Aux I/O Pro Tools Flex. A new set of X/Y controls
system. Whether you are trying to route Virtual Devices, but an important difference for offsetting the Timecode Overlay in the
audio to and from a Zoom call, use a USB between these and using the Pro Tools Video Window has been added, the Mic
microphone, or route audio from Spotify Audio Bridge is that there is no way to Preamp section of the Pro Tools UI now
into Pro Tools, it’s often been necessary to control drift with custom Virtual Devices. identifies the preamp when using Avid
devise imaginative workarounds. Aux I/O One important caveat for HDX users is that models, and the controller preferences now
solves these and many other issues. you have to be using the Hybrid Engine to offer the ability for the Edit and Mix windows
Aux I/O allows Mac users on Big Sur or use Aux I/O. to bank to selected track. However the most
higher (it’s not available on Windows due to significant news of this release is a new tier
its reliance on Core Audio) to add additional
Quantitative Easing of Pro Tools: Pro Tools Intro.
devices — both hardware and virtual — that As well as ARA and Aux I/O there are other
present themselves in the I/O Setup window new features in this release — for example,
Making Introductions
just like your main audio interface. This the maximum number of markers has been Pro Tools Intro is a free version of Pro Tools.
differs from creating Aggregate Devices increased from 999 to 32,000. Perhaps the And unlike the frustrating and discontinued
in that your preferred Playback Engine most significant of these new features for Pro Tools First, this time Avid appear to
is retained as the primary I/O device, music production, though, is the addition have made the version I always hoped they
with no compromise to its latency, delay of a cluster of quantise controls in the would. It’s feature-limited, but it’s a proper
compensation and reliability. toolbars of the Edit Window and the MIDI version of Pro Tools, not the distant cousin
Aux I/O doesn’t inherit the performance Editors, which offer a more convenient I always felt Pro Tools First was.
of the Playback Engine (its I/O has no way to access quantising than the event Unlike Pro Tools First, Intro works with
deterministic latency and no delay operations window. locally stored Sessions, not online Projects,

154 December 2022 / [Link]

and as such, uses the same session file install Intro, though, as it will replace the old • 4 aux tracks or routing folders
format as any other version of Pro Tools. version of Pro Tools. Pro Tools Intro uses • 2000 basic folders
It is also built on the same code base Pace disk-based licensing and it’s important • No VCAs
as all the other versions of Pro Tools, to make sure you get a free Intro licence, • 1 Master Fader
which means that it can benefit from new or your Pro Tools won’t default to Intro if • 4 simultaneous recording inputs
features at the same time as the other tiers it can’t find your higher-tier licence. Also,
of Pro Tools (something First didn’t do, ‘off-plan’ perpetual licence holders shouldn’t Pro Tools Intro fills a hole in the Pro Tools
which often resulted in significant delays download Intro, as it will update their Pro family of products which I’ve been hoping
before First caught up with the rest of the Tools to a newer version — for which they would be fixed for a long time. Back in the
Pro Tools line-up). Finally, it can use any won’t have a licence! ’90s there was a product called Pro Tools
AAX plug-in, whereas Pro Tools First only For basic tasks like editing a voicever Free, which was eight mono tracks only.
allowed plug-ins purchased from the Avid or podcast, Pro Tools Intro has everything It was my first experience of Pro Tools
Marketplace to be used. you’d need. So what are the limitations? You and the first step on my journey into the
As a free product it’s ideal for new have a maximum number of tracks of each Pro Tools ecosystem. As a tutor delivering
users, whether they’re newcomers to DAW type, It is stereo-only, there are no video or Pro Tools training I remember how excited
recording, or users of other DAWs who are VCA tracks, and you can use a maximum of I was to hear about the release of Pro Tools
dabbling with Pro Tools. Avid have built four simultaneous inputs. Projects can run First, thinking that it would bring the same
a dedicated landing page with quick-start at sample rates up to 192kHz/32-bit (floating benefits to my students as Pro Tools
videos and an extensive FAQ page to help point) and while ARA is suppored, it doesn’t Free did to me, only to be replaced by
these users, but this product will also be of include a version of Melodyne. Clip FX can disappointment when I eventually saw the
use to current Pro Tools users because, in be played back but not added. Third-party product. Pro Tools Intro is exactly what I was
the absence of a current licence, higher-tier hardware is supported on Mac and PC via hoping for.
versions of Pro Tools will default to Pro the Core Audio, ASIO and WASAPI driver The introduction of a much-needed
Tools Intro. This is useful to subscription standards. Bundled plug-ins include the fourth (and free) tier of Pro Tools would be
users who, if they let their subscription lapse 35 effects in the Avid Core pack, and the a significant release on its own, but the
from month to month, will still have access Xpand! software instrument. In terms of inclusion of ARA support for Melodyne and
to a basic version, and also for users like channel limitations, you get: the workflow possibilities of Aux I/O make
me who use a physical iLok rather than 2022.9 the biggest Pro Tools release since
iLok Cloud, and use multiple computers. • 8 mono or stereo audio tracks the Hybrid Playback Engine.
Perpetual licence holders who aren’t on • 8 instrument tracks
The 2022.9 update adds a cluster of quantise
a current update and support plan shouldn’t • 8 MIDI tracks
controls to the toolbar.

[Link] / December 2022 155

 TECHNIQUE
Cubase
Create retro sci-fi soundtracks with Cubase’s Retrologue 2.
JOHN WALDEN

he use of songs by Metallica and

T Kate Bush may well have stolen

the musical headlines for season
3 of Stranger Things, but the underlying
synth-based score remains hugely important
to the show’s iconic retro sci-fi ’80s vibe.
In our March 2017 interview ([Link]
ag/mar17stranger), composers Kyle Dixon
and Michael Stein explained the influence
of the likes of Jean-Michel Jarre, Vangelis,
Tangerine Dream, John Carpenter and
Giorgio Moroder, and how the pair made
use of their impressive collection of (mainly
vintage) analogue synths.
If the idea of creating a similar sound in
software appeals, the Retrologue 2 synth
bundled with Cubase Pro and Artist (it can
be bought separately too) can get you
pretty close. For these sorts of sounds, it
makes sense to start with the sine, saw
or square oscillator waveforms typically
used in vintage hardware synths, but that
2017 interview offered some other helpful
pointers. These include: not being afraid to
Retrologue’s oscillator and filter options
let the mix get a bit ‘murky’; using low cutoff The next screen shows the Arpeggiator
provide plenty of scope for creating analogue-style
frequencies (particularly for bass sounds) lead sounds. panel with a 16-step note pattern and
so things don’t get too ‘growly’; using EQ 16th-note intervals. It’s similar to the pattern
to keep high-end fizz at bay; keeping filter The only entry in the modulation Matrix used in the Stranger Things theme tune
resonance modest; using analogue-style provides very subtle mod-wheel control — so be sure to create enough melodic or
delay to add texture; and detuning notes to over the filter cutoff, so that you can gently timing differences to make it original! I’ve
provide an unsettling or random dimension. open the filter for a brighter sound. In the not used any MIDI velocity variations or
The score uses synth sounds in various Quick Control panel (at the top of the UI), other controller patterns here.
roles, but in this workshop we’ll explore I’ve linked the Master Volume control to my Prime targets for further experimentation
three prominent examples: arpeggiated first QC slot, making it easy to add volume include the oscillator settings, using Multi
leads, evolving pads and dark bass tones. changes in real time or via automation. It’s waveforms (found in the Type drop-down,
not shown in the screen, but I also added these effectively turn a single oscillator into
Repeat After Me a subtle touch of chorus in the Mod FX multiple oscillators, with the option to gently
The first screen is a good, simple starting section, and then a quarter-note ping-pong detune them for a fatter sound), and ring
point for the kind of arpeggiated lead used delay with the High Frequency Damp set modulation. All these possibilities can help
in the Stranger Things theme tune. A pair at its lowest value (1000Hz) for more of an you create useful variations.
of oscillators, both based on single saw ‘analogue tape’ effect. In the EQ section,
waves, are set an octave apart for a slightly you could opt for a high-end shelving EQ
Theory Of Evolution
fatter sound. In the Voice panel, Mono here if you wanted to remove even more The third screenshot shows the Retrologue
mode is switched on and a very short Glide top end. configuration for a suitably analogue-esque
time provides a slight sense of pitch-sliding
between notes. In the Main section, the
most important thing is a very low (not zero)
Rnd Pitch setting, giving the pitch of each
note a very small random offset.
In the Filter section, note the low
values of the 12dB/octave low-pass filter’s
Resonance and Cutoff. The Filter envelope
is given only a modest amount of velocity
response (as is the Amplifier envelope; lots
of old-school analogue synths didn’t have
velocity sensitivity), and a touch of tube-like
distortion adds a little ‘warmth’. R l ’ i k h S Thi l di li i ih

156 December 2022 / [Link]

evolving pad, and a few differences
between this and the lead sound are worth
highlighting. First, I selected Poly mode
in the Voice section to allow chords to be
played. While I’ve again used two sawtooth
waveforms, both osc 1 and osc 2 use more
complex types (Cross and Multi), given their
somewhat fuller/fatter basic tone. The sub
oscillator has also been enabled to blend
in a little extra low end. As with the lead
sound, a low cutoff has been set using
a 12dB/octave low-pass filter type with no
resonance applied, and a little tube-based
distortion added for extra warmth.
In the Matrix, a key difference is that
the mod wheel is somewhat busier,
acting as a ‘macro’ control by targeting
multiple parameters, including adding
a hint of detune to osc 2. The mod wheel With the mod wheel set to modulate multiple
therefore allows you to change the timbre parameters, you can give your pads plenty of sonic well as giving it a more obvious pitch over
of the sound in real time to add a sense of movement in real time. its full range.
movement. The Arpeggiator is disabled The final element is within Retrologue 2’s
while, in the FX section, I added a small FX section, where a ping-pong delay has
One I Created Earlier
amount (the Mix value is set at 25%) of been set to 1/4D (dotted), along with 50% Does Retrologue supply the same degree of
quarter-note ping-pong delay. However, Mix and high Feedback (around 6) settings, undeniable cool or compositional inspiration
I’ve also added a gentle chorus in the to give multiple repeats — because these you might experience when working in
Mod FX panel, with a slow Rate, shallow are dotted, they’ll provide a nice rhythmic a room full of classic analogue synths? Er...
Depth (around 1), Feedback set to 10% contrast to the straight 16th-note rhythm of no! But neither does it come with the same
and Mix to 50%; this adds some gentle the arpeggiated lead sound. price tag, maintenance costs, or space
movement and width. When it’s played at MIDI notes below requirements. More important is how these
If you want to get more experimental or C3 (note the Octave setting for osc 1), you’ll Retrologue-based patches actually sound.
aggressive, try introducing a square wave find that the sound seems to have very You can easily recreate what I’ve done, but if
in osc 3 and experimenting with the Shape little pitch information, and provides more you just want a quick audition, check out the
control, or engage the Ring Mod option of a heartbeat-style effect. But if played audio examples on the SOS website (https://
in the Oscillator Mix section. Beyond that, around C4 or above, the pitched element [Link]/cubase-1222). These include
move to the effects section and explore in the sound becomes much more obvious, a short example ‘cue’ that I created using
some of the ‘modulated’ presets for the allowing you to play a more conventional these patches, and as with any sounds, you
Resonator; there are some cool starting melodic bass line. As an additional option, can feel free to massage them further with all
points for creating sweeping sounds you can add a second oscillator, based sorts of EQ, compression and cool-sounding
amongst these. on a sine waveform and with Type set to effects. Retro sounds with Retrologue?
Multi. This will fatten the bass further, as Stranger things have happened...
Heartbeat Bass
If required, this pad sound can supply
plenty of low end so, for my ‘bass’ sound,
I decided to go for something that also
offered a percussive element. The final
screenshot shows the basic Retrologue
configuration. This patch uses a single,
square-tooth-based oscillator, although the
type is set to Multi for a fatter sound and
the Noise oscillator has been blended in for
a bit of extra character. Again, a relatively
low cutoff frequency has been chosen for
the filter, with zero resonance and some
tube distortion added. In the Amplifier panel,
a fast Attack and zero Sustain setting has
been used, providing a short percussive
feel to the sound when played. In the Matrix
section, the mod wheel is again serving as
a macro control, changing the Amp Decay, A i l bi i f ill d i ih i id b
Noise level and filter Cutoff. sound that can also be used to add a rhythmic element.

[Link] / December 2022 157

 TECHNIQUE
Logic

The Drum Replacement/Doubling tool will

Logic has built-in tools for drum sample replacement. take your existing drum recording and generate
a suitable MIDI track to trigger samples.
is to replace the snare (while keeping the
DAV I D R I CA R D
original in the mix) and use the sampled create a duplicate Track Alternative. To copy
rofessional mixers use drum snare to send to reverb, rooms, and other the kick track and its contents, hold down

P replacement so much that you would

be surprised to learn how many rock
albums contain little, if any, of the original
effects to achieve clean ambience without
unwanted leakage.

Isolate The Target

Option while dragging the track downward.
Now that we have our duplicate track
selected, let’s make sure our waveform view
kick and snare in the final mixes. For the is at maximum. Click and hold the Waveform
most part, sample replacement is used Kick and snare drums are the usual Zoom button (Key Command available) to
on multitrack drum recordings to provide suspects for replacement, but toms (and just reveal a slider and turn it up all the way.
several worthwhile benefits. Rather than put about anything percussive) can also yield
a badly recorded kick drum through a half results worth exploring. Let’s start with your
Replace Or Double?
dozen plug-ins to beef it up or give it more live kick drum track. This method creates Next go to the Track menu and select
snap, simply replace it with a sample that a MIDI track while leaving your original “Replace or Double Drum Track...”, or use
has all of the characteristics you need — or audio track untouched, though I still opt the command Control+D. As an aside,
enhance it with just the attributes that your to make a copy of the original drum track I imagine that replacing drums would have
original drum lacks. Another application to work with. Another option would be to to be a major part of your workflow to justify
using such a premium key command for
the task. Control+D falls off the fingertips
so effortlessly that I would prefer to use
it for something I need more frequently.
Fortunately, it can be reassigned in the Key
Command Edit window.
A few things happen once the command
is selected: the Library pane opens up
and a floating dialogue window appears.
Set the top drop-down menu to the drum
you’re working on (in this case, Kick) and
choose Doubling. The only difference
between Doubling and Replacement is that
Replacement will mute the original track
once the MIDI track is created. The Relative
Threshold slider is the most crucial setting.
Slide it left or right to make sure all of the
transients in your track are detected, while
bleed from other drums is omitted. The MIDI
track will update in real time while you do
this. Attempt to find the sweet spot where
you have exactly one MIDI note per kick.
If excessive bleed is making it tricky, err
on the side of caution and include some
Buried in Logic’s seemingly endless hierarchy of
folders lie some very useful samples to address exactly
what your recorded drums are lacking.

158 December 2022 / [Link]

unwanted hits. Removing the Replacement dialogue. Additionally,
errant notes is much easier you can manually add or remove sections
in the MIDI track than adding before committing to replacing. One of the
new ones. shortcomings of Logic’s drum replacement
Use the Preview button is that once the MIDI is generated, there’s
to solo the track and check it no going back.
for misfires. (Small gripe, but Another way to clean up the source
I wish this button illuminated track would be to use a gate. Open a Noise
or changed to Stop while Gate plug-in on the track and tweak the
playing; I keep accidentally settings to remove everything but the hits
hitting OK, which closes the you want included. However, I’ve noticed
dialogue box and puts an end that the Drum Replacement function
to the discussion.) ignores plug-ins on the track, so you’d need
While choosing different to bounce the track for the gating to be
replacement samples from factored into the MIDI extraction.
the library is a good option, For this reason, I prefer to use Logic’s
I prefer to hold off until the selection-based processing as opposed
MIDI is created and I’m out Although you can use plug-ins to tidy up your source tracks, to plug-ins on the channel. This method
of this portion of the process the Drum Replacement/Doubling tool will ignore them, so you incorporates bouncing and so saves a step
have to bounce the plug-ins first. A quicker way to process the
before selecting a sample. If or two.
original drums is to use selection-based processing.
you have a specific sampled
drum kit that you plan on
Extra Credit
using, you can choose the appropriate In Sampler, with the Mapping tab If drum replacement is something you do
trigger note. Leaving it on Auto is my selected, it’s apparent that these stock more than once in a blue moon and you
recommendation for now, as it will generate sample patches are no joke. With multiple find Logic’s kick selection with its generic
notes according to the General MIDI layout. velocity layers that switch in (as low as) names uninspiring, here’s a little side project
Now we’re ready to say OK and move along. five values, these are as powerful as any for you. On your Mac, locate the folder
after-market sample set! My only complaint where your sampled instruments reside.
Finding The Perfect is that their names aren’t in the least Navigate to the Drums & Percussion folder
Replacement bit descriptive. If your ears are telling you (of the Sampler Instruments folder, not the
On the new track, Logic has inserted that your original kick just needs a little Sample folder). Go to the folder named ‘03
a Sampler instrument and conveniently more click or a bit more body, you’re in luck. Single Drums’, grab it, and drag down while
opened the library on a selection of kick In Sampler, navigate to Factory / Drums & holding the Option key to make a copy
drums. The MIDI track will have a ‘+’ added Percussion / Single Drums / Kicks / Layer (sound familiar?).
to its name for easy identification. Kicks. Here you’ll find a host of potential Change the name of the new folder to
If you feel confident that Logic captured elements that your original drum possibly something like ‘Single Drums Renamed’ or
your performance accurately, you can go lacked. Just because we’re dealing with whatever helps you remember it. Navigate
ahead and delete the duplicate track that an acoustic drum kit doesn’t mean we to the Acoustic Kicks menu of the renamed
we used to create the MIDI track. The are limited to that. Open Drum Synth on folder while auditioning Sampler instruments
benefit of using a duplicate track is that you your MIDI track instead of Sampler and in Sampler. Make sure to sort the folders by
can edit it to help Logic extract the MIDI experiment with an 808-style palette. Or try name so they are in the same order as the
more reliably, without those edits appearing playing your kick/snare pattern on congas. list in the Sampler.
in the final mix. More on that later. If you need more options, remember that As you listen to each sample, rename it
I never adopted the Library pane into you aren’t restricted to only using Logic’s in the open folder to something that means
my workflow, so my preferred method instruments. Once the MIDI track is created, something to you. So when your kick needs
for auditioning the drums is to do it feel free to replace the Sampler with any more body, you can try all of your kicks
in the Sampler window itself. Use the third-party instrument: Battery, EZ Drummer, labeled ‘Phatty & Splatty’, for example. To be
Next/Previous Patch or Instrument Setting Kontakt, or anything else. clear, you aren’t changing any samples, just
command (or the </> buttons on the top left the names of the (copy of the) instruments.
of the window) to switch between various
You Missed One Take the time to do this and you’ll probably
kick drums on the fly. As previously stated, there are a few traps find that you’ll have three or four go-tos and
In my example, the MIDI kick sounded to avoid when using the Drum Replacer won’t need to do much auditioning. You
a bit weak. No problem! On inspection of feature. The first issue concerns capturing could then add those to another folder of
the notes in the MIDI editor, it was clear to a reliable MIDI track from your recording. If your Greatest Hits!
me that the velocities were on the low side. your audio contains an abundance of bleed While some dedicated drum
Simply select all and adjust the velocity from other drums, we may need some replacement plug-ins do indeed have
slider. With all of the notes selected, Logic additional steps. Toms in particular may a few advantages over Logic’s method, the
will retain the relative velocity differences require this approach. included Drum Replacer/Enhancer function
that it captured. Of course, you can also The Remove Silence from Audio tool has some benefits of its own that may
go through the entire track and adjust the is an effective way to isolate drum hits well mean you don’t need to fork out for
velocities one note at a time as well. with a bit more detail and precision than expensive third-party software.

[Link] / December 2022 159

Q What is the output level
difference between Shure’s
Beta 87A and SM58?
I’m assuming that a Beta 87A is hotter
than an SM58. I know there’s a difference
in response curve, but for a typical voice
application, how many dB hotter is it?
SOS Forum post

Hugh Robjohns, Technical Editor

Both the Beta 87A and SM58 are designed
as stage vocal mics, but the former uses
an electret (capacitor) capsule while the
latter has a moving-coil capsule. Given
these different technologies it’s reasonable
to expect the Beta 87A to be the more
sensitive (ie. to have a ‘hotter’ output), but
calculating a definitive number of decibels
for the sensitivity difference is frustratingly
difficult as Shure’s published specs are
surprisingly inconsistent!
In principle, the data needed to answer
this question comes from the Sensitivity or
Output Level specification, and this can be
presented in a couple of different ways. It
is normally measured as the output signal
voltage at 1kHz for a sound pressure of 1
Pascal at the diaphragm. 1 Pascal (1Pa) of
sound pressure equates to 94dB SPL and
that is fairly typical of a modest singing
[Link]: a great resource for all
voice close to the mic. The resulting sorts of technical information, including comparing eight-channel preamp (again using ADAT)
output signal is typically expressed either old and new mic sensitivity figures! to a fantastic audio interface, will I get
as a voltage in mV/Pa, or in decibels a better dynamic range from the source
relative to a voltage, as dB re 1V/Pa (often In practice, while this small difference preamp signals?
abbreviated to dBV/Pa). in sensitivity is unlikely to make a great Roberto Estrella via email
Vintage microphone spec sheets deal of difference to the audience, it
often use different ‘imperial’ references will certainly affect the gain structure Hugh Robjohns:
of 1µbar of pressure (1µbar = 0.1Pa), optimisation through the console and The answer to your first question is no,
or dBV/dyne/cm² (1dyne/cm² = 0.1Pa). PA system. you will not lose quality. The dynamic
A handy converter for these antiquated range figures in the specifications apply
specs to their modern equivalents can
be found at [Link]/
[Link].
The relevant sensitivity figures for
Q Do ADAT connections affect
the signal quality of
microphone preamps?
only to signals passing through the unit’s
A-D and D-A converters. Where you’re
routing signals through an interface’s
digital inputs — ADAT in this case — these
the Shure Beta 87A and SM58 vary I’ve read lots of Hugh Robjohns’ articles completely bypass the converters and
over about a 3dB range depending on on the SOS website, and they’re fantastic. they are passed straight on through to the
where you look. Moreover, I’ve found I have some questions about preamps and computer. So if they come from a preamp/
inconsistencies between the mV/Pa and interfaces, and hope he can answer them! converter with 118dB dynamic range
dBV/Pa equivalents in Shure’s own Tech First, if I connect an eight-channel they’ll still have that when they arrive at
Portal data... However, I think reasonably preamp (118dB A-weighted of dynamic the computer.
representative figures for the SM58 and range) using an ADAT cable to For the same reason, the answer to
Beta 87A are 1.6 and 2.37 mV/Pa (or -55.9 a poor-quality (105dB dynamic range) your second question is also no! Again, the
and -52.5 dBV/Pa) respectively. If you interface, will I lose signal quality? My signal dynamic range is ‘baked in’ during
accept those figures, the calculations concern is that maybe I could lose the original conversion from analogue to
report the Beta 87A to be around 3.4dB dynamic range because the audio digital. The quality is set by the original
‘hotter’ (ie. louder) than the SM58, which interface has only 105dB conversion. Is conversion process, and the digitised
seems a believable outcome. that right? Also, if I connect a poor-quality signal is passed through unchanged.

160 December 2022 / [Link]


 
SOLUTIONS. INNOVATIONS. QUALITY. EUROPE

  


        

    

     

   

  
!  "       


  
#      
 $   %

    
       


SOLUTIONS. INNOVATIONS. QUALITY. EUROPE

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[Link]
 DISTORTION
but at night I would lock myself aggressive. The state of and soaring through my
MISTY JONES
in my room and destroy things the world made me want to speakers. I was not worried
y first experience via these remixes. It was my break things, but in a safe about best practices here,

M with distortion was

with guitar pedals.
There was something amazing
underground production
laboratory, and also a stage
where I could stand
place. I began recklessly
throwing distortion around on
different tracks to see what
throwing pedals through
overdrives and saturators until
my signal chain was a crazy
about physically stomping anonymously and rage with would happen. personality rearranger. It was
on a device that immediately every remix I posted. I was I started in more logical sledgehammer sound design,
made you sound powerful. It a novice in-the-box producer places, dropping distortion on and the results were surprising
was instant gratification; an with only one plug-in for drums. I was throwing guitar and cathartic.
ego boost that was amplified signal processing in addition stompbox effects on loops and It turns out that if you smash
for all the world to hear. As to what my DAW had to offer. completely trashing the place. something enough, it will start
an electronic music producer, I was trapped in a box with This ‘place’ was starting to to sing. Crushing something
I enjoy distortion as a practice limitations, both in real life and sound like I felt: just a human causes colours to bleed out
in remixing. Pushing and my creative life, and it yielded trying to maintain some that you didn’t notice before.
pulling something until it what I still believe to be some semblance of rhythm, but Amplifying these hues can give
assumes another shape of my best work. honestly not sounding OK. pain a melody and purpose.
entirely has always felt very During the pandemic I followed this insane So go ahead and break it.
empowering to me. lockdown, I found myself momentum and started Rearrange it, shift it, distort
During a rough season in a familiar place: restless, throwing these stompboxes it. I dare you. These kinds of
in life, I discovered Trent with the need to bust out. on everything. I built a track practices have left me with
Reznor’s Nine Inch Nails Since that wasn’t possible, where I took a bunch of flute a wild sense of curiosity as
fan remix site around 2008, I again sought refuge in samples and crushed them a producer, always on the
and became a voracious my DAW, this time creating mercilessly until they began edge of my seat, ready to see
contributor. I had a quiet, original electronic music to mutate into a melody, like what lurks in the shadows with
conservative persona by day, that immediately sounded a tiny bird lit on fire, screaming just a few clicks.

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