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Awave Mix It with FOCAL SM9 Trade In Deal

Awave Mix It with FOCAL SM9 Trade In Deal

Get a pair of amazing Focal SM9 Studio Monitors for $5999.00, when you trade ANY eligible model from brands including  ADAM, DYN-AUDIO, KRK, EVENT, GENELEC, EVE, BAREFOOT, QUESTED, FOCAL, MACKIE, PMC, UNITY AUDIO, YAMAHA.*

These professional studio monitors normally retail for $12,398 A PAIR!

Call Awave on 03 9813 1833 or email sales@awave.com.au to organise you trade in deal today, before stock runs out.

*All monitors traded must be in pairs. Subject to full working & cosmetic condition – offer is limited while stocks last

 

 

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Vanguard V13 in TapeOp Magazine

TapeOp Magazine, issue #88

Vanguard V13 in TapeOp Magazine

Vanguard Audio Labs V13 large-diaphragm tube mic “Smooth like whiskey” — that’s how Vanguard Audio Lab’s main man, Derek Bargaehr, describes the sound of the V13 large-diaphragm condenser mic. Vanguard, a small company based in Upland, California, has spent a long time developing a tube mic that competes with upper echelon mics, but at a fraction of the cost of those expensive behemoths. The V13, in a glossy pinot noir finish, embodies a large-diaphragm tube condenser made with a custom capsule, high-end circuitry components, dual- triode tube, and custom output transformer. The mic provides a complete feature set, including pad and LF roll-off switches on its body, a cloth-covered cable to connect it to its power supply that sports the familiar nine-position polar-pattern switch, and a VLSM shockmount, which looks like a semicircular metal cage that securely holds and also isolates the mic from vibrations. The whole kit is delivered in a custom briefcase with an additional wooden box to protect the mic. Vanguard pays attention to small details, including a precision-cast badge and chrome details on the mic body, and a sort of X-shaped cutout on the backside of the mic body that allows a glimpse of the tube at work.

I first set up the mic on vocals for a boy band called New District. For alto male voice, I found the cardioid pattern to be full and rich, but not what I would call bright. I turned the polar-pattern selector one or two clicks towards omnidirectional, and the mic sounded a touch brighter and a bit thinner in the mids, which was well suited to this particular pop song. I probably could have engaged the 125 Hz bass roll-off for a tonal change, but switching the pattern toward omni did the trick. While mixing this song, a simple EQ on the vocals brought out as much clarity and open highs as I needed, without any harsh sibilance or the sizzly highs associated with many low-cost LDC mics. The V13’s head grille does not have the typical three-layer closed mesh, but instead employs a more transparent screen, which likely contributes to the resonance-free, sweet and natural sounding top end. I try to avoid pop filters with vocalists and instead focus on mic placement, but I would suggest using a good pop filter due to the open headbasket design of the V13. The midrange of the V13, especially around 200 to 400 Hz, tends to be very present, and when stacking vocals, this frequency range can become a bit congested, but a bit of EQ during mixing can easily solve that issue. I always prefer to begin with a full frequency range and later decide what I might need to take out.

On muted trumpet and flugelhorn in an R&B holiday song, the V13 held up very well against a very expensive U 47–style tube mic and easily beat a studio-standard TLM 170 R FET mic. The V13 provided a rich, full tone that sat well in a very full production. Again, the top end felt smooth and extended, but not artificially hyped or bright; and the low mids sounded full, but focused. For solo trumpet, I used the straight-up cardioid setting, but for ensemble recording, the omni setting would provide very natural on-axis and off-axis tones.

As a mono room mic on drums, the V13 provided a thick and natural sound that felt balanced and realistic. A pair for piano would be fantastic for acoustic styles of music, and a pair for drum overheads would be well suited to almost any style of drum recording when a large, natural, and un-hyped sound is desired. The V13 tames dynamics a bit, especially in the high frequencies, so cymbals and hi-hats don’t sound splatty or harsh.

Tube-tweakers should note that the stock tube is an excellent-sounding, cryogenically treated, European dual-triode that’s had its markings removed. For other tonal options in this mic, 12AX7/ECC83 and 12AY7/6072A tubes would be suitable, and worth trying out. A side note: Tube-swapping is a great option, as long as you research the gain, power requirements, and sonic differences of the tubes. Tube life, frequency response, and output saturation are the main concerns with tube swaps of similar function tubes.

Overall, I think the combination of a very thin (3 micron) diaphragm, acoustically open headbasket, and high-quality electronics enables the V13 to provide both a sound and a build quality that place the mic’s value well above its price. Vanguard Audio Labs will soon be releasing additional mics, including a single-body, stereo, large-diaphragm condenser, and a small-diaphragm condenser kit with multi-pattern capsule options.

–Adam Kagan 

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INTRODUCING THE SUBSEQUENT 37 CV

Moog Sub 37 CV_1

INTRODUCING THE SUBSEQUENT 37 CV

Today we are excited to announce the Subsequent 37 CV. This limited-edition redesign of the ultra-powerful Sub 37 Tribute Edition analog synthesizer is limited to 2000 pieces worldwide, with the first 125 units built live on-site at Moogfest 2017. Anchored by a pair of solid aluminum side pieces inset with North American hardwood and affixed to a rugged steel and aluminum enclosure, it features four assignable CV outputs and two assignable Gate outputs for interconnectivity with large-format and Eurorack modular systems, an upgraded keybed for improved playability, a high-powered headphone amplifier for live-monitoring, and a modified analog signal path.

Moog Sub 37 CV_2

“We are really excited to incorporate community feedback into the evolution of an instrument. Adding CV interconnectivity was the starting point, but we have also increased the headroom in the mixer and significantly extended the range of Multidrive, giving the Subsequent 37 CV expanded sonic capability and modular control.” – Cyril Lance, Moog Chief Engineer

Moog Sub 37 CV_3

The Subsequent 37 CV’s mixer now has double the headroom of the Sub 37 Tribute Edition. Taking advantage of the mixer’s newfound flexibility, the gain-staging of the Ladder filter has been reshaped to boost harmonic saturation and analog compression. Completing the sonic evolution is a re-tuned Multidrive circuit that extends well beyond the grit and growl of the original Sub 37.

Moog Sub 37 CV_4

Subsequent 37 CV production is limited to 2000 pieces worldwide. Each instrument is lovingly handcrafted by Moog employee-owners.

FEATURES: 

  • SOUND ENGINE EVOLUTION – Greater sonic dimension
  • MORE MULTIDRIVE – Wider range and dirtier than ever before
  • ROOM FOR TWO – More headroom means Duo mode sounds even better
  • 6 ASSIGNABLE OUTPUTS – Modular connectivity with 4x CV outs and 2x Gate outs
  • UPGRADED KEYBED – Lightweight with swift action, velocity, and aftertouch
  • HIGH-POWER HEADPHONE AMP – Cue up your next sound in the loudest of venues.
  • LIMITED EDITION — 2000 units produced worldwide

SUB 37 DESIGN – All the controls and features found on the Sub 37 Tribute Edition:

  • Perform in Mono or Duo modes
  • 37-note velocity-sensitive keyboard with aftertouch
  • 2 modulation busses with assignable source and destinations
  • DAHDSR (Delay, Attack, Hold, Decay, Sustain, Release) looping envelopes with sync
  • 256 presets – 16 banks of 16 patches
  • Syncable arpeggiator and step sequencer
  • Classic Moog Ladder Filter with resonance, Multidrive, and selectable filter slopes
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The First ASP8024-HE in Germany at Liquidstudio

Audient ASP8024

The First ASP8024-HE in Germany at Liquidstudio

The first Audient ASP8024-HE in Germany has been installed at Liquidstudio. Proud owner of the 24 channel console, with DLC, Markus Heinzel has been working with a digital console for the last 10 years but felt it was about time to return to the analogue domain.

Markus praised the ASP8024-HE for it’s newest feature – the Retro IRON card stating the Retro IRON, Low Bump & High Lift add “power and clarity” to his mixes.

READ MORE ABOUT IT HERE

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CLARIPHONIC MS – Parallel EQ, Re-Imagined

Clariphonic MS

CLARIPHONIC MS – Parallel EQ, Re-Imagined

Clariphonic MS not only expands on the features and capabilities of the original Clariphonic, it also extends the functionality of every other piece of gear in your rack while sporting the same mind-blowing, expensive high frequencies and silky smooth sound that made the original a desert island piece for thousands of engineers.

Now including every major new feature requested over the years, everyone’s can’t-mix-without-it 2-buss EQ offers 41-step detented pots for fast and precise recall, a single-switch relay-based Master Bypass, and a new Cut mode on the Focus band which softens and darkens harsh upper-mids the way analog tape used to.

But the heart of the new Clariphonic MS is a state-of-the-art Mid-Side processing, which not only allows you to use the Clariphonic for Mid-Side eq’ing: rear-panel mid and side inserts allow you to use any processor in your rack in Mid-Side mode – any compressor, any eq, even a colored preamp or stereo effects unit – before dusting the result with the Clariphonic’s unique magic.

Find out more at http://thehouseofkush.com

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Audient – In The Studio With Ash Soan (Adele, James Morrison)

Audient - In The Studio With Ash Soan

Audient – In The Studio With Ash Soan (Adele, James Morrison)

We recently visited renowned session drummer Ash Soan (Adele, James Morrison, Seal) who chatted to us about his career, home studio setup and more.

Ash often records drums for some of the biggest artists in the world from his home studio using iD22 & ASP880 enabling him to send out high quality drum tracks for any project.

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Eventide H9 Gets Peachy with PitchFuzz

Eventide 1

Eventide H9 Gets Peachy with PitchFuzz

A new multi-effect featuring fuzz, pitch shift and delay is now available
Today Eventide announces the availability of PitchFuzz, a new multi-effect algorithm for its H9 platform. PitchFuzz combines fuzz, three pitch shifters and two delays for an amazing range of tonal shapes. PitchFuzz is something new; more than and different from a classic fuzz octaver.

“Our aim with PitchFuzz was to create a single algorithm that could run distortion/fuzz into Eventide pitch shifters and then into Eventide delays. It allows you to recreate some of the classic guitar sounds of artists such as Jimmy Page, Brian May, Frank Zappa, Eddie Van Halen and Steve Vai—all of whom used Eventide gear in their rigs in the ‘70s and ‘80s,” said Eventide Product Specialist Alan Chaput. “It can also be used to recreate distortion sounds from the ‘90s alternative rock era and beyond.”

Don’t mistake PitchFuzz for a simple nostalgia machine; it’s one of the most flexible and creative algorithms in the H9. With a unique distortion effect, three independent pitch shifters and two delays, it’s the equivalent of 3 high-quality effects pedals in a single stompbox.

PitchFuzz includes 36 presets, some crafted by Eventide artists:

WholeLottaPeach
Just the Fuzz
Peach Dog
Hot McAdam
Chorus and Delay
Arpeggiate
Peach Slap
Cherub
Harp Chords
Peaches KICK IT
Organizor
Dover’s Peach
LawfulKnowledge
OhYouAteOneToo
Atmospheres
MIMA Lead
Suspended Peach
Peach-Tavia
Fripper Fuzz
R U Fuzz
Copeland
Cobbler Triads
FuzzStack
Lethal Weapon 7
Schnapps
Goof Delays
Delicate Trinkets
Muscle
Pitch Busters
Weird Orchestra
Space Peach
FruitInTheRain
Working Man Bass
Juiced Up Bass
Boogie Oogie Bass
Big Bass Synth

Eventide 2

New H9 & H9 Core units come with a coupon for a free algorithm which can be used for PitchFuzz. Existing owners can purchase via the H9 Control app. Owners of H9 Max get EVERY new algorithm free, for life. With the addition of PitchFuzz, the H9 Max continues to evolve as a platform which continually gives new inspiration to its users.

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Announcing Suzanne Ciani as the Recipient of the 2017 Moog Innovation Award

Moog 1

Announcing Suzanne Ciani as the Recipient of the 2017 Moog Innovation Award

Moog are pleased to announce that Suzanne Ciani will receive the 2017 Moog Innovation Award.

Suzanne Ciani is a powerful pioneer of electronic sound. From her synthesized soundscapes in the advertorial world (like the famous Coca Cola “pop and pour” sound) to her multidimensional synth albums (like Seven Waves), Ciani has expanded the very possibilities of synthesizers and inspired others to do the same. Her work as an early synthesist opened minds around the globe to exciting new sounds and introduced electronic instrumentation as a new form of expression.

Suzanne Ciani will be presented with the 2017 Moog Innovation Award at Moogfest in Durham, NC on May 20 at 2:30 PM in The Power Plant at the American Tobacco Campus (320 Blackwell Street, 27701). For more information on Moogfest, visit www.moogfest.com.

Also at Moogfest…
In addition to mind-expanding workshops and cutting-edge musical performances, Moogfest, which starts this Thursday, will feature free, non-ticketed opportunities to interact with the synth community.

Moog 2

The Modular Marketplace
The Modular Marketplace is a free interactive pop-up featuring boutique electronics, experimental effects, and eurorack synthesizers. Test-drive, take home, and meet the creators of some of the most cutting-edge devices on the market. Participants include Reverb, EarthQuaker Devices, Critter & Guitar, and 20+ others. For details, including a full list of participants, go here.

Moog 3

The Moog Pop-Up Factory
Come say hi to the folks who build the synths at our Moog Pop-Up Factory, where we’ll have our synthesizer production process going on in real-time. Watch synth production in action and get a chance to interact with Moog production engineers.

Moog Pop-Up Factory: 320 Blackwell St., Durham, NC 27701

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Audient Heritage: Teaching Tomorrow’s Engineers At Sae Zurich

Audient Heritage

Audient Heritage: Teaching Tomorrow’s Engineers At Sae Zurich

One of the first ASP8024-HE consoles off the production line has recently been installed in SAE Zurich. The 24 channel console includes the optional DLC module as well as a patch bay.

Before purchasing the desk, Director of the Institute, Thomas Frei consulted multiple other SAE Institutes from around Europe (a lot of which own both ASP8024 and ASP8024-HE) and since all feedback was overwhelmingly positive it was an easy decision.

Read more HERE.

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WARM AUDIO NEWS! – Summer NAMM 2017

Warm Audio Logo

WARM AUDIO NEWS! – Summer NAMM 2017

July 13 – 15 • Music City Center • Nashville, TN

Warm Audio – BOOTH 442 

Showcasing a complete product line-up within one of America’s most musical cities—Nashville, Tennessee—Summer NAMM celebrates the local community music and honors the industry’s Top 100 Dealers. Enjoy star-studded events and the lure of the Nashville night life while making connections that will last a lifetime.
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Introducing the
WA-14 Large Diaphragm Condenser Microphone

Demonstrations @ Summer NAMM 2017! 

Introducing the WA-14 Large Diaphragm Brass Capsule Condenser Microphone, which is based on the classic condenser microphone from the 70’s that has been used on countless hit records. The WA-14 utilizes fully discrete classic circuit topology, including an all-brass CK12 style capsule design by “Lens Kondensator” and a custom premium CineMag USA transformer. The WA-14 can be used on an array of sources, which includes: punchy and warm intimate lead vocals, aggressive guitars and heavy percussion. The WA-14 provides a realism and thickness that is true to the vintage sonics, but now at an affordable price.

WA-412 Four Channel Microphone Preamplifier
In this video for Pro Tools Expert, Technical Editor James Ivey takes a look at the new WA-412 quad mic pre from Warm Audio. “Warm Audio is on fire at the moment with their recreations of classic gear and the WA-412 is no exception”. ~ James Ivey of Pro Tools Expert