Pro Audio Review May 2011

M AY 2011 | VOLU M E 17 | IS S U E 5

ProAudioReview

morereviews

Dangerous Music BAX EQ • Glyph PortaGig 62 • Joe Barresi: Tracking Rock • Rupert Neve Designs Portico II • sE Electronics Voodoo VR-1 & VR-2

New Products, P. 10, 50

INSIDE:• TECHNICALLY SPEAKING: Beyond the Digital Basics• WORSHIP AUDIO: Diving The Digital Deep

SPECIAL PROMOTIONAL SECTION:

500 SERIES MODULES & CHASSIS

STUDIO | L IVE | BROADCAST | CONTRACTING | P O S T

ProAudioReview

www.proaudioreview.com

The Review Resource for Sound Professionals

A PAR EXCLUSIVE FIRST REVIEW

PAR PICKS 6SOFTWARE EQ

RADIAL WORKHORSE

500LISTLISTTHETHE

4 ProAudioReview | May 2011

10 50

20

39

42

44

46

48

49

in this issueSound ReinforcementCovering Live Sound,

Contracting, and Installed Sound

New Studio Products

PAR Exclusive First Review

Radial Engineering Workhorse 500 Series-Compatible Modular Rack/Mixer

by Rob Tavaglione

Featured Review

PAR Picks 6: Software EQby Rich Tozzoli

Review

Dangerous Music BAX Stereo EQ

by Alan Silverman

Review

Rupert Neve Designs Portico II Channel

by Rob Tavaglione

Review

sE Electronics Voodoo VR-1 Passive, VR-2 Active Ribbon Microphones

by Rob Tavaglione

Review

Glyph PortaGig 62 Portable RAID Data Storage System

by Russ Long

Review

Joe Barresi: Tracking Rock Instructional Video

by Russ Long

New Live Products

PRO AUDIO REVIEW (ISSN 1083-6241) is published monthly by NewBay Media LLC, 28 E 28th Street, 12th floor, New York, NY 10016. Subscription information can be found at www.MyPARmag.com, by calling 212-378-0400, or writing to the above address. Letters to the editor are welcomed at the above address or [email protected].

Periodicals postage paid at New York, NY 10016 and additional mailing offices.POSTMASTER: Send address changes to Pro Audio Review, P.O. Box 282, Lowell, MA 01853. © Copyright 2011 by NewBay Media, L.L.C. PRINTED IN U.S.A.

StudioCovering Recording, Broadcast

Production, and Post Production

8

54

Technically Speaking

Beyond The Digital Basicsby Frank Wells

Opinion: Worship Audio

Our Road To Digitalby Dan Wothke

Departments

ProAudioReviewMAY 2011 | VOLUME 17 | ISSUE 5

Cover Photo: Rhon ParkerCover Design: Nicole Cobban

10

53 50

SPECIAL PROMOTIONAL SECTION

500 Series Modules, Chassis and InnovationsBEGINS ON PAGE 23

500LISTLISTTHETHE

56

ProAudioReviewProAudioReviewThe Review Resource for Sound Professionals


M A Y 2 0 1 1 V O L U M E 17 I S S U E 5

EDITORIALFrank Wells, Editorial Director212-378-0400 x535, [email protected]

Strother Bullins, Reviews And Features Editor336-703-9932, [email protected]

Fred Goodman, Managing Editor212-378-0423, [email protected]

Lynn Fuston, Technical Editor

Rich Tozzoli, Software Editor

Russ Long, Senior Contributor

Ty Ford, Steve Harvey, Will James, Tom Jung, Alex Oana, Randy Poole, Alan Silverman, Rob Tavaglione, Ben Williams, Sterling Winfi eld, Dan Wothke, Tom Young, Contributors

Paul Haggard, Photographer

ADVERTISINGTara Preston, Associate Publisher917-331-8904, [email protected] Godgart, Sales Director, West Coast Offi ce323-868-5416, [email protected] Abono, Specialty Sales Associate, North650-238-0296, [email protected] Boyle, Specialty Sales Associate, South650-238-0325, dboyle@nbmedia

ART & PRODUCTIONNicole Cobban, Senior Art DirectorAnnmarie LaScala, Art DirectorFred Vega, Production Manager212-378-0445, [email protected]

CIRCULATIONTracey H. Dwyer, Associate Circulation Director, Audience DevelopmentMichele Fonville, Circulation CoordinatorSubscriptions: Pro Audio Review, www.MyPARmag.comP.O. Box 234, Lowell, Ma 01853Tel: 888-266-5828(U.S.A. Only, 8:30 A.M. - 5 P.M. Est)978-667-0352 (Outside The U.S.)Fax: 978-671-0460E-Mail: Newbay@Computerfulfi llment.com

NEWBAY MEDIA AUDIO GROUPJohn Pledger, Vice President/Group Publishing DirectorAnthony Savona, Editorial/Creative DirectorRagan Whiteside, Web DirectorRobert Granger, Online Production ManagerAshley Vermillion, Web Production Specialist

NEWBAY MEDIA CORPORATESteve Palm, President & CEOPaul Mastronardi, Chief Financial Offi cerJoe Ferrick, Vice President Of Web DevelopmentDenise Robbins, Circulation DirectorGreg Topf, IT DirectorJack Liedke, ControllerRay Vollmer, HR Director

REPRINTS AND PERMISSIONS:For Article Reprints, Please ContactOur Reprint Coordinator At Wright’sMedia: 877-652-5295

PRINTED IN THE U.S.A.Administrative, Advertising, & Editorial Offi ces28 E 28th Street, 12th fl oorNew York, NY 10016TEL: (212) 378-0400FAX: (212) 378-0435

technically speaking Frank Wells

Emulating analog circuitry performance with digital processing has certainly come a long way in the past couple of decades. I remember when the AT&T DisQ project was initiated in the ’90s, using an SSL or Neve console as a control surface for a DSP array that was pretending to be the console, there was no pretending

to model the sound of the consoles. Transfer functions were measured in regards to the feel of the console controls and gain structure.

Engineers familiar with a desk, grabbing, say, an EQ knob to get an expected result, would get that result in terms of the raw parameters — boost or cut, Q, frequency of operation. No attempt was made to model any character inducing aspects of the mapped device (function mapped, not modeled). Indeed, it was beyond the experience if not also the abilities of the genius-level programmer coding the system to model beyond knob positions. It was equally certainly beyond the DSP resources of the processing core to handle the complexity of sonic modeling in anything near real time.

A popular internet forum topic over the last year has begun with someone stating, “All digital EQ sounds the same.” Within a narrow window, they are correct — there are standard formulas for minimum phase EQ (that’s EQ of the same mathematical character as ana-log EQ, sans any analog circuitry artifacts); simple EQ is done the same across a wide range of digital processor engines. Certain aspects of digital EQ, such as process-ing of near-Nyquist frequencies, are enhanced in some engines by using techniques such as up-sampling. Then there’s whole swath of additional EQ techniques using linear-phase equalization, creating equalization effects that are only possible with digital processing. With enough processing power and time (particularly at low frequencies), most any EQ curve can be created that one desires. The EQ in this case is not the tradition-al sound we are used to associating with EQ; FIR versus IIR filters, a new toolset digital brings to end-users.

Given that similar processing is typically applied, where do we find the differences within digital equal-izers applying minimum phase EQ? Two primary areas of performance are in play: the human interface (how easily and familiarly can you get a desired effect from the controls) and the introduction of artifacts (sonic effects that emulate certain euphonic aspects of ana-log processors). It is in the latter area that the most progress has been made over the past two decades as clever programmers embellish the core EQ math-ematics with modeling techniques, modeling a target device to the component level, or by adding additional processing elements to achieve a particular sonic sig-nature. That’s where today’s magic happens.

Beyond the Digital Basics


new studio products

10 ProAudioReview | May 2011 www.proaudioreview.com

Universal Audio Lexicon 224 Reverb Plug-In

Universal Audio has pre-miered its Lexicon 224 digital reverb plug-in for the UAD-2 platform. The plug-in captures all eight reverb programs available in original 224-firm-ware version 4.4, including every tunable parameter, with fader-style controls. The Lexicon 224 emulation also incorporates the original unit’s input transformers and early AD/DA converters.

Additionally, the Lexicon 224 emulation for UAD-2 fea-tures direct input and presets from Lexicon 224 users, including Chuck Zwicky (Prince, Jeff Beck), Eli Janney (Jet, Ryan Adams), David Isaac (Eric Clapton, Luther Vandross), E.T. Thorngren (Talking Heads, Bob Marley) and Kevin Killen (U2, Peter Gabriel).Price: $349Contact: Universal Audio | uaudio.com

Lynx Studio Technology has released its Hilo reference A/D D/A converter system, providing two channels of “mastering-quality” analog-to-digital conversion, up to eight channels of digital-to-analog conversion, a secondary monitor output, and an independent headphone amplifier, all in a compact half-rack width. Hilo also features a 480 x 272 touchscreen interface, adaptable to particular applications. Initial front-panel controls

support signal routing and mixing, sample rate selection, clock source options, levels, metering and diagnostic features.Hilo’s digital or analog inputs can be routed to three separate outputs: Line Output (with eight trim settings), Monitor Output and

Headphone Output. The Monitor and Headphone outputs have volume controls, accessible via faders on the touchscreen or the single knob on the front. The digital section offers AES/EBU inputs and outputs with transformer isolated balanced XLR connectors; S/PDIF input and output are available via transformer-coupled coax or optical (TOSLINK) connections; Optical ports for up to eight ADAT channel I/Os, which are completely independent from the AES/EBU or S/PDIF coax channels. Lynx’s LT-USB LSlot accessory (for computer connectivity), SynchroLock word clock and I/O are also included. In total, Hilo has 12 total inputs, 16 total outputs, plus 32 channels, possible via its LSlot port. The unit’s FPGA powers its internal 32-channel mixer. Price: $2,495 (suggested retail price)Contact: Lynx Studio Technology | lynxstudio.com

Lynx Hilo Reference A/D-D/A Converter System

Kush Audio Gain TrainKush Audio has begun shipping its Gain Train, a “totally transpar-ent,” Class-A, expandable, monitor controller system with a small footprint. The Main Gain — the system’s base module — is a two-in/two-out standalone monitor controller featuring indepen-dent L/R output muting, a mono switch and tri-color Peak/RMS metering. The Function Junction module expands the system’s functionality by adding two additional stereo inputs and outputs, talkback with level control and auto program-mute, as well as dual headphone amps with independent level controls and “top flight” signal path. All Function Junction I/O is via a rear-panel d-sub, allowing the system to be configured for numerous applications.Prices: $499 each (Main Gain and Function Junction)Contact: Wave Distribution (U.S. distributor) | wavedistribution.com Kush Audio | kushaudio.com

After a decade focusing on digital consoles, Harrison has unveiled its purely analog console for music capture and mixdown, the 950m. The feature set of the 950m is designed

for use in a DAW-based studio. Harrison touts the console’s “massive linear power supply, robust ground plane design, all balanced connections, gold-plated

switches, through-hole components, and high-headroom summing busses.” Main features include separate mix busses (one transformer-balanced

and one electronically balanced), both with built-in compressors and patch inserts; per input strip, a choice of mono mic/line or stereo line module; and a

customer-configured modular construction, which allows the 950m to operate as a tracking studio front end, or an analog summing platform, or both simultaneously.

Other features include input modules with insert point, switchable HP/LP filters, three-band tone con-trols, pan/balance, trim, input switching, four mono aux sends, mute, solo, 104mm fader and a four-segment

meter. Microphone channels also have a 48V phantom-power switch and a post-fader direct output. The Mix Master module includes two stereo mix bus compressors, oscillator/talkback assignments, aux send masters and 104mm faders for each of the two stereo mix busses. The monitor module includes the oscillator controls (100 Hz, 1 kHz, 10 kHz), monitor source selection, monitor level/mute/mono, talkback and headphone jack. The studio module includes source selection/level/mute/mono for each of the two studio feeds, as well as talkback assignments. The output module houses the output transformers and two stereo mix bus VU output meters.

Physically DAW-friendly as well, the 950m is built upon a frame providing a 2-tiered front bolster to accommodate a keyboard, mouse and DAW controller. The controls on the 950m provide parameter control while also touted as easy to recall.

The 950m is offered as a standalone console or paired with Harrison’s console converters, providing “practically unlimited” I/O using either MADI or gigabit Ethernet. Prices: $20,000 to $37,000 range, priced upon configuration for 12-, 16- and 24-channel versionsContact: Harrison Consoles | harrisonconsoles.com

new studio products

MicW i436 Measurement Mic for iPhone, iPad and iTouchBeijing-based MicW has introduced the i436 measurement microphone for Apple iPhone, iPad and iTouch. The i436 is designed and manufactured according to IEC 61672 and ANSI S1.4 measurement microphone stan-dards. According to MicW, this omnidirec-tional offering has a “very flat frequency response” and was tested for long term-stability in high humidity and high tempera-ture environments. Built in a stainless-steel housing, it weighs 6 grams. Price: TBA Contact: MicW Audio | mic-w.com

Harrison 950m Analog Console


new studio products

Solid State Logic Duende Native Plug-Ins

Solid State Logic has released its Duende Native plug-ins — sonically identical to the now-discontinued DSP-powered Duende plug-ins, available separately or in two bundles in VST/AU/RTAS plug-in form. Emulations included are SSL console classics: the EQ and Dynamics Channel plug-in and the Stereo Bus Compressor plug-in; Drumstrip and Vocalstrip “task-specific” plug-ins; X-EQ and X-Comp “mastering-grade” processors.Prices: $199 - $359 each, $479 and $1,099 (Native Essentials Bundle and Native Studio Pack, respectively)Contact: Solid State Logic | solidstatelogic.com/duende

The Aphex ChannelModel 230 re-imagined, the Aphex Channel incorporates seven devices, DI and mic inputs and conversion within a 1U rack space design. Processing includes Aphex’s patented Reflected Plate Amplifier (RPA) tube preamp, EasyRider Class-A compressor, Logic Assisted gate, De-Esser, Big Bottom enhancer, parametric EQ and the Aural Exciter, another Aphex patented technology “for increased presence and clarity with improved detail and intelligibility,” offers the company. Stay tuned to the pages of PAR for a full review of the Aphex Channel. Price: $1,299 list Contact: Aphex | aphex.com

new studio products


KRK 12sHO, 12s Powered Studio Subwoofers

The KRK12sHO cabinet features a 12-inch, high-excursion, woven Kevlar driver cone set in a curved baffle front plate with a front-firing port. The integrated power amplifier is spec’d at 400w RMS and yielding SPL of 113 dB music and 116 dB peak. The vari-able subwoofer low-pass filter control yields a spec’d frequency range of 29 to 160 Hz. Controls include LFE input gain, bypass, phase-reverse and variable phase-adjust with XLR/TRS inputs and XLR outputs.

The KRK12s 12-inch and 225W RMS-rated internal amp spec’d for 110 dB music and 113 dB peak SPL. The subwoofer low-pass filter is variable from 50 Hz to 130 Hz. Controls include system volume (-30 dB to +6 dB), bypass, phase reverse and ground lift switch, with XLR/TRS/RCA inputs and XLR/RCA out-puts.Price: $1,999 (12sHO); $1,099 (12s) listContact: KRK Systems | krksys.com

CharterOak Acoustic Devices has introduced its MPA-1, a solid-state, dual-channel microphone preamplifier. It features transformerless input circuitry and transformer-balanced output. The MPA-1 is also fitted with constantly variable high- and low-pass filters that encompass the entire bandwidth of the device, a -6 dB pad, +48 VDC phantom power, and polarity reverse, for control and flexibility.Price: TBA Contact: CharterOak Acoustic Devices | charteroakacoustics.com

CharterOak MPA-1 Mic Preamp

Minnetonka AudioTools AWE Software

A solution for batch processing of digital audio assets, Minnetonka’s AudioTools AWE offers over 24 different signal- and file-processing functions. AudioTools AWE supports Dolby E Encode and Decode and streaming playback. AudioTools AWE version 1.6 interfaces with the Minnetonka SurCode for Dolby E bundle.Price: Free with SurCode for Dolby E Bundle ($3,495)Contact: Minnetonka Audio | minnetonkaaudio.com

studio review By Rob Tavaglione


Take a great idea — the API 500-6B ($499) and 500VPR ($949) Lunchboxes, 6- and 10-slot por-table modular racks for API’s own 500 series module format, respectively — add an 8-channel mixer, extra flexibility, beefed up features and then what do you have? The Radial Workhorse: an evolved choice in 500 compat-ible chassis.

How does Radial’s chassis measure up to the original? Is the Workhorse ($1,500 list) worth three times the cost of the original, smaller Lunchbox? PAR received one of the first production models of the Workhorse for this review, so let’s find out.

Features

The Workhorse is a 3U, 8-slot, 500 series-compatible steel chassis that is, according to Radial, compatible with all 500 series mod-ules, whether they be older API units, newer API units, third-party units, double-wide (e.g., tube and/or stereo) units, and Radial’s own burgeoning line of 500 modules. The Workhorse features a removable tray to guide modules into place, holding them securely. This tray has no guides on the last four slots, allowing easier placement of double-wide or non-standard modules there — or it can be reversed or simply removed.

The rear panel offers all the Workhorse’s impressive I/O options, other than two front-panel-mounted, quarter-inch headphone

jacks. These rear-panel connections (per module) include XLR I/O, quarter-inch TRS I/O, and quarter-inch Omniport, a utility jack that takes on different functions based on the capabilities of any given, inserted module.

The rear panel also has three D-sub DB25 connectors (via standard Pro Tools wiring convention) that respectively provide bal-anced inputs for all eight modules, eight direct outs and eight line inputs routed directly to the Workhorse’s 8-channel sum-ming mixer. Also available are XLR and quar-ter-inch TRS connectivity for both the main and monitor outputs (derived from the same mix, but with mutes and independent master level controls). The main L/R bus also has Jensen transformers at the output and unbalanced insert points for external

processing. The expansion bus allows the connection of multiple Workhorses together (via quarter-inch I/O) for a larger multitrack system.

Four stereo link switches allow quick pairing of modules in master/slave fashion. Seven feed switches provide the ability to connect adjacent modules and feed signal down the line without patch cables, stringing up multiple custom signal routes or even in one big channel strip-type arrangement.

Such a box as the Workhorse — one with many potential location applications — requires professional-grade power imple-mentation, and the Workhorse delivers with a fairly large in-line switching power supply, a total of 1,200 mA of current available for all the modules (exceeding origninal 500

Radial Workhorse 500 Series-Compatible Modular Rack/MixerThis “truly professional-grade” 500 series-compatible chassis is innovative, fully featured and justifiably premium-priced.

Rob Tavaglione has owned and operated Catalyst Recording in Charlotte, NC since 1995. [email protected]

ALL WORKHORSE IM

AGES BY RHON PARKER

series specifications, allowing more current for power-hungry modules such as tube mic pres), grounding lugs, thick cable and a locking 5-pin XLR power connector.

The front panel offers the mixer’s con-trols with eight continuously variable pans, rotary faders, mutes and peak indicators, mains and monitor faders, the aforemen-tioned dual headphone jacks, and a handy mono summing button. Module outputs are automatically routed to this mixer, although older 500 series modules will require rout-ing their XLR outputs into the mixer via D-sub connection.

Despite having a comparable boatload of features, operating the Workhorse is designed to be simple and intuitive. For example, here are some possible configurations:

• A processing rack: A studio can fill the Workhorse with anything from eight com-pressor/limiters, to combinations of dynam-ics, EQs, DIs and re-amping/splitting mod-ules. Meanwhile, road warriors might go for a classic “four comp/limiter-four gate” rig.

• A front end: A studio or live engineer can roll with eight mic pres or maybe four tube-driven, double-wide modules ... or, half

it, with a combo of mic pres and dynam-ics controllers for a more versatile front end. For touring or studio, one might prefer to construct a “diva channel” — with mic pre, comp/limiter, enhancer/exciter and A/D converter.

• A stereo channel strip: Connect two mics, two mic pres, two EQs, two com-pressors and one phase alignment device (i.e., Radial’s own Phazer), then use the main outputs to record (allowing a phase align/check via mono sum button), gaining Jensen transformers at the mixer output.

• A small studio mixer: Using that “diva channel,” route it to your DAW, then monitor eight outputs from your DAW, feeding moni-tors and headphones.

• A location recorder: Load the Workhorse with eight mic pres, record the direct outs, confidence-monitor the recorder’s outputs via the summing mixer’s input, create a stereo rough mix and a mix for video with compression inserted on that bus.

[At the time of publication, Radial announced the soon-to-be-available WR8 ($800 list), a rack-only version of the Workhorse. “Yes, you will be able to upgrade

it, adding the mixer section” at a later date, offers Radial. — Ed.]

In Use

I started out by loading a combination of four modules from Radial and four from Lipinski Sound: the latter, two L-609 mic pres and two L-629 compressors; this review pro-vided a great opportunity to bring these pre-production Lipinski devices into the review setup. The guide tray helped make things line up nicely, but a firm push is required to snap the edge card connectors into place. With a satisfying click, they all seated well and a small Phillips screw locked them in place.

I employed an AKG C 451 and the Fishman transducer output from my acous-tic Taylor solid-top guitar, the Lipinski mic pres (the mic in one — the DI in one) and used the Feed switches to hit the Lipinski compressors. I ran the compressors’ XLR outputs to my DAW and received some very nice sounds. This front end showed ample headroom, no noise floor issues and was easy to set up, though the compressors were a bit tricky to operate.

During this tracking, I found the

May 2011 | ProAudioReviewwww.proaudioreview.com 21

Workhorse’s headphone amp to be all that was promised. It gets loud — loud enough to drive very high impedance headphones to the threshold of pain (which could be quite a useful thing live, on location, etc.).

I tried tracking in stereo with the Radial Power Pre — a nice mic amp, with nearly over-the-top Breath and Punch voicings — and a Lipinski pre through the Workhorse mixer. So, I then recorded the Power Pre both direct and through the mixer with the Jensen transformer with great results. The mixer is very clean, seemingly noise free; the color is subtly wonderful with that extra bit of heft and tempered transients that you get with Jensen transformers.

I then paired up two Lipinski pres with two Lipinski comps and recorded them via routing their quarter-inch TRS outputs through a DB25 and into the summing mixer inputs. Voilà — no problems or noise here. In fact, I routed all four modules into the mixer, created stereo panning, potted all four signals up to equal level and created some sweet parallel compression. Yes, the Lipinski modules behaved somewhat errati-

cally — unequal levels, noisy switching and surges too long after applying phantom — but man, they sounded nice; again, these Lipinskis being pre-production models, we trust that these behaviors are due to some “work in progress” issues.

Next, I wanted to insert some Lipinski compression into my Soundcraft Ghost’s stereo mix bus, so I switched positions between one mic pre and compressor, thereby enabling me to use the comps adja-cently and employ the stereo Link switch. Such a switch is easy and quick: after pow-ering down, it only took a minute and a small screwdriver.

Summary

I ultimately tried every connection and function the Workhorse offered and found it all worked as promised, at least with the Radial modules. The few perfor-mance issues that involved the Lipinski modules may simply represent the initial tweaks that third-party manufacturers must make during module production and their subsequent beta testing.

The big question is whether this Radial mixer is worth its premium price. I believe it is. It is truly professional grade and worth the cost for its applications in location recording, DAW output summing, track-ing with parallel compression and other flexibilities as a studio front end, or even as an FX returns sidecar. In retrospect, I wish I tried the Workhorse with high-current-draw tube modules, simply to wit-ness how its power pooling works under tough conditions. However, considering the quality, thoroughness and practicality the Workhorse exhibits in every other aspect, I could only expect this much-touted feature to exceed spec and expectations.

Radial’s Peter Janis told me that he and his designers were slow in getting the Workhorse to market because they were insistent on all the little details being right. I believe they did it right, thus the extra wait time was well worth it.

Price: $1,500 listContact: Radial Engineering, Ltd. | radialeng.com

500LISTLISTTHETHE

A PAR Special Promotional Feature

FROM THE PUBLISHERS OF

ProAudioReview.com

ProAudioReview

ProSoundNews.com

In 2006, API announced its VPR Alliance standardization program and consistency guidelines in response to the growing number of manufacturers producing 500 Series modules to fit into the com-pany’s trademarked Lunchbox and 500VPR racks as well as its mixing consoles. Nearly five years later, there are now 30 brands itemized on the VPR Alliance’s list of third-party modules that physically fit and electronically conform to API’s rack specifications.

However, there are many more 500

Series modules available than are listed

on the VPR Alliance website. Indeed, it

almost seems as though every manufac-

turer of audio signal processors is pro-

ducing at least one 500 Series module.

Thus, buyer beware: Be sure to check

with the manufacturer that your module

of choice is truly 500 Series-compatible

and will not only fit into the rack, but will

also operate properly and reliably, with-

out adversely affecting the performance

of any other modules in the enclosure.

The Original: The LunchboxAPI’s Lunchbox has recently undergone

a redesign to enhance connectivity,

adding DB25 connectors to more con-

veniently interface with a DAW, mixer or

other gear and to also boost available

current. “The Lunchbox has always had

enough current to run six API modules,”

reports API president Larry Droppa. But,

he observes, “Some manufacturers had

pieces that drew a little more power

than the specification, and it tended to

drag the supply down, so we said, ‘Let’s

just up the current in the supply while

we’re re-engineering the box.’”

Now, says Droppa, “It has higher

than the specification that’s listed for the

modules. We can’t, or don’t, pretend that

we can regulate all the different modules

from different manufacturers that go into

a Lunchbox or 500 rack these days.”

VPR Alliance The VPR Alliance was set up to help

protect the customer, he points out: “It

doesn’t do anything for API. It’s really

an attempt to protect and give the cus-

tomer satisfaction that these modules

can all play nicely with each other.”

The 500 Series platform has certain-

ly provided an opportunity for boutique

manufacturers and “garage experi-

menters,” says Droppa. As the inventor

of the format, API was perhaps under-

standably apprehensive about giving

competing firms its stamp of approval

and providing marketing support via

the VPR Alliance website. But, says

Droppa, “People who want to buy API

will still buy API modules; that’s been

substantiated. So it’s truly given a plat-

form to some of these other designs

and ideas that I think are very viable.”

— Steve Harvey

A PAR Special Promotional Feature

500LISTLISTTHETHE

The recently re-engineered API Lunchbox boasts many improvements, including an

increased power supply current of 215mA per slot, the addition of DB-25 connectors

for easy input and output connection and XLR access to channels 7 and 8 of the

multi-pins. The revamped lunchbox also provides individual power rail LED indication

and re-settable fuses on the power rail of each slot, so that one faulty module will

not affect the others. The addition of a 100 VAC input voltage tap allows for wider

international versatility. Despite these valuable updates, the price remains at $499.

MIC PREA-DESIGNS

P1 — Based on the Pacific mic pre.adesignsaudio.com

A-DESIGNS

EM Silver — Mic pre with steel output transformer and DI.adesignsaudio.com

A-DESIGNS

EM Blue — Mic pre featuring nickel output trans-former.adesignsaudio.com

A-DESIGNS

EM Red — Mic pre with 50/50 output transformer.adesignsaudio.com

A-DESIGNS

EM Gold — Mic pre with steel output transformer.adesignsaudio.com

ALTERNATE SOUNDINGS

MP1 — A 60-dB mic/line preamp.alternatesoundings.fr

ALTERNATE SOUNDINGS

MP2 — Dual mic/line preamp.alternatesoundings.fr

ALTERNATE SOUNDINGS

MD12 — Dual guitar and bass recording preamp.alternatesoundings.fr

API

512C — Fully discrete mic/line preamp.apiaudio.com

ATLAS PRO AUDIO

Juggernaut — Class-A, discrete, transformer-coupled preamp.atlasproaudio.com

AUDIO MAINTENANCE

Carnhill — Mic pre with Carnhill input/output trans-formers.audiomaintenance.com

AVEDIS

MA5 — Mic pre inspired by ‘70s British Class-A consoles.avedisaudio.com

BOZO ELECTRONICS

MPA3 — Mic pre with wide gain range.bozoel.com

BURL AUDIO

B1 — Mic pre to complement B2 Bomber ADC.burlaudio.com

BURL AUDIO

B1D — As B1, but with all-iron BX4 output trans-former.burlaudio.com

BUZZ AUDIO

Elixir — Low-noise, wide-bandwidth mic pre.buzzaudio.com

CLASSIC AUDIO PRODUCTS

VP26 — Mic pre inspired by ‘70s “West Coast” sound.classicapi.com

CHAMELEON LABS

Model 581 — Vintage-style, discrete, Class-AB.chameleonlabs.com

CHAMELEON LABS

7681 — Discrete, Class-AB circuit, neutral mic pre.chameleonlabs.com

An extensive hunt for anything that any manufacturer claims to be a 500-Series compatible module resulted in more than 100 separate instances. Here they are...

500LISTLISTTHETHE

DAKING

Mic Pre 500 — Derived from the company’s Mic-Pre One.transaudiogroup.com

DACS

MicAmp 500 — “ultra-realistic sound, punch, remark-able detail.”IndependentAudio.com

DAV

Broadhurst Gardens 501 — Neutral mic pre with DI.davelectronics.com

EISEN AUDIO

DIY500 — Framework to build own mic pre.eisenaudio.com

EISEN AUDIO

EAC500 — Tailored mic pre based on DIY500 tem-plate.eisenaudio.com

EISEN AUDIO

EAC312V — Authentic 312 mic pre.eisenaudio.com

ELECTRODYNE

501 — Discrete, 2-stage studio preamp with active DI.petesplaceaudio.com

FIVE FISH STUDIOS

SC-501 mic preamp — “Clean, fast and clear.”fivefishstudios.com

FIVE FISH STUDIOS

X12 mic preamp — “1970s-style ‘aggressive’”fivefishstudios.com

FIVE FISH STUDIOS

X72 mic preamp — “Big, punchy and huge.”fivefishstudios.com

FIVE FISH STUDIOS

MX5 “hybrid” preamp — A X12 and X72 quality blend.fivefishstudios.com

FORSSELL TECHNOLOGIES

SMP-500 — Sonically neutral mic pre, based on SMP-2.forsselltech.com

GRACE DESIGN

m501 — Transformerless mic pre based on m101. gracedesign.com

GREAT RIVER

MP500NV — Mic pre inspired by early ‘70s consoles.greweb.com

INWARD CONNECTIONS

Magnum mic pre — Classic sound.inwardconnections.com

INWARD CONNECTIONS

Nitro Equalizer — Two-band, fully parametric.inwardconnections.com

JLM AUDIO

Dual99v500 — Mic pre using two discrete 99v op-ampsjlmaudio.com

JLM AUDIO

TG500 — A 2-FET, 6-transistor, Class-A design mic pre.jlmaudio.com

JLM AUDIO

NV500 — Reworked take on Neve 1073/1290 mic pre.jlmaudio.com

Why Build For 500?Jonathan Little of Little Labs, makers of the VOG Analog Bass

Resonance Tool:

“The 500 Series has become a standard you cannot ignore as a manufacturer.

It was a natural to have the VOG in the 500 format because its unique design

required a bi-polar power supply, unlike all the other Little Labs gear, which runs

off a mono-polar 48V supply. A 500 Series rack is like a stocking, and with all

these wonderful modules available to stuff it with, it makes an audio engineer

feel like it’s Christmas everyday. I just had to be part of it; I love Santa!”

LACHAPPELL AUDIO

Model 583E — A true vacuum-tube amplifier preamp/EQ.lachapellaudio.com

LACHAPPELL AUDIO

583s — Vacuum-tube mic pre based on 992EG platform.lachapellaudio.com

LAZ PRO AUDIO

MPA — Fully discrete, dual-stage mic and DI preamp.lazpro.com

LIPINSKI SOUND

L-609 — Simplified version of Signature series mic pre.lipinskisound.com

MAAG AUDIO

PREQ4 Microphone Preamplifier with AIR BANDmaggaudio.com

MATRIX AUDIO SYSTEMS

HO-5 — Single-channel version of the HO-3.matrixaudiosystems

MILLENNIA MEDIA

HV-35 preamp — Millennia clarity hits a 500 module.mil-media.com

NEVE

1073LBEQ — In the image of the Neve 1073 Classic module.ams-neve.com

OLD SCHOOL AUDIO

MP1 — A-Low-noise, high-gain mic pre.oldschoolaudio.com

OLD SCHOOL AUDIO

MP1 — C-Vintage-style preamp.oldschoolaudio.com

OLD SCHOOL AUDIO

MP1-L — Mic pre based on Lundahl 1538XL input transformer.oldschoolaudio.com

PRODIGY ENGINEERING

Bella — Remote-control mic pre.prodigy-eng.com

PURPLE AUDIO

Biz Mk — Mic pre with mic/line switch and DI load switch.purpleaudio.com

PURPLE AUDIO

Pants — Four op-amp differential mic pre.purpleaudio.com

RADIAL ENGINEERING

PowerPre — Mic pre with 3-position voice control.radialeng.com

REALIOS

A9031 — Mic pre with ‘60s/’70s Olympic Studios sound.realios.com

REALIOS

A9033 — Mic pre with passive voltage gain.realios.com

ROLL MUSIC

RMS 5A7 “Tubule” — Transformer-coupled tube mic pre.rollmusic.com

RUPERT NEVE DESIGNS

Portico 517 — Based on the 5017 Mobile Prerupertneve.com

SHADOW HILLS

Mono Gama — Mic pre with Jensen input transformer.kmraudio.com

SHADOW HILLS INDUSTRIES

GAMA Pre — a.k.a. Golden Age Microphone Ampshadowhillsindustries.com

SHINYBOX

Si — Transformerless mic pre, switchable input loading.shinybox.com

500LISTLISTTHETHE

TRUE SYSTEMS

PT2-500 — Mic pre and instrument DI.true-systems.com

VINTAGE DESIGN

M581 — Vintage style mic pre.vintagedesign.se

VSI AUDIO

L21 — Mic pre, stepped control over input attenuation.vsiaudio.com

EQALTA MODA

AM20 — A 4-band parametric equal-izer.altamodaaudio.com

ANAMOD AUDIO

AMEQP — Analog EQ with recallable presets.anamodaudio.com

API

550A — Discrete, 3-band EQ.apiaudio.com

API

550B — A 4-band EQ, standard on large-format API consoles.apiaudio.com

API

560 — A 10-band graphic EQ.apiaudio.com

AVEDIS

E27 — A 3-band EQ with Jensen transformers.avedisaudio.com

BUZZ AUDIO

Tonic — A 3-band EQ utilizing chokes and electronic filters.buzzaudio.com

CHANDLER

Little Devil EQ — “English-style” con-sole EQ with hardwire bypass.chandlerlimited.com

CHANDLER LIMITED

Little Devil EQ — all discrete circuits & “transformer-balanced everything.”chandlerlimited.com

DAKING PLUS

EQ500 — EQ based on Daking 52270 EQ.dakingplus.com

ELECTRODYNE

511 — A 2-band, discrete transistor reciprocal EQ.petesplaceaudio.com

FIVE FISH STUDIOS

PEQ-503 program equalizer — “Three-dimensional”fivefishstudios.com

GREAT RIVER

32EQ — EQ and filters from Harrison 32 series consoles.greweb.com

INWARD CONNECTIONS

Impulse — A passive program equal-izer.inwardconnections.com

JDK AUDIO

V14 — Single-channel, 4-band EQ.jdkaudio.com

JLM AUDIO

PEQ500 — Full Pultec EQP-1A and EQP-1R type passive EQ.jlmaudio.com

LAZ PRO AUDIO

EQA — EQ with discrete audio path.lazpro.com

PURPLE AUDIO

TAV — A 10-band, inductor-based graphic EQ.purpleaudio.com

PURPLE AUDIO

Odd — A 4-band, inductor-based EQ.purpleaudio.com

PURPLE AUDIO

Lilpeqr — A 2-band program EQ.purpleaudio.com

RADIAL ENGINEERING

Q3 — three-band induction coil EQradialeng.com

S & M AUDIO

EQSM1 equalizer — With continuously variable mid-bands.sandmaudio.com

SPECK ELECTRONICS

ASC-V — Single-channel, 4-band EQ.speck.com

DYNAMICSALTA MODA

AM10 — Single-channel compressor/limiter.altamodaaudio.com

ANAMOD AUDIO

AM660 — Analog re-creation of Fairchild 660 limiter.anamodaudio.com

API

525 — Fully discrete, feedback-type compressor.apiaudio.com

API

527 — Single-channel, compressor based on 225L.apiaudio.com

Why Build For 500?David Walton of AMS-Neve, makers of the Neve 1073LB preamp and 1073LB

EQ:

“We have been receiving requests to manufacture the legendary Neve 1073 classic mic

preamp and EQ module in a footprint that would fit into the 500 Series module size for quite

some time. The challenge was to squeeze the necessary components into the limited space

without compromising the original design, component specifications and resulting audio

performance. The design team pulled out all of the stops and created a very clever modular

design, which split the 1073 preamp from the EQ circuit and allows users to build a classic

Neve 1073 audio path in modular ‘blocks.’ One single-slot-sized module is the 1073 mic

preamp (1073LB module) and the other is the EQ (1073LB EQ module). While each of these

individual module types can be used as standalone modules, the clever part is that the two

module types can be directly linked to each other in the same rack, thus creating a genuine

1073 classic mono mic preamp and EQ audio path ... The portable form-factor of the 500

format is one of its greatest features, so it made total sense to introduce the legendary Neve

quality to the format, to allow new and current engineers to experience the amazing Neve

audio heritage in almost any location.”

500LISTLISTTHETHE

BUZZ AUDIO

Essence — Class-A optical compres-sor.buzzaudio.com

BUZZ AUDIO

Potion — Class-A, FET-based com-pressor.buzzaudio.com

CHANDLER

Germanium — Class-A compressor with Germanium transistors.chandlerlimited.com

CHANDLER

Little Devil — FET compressor based on Germanium and 2264.chandlerlimited.com

CHANDLER LIMITED

Little Devil Compressor — all dis-crete circuits & “transformer-balanced everything.”chandlerlimited.com

ELYSIA

Class-A xpressor 500 — Top-notch, feature-packed stereo comp.elysia.com

FOOTE CONTROL SYSTEMS

P3500 — Compressor, variable attack and release controls.mercenary.com

INWARD CONNECTIONS

Vogad compressor — “In your face” performance.inwardconnections.com

INWARD CONNECTIONS

Brute 500 Series compressor/limiter — Warm, present.inwardconnections.com

JMK AUDIO

JM-115C — Transformer coupled in/out VCA-based compressor.jmkaudio.com

LAZ PRO AUDIO

FSC — DIY opto-compressor kit.lazpro.com

LIPINSKI SOUND

L-629 — Simplified version of Signature Series compressor.lipinskisound.com

PENDULUM AUDIO

OCL-500 — Opto-compressor/limiter based on the OCL-2.pendulumaudio.com

PETE’S PLACE

BAC-500 — Compressor module capa-ble of 50 dB of gain.petesplaceaudio.com

PURPLE AUDIO

Action — FET compressor with true relay bypass.purpleaudio.com

RADIAL ENGINEERING

Komit — High-resolution VCA com-pressor-limiter.radialeng.com

RUPERT NEVE DESIGNS

Portico 543 — Fully controllable mono compressor/limiter. rupertneve.com

SAFE SOUND AUDIO

P501 — Tracking compressor for vocals.safesoundaudio.co.uk

SHADOW HILLS

Optograph 500 — Single-channel, dis-crete, optical compressor.kmraudio.com


Mono Optopgraph — single channel discrete optical compressorshadowhillsindustries.com


Dual Vandergraph — direct descen-dant of the Shadow Hills Mastering Comp.shadowhillsindustries.com

STANDARD AUDIO

Level-Or — JFET limiter/distortion pro-cessor.standard-audio.com

OTHERALTERNATE SOUNDINGS

M2B — An 8-channel summing mod-ule with main insertion.alternatesoundings.fr

ALTERNATE SOUNDINGS

M26 — A 26 x 2 summing module, including insertion paths.alternatesoundings.fr

EMPIRICAL LABS

DerrEsserr — Multi-function filtering device.empiricallabs.com

JCF AUDIO

Levr — Active summing amp.mercenary.com

JLM AUDIO

HPM500 — A 6-channel mixer with switched panning per input.jlmaudio.com

JMK AUDIO

JM-120 — Dual Hi-Z input DI preamp.jmkaudio.com

LITTLE LABS

VOG — Analog bass-resonance tool.littlelabs.com

MILLENNIA MEDIA

AD-596 — A 24-bit, 96 kHz, 8-channel A/D converter.mil-media.com

MOOKTRONICS RESEARCH

PDI500 — Passive direct box module.conwayrecording.com

PURPLE AUDIO

Cans — Headphone amp, can double as control room preamp.purpleaudio.com

PURPLE AUDIO

Moiyn — Summing amp for Sweet Ten rack.purpleaudio.com

RADIAL ENGINEERING

JDV LB — Discrete, Class-A instru-ment DI.radialeng.com

RADIAL ENGINEERING

Reactor JDX — Guitar amp and speak-er interface.radialeng.com

RADIAL ENGINEERING

Phazer LB — Phase-alignment tool.radialeng.com

RADIAL ENGINEERING

X-Amp — Re-amplifying device.radialeng.com

RADIAL ENGINEERING

EXTC — Effects loop processor.radialeng.com

RADIAL ENGINEERING

Shuttle — multifunction effects insert module.radialeng.com

XQP

531 — Optical de-esser based on Dane 31.xqpaudio.com

Just so we’re covered, there may be other modules in the world that

claim the 500-compatible moniker, but at the time of compilation of this

directory, we didn’t know about them. If so, drop us a line.

Based on the Portico 5017 Mobile Pre, Rupert Neve Designs’ Portico 517 is a transformer-coupled preamp/

compressor/DI with Vari-phase, Silk and DI/mic-blending capa-

bilities in a 500 series model. It was the first 500 series module

designed by Mr. Rupert Neve. Also available is the Portico 543

mono compressor-limiter (pictured).

rupertneve.com

The Neve 1073LBEQ 500 Series mono equalizer module from

AMS Neve is the second 500-series format module the com-

pany has built in the image of the Neve 1073 Classic module.

Its 1073LB mic pre debuted last year. The 1072LBEQ is avail-

able exclusively via Vintage King Audio and select distributors

worldwide.

ams-neve.com | vintageking.com

True Systems’ pT2-500 microphone preamplifier is a VPR Alliance-member

product incorporating True’s new Type 2 circuit design and includes a discrete FET

DI circuit with thru jack for easy connection to amps or effects. It also features

detented, dual-range gain control for setting/resetting over wide gain ranges (from

6 to 70 dB).

true-systems.com | sennheiserusa.com

Five reissued 500 Series modules from Inward

Connections have been released and are available from

Vintage King Audio. The modules use the new VF600 amp

blocks as opposed to the structure of Inward Connections’

previous 500 series modules, which were based upon the

SPA690 blocks. The five are as follows: the “classic-sounding”

Magnum mic pre; the fully parametric two-band Nitro equal-

izer; the “in your face” Vogad compressor; the passive Impulse

Program equalizer; and the “warm, present” Brute 500 Series

compressor/limiter (pictured).

inwardconnections.com | m1distribution.com

The Daking Mic Pre 500 single-channel microphone/instru-

ment preamplifier module is derived from the company’s Mic-Pre

One freestanding unit and features switchable phase, 20 dB mic

input pad, +48V phantom power, a selectable quarter-inch line/

hi-z instrument input. Like the Mic-Pre One, the Mic Pre 500

shares the gain structure and Class-A, fully discrete transistor

circuitry design of Daking’s Mic Pre IV. The front-panel controls

include a variable high-pass filter (0-200 Hz), continuously

variable input gain and an 8-segment tricolor LED meter with

simultaneous VU and Peak.

daking.com | transaudiogroup.com

The SMP-500 from Forssell is based on the SMP-2 mic pre. It is a sonically

neutral preamp, featuring an all Class-A discrete JFET front end with a gain range

of +8 to +64 dB in 24 switched steps. The output is fully balanced and floating.

Front-panel LED signal level indicators are provided to indicate 0 dBu output level

in green, and output clipping in red.

forsselltech.com

The xpressor 500 by German manu-

facturer Elysia is a versatile, world-

class stereo compressor featuring

discrete Class-A topology, Auto Fast

switchable “semi-automation,” Log

Release, “beyond infinity” negative

ratios, parallel compression blending

within the unit, sidechain filter, gain

reduction limiter, a transient-rounding

“Warm” mode, analog dynamic LED

meter, stepped potentiometers, and more.

elysia.com

The Chameleon Labs Model 581 is a 500 Series-

compatible, vintage-style microphone preamplifier. The circuit

design is discrete, Class “AB,” with a transformer balanced

mic input and output. LED-illuminated push buttons control DI

input, phantom power, phase, and input mic impedance from

300 Ω to 1.2 kΩ. The rotary gain control adjusts gain from 25

to 80 dB, while the output control range is from unity to off.

Power and tri-level metering are provided by an LED array.

chameleonlabs.com

RACK READY...a closer look at a sampling of 500-Series options.

500LISTLISTTHETHE

JDK Audio’s 4-band EQ, the V14, is a re-engineered version of the APSI 562

equalizer. Built around the 500 VPR format, this EQ has high headroom with a

+24 dB clip level. It covers from 20 Hz to 20 kHz in four EQ bands of overlapping

frequencies: 20 Hz to 200 Hz, 100 Hz to 1 kHz, 500 Hz to 5 kHz and 2 kHz to 20

kHz on the R24, and 2.2 kHz to 20 kHz on the V14. Each band has a continuously

variable control of frequency and gain (+/- 12 dB) and provides peaking response

characteristics. Two separate pots control the R24’s frequency and gain while the

V14 utilizes a set of dual concentric pots for each of the four bands.

jdkaudio.com

Odd, from Purple Audio, is a four-band, inductor-based EQ. It only has two

active stages and so has a very low current draw — useful if you have other

power-hungry modules in the rack. Also offering a low current draw is the TAV,

a 10-band, inductor-based graphic EQ with the handy ability to compare unpro-

cessed source material by pressing the illuminated button for relay true bypass.

purpleaudio.com

Roll Music Systems’ RMS5A7 Tubule combines

the full-featured convenience of a modern mic preamp

module with the rich sound of a transformer-coupled,

all-tube preamp classic. Its input pad, attenuator and gain

control also work together to provide a wide tonal variety.

For the cleanest tones, keep the input attenuator up and

the gain control low. For more rich tube coloration, engage

the input pad and turn the attenuator down in order to use

a higher gain setting without overloading the Tubule or

other devices in the signal chain. The continuously variable

input attenuator also allows for very accurate gain settings that can be easily recalled.

rollmusic.com

Five Fish Studios’ 500 Series Modules are five in total:

the “clean, fast and clear” SC-501 mic preamp (pictured)

with Jensen input transformer/custom output transformer

options; “three dimensional” PEQ-503 program equalizer;

the 1970s-style “aggressive” X12 mic preamp; “big, punchy

and huge” X72 mic preamp, and the MX5 “hybrid” preamp, a

nice blend of X12 and X72 qualities. Along with these preas-

sembled modules, Five Fish offers “do-it-yourself” kits, too.

fivefishstudios.com

The P-1 is a 500-Series format version of A-Design’s Pacific mic pre. It features

48v phantom power with a red LED indicator, polarity reversal, a cast aluminum

gain knob, -20 dB pad, and custom wound transformers. The inspiration behind

the design of this — and the EM Series — is the “Quad Eight sound,” after the

legendary early recording technology company.

adesignsaudio.com

All large-format API consoles have the 550B EQ fitted. It offers seven switched

frequency centers per band, switched in 2 dB steps with 12 dB boost or cut,

hi and lo shelf switches, proportional Q, high headroom, and silent bypass. The

550A is a reissue, and comes complete with switchable 12 dB per octave 50

Hz to 15 kHz band pass filter, proportional Q circuitry and 2520 op amps on

the output.

apiaudio.com

The Buzz Audio Elixir mic pre provides low noise, wide bandwidth amplification

of mic and instrument signals, and is aimed at those who want a recording preamp

where a small amount of bass is added to the signal while retaining the full high

and mid spectrum. The output configuration results in a maximum output level of

+34 dBu before clipping, delivering clean audio into analog or digital recorders

without overload.

buzzaudio.com

Millennia Media’s HV-35 (pictured) features a front-panel instru-

ment input, DC coupled ribbon mic with 10 dB gain boost setting, 80

Hz rolloff filter, 48 V phantom, 15 dB Pad and Polarity flip. The gain

control is continuously variable. Millennia also offers the AD-596, an

24-bit, 96 kHz 8-channel A/D converter with internal/external clocking

via AES or Wordclock I/O on BNC connectors, proprietary True-Lock-

Clock, and DB25 I/O — all in one 500 Series-sized slot.

mil-media.com

The HO-5 microphone preamp is the first in a series of 500 Series-compatible

modules from Matrix Audio Systems. The mic preamp is single-channel

version of the HO-3, the 2RU microphone preamp. It also features the Matrix Audio

1205 hybrid op amp, a custom input transformer and a Jensen output transformer.

Other features include an all-discrete, FET-based, instrument-direct input on the

front panel with a super high 1 Megohm input impedance to accept all high-

impedance levels without loading, a 10 dB pad, a 48V phantom power switch and

a polarity inversion (phase) switch. With adjustable gain up to 65 dB, this preamp

has a very full, big, punchy sound for vocals, drums, electric guitars and more.

matrixaudiosystems.net

Another one that promises to run on any 500 rack, the Chandler Little Devil

equalizer features a hardwire bypass, hi and lo mid +/-18 dB with hi and lo Q

switching and a three-position filter. It also has English-style inductors — similar

to 1081 and 33115 vintage units — with seven selections per band.

chandlerlimited.com

The LaChapell Audio Model 583E, a true vacuum-tube

amplifier preamp/EQ, offers the same amplifier stage found

on the company’s 583S, including the Jensen JT-115k input

transformer coupled with an transformerless, 3-band EQ

section with fully sweeping frequency controls and cut/boost

settings of +/- 8 dB. The EQ can run as an integrated EQ

serving the preamplifier or separate as its own autonomous

module where both units run independently.

lachapellaudio.com

A de-esser that doesn’t just de-ess, the Empirical Labs DerrEsser module is a

multifunction filtering device with several applications. In basic mode, it is a level-

insensitive de-esser, but it can also act as a high-frequency compressor. It also has

settings that enable users to listen to either the HF controlled with the dynamic/

compression circuits; or the LF not affected by these circuits.

empiricallabs.com

True Systems’ PT2-500 mic preamp and instrument

direct-in features a DI circuit to calm “edgy” piezos, 70 dB of

gain, high headroom, low-noise, with a maximum output (1

percent THD) of +29 dBu THD+N (+26 dBu, GAIN = 40dB):

0.0006 percent typ. Maximum input (no pad) is +22 dBu

(+28 dBu output at min. gain). Frequency response (gain =

40 dB): 1.5 Hz to 600 kHz (-3 dB).

true-systems.com

A useful application for processing voice and bass tracks, the Buzz Audio

Essence is a Class-A optical compressor that the company says is great for those

seeking a “musically transparent compressor for all tracking and mixing tasks.” It

takes up two slots in a 500-Series rack; the I/O connectors in the first slot carrying

the main audio path, and those in the second slot used for a side-chain insert point.

buzzaudio.com

The Electrodyne 511 (dist. by Vintage King) is a two-band discrete transis-

tor reciprocal active inductor equalizer with custom inductors. The unit’s output

transformer was produced by Electrodyne’s original manufacturer to strict factory

tolerances as small as 2 percent. Building upon the classic design, the 511 EQ’s

production specs allow a consistent EQ performance and repeatability from chan-

nel to channel that wasn’t possible in earlier models.

vintageking.com/electrodyne

Chandler offers the Little Devil compressor. With an FET compressor that uses

concepts from both the company’s Germanium compressor and the 2264, and

a curve selection with zener and germanium diode knees. Chandler promises it

will run without problem on any 500-Series rack, in its words, “from crappy to

kick-butt,” although there may be compatibility issues with the older API Lunchbox.

chandlerlimited.com

The Inward Connections OPT1A 500 (dist. by Vintage King) is a fully trans-

former balanced limiter with an all-discrete design. Using the SPA690 discrete

amp blocks, the OPT1A has the exact same Optocell gain-reduction circuitry as

the TSL-3 Vac-Rac tube limiter in a solid-state 500-Series format. The limiter fits

standard 500-Series’ slot configurations both mechanically and electronically.

vintageking.com/inward-connections

The latest creation from Little Labs is the Vog Analog bass resonance tool

— the first product from Little Labs to come in the 500-Series format. Vog was

originally designed to capture the chest resonance of vocalists or voiceover artists,

enabling them to still have a proximity-type effect without having to be so close to

the microphone, hence the name, Vog (or Voice of God). The Vog allows users to

sweep a sharp peak resonance from 20 to 300 Hz with anything below the peak

eliminated at 24 dB per octave. This allows you to focus on the low end you want,

while eliminating mush and unnecessary woofer excursion.

littlelabs.com

The Lipinski Sound L-629 is another simplified version of a Signature

series module. The compressor has a unique circuit, which it claims completely

eliminates distortion on low frequencies and on low-release time. It features

a very fast attack time of 0.01ms, and the auto gain offers an additional five

seconds of attack time and five minutes release time. There is a hard-wiring

option for stereo operation.

lipinskisound.com

A-Designs EM Series of preamps comes in Blue, Red, Silver and Gold, each with

a different kind of transformer that offers varying tones. Blue has a nickel custom

wound output transformer; and Silver has steel, along with a DI that makes it useful

for bass guitar and keyboards. EM Red comes with a 50/50 output transformer, and

Gold has the output transformer of Silver and the input transformer of Red.

adesignsaudio.com

The latest 500-Series release from API is the 527 compressor, a single-channel

module based on the 225L discrete channel compressor. The 527 features

comprehensive controls including variable attack, release, ratio, and output gain

controls. The unit also includes API’s patented “Thrust” circuit, first offered on the

2500 stereo bus compressor. A 10-segment LED meter is switchable between gain

reduction and output level.

apiaudio.com

500LISTLISTTHETHE

API’s 512C is a fully discrete mic/line pre amp,

designed to provide low noise gain. Its sound charac-

ter can be traced back to the first modular mic pre,

the 1967 512, and it offers high headroom and a

variety of inputs and input access points. Front-panel

XLR and 1/4-inch connectors in combination with

real panel mic access make it a very flexible module.

apiaudio.com

Grace Design’s m501 is a

500-Series version of the m101

mic pre. It is a fully balanced,

transformerless design “for engi-

neers confident of the quality of

the source,” who “wish to capture it

with as little coloration or distortion

as possible.” There is a ribbon mic

mode, which raises the mic input

impedance, bypasses the input

decoupling capacitors, and deactivates 48v phantom

to protect ribbon mics from damage.

gracedesign.com

Lipinski Sound has brought out the L-609 mic

pre, a simplified version of its flagship Signature

series. The module has a discrete design based

on patented “Lipinski Square” circuitry, with no

capacitors or integrated circuits in the signal path.

It also features transformerless, low-impedance

output, a two-step custom input transformer, a

low-power LED meter that will not affect its perfor-

mance, and a switchable VU/peak meter.

lipinskisound.com

The Eisen Audio custom preamp service uses

the DIY500 mkII universal template to construct indi-

vidually tailored modules. The front panel, markings,

buttons, knobs, and connectors can all be designed

just how you want, and standard switch features can

also be modified.

eisenaudio.com

If you have a Purple Audio Sweet Ten Rack, you

could turn it into a 8x2 mixer by getting yourself the

Moiyn 8-channel summing amp. With the Moiyn

installed into slot 9 of the Sweet Ten, slots 1 through

8 become input modules to the Moiyn. Because of the

Moiyn’s differential voltage summing input amplifiers,

any standard module can be used in slot 1 through 8

with minimal loading.

purpleaudio.com

The Pendulum Audio OCL- 500 opto compres-

sor/limiter is based on the OCL-2, introduced in 1998.

The OCL-500 uses the same compression circuit as

the OCL-2, but uses a transformerless, Class-A, solid-

state gain makeup circuit in place of the tube stage.

The OCL-500 has a wide range of time constants and

dynamic control to optimize the compression charac-

teristics, including a side-chain hi-pass filter.

pendulumaudio.com

S&M Audio’s EQSM1 equalizer

features a first-order, 50 Hz high-

pass filter with a very gradual slope,

and the high and low shelves are

set at specific, effective frequencies.

The EQSM1’s continuously variable

mid-bands have a wide bandwidth

and slightly overlapping frequencies.

In addition, a true bypass “In” switch,

allows for accurate comparison

between the original signal and the equalized signal.

sandmaudio.com

Radial’s Komit is a high-resolution VCA compres-

sor/limiter. It features a typical compression ratio

control, enhanced with a “smart” three-position, feed-

forward, auto-tracking mode that sets the response

time to slow, medium, or fast. Particularly advanta-

geous for those recording in 5.1 surround is the sync

function that employs a time constant instead of volt-

age to synchronize the compression so that multiple

units can be locked together for greater accuracy.

radialeng.com

Following the success of its British-style MP-500NV

microphone preamplifier, Great River

Electronics, with cooperation

from Harrison Consoles, debuts a

true American EQ for the 500 Series

standard: the Harrison 32 EQ by

Great River featuring the EQ and fil-

ters form the renowned Harrison 32

Series consoles. Features include

low, low-mid, hi-mid, and high EQ

bands with gain and frequency con-

trols; low- and high-band “peaking” switches; EQ in/

out switch; Harrison’s high- and low-pass filters with

sweepable frequency; and filter-in/-out switch.

greatriverelectronics.com

The instrument DI from Radial, the JDV, is a 100

percent discrete, Class-A box with a feed-forward

design that does not employ any form of traditional

negative feedback phase cancellation techniques to

stabilize the input circuit, which Radial says, “captures

the very essence of instruments and delivers the

natural tone.” Control load correction allows the user

to apply the desired load on the pickup for the most

natural rendering.

radialeng.com

The Realios 9031 mic pre offers the 60s and

70s Olympic Studio sound, and features a Class-A

transistor output stage — an important feature as

the original Olympic preamps were integral parts of

their respective mixing desks and were never meant

to be connected directly to an output. It has finer 5 dB

gain steps, a high-impedance FET DI, polarity reverse

switch, and switchable phantom power.

realios.com

A tracking compressor for vocals, the Safe SoundAudio P501 is derived from the original Safe Sound

P1 design using a multistage side-chain. It has a

single gain knob for all three inputs, high-impedance

instrument input, and a 60 kHz bandwidth mic input

with 72 dB of gain. Other features include auto gain

makeup, and a switchable fast limiter that offers

dynamic adjustment of attack time.

safesoundaudio.co.uk

Radial Engineering, headquartered in Vancouver, BC,

Canada, has taken API’s classic 500 Series platform and

run with it, developing the Workhorse, an eight-module rack

enclosure that also houses a mixer with monitoring and

offers enhanced rear-panel connectivity. The company has

released eight compatible modules to date, with more on the

way, and is reportedly beginning to attract third-party module

manufacturers.

Why Workhorse? With API’s 500 Series module racks already well established,

why introduce Workhorse? “Naïve is the first word that

comes to mind,” laughs Radial Engineering president Peter

Janis. “We thought, this couldn’t be that difficult!”

Radial Engineering had originally intended — and, indeed,

had begun — to develop 500 Series modules for API’s VPR

Alliance stamp of approval. But Janis and the Radial team

ran into some challenges with the API specification and

decided to instead develop the next iteration of the platform.

Throwing In A Mixer, and More, For FunBut rather than design a simple module rack, says Janis,

“Why not throw in a mixer to have some fun?” The Workhorse

includes an 8 x 2 summing mixer with pan, level and mute

control, which reduces the space available for modules, of

course. In addition to a Jensen transformer-balanced main

stereo output, the rack also offers a separate stereo monitor

output and dual headphone outs.

The rear connections offer many possibilities, including the

ability to bus from one module to the next. “The most fun

about the device is that you can run signal chains in either

series or parallel,” he points out. “All of a sudden, you’re

creating new sounds.”

In addition to module I/O, there is a TRS “Omniport” connec-

tor that can provide access to other module features, some-

thing missing in the former design, says Janis. “Sometimes it’s

an input, sometimes a footswitch, sometimes a guitar input,

sometimes a DI output — the designer chooses.”

The power supply is outboard: “A lot of people say you

can’t use switching power supplies, they’re noisy, but the

Workhorse is so quiet it’s scary.”

The specification is open source and freely available, “no

strings attached,” says Janis, who estimates it has been

downloaded as many as 80 times, and by about 40 manu-

facturers. “We tell people how to build it so it’s built properly:

properly shielded, properly grounded, physical dimensions,

electrical connections and how to use it, from top to bot-

tom. All we ask is that if you use the name Workhorse, you

understand it’s our brand.”

— Steve Harvey

Radial Engineering: Building A Workhorse


1 Abbey Road TG12412

4-band, semi-parametric EQ

Developed in collaboration with Chandler Limited, this 4-band, semi-parametric EQ is part of the company’s TG Mastering Pack, which also includes the TG12414 filter. Both were modeled after EMI’s custom-designed mastering “transfer consoles.”

The TG12412 EQ is broken down into four bands: low, low mid, upper mid and high. With all four, you can select a fixed

Frequency, Gain and Shape as well as adjusting a master Level control. There is no metering at all, which is sometimes good, as it’s truly about using your ears and not your eyes.

The interesting (and quirky) thing about the TG12412 is the Shape feature, which offers five selections for each band: LOW, BL (blunt), MED, SH (sharp) and HIGH. The High and Low are shelving curves, while the rest are bell curves.

While the TG12412 is primarily intended as a mastering plug-in, I find it most use-

ful on certain instruments such as Bass and Kick. I often use it to EQ and filter frequen-cies out of instruments, as it’s incredibly smooth and warm-sounding; you can crank the levels either way (up to +/-10 dB) with-out it ever getting harsh. It will run as TDM, as well as RTAS/AU and VST. Price: $560 and $335 (as part of the TG Mastering Pack, TDM and RTAS/AU/VST, respectively)Contact: Abbey Road | abbeyroadplugins.com

2 Waves Linear Phase

Equalizer, Broadband Version

Another EQ plug-in that was intended for mastering use, the Waves Linear Phase comes with two components with pur-chase: selectivity between Lowband and Broadband. The Broadband component offers five bands and a special low-fre-quency band, whereas Lowband offers 3-band, low-frequency components. It runs as TDM, RTAS, Audio Suite, VST and AU, each

to 96 kHz.This paragraphic EQ

type has up to +/- 30 dB per band and the linear-phase component means all frequency bands are delayed by the exact same amount, which helps avoid any phase smearing. It also features “double pre-cision bit resolution pro-cessing” — fancy words to say that internal process-ing is done at 64-bit float-ing point in Native, and 48-bit fixed with TDM.

I do like to use this EQ

Software EQOur software editor discusses six of his favorite equalizers.

by Rich Tozzoli6PAR PICKS

Just like compression in our previous “PAR Picks 6” installment, equalization is added to taste. But in doing so, you can land any-where between killing your mix with it or making it sound just right. And through the range of dangers and potential, we all still seem to rely on it in virtually every session. Here, I share my thoughts on six software EQs that I find useful, each offering its own character, all of which are reliable for getting the job done when needed.

Rich Tozzoli is a composer, engineer/mixer and the software editor for PAR. richtozzoli.com

(Left) Abbey Road TG12412(Above) Waves Linear Phase


across the master bus. I can best describe it as having super clean and crisp character. I tend to combine it with an outboard hard-ware EQ to help shape my final mixes, and I’ll often simply add a touch of air and cut a touch of bass (like a single dB or two). It’s pristine sound lets me turn to it in critical EQ situations. Price: $250 and $200 (TDM and Native, respectively)Contact: Waves | waves.com

3 Sonnox Oxford EQ

The algorithms for the Sonnox Oxford EQ were developed directly from the Sony Oxford OXF-R3 console. It features five bands of fully parametric EQ with selectable shelf settings on the LF and HF sections as well as separate low- and high-pass filters with variable slopes.

A unique feature are the four various selectable EQ types. Each features unique control over Gain/Q dependency and con-trol range — and, of course, each has its own “sound.” You can easily hear the sonic changes by clicking though them with the TYPE button on the GUI. Sonnox also offers an optional fifth Type: a GML (George Massenburg Labs) 8200 EQ emulation with center frequencies up to 26 kHz.

Without trying to be cliché, the Oxford

can best be described as being highly musi-cal; I turn to it when I really don’t want EQ to be heard. The various TYPEs help cover a lot of territory, and it’s one of those rare EQs that work great on just about anything. The Oxford EQ will run on TDM, RTAS, AU, PowerCore and VST systems.Prices: $495, $350 and $200 (HD including Native, PowerCore including Native, and Native, respectively); $675 and $220 (with GML 8200 EQ option, HD including Native and upgrade including Native from the base Oxford EQ, respectively)Contact: Sonnox | sonnoxplugins.com

4 Massenburg DesignWorks

(MDW) Hi-Res Parametric EQ

Aside from running as one of the optional TYPE options within the Sonnox Oxford EQ, the Massenburg DesignWorks (MDW) Parametric EQ plug-in will run standalone on Pro Tools HD systems as well as within the Mackie d8b and in the TC Electronic’s System 6000 reverb/effects processor.

I use the MDW within the Pro Tools HD environment, where it’s 96 kHz capable with 48-bit double-precision processing. On this plug-in, the five filter bands are con-nected in series, and each filter band has eight filter-type options. Filter band five has

four extra filter types, and the Frequency Response Curve Display is scalable.

The interface is amazingly easy to use, and dialing in good sound literally takes just a few seconds. But ease of use is not why I call it up — it just sounds fabulous, especially in the high frequencies. The air it can add to a vocal is superb. It’s something I refer to as “soft,” but in a good way. Note that it operates only in mono or multi-mono.Price: $795Contact: Massenburg DesignWorks | massenburg.com

5 Universal Audio

Cambridge EQ for UAD-2

The Cambridge EQ for use on UA’s UAD-2 platform is the most aggressive EQ of this bunch. I call it my “savage” EQ, but that doesn’t mean it can’t be subtle. It can, but I use it for its edginess: for example, when I really need to get a snare or kick to pop through a mix.

It’s a 5-band design with three types of Q and resonant shelf per band. It also has 17 low- and high-pass filter types, each designed to emulate the response of a clas-sic analog filter.

While I like the useful zoom controls for fine adjustment, I tend to just grab the col-ored frequency bands and start dragging.

(Above) Sonnox Oxford(Top Right) Massenburg DesignWorks Hi-Res Parametric(Bottom Right) Universal Audio Cambridge


But when it’s time to get specific, I’ll just type in a frequency value. The filters are excellent, and of course, highly flexible. You can really crank this EQ up. The results are not subtle — and that’s exactly why I like it. Price: $149Contact: Universal Audio | uaudio.com

6 McDSP Channel G

Equalizer

The only “channel strip” in this list, I turn to the Channel G’s 5-band parametric and shelving EQ section when looking for a nice variety of analog-type tones. The HD ver-sion of this plug-in supports TDM, RTAS, Audiosuite and AU formats, where the Native version supports RTAS, Audiosuite and AU.

You have the choice of calling up the Console, Dynamics or EQ version in mono or stereo. I tend to use the Console version on a master bus and/or the EQ-only version on individual channels. It’s nice that the filters have selectable slopes of 6 to 24 dB/Oct and you can choose from high/low pass and notch filters. However, the real winner here

is the selection of modeled EQ modes that include E (SSL E Series), G (SSL G Series), N (AMEK/Neve 9098i) and the A (API 550). A nice feature is the ability to switch through the various EQ types and not only hear the difference, but watch the EQ curves/response change with each.

I prefer the A series EQ for nasty guitar

tones. It has that inherently wide API sound; and wow, can it add some harmonic edge to a track! I also like the sound of the N series on acoustic guitars while the SSL E works great on a stereo mix.Price: $349 and $279 (HD and Native, respectively)Contact: McDSP | mcdsp.com

McDSP Channel G

studio review By Alan Silverman


The simplicity and sonic quality of the design led to its deployment as the “tone control” in countless high-fidelity preampli-fiers. The design had characteristics that made it especially suitable for musical tone shaping — extremely smooth, flat shelves and minimal phase shift. The filter com-ponents reside in the feedback loop, leav-ing the main signal path pure. Dangerous Music’s lead designer, Chris Muth, has skill-fully exploited these advantages to cre-ate an exceptional mastering-grade, analog stereo EQ.

Features

The feature set on the “BAX” is simple and straightforward; there is a low cut, low shelf, high cut and high shelf. Frequency points are linked for both channels while boost/cut levels can be set independently for left and right. This allows for M/S opera-tion in conjunction with an external sum and difference matrix, as well as individual channel tailoring. All controls are stepped, and the corresponding internal component

values are hard-switched via a network of 40 relays.

The circuitry is built from high-quality parts, selected after a year’s worth of lis-tening with the goal of tight tolerances and musicality. All capacitors in the signal path are film-type, not ceramic. The elaborate relay-switching scheme ensures that the shelving slopes remain constant as the corner frequencies are changed. Values are dialed in with 8-position rotary switches for frequency and 21-position rotaries in .5 dB steps for level. Low-cut points range from 12 Hz to 54 Hz, low shelves from 74 Hz to 364 Hz, high shelves from 1.6 kHz to 18 kHz, and high cuts from 7.5 kHz to 70 kHz. The subsonic and ultrasonic points are intended to keep the audio band clean without side effects.

In Use

At first, the frequency values on the shelves seemed counterintuitive; they are specified with the values in the middle of the slopes rather than at the corners. The

reason behind this is the gentleness of the slopes. It is this gentleness that contributes to the BAX’s extraordinary musicality. The phase shift is kept to less than five degrees for a 1 dB change, and tonal effects are heard far from the nominal values well into the midrange. It is remarkable how an EQ so simply laid out can be so versatile and effective.

The top end is capable of an effort-less air, while the midrange is smoothly enhanced. The low end can create a “solid-as-a-rock” bass while warming vocals. The BAX is all about feel; it mysteriously imparts improved sonic appeal without aggressive-ly impacting the original tonality of a mix. It can do this while neatly sidestepping two of the thorniest recording problems: thick-ness in the low-mids and harshness in the upper-mids. My other equalizers took on new characteristics when freed by the BAX from the heavy lifting, resulting in a range of new colors.

My first in-session use was on a well-mixed big-band project. The mix engineer had mastered the project, but the artist felt there was more potential, so the un-mastered mixes were sent over. The BAX delivered — and it delivered fast. There’s something fantastic about interacting with a great analog EQ. The sweet spot came into focus quickly. It seemed too easy. My usual 5-band analog parametric EQ remained un-patched. The BAX proved itself as a true “program equalizer” in the tradition of the classic mastering EQs of simpler times. Add

Dangerous Music BAX EQThis shelving stereo equalizer is operationally sleek and pleasing in tonality: It’s simply “all about feel,” offers PAR’s resident mastering expert.

NYC-based mastering engineer Alan Silverman is a two-time Grammy nominee in the Album of the Year category for mastering. arfdigital.com

Dangerous Music’s BAX EQ is a highly refined professional interpre-tation using shelving filter topologies introduced by British audio engineer P. J. Baxandall in his classic paper, “Negative Feedback Tone Control,” first published in Wireless World, October 1952. The design was seminal; it was the first tone-shaping circuit where levels could be controlled by a single potentiometer without the need for a switch to select boost or cut.

some nice top and bottom ... and done: The ref garnered an enthusiastic approval from the artist with no change.

Next up was an attended mastering ses-sion with singer-songwriter JD Souther who traveled from Nashville to New York for the date. JD had recorded what he felt was a personal best album and was deeply invested in every aspect of the production. JD and I had never worked together before, and both his manager and the label’s A&R executive were at the session. No pressure.

The BAX delivered a deep bass and an open, airy presence. My standard EQ was then free to handle a few notches to sweeten the vocal. After the first playback, you could hear a pin drop. Following what seemed to me a very long minute, JD said,

“What’s wrong with that?” and we were on our way. On the second tune, JD asked for a .5 dB more bass. How fun was it to just reach for the BAX, twist one quick click, hit play and see appreciation in an artist’s eyes.

With the BAX, a .5 dB click amounts to a lot, thanks to the gradual slopes of the shelves. The BAX seems to do more with less, giving a track a finished polish with only a few touch-es. Running the shelves in conjunction with the cut filters leads to a surprisingly flexible range of curves. When used in conjunction with the low-cut filter, the low shelf can tame a tubby bass as well as flesh out a thin one. The high-cut filter serves to sweeten the top end when the upper shelf is used for a mid-range lift. The device seems very transparent with negligible insertion loss.

Summary

I have been having a blast with the BAX and feel grateful to be able to benefit from the years of research and development that Chris Muth did while serving as tech-nical director at Sterling Sound. During his time there, he ripped apart and improved just about every bit of equipment that came through the door. Chris is also a mastering engineer in his own right and, apparently, he finally built an EQ that even he could love. The BAX EQ is affordably priced well below its high level of quality. It’s like a delicious dessert with no calories.

Price: $2,529 listContact: Dangerous Music | dangerousmusic.com



Here, I will base most comparisons and opinions on what I learned in evaluations for PAR’s “World-Class Channel Strips” Session Trial (read it here: proaudiorev-iew.com/article/27642 — Ed.); that expe-rience fully illuminated the abilities of such premium signal processors for me. As a complete “all-in-one” signal path, let’s look at the Portico II Channel from entrance to exit to grasp its capabilities.

Input Section

The Portico II starts with three trans-former-coupled inputs, one for mics with 72 dB of gain (66 dB in 6 dB steps with an additional 6 dB on the +/- 6 dB gain trim). Wisely, this gain trim applies to the mic and DI inputs as well, offering a convenient gain rider. The line-level input makes the Portico II quite useful as a channel insert and would be excellent for stereo sources with a sec-ond unit and the stereo link jacks on the rear panel. The DI input sounds particularly sweet to me, as its transformer imparts full-

ness and body not seen in budget units and the thru jack is equally welcome.

The mic input sounds particularly sweet and silky — neither fat, nor mid-forward, nor bright — just open and classy while exhibit-ing lots of headroom. The +/- 36 V power supply rails (higher than normal) in this circuit likely contribute to this headroom, preventing the front end from sounding like a crunchable 1073 vintage Neve mic pre. I tried acoustic guitars, electric guitars, vocals, basses and percussion always with neutral, yet polished results.

High-Pass Filter

This filter is continuously variable from 20 to 250 Hz at -12 dB/octave and is clean, exhibiting no audible distortion or resonance at the filter point. This circuit is particularly useful in that you can filter the program sig-nal or the side-chain going to the compressor for less pumping with bassy sources.

EQ Section

The EQ controls of the Portico II offer best-of-class flexibility and more so; this EQ delivers the transparency, sweetness and purity of tone you’d expect. The low and high bands offer four stepped frequency choices each (35, 60, 100, 220 and 4.7, 6.8, 12, 25K, respectively), +/- 15 dB of gain and either bell or shelf curves. The two mid bands are more interesting and complicated with con-tinuously variable frequency and Q, as well as +/- 15 dB of range. The frequency ranges gen-erously overlap the low (70-1,400) and high (700-14K) bands and the Q reaches a nicely shallow 0.7 up to a fairly steep value of 5.

The de-esser is a fully functional, variable and controllable feature, not a stripped-down afterthought; it uses the HMF band to select frequency, Q to control the band-width (nice!) and the HMF EQ level con-trol is still functional for the actual EQing of that same band! In the aforementioned PAR Session Trial, the Manley Voxbox and the Millennia-Media STT-1 had excellent de-essers too, but the Portico II’s may be just be the best I’ve ever used.

Compressor Limiter Section

As much praise as the EQ section of this unit has garnered here, I still think the Portico II’s biggest draw is its eminently flex-ible compressor. The only similarly versatile compressor I have used on such a channel strip is found on the API 7600, but it sounds quite different from this Portico — not better or worse, just different.

Both feedback and feed-forward modes are offered (plus RMS or peak detection), giving distinctly different behaviors and

Rupert Neve Designs Portico II ChannelConsidering the legendary status of Mr. Rupert Neve, it is not surprising his channel strip is “hard not to love.” How much love? Read on.

Rob Tavaglione owns and operates Catalyst Recording in Charlotte, NC. catalystrecording.com

The Portico II Channel by the one and only Mr. Rupert Neve simply sounds great — but of course, that should be a given. So please allow me to be a bit more helpful while I place this world-class product amongst some of its closest peers.

tones: the feed-forward for quickness, hard-ness and accuracy and the feedback for slow-ness, musicality and “vintage-ness.” But the big rewards lie with the blend control, allowing accurate variable blending of compressed and unprocessed signals — parallel compression. I could go on for days about the greatness of this feature: for example, some heavy compression gen-tly tucked under for perky peaks and thick density, aggressive feed-forward attenua-tion heavily blended in for superb clarity and “in your face-ness,” 100 percent compressed feedback for a familiar flavor from yester-year, not to mention the side-chain HPF inter-actions. All that, and more, is available in this one feature.

Texture

So you want some vintage Neve flavor in your rack, but modern sonics, too? Then you’re largely covered by the Portico II’s Texture options. With Silk engaged, you can control negative feedback to the out-

put transformer, add harmonics and affect frequency response — from barely even apparent to rather flavorful. Silk is rather dark when cranked, with increased low-end hang time and obvious distortion; at about one o’clock, it gets interesting and by four o’clock, your bass guitar is so growly, fat, thick and chewy that you’ll be head bobbing!

Silk+ is actually less apparent when cranked, adding some subtle character and density without sacrificing high end or detail. You can use liberal amounts of Silk+ on vocals or even mixes. This is not an “all or nothing” mangling proposition —moderate Texture amounts leave your signal unharmed and only “added to,” not destroyed. This feature was like the wonder-ful transformer-loading option of the Great River ME-1NV/EQ-1NV (used in the afore-mentioned PAR Session Trial), but with vari-

able control offers more “extremism,” for lack of a better word.

Summary

Considering the fact that all sections of the

Portico II are eminently useful, if not best in class, it’s hard to not like this unit, even at its premium price point ($3,195 street). “It’s hard not to love it” is a more accurate statement. The EQ in general, the de-esser, the superb compressor and the Silk features will surprise you and demand daily usage. I only have a few quibbles: A master output level would be nice to have, the switches don’t feel as good as the pots do and some additional metering wouldn’t hurt, either, but these points are incredibly minor in context, as in the context of world-class channel strips, of which the Portico II Channel is one of the very finest available.

Price: $3,495 listContact: Rupert Neve Designs | rupertneve.com



Designer: Siwei Zou of sE Sound EngineeringDescription: Pressure gradient ribbon

microphones with 2-micron aluminum rib-bons: one passive (VR-1), the other with active electronics (VR-2)

Defining trait: Extended 20 Hz to 20 kHz bandwidth via a patent-pending “mechani-cal device” (a diffuser that attenuates direct sound and enhances high-frequency reproduction).

Specifications: Figure-of-eight polar pat-tern, less than 300 ohms impedance VR-1 (less than 200 ohms VR-2), 17 dBA self-noise (20 dB VR-2), maximum SPL of 135 dB, 1.6mV/Pa -56 ± 1.5 dB sensitivity

Test application #1: Drum kit in both hi-hat and ride-cymbal posi-tions, each two feet from source through a Sytek MPX4A preamp.

My tests found the VR-1 required approximately 20 dB more gain than the VR-2 in similar SPL posi-tions. Both mics handled the high SPL well, exhibit-ing no audible distortion. Both models exhibited extended low-frequency response, largely flat mid-range response, high-end response extended to just below typical condenser microphone levels and normal transient com-pression generally found in ribbon microphones. I would define their performances as classic, with moderately extended highs.

This particular test revealed that the VR-1 supplied for testing had its polarity reversed and an almost too snug XLR con-nector requiring caution when disconnect-ing. [According to Jonathan Pines, director for strategic operations at Fingerprint Audio (U.S. distributor for sE Microphones as well as Rupert Neve Designs), both the reversed polarity and snug XLR issues have been corrected in all shipping Voodoo ribbons; the models supplied for this review were pre-production models. — Ed.]

Test application #2: Acoustic guitar with placement two feet from neck/body of instrument through an AMS-Neve 4081 mic

preamp. My tests found

similar frequency response between the two, with slight-ly more high-end response from the VR-2 and slightly higher noise floor

from VR-1 (due to the additional mic pre-amp gain). Overall response could be defined as smooth, classic and in need of minor corrective EQ around 200 Hz (cut) and 10 kHz up (boost). [Hear it via audio webclips #1A and 1B. — Ed.]

Test application #3: Stomp tambo

(tambourine attached to wooden box and struck

with foot for “kick drum with jangle” sound), positioned with both the VR-1 and VR-2 as close to coincident as possible with each mic in each other’s side null — about 8 inch-es out — aimed on-axis with instrument.

My tests revealed that both mics picked up significant low-end thump and ample high end, with more high end translated by the VR-2. [Hear it via audio webclips #2A & 2B. — Ed.]

Product-to-Product Comparison: These Voodoo ribbons aren’t as “bright” as the Audio-Technica AT4081, although the VR-2 is close and slightly hotter in output. Compared to a passive AEA R92, the VR-2 is the brighter one, but similar in low-end response. The Voodoo ribbons are bal-anced “top to bottom,” closer to the Blue Woodpecker or the Coles 4050, although distinctly different from each. [Based on manufacturer-supplied specs, the Voodoo ribbons are nearly flat (within +/- 1 dB) in frequency response between 20 Hz to 18 kHz, 2 dB down at 20 kHz, and offer a nota-bly tight polar pattern. — Ed.]

Summary

The sE Electronics Voodoo ribbon microphones are “small form factor”

Rob Tavaglione has owned and operated Catalyst Recording in Charlotte, NC since 1995. catalystrecording.com

sE Electronics Voodoo VR-1 Passive, VR-2 Active Ribbon MicsGood performance, price, and warranty make these Voodoos ideal choices in modern “ribbon hungry” audio production environments.

Selected Audio Clips:

sE VR1 and VR2

Visit the link below to hear

audio clips referenced in

Rob’s review of the VR1 and

VR2. — Ed.

proaudioreview.com/sevr1vr2

(continued on page 58)

studio review By Russ Long


Features

The PortaGig 62 is a portable RAID data storage system providing storage capaci-ties up to 3 TB in a tiny package (4.8 inches wide, 3.6 inches deep and 1.7 inches tall). The PortaGig’s all-metal enclosure sur-rounds a pair of 2.5-inch SATA hard drives and is available in a wide variety of size and speed configurations, including 1 TB, 2 TB and 3 TB sizes at 5,400 RPM and 320 GB, 500 GB, 640 GB, and 1 TB at 7,200 RPM. All of the configurations provide transfer speeds of up to 177 MB/second, and the drive supports RAID 0, RAID 1 and Spanning modes.

When configured to RAID 0, drive performance is improved .but there is no redundancy. RAID 1 configuration provides redun-dancy by allowing data to be written identi-cally to both internal drives, meaning that as long as one drive is working, your data is safe. Spanning mode writes data sequentially across both drives; when the first one fills, the second one continues onward. The drive includes

the Glyph Manager software that provides easy drive configuration and the ability to continuously monitor the health of all sup-ported Glyph drives connected to the com-puter. If the drive has a problem, the front panel’s activity LED (which typically glows blue) glows red, and the software imme-diately notifies the user. Theoretically, this will allow a backup to be made before the drive fails and data is lost.

The PortaGig 62 has front- and rear-panel ventilation holes, allowing an extremely

quiet internal fan to pull cool air in the front while pushing hot air out the rear of the enclosure providing maximum airflow and optimum cooling. A convenient power switch is located on the drive’s back panel. The drive features connectivity and bus-power via FireWire 800 or connectivity via USB 2.0 or eSATA ports. The drive includes a wall-wart as an alternative to bus-power. It is actually possible to use the eSATA con-nection for fast data transfer while simulta-neously powering the drive via the FireWire 800 connection.

All Glyph drives feature Glyph’s 3-2-1 warranty; it includes a 3-year drive-per-formance warranty, a 2-year free basic data-recovery policy, and a 1-year advance-replacement policy.

In Use

Although it is larger than my PortaGig 100 GB hard drive, the Portagig 62 is still small and, considering its data transfer speed, connection options and software control,

it’s massively more powerful. I carry an external hard drive

with me all of the time — it just makes sense. I never know when a producer is going to show up for a track-ing session without a drive,

when I will need to bring a session

Glyph PortaGig 62Though choices abound in the marketplace, PAR’s senior contributor swears by Glyph’s PortaGig 62, a drive “as close to perfection as possible.”

When it finally came time to replace my trusty Glyph PortaGig 100 GB hard drive — after over half a decade of heavy use! — naturally, I returned to Glyph. That company’s drives have continually proven themselves to be both amazingly reliable and reasonably priced. A lot has changed since I purchased my PortaGig 100: Glyph’s new leader in the portability department is the bus-powered PortaGig 62, the little brother to the Glyph GT 062E, priced at $279 street.

Russ Long is a Nashville-based producer, engineer and mixer as well as a senior contributor to PAR. russlong.ws

Joe Barresi’s long list of credits, which includes his work with Queens of the Stone Age, Tool, Weezer, Bad Religion and doz-ens more, easily lands him a place on the short list of the industry’s most influential rock producers and engineers. Thankfully, in Barresi’s case, his tremendous success hasn’t led to a matching ego, and he has generously shared his talent with the public in his new 2-hour, 44-minute HD video, Joe Barresi: Tracking Rock.

The program is a behind-the-scenes doc-umentary that walks the viewer through the three-day process of Barresi producing a track with the alt-rock band, Zico Chain.

It includes the signal path of every instru-ment recorded and the implementation of Joe’s massive collection of mics, amplifiers, cabinets and audio-processing gear. Also included are the song’s AVID Pro Tools ses-sion, an OMF file (allowing the session to be opened in other DAWs) and the raw audio tracks allowing critical listening and analy-sis. A release of Barresi mixing the song on his SSL 4000 console will be made available Q3 of 2011.

Joe Barresi: Tracking Rock was shot entirely in high-definition video, and it looks fantastic. The program is not available in DVD or Blu-ray formats; instead, it has been

optimized for on-computer viewing as well as viewing on the iPad, iPod and iPhone-4 formats. I watched the program primarily on my iPad, but I also spent time with it on my computer and iPhone, and it always translated well.

The documentary begins with a tour of Barresi’s House of Compression (his studio) and then jumps into recording. Beginning with drums, it moves to bass, guitar and then vocals and in each instance, there is a setup chapter (e.g. Drum Setup, Bass Setup, etc.), which is Barresi talking through his setup of that chapter’s instrument. This is

home from my studio, or when I will need to rough in a mix or two in a hotel room when I’m working out of town. I’ve been carrying the PortaGig with me since last December, and it has performed flawlessly.

The PortaGig 62 is shipped Mac-formatted with RAID 0 configuration although it can easily be formatted for PC use. Before implementing the drive into my regular workflow, I tested it in all three RAID modes and it worked perfectly in each instance, and the Glyph Manager software made the repeated drive configuration quick and easy. Glyph Manager boots up

immediately and provides a quick system appraisal or, by selecting a specific drive, the application will provide specific drive model, serial number, current status (fully operational, initialized, degraded or halted), volume or partition name(s), connection configuration (FireWire, USB or eSATA), the temperature of the Oxford bridge chipset and each drive, and the fan speed (which varies depending on the temperature).

I experimented with recording and play-ing-back sessions with large track counts at 44.1 kHz, 96 kHz and 192 kHz. and the drive worked perfectly in all three RAID con-

figurations. I decided on the RAID 1 configu-ration as my permanent setup (you lose all of the drive’s data when reconfiguring the RAID mode). It cuts the drive size in half, but the advantages of built-in redundancy trump the size issue in my book. [Using a RAID 1 configuration, as Russ does, is the equivalent of purchasing a master and safe-ty drive, and therefore the PortaGig 62 (and its price) should be compared to buying two identical drives from another vendor. — Ed.]

Summary

My only complaint about the PortaGig 62 is its lack of a protective carry case. Even though the drive’s design is extremely robust, a small padded carry bag (like the one that was included with my PortaGig 100) would make me feel more comfortable car-rying it in my bag. Otherwise, the PortaGig 62 comes as close to perfection as possible.

Prices: $309 to $785 (depending on drive capacity and speed)Contact: Glyph Technologies | glyphtech.com


mini review By Russ Long

Joe Barresi: Tracking Rock Instructional Video


new live products


Roland R-1000 48-Track Recorder/Player

Roland’s R-1000 is a standalone, dedicated recorder/player designed to work with the V-Mixing System. Users can con-nect and use the R-1000 with any digital console that has MADI output capabilities by pairing it with the Roland S-MADI REAC MADI Bridge or to capture up to 48 channels of discrete audio all as separate broadcast wave files.

It can be used in live events to play back selected channels to augment a live performance or as a multichannel playback deck in fixed applications. Sync two units together for a 96-channel recorder/player or sync to video with SMPTE (LTC) or via black burst. Files are stored on a removable hard-disk drive (HDD) or solid-state drive (SSD). Files can be transferred via USB to a connected drive.

Setup and configuration can be done using the color LCD touch panel on the front panel or with the PC remote-control software via a USB connection. Price: TBAContact: Roland Systems Group | rolandsystemsgroup.com/r1000

DiGiCo SD10, SD11 Digital Consoles

DiGiCo has unveiled its SD10 and SD11 consoles. According to the company, the SD10 (pictured) sits between the SD7 and SD8. It features a 15-inch, touch-sensitive screen, 37 100mm touch-sensitive faders, 96 channels with full processing, four layers of 10 keys that control Smart Key macros, dual hot swap, switch mode and PSUs as standard.

The SD11, a console that is the smallest (both in size and price) that the company has ever produced, is designed for use either as a desktop console or mounted in a 19-inch rack. It features 12 touch-sensitive moving faders below a 15-inch touch-sensitive screen. Sixteen mic preamps, eight line outputs and two mono AES I/O are provided, in addition to which users have the option to connect a DiGiCo D-Rack to the Cat-5E port. This aims to provide a remote I/O rack frame with an additional 32 microphone inputs and up to 16 outputs. It also has 12 Flexi busses, which can be user-configured as either mono or stereo. In its maximum configu-ration, these could be used as 12 stereo mixes.Prices: POAContact: DiGiCo | digico.biz

Audix Micros Series M1280B Condenser/Preamp

According to Audix, the Micros Series are “the world’s smallest condenser micro-phones with integrated preamp and detachable cable,” and the latest addition to the line — the multi-pattern M1280B — features a machined brass housing and modular threaded capsule; 40 Hz - 20 kHz frequency response; and a 12mm gold-vapor diaphragm. Exclusively for the M1280B, Audix includes a discrete circuit design, recessed miniature XLR connector, and total immunity from RF caused by cell phones and wireless GSM devices.

The M1280B is available in a matte black finish, and supplied accessories include a 25-foot cable, hanging mic clip, mic stand adapter and external wind-screen.Price: $430-$470 (depending on capsule)Contact: Audix | audixusa.com

new live products


Countryman B2D Directional Lavalier Microphone

Countryman has introduced its B2D directional lavalier microphone, “the world’s smallest directional lavalier microphone,” the diameter of a No. 2 pencil. The B2D is targeted for appli-cations where vocal reinforcement is required without being visibly present.

The B2D offers a hypercardioid polar pattern for isolation from ambient noise and feedback. Compared to an omnidi-rectional lavalier microphone, the B2D achieves, on average, 6-10 dB more gain before feedback; this also translates to fewer issues with phase interference when multiple microphones are used simultaneously, and less challenges with room noise, offers Countryman.

The B2D has a frequency response of 50 Hz to 18 kHz, with a 4 dB presence boost at 6 kHz for increased intelligibil-ity. It is available in three sensitivities/versions to accommodate a wide range of applications, with overload levels (at 1 percent THD) of 120, 130 and 140 dB SPL. The package includes the micro-phone, shock-mount clip, and strong cable (with a break strength of 50 lbs.). Price: $650 list Contact: Countryman Associates | countryman.com

Kaltman Low-Frequency Measurement Antennas

Kaltman Creations has introduced its line of Extremely Low Frequency (ELF), Super Low Frequency (SLF) and Low Frequency (LF) measure-ment antennas. The company aims to cover antenna requirements for precision “H” and “E” compliance, exposure, spectrum surveys and research-related applications.Price: TBAContact: Kaltman Creations | kaltmancreationsllc.com

beyerdynamic Touring Gear Microphone Series

German manufacturer beyerdynamic has launched its Touring Gear microphone series, a complete product range of more than 25 different microphones for live performance. Most notably, this line features beyer’s Sound Channeling Technology, “acoustic labyrinths with special geometries that provide optimized sound channeling,” explains company documentation. “(SCT) influences the sound and model the polar pattern by using precisely tuned delay lines and attenuation pads. Whether with additional elements, special materials or a unique design: Every beyerdynamic microphone has its own Sound Channeling Technology.”

The Touring Gear Series has four distinct subcategories: the entry-level TG 30, “the standard” TG 50, the “no compromises,” German handcrafted TG 70 and the premium-class TG 90, which features the top shelf TGV90r ribbon microphone as well as the TG V96c true condenser microphone for live vocal applications.Prices: TBAContact: American Music & Sound (U.S. distributor) | AmericanMusicAndSound.com

Innovason Eclipse GT Digital Console

Innovason has unveiled the latest incarnation of its Eclipse digital mixing console,

Eclipse GT. The look of the Eclipse GT has changed considerably with

the integration of a few features like a side rail to facilitate moving and carrying, as well as some aesthetic

touches like the red LEDs in the side-cheeks (which may be switched off if neces-

sary) and the signature Innovason red trackball. Another major change is the “feel” of the console from

an operator’s point of view. According to the company, all of the knobs and faders have been selected to give the desk a more expensive “feel.”

All of the features of the original Eclipse (such as the M.A.R.S. onboard multitrack recorder, Virtual Soundcheck and the Broadway function for seamless changeover from a live to a recorded soundtrack) are an integral part of the Eclipse GT. The M.A.R.S. computer reportedly acts as a redundant control computer and can take over all control and display functions. Eclipse GT also retains Innovason’s SmartFade and Smart-Panel features for flexibility and configurability.Price: POAContact: Innovason | innovason.com

new live products


Harman HiQnet Performance Manager Software

Harman Professional has introduced its HiQnet Performance Manager software, a user interface that reportedly facilitates the design of touring and live-performance venue sound-reinforcement systems. Designed espe-cially for touring and theatrical sound engineering, HiQnet Performance Manager is an application-specific iteration of the company’s HiQnet System Architect 2 connectivity and control software application for professional-grade audio system integration.

HiQnet Performance Manager is said to provide a step-by-step workflow that directly corresponds to real-world system configuration, taking the workflow paradigm introduced in System Architect 2 to a higher level of functionality for any live-performance audio application. It is fully integrated with JBL’s Line Array Calculator II loudspeaker configuration and acoustic modeling software. The user begins by loading tem-plates of the speaker arrays used in the system, and then runs Line Array Calculator II for each array as part of the initial sound-design task of determining how many and which type of loudspeakers are required to cover a given venue. For each array, Performance Manager automatically loads the passive VerTec or powered VerTec DrivePack DPDA line-array configuration into the main application workspace — the first of many automated design processes native to the software application. Loudspeakers can also be manually loaded into the templates, if desired.Price: Free DownloadContact: Harman | harman.com AKG DMS700 v2

Wireless Mic System

AKG has launched version2 of its DMS700 digital wireless microphone system. With a 512-bit encryp-tion, 3.5 mS latency and DPT700 bodypack, DMS700 v2 aims to improve the link quality and increase the working range of the transmitters and receivers.

Users with the original DMS700 wireless sys-tem can update their units through a software and hardware update. The free software update includes the 512-bit encryption, AES EBU output and 0.5 ms improved latency, improved link quality and range improvements and output gain menu with a bar graph and ability to deactivate auto-lock.Prices: $1,286 to $2,695 depending on selected configuration.Contact: Harman/AKG | harman.com

Educating the Masses

We’ve all seen it: the subconscious pro-verbial eye roll whenever techies start talk-ing about a new piece of gear that we “must have.” Fortunately for us, the gear spoke for itself as our jump to digital was primar-ily out of necessity. The faithful K2 was starting to have problems, which pointed to capacitors failing, switches wearing out and the like. So all the musicians, leaders and techies of our church knew it was time for an upgrade. The next step was to promote ownership from within the church body. Yes, it was in the budget but in a house of worship, people want to help — they want to share in the ownership.

When confronted with this challenge, an immediate fundraising idea came to mind: a knob drive. What is a knob drive? I counted up the knobs on our Soundcraft K2 and with faders the total was just over 1,000. This was the plan: If someone made a donation, of any amount, they got a knob. Sounds quirky, but our creative team put together an entertaining and informative video explaining the knob drive and made a video with some fun ideas of uses for the knob around the house. You can view the video on our Facebook page linked from belmont.org.

To comfort those who were concerned about value, I broke down the money spent on the

last board. Our board, originally purchased for about $12,000 was used for 11+ years, or an estimated 1,872 assemblies, total-ing just $6.41 per assembly. Then add in the hundreds of special events, weddings, funerals and classes, that number showed that we got our money’s worth. After show-ing the video, everyone was on board and, after four weeks, we raised over $5,800 in the knob drive. Then the manufacturer of the new board offered us $1,700 for trade-in of our old board (they didn’t care if there were any knobs). Utilizing the old board, we raised $7,500 (far exceeding its actual worth of $2,000). More importantly, there was an awareness about the new console.

The Decision

The decision of which console to buy was based on three primary criteria for us:

1. Sixteen physical channel faders with a total of 48 inputs/8 analog outputs minimum

2. Seamless interface with an Aviom headphone monitoring system

3. Cost in the $20k range.After looking at the boards that fit

in that range — which included Allen & Heath, AVID, Soundcraft and Yamaha — with help from Spectrum Sound of Nashville, we landed on the AVID Venue SC48. The SC48 met all criteria, is a prov-en workhorse in the industry and our familiarity with TDM plug-ins combined with the option to upgrade was also an attractive feature.

Our headphone system — the Furman HDS16 — had served us well for 8+ years, but the decision to upgrade our console also led to an upgrade to an Aviom sys-tem. The expansion card for the SC48 cost the same for either analog headphone systems or the Aviom, but we really want-ed to move to a more flexible digital head-phone system, so we decided to install an Aviom A-16D distributor and 10 A-16II

personal mixers. We already had a pair of RJ45 jacks at each mic panel, so the new system could just drop into place without any infrastructure change. The only cabling required by the new board and headphone system was one Cat-5 cable from FOH to backstage.

We did not upgrade to digital because our way of mixing or over-all sound was broken; the workflow we had established and the sound of the room was great. So, our first

Our Road to Digital Twelve years ago, our house of worship, Belmont Church of Nashville, increased the level of commitment to media; we started with audio. This included contract-ing with Live Technologies on the complete renewal of our system — custom speaker cabinets, power amps, processors, Furman headphone monitoring system and a new 48-channel Soundcraft K2 analog console. We didn’t know it at the time, but that was likely the last analog console we will ever have in our Worship Center.

opinion worship audio By Dan Wothke


Dan Wothke is media director at Belmont Church of Music Row, Nashville. Reach him at [email protected].

Belmont Church’s “Knob Drive” brochure.


goal was to take what we had in the analog world and use digital to replicate it. Then we would sprinkle in the more advanced features as we encountered challenges that it could solve. Ultimately, it was our goal not to have anyone audibly notice the new board, although sonics did play a part.

The most common comment from those who knew of the board being installed was the increased clarity it brought to the mixes. I concurred with their assessment but felt the color pro-vided by the K2 and external processing was missed. It took a few weeks to get things dialed in to our liking with the use of plug-ins and tweaks to the graphic EQs. The curves from our analog graphic EQ, compared to the new digital graphic, were more different than I expected with more dips in the 60 – 200 Hz range and the anticipated dips in the 8 kHz range and up. A major help in getting things dialed in was copying files from our weekend studio recordings into Pro Tools LE and

interface with the Venue to create virtual mixes based on what the band actually sounded like. Each engineer did this as part of their training before being thrown into a live situation.

Why Go Digital?

There were some key reasons for us to go digital that have paid off time and time again, which makes me wonder how we used to do this in the analog domain. The Venue’s VCA channels have been worth their weight in gold. We’ve all been in the situation where someone gets up in the middle of worship and wants to share something. The band keeps their full intensity, and it is hard to hear the person with the mic over the music.

In the past, it was a game of fin-ger gymnastics to pull down the groups while keeping their relative positions in order to get the spoken word over the music. Now, we have all of the music channels and/or groups assigned to a

VCA as well as the singers to their own VCA. With the press of a button to get to bring the VCA channels to the forefront, the engineer can bring down just the VCA with the music while keeping their relative positions intact. Since the board has been installed, there has not been an event where this has not come into play.

Recently, in the span of nine days, we had performances from seven different worship teams interwoven. The time and headaches that presets and snapshots helped avoid was beyond effective — and not just for the engineer, but also for the worship teams. Add in presets within the headphone system (and if a team had rehearsed) and we can have them back up and running right where they left off in a matter of minutes.

Less Is More

Going digital allowed us to eliminate one of our two external racks. The former rack

Belmont Church’s road to a digital console ends at the AVID Venue SC48, now at FOH, replacing a trusty, well-loved Soundcraft K2 analog desk. PHOTO: DAN WOTHKE


classifieds


12 Acoustics First acousticsfirst.com11 ADAM Audio adam-audio.com8 Aphex aphex.com38 API apiaudio.com59 B&H Pro Audio bhproaudio.com5 Behringer behringer.com31 Chameleon Labs chameleonlabs.com32 Daking/Trans Audio Group transaudiogroup.com15 Fingerprint Audio fingerprintaudio.com36 Five Fish Studios fivefishstudio.com22,45 Full Compass fullcompass.com17,30 Grace Design gracedesign.com37 Great River Electronics greatriverelectronics.com47 InfoComm 2011 infocommshow.org2 KRK Systems krksys.com33 LaChapell Audio lachapellaudio.com7 Lectrosonics lectrosonics.com

29 Millennia Music & Media mil-media.com13 Primacoustic primacoustic.com9 Prism Media Products sadie.com60 QSC Audio Products qscaudio.com6 Radial Engineering radialeng.com55 Renkus-Heinz renkus-heinz.com14 Rohde & Schwarz rohde-schwarz.com51 Roland personalmixing.com35 Roll Music Systems rollmusic.com34 S & M Audio sandmaudio.com27 Sweetwater sweetwater.com16 Sweetwave Audio sweetwaveaudio.com24 True Systems true-systems.com18-19,25 Vintage King vintageking.com28 Wave Distribution/Elysia elysia.com43 Xilica Audio Design xilica.com3 Yamaha Commercial Audio Systems yamahaca.com

adindex

ACOUSTICSAUDIO EQUIPMENT

TO ADVERTISEContact: Contessa Abono

650-238-0296 [email protected]

Get the latest news and information online atWWW.PROAUDIO REVIEW.COM

ProAudioReview


that once housed 22 channels of gates and compression, three outboard effects units and four channels of graphic EQ has now been replaced with plug-ins. All routing is now done in the software, compressors and gates are built in on every channel, and in our current configuration we have eight discrete graphic EQs at our disposal. Add in the ability to save presets for virtually everything, and the digital domain again scores big. Within Venue, we are starting to build our libraries for different musicians and vocalists. With some pre-planning, we can load the presets for their channels or specific areas within their channels and have a familiar starting point.

I will admit it takes a change of mind-

set when working with digital. First, to see tweaks represented visually on a screen can cause the end-user to question, for example, “is the filter really set there,” or “that seems like a lot of gain applied,” etc. Mixing with digital should not result in let-ting our eyes taking over the role of our ears. The key is to mix with our ears and observe with our eyes.

Everything is customizable on the Venue, which can be a double-edged sword. We are still working on having some things remain the same from week to week — such as master compressor, graphic EQ presets and specific routing — while still allowing the engineer the freedom to use what they pre-fer and work how they prefer. Digital adds an entire new level of challenges when training new volunteers, increasing the importance

of planning ahead of time. On the flip side, with such planning, a preset can be set up so that a volunteer’s job is even easier than when working with analog.

A Well-Paved Road

The decision to go digital has proven to be beneficial to all. The musicians have raved over the new headphone system and the clarity and usability it brings. The engi-neers have, despite the challenges at first, quickly adapted and really embraced the change. As for the congregation, we have been distributing the knobs, which has, in some way, given our faithful Soundcraft K2 a respectable exit and raised the level of ownership in our house. Thanks to plan-ning, educating, training and more plan-ning, our road to digital was well paved.

followed by a tracking chapter (e.g. Guitar Tracking, Vocal Tracking, etc.), which cap-tures the actual recording process includ-ing Barresi’s interaction with the musician or vocalist.

The setup chapters include his thorough signal-path explanations (although exact gear settings are justifiably but unfortu-nately not included) and are complemented with visualizations that show signal flow-charts, gear photos and gear costs mak-ing it easy (though possibly quite expen-sive!) to precisely emulate one or all of Barresi’s signal paths. The gear explana-tions are complemented with “Joe’s notes,” which provide a brief comment on a specific piece of gear. For example, his notes for the Univox Cabinet used with the bass guitar reads, “Likes it for distortion. Uses it for guitar, bass and keyboards. Hard to blow it up — indestructible.” But my favorite is his unnamed staple guitar amp that is only known as “Top Secret” in the program where his notes reads, “Every pro has his secrets. Go find your own.”

Besides being brilliant at what he does, Barresi is funny. Not just mildly funny but really funny. It’s no wonder bands are

happy to spend months in the studio with this guy. The program concludes with a 50-minute discussion/interview between Tony Shepperd, one of the project’s produc-ers (and a world-class engineer in his own right) and Barresi, which is worth the price of the program itself.

The less experienced among us may not realize how tracking a band is an entirely different animal than tracking individual musicians, and Joe Barresi: Tracking Rock not only captures all of the technical essen-tials to tracking, but it also demonstrates the successful dynamic between a band and a tracking engineer/producer. And this dynamic is as important if not more impor-tant than the technical end of things. Barresi demonstrates this concept perfectly.

The most amazing thing about this pro-gram is that it is packed full of information for both the beginner and the seasoned pro. One would be hard pressed to find an engineer that wouldn’t benefit from this documentary in one way or another. I know I’ll be revisiting it myself from time to time. Price: $95 Contact: Tech Breakfast | techbreakfast.com

Russ Long is a Nashville-based producer, engineer and mixer as well as a senior contributor to PAR. russlong.ws

Joe Barresi(continued from page 49)

transducers, easy to place due to their smaller-than-average size as well as a very versatile shockmount. This shock-mount allows numerous configuration options, including very close “flush mounting” with the source. This secure, near-perfect shockmount is hindered only by its crucial plastic collar (which prompts extra care in handling).

Both Voodoos exhibit the useful com-bination of an extended “condenser-like” top end, but with the substantial bottom-end response and compressed transients of traditional ribbons. The VR1 offers slightly less high end and a slightly more classic ribbon sound. The VR2 offers a substantially hotter output and more high end, but is nearly sonically identical. Reasonably priced with a “zero down-time/free replacement” warranty (within three years of purchase) the Voodoos are worthy competitors in today’s ribbon mic resurgence.

Prices: $799 and $1,199 list Contact: sE Electronics | seelectronics.comFingerprint Audio (U.S. distributor) | fingerprintaudio.com

sE Voodoo (continued from page 46)

Worship Audio(continued from page 56)

Documents

Pro Audio Review May 2011