Archives
March 2013
It's March, and we're springing into the world of plug-ins and virtual instruments in this month's RECORDING! Come along and get schooled on the latest and greatest audio software for effects processing and virtual instrument performance, with a hefty helping of tutorial information that will have your DAW humming along nicely.
Trying to get a Windows PC to run audio software smoothly can be a daunting process; Devon Brent takes you through the process of refining and optimizing your PC for maximum power, pointing out potential pitfalls and guiding you around them to musical success.
We got a gaggle of plug-ins and virtual instruments reviewed in this issue. Paul Vnuk Jr. provides in-depth examinations of the latest Universal Audio plug-ins, emulating gear from Shadow Hills and providing an easy implementation of famed mastering engineer Bob Katz's K-Stereo ambience processor, and does a one-to-one comparison of Kush Audio's Clariphonic parallel equalizer in its hardware and software forms; Devon Brent examines new plug-ins from 2C Audio, Eventide, and Rob Papen; and we add products from Massey Plug-ins, iZotope, PSP Audioware, and more.
And that's not all! John Rossi III checks out all the improvements in Acoustica's Mixcraft 6 DAW, Paul Vnuk Jr. takes Steinberg's sexy new CMC controllers out for a spin, and on the hardware side, we review MXL's newest affordable mic, and there's an in-depth look at the powerful and affordable Behringer X32 digital console.
The issue rounds out with a new Mixing Workshop with Sean Shannon, Recording Fundamentals with Eric Ferguson continuing its look at the acoustics of the studio "sweet spot", Readers' Tapes with Marty Peters, and more. Whether you're a novice trying to get plug-ins to run smoothly in your DAW, an expert looking for the newest products and tweakiest tips, or a recording musician in need of knowledge and advice on everything from mixers to mics, you won't want to miss the March 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?
Behringer X32
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Reviewed by
Allen Goodman and Mike Metlay
Behringer X32 |
Reviewed by
Allen Goodman and Mike Metlay
This digital console is equally at home in the studio or on stage, and offers massive flexibility at a remarkably low price.
Behringer has been in the business of building audio gear with more features for less money for a l......Expand
This digital console is equally at home in the studio or on stage, and offers massive flexibility at a remarkably low price.
Behringer has been in the business of building audio gear with more features for less money for a long time, but what many of our readers probably don't realize is that Behringer has also been in the digital console business for a long time. Way back in our January 2003 issue -- yes, just over a decade ago! -- we featured a review of the Behringer DDX3216, a 32-input, 16-bus digital mixer with a fairly unusual form factor and surprisingly big feature set at what was then a ridiculously low price: just a hair over $2000 fully loaded. But it only had 12 analog inputs, the effects and routing options were primitive by today's standards, it couldn't talk to a computer easily, and while it sported a decent-sized LCD, finding your way around wasn't always as straightforward as it could be.
Ten years later, Behringer has released the X32, which raises the bar in pretty much every department -- the front panel proudly says "powered by MIDAS" and the board's sonic quality and massive feature set bespeaks the marque of that well-respected maker, now part of the MUSIC Group of companies alongside Behringer and Klark-Teknik. The X32 is intended for both live use and in the recording studio, and as we'll see, sports some pretty important innovations allowing it to seamlessly move from one application to the other as well as enabling easy live multitrack recording from Front Of House. And yet again, it does all this at a price that most users would consider insane...
Read more in the March 2013 issue of RECORDING!
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MXL CR30 Large-Diaphragm Condenser Microphone
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Reviewed by
Paul Vnuk Jr.
MXL CR30 Large-Diaphragm Condenser Microphone |
Reviewed by
Paul Vnuk Jr.
An attractive new look for a very capable new series of MXL mics; the CR30 offers some welcome surprises.
The CR30 is a shiny new microphone from MXL, and I mean literally this thing is SHINY. That's because the CR30 is the ......Expand
An attractive new look for a very capable new series of MXL mics; the CR30 offers some welcome surprises.
The CR30 is a shiny new microphone from MXL, and I mean literally this thing is SHINY. That's because the CR30 is the cornerstone of a new line of microphones from MXL to feature a gorgeous black chrome finish. Currently there are two other models in the line, the vocal-centric CR24 and the CR24p pencil condenser, both sold exclusively in the CR24 recording kit.
The CR30 is one of MXL's microphones for the budget-conscious, with a list price of a mere $200 making it well suited to the beginner...
Read more in the March 2013 issue of RECORDING!
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Steinberg CMC Series USB Controllers For Cubase
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Reviewed by
Paul Vnuk Jr.
Steinberg CMC Series USB Controllers For Cubase |
Reviewed by
Paul Vnuk Jr.
Six different control surfaces for this popular DAW allow you to mix and match to your exact needs.
If your DAW of choice is Cubase and you're lusting after a control surface to wean yourself off the mouse, take a look at th......Expand
Six different control surfaces for this popular DAW allow you to mix and match to your exact needs.
If your DAW of choice is Cubase and you're lusting after a control surface to wean yourself off the mouse, take a look at these six dedicated Cubase-specific modules that Steinberg has launched. They represent an economical, flexible approach to building your very own perfect control setup...
Read more in the March 2013 issue of RECORDING!
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RECORDING's Showcase of Sounds: Rob Papen Punch.
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Reviewed by
Devon Brent
RECORDING's Showcase of Sounds: Rob Papen Punch. |
Reviewed by
Devon Brent
Here's a flexible and great-sounding construction kit for beats that, well, punch!
Powerful and compelling digital drum sounds, alone or mixed with live drums, are a vital element of modern music production in styles ranging......Expand
Here's a flexible and great-sounding construction kit for beats that, well, punch!
Powerful and compelling digital drum sounds, alone or mixed with live drums, are a vital element of modern music production in styles ranging from pop and hip hop/R&B to electronic dance music and even some genres of rock. Loop libraries are one option for recording musicians and engineers/producers in these genres, but many rhythm creators prefer to build beats on their own with hardware or software drum machines, either loaded with single-hit samples or using synthesis to generate drum sounds on the go.
For folks like that, the search for the "ultimate" drum sound generator is an endless but enjoyable journey. So naturally Rob Papen's entry into this realm, called Punch, piqued my curiosity...
Read more in the March 2013 issue of RECORDING!
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Plug-in Outlet: 2C Audio B2
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Reviewed by
Devon Brent
Plug-in Outlet: 2C Audio B2 |
Reviewed by
Devon Brent
An algorithmic reverb program that offers exceptional programmability and an engaging range of lush timbres.
2CAudio labels this product as going well beyond the boundaries of what's normally expected from a reverb plug-in: ......Expand
An algorithmic reverb program that offers exceptional programmability and an engaging range of lush timbres.
2CAudio labels this product as going well beyond the boundaries of what's normally expected from a reverb plug-in: "...a modular, dual-engine, non-linear spatial processor featuring built-in harmonic distortion and flexible dynamics [...] capable of both mind-bending creative effects that defy classification as well as stunningly lush reverbs." Mike Metlay reviewed 2CAudio's previous reverb plug-ins, the powerful Aether (October 2009) and relatively processor-friendly Breeze (September 2011), and was suitably impressed. The company's third outing, called B2, is said to surpass the previous offerings. Just how good is it? Let's find out...
Read more in the March 2013 issue of RECORDING!
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Universal Audio Precision K-Stereo and Shadow Hills Mastering Compressor
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Reviewed by
Paul Vnuk Jr.
Universal Audio Precision K-Stereo and Shadow Hills Mastering Compressor |
Reviewed by
Paul Vnuk Jr.
The two newest plug-ins for the UAD-2 effects engine offer subtle and beautiful ambience control and rich, powerful dynamics processing. Also: a quick look at the new UAD-2 OCTO card.
In our January 2013 issue we ran Darwin ......Expand
The two newest plug-ins for the UAD-2 effects engine offer subtle and beautiful ambience control and rich, powerful dynamics processing. Also: a quick look at the new UAD-2 OCTO card.
In our January 2013 issue we ran Darwin Grosse's in-depth tour of Universal Audio's Apollo high-resolution audio interface with realtime UAD plug-in processing. This month we look at two of UA's newest plug-ins, which are available for the Apollo as well as for the company's UAD-2 DSP cards.
Originally developed by Bob Katz for Algorithmix, Precision K-Stereo is the newest member of Universal Audio's Precision line of UAD plug-ins that also includes a Buss Compressor, Limiter, De-Esser, a pair of Frequency Enhancers (Hz & kHz), a Mastering EQ, Multi-Band Compressor and a level Maximizer...
Read more in the March 2013 issue of RECORDING!
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Reviewed & Revisited: Acoustica Mixcraft 6
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Reviewed by
John Rossi III
Reviewed & Revisited: Acoustica Mixcraft 6 |
Reviewed by
John Rossi III
More content, a streamlined user interface, and extensive new features (including video integration) make the new version of this "budget-level DAW" a serious contender.
Mixcraft 6 and Mixcraft Pro Studio 6 are the latest ve......Expand
More content, a streamlined user interface, and extensive new features (including video integration) make the new version of this "budget-level DAW" a serious contender.
Mixcraft 6 and Mixcraft Pro Studio 6 are the latest versions of this DAW for Windows XP/Vista/7/8, and both live up to the motto of Acoustica, which is that "software should be easy to use!".
This is the third time we've looked at Mixcraft, and it's amazing how far the program has progressed since Version 4. While Version 5, reviewed in our October 2010 issue, was an easy-to-learn and versatile DAW that could be used in almost any situation, it did have a few limitations in functionality. Mixcraft 6 is an incremental upgrade, with changes and added content that greatly increase the DAW's usefulness. Mixcraft 6 and Mixcraft Pro Studio 6 both share the same upgrades in functionality, while the Pro version, at twice the price, includes more virtual instruments and powerful new effects. Let's jump in....
Read more in the March 2013 issue of RECORDING!
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Plug-in Outlet: Massey Plugins CT5 Compressor
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Reviewed by
Bill Stunt
Plug-in Outlet: Massey Plugins CT5 Compressor |
Reviewed by
Bill Stunt
The newest version of this Pro Tools compressor offers a sweet and easily controllable sound.
Massey Plugins is a small company, a 3-man operation headed up by former Digidesign software engineer Steven Massey. Despite its s......Expand
The newest version of this Pro Tools compressor offers a sweet and easily controllable sound.
Massey Plugins is a small company, a 3-man operation headed up by former Digidesign software engineer Steven Massey. Despite its small size, this company has been knocking out big league Pro Tools plug-ins since 2006; a quick scan of the perennial "best Pro Tools plug-ins" lists put together by various user and support groups on the Internet invariably turns up various Massey plug-ins in many users' Top Ten.
Along with the CT5 Compressor under review today, Massey offers a full suite of plug-ins, including DRT, a handy, easy-to-use drum replacement tool. The latter is not unlike Avid's Drum Rehab, which, as it turns out, the aforementioned Mr. Massey had a hand in developing while in the employ of Trillium Labs, where he also helped design and develop TL Aggro and TL Space. Not a bad CV!...
Read more in the March 2013 issue of RECORDING!
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Kush Audio Clariphonic Parallel Equalizer and Clariphonic DSP Plug-in
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Reviewed by
Paul Vnuk Jr.
Kush Audio Clariphonic Parallel Equalizer and Clariphonic DSP Plug-in |
Reviewed by
Paul Vnuk Jr.
Hardware or software, these fascinating equalizers produce high-end magic on your mixes.
Kush Audio came to life a good five years ago when noted audio engineer Gregory Scott (nicknamed UBK) came up with a custom mod for the......Expand
Hardware or software, these fascinating equalizers produce high-end magic on your mixes.
Kush Audio came to life a good five years ago when noted audio engineer Gregory Scott (nicknamed UBK) came up with a custom mod for the Empirical Labs EL 7 Fatso Jr. The UBK Edition Fatso kept the original's transformer and warmth sections largely intact, but altered the seven preset compression ratios and settings to make the unit better suited to individual instrument tracking and mixing compared to the original's bent towards buss compression and tape simulation. It also sported a new light-coffee brown face plate that has since become the look of the Kush Audio line. If you are interested in an in-depth look at the entire Fatso family (including the Universal Audio UAD-platform plug-in version) and their differences, please check out the comparison review in our May 2011 issue.
The Kush line has grown to include a modular monitor controller named the Gain Train, a unique compression/saturation/density plug-in dubbed the UBK-1 (look for an upcoming review), a new equalizer announced at this year's AES called the Electra, and the pair of products we are looking at today: the Clariphonic Parallel Equalizer and its plug-in counterpart, the Clariphonic DSP....
Read more in the March 2013 issue of RECORDING!
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Plug-in Outlet: Eventide H3000 Factory
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Reviewed by
Devon Brent
Plug-in Outlet: Eventide H3000 Factory |
Reviewed by
Devon Brent
Selected processes from the genre-defining rackmount Harmonizer give you major multi-effects power in an easy-to-use format.
One or another of the rackmount units in the Eventide Ultra-Harmonizer Effects System, with their i......Expand
Selected processes from the genre-defining rackmount Harmonizer give you major multi-effects power in an easy-to-use format.
One or another of the rackmount units in the Eventide Ultra-Harmonizer Effects System, with their instantly recognizable keypad and Big Knob on the front, will be in evidence on most big stages and in most big studios around the world. Previously these were only available in hardware form and as TDM plug-ins for Pro Tools. Now a "Big Knob" effects processor is available in native format for the PC and Mac. What's all the hub-bub about? Let's find out....
Read more in the March 2013 issue of RECORDING!
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Reviewed & Revisited: iZotope Alloy 2
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Reviewed by
John Rossi III
Reviewed & Revisited: iZotope Alloy 2 |
Reviewed by
John Rossi III
How do you improve on an exceptional channel-processing plug-in? By adding new features and an overall power boost to the sound engine, that's how.
We last looked at iZotope's Alloy in our September 2010 issue. We concluded......Expand
How do you improve on an exceptional channel-processing plug-in? By adding new features and an overall power boost to the sound engine, that's how.
We last looked at iZotope's Alloy in our September 2010 issue. We concluded at the time that Alloy was a channel strip that sounded fantastic, was easy to use, was very light on CPU resources, and that could complement any DAW. After the passage of a couple years, iZotope has released Alloy's successor, Alloy 2. Does the upgrade really improve on the awesomeness of iZotope's initial release?...
Read more in the March 2013 issue of RECORDING!
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Plug-in Outlet: PSP Audioware PSP BussPressor
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Reviewed by
Paul Vnuk Jr.
Plug-in Outlet: PSP Audioware PSP BussPressor |
Reviewed by
Paul Vnuk Jr.
This compressor provides fine dynamic control over your 2-mix, and more.
At 30 available plug-ins and growing, Poland's PSP Audioware is one of the more prolific plug-in companies around, with a reputation for plug-ins that ......Expand
This compressor provides fine dynamic control over your 2-mix, and more.
At 30 available plug-ins and growing, Poland's PSP Audioware is one of the more prolific plug-in companies around, with a reputation for plug-ins that nail the analog sound at a price that is ridiculously affordable. One thing that PSP does really well is in-the-box compression, from its now legendary Vintage Warmer to the highly respected oldTimer compressor (reviewed August 2010).
Both of those plug-ins focused on a more tube-based vintage bloom. This time around PSP Audioware tackles the sound of classic forward VCA buss compression in its new, aptly named PSP BussPressor...
Read more in the March 2013 issue of RECORDING!
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Plug-in Performance on Windows-based DAWs
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Written by
Devon Brent
Plug-in Performance on Windows-based DAWs |
Written by
Devon Brent
There's a lot you can do under the hood of your PC to get the most out of your audio software-we walk you through the process, from purchase to perfection.
Have we come a long way, baby? Avoiding problems with digital audio ......Expand
There's a lot you can do under the hood of your PC to get the most out of your audio software-we walk you through the process, from purchase to perfection.
Have we come a long way, baby? Avoiding problems with digital audio on Windows-based personal computers has never been easy, but in these days of Windows 7 we hear fewer horror stories. Does that mean we're out of the woods? Don't believe it. Before we get to the trouble-shooting and how-to-fix-it part, here's a bit of history. (And for those of you who aren't familiar with the alphabet soup of computer terminology, I'll define terms as I go, I promise!)
Back in the Windows 95/98 days, the usual fight with hardware to achieve problem-free digital audio performance was over the dreaded IRQ-sharing conflicts. If you understood IRQs (Interrupt Requests) and how hardware performed, such conflicts were generally easy to resolve, by swapping cards among slots and/or studying the manual to formulate an IRQ strategy for your PCI (Peripheral Component Interconnect, a standard for internal computer expansion cards, now largely superseded by the PCIe standard) and other devices. From there, you applied a long list of tweaks to the OS (Operating System, in this case Windows), and things ran smoothly.
Fast-forward several years to Windows XP. IRQ sharing and the OS (past Service Pack 1) were generally more cooperative, but performing some tweaks was still preferable. On some systems, the PCI latency values were set too high for high-bandwidth cards and too low for audio (explanations to follow). After a modest tweak to the PCI latency settings, audio was smoothed out on some of the most troubled systems.
Today, with Windows 7, or on a well-patched XP machine, we mostly have a stable OS, and PCI latency issues are largely gone because PCI slots on motherboards are pretty much non-existent. Most any mid- to high-end modern CPU (Central Processing Unit, the computer's primary "brain" chip) will do well for audio. However, on some machines the hardware, and sometimes the software, can still require a lot of tweaking before becoming stable for audio, especially with audio plug-ins-not only because of software configuration problems such as poorly written drivers, but now the hardware is against us like never before.
Fortunately, it doesn't take long to find out how your new PC handles audio-it becomes readily apparent either when you try audio for the first time, or soon thereafter. So what can and should you check out before making a purchase? How about after the purchase? Let's dig in and find out, shall we?...
Read more in the March 2013 issue of RECORDING!
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Big Money Drums--Part 2
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Written by
Michael Schulze
Big Money Drums--Part 2 |
Written by
Michael Schulze
Last time we introduced our room and our miking techniques; now we dive into the mix itself. Maximize your percussive impact!
Last month I described a drum recording session at the Lamont School of Music, University of Denve......Expand
Last time we introduced our room and our miking techniques; now we dive into the mix itself. Maximize your percussive impact!
Last month I described a drum recording session at the Lamont School of Music, University of Denver, where students in my Music Recording and Production program set up multiple microphones in our cavernous orchestra rehearsal room. This month and next, I will tell you about our experiments with throwing together different mixes of this source material. We'll include a URL with Part 3 next month, that will have audio clips you can download, and a Pro Tools Session file for you to play with as well. Let's get mixing!...
Read more in the March 2013 issue of RECORDING!
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The Mixing Workshop: Better Mixes Through Creative Editing--Part 2 (The Band)
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Written by
Sean Shannon
The Mixing Workshop: Better Mixes Through Creative Editing--Part 2 (The Band) |
Written by
Sean Shannon
We discussed drums in detail to get our mix off to a great start; now it's time to fit the rest of the players into our rock-solid rhythm bed.
In part 1 of this 2-part article on creative editing (November 2011), we tightene......Expand
We discussed drums in detail to get our mix off to a great start; now it's time to fit the rest of the players into our rock-solid rhythm bed.
In part 1 of this 2-part article on creative editing (November 2011), we tightened up the drums in a multitrack session, using Elastic Audio in Pro Tools HD. Most modern DAWs have capabilities to edit timing and fix performances, I just happened to be working in Pro Tools, so please investigate what your DAW can do for you in this regard.
The band's performance, starting with the drums, was a bit "loose", and that was fine for the song demo. For a tight final mix, though, it is important to have tight performances. Now that the timing issues, errant noises, and fills are fixed on the drums, and the drum sounds are beefed up, it's time to build the band on that solid foundation.
Typical creative editing tools used for this task are slice-and-dice editing, cut-and-paste, stretching, pitch adjustment, sound replacement and re-amplification, automation, and sound design. If the band is gone, and they can't give you another, better performance, here is what to do next to take the performances up a few notches...
Read more in the March 2013 issue of RECORDING!
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Recording Fundamentals. Chapter 15: Sweet Spot Conundrums--Part 2
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Written by
Eric Ferguson
Recording Fundamentals. Chapter 15: Sweet Spot Conundrums--Part 2 |
Written by
Eric Ferguson
It's not enough to have your control room's sweet spot be accessible and easy to work with; it has to sound right, too!
Professional-level home and project studios used to be a rarity. Before digital recording, small studios......Expand
It's not enough to have your control room's sweet spot be accessible and easy to work with; it has to sound right, too!
Professional-level home and project studios used to be a rarity. Before digital recording, small studios could neither afford nor squeeze in the large and expensive analog tape machines, consoles, and outboard gear necessary to track and mix album-quality productions. Of course, this has all changed and now studios both large and small possess the tools necessary to produce top-notch audio. So, is there still a difference between the expensive studio downtown and your garage or spare bedroom-based control room? With everyone working on the same plug-ins, what's the difference between the big boys and the ankle-biters...?
Acoustics!
That's right, a one-word answer. While recording can be done anywhere, professional studios offer purpose-built acoustic environments that make tracking, mixing, and mastering easier, and help recordings to be more stylistically appropriate and interesting. If you think audio equipment is expensive, try isolated concrete slabs, floating floors, and odd-angled walls...
Read more in the March 2013 issue of RECORDING!
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Fade Out
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Written by
Mike Metlay
Fade Out |
Written by
Mike Metlay
The Mac As Disposable Appliance.
You may have noticed that while Devon Brent's article on page 22 is a fantastic resource for Windows users trying to get the most from their music computers, there isn't a word about the Mac ......Expand
The Mac As Disposable Appliance.
You may have noticed that while Devon Brent's article on page 22 is a fantastic resource for Windows users trying to get the most from their music computers, there isn't a word about the Mac anywhere. Shouldn't there be a corresponding article about how to tweak your Mac's hardware for the best DAW efficiency?
Unfortunately, the answer is rapidly becoming "no"... because the Mac is rapidly becoming a computer whose hardware you simply can't tweak. This is the tail end of an evolution from the incredibly arcane Mac innards of the 1990s, through the relatively user-friendly internal designs of the 2000s, into a situation unlike anything we've ever seen before...
Read more in the March 2013 issue of RECORDING!
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