Proaudio.review.june

J U N E 2011 | VOLU M E 17 | IS S U E 6

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beyerdynamic DT 1350 • Etymotic Research ER Series • Shure Beta 181 • Focusrite Scarlett 18i6 & 8i6 • Manley Labs MicMAID • Radian Apex Neo 1200XD • Waves OneKnob Series

New Products, P. 10, 42

INSIDE:• Technically Speaking:

Stick It In Your Ear• Studio Sense: On DAW I/O Choices

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

ProAudioReview

www.proaudioreview.com

The Review Resource for Sound Professionals

ULTIMATE EARS

REFERENCE MONITORSCapitol Studios ... In Your Head

Ear-Centricity Custom Earplugs,

‘Phones, IEMs & More

PAR Picks 6Software Reverb

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in this issueSound ReinforcementCovering Live Sound,

Contracting, and Installed Sound

New Studio Products

Cover Story

Ultimate Ears Reference Monitorsby Strother Bullins

Review

Etymotic Research ER Series Earplugs

by Rob Tavaglione

Mini-Review

beyerdynamic DT 1350 Professional

Headphonesby Tony Ware

Featured Review

PAR Picks 6: Software Reverbsby Rich Tozzoli

Mini-Review

Waves OneKnob Series Plug-Insby Rich Tozzoli

Review

Focusrite Scarlett 18i6, 8i6 USB 2.0 Audio Interfaces

by Strother Bullins

Review

Manley Labs MicMAID 4X4 Microphone/Preamp Matrix Switcher

by Rob Tavaglione

New Live Products

Review

Shure Beta 181 Compact Side-Address Condenser Microphone

by Strother Bullins

Review

Radian Audio Engineering Apex Neo 1200XD Stage Monitor

by Will James

Technically Speaking

Stick It In Your Earby Frank Wells

Opinion: Studio Sense

Choices: Getting Inside Your DAWby Rich Tozzoli

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].

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StudioCovering Recording, Broadcast

Production, and Post Production

Departments

ProAudioReviewJUNE 2011 | VOLUME 17 | ISSUE 6

Cover Design: Nicole CobbanCover Photo: Sally M. Gupton

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ProAudioReviewProAudioReviewThe Review Resource for Sound Professionals


J U N E 2 0 1 1 V O L U M E 17 I S S U E 6

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

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technically speaking Frank Wells

Over the past decade, the increased market penetra-tion of in-ear monitors for stage monitor use has been dramatic. For live sound engineers, the benefits have been myriad: lower overall stage volumes, less wash from the stage to interfere with the signals the audi-ence hears, faster setup time and less weight on the truck. FOH engineers are freer to mix their mix aes-thetically, not in combat mode with the sound emanat-ing from the stage. Lower stage volumes can mean

lowered volumes for the audience and greater fidelity and intelligibility; these benefits have been especially lauded in houses of worship and small-room sound reinforcement. These are all real and concrete motiva-tors driving the in-ear monitor movement.

One aspect of in-ear monitor marketing deserves further inspection: The devices have been touted as providing musicians (and monitor engineers) some degree of hearing protection. While lowered stage vol-ume levels are a step in this direction, actual listening levels actively chosen by musicians (after all, they now have direct control of the volume knob) may prevent this potential benefit from being realized.

A few years back, Vanderbilt University researchers worked with performing musicians, studying both their preferred and minimum acceptable listening levels for their own voice when using both stage monitors and in-ear monitors, measured in-ear, with a background of a variety of instrumentation. The study found that, on average, preferred listening levels selected by musi-cians were only -0.6 dB SPL when using in-ears as opposed to stage monitors, a level difference deemed significant, even if marginal for protecting hearing. When musicians were worked with and educated, trained to dial in their minimum acceptable listening levels rather than their preferred listening levels, in-ear monitors were clearly superior in their potential for hearing protection, allowing reductions of 6 dB on average when using in-ear monitors as opposed to traditional stage monitor loudspeakers.

Inspired by their own research, in-ear monitor maker Sensaphonics developed a device called dB Check that allows users to monitor their own listening levels. The device is placed inline between the monitor driver and the in-ears, using a voltage measurement and the known sensitivity of Sensaphonics’ and other select drivers to calculate the SPLs in ear. dB Check is the only practical device I know of that allows a musician self-calibration, even comparing cumulative listening volumes to established standards for hearing protection. This is a huge step forward in an individual’s ability to monitor his/her own behavior.

The ultimate point here is that musicians and engi-neers should not assume that using in-ear monitoring in and of itself provides hearing protection. Safe prac-tices are literally in their own control, as close as the volume knob for their in-ear monitor amplifier.

Stick It In Your Ear


new studio products

10 ProAudioReview | June 2011 www.proaudioreview.com

Audio-Technica Rebates

Audio-Technica is offering rebates on select models in its 20 Series. The rebate offers are open to all buyers of select 20 Series models from authorized Audio-Technica dealers in the United States (including Puerto Rico) between June 1 and August 31, 2011. Rebate forms must be postmarked by September 30, 2011, in order for the rebate to be honored.Rebates are being offered on the following models:

AT2050 Multi-pattern Condenser Microphone: $50 rebateAT2035 Cardioid Condenser Microphone: $30 rebateAT2041SP Studio Microphone Pack: $20 rebateAT2020 Cardioid Condenser Microphone: $10 rebateAT2020 USB USB Cardioid Condenser Microphone: $10

rebate.For the sake of convenience, faster payment and real-time

tracking, buyers may register online. Alternately, buyers can manually complete and mail in the 20 Series rebate form with the required documents, which include the original sales receipt with store name, date of purchase, model number and price paid clearly legible, along with the original bar code cut from the carton of each product purchased.Contact: Audio-Technica | audio-technicaus.4myrebate.com

Waves MPX Master Tape Plug-In

Developed in association with producer/engineer Eddie Kramer as part of an ongoing series of collaborations, the MPX Master Tape plug-in is modeled on a rare machine consisting of an Ampex 350 transport and 351 electron-ics. With adjustable tape speed, bias, flux, wow and flutter, along with noise parameters, the MPX provides control over the contours of any sound. Additionally, Waves has added a flexible slap and feedback delay, targeted for rock, dance, dub and countless other styles.

When Waves started its hardware-modeling project with Kramer, it was always the company’s intention to cre-ate a model of the original recording chain from Olympic Studios in London that Kramer used on his recordings of Led Zeppelin, The Rolling Stones and Jimi Hendrix. The first two plug-ins that were a result from this project were the HLS channel and PIE compressor; the last was the MPX Master Tape plug-in. Assisting Waves were Bob Olhsson (Stevie Wonder, Marvin Gaye, Diana Ross) and co-develop-er John Haeny (Jim Morrison and the Doors, John Coltrane, Joni Mitchell, Jackson Browne). Waves used 3M Scotch 206/207 tape for the modeling, as it was considered “an almost ideal match for this machine.”

MPX is available at no additional charge to owners of Waves Mercury with current Waves Update Plan coverage.

Stay tuned to the pages of PAR for a full review of MPX. Price: $200 and $300 list (Native and TDM, respectively); $99 and $149 (limited time introductory price, Native and TDM, respectively)Contact: Waves | waves.com

AVID Pro Tools MP 9

Pro Tools MP 9 is now shipping, offering key features such as Automatic Delay Compensation and MP3 export capabil-ity. Avid’s Pro Tools MP 9 software will be offered standalone for use with select M-Audio interfaces, as well as in all-new bundles with M-Audio interfaces.Price: $299.95 Contact: AVID | avid.com

Lexicon PCM Native Effects Plug-In Bundle

Lexicon is now shipping its PCM Native Effects Plug-In Bundle. This software package makes all the effects processing of Lexicon’s PCM96 available as PC- and Macintosh-compatible plug-ins. The bundle incorporates all the capabilities of the PCM96 hardware unit, including Dual Delay; Random Delay; Chorus/Flange; Resonant Chords; Pitch Shift and Multivoice Pitch Shift.

The bundle also adds to these effects an all-new Stringbox algorithm, which provides the user with 88 virtual strings resonating according to the audio-in. Several tuning and panning options are available, along with a vir-tual keyboard and randomizer, reportedly giving users the ability to create unique chords, melodies and room sounds.

For PCM Native Reverb users, there is an upgrade path available for a discounted rate. The Lexicon PCM Native Effects Plug-In Bundle is Native only, and requires iLok2 authorization and is available for digital download at lexiconpro.com and at participating Lexicon dealers.Price: $1,574.95Lexicon Pro | lexiconpro.com

Cakewalk SONAR X1 Essential: Cross-grade Pricing

Cakewalk has announced special cross-grade pricing of $69 for SONAR X1 Essential. This special price offering is for current users of competing software — users of Cubase (any version), Live Intro, FL Studio, Sequel, Reason and Studio One Artist. This offer runs through June 30, 2011 at participating retailers worldwide.

Stay tuned to the pages of PAR for our upcoming full review of SONAR X1. Price: $69 for special cross-grade pricingContact: Cakewalk | cakewalk.com/crossgrade

new studio products


JZ Vintage 12 LDC MicrophoneJZ Microphones is now shipping its new LDC Vintage 12 condenser microphone. Following in the foot-steps of the Vintage 47 and Vintage 67 microphones (inspired by the classic Neumann originals), JZ Mics now offers its version of the AKG C12.

According to JZ, “the Vintage 12 incorporates the best qualities of the original C12 and enhances them with features unique to JZ, such as the Golden Drop Technology that provides a more detailed and transparent capsule response. The replacement of the original C12 tubes with high-quality transistor technology provides equivalent frequency response with fewer maintenance and care issues.”Price: TBAJZ Microphones | jzmic.com

new studio productsMillennia HV-35 500 Series Preamp Module

Millennia Media’s new HV-35 500 Series pre-amp module is now shipping, and the very first unit was purchased by engineer/pro-ducer Donal Hodgson, who is currently work-ing with Sting.

The HV-35 mic preamp is Millennia’s HV-3 circuit in a compact 500 Series module. The HV-35 features a front-panel instrument input, DC coupled ribbon mic mode with 10 dB gain boost setting, 80 Hz rolloff filter, 48V phan-tom, 15 dB Pad and Polarity flip. The gain control is continuously variable.Price: $799 listContact: Millennia Media | mil-media.com


IK Multimedia iRig Mic

Built for Apple iPhone, iPod Touch and iPad, the iRig Mic is for the vocalist/songwriter on the move or for recording speeches, instruments, performances or any other sound sources in the studio, on stage or in the field. The package fea-tures a unidirectional condenser-electret micro-phone capsule, real-time monitoring capabilities via dual mini-jack connector and a metal body.

It also comes with a suite of IK Multimedia apps: VocaLive Free (for vocalists and song-writers), iRig Recorder (the new IK free audio recording app ... coming soon) and AmpliTube Free (for guitarists and songwriters). iRig Mic also works with a wide variety of other vocal and audio recording and processing apps for the iOS platform.Price: $59Contact: IK Multimedia | ikmultimedia.com/irigmic

new studio products

Olympus VN Series Portable RecordersOlympus has announced the new VN-7100 (pictured) and VN-7200 digital audio recorders. Both VN series recorders feature an optional Variable Control Voice Actuator (VCVA) function that sets the audio device to record automatically only when sound is detected at a preset level, and stop when sound drops below the threshold level. The func-tion eliminates “dead air” during recordings, thereby conserving memory and shortening file times.

The new Olympus VN series also offers a Noise Cancel Playback function. This func-tion eliminates unwanted background noise such as passing cars or muffled whispers and coughs while in playback mode.

The Olympus VN-7100 includes one gigabyte of internal memory and can record for up to 600 consecutive hours, while the Olympus VN-7200 offers two gigabytes and over 1,100 hours of recording time. Both record in WMA file format.

The units measure 4.1 x 1.5 x 0.8 inches, weigh 2.3 ounces and are powered by two AAA alkaline batteries (included). Also packaged with each unit is an instruction manual, Olympus warranty card, plus a convenient carrying case.Prices: $29.99 and $39.99 street (VN-7100 and VN-7200, respectively)Contact: Olympus America | getolympus.com

JH Audio JH16 PRO In-Ear Monitors

Quickly becoming a preferred in-ear monitor for audio professionals, the JH 16 PRO is Jerry Harvey Audio’s premium monitor within its Pro Music Collection Series. The JH 16 features “double dual low-frequency drivers,” which equals a total of eight miniscule armatures per earpiece, thus the JH16 moniker.

Along with the double dual low armatures, single dual mids and single dual highs are included, per earpiece. Other features include an integrated three-way crossover, noise isolation specifications of -26 dB, frequency response from 10 Hz to 20 kHz, and an input sensitivity of 118 dB at 1mW. Price: starting at $1,149; Contact: JH Audio | jhaudio.com


new studio productsFuture Sonics Atrio Series Ear Monitors

The Atrio ear monitor from Future Sonics is a single-driver design that prom-ises wide frequency response, excellent dynamics and fits into the ear canal with either compressible foam or silicon earpieces. There are two silicon types provided: hard or soft (unflanged and flanged, respectively) with both in three sizes.

The ear monitors are held in place by a semi-flexible wire fitting that can be bent to conform to the contour of the outer ear. From there, a single 1-meter black cable (claiming reduced microphonics) connects the Atrios to either a wireless beltpack or headphone amplifier with an eighth-inch stereo mini-plug.

Included with the Atrio pair is a handy vinyl carrying case with room for the monitors, two sets of foam earpieces (in two sizes), all the silicone earpieces and the all-important earwax remover tool. Specs are 20 Hz – 20 kHz frequency response, 32 ohms, 112 dB @ 1 mW and 26 dB of ambient noise reduction.

Read Rob Tavaglione’s full review of the Atrio Series online at proaudioreview.com. Price: $199Contact: Future Sonics | futuresonics.com

opinion studio sense By Rich Tozzoli


Preferences

“I’d be happy to chime in,” said produc-er/engineer/mixer Frank Filipetti (James Taylor, Elton John, Foreigner). “Although my answers are probably a bit different from most. I’m using the same convert-ers I bought 11 years ago, the Lavry Blue (Series). I haven’t found anything yet that cries out for changing. But I did upgrade my clock, though — to an Antelope Isochrone 10M atomic clock — and that made every-thing sound better.”

“I did a listening test with the latest Avid HD interfaces and found they suited what I was looking for in my next step for my Pro Tools front end,” noted engineer/mixer Pete

Moshay (Hall & Oates, Barbra Streisand, Ian Hunter). “I have the original Digi 192s, did a direct comparison with them and heard a marked improvement,” he continued. “Not that the original 192 was bad, but they are just a different sound. That may be good depending on the sound you are going for at the time, but I kept 16 channels of origi-nal 192 for just that reason. I did listen to a few other converter shootouts online and still decided to go with Avid. All the latest offerings sounded good as well, but the Avid stuck out to me.”

“I patch my pres directly into to an Avid HD I/O as well,” said engineer/mixer Richard Chycki (Rush, Dream Theater, Aerosmith).

“But I’m looking at a few other convert-ers right now as well as external clock-ing options. I haven’t got the whirlwind smack-in-the-head sonic revelation that others seem to have achieved by patching in an external clock. I’m looking though. Thankfully, I do notice an immediate huge sonic improvement when someone plays an amazing performance on a quality instrument, especially when coupled with a great chorus and lyric.”

Engineer/mixer/producer Dan Goodwin (Norah Jones, The Bravery, Devo) also sends his signals into Pro Tools, but with a twist. “I use Pro Tools exclusively, so my choices were somewhat limited for years,”

Choices: Getting Inside Your DAW Opinions: In an industry such as ours, those behind the scenes who record, produce and mix music and media content have plenty of them. But opinions on the tools we use to get our work done are deeply rooted in experience, experimentation and the balance between quality and convenience. That certainly applies to the front-end and signal-chain choices made when getting audio into our DAWs. Recently, I contacted a few award-winning industry professionals to hear where they stood on this subject.

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

Top to bottom: Lynx Aurora 16, Steinberg MR816 CSX, and the BURL B2 Bomber.

he revealed. “When Lynx came out with the Aurora, it changed my life; I heard them and immediately knew that both the price and sound were exactly right. They’re not the most expensive converters, but when I weighed them against the other heavy hit-ters, I felt I was missing nothing. The Lynx Aurora has been an absolute godsend to my work.”

“I use a few different converters at my WireWorld studio,” said engineer/mixer/pro-ducer Michael Wagener (Ozzy Osbourne, Alice Cooper, Motley Crue). “I have 48 chan-nels of Euphonix MA703/AM713 analog to

MADI/MADI to analog, which get used for tracking/multitrack mixing/summing pur-poses. I bought those in 2000, and I still think they have a very natural sound. The SSL Alphalink SX provides another 24 chan-nels of A/D - D/A in and out of Nuendo, which I use for channel inserts, outboard sends and returns all via a MADI patchbay.”

Wagener continued, “The Euphonix FC727 provides another 56 channels of MADI to AES and back. For the stereo bus return A/D into Nuendo, I use the BURL B2 Bomber ADC. The B2 has a certain sound that I like a lot, it is very clear and open and seems to

have the most dynamics of the converters I’ve heard. Eventually, I will replace all con-verters with the BURL Mothership, which, of course, means rewiring half the studio, so it might be a while. Other converters used at WireWorld are the Crane Song HEDD and the Crane Song Spider, both of which I mostly use for electric guitars (with the TAPE function). For location recording, I use the Steinberg MR816CSX; it has amazing mic pres and converters. On the D/A side, I use the Benchmark DAC-1 for monitoring.”

Drummer/engineer Shawn Pelton (Cheryl Crow, Shawn Colvin, Celine Dion), who most-

Antelope Isochrone 10M atomic clock

ly records into Live in his New York apart-ment studio, has his unique viewpoints on the matter. “In terms of the home studio revolution, every-one has to be able to cover so many bases,” he said. “I wonder if we often fall into a ‘dog and pony show’ with some of our decisions regarding super high-end gear. I know I have made some purchases partly based on the fact that the reputation of the gear will chill out any doubts that the signal path is not ‘best in class,’ etc. What’s refreshing about a blind-folded audio situation is you end up having to listen with your ears, not your eyes, and the sound and the music takes the front seat, not the price tag and the label.”

Oh, Say, Can You Hear?

I then went on to ask the guys if they thought people could hear a difference in our gear, and/or if consumers even really cared. “Yes/Yes,” replied Moshay. “The pub-lic has always been able to tell a great-sounding album and the history and sta-tistics back up that claim, with some of the biggest-selling records in history being the best sounding. No, the public can’t tell you that they like an analog over digital record-ing, or a 48k vs. 96k album; they just gravi-tate towards better sound. Better-sounding albums stand a much better chance of being liked and people are not going be able to describe what the exact component is that makes it better sounding. Sound is per-ception, and everyone will be able to point out something different that moves them about a recording.”

“I do think most people could hear the difference if they were presented with it,” Goodwin opined. “Most casual listeners don’t have the desire to listen that critically, or know exactly what to listen for. That being said, I think these days, the differences

between the high-end converter systems are less and less distinct. I think that within a certain level of performance, it becomes a matter of taste or preference, as opposed to good vs. bad. Ten years ago, we had clearer choices in that regard. Very few front ends sounded good at all, and most options were less than ideal. But these days, I think we’ve begun to reach a very high level of performance, even within the lower-end market. There are some new converters that cost only a few hundred dollars and easily outperform the most expensive converters from 10 years ago, no question. So these days, I do think it comes down to taste. There are so many viable and very good options that one can put together a respect-able system with minimal cash outlay.”

“In my experience with converters, it’s a matter of adding up a bunch of tracks before you really hear a noticeable differ-ence (with the exception of the BURL),” says Wagener. “I think even the casual lis-tener can hear it in the end, maybe not knowing what it is that they hear. In a controlled studio environment it is probably easier to tell the differences, even though sometimes with just one track, it might be hard to tell.”

How Innovation Affects

Choice

Finally, I asked if our group felt that innovations in gear have changed their front-end choices, especially consider-

ing the broadened landscape of what “audio pros” are in this day and age. “With the gear, that is such a great ques-tion, and I have done a lot of ‘blindfold testing’ regarding converters, preamps and mics,” said Pelton. “It is really inter-esting what your ear responds to when your eyes aren’t involved. I have had a lot of engineer friends put blindfolds on and listen to controlled A/B com-parisons. The amount of preconceived notions that we all have regarding the different parts of the recording chain can be intense.”

“Yes, my choices have definitely changed,” answered Goodwin. “Because I track and mix a lot of projects, I have multiple considerations, the most important is that my stuff works every day and setup is easy. I also need something that allows me to build char-acter into my sounds without either smudging over that character, or dumb-ing it down.”

“Even modest priced gear now is really great-sounding,” said Moshay. “But most often you pay a bit more for a high-qual-ity piece of gear, and you get something that you keep and treasure forever. I have never regretted buying high-end stuff; it almost always delivers stunning results that are a cut above the rest. I support

the die-hard boutique manufac-turers that pour their heart into the gear they design and sell. If it weren’t for companies like Manley, Avalon, Focusrite, SPL, Kush Audio, Anthony DeMaria Labs, etc., this industry would be dead boring!”


Benchmark DAC 1 USB

Solid State Logic Alphalink SX

studio review By Strother Bullins


Our increasingly mobile world has allowed audio production to escape the tethered confines of cozy studios (for better or for worse, many may argue). Thus the “on-the-go audio pro” is indeed the new normal, well captured in print on Pro Audio Review’s January 2011 cover: our senior contributor Russ Long editing vocals via AVID Pro Tools 9 with only a Mac Book Pro, headphones, and an iLok at a Nashville-area coffee shop.

Meanwhile, over the past six months, I have been living with a set of Ultimate Ears In-Ear Reference Monitors, using them for audio production, live work and performance, as well as leisure listening. And, while I’ve worn molded earplugs for nearly 20 years now — Westone Labs custom earplugs with Etymotic Research ER-15 and ER-25 attenu-ator inserts, much like those Rob Tavaglione reviews in this very issue of PAR — I have hesitated to rely on either headphones or IEMs for judgment calls when it comes to recording projects I’ve been intimately involved in. That has all changed.

Features

In developing an audio production ref-erence-worthy IEM, the folks at Ultimate Ears enlisted the expertise of Hollywood’s Capitol Studios engineering staff for a long

and intense three-stage beta testing pro-cess. The idea was to build an IEM that would serve as the primary reference point for the most discriminating professional users from tracking to mixing in any environment. If suc-cessful, it would allow for truly critical listen-ing in acoustically undesirable and/or loud environments such as airplanes, tour buses, family reunions, etc. — you get the point.

UE Reference Monitors feature an internal three-speaker configuration — woofer, mid-driver and tweeter — in an acrylic housing that offers noise isolation specifications of up to -26 dB. Input sensitivity is 98 dB SPL

at 1 kHz; efficiency is 112 dB SPL at 1 kHz, 1mW; frequency response is 5 Hz to 20 kHz; and impedance is 35 ohms at 1 kHz.

The black and clear Reference Monitors come with a 48- or 64-inch cable, (a choice of clear or black), terminated with an eighth-inch, gold-plated TRS connector, in an incredibly rugged yet lightweight 6 x 4 x 2-inch aluminum case with the user’s name etched directly under the UE logo. Included in the package is an eighth-inch to quarter-inch TRS adaptor and special IEM cleaning tool. The Reference Monitors offer a one-year limited hardware warranty.

Ultimate Ears (UE) In-Ear Reference Monitors Capitol Records’ engineering team collaborates with UE on IEMs specifically built for audio production.

Strother Bullins is the reviews and features editor for Pro Audio Review.

PHOTO: SALLY M. GUPTON

A trip to your local audiologist for your ear impressions is a requirement for these (or any) custom IEMs. [For more on the expe-rience of getting an ear impression, read Rob Tavaglione’s aforementioned Etymotic Research ER Series Earplugs review on page 28 of this issue. — Ed.]

In Use

Despite the specs supplied above, I must admit that the idea of reference-level perfor-mance that rivals our industry’s best studio monitors with using such tiny drivers seems voodoo to me, but it’s hard to argue with real results in real-world performances. I used the Reference Monitors in all of the following applications: critical listening for hours on airplanes, in noisy public places (adjusting EQ and compression, editing and mixing); A/B-ing between source material in my own comfortable audio workspace along-side speakers I’ve know well and have used now for years; mixing FOH and monitors in both indoor and outdoor environments; as musician (drummer) IEMs in both studio and live applications; and recreational listening too (ranging from iPod audio to full resolu-tion audio via high-quality D/A converter/headphone amplifier). As I mentioned above, I have literally lived much of my past six months — as a self-recordist, mixer, studio/live musician, and music lover — with these IEMs in my ears.

In application, the Reference Monitor’s acrylic body is comfortable in the ear canal, yet completely inflexible; for comparison/reference, most custom earplugs are softer. For that reason, what you can hear may dramatically change based on how the shape of your ear canal changes (if you open your mouth, for example), though it can be argued that can happen when you listen via traditional studio monitors, too. The channels that extend down into the user’s ear are deep, but not uncomfortable. Compared to using headphones in similar applications, headphones are far more conducive to being taken on/off (or in/out, as IEMs must be); for that reason, if only minimal isolation is needed along with regular/frequent verbal communication via “live air,” a high-quality circum-aural head-

phone would still be preferable in such an application.

Summary

I’m incredibly impressed with these IEMs. With them, I feel there is an aural quality resembling a virtual acoustic space between my ears and a set of studio moni-tors, much like when I sit in front of my own reference speakers in my own audio work-space. Something like “real air,” the feeling is closer to monitoring in an environment, rather than the less-than-three dimensional feeling I’ve nearly universally had when using either headphones or other IEMs dur-ing attempted critical listening applications.

Further, I would describe their overall sound as uncharacteristically gentle in that manner, almost as if the sound lilts through air measured in feet rather than in millime-ters. Depth and the sharp preciseness of its imaging is remarkable, and ultimately translatable, to the rest of the listening world (i.e., with the UE Reference Monitors, you can be sure about where you place a sound source in a mix). According to UE, that final

point was a most impor-tant goal in the

collaboration with Capitol Studios so, mission accomplished, I must say. Adding to that quality, the Reference Monitors’ midrange is so well defined that those crucial mix ele-ments such as vocals sit precisely and accu-rately, allowing these personal monitors to create — most likely due to their portability and isolating qualities — the most translat-able monitoring experience I’ve ever had. The experience is something closer to listening to studio monitor pairs far more costly than these $999 in-ear monitors — even though nearly $1k for what many just call “ear buds” seems like a lot of money. But these aren’t ear buds; they are in-ear control rooms — and superb, never-fatiguing-to-hear ones at that, though I wouldn’t be honest if I didn’t admit that I always eventually tire of having something stuck into my ear.

That last point — the physical downside of having something that isolates you from the natural acoustics of the outside world — is the only reservation I have regarding reference-grade IEMs (or headphones, for that matter) as a primary/only monitoring source; real-time collaboration, discussion of mixes, etc., are the necessary tasks that only traditional studio monitors will allow.

Though the future of studio monitors isn’t necessarily under siege by IEMs for this very reason, I can certainly envision a time where every audio pro has a reference moni-

tor and a reference IEM of choice, evenly switching between the two depend-

ing on where in the world he or she may be working. For that reason, Ultimate Ears Reference Monitors

are already ahead of the curve.

Price: $999 direct (plus ear impression fees at your local audiologist)Contact: Ultimate Ears | ultimateears.com

June 2011 | ProAudioReviewwww.proaudioreview.com 27

studio review By Rob Tavaglione


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

Truth be told, I suggested that Pro Audio Review evaluate Etymotic Research’s ER Series Earplugs, knowing full well that I would be recommending them. I fear not for my credibility; I have been happily using this product for nearly 20 years now and must say, without even a hint of hyperbole or exaggeration, they are the single most impor-tant investment I’ve made in my work, my kit and/or my future. Without adequate hearing, one cannot exercise analytically cor-rect listening skills, and without such skills, one’s work cannot compete.

Furthermore, I am not solely cooped up in a studio with constant measure of con-trol over my SPL exposure (and neither are most of you). Whether it’s live FOH mixing, mixing monitors, performing in a band or simply attending clubs and concerts (I do all of the above regularly), I am constantly exposed to long-term SPL levels of 95 dB and up. That’s enough to cause long-term hearing damage and tinnitus after extended exposure.

Typical earplugs can provide 15 to 20 dB of attenuation, which is usually enough quieting for all but the loudest sources, but the lack of high-frequency response is acceptable to civilians only; musicians

and audio engineers need similar attenu-ation, but flatter frequency response. This is where I believe the ER Series is without match, and I have found it to be a reason-able solution for all of the above environ-mental risks.

Features

The ER Series “Musician’s Earplugs” fil-ters are available at three levels of attenu-ation: -9, -15 and -25 dB. These filters are paired with custom silicon ear molds that are fitted by your local audiologist, formed by Etymotic Research, and then delivered with countersunk depressions to contain the interchangeable filter buttons. The -15 dB filter (ER-15) provides the flattest frequency response, with a slight drop-off beginning at 3 kHz and a substantial roll-off starting at 8 kHz. The -9 dB model (ER-9) is similar in response, with overall less high-end and

a roll-off that is more pronounced and the -25 dB model (ER-25) clearly has the least “flatness” with a dramatic high-end drop-off, except for a little peak at 6 kHz. The filters are available in five colors, including beige and brown skin-matching tones.

Here’s how they work: “Musician’s Earplugs buttons have a diaphragm which functions as an acoustic compliance, while the volume of air in the sound bore of the custom ear mold acts as an acoustic mass. The combination of the two produces a resonance at approximately 2,700 Hz (as in the normal ear), which results in smooth, flat attenuation.”

The molds are as important as the filters; a tight fit, minimal leakage, deep insertion and long-term comfort are all absolute necessities for specified performance. The new silicon molds (older models used a vinyl composite) are excellent; they make

Etymotic Research

ER Series Earplugs

a very good product even better. Silicon offers a softer feel for comfort, snugness and a clear appearance that is nearly invis-ible (especially with skin-matching filters) and the countersunk impressions for the filters eliminate protrusion from the ear as well as preventing accidental filter loss (an issue I had with the older design).

In Use

The purchase process begins with ear impressions at your local audiologist. I also recommend getting a hearing test while you’re there; any information about the

dips in your hearing’s frequency response is quite useful (whether it be sobering or encouraging).

First, small “sponges on a string” are inserted deep in the ear canal to act as seals that keep the mold material (picture #1) away from your sensitive eardrums. Prepare to be a little embarrassed by wax deposits beyond your swabs’ reach that sometimes cause a little discomfort when compacted. Next, the doctor mixes the molding putty with a catalyst, folds it with his hands until it’s all warm and pliable (picture #2), loads into a large “syringe” and injects it into the

ear canal (picture #3) while an assistant pulls back the pinna for better access (pic-ture #4). Fear not, as the sensation is odd; the sound is like descending into the abyss and the pressure is uncomfortable, but it’s actually kind of fun and won’t harm you. After setting up for a few minutes (picture #5 or #6), hardened molds are ready for shipment to Etymotic (picture #7 or #8).

The finished plugs (picture #9) are delivered with your choice of attenuators. Choosing the right attenuation is crucial. Since I have some experience in using


PICTURE #1

PICTURE #2

PICTURE #3


these over the years, I do feel com-fortable making some recommenda-tions here. The ER-9 offers the best overall sound to my ears, with the truest top end and the most fidelity, despite the better “on paper” perfor-mance of the ER-15. The ER-9 sounds good enough to not compromise the quality of listening for even sensi-tive sources like classical music and allows unimpeded conversation with-out much need to “lean in.”

The only drawback of the ER-9 is that -9 dB is only enough attenuation for moder-ately loud situations. With the ER-9, I tried mixing monitors on a 105 dB stage as well as participating in a rehearsal within a 20 x 20-foot space; I found the levels hot enough for fatigue and therefore damage. Although I’m not recommending the ER-9 for loud con-certs either, they are invaluable for either car or airplane travel, reducing fatigue and irritability considerably.

The ER-25 offers an amazing amount of attenuation, with a signifi-cant drop in high-end and fidelity, yet is still superior to typical foam or plastic plugs. I’m only recommending these for punishing environments like moni-tor world (when you reside too close to FOH stacks), or for onstage guitar techs, loud rock/metal performers, NASCAR enthusiasts and the like; they are not “hi-fi” enough for pleasurable listening. ER-25s are for pros who need them, not for hobbyists who desire them. Speech is

greatly impaired, and the bottom end can still punish your ears into pain (remember that very low frequencies are inducted through bone and flesh; you feel lows, and it seems just like you’re hearing them), so use them when needed with caution.

I’d venture to guess that 90 percent of poten-tial ER Series use is best suited to the ER-15. The frequency response is good with a little bump at 100-200 Hz and a little dip at 4-6 kHz, plus the rolled-off top.

Can you mix using the ER-15, you might ask? Sort of — get your mix going, balance it and then insert the plugs. Re-adjust your perception, and you can blend confidently from there. The only

catch is that you’ll miss those first few seconds when any feedback slowly starts to swell and will finally catch it right when it starts to kick in. (This fact troubles me, as I pride myself in yanking down

PICTURE #4 PICTURE #5 PICTURE #6

PICTURE #7


bad freqs before anybody else notices.)Can you perform in them? Sort of

— they’re “no brainers” for drummers; the particulars of the response curve seem to tame high-mid harshness in a way that clarifies mids and melodies. Instrumentalists should be good as well, with that pleasant clarifying of drums and reduction of high-mid “noise.” But for vocalists? Sorry, but no way. Singing distorts the shape of one’s face and ear canal, creating sudden loud bursts of leakage when the mouth is widely open forming vowels and sustained notes, thus in-ear monitors (IEMs) are still the best solution for the hearing protection of vocalists on loud stages.

Although just seldomly useful in the studio (when doing loud overdubs with the control room acting as a live room, maybe) the ER-15 is also useful for concert-going, club shows, sporting events, yard work (mowing the grass, for example) and traveling, where attenuation and intelligibility must be in balance. After years of reliance, I’m now rather sensitized to what exces-sive SPL sounds like, and I find myself carrying the ER-15 ‘plugs most every-where, discovering new applications on a regular basis

Summary

Please pardon my frank endorse-ment, but I have purchased ER Series earplugs with ER-15 filters for my wife, effectively persuaded band members to buy them, and am now recommending them to you. My reasoning is simple: Hearing loss is permanent and we need to hear as accurately as possible for as long as we can. These ER Series ear-plugs simply work and approximately $150 (depending on your local audi-ologist’s fees) is a small price to pay to insure long-term, pro-level listening by avoiding hearing damage.

Price: Contact your local audiologist for the cost of a custom mold fitting; $40 per pair (replacement filter buttons)Contact: Etymotic Research | etymotic.com/ephp/erme.html

mini review By Tony Ware

German manufacturing and a tradition of efficient, reliable engineering have become synonymous in the auto industry. But in the last century, that country has also proven no slouch when it comes to driving sound. The company beyerdynam-ic furthered this reputation when in 2009 it premiered its Tesla sound transducers, which use a metal-cased ring in place of a traditionally centered neodymium mag-net to more effectively distribute energy throughout a membrane positioned to minimize disruptive vibrations. This technol-ogy, introduced in the audiophile flagship T1 ($1,295 street), has now trickled down to the DT 1350 headphone ($299 street), reviewed here: a portable closed-back model seemingly aimed directly at the Sennheiser HD 25-1 II market of monitoring for broadcast and stage sound engineers.

I tested the DT 1350 by the follow-ing means: with an iPhone 3GS, then directly off the headphone jack on a MacBook Pro to test efficiency, and using either a NuForce uDAC-2 or Native Instruments Traktor Audio 10 connected to the MacBook Pro by USB to test quality. When using the laptop, playback was done using Native Instruments Traktor Pro 2 or Audio Engineering’s Fidelia 1.0.8 (set to take exclusive control of the audio device using the highest level of re-sampling/dithering). The material auditioned included 320 kps MP3, 256 kps AAC, Apple Lossless, 96 kHz/24-bit FLAC and standard WAV classic and indie rock, modern compressed pop and dub-step.

Though “supra-aural,” the DT 1350’s industrial housing has substantial clamping power in its split headband design,

and its small but sturdy brushed-metal cups proved capable of emitting seeming-ly distortion-free volume (109 SPL nomi-nal/129 SPL max, and they also swivel for previewing on the fly) with no sibilance and quick, delineated transients. Having an 80-ohm impedance, the DT 1350 did perform well with an iPhone.

The response from a solid source isn’t so much analytical as enjoying more puri-ty than many “traditional” headphones, which seem to generally emphasize bass. The DT 1350, rated at 5 - 30,000 Hz, is anchored with low end that’s impressively assertive for its size, kept proportionate with treble extension that’s not peaky and controlled, slightly forward midrange. This

direct but not brightened presentation has just a touch more perceiv-

able clarity in the intimate lower mids, which comes across as delivering less liquidity but imparts a presence that cuts through high-volume envi-

ronments. Even competing with a noisy threshold, as

it did when I DJ’ed a country club gig, directly flanked by

two dual 15-inch JBL cabi-nets and a dedicated sub,

the Tesla architecture skill-

beyerdynamic DT 1350

Professional Headphones

Tony Ware has been an editor for Pro Audio Review and contributes to sister publication, Electronic Musician.

(continued on page 50)


1Audio Ease Altiverb

Altiverb was the first convolution plug-in reverb to hit the market back in 2001 and was a massive breakthrough. [Convolution reverb is a digital simulation a physical or virtual space’s reverberation characteristics, based on a pre-recorded sample of the space’s impulse response. — Ed.] The ability to have real reverb samples on our desktop was huge, though it ate processors for breakfast. Altiverb — currently in v.6 with a v.7 coming soon — has one of the deepest impulse response libraries out there.

The ability to put your strings in Amsterdam’s Concertgebouw concert hall, drums in New York’s Clubhouse live room, guitar into a silverface Fender Super Reverb and then put your ambient vocal into France’s Chartres Cathedral still amazes me, all these years later. And it still wows clients to call up the images (including some QuickTime movies) of each space and show them why the reverb sounds so good.

Altiverb will run as a VST, RTAS, MAS, AudioSuite, AU and TDM (up to 5.1).Prices: $595, $995 and $400 (Altiverb 6 Native; Altiverb 6 XL featuring TDM and

surround sound support; and 6-to-6 XL upgrade, respectively)Contact: Audio Ease | audioease.com

2AVID ReVibe

AVID’s ReVibe is an “acoustic environ-ment modeling” reverb that has been a mainstay in my HD mixing rig for many years. With reverbs, it’s all about how it fits inside of your mix, and ReVibe simply works every time, plain and simple. It gets the job done with pristine clarity, “tweakability” and excellent presets.

As its capsule description suggests, ReVibe is a type of room modeler. It also includes a nice selection of Halls, Plates and Chambers as well as some neat oddities. For example, the preset called Gale Force Winds in the Wild Spaces folder sounds great on cymbal swells; it adds a unique element of atmospheric sound design. But usually, I’ll call up some nice reflective plates and put them on vocals and guitars, then tweak the sound by simply grabbing the control dots on the Decay Color and EQ graph. Then I’ll modify the settings in the Room Coloration Section, choose any of the nine types of

ReverbsOur software editor shares a half-dozen of his favorite reverb plug-ins.6PAR

PICKS

By Rich Tozzoli

In the continuation of our “PAR Picks 6” series, we move on to the all-important category of reverberation software. Whether you use a little or a lot, reverb is one of the most critical production elements for adding depth, space and artistic interest to our productions. From synthesized plates, rooms and halls to impulse responses of produc-tion reverbs and real spaces, each of these six recommended plug-ins offers unique colors and characters.


Audio Ease Altiverb (below) and AVID ReVibe (right)

reverb tail, 14 room types, give it some pre-delay and then move on.

Aside from running mono or stereo, I’ve also used it many times in 5.1 sessions, as there are separate controls for the front, center and rear reverbs. The only negative with ReVibe is that it’s for AVID HD/Accel systems only. I frequently wish I could use it on all my systems.Price: $995 list (TDM only)Contact: AVID | avid.com

3McDSP Revolver

Revolver is McDSP’s convolution reverb. It has great impulse responses and is crazy-easy to tweak. Some of my favorites are the Amp Spring (try that on a dub mix!), M5K Reverse and Rendered Fast Gate (so cool on percussion), Church Buiksloterkerk (vocals) and the DSP4500 ER (acoustic guitars).

You can quickly access buttons for Main, Equalizer, Delay 1, Delay 2, Tweak, Contour, XOver and Level, and then adjust those parameters using the sliders at the bot-tom of the plug-in. On the right is a display window for seeing the Impulse, Image, Plot, Flow and System settings. The Main page has some nice go-to settings such as pre-delay (up to 500ms), Wet/Dry, Attack and faders for LF and HF color, and their associ-

ated frequencies. When adjusting either the Equalizer or XOver section, the Plot tab will display your settings in the window — a nice touch.

With the Delay pages, you can actu-ally set two different independent tempo mapped delays and pan each one to the opposite side for a really cool rhythmic effect. Then, on the Levels page, you can control how much of each effect you want to hear: Reverb, Delay 1 and Delay 2. Revolver is certainly a useful reverb for most any application.

It runs as RTAS and AU.Price: $449 list (Native)Contact: McDSP | mcdsp.com

4Sonnox Oxford Reverb

The Sonnox Oxford Reverb is another one that “just works.” The main reason I turn to it is because of its sonic flexibility, as you can go deep into the parameters of Early Reflections, EQ and Reverb Tails. For example, in the Early Reflections section alone, you can choose from four different shapes, as well as make adjustments of the front/back Position, Size, Width, Taper, Feed Along, Feedback and Absorption.

Another nice touch is the ability to crossfade the sound between the Early Reflections and the Tail. All settings can be

viewed in the large Graphic Display area. In the EQ section, you can toggle on/

off any of the five bands (great for com-parisons), and choose from Band Pass, Filter and Shelf selectors for the upper and lower bands. The Reverb Tail section offers sliders for Reverb Time, Overall Size, Dispersion, Phase Diff, Phase Mod, Absorption and Diversity. Do I tweak all these parameters? Well, no, but I do focus on the Tail Mix and Reverb Mix sections (usually with headphones on) when going deep in mix mode. I have found it to be a great snare reverb, as it can give not only the drum height and depth, I can “tune” it accordingly. The Oxford Reverb runs on TDM, RTAS, VST and AU.Price: $575 and $235 (TDM/Native and Native only, respectively)Contact: Sonnox | sonnoxplugins.com

5Universal Audio Roland

RE-201 Space Echo for

UAD-1 and UAD-2

You gotta love this toy: the classic Roland Space Echo, modeled by Universal Audio. This is the only one in the bunch that is not a “general purpose” reverb, but a specific emulation. So, the reason it’s here, you ask? It just sounds so damn good.

Created in 1973, the original RE-201 was

“With reverbs, it’s all about how it fits inside of your mix.”

McDSP Revolver (above) and Sonnox Oxford Reverb (right)



OneKnob? One word: easy. That pretty much describes Waves’ new OneKnob Series of native plug-ins. There’s nary a menu page to dig through on these plug-ins. In fact, you wont find much of anything except — you guessed it — one big knob.

The OneKnob Series features seven plug-ins including Brighter, Driver, Phatter, Filter, Louder, Pressure and Wetter. Each can be opened either in mono or stereo, and the GUI for each includes a unique form of metering that surrounds the knob. As you turn the knob, the slotted meter between each num-ber (1-10) lights up solid. Also, when signal is present, a colored ring around the knob pulses to let you know you’re ready to tweak that one knob.

Brighter adds high/mid-plus treble.

Phatter adds a low-shelf bass boost. Pressure — with an extra button for unity or pad — var-ies between light paral-lel compression to heavy squash and can get dirty nasty. Louder combines peak limiting and low-level compression with automatic makeup gain and can increase RMS by up to 24 dB. Driver pro-vides from light overdrive to a very cool and edgy distortion. Wetter delivers ambience that ranges from short and bright to longer and darker. And Filter provides a filter sweep and has an extra button for none, extreme

and moderate-style filtering. Note that these are intended to be

applied directly on your track inserts, not on an aux send/return. They all default to 0 where there is “neutral sound,” except for

a spring reverb and tape echo; by adjusting the mode selector, you could select differ-ent head combinations for reverb, repeats, or a blend of both. Unlike the original, the RE-201’s software features extras such as tempo sync, a master Output volume, a tape select switch (New, Used, Old) and individual pans for Echo and Reverb.

The RE-201 sounds amazing on guitars; a favorite trick is to pan the Echo and Reverb to opposite sides while independently adjusting their volumes. It gives guitars a wide, lush feel that no other unit can deliver. Thank goodness for software, because the hardware units were often nightmares to keep tuned up and running.

Bummer that the RE-201 will only run via Universal Audio’s UAD-1 or UAD-2 DSP accelerator card systems. Come on UA: release the hounds and let us run it on every system, ‘cause this thing is cool. [There is the new UAD-1 Satellite for portability — Ed.]Price: $249Contact: Universal Audio | uaudio.com

6Waves Renaissance

Reverb

This oldie but goodie has also been around for many years, but it still sounds nice with many applications. It offers 12 basic reverb types to start with in the pull-down menu, yet I like to just call up a preset and start tweaking.

You can quickly and easily adjust Reverb Damping, Time Response and Reverb EQ in the graphic section, then grab any of the relevant slider controls underneath for the usual suspects: pre-delay, size, time (up to 20 seconds), decay, etc.

I’ll often dial in some of my reverse

gate presets (I know, how ‘80s!) and put them on percussion and shaker elements. Sometimes I’ll also take two mono ver-sions panned opposite, set the reverbs to the same preset (especially the Dark

Vocal Plate), then increase the pre-delay on one and radically change the EQ. I think of the Renaissance as a “no brainer” reverb; it may not be the best in the bunch, but it always works.

It supports TDM, RTAS, AU, VST and Audio Suite.Price: $300 and $150 list (TDM and Native, respectively)Contact: Waves | waves.comUniversal Audio Roland RE-201 Space Echo

Waves OneKnob Series

Waves Renaissance Reverb

mini review By Rich Tozzoli

Waves OneKnob Series Plug-Ins



studio review By Strother Bullins


Yet the two great-sounding Focusrite pre-amps built into the new Scarlett 18i6 and 8i6 audio interfaces are just one compelling feature of these attractively priced options in USB-based DAW I/O. In this increasingly crowded market segment — for lack of a better phrase, “affordable pro I/O boxes” — what makes Scarlett interfaces worth a close look?

Features

The features. Yes, it’s really all about the many valuable features packed into these two 1U, half-rack units. Both Scarlett units feature the aforementioned dual Focusrite mic/line/instrument preamps with phan-tom power via Neutrik XLR/TRS combo jacks; USB 2.0 connectivity to your DAW with up to 24-bit/96 kHz A/D conversion; MIDI I/O; S/PDIF I/O; a front-panel monitor knob; front-panel quarter-inch head-phone jack with rotary vol-ume knob; and the “ultra-low latency” (<1.4ms) Scarlett MixControl 18X6 DSP Mixer/Router. Also included with either Scarlett purchase is the Scarlett plug-in suite (VST/AU and RTAS) fea-

turing EQ, compression, reverb and gates, plus others perks (royalty-free loops and samples, a soft synth and Ableton Live Lite 8), but more on the plug-ins later.

The differences between 18i6 and 8i6 are more meaningful than simply “more” or “less,” as they are well conceived for two different types of needs. The 8i6 addi-tionally features two balanced quarter-inch TRS inputs and four balanced quarter-inch TRS outputs; the 18i6 additionally features six balanced quarter-inch TRS inputs, two balanced quarter-inch TRS outputs, analog input LED metering on the front panel, and ADAT Optical/TOSLINK input. The ADAT Optical In is especially handy and can be used with any Optical output-equipped multichan-nel preamplifier, such as Focusrite’s own OctoPre MkII Dynamic,

which I reviewed several months ago in PAR (prosoundnetwork.com/index/index/article.aspx?articleid=12540); together, the Scarlett 18i6 and OctoPre MkII Dynamic can provide 10 identical Focusrite pream-plifiers (not to mention the MkII Dynamic’s eight built-in compressors) as a complete DAW front end and I/O configuration right at $1,000 street. Very cool.

In Use

I gladly purchased a new OctoPre MkII Dynamic following my review — I now keep it quite busy — so for this evaluation, I configured the exact Focusrite record-ing rig as described above for a series of location tracking sessions: basic full band tracks featuring drums, bass, guitar and scratch vocals, on location in an empty house, with no other gear other than the necessary microphones, headphones and IEMs powered by a Aphex HeadPod 454 amplifier, and my MacBook Pro running Apple Logic.

Using no audio processing within Logic, only the Scarlett plug-in bundle provided with the 18i6, I quickly found it so easy to use the tasteful Scarlett effects that I didn’t use anything else. For this com-pletely in-the-box (ITB) project, why not? They worked simply, sound great, and are

both user- and processor-friendly. Having this Focusrite pro-cessing at my fingertips, along with the Focusrite MixControl DSP mixer, my creative life suddenly felt

less “digital” as the GUIs for both the Scarlett plug-in

suite and DSP mixer look and act “more

Focusrite Scarlett 18i6, 8i6 USB 2.0 Audio InterfacesThe latest little red boxes from Focusrite are value-packed, well built and come with great software, too.

What can’t you sufficiently capture with two microphones at any one given time? Considering our most common modern-day production techniques, not much. Thus, other than intricately miked acoustic sound sources or, most commonly, acoustic drum kits peppered with an assortment of dynamic, condenser and ribbon microphones, a dual XLR-equipped audio interface is all you often need to get into your DAW to pro-grade standards.


analog” than most — or, with due respect for Focusrite’s British heritage, “more analogue.” The sometimes less-than-logical DAW environment of Apple Logic was well complemented by the quite logical worlds of MixControl and Scarlett.

The musicians I worked with on this particular project includ-ed a guitarist who is reasonably accomplished in dialing in his own sounds in the studio, yet isn’t what you would call a “DAW person.” His normal studio environment remains based on racks of outboard pro-cessing, a dedicated hard-disk multitrack recorder, and a tactile, “analog-ish” digital mixer. Yet that didn’t impede our shared (and quickly discovered) infatuation with this Focusrite Scarlett/MixControl as work-flow. In no time, he was comfortable apply-ing compression, EQ and reverb to his own tracks to taste, just as he would in his nor-mal digs. Observing this helped me better understand how these Scarlett interfaces may be accepted in the worlds of tech-

nologically averse self-recordists: quicker than you’d think.

Summary

Just like the OctoPre MkII Dynamic I previously reviewed, the Scarlett 18i6 and 8i6 proved to be well built, clean and great-sounding if not completely transparent, and valuable beyond their price points. These already attractive boxes are even more appealing because of the bundled DSP mixer and plug-ins; it’s not “me too” stuff, it’s Focusrite software that is equally

as high-quality and user-friend-ly as the hardware with which it is conceived to work.

Between the two, because I am a self-recordist that regu-larly records a live drum kit, my preference would be the 18i6 due to its increased input capabilities, not to mention its better input metering on the front panel. Either way, two Focusrite preamplifers, all the available I/O, and the truly killer Scarlett bundled plug-ins make

either choice a great little I/O box you can stick under your arm so as to never miss a potential keeper, or that afford-able preamp that even your favorite hired mixer won’t complain about. So whether depending on the “two mics at a time” standard or 10, the latest from Focusrite should not disappoint anyone involved in your own productions.

Prices: $299 and $399 list (8i6 and 18i6, respectively)Contact: Focusrite | focusrite.com

studio review By Rob Tavaglione


I seldom find products worthy of unmitigated praise, and that suits me just fine, as such praise often appears insincere and/or biased. So I am just going to have to take my chances this time as Manley Labs has done it again: They’ve built a box just the way you would (if you could) based on a novel idea, one so cool that you’ll desper-ately want it and you don’t even know it yet.

Features

The MicMAID is basically a routing matrix, albeit a rather specialized one. Its 17 rear-panel XLRs provide I/O for four microphones and four mic preamps, direct outs for the mic amps and a master out, the Mon/Rec output. The primary purpose here is the ability to set up connections between the mics and preamps, in any combination you desire, and quickly audition them. As any-one who has ever staged a product shootout will have learned, the fundamental task here is to get levels matched closely enough to avoid giving the loudest source an unfair advantage; the MicMAID solves this dilemma with a gain range of plus or minus 19.5 dB (in half dB increments) for each mic pre.

An LED matrix of backlit buttons display input selection, routing status, phantom power (which is provided by the MicMAID and not the mic pre in use — more on this later). A lock button allows locking a given mic to a given pre to avoid accidental patches. A graphic display shows values of the gain trim knob directly below and also shows data for recall functions.

The front panel of the MicMAID provides some interesting “bonus features” beyond primary switching/routing. A transformer-isolated quarter-inch DI input, THRU jack and ground lift have been wisely provided; it’s wise considering the next feature — the polarity and variable phase facilities. Polarity provides polarity inversion as you’d expect, and the variable phase adjustment is offered in normal or high ranges. A quar-ter-inch fader jack allows insertion of an external fader for riding levels to tape.

In Use

To use MicMAID to its full potential, you should connect all its I/O to your patchbay. I know — that’s a whole lot of interconnect, but the advantages are worth the effort. The Mon/Rec output will be your main out to the recorder; it outputs the selected path, has the effect of the polarity and phase adjust-ments and is as clean as you might demand (sealed gold relays, no transformers, etc.).

After positioning two to four mics as close to coincidental as possible, you can then rapidly switch between the mics — between four pres or between both without any pops, surges, phantom power issues (remember, phantom is provided by the MicMAID) and allows you to make decisions with more information than ever before. It’s fast, too — as fast as you are, so you can switch sources mid-word or even mid-note and hear subtleties with

Manley Labs MicMAID 4X4 Microphone/Preamp Matrix SwitcherTrust us — this unique tool for auditioning microphones and preamplifiers is what you need, even though you don’t know it yet.

Rob Tavaglione owns and operates Charlotte, NC’s Catalyst Recording. [email protected].

precision. Once you’ve taken a minute to use the fine gain adjustment for perceived equal loudness, the minute differences between mics and mic amps becomes astonishingly defined; you will discover differences between your old favorites you did not know existed.

Vocal tracking via MicMAID is accom-plished in two primary ways. Let’s say, for one reason or another, you’ve queued up your favorites, say one great mic or one great mic pre. Cycle that one fine mic through your four best flavors of mic pre-amp or, conversely, try four nice mics all through your one favorite pre. You must have the vocalist placed just right for the multiple mics (perhaps by auditioning just two at a time), or instruct him/her to move from mic to mic on cue. Not only will you find your absolute favorite mic and pre combo, you’ll also have some slightly dif-ferent options ready to go for other parts of the song, or slight variations for stacking.

The MicMAID is also ideal for the two-channel mic/DI combination we often use for electric basses and acoustic instru-

ments. First, connect your mic to the MicMAID’s MIC B input, pick a preamp, and connect the corresponding direct output to channel one of your interface. Then, run the instrument output into the MicMAID DI, pick a preamp, and route it through the Mon/Rec output to channel two of your interface. You can then adjust the DI’s gain, polarity and phase until you have coherence between the pair.

The MicMAID delivers on every promise, and its problems aren’t problems so much as unfortunate side effects. For example, on big tracking sessions you’ll want to try out the detailed comparisons of the MicMAID on all your important channels (kick, snare, bass DI, soloists, live vocal-ists, etc.), and that requires lots of lines to be run and lots of re-patching as you find your ideal choices. With vocalists and single input sessions, the ability to fiddle, tweak and compare is essentially addictive and is probably more fascinating to you than your quickly exhausted talent. At least with diligence you can do in one take what used to take four!

For what it’s worth, the MicMAID has facilities for a remote that will allow cycling through selections while in the sweet spot. Oh, the possibilities; this thing may get even better!

Summary

Hopefully I’ve justified my gushing, as it appears the MicMAID is an idea per-fect in its physical execution: solid con-struction and flawless performance with unique abilities. And like all the best new products, it is needed far more than is readily realized. The only thing between me and three or four of these maidens — all racked, patched and ready for my next big live tracking session — is the $3,150 street price per box. That’s costly for the extreme convenience the MicMAID offers, but if your budget has room for one MicMAID, I implore you to try it; only then will you realize how much you’ve needed one of these for a long, long time.

Price: $3,500 listContact: Manley Labs | manley.com

new live products


Hosa Pro Interconnect Cables

Hosa Technology has introduced its Pro Interconnect Cables featuring REAN connectors by Neutrik AG “at a midline price,” offers the company. They are available in all pro audio terminations, including XLR, quarter-inch TRS, quarter-inch TS and RCA. All cable models utilize a zinc die-cast housing, a quadrangle design for better ergonomics, chuck-type strain relief for maximum cable retention, and rubber boot kink protec-tion for prolonged cable life. Hosa Pro Interconnect cables feature 24 AWG Oxygen-Free Copper (OFC) conductors for enhanced signal clarity and a 90 percent OFC braided shield for effective EMI and RFI rejection.Prices: $9.90-$120 (1.5 ft to 100 ft. lengths)Contact: Hosa Technology | hosatech.com

EAW MW8 and MW10 Stage Monitors

EAW has made two additions to its MicroWedge Series of stage moni-tors. The MicroWedge8 (MW8) and MicroWedge10 (MW10) are a small-format continuation of the company’s MW line. According to the company, although smaller than the MW12 and MW15, the MW8 and MW10 offer volume levels and voicing that rival the full-size 12- and 15-inch monitors.

The MW8 and MW10 are said suited for applications such as mid-to-high-volume rock/alternative performers, houses of worship, theaters, edge-of-stage fills, corporate shows/events and presenters. They can also be employed by front-of-house or monitor engineers looking for a live monitoring option on the console meter bridge. Price: TBAContact: EAW | eaw.com

Community Forecaster HD Ceiling Distributed System Design Software

Forecaster HD was created to help systems designers select the proper models and quantities of Community ceiling loudspeakers for a range of ceiling distributed applications based on user input of room dimensions and listening height. The program is designed to compensate for sloped ceilings and seating areas, and individual loudspeakers can be moved to avoid physical barriers in a room. Forecaster HD system designs can be saved, recalled and shared. Price: Free DownloadContact: Community | communitypro.com

new live products


Yamaha VS Series Surface Mount Speakers

Targeted for public address, background music, retail store, club, restaurant, meeting room or house of worship, Yamaha’s VS Series speakers are reportedly ideal in both indoor and outdoor settings. An extension to the company’s growing line of commer-cial audio installation products, the VS Series is compact, and its functional design is said to be adaptable to any environment, particularly where aesthetics are a con-sideration. The VS Series can also be used to supplement theater or stadium sound.Price: POAContact: Yamaha Pro Audio | yamahaproaudio.com

AKG DMS700 v2 Wireless Mic System

AKG has launched version 2 of its DMS700 digital wireless microphone system. With a 512-bit encryption, 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 to allow for more freedom in arranging anything from lecture halls in uni-versities to houses of worship; live performances on tour to broadcast operations.

Users with the original DMS700 wireless system 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: from $1,286 listContact: AKG Acoustics | akg.com

Avlex MiPro ACT-82a Receiver

Avlex has introduced its MiPro ACT-82a, a dual-channel, encrypted, dig-ital-diversity receiver. The ACT-82a reportedly offers expanded 120 MHz bandwidth, second-generation DSP technology and additional new tech-nologies. Featuring 24-bit/44.1 kHz audio quality, the ACT-82a is a 2-chan-nel, full digital system with constant transmission quality. With its carrier frequency range of UHF 482-602 MHz and expanded 120 MHz bandwidth, the ACT-82a’s latency is less than 2.9 ms while THD (total harmonic distortion) is less than or equal to 0.04 percent @ 1 kHz. Audio frequency response extends from 20 Hz-20 kHz.

According to the company, MiPro’s DigitnamicPlus technology eliminates compander noise, and the system’s integrated SmartEQ preset and user-defined microphone capsule equaliza-tion provides reproduction that can be tailored to an artist’s preferences. The system’s proprietary A/D converter pro-vides a dynamic range of 115 dB (A) to eliminate saturation or distortion at higher frequencies under high SPL input conditions.Price: TBAContact: Avlex Corporation | avlex.com

new live products


Roland Digital Mixing Consoles: Software UpdatesRoland Systems Group (RSG) has released software updates for its digital mixing consoles, the M-400 (pictured), M-380 and M-300 V-Mixers. One of the significant updates includes full project file compat-ibility and interchangeability between different models of V-Mixers. That means a project created on any model of V-Mixer including the new M-480 V-Mixer can be loaded via USB flash drive or RCS software to another model of V-Mixer. The V-Mixer consoles based on the REAC Ethernet audio protocol are the central component of a V-Mixing system with integrated digital snakes, multichannel recording and a personal mixing system.

This update demonstrates the continued support of the M-400 V-Mixer following the introduction of the new flagship M-480 V-Mixer console. Roland will continue to release updates for all V-Mixer consoles as new features become available, including the virtual soundcheck ability when linked with the new R-1000 48-track player/recorder.

All updates are available on the website here: http://www.rolandsystemsgroup.com/products/resources/system_updates. Price: Free DownloadContact: Roland Systems Group | rolandsystemsgroup.com

QSC KLA Series Active Array System

QSC Audio Products has introduced its KLA Series active line array system. KLA is the latest addition to company’s House of K family of active loudspeak-ers, joining the ranks of the K and KW Series. Available in black and white, the KLA Series is comprised of two models-the KLA12 (pictured) is a 12-inch, 2-way, line-array element; and the KLA181 is an 18-inch, direct-radiating subwoofer. Features of the KLA Series include Ar-Q (Arcuate Equalization) tuning and configuration and the SOLO (Single Operator Logistics) rigging system. Ar-Q is said to allow the user to apply the correct equalization and other processing for a given array size by turning a dial at the rear of the line-array element. With the SOLO rigging system, a KLA system reportedly can be deployed without the use of special tools or rigging hardware.Price: TBAContact: QSC Audio | qscaudio.com

PreSonus Universal Control 1.5 Control Panel Software

Universal Control 1.5 is the latest version of PreSonus’ control-panel software for FireStudio Series interfaces and StudioLive Series mixers. The new version features a free firmware update for the StudioLive 16.4.2 digital mixer. This free update is said to provide three new features: six more graphic EQs; speaker delay x 4; and aux flip mode. As with the StudioLive 24.4.2, this mode is accessed by pressing the Aux Mix buttons twice.Price: Free downloadContact: PreSonus | presonus.com

Powersoft M Series DSP+ETH AmplifiersPowersoft’s M Series now includes new DSP+ETH models, featuring 24-bit, 48 kHz AD/DA converters with 56-bit for internal pro-cessing. With two inputs and outputs each for the 2-channel version and four inputs and outputs each for the 4-channel version, the system offers per channel five bi-quad filters for system equalization, eliminating the need for outboard equalizers, plus two crossovers and eight bi-quad filters.

Each channel has dual dynamic processors with arbitrary input/output curve and adjustable time constants. To accommodate speaker time alignment, a range from zero to 10 ms adjustable delay is provided. The DSP engine delivers up to 114 dB(A) signal-to-noise ratio (analog I/O) with a 1 ms processing delay time. It also provides a complete set of limiters: Peak with varaiable ratio, RMS, and frequency shaping RMS.

The DSP card also offers FIR/IIR filters for crossover control for biamped loudspeakers. M Series DSP+ETH comes in three 2-chan-nel (M30D DSP+ETH, M20D DSP+ETH, M14D DSP+ETH) and two quad (M50Q DSP+ETH, M28Q DSP+ETH) versions. The two 4-channel models provide up to 1250W/ch. on 4 ohm loads, while the three 2-channel models offer a maximum output of 1500W/ch. on 4 ohm loads, while full range can reach up to 360W/ch. on 8 ohm loads. Each amplifier is housed in a 1U metal case weighing in at 16.3 lbs. Price: TBAContact: Powersoft | powersoft-audio.com

new live products

live review By Strother Bullins


Features

The Beta 181 is small, ideally designed to fit in positions where you normally wouldn’t fit a side-address condenser: it is 4.9 inches long, 1.36 inches at its widest point (the lollypop-style capsule), with a 0.8-inch diameter body. It can handle high SPL lev-els; max. SPL (1 kHz at 1 percent THD with a 1,000-ohm load) of the four capsules range between 149 to 153 dB SPL. Frequency-wise, based on Shure provided specifica-tions, each capsule is relatively flat from 50 Hz to around 3 kHz, where each has a significant presence peak ranging from +3 dB (181/BI) to +7 dB (181/O) until a rather sharp drop-off, across all capsules, at 15 kHz. Their range-wide, upper-mid bump provides the user with what I’d describe as the desirable “Beta Sound,” the one that works especially well in defining transient

sounds (string plucks, percussion, vocal detail, etc.).

The most notable physical charac-teristic of the Beta 181 is, of course, its interchangeable capsules, based on a knurled ring/alignment key/alignment groove design, so changing capsules is extremely easy at any stage of microphone placement. Simply turn off phantom power, unscrew the cap’s knurled ring, slide the alignment key (on the front of the cap) in the body’s key groove (or out), and then tighten the selected cap’s knurled ring down tight. I must note how extremely rug-ged and trustworthy these interchangeable capsules feel.

Best of all, Shure does offer these 181 capsules for individual purchase. For exam-ple, if you already own a pair of complete

Beta 181/Cs, you can buy two extra 181/O capsules for $249 each.

In Use

Over the span of several months, I used a collection of Beta

181 microphones — a pair per cap-sule type for a total of eight micro-phones. Pattern-wise, each of the capsules offered “textbook” accura-cy, performing as you would expect, in all applications I threw their way, in both stage and studio environ-ments: drums (with 181/C, 181/S and a pair of 181/BI in stereo on snare, toms, kick drum/beater side, hi-hat and ride), percussion (181/C and 181/O on shaker and tambou-rine), acoustic guitar (181/C and

a pair of 181/O), guitar speaker cabinet (181/C), and both male

and female vocal (181/C).The latter vocal applications were prob-

ably the least ideal of all placements, as I would normally choose a larger-diaphragm condenser microphone for close-miked vocals; yet, especially in live applications, using the Beta 181 on a vocal was physi-cally unobtrusive, and the performers seemed to enjoy using the visually unique mic, commenting about it. As a matter of fact, it performs well in a stealthy way

Shure Beta 181 Compact Side-Address Condenser Microphone Equally at home in live or studio applications, these little side-address

modular condensers are flexible, great sounding and well-built.

Shure’s truly unique Beta 181 ultra-compact, side-address, condenser microphone is an eye catcher. It attracted more than a few glances upon its debut at last year’s AES Convention in San Francisco, ultimately enough to win a 2010 PAR Excellence Award. Featuring a gunmetal blue pre-amp/body and four variations of capsules — 181/C cardioid, 181/S supercardioid, 181/O omnidirectional, and 181/BI bidi-rectional (figure-of-eight) — the Beta 181 is a modular, flexible microphone solution for both live and studio applications.

“ The most notable physical characteristic of the Beta 181 is, of course, its interchangeable capsules.”



live review By Will James


The first time I ever heard of Radian was many years ago; the company was well known in pro-fessional circles for manufacturing high-quality replacement components for manufacturers such as JBL, among others. It was later that it began manufacturing its own cones and compression drivers, and today Radian manufactures finished speakers and monitors like the 1200XD stage moni-tor from its Apex Neo Series. Features

Radian’s Apex Neo 1200XD is an ultra-low-profile monitor in a nice, tight little package, capable of pumping out some serious SPL. The two-way Neo 1200XD monitor houses a Neodymium 12-inch/2-inch coaxial driver assembly. Its woofer portion has a 4-inch voice coil, while the compression driver portion boasts a 3-inch voice coil with a 2-inch exit at the throat of the horn, all loaded into an aluminum frame. Low to Mid crossover frequency is 1,250 Hz and dispersion is about 90 degrees all around, with the speaker package emanating at about a 15-degree angle above the floor.

The Neo 1200XD has a manufacturer-rated capability of handling 700 watts continuous power. The provided manual was not clear about the separate ratings of the components of Low/High when in biamped mode, but referred to the 635W number in passive mode at 8 Ohms. Individually, Lows are 8 Ohms and Highs are 16 Ohms, so use your knowledge of system design and build your racks appropriately. (I person-ally recommend 1.5W of amp power per every Watt of speaker rating.)

The component drivers are nestled into an attractive cabinet with a proprietary waterproof, non-skid, non-reflective fin-ish. The cabinet itself rises to a height of only 13 inches, a width of 14 inches and an overall clearance depth of about 21 inches, taking into account the swept

teardrop shape of the cabinet. Connectors are dual parallel Neutrik NL4 receptacles.

In Use

After initially examining the Neo 1200XD, I was really looking for-ward to taking this wedge out to a gig with two main goals in mind:

I wanted to find out if it offered the clarity I thought it would, and I wanted to know if it could truly rock. I had my opportunity to find out both, as my next gigs provided full production — audio, lighting, stage and roof — for ‘60s rock ‘n’ roll icon Johnny Rivers (who still has “it”!) at a large car show for an audience of approximately 10,000 people.

First, regarding the Neo 1200XD’s clar-ity: it most notably offers very smooth

frequency response from 60 Hz to 16 kHz. Radian notes 50 Hz as the Neo 1200XD’s bottom frequency, and I would say the

Radian Audio Engineering Apex Neo 1200XD Stage MonitorThis ultra-low-profile wedge offers both clarity and power that can truly rock a stage.

Will James, owner and chief owner of Atlantis Audio and Lighting, is a longstanding PAR contributor. atlantisaudio.com

Superb sound; cool handles in just the

perfect spot (upstage side); connectors

on the upstage side — you never see

the wires; only 43 lbs., easy to move

around; nice “out of the box” sound,

requires only small amounts of EQ;

switchable between biamped and

passive with a toggle switch

None noted

Bottom Line I would proudly own a

fleet of them.

Product Points


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ProAudioReview


Filter where 10 is neutral.Do they work? They sure do. I admit that

I like to tweak my plug-ins, but sometimes you just want to turn a knob and quickly get the job done. These do just that quite effec-tively; of course, you can get more specific results by using other “deeper” plug-ins. These keep it simple.

As an example, I mixed a TV cue with no plug-ins except for reverb [hear it via audio webclip #1 — Ed.]. Then I used only OneKnob plug-ins on the same cue: with Brighter and Pressure on the drum loop, Filter and Phatter on the bass, Drive on both left and right guitars, Pressure and Wetter on the solo, and Louder stereo on the Master fader [audio webclip #2]. The audio results speak for themselves. Like I said: easy!Price: $400 list (7 plug-ins)Contact: Waves | waves.com

fully assures a detail-oriented soundstage that never feels fatiguing or that it’s strain-ing for accuracy. Gunning for neutrality, they’re well suited for mixing.

The DT 1350’s pedigree favors neither reference civility nor wantonly visceral slam. These headphones balance both iso-lation and resolution without glaring exag-gerations, slung inside a compact semi-rig-id case and ready to impact with authority.

Contact: American Music & Sound (U.S. distributor) | americanmusicandsound.com

Selected Audio Clips:

Waves OneKnob Series

Visit the link below to hear

audio clips referenced in

Rich’s review of the OneKnob

Series of native plug-ins.

proaudioreview.com/

wavesoneknob

Waves(continued from page 36)

beyerdynamic(continued from page 33)

wedge handled bass guitar very well, but with kick drum, you need a little some-thing additional (a subwoofer, as do all 12-inch wedges). Vocal clarity was superb, as were the rest of drum sounds, guitars and keyboards. Johnny’s vocals were crystal-clear, and he even remarked so. The Neo 1200XD attained very nice SPL levels, with abundant headroom. We were employing our own monitor racks, which contain Yorkville AP4040 for lows (about 750W @ 8 ohms) and Yorkville AP800 for highs (about 250W @ 16 ohms). I never saw a clip on the amps, and I never heard audible edginess from the wedge: The Neo 1200XD maintained very nicely.

But can it rock? Most definitely. We were attaining stage levels of 105-106 dB at about 5 feet (ear distance) with-out pushing anything hard. The open-ing group — the Stars of Beatlemania — actually required a little more SPL than Johnny; they had a little more stage vol-ume than Johnny in terms of a monitor needing to “cut through.” Keep in mind that lots of bands need more than 106 dB out of a wedge, but think about what we had here — a 12/2 coax. It offered amaz-ing performance for such a low-profile wedge.

My oldest son JJ was the monitor engi-neer for the event, employing an Allen & Heath iLive T112 (also recently reviewed for PAR: prosoundnetwork.com/article/allen-amp-heath-ilive-t112-digital-mixing-system/12410). At one point, we actually switched out the wedge with a player dur-ing a costume change so that JJ could try out the Neo 1200XD as a cue wedge, thus really giving it some torture.

JJ mixes FOH for hip-hop bands, so I knew he would really give this monitor a ride. His official report: “This wedge rocks.”

Summary

I never cease to be amazed at the increasing quality that can come from progressively smaller packages. This Radian wedge is just that kind of prod-uct, significantly raising the bar for a low-profile coaxial stage monitor. Following the usage described above, we employed the Neo 1200XD at several more gigs and I am quite enthusiastic about declaring that I would proudly own a fleet of them. And I am giving that purchase some serious thought, as I was already considering expanding our monitor armada.

Price: $2,080 listContact: Radian Audio Engineering | radianaudio.com

Radian(continued from page 48)

(with little flash and fanfare), simply doing the job of a well-built, high-quality condenser microphone that can take high levels of SPL.

But its physical attributes are what make it so easy and enjoyable to use, in a number of ways. Once the Beta 181 bodies are in place, trading caps in a hurry is a breeze. Being a relatively tiny side-address condenser, I was able to get it in tight places that would normally be impossible, or imposing to the musician (such as a Beta 181/BI between snare and hi-hat).

Summary

Whether live or in the studio, the Beta 181 would serve you as a very multipurpose condenser microphone

thanks to its modular design. As such, it is a very interesting addition to Shure’s venerable Beta Series. At $499 street each, multitasking pro audio types will want at least a pair of cardi-oid 181/Cs, a supercardioid 181/S cap or two if working live, then a pair of omni 181/O caps, two 181/BI caps for Blumlein stereo apps ... collect ‘em all, Shure style!

Price: $499 and $249 (each, complete and capsule-only, respectively)Contact: Shure | shure.com

Shure(continued from page 46)

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