Archives
August 2010
August is the hottest part of the summer, and our August issue covers the hottest and fastest-changing topic in the modern personal studio: the Digital Audio Workstation, or DAW. We revisit this rapidly changing landscape on a regular basis to touch on new and vital developments of interest to our readers, and our August issue is no exception!
In this issue, we look at new developments and new ways of working in the computer-based studio. Beto Hale takes us through the composing process for a Hollywood stage spectacle, where sometimes the correct answer to the familiar question of “Which DAW is best?” is “All of them at once!”. New writer Darrell Burgan reveals the pitfalls and unexpected delights of a computer running Windows audio software... without running Windows. And Devon Brent explains how he’s watching recent and current trends in audio computer hardware, to determine the best time to upgrade his computer to one that will last him for years to come.
And there are reviews galore, too! On the software side, Mike Metlay dives into new DAW contender PreSonus Studio One, and Allen Goodman discusses the thrills and chills of upgrading to Cakewalk’s SONAR 8.5. And in hardware, we look at ways to add power to your DAW without buying a new computer: audio interface and control surface solutions from Steinberg for beginning and advanced users alike, a new disk array from Glyph Technologies, and the incredible Muse Research Receptor 2—a one-cable way to massively multiply your DAW’s ability to handle plug-ins and virtual instruments.
Outside the computer, we have a review of AEA’s beautiful new A840 ribbon mic, an interview (or two) that will thrill our guitar-playing readers, our latest look at the legalities of making and recording music for a living with ace music lawyer Todd Gascon and industry veteran Bruce Kaphan, and much more. Whether you rely on your computer for your music making or go old-school all the way, you’ll find something to broaden your horizons in the August RECORDING!
Pick it up now on the newsstand... and so you get your next issue early (and save on cost), why not hit the big red Subscribe Now button on this page and have RECORDING delivered to your door each month?
PreSonus Studio One
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Reviewed by
Mike Metlay
PreSonus Studio One |
Reviewed by
Mike Metlay
There’s a new DAW in the arena... here’s a first look at what it offers.
PreSonus, known up to now for its audio hardware, has released a new DAW called Studio One. It’s touted as a clean slate of sorts... a brand-new progra......Expand
There’s a new DAW in the arena... here’s a first look at what it offers.
PreSonus, known up to now for its audio hardware, has released a new DAW called Studio One. It’s touted as a clean slate of sorts... a brand-new program with lots of useful features but no “bloat”, a refreshing alternative to the many over-updated and unwieldy DAWs out there. With many established DAW products fighting to keep their user communities and to lure users away from one another, how does this newcomer fare?...
Read more in the August 2010 issue of RECORDING!
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AEA A840 Active Ribbon Mic
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Reviewed by
Scott Dorsey
AEA A840 Active Ribbon Mic |
Reviewed by
Scott Dorsey
The legendary AEA legacy in a new and intriguing active format.
This is how AEA (Audio Engineering Associates) introduced the A840 microphone at last year’s AES convention in New York: “...a powered version of the acclaimed ......Expand
The legendary AEA legacy in a new and intriguing active format.
This is how AEA (Audio Engineering Associates) introduced the A840 microphone at last year’s AES convention in New York: “...a powered version of the acclaimed R84 microphone. The A840 gives you the same award-winning sound, but with the hotter signal of an active microphone that yields a lot more versatility both in usage and choice of mic pre.”...
Read more in the August 2010 issue of RECORDING!
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Reviewed and Revisited
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Reviewed by
Allen Goodman
Reviewed and Revisited |
Reviewed by
Allen Goodman
What’s new and (very!) cool in Cakewalk SONAR 8.5.
Let’s take a short walk down memory lane. Who remembers things like DOS (before Windows), like setting DIP switches for IRQ settings on a MM-401 ISA card, or having a total ......Expand
What’s new and (very!) cool in Cakewalk SONAR 8.5.
Let’s take a short walk down memory lane. Who remembers things like DOS (before Windows), like setting DIP switches for IRQ settings on a MM-401 ISA card, or having a total of 16 channels of MIDI as state of the art? Who remembers MIDI sequencing software called CakeWalk, from a newcomer named TwelveTone Systems Inc.?
I do, because that’s how far back I go with Cakewalk, back to before the company was even called Cakewalk. Back before there was such a thing as Windows, and long before Cakewalk—the MIDI sequencer—became SONAR the Digital Audio Workstation (DAW).
I don’t upgrade just for the heck of it—if it weren’t for the opportunity to do this review I would still be on SONAR 5 Producer Edition—I was used to it, and it worked quite well for me. But I can now report on the (long overdue) upgrade to SONAR 8.5. I won’t have space to list every conceivable new feature—the website can show you that. Instead I’ll present the “wow” and the “fun” factor items.
Read more in the August 2010 issue of RECORDING!
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Steinberg CC121, MR816 x/MR816 CSX, and CI2
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Reviewed by
Paul Vnuk Jr
Steinberg CC121, MR816 x/MR816 CSX, and CI2 |
Reviewed by
Paul Vnuk Jr
A desktop control surface, powerful rack FireWire interfaces, and a beginner-friendly all-in-one interface controller, all fine-tuned to rock the house with Cubase and Nuendo.
While audio interfaces are legion, an interestin......Expand
A desktop control surface, powerful rack FireWire interfaces, and a beginner-friendly all-in-one interface controller, all fine-tuned to rock the house with Cubase and Nuendo.
While audio interfaces are legion, an interesting trend over the past few years has been the introduction of models with a DAW-specific focus; this trend also includes various styles of control surfaces.
Today we are focusing on four such Steinberg products, built in partnership with Yamaha, that carry the Steinberg-given moniker Advanced Integration. There are three audio interfaces that can work with any DAW—the rackmount FireWire MR816 X and MR816 CSX, the CI2 desktop USB interface. We also tested the CC121, a USB control surface that is designed to work with Cubase only...
Read more in the August 2010 issue of RECORDING!
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Glyph GT062E
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Reviewed by
Lorenz Rychner
Glyph GT062E |
Reviewed by
Lorenz Rychner
Reliable rackable RAID for your recording rig.
Glyph aims its products at people like recording musicians and video producers, with their tight production schedules, increasing track counts, and growing sample libraries. The......Expand
Reliable rackable RAID for your recording rig.
Glyph aims its products at people like recording musicians and video producers, with their tight production schedules, increasing track counts, and growing sample libraries. The GT 062E is a rackmountable data storage solution for users who need more space that’s fast and reliable, and it can be configured in various ways to maximize data safety or drive performance...
Read more in the August 2010 issue of RECORDING!
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RECORDING's Showcase of Sounds
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Reviewed by
Lorenz Rychner
RECORDING's Showcase of Sounds |
Reviewed by
Lorenz Rychner
SONiVOX Playa Hip Hop Instrument.
SONiVOX, the brand from the company Sonic Network, long known for the Sonic Implants product line, has dedicated three Virtual Instrument volumes to the style of Hip Hop: Sampla, Hip Hop Str......Expand
SONiVOX Playa Hip Hop Instrument.
SONiVOX, the brand from the company Sonic Network, long known for the Sonic Implants product line, has dedicated three Virtual Instrument volumes to the style of Hip Hop: Sampla, Hip Hop Strings, and Playa, the volume under review...
Read more in the August 2010 issue of RECORDING!
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Muse Research Receptor 2
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Reviewed by
Allen Goodman
Muse Research Receptor 2 |
Reviewed by
Allen Goodman
This powerful rack processor massively increases your DAW’s power—with no hassle.
When I received the Receptor 2 Pro from Muse Research, my first thought was, “Hmmm, okay, it’s a rack-mounted computer with a custom-optimized......Expand
This powerful rack processor massively increases your DAW’s power—with no hassle.
When I received the Receptor 2 Pro from Muse Research, my first thought was, “Hmmm, okay, it’s a rack-mounted computer with a custom-optimized Linux OS, and some built-in audio routing that loads VSTs... No big deal, right?”
Wrong. My assumptions couldn’t have been more misplaced if they were on Jupiter. This thing rocks! If it weren’t for the potential for bodily harm from Recording’s Mike Metlay, I would never give it back. Here’s why....
Read more in the August 2010 issue of RECORDING!
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Plug-in Outlet
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Reviewed by
Paul Vnuk Jr
Plug-in Outlet |
Reviewed by
Paul Vnuk Jr
brainworx bx_digital V2 equalizer; PSP oldTimer compressor.
Typically software equalizers come in one of three varieties—vintage emulations of famous hardware, the ultra-tweaky surgical variety with a gazillion frequency ban......Expand
brainworx bx_digital V2 equalizer; PSP oldTimer compressor.
Typically software equalizers come in one of three varieties—vintage emulations of famous hardware, the ultra-tweaky surgical variety with a gazillion frequency bands, and the no-frills, functional eq built into the channels of every DAW. Rarely does a software eq come along that shakes up the paradigm a bit. Until now.
The bx_digital V2 is the brainchild of principal Brainworx plug-in designer Dirk Ulrich. While his name may not be on the tip of your tongue, Dirk has lent his talents to and consulted on the creation of many of today’s top-regarded plug-ins from different companies. In other words, if there was a true rock star of the plug-in universe, Dirk is it! It also lets you know that when he keeps a design for himself rather than letting another company put its name on it, you should most definitely take a look...
Read more in the August 2010 issue of RECORDING!
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Running Your Studio Under Linux
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Reviewed by
Darrell Burgan
Running Your Studio Under Linux |
Reviewed by
Darrell Burgan
Can the famed open-source operating system really beat Windows at its own game for audio power users? Here’s one intrepid explorer’s tale...
For a long time, computer-based musicians have had only two realistic paths forward......Expand
Can the famed open-source operating system really beat Windows at its own game for audio power users? Here’s one intrepid explorer’s tale...
For a long time, computer-based musicians have had only two realistic paths forward: the Microsoft way, and the Apple way. Linux has always had a lot of promise as a third alternative—it’s stable, powerful, runs on many Intel-based computers (generally the ones you’d normally buy or build to run Windows), relatively free from viruses and other malware, and perhaps most important, it’s open-source. That means it’s constantly being developed by a worldwide community of experts rather than a single company with its own agenda, it grows and responds to its users’ needs in ways that commercial operating systems can’t—and it’s free!
In the past, Linux has earned the reputation of being overly technical, hard to use, and difficult to learn. But new Linux distributions (called “distros”) like Ubuntu and others are quickly closing the usability gap, and beg the question: can a musician who isn’t a software whiz be productive and comfortable in modern Linux? Has a third path forward finally opened up?...
Read more in the August 2010 issue of RECORDING!
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Jennifer Batten
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Interviewed by
Bruce Kaphan
Jennifer Batten |
Interviewed by
Bruce Kaphan
The famed guitar shredder discusses the recording of her new album Whatever.
I like to tell my production clients that a good recording has “legs”; you just never know who might be listening to your music, or when and where ......Expand
The famed guitar shredder discusses the recording of her new album Whatever.
I like to tell my production clients that a good recording has “legs”; you just never know who might be listening to your music, or when and where they might be doing it. My first and only solo album to date, Slider–Ambient Excursions for Pedal Steel Guitar, never was promoted or released in Japan, but when I went there I heard it being used as underscore on NHK, the Japanese network. Recently, out of the blue, I received an email from Jennifer Batten. She wanted to let me know that she had just discovered Slider quite by accident–her massage therapist played it during a recent visit.
Jennifer Batten is an extraordinary guitarist who’s been touring and recording with people like Michael Jackson and Jeff Beck since the ‘80s. She was kind enough to send me her latest work, Whatever. I don’t call it an album, because it’s so much more than just an album. Adorned by a beautiful surrealistic cover painting by Chuck E. Bloom, the jewel case contains both a music CD and a DVD. The CD has 10 tracks of extraordinary music. The DVD contains music videos for numerous tracks on the CD, music videos for another four tracks, a guitar lesson (!), and more. Jennifer sells this on her website for $19.95! The guitar lesson alone is worth well more than that...
The most striking element is Jennifer’s searing guitar playing, but the production, combining elements of electronica, hip hop, blues, rock and funk, really feels so fresh and imaginatively done that—when tied to her absolutely masterful guitar playing—the music strikes me as a perfect melding of old-school hard work and contemporary technology. I simply had to ask her how she does it...
Read more in the August 2010 issue of RECORDING!
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Recording the Music for a Theatre Play
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Written by
Beto Hale
Recording the Music for a Theatre Play |
Written by
Beto Hale
A Los Angeles composer uses three DAWs to create music for a well-respected stage show. Why three? Read for yourself!
Late last fall, I was recommended by my good friend and former Berklee classmate Cheche Alara, a well-know......Expand
A Los Angeles composer uses three DAWs to create music for a well-respected stage show. Why three? Read for yourself!
Late last fall, I was recommended by my good friend and former Berklee classmate Cheche Alara, a well-known keyboardist, musical director, composer and producer who has worked extensively with the likes of Christina Aguilera (www.chechealara.com), to write and record four songs and two instrumental pieces for a play to be premiered in mid-November at the Los Angeles Theatre Center in Downtown Los Angeles. Sponsors included Target, Boeing and the Walt Disney Company.
The playwright and director was Luis Ávalos, a respected TV and film character actor who was part of the ensemble cast of that beloved 1970s PBS show The Electric Company, and who recently appeared in the film The Ringer. The play is called Pachamanca: Mother Earth, a one-hour piece with an environmental message.
I jumped at the chance to participate in this project, and met with Mr. Ávalos a few days later...
Read more in the August 2010 issue of RECORDING!
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RECORDING's Guitar Column
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Written by
Brian Tarquin
RECORDING's Guitar Column |
Written by
Brian Tarquin
Steve Lipson, engineer for Jeff Beck, shares some of the guitar hero’s tone secrets.
Where do you begin to describe the illustrious and diverse career that the guitar icon Jeff Beck has enjoyed for the past half century? He ......Expand
Steve Lipson, engineer for Jeff Beck, shares some of the guitar hero’s tone secrets.
Where do you begin to describe the illustrious and diverse career that the guitar icon Jeff Beck has enjoyed for the past half century? He is the quintessential guitarist’s guitarist and has received the Grammy Award for Best Rock Instrumental Performance five times. In 2009 he was inducted into the Rock And Roll Hall of Fame, the award presented by his old friend and former Yardbirds bandmate Jimmy Page.
Producer/engineer Steve Lipson was in charge of Beck’s most recent release, Emotion & Commotion. Steve has worked with numerous artists, including The Animals, Frankie Goes to Hollywood, Whitney Houston, Grace Jones, Jars of Clay, Paul McCartney, Pet Shop Boys and Simple Minds. He also produced Annie Lennox’s first three solo albums.
Not surprisingly, Steve started out as an engineer for The Rolling Stones, soon becoming a protégé of Trevor Horn at ZTT. In the UK there is a certain importance to having worked with Trevor Horn, and Steve has used that experience very much to his advantage. I had the pleasure of speaking with Steve Lipson on how one might go about recording an international guitar hero such as Jeff Beck...
Read more in the August 2010 issue of RECORDING!
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It’s Your Music—Know Your Rights. Chapter 5: The Business End—Part 2
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Written by
Bruce Kaphan and Todd Gascon
It’s Your Music—Know Your Rights. Chapter 5: The Business End—Part 2 |
Written by
Bruce Kaphan and Todd Gascon
We return to the discussion of business entities and keeping it legal with the tax man... this time in your local area and state.
Last month we laid out how the federal government impacts what you can and cannot do as you go......Expand
We return to the discussion of business entities and keeping it legal with the tax man... this time in your local area and state.
Last month we laid out how the federal government impacts what you can and cannot do as you go about your business—mostly this involves the IRS. Your taxes—how much you pay and how you pay—will largely depend on the type of business entity you operate. Last month Todd described the following, with advantages and potential pitfalls: Sole Proprietorship; Partnership; Corporation; Limited Liability Company.
After a quick revisit of the business entities I (Bruce) will proceed to the ways your state and county and city/town all have an impact on what you can and cannot do as you go about your business...
Read more in the August 2010 issue of RECORDING!
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Fade Out
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Written by
Devon Brent
Fade Out |
Written by
Devon Brent
What, Me Upgrade? No—And Here’s Why!
I haven’t done a meaningful upgrade of my DAW for almost five years now, aside from a new hard drive, or replacing faulty parts like a power supply or motherboard, etc.. That is a big cha......Expand
What, Me Upgrade? No—And Here’s Why!
I haven’t done a meaningful upgrade of my DAW for almost five years now, aside from a new hard drive, or replacing faulty parts like a power supply or motherboard, etc.. That is a big change for someone who used to upgrade every six to nine months to keep up on the needed “power curve”. Why have I not upgraded? It boils down to three major reasons...
Read more in the August 2010 issue of RECORDING!
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