Archive for Gear Reviews

PreSonus Studio One Pro 1.5

By anthony | Published

The PreSonus Studio One Pro 1.5 is everything you need without any annoying “extras” that don’t really add anything extra. In fact, this software is purely functional, and the 1.5 version brings some great updates and additions that the first release didn’t have. All of the most useful and necessary DAW features are here with a few great innovations that makes the PreSonus Studio One Pro 1.5 a must have software package.

The package is powered by a top of the line 64-bit mix engine that uses double-precision math. It will perform at these specifications even on a 32-bit operating system, so it doesn’t matter what you’re running. The mixer has complete automatic delay compensation available on every channel, and Studio One even has a built-in plug-in that treats hardware inserts as plug-ins and offers manual delay compensation for them.

Worried about the time it takes to learn a complex DAW package? No need—Studio One Pro 1.5 is incredibly intuitive and easy to learn. Everything is laid out in such a way that there’s no confusion over where controls are. Even the most advanced features are easy to configure and use. The screen isn’t cluttered up with different interfaces or panels, either, and you can easily pull up the basic controls for any of the various plug-ins that the package comes with. Likewise, you can quickly and easily map various commands to different keys on your keyboard to make it very easy to access often-used commands.

All in all, Studio One is certainly a top of the line professional DAW package that offers flexibility, versatility, and great quality. The interface is easy to pick up and use, and there are many great little touches that make Studio One stand out above other packages. Continue reading »

TC Electronic M300

By anthony | Published

The TC Electronic M300 is a dual multi-effects processor that is very easy to use and features a variety of different reverbs and effects. The rackmount box is quite slim, but don’t let size fool you. It pulls anywhere from 100 to 240 volts of power and has a four TRS jack sockets (two in, two out). It uses 24-bit S/PDIF connecters for digital interfacing, and it is capable of A-D conversion via operating both the analogue and the digital outputs simultaneously. TC Electronic M300 The unit also has two MIDI sockets and a footswitch socket that gives operators access to bypass capability.

The front of the TC Electronic M300 does not include an LCD display, something most multi-effects units use. Instead, it employs a very simple layout of different switches and knobs, and while it’s simple, it’s also quite intuitive and very easy to use. You’ll find a level control, a mix control, and an effect balance control on the front as well as operating lights that indicate the signal level via different colors. It’s not the best indicator system, but it works. There are also buttons for digital input and Bypass.

The device also features controls for the multi-effects engine, one of the major parts of the TC Electronic M300. You can use the main dial to select your algorithm, then use the other two dials to select different delays, phasers, tremolos, and delay algorithms. These two controls have various different functions that change depending on which main processing algorithm you have selected. This helps keep the M300 controls simple even though there is no LCD screen.

Once you’ve got your M300 up and running, you’ll find it has a nice range of effects and is quite flexible. The interface does just what you ask it to, and there’s no tiny little LED screen to try to read. It gives you immediate control of everything, and the effects and reverbs are quite solid. Everything most people need is right on the knobs and dials, and it all comes together in a competent, solid machine. Continue reading »

Posted in Gear Reviews | Tagged multi-effects processor, TC Electronic, TC Electronic M300 | Leave a comment

Apogee AD-8000 Review

By anthony | Published

Apogee AD-8000 At the Summer NAMM in 1997, Apogee Electronics released the AD-8000, to date the company’s most inclusive analog to digital converter. The new device was met with a great amount of praise from professionals and the general public. The AD-8000 was created to offer an inexpensive 8-channel digital audio device that featured true 24-bit conversion and optional interface and D/A cards. Like many of Apogee’s converters, it also features their UV22 and Soft Limit processes, something no other company offers. The AD-8000 is priced so that both large and small studio owners can afford it.

The AD-8000’s eight channels give users outstanding audio quality, including a range of more than 114 dB and THD+Noise of more than -108 dB. It includes AES/EBU outputs, and the Apogee multimedia Bus allows installation of up to four interface cards. These optional cards include the Tascam TDIF, the Alesis ADAT, the AES, and Digidesign’s Pro Tools, and multi-channel conversions can be done between any of the available cards. Both S/PDIF and AES/EBU inputs are also provided to allow for processing external digital sources, and the AD-8000 includes an S/PDIF output as well.

APOGEE AD-8000 24 BIT 8 CH DACS OPERATOR'S MANUAL BOUND

US $34.99

26d 7h 45m

In addition to this hardware, expansion cards for stereo and for 8-channel 24-bit D/A are also included, giving users the option of making the AD-8000 into a complete conversion system. The source/destination switching allows for digital track bouncing, monitoring, and overdubbing features. Apogee’s proprietary software, Soft Limit, allows for maximum level without overs, while the UV22 technology translates 24-bit high resolution output into lower resolution formats.

Another feature of the AD-8000 is its metering system, which features a six-mode bar-graph interface. It displays peak and average ballistics in addition to two-second and infinite hold. Overs are shown numerically, and users can define them. The device can also synchronize to a variety of different sample rates and external signals. For those looking for video sync, an expansion card is available. Internal 44.1 and 48 kHz sample rates are included, and any external sync rates are re-clocked using Apogee’s patented Low Jitter Clock. All of this technology is contained within a 2U rack-mounted unit that features a unique purple front panel. It retails for less than $6,000.

Antares Vocal Producer AVP-1 Review

By dblacker | Published

It's a rare thing for a software company to come out with a hardware based version of their widely used software processors, but that is exactly what we have in the Antares AVP-1 Vocal Producer.

The AVP comes in a 1U sized enclosure and features:

* Tube Mic Modeling & Emulation
* Pitch Correction
* Dynamics (Compression, Gate & De-esser)
* 2 Band Parametric Equalizer

The device can be used both live and as an vocal insert during your final mix. The 1 Chanel AVP-1 was created to function as an insert effect i.e. the standard mic pre that comes with traditional channel strips has been replaced with 1/4 inch unbalanced (-10dBV) line level I/O's. The secondary output marked "Double Track" delivers the dry signal when the Auto Tune feature is engaged within the primary signal path, or when there is a signal that has been Auto-Tuned at the same time that the primary signal is not being pitch corrected.

The unit is fairly cut and dry from a usability standpoint which is nice. Every process in the signal chain comes with a on/off switch that lights up and is surrounded by 2 to 5 buttons for parameter selections. You have 5 segment meters that display levels for input, output, gain, pitch & de-essing. For more detailed metering you pull up stats on the small LCD screen.

The unit also allows you to save and recall presets and assign parameters through Midi I/O. It also comes with a footswitch that enables you to scroll through your presets and/or bypass the entire unit or a single patch with a simple stomp.

The Mic Modeler is an extension of an earlier Antares release entitles Spectral Shaping Tool, which would put out and track short pulses of sound, interpret the content of the frequency and create a plugin filter to enhance or emulate the response and allow you to apply to something else.

You start with a selection of 20 mic models, covering the spectrum of popular configurations from condenser to dynamic and large diaphram. In general the mic modeler kind of worked like a bunch of eq presets which I appreciated. In my opinion it's just a cool option to play with but not meant to be taken too literally,

The pitch correction is in my opinion the meat and potatoes of this piece. A little bit from this unit goes a long way. The are very few settings needed to get this gear working and on the whole I would really recommend it as a great piece for the home studio,

Posted in Gear Reviews | Tagged Antares Vocal Producer, Antares Vocal Producer AVP-1 Review, AVP-1 Review | Leave a comment

Universal Audio UAD-2 Solo Laptop Review

By dblacker | Published

UAD2_sololaptop universal audio uad-2 solo laptop review

Posted in Gear Reviews | Leave a comment

Archive for Gear Reviews

PreSonus Studio One Pro 1.5

TC Electronic M300

Apogee AD-8000 Review

Related Videos for the Apogee AD-8000

Antares Vocal Producer AVP-1 Review

Universal Audio UAD-2 Solo Laptop Review