ProAudio.review.may.2013

M ay 2013 | volu M e 19 | is s u e 5

ProAudioReview

New Products, P. 10, 40

INSIDE:• TechNically sPeakiNg:

Native Processing, Native Talent

• sTudio seNse: going 64-Bit

studio | live | broadcast | contracting | p o s t

ProAudioReviewThe Review Resource for Sound Professionals

feaTuRing MOTu DigiTal PeRfORMeR 8

Ableton Live 9 • ADAM F Series F7 • Avid Pro Tools HDX • DSP Mobile Analyzer • Ethan Winer’s The Audio Expert • Earthworks SR40V • MicW i436 & iShotgun • Sonnox Oxford Pro-Codec V2 • Steinberg CMC Series

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in this issueSound ReinforcementCovering Live Sound, Contracting, and Installed Sound

New Studio Products

ReviewMOTU Digital Performer 8 Digital

Audio Workstationby Rob Tavaglione

ReviewAvid Pro Tools HD to HDX: Adventures in Upgrades

by Rich Tozzoli

ReviewSteinberg CMC Series Controllers for

Cubase and Nuendo DAWsby Russ Long

ReviewAbleton Live 9 Digital Audio

Workstation Suiteby Tony Ware

ReviewSonnox Oxford Pro-Codec V2 Plug-in

by Rich Tozzoli

ReviewMicW i436 Omni Electret Condenser

& DSP Mobile Analyzer app by Lynn Fuston

ReviewMicW iShotgun Miniature

Microphoneby Lynn Fuston

ReviewADAM F Series F7 Studio Monitors

Strother Bullins and Rich Tozzoli

New Live Products

ReviewEarthworks SR40V Vocal

Condenser Microphoneby Rich Tozzoli

Technically SpeakingNative Processing and Native Talent

by Frank Wells

Book ReviewEthan Winer’s The Audio Expert

by Lynn Fuston

Studio SenseGoing 64-Bit

by Rob Tavaglione

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

ProAudioReviewMAy 2013 | VOLUME 19 | iSSUE 5

Cover & Featured Review Photography: Rob Tavaglione

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Rich Tozzoli, Software Editor

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technically speaking Frank Wells

8 ProAudioReview | May 2013 www.proaudioreview.com

The DAW world has become a very different place of late, as Moore’s law is still in effect and processing power continues to rise at unheard of price/perfor-

mance ratios. I’m sure that a few years ago I wrote similar words, maybe more than once. The progression from the first, fledgling, performance-restricted DAWs to today’s behemoth systems has been rapid. Milestones along the way were reached when the DAW no longer had to be a com-panion to a tape machine, and later to a con-

sole. Many engineers still choose to work with a console, or choose to employ analog tape, but it has become a legitimate choice for many, if not most, to work in-the-box.

Computer CPUs are fast enough and pow-erful enough to handle anything the aver-age engineer can throw at them. There are still dedicated DAW/DSP systems for those elite engineers working on projects with massive track counts or otherwise demand-ing processing loads. There are increasing powerful outboard DSP processors for plug-ins that may not be as necessary as when conceived in terms of processing needs, but now are also being merged with I/O and networking, creating new operational para-digms (while also serving a plug-in copy

protection role for their creators).Undoubtedly, I’ll get back to you on this

topic in a couple of years to tell you that processor capabilities are still accelerating and changing the way we work.

Please grant me a moment to diverge from this column’s usual themes. I spent part of yesterday jotting a brief remem-brance of Phil Ramone to add to a collection being gathered for his family, and I’d like to share it here:

While our paths crossed fairly often, a special treat for me was the intimidating honor of sharing a stage to ostensibly inter-view Phil at an industry gathering some years ago. I had dinner the night before the event with Phil and a colleague from the

host company, and what became obvious over our meal is that we would not run out of material for conversation if the stage time lasted a month. After the presentation, when attendees shared their appreciation for the event, all the credit had to go to Phil. My part was to occasionally change the subject and call for a bit of his musical legacy to be played. All the substance was Phil, and, as usual, he captivated and totally charmed his audience.

As I type this, I’m listening to the soundtrack from the film August Rush. The simple fantasy includes a young savant’s musical quest—three key musical moments given voice by Phil as producer. Phil’s role on the soundtrack is not among

the accomplishments that he is most often lauded for, but the first time I saw the film I wanted to hear the music again, and soon. The film’s title character lives and breathes music, and the soundtrack is steeped in the joy he derives from experiencing and creating music. After I noted Phil’s name attached to the tracks that had first caught my ear (featuring clever interplay between classical and rock), my reaction was “Of course it was Phil.” Phil approached music with unadulterated joy, with innate insight, with unashamed passion, with technical expertise and artistic prowess; he had a romance with music. I think that there’s a glimpse into Phil’s essence in that film’s embrace of such a romance.

Along with his musical accomplish-ments, Phil amazed all who knew him with his selflessness. He shared his time, his experiences, his knowledge, his perspec-tives and his vision with all comers. He didn’t hold back ‘secrets’ territorially, but instead was happy to add all he could to the communal pool of knowledge, and to do so with warmth, confident humility and his deep sense of humanity all on display.

Only rarely do men of such stature walk among us. Phil can’t be replaced. But to our great benefit, he shared so much of himself that thousands now carry some part of Phil into the future. The legacy of this visionary giant, this brilliant innovator, this friend, lives on. He is missed, but cannot be forgotten.

Native Processing And Native Talent

“Phil Ramone approached music with unadulterated joy, with innate insight, with unashamed passion, with technical expertise and artistic prowess;

he had a romance with music…he shared so much of himself that thousands now carry some part of Phil into the future.”

Frank Wells is the Editorial Director of Pro Audio Review as well as Editor of Pro Sound News.

new studio products


Solid State Logic Stereo Bus Compressor for 500 Series

At this year’s Musikmesse in Frankfurt, Germany, Solid State Logic announced that its Stereo Bus Compressor is now available for 500 Series-compatible chassis. Though “the SSL console sound has been available in 12 different modules for SSL’s own modular X-Rack system for many years,” tells SSL pro-motional material, the company will now further distribute its legendary bus comp within the burgeoning 500 Series module market. Price: $2,299 streetContact: Solid State Logic | solidstatelogic.com

McDSP Supports AAX for V.5 McDSP’s Colin McDowell has announced “a complete re-write from the ground up” of his company’s popular plug-in line. McDSP AAX plug-ins will operate in both Pro Tools 10 (as 32-bit plug-ins) and Pro Tools 11 (as 64-bit plug-ins.) This dual 32-bit/64-bit support is included with McDSP’s Version 5 upgrade; 64-bit AAX plugs will be made available once Pro Tools 11 ships, confirms McDowell.

Improvements will abound, confirms McDowell. “For example, the AAX version of the FilterBank E606 plug-in has increased frequency control ranges—more than the original E6! This was only possible with the capabil-

ity of the new HDX hardware and the flexibility of the AAX plug-in format.” McDSP v5 includes support for Windows XP, Vista and Windows 7 along with Intel-Mac systems running Mac OS 10.5.x (Leopard),

10.6.x (Snow Leopard), 10.7.x (Lion), and 10.8.x (Mountain Lion). The AAX format is only supported in Pro Tools 10.2 and later versions (including Pro Tools 11), on Mac OS X 10.7.4 and later versions, and Windows 7. The rest of the McDSP v5 plug-ins will have AAX support later this year. In addition to Pro Tools, McDSP v5 plug-ins now support Logic, Garage Band, Digital Performer, Ableton Live and other AU compatible DAWs.

Free to McDSP V.5 customers, their AAX DSP and Native plug-ins are also available to those who are not yet on the latest version for a nominal upgrade fee; see their online store for full pricing information.Price: Free to McDSP V.5 customersContact: McDSP | mcdsp.com

new studio products

May 2013 | ProAudioReviewwww.proaudioreview.com 11

Universal Audio UAD V.7 Plug-insThis month, prolific plug-in developer Universal Audio has unveiled three new plug-ins; Sonnox Oxford Inflator, SPL TwinTube and Ocean Way Studios are included in the latest major update to UAD Powered Plug-ins software, Version 7.0, or available separately at UA’s online store.

SPL TwinTube is the official emulation of SPL’s popular tube effects processor, which, according to UA, “adds analog tube warmth, saturation and harmonic distor-tion” to sound sources, “boosts presence and spatial imaging without increasing overall dynamic range.” Sonnox Oxford Inflator “increases “the apparent loud-ness of a mix or individual tracks without audibly affect-ing sonic quality or reducing dynamic range,” with direct and band-split modes.

The third plug-in, Ocean Way Studios, was developed over the past three years by UA and Allen Sides, the founder and longstanding engineer for what is arguably the legendary studio brand of Los Angeles. Ocean Ways Studios combines “elements of room, microphone and source modeling so tracks sound as if they were record-ed” at Ocean Way. OWS uses UA’s proprietary Dynamic Room Modeling technology with classic microphone emulation algorithms to simulate reaching into an Ocean Way locker of rare, vintage microphones, all of which can be positioned in real time, drag-and-drop.

Each new plug-in requires a UAD-2 DSP Accelerator Card or an Apollo audio interface, recently reviewed in Pro Audio Review by contributors Russ Long and Rich Tozzoli. Prices: $179, $199 and $349 (SPL, Sonnox, and Ocean Way, respectively), or included in UAD Powered Plug-ins software, Version 7.0.Contact: Universal Audio | uaudio.com

new studio products


IsoAcoustics ISO-L8R130 Isolation-Enhancing Stand

Innovative Ontario-based company IsoAcoustics now offers the ISO-L8R130 isolation-enhancing stand, “specifically designed for small studio monitors, desktop and bookshelf speakers.” Sharing all the features of its previous models—the ISO-L8R155 and ISO-L8R200—such as IsoAcoustics’ patented “floating” architecture, the stand measures 5.1” x 6” with tubing for a 2.5” to or 7.5” height, plus two pair of adjustor inserts for 14 variations of height and tilt adjustments. The stands are designed to accommodate monitors with widths of 5” and weights of less than 20 lbs.

The previous IsoAcoustics models of speaker stands, the ISO-L8R155 and ISO-L8R200, have won ProSoundNetwork Best of Show Awards, both at last year’s NAMM, and at the 133rd AES in San Francisco. Price: $79 per pair, street Contact: IsoAcoustics | isoacoustics.com

Focusrite Scarlett 18i8 and 6i6 USB 2.0 InterfacesFocusrite continues to expand its 24-bit, 96 kHz-capable Scarlett USB 2.0 audio interface lineup with two new models—the 18i8 (18-in, 8-out) and 6i6 (6-in, 6-out). In addition to Mac and Windows OS compatibility, both the 18i8 and 6i6 are iOS ready (via Apple’s iPad camera connection kit).

The 18i8, “the first interface from Focusrite to include four award-winning mic preamps,” touts the company, also includes ADAT Lightpipe I/O for the connection of external preamps, such as the complimentary OctoPre MkII; as such the 18i8 is expandable to 12 preamp inputs. The 18i8 also includes S/PDIF I/O. Additionally, the 6i6 includes two preamps, two headphone outputs with separate level controls, and a stereo line input. Prices: $249 and $349 street (6i6 and 18i8, respectively)Contact: Focusrite | focusrite.com

new studio products

Goby Labs has unveiled their Thingy Series, which consists of the Goby Labs Guitar-hook Thingy and the Stand-top Thingy for iPad. The Goby Labs Guitar-hook Thingy enables users to attach a guitar hook to most tripod microphone stands. Featuring a patent-pending pole grip that forms a closed loop around most mic stands, the new Guitar-hook Thingy relies on the strength and leverage of the microphone stand in use.

The new Stand-top Thingy features a compact stand adaptor instead of a pole grip. Designed to fit both US- and European-style microphone stands, it attaches the iPad directly to any microphone stand and is compatible with 2nd, 3rd, and 4th generation iPad tablets.Price: $23.95 each | Contact: Goby Labs | gobylabs.com

Radial Engineering PreComp 500 Series-compatible module

Radial’s PreComp is a single-wide 500 series-compatible module featuring the company’s Accustate gain control ”that simultaneously sets the output and sensitivity to maximize signal-to-noise at all levels” and a compressor with adjustable threshold, compression ratio and make-up gain control “that automatically transi-tions from soft-knee to hard-knee as compression increases.” Other features include polarity reverse, HPF, 48 VDC phantom power, and in/out switch for comparison. Price: $400Contact: Radial Engineering | radialeng.com

Goby Labs Thingy Series Expands

book review by Lynn Fuston


Ethan Winer’s The Audio Expert is an advanced study in audio that is 667 pages long, 1.5 inches thick, and weighs about 3 pounds. It is available in paperback or Kindle. But in this age of tweets and news clips, is there a market for a weighty tome like this? I hope so.

There are six sections: Audio Defined, Analog and Digital Recording, Transducers, Room Acoustics/Treatment/Monitoring, Electronics and Computers, Musical Instruments. I especially appreciate the inclusion of a section on instruments (p. 623) because many engineers know lots about computers and software, but have precious little understanding of music and musical instruments. Thank you, Ethan.

The book is full of nice creative tips and stories, like a story about crystal mics and the reasons for their popularity as harmon-ica mics, contributing to the Chicago blues harmonica sound (p. 375).

Although there is a wealth of information contained herein, this is not just a book of facts. Winer’s opinions are not white-washed either, such as the section called (suggestively) “The Failings of Analog Tape.” (p. 171) (Note that it’s not called the Glory of Analog Tape.) While some will disagree with Ethan’s sonic conclusions, his assertions (cost of tape, availability of machines which are no longer being man-ufactured, costs of repair, head relapping, maintenance, and other analog facts-of-

life) cannot be denied. He concludes this three-page diatribe by saying “...some engineers are willing to overlook all of these failings in exchange for what they perceive as a sound quality that’s more pleasing than digital recording.” He also prefers using a flat microphone to record and leaving the EQ’ing “to taste later when mixing.” (p. 182) That’s his method with which some engineers would agree. Others? Not on your life, preferring to match the mic to the source at the time of recording, regardless of the mic’s clearly “unflat” character. (Yes, I’m in that camp.)

One thing I like is that Ethan shares my penchant for dispelling myths in the recording world. Like me, he has very little patience for nonsense and pixie dust. This book “includes healthy doses of skepticism and consumerism, which...are intimately related.”

I thoroughly enjoyed the section about artifact audibility (pp. 72-80).

The book contains lots of helpful pic-tures and diagrams, including a console Ethan built in the 70s (p.136). The includ-ed videos (available online) are also very informative, featuring everything from auditioning different celli to learning how to solder. There are also sound files to demonstrate audio principles and Excel spreadsheets for decibel conversion and reflectivity calculations. As a resource book, it has an excellent index.

Only occasionally did I find myself wanting more, such as polar diagrams showing the setup of XY, Blumlein and MS, which are all described thoroughly but a graphic would have helped (p. 187). And the frequency plots showing microphone response (pp. 260-261) were created in color and converted to black/white but the keys don’t allow distinguishing which is which.

More than anything else, the greatest compliment that I can pay this book is that, in all my reading of it, I never once felt bored or like it was a waste of my time. For someone like me, who has spent a lot of time reading and recording already, that’s saying a lot. It would make a great textbook for someone who is just starting out. To test that, I loaned it to Scott Hull, a student at Belmont University, and he enjoyed and learned a lot from Chapter 20 on measuring room acoustics, as did I. I think this book would be a very valuable asset to anyone who is just starting out in audio and I would definitely recommend it.Price: $50 paperback, $44 for KindleContact: Focal Press | focalpress.com

The Audio Expertby Ethan Winer (2013 Focal Press)

Lynn Fuston is a Nashville-based recording engineer, owner of 3D Audio, Inc., and the Technical Editor for PAR. 3daudioinc.com

Back in 1975, I read books on the bus to and from school. Not typical teenage fare, I read books like the Sound Reinforcement Handbook, the bright lemon yellow Sound System Engineering by Davis/Patronis or even Leo Beranek’s Acoustics. So now you know, I’m the nerdy bookish type who’s been studying audio for a long time, and I’ve found another book to add to my library.

opinion studio sense by Rob Tavaglione


I’ve been running MOTU’s Digital Performer (a Mac-based DAW now PC compatible) on a ’06 Mac Pro for some time, and I was still enjoying great performance. Even though that first-generation Mac Pro came equipped with 64-bit data buses, it didn’t employ the 64-bit kernels required to properly commu-nicate with 64-bit apps and third-party hard-ware (for example, the Universal Audio PCIe card that I use). It can run no higher than OS X Lion 10.7 and can dedicate no more than 4 GB of RAM to any one program. Second generation Mac Pro machines (from late ’08) can run the current OS—10.8 Mountain Lion—and have that 64-bit kernel architec-ture with unlimited virtual RAM allocation, capable of 32-bit programs as well (even though they will only boot up into 64-bit).

My ProcessI acquired a used 8-core Mac Pro on eBay

for a very reasonable price, updated to OS X 10.8 and moved my new SSDs (solid state drives) to the new machine; it was simple process, simply trading out the drive sleds, with no tools required. The RAM is machine specific and each generation’s Mac Pro uses a different model/speed of memory (DIMMs or SDRAMs, etc). Thankfully, RAM is still cheap and installs effortlessly, too.

Once the tower was 64-bit ready, the remaining update process was largely rou-tine. Both Waves and UA have 32- and 64-bit software available for download; although both are large programs, they installed with-out much fuss, simply requiring challenge/response authorization. The techs at Waves were patient with me; I did have trouble with their new Waves License Center, although it’s actually very easy to use and flexible, too; you can now use a standard thumb drive to move your authorizations between the cloud and your machines. Digital Performer 8 ships capable of both 32- and 64-bit operation, and switching between modes is easy. [See our full review of DP8 in this issue of Pro Audio Review — Ed]. DP8 in 64-bit won’t even see 32-bit plug-ins, yet once they are updated to 64-bit, Audio Units will inspect them when first opening.

I was nearly at functional speed, but one issue still remained—I needed a disc authoring solution. Options abound for PC, but for Mac there’s a sizable gulf between capable consumer apps like Toast 11 and costly pro apps like Sonic Studio’s soundBlade and Sonaris’ DDP Creator Pro. Ultimately I found a new app, whose devel-opers took advantage of the coding ben-efits in V.10.8 Mountain Lion—Triumph from

Audiofile Engineering. I’ve only been using it for a month, but it appears I’m back to burn-ing disc masters, editing ISRCs and CD-Text, and creating DDPs for disc duplication—not bad for a $79 investment.

Perceived BenefitsIt’s hard for me to say how essential

this 64-bit upgrade is right now; I haven’t any cold, hard measurements about the improved performance that I perceive. Let’s just say that—between 8-cores, SSD drives (with 6x to 7x faster read/write speeds) and all the aforementioned software updates—my workflow is faster than ever, especially in bouncing to disc (non-scientifically, it seems like about 4x faster than before the upgrades). My GUI is much more respon-sive; by comparison, I’d call it ‘simply blaz-ing!’ I eventually plan to max out my RAM (at 32 GB) like my film scoring friends have, fully maximizing my 64-bit benefit.

With even Pro Tools now RSVPing to the 64-bit party, it’s simply a matter of time before we all make this jump or be left in the land of the ‘unsupported’— a functional place, but one that’s not great for client reten-tion. It appears these kernels have drawn a virtual line in the sand: get full 64-bit compa-rability or freeze right there, where you are.

Going 64-bitAs any master carpenter will tell you “Measure twice, cut once.” Even though that refers to wood, I think the same logic applies to CPU-based upgrades for professional audio production. For that reason, I was careful when upgrading my audio rig for 64-bit computing; the benefits include essentially unlimited RAM allocation and an ability to make RAM-intensive programs very quick and responsive thanks to faster computation (without using the OS’s share of RAM, either).

Rob Tavaglione is the owner/chief engineer of Charlotte’s Catalyst Recording and a regular contributor to Pro Audio Review. catalystrecording.com

“With even Pro Tools now RSVPing to the 64-bit party, it’s simply a matter of time before we all make this jump or be left in the land of the ‘unsupported’—

a functional place, but one that’s not great for client retention.”

MOTU Digital Performer 8 Digital Audio WorkstationKey new workflow features and 17 new plug-ins help comprise a worthwhile update to MOTU’s industry-proven DAW. By ROB TAvAgliOne

MOTU’s latest version of Digital Performer, DP8, is another impres-sive move forward in features and flow for a well-established and highly functional DAW. This time, DP’s most notable improvements involve plug-ins, including the many premium plugs provided within the standard DP package.

May 2013 | ProAudioReview 21

Key New FeaturesI dare not delve into a full explanation

of DP’s broad and deep feature set; MOTU’s nearly 1,000-page manual does that quite well already. DP8 is a complete digital audio workstation, offering unlimited track count recording via native processing power, with editing, mixing, sync to video, sequencing and all the usual audio processing func-tions via Mac (Intel only) computers. MOTU DP for Windows 7 and 8 machines is also now shipping. DP8 is available as a 30-day demo as well as a full digital download directly from motu.com/store.

As one might expect, there are also a handful of new DP features not plug-in related: MOTU’s trademarked Punch Guard, which allows user definable pre-roll and post-roll recording (thus providing freedom from the horrible feeling of missing the first word/note of a track); Plug-in manage-ment, including a new selection window and search functionality via type or manu-facturer (essential if one’s plug-in list has grown as gigantic as mine); and Preset management, allowing storage of long plug-in chains with all settings intact. Notable to audio post and scoring users, DP8 also features a new video engine and Rewire/VST support for those employing other plat-forms.

There are further refinements to the visual GUI themes and their flexibility: 15 entirely new themes, more than double from DP7. Look at the screenshot of the dark, sexy, easy-on-the-eyes theme I came up with (shown on Page 22): all color coded for ease, logically laid out, and built for com-fort and speed.

17 New Plug-ins: In DetailSubkick: Sub-bass synthesis and decay

tapering for kick drums and other low fre-quency percussion-based sound sources. Ridiculously powerful, potentially compli-cated, yet easy to use, Subkick can make an inside-the-shell kick mic sound larger than life, and it can make poor mics sound much better with tunability, resonance and sensitivity parameters. The graphic of a “beater pedal hitting the drum in time” will delight clients.

Precision Delay: Its time slipping, polar-

ity reversal and a phase correlation meter help align phase related signals. Mono sources, stereo sources and side-chain inputs can all be utilized to achieve proper phase alignment beyond transient match-ing. With either simple manual operation for some tasks or automatic for others—pretty tricky, and I’m still working on mastering it—all the tools I need to eliminate comb fil-tering and phase distortion are in this plug.

De-esser: The routine removal of excessive sibi-lance is easy enough, even with a keyed compressor. However, MOTU’s De-esser plug-in has nine controls (including attack, release, frequency, ratio, look-ahead, etc.) and the best metering I’ve ever seen, showing users all they need to know. These controls pro-vide powerful flexibility for “smoothing” tracks (e.g., fix-ing brash overhead mics or brittle guitar).

Dynamic Equalizer: Offering three paramet-ric bands and two shelves of frequency conscious dynamics control with an informative FFT display and the accuracy benefits of look-ahead, this power-ful processor enables deep correction of troubled mixes/tracks or aggressive volume maximizing. Such typi-cal heavy-lifting is made (too) easy by grab-bing and dragging the color-coded graphic handles on the frequency grid, or grabbing the flags on the LED meter bars, or twisting knobs that show exact numerical values. Nice—very nice.

Spatial Maximizer: This plug separates a stereo signal into Mid- and Side compo-nents for M/S processing with a five-band dynamic EQ on each component. Just like Dynamic EQ, this much power is poten-tially corrupting; users can go from “look, I mastered a mix using only one plug” to “I mangled a perfectly good mix” in the span of about eight measures.

Live Room B: Like DP’s Live Room G for guitars, Live Room B brings modeling to bass guitar. Modeling different bass cabi-nets with a variety of typical transducers (D112, E602, SM7B, Schoeps stereo SDC pair, even Yamaha’s Subkick speaker trans-ducer) is possible via four mic placement positions in the “room.” Its performance—from the cabinets, to the mics, to the mic

patterns—sound surprisingly real; a single bass DI with this much available power is a coup in standard modern rock production.

Live Stage: Live Room G and Live Room B are now ready for the stage; Live Stage is ready for use on laptops and compromised processors. Without the need for re-amping and impedance matching, guitar proces-sors are “FX du jour” for all our tracks and mixes in the digital world. All these plugs are available in stereo, too, even with mono sources.

Springmabob: Bouncy spring reverb for surf guitarists, retro rockers and the like, Springmabob offers three spring tanks (long double, long triple and short triple) for mimicking all the classics.

Ensemble Chorus: This deep, very pow-erful multiple voice chorus with ample con-trol and options can do subtle, glassy and even crazed robots.

ACE30: This plug models classic Class A Vox AC30/6 and AC30CC2X amps, with three preamp choices, two impedances and tremolo (nice and syrupy). Try selecting tones on both channels, and then quickly

swap inputs, from high to low impedance and/or top boost for the full range of flavors on the fly.

Soloist: For those on the guitar spectrum’s other end, this models a classic two channel Dual Rectifier Solo with the silicon diodes engaged (not the namesake Tube Rectifiers, which sound much softer and bluesier) and the “bold” power setting (the typical aggressive set-ting). This ambitious simu-lation isn’t bad when used properly; for best results, it needs a guitar DI signal, not a mic on an amp. [MOTU suggests its ZBox imped-ance adapter helps in this application. —Ed.]

Analog Delay: This plug models classic DOD and Electro-Harmonix “bucket brigade” delays (with mul-tiple chips for longer delay

times) and with an oscillator for some seri-ously warm vintage tones.

Analog Flanger: Basically, this is a ’70s-era Electro-Harmonix H Deluxe Electric Mistress flanger in all its swooshy joy.

Hi Top Booster: This models the classic-rock treble boosters used so famously by Eric Clapton and Brian May, providing a dis-tinctively sweet, bright tone. Placing it on a vocal or a mix then driving way too hard is yet another way to mangle clean audio in an appropriately modern way.

Analog Phaser: Modeled after every-body’s warbly favorite—a “script logo” 1974 MXR Vintage Phase—the orange, one-knob “guitar solo butter booster” adds creamy


There are further refinements to Digital Performer’s visual GUI themes and their flexibility.

(continued on page 50)

studio review By Rich Tozzoli


I use Pro Tools for everything—from sim-ple stereo mixes to full 5.1, as well as for scoring to picture and doing sound design; it gets a workout. I think of it simply as an extension of my right hand, and its value to my daily workload is undeniable. I upgraded to HD as soon as it was available, and that architecture had its pros and cons. At the time, it was a big leap forward sonically, but TDM and its 24-bit architecture could only go so far and the 10-plus year old platform is now dated. That’s not to say it doesn’t get the job done—it surely does—but technol-ogy has moved ahead.

The future of computing is 64-bit and the challenging decision for Avid and Pro Tools users is to either grow with it or get left behind. Choosing to move forward, I purchased an HD 8X8X8 I/O and a single HDX PCIe card. Was it pricey? Yes, but I was able to trade in my HD3 system and 192 I/O. This being my production lifeblood, as long as I was assured it would work and sound great, I was ready to spend the money. Besides, I still remember paying $16,000 for 16 channels of Pro Tools back in the black interface days. Needless to say, it’s all relative.

Step 1: HD I/O & PT10The first step in my upgrade, which I did

months ago, was to install the HD I/O and Pro Tools 10 software. Leaving my HD3 cards in the computer, I used the included DigiLink cable adapter to connect to HD I/O, running both an optical cable and AES cable into my Grace m906 studio moni-tor controller. I immediately recognized the updated converters (on input); to my ears, there seemed to be more air and presence in the

sound. I could still run my TDM plug-ins and use all my virtual instruments. And now, with sessions residing in RAM, drives became less critical.

Step 2: (Finding) AAX DSP Plug-ins

At this point, what held me back from installing the HDX card was the overall lack of new AAX DSP plug-ins. Remember, we

Adventures In Upgrades: Avid Pro Tools HD to HDX The HD to HDX switch isn’t so easy, confirms our Software Editor, but it’s worth the trouble.

We all know that technology marches on, whether we like it or not. For the most part, those of us in the business of music and media production do like it. But if you rely on Pro Tools daily as much as I do, switching from HD to HDX is not so easy. I recently made the big move and wanted to share my experi-ence and future outlook on the matter.

Rich Tozzoli is a Grammy-nominated mixer/producer, a prolific TV composer and the Software Editor for Pro Audio Review. richtozzoli.com

Avid’s HDX PCIe card with a stack of HD hardware, including Rich’s HD I/O 8X8X8.

HD users are accustomed to having loads of TDM plug-ins on the chips, leaving RTAS plug-ins to run natively on our host com-puters. Instinct told me that to run native plugs-ins, the computer would be taxed. Besides, the point of having an HDX rig is to use it to its max.

As a guitar-centric composer, I found out I would permanently lose my beloved Amp Farm and Echo Farm plug-ins (they would not be ported for AAX usage). While I could use other guitar plug-ins such as Eleven and bx Rockrack (and I do), I have years and years of old sessions with Amp Farm that would not be the same; it’s a sound I know and am intimately comfortable and familiar with. In addition, the list of AAX DSP plug-ins was quite short, so I would be running mostly Native for the time being. I was concerned to say the least. I left my HD cards (along with a Universal Audio UAD OCTO card) where they were—installed. I would have to chalk this up temporarily to the price of progress, hoping it would be rectified sooner than later.

Step 3: HDX CardI finally had enough space in my work-

flow to make the move to the new card. About a month ago, I put it in, along with the latest version of PT software. At this point, I run a huge portion of my session using AAX Native plug-ins and only a few on AAX DSP.

The good news: Some of the plug-ins I rely on—such as those from McDSP, Sonnox and Softube—can run as AAX DSP on my chips. While there are now many Avid AAX DSP plug-ins available, I generally don’t use them much except for ReVibe and SansAmp. My reality is that my other go-to plug ins—those by Waves, SoundToys, Slate Digital and Eventide—are running natively, as are all my virtual instruments, those coming from Ivory, East-West, Vienna,

Spectrasonics, and so on. My UAD plug-ins run on the OCTO cards, and we can only hope for further integration in the near future from UA [Universal Audio just made such an announcement at this year’s Musikmesse: tinyurl.com/dxcbjqe —Ed.].

Interestingly, today’s computers are so powerful that the Native approach is an entirely new outlook for me. So far, this DSP/Native issue has not limited my sessions. I use what I want when I want (minus Amp Farm) and get the job done. The computer hasn’t balked yet, and the CPU percentage rarely reads above 20 percent. Do I want more DSP plug-ins to reside on my chips? Absolutely—the cards look empty in a real-world session!

With the upcoming release of Pro Tools 11,

it seems that full 64-bit integration will be here, along with the total demise of RTAS and TDM. We have to move forward once again, and changes and adjustments must be made to not only the workflow, but also hardware.

Not so easy, is it?

The Word from AvidTo get a few things straight, I spoke with

Avid’s Audio Marketing Director Tony Cariddi. “It took a number of steps to transition

the entire Pro Tools family of products to a modern architecture—one that provided sonic parity between native and DSP-based systems with floating-point processing and 64-bit code,” he explained. “We needed to balance the need for delivering innovations quickly with the need to ensure that our cus-


Rich’s CPU percentage now rarely reads above 20 percent.

“One example of the lengths we went to accomplish [sonically consistent offline bounce] was introducing automation that is time-stamped to the audio clip,

which is something no other audio workstation does.”—Tony Cariddi, Avid Audio Marketing Director

tomers, plug-in developers and resellers had ample runway to plan and prepare for the required investment. Pro Tools 10 delivered the last major upgrade for HD Accel, the ‘blue’ Pro Tools HD interfaces and support for RTAS and TDM. It was also designed to serve as a bridge to our 64-bit release so that it would support both the newly introduced AAX plug-in platform as well as the to-be-retired RTAS and TDM plug-ins. It also supported the architecturally different HDX and legacy HD Accel hardware. This gave everyone about an 18-month runway to prepare for the transi-tion to Pro Tools 11, which marks the end of support for the legacy 32-bit architecture of HD Accel, RTAS and TDM.”

Like many of you, I’ve cumulatively spent months of my life waiting for real-time bounces in Pro Tools. Finally, with Pro Tools 11, I won’t have to watch the minutes and seconds tick by anymore. Cariddi: “Off-

line bounce can save you a ton of time, especially if you need to bounce a number of multichannel stems that are an hour or more in length. However, we knew that we needed to take extra care in designing a high-speed bounce that delivered the exact results as an online bounce in order to be embraced by the professional community. To that end, we invested a ton of engineer-ing to make that happen. One example of the lengths we went to accomplish this was introducing automation that is time-stamped to the audio clip, which is some-thing no other audio workstation does. Of course, none of this would be possible if we hadn’t introduced AAX plug-ins.”

Next, Tony and I discussed the hard real-ity of working folks actually making this changeover. “Bringing in innovations often requires transitioning technology, and this is rarely un-disruptive for customers,” he

noted. “That being said, we tried to make the transition as painless as possible. With the introduction of Pro Tools 11, HDX, HD Native and HD Series I/O, we have a completely refreshed offering. Also, you can keep both versions (Pro Tools 10 and 11) on your machine, if you need a quick backward com-patibility; there will be no need to restart, so you can keep working. In addition, it will allow your system to use virtually all of the available RAM, which will truly benefit those using a lot of software instruments.”

Finally, I asked Tony for his outlook on what the transition would be like for a hard-core TDM user. “For a TDM user, going from HD Accel to HDX will be a completely differ-ent experience. There will be vastly more playable voices, much more DSP—from 3X to 10X per card (it varies upon optimized plug-ins)—and you’re getting over 1,000 dB of additional headroom in plug-in processing.

That’s because TDM used 24-bit fixed (with fixed math on the chip), so it was fairly easy to clip. Now the mixer and plug-ins are com-pletely processed with floating point math. “The transition involved a number of steps to get us here, but the resulting benefits you’ll experience with Pro Tools 11 and the new Avid audio hardware will make it worth the wait.”

In closing, I have to say that I’ve person-ally been through just about every soft-ware and hardware change in Pro Tools. The big picture is that Avid always delivers the goods, even if we (the users) have to make uncomfortable adjustments in our workflow.

Do I dislike the upgrade process? Yes. Yes, I do. But without a doubt, it’s always worth it in the end. I do feel that, with the coming of Pro Tools 11, my rig will be faster and more powerful— and, most important-ly, will sound better than ever.

Engineer Richard Chycki, Early HDX/AAX Adopter

For an additional viewpoint, I asked Richard Chycki about his experience with HDX. Chycki is a long-time Pro Tools user and veteran engineer/mixer/producer with credits that range from Rush and Aerosmith to Sean Paul and Shawn Colvin.

“I was a fairly early adopter of HDX and AAX,” noted Chycki. “Sonically, HDX/AAX is better than ever. I can match analog mixes with ease, and a pair of HDX cards has more processing power than my previous HD7 mix rig. So large surround mixes (especially at 96k) have the DSP horsepower available; the extra horsepower is leading to some amazing AAX plug-in develop-ment. I’m using Dirk Ulrich’s Brainworx plug-ins, which are spectacular. Also, McDSP has ported the majority of its plug-ins to AAX. They’re as musical as ever, and I also use the Sonnox EQ and Dynamics, a great 5.1 buss compressor. Finally, of course, Avid has released its ‘stock’ plug-ins included with a system purchase in AAX DSP and Native format.”

Chycki’s sole complaint? “Plug-in porting to the AAX format is sloooow,” he empha-sized. “Major plug-in makers like Waves are all but ignoring AAX. As a result, I’m also using more Native than previously and—with Pro Tools 11 offering only AAX support—upgrading may prove problematic without some change in the plug-in landscape. But overall, AAX has been a strong step forward for my mixes.” —Rich Tozzoli


“Do I dislike the upgrade process? Yes. Yes, I do.

But without a doubt, it’s always worth it in the end.”

studio review By Russ Long


FeaturesEach of the six USB-powered

CMC controllers is housed in attractive, 7.2-inch deep by 3.6-inch wide by roughly 0.5-inch high chassis (each unit’s height varies slightly). White with a textured black top, CMC units are primar-ily constructed of plastic, though they feel sturdy and well-built. An LED in the top right corner of each controller illuminates when the surface is active, and each controller utilizes its own configu-ration of backlit function buttons, illuminated knobs and touch fad-ers. The included joint plates allow the controllers to be connected to one another.

Since the functionality of these controllers is essentially an exten-sion of the Cubase/Nuendo fea-ture set, they have seamless and instant plug-and-play compat-ibility with Cubase and Nuendo; the CMC-PD and CMC-QC units are built to work with other DAWs, too.

Each CMC controller includes a download access code for

Cubase AI6, a simplified version of Cubase. Included in the CMC controller series are the CMC-TP Transport Controller, CMC-CH Channel Controller, CMC-FD Fader Controller, CMC-QC Quick Controller, CMC-AI Advanced Integration Knob Controller, and the CMC-PD Pad Controller.

The Transport Controller includes all of the major transport functions, including cycle, nudge, insert marker, and so on. Its hori-zontal touch slider provides intui-tive control for the Locate, Scroll, Zoom, Jog, Shuttle, Tempo, and Metronome functions. The control-ler also includes four user-assign-able function keys.

The Channel Strip Controller is an exact hardware represen-tation of Cubase’s GUI channel; backlit channel section buttons allow scrolling through the chan-nels. The fader incorporates 13 red LEDs that correspond to the selected channel’s on-screen fader position. The continuously variable pan knob is black when centered and it glows a brighter green as its pan position moves wider.

The Fader Controller is a bank of four 1024-step touch faders. The faders’ LEDs can display either fader position or channel meter-ing, and each channel is equipped with solo and mute functions. A

Russ Long is PAR’s Senior Contributor and a Nashville-based producer, engineer and mixer. russlong.ws.

Winning the 2013 Musikmesse International Press Award in the DAW control-ler category, Steinberg CMC Series Controllers are designed specifically for Cubase and Nuendo users. The series includes six reasonably priced modu-lar surfaces, each with a different control set. Up to nine controllers—four instances of the CMC-FD controller and a single instance of the remaining five—can be mixed and matched to create the user’s optimum workspace.

Steinberg CMC Series Controllers for Cubase and Nuendo DAWsThese paperback-sized, USB-based DAW controllers are powerful, flexible and amazingly economical.

Each USB-powered CMC controller is 7.2-inch deep by 3.6-inch wide by roughly 0.5-inch high.


CMC configuration can include up to four CMC-FD controllers, pro-viding a high-resolution, sixteen-channel touch control desk within a small footprint.

The Quick Controls Controller is the most button/knob saturated of the bunch. It includes eight rotary encoders that illuminate green and glow brighter as higher value settings are selected, as well as 13 illuminated buttons. In an EQ mode, the rotary encod-ers mirror the Cubase/Nuendo Channel EQ controls, providing instant control of frequency, gain, and Q. The QC (Quick Control) mode provides instant access to the Cubase Quick Controls, a set of eight user-configurable con-trols available on every channel. MIDI mode transforms the con-troller into a configurable MIDI controller. The included Editor software provides the ability to convenient-ly edit the MIDI control change parameters via a graphical interface.

The Advanced Integration Knob Controller is my favorite of the bunch. It allows any visual Cubase/Nuendo object, including effect send levels, channel level or pan or EQ gain to be controlled simply by pointing the mouse cursor on the desired function. There is no additional configura-tion needed. The selected object can be locked so the AI Knob retains control of the function when the mouse is moved else-where. When placed into Volume mode, the AI knob becomes a master volume control and when placed into Jog mode, the knob becomes an intelligent jog wheel.

The Pad Controller is a group of 16 mul-tiple-velocity, pressure sensitive pads in a 4x4 matrix. Each of the pads illuminates when hit and the illumination color ranges from green to orange to red, depending on the velocity of the hit. The rotary encoder makes it easy to browse sounds and pre-sets or, when used along with the CMC PD-Editor software (included), edit the function of each pad.

It’s my opinion that, in most instances, Yamaha has done a marginal job of integrat-

ing Steinberg’s technology into its products. Yet the CMC controllers are a clear excep-tion—many of them perfectly integrate with various Yamaha keyboards, giving extended performance and functionality. And I love that the modular nature of the CMC controllers allow users to purchase the most critical controller now, building on the configuration as finances permit.

In UseOver the last six months, I’ve routinely

used all six of the controllers with Cubase 6.5, Nuendo 5.5 and Nuendo 6 on both Mac and Windows computers; they have per-formed flawlessly. I found it quick and easy to integrate the controllers into my work rou-tine; once I became comfortable with them (which took lon-ger than I expected), they improved my workflow significantly. My only complaint is that I’ve had difficulty getting used to using the touchstrip as a fader. While it is better than a

mouse or trackball, it still doesn’t replace an actual fader for me.

However, I have to say that the more I use the touchstrip fad-ers, the more I like them and it wouldn’t surprise me if I didn’t even miss hardware faders after a few more months with the CMC controllers.

If using several of these con-trollers, Steinberg offers the Studio Frame 4 that will hold up to four (including blank panels if using less) in an angled frame that con-ceals the USB cables and will even hold the USB hub. There’s also an Extension Frame that will hold a CC121 controller and two CMC units in a single enclosure. Pretty slick.

The CMC surfaces are so well-designed and compact that I had high hopes of figuring out a way to make them work with Pro Tools, my primary DAW. Unfortunately,

this doesn’t seem possible.

SummarySteinberg’s CMC Series of USB-based con-

trollers is powerful, flexible and amazingly economical. The paperback-sized footprint of the CMC controllers is perfect, making them small enough to throw in your computer bag or jacket pocket, and effortless to place vir-tually anywhere in a work space. The biggest question is which one should I buy first? Prices: $199, $149 and $99 street (CC121 Extension Frame, Studio Frame 4, and single CMC controllers each, respectively)

Contact: Steinberg |steinberg.net

Pre-packaged CMC kits, such as this one, are available.

Each CMC utilizes its own configuration of backlit function buttons, illuminated knobs and touch faders.

studio review by Tony Ware


Two years later, producers and laptop DJs working with synthesis and prerecord-ed sources became even more enamored, as version 8 emerged with a deeper assim-ilation of sample transient identification/waveform alteration, crossfade editing and MIDI arrangement editing, plus instrument modeling capabilities. By version 8.1, Live had gained the option to integrate device development toolkit Max for Live alongside its copious sample libraries and support for VST plug-ins. Now Live’s Berlin-based designers have unleashed version 9, an update that doesn’t aggressively overhaul an already stable system but does refine how artists interact with several underly-ing behaviors to intuitively extract and fluidly input even more programmable elements into virtual instrument perfor-mances.

Key FeaturesPreviewing Live 9.0.2 Suite (a 665 MB

core download, 1.04 GB installed) on a 13-inch 2.0 GHz dual-core i7 MacBook Air with 8 GB of RAM and a 256 GB SSD, I first picked up on the new, less severe-

ly colored GUI and the redesigned two-column Browser. This layout, featuring instrument-grouped sounds with tabbed subcategories, a quickly populated search field and clip/sample previewing, allows far more efficient selections from the multiple gigabytes of add-on instru-ments, effects and samples. Additional graphical adjustments/additions are tucked within specific devices, such as the spectrum display in EQ Eight (to allow for precise identification of note/frequen-cy targeting) and multiple views in the Compressor (for clearer metering, limiting or dialing in more articulate manipulation). These visualization tools are handy; still, the revamped Browser’s Categories and Places represent the most overt improve-ments.

Live has always offered two track-assemblage layouts: the vertical clip-launching Session View and the timeline-based sequencing/editing Arrangement

View (think of the first as a test kitchen for identifying complementary flavors, and the second as the station where the chef finalizes the presentation). While not much may initially appear retouched in Session View, a major user-requested change has been enacted that proactively blurs the line between modes: automation can now be recorded directly to each audio swatch by mouse or MIDI (or a dedicated $599 hard-ware complement, Push, which I have not evaluated at this time). Envelope curves can be further clarified by hand, and all adjustments carry to/from Arrangement View. Using controllers plus Draw Mode to pre-script FX/volume modulation for each loop (or entire tracks in certain cases) will reduce the need for performers to split their

Ableton Live 9 SuiteNew features such as Audio to MIDI importation make Live 9 an even more compelling tool for audio content creators.

Washington DC-based live DJ and pro audio industry journalist Tony Ware is a writer for Pro Audio Review and contributes to sister publication Electronic Musician.

Introduced commercially in 2001 as a compact perfor-mance-oriented software instrument, Live briskly went through eight iterations by 2009, gaining along the way an increasingly varied selection of digital devices and effects to be combined with and applied to audio and MIDI clips. By version 7, Live’s production environ-ment was well-established as a clean, clear platform for loop analyzing, aligning, cueing and warping; virtual instrument racking, chaining and nesting; as well as versatile audio routing and automation.

attention on stage. Also beneficial to per-formance is the increased ease by which an Arrangement scene can be converted to Session View, meaning a stack of meticu-lously aligned, release-ready stems can instantaneously be jammed on and have variation parameters written to them with no reconfiguration necessary. Sometimes you don’t know a track needs a dash of salt and a pinch of cumin until someone tastes it.

Audio To MIDI The visual and functional changes with

Arrangement View are fewer but significant, with new audio-to-MIDI features that will

enrich composition, especially for remixers and post-production users. Say a client has cued up a spot with an orchestral placehold-er that fits the mood and tempo desired, but they want a more contemporary feel; you can import the reference track and convert its harmonies to MIDI with one click, then remix/arrange around notes already synced to the picture. There is a general thrill from being able to nab chord pro-gressions from a favorite track effortlessly, learn them, then select, reverse, transpose, invert, stretch, speed up, slow down and additionally modify them. I was tapping the table and humming with glee as I recorded it, activated the context menu, processed it

to MIDI, and in seconds, I had an edit-able pattern laid across the bottom of the screen. Tempo-synced mate-rial has always been Live’s strength, but now the program offers more inspired onramps to—and detours around—the grid. These are the type of tools that allow Live 9 Suite to be as much about capturing creative impulses as auditory ones.

Max for Live 6.1Admittedly, Arrangement View

could still use improvements to its mixer, but that’s where Max for Live 6.1 (now included in the pur-chase of Live 9 Suite) comes in. Not only does it come with more than two-dozen instruments and audio/MIDI effects (including a notably pleasing Convolution Reverb), but also there’s an established com-munity of patch programmers mak-ing bespoke components (includ-ing sequencers, mangling tools and, yes, floating channel strips). Bonding it all together, so to speak, is the introduction of the Glue Compressor, an analog-style, SSL E Series-modeled buss compressor developed by Cytomic with a fast response that can be configured for sidechain pump or can be dialed in for less obtrusive, punchy warmth through a dry/wet dynamic range control. Overall, the software’s fun-damental sound engine just appears

more polished.

SummaryFor Ableton users, Live 9 Suite is evolu-

tionary rather than revolutionary. It won’t negate the need for multitrack recorders and standard linear tools, but with creativ-ity translation features such as audio to MIDI, it will steal even more hours from other DAWs by doing what a good upgrade should do: adding features without compli-cating the process of achieving results. Prices: $799, $499 and $99 (Suite, Standard, and Intro configurations, respectively)Contact: Ableton | ableton.com


Top to bottom: Ableton Live 9 Suite’s Session and Arrangement views.

studio review By Rich Tozzoli


FeaturesPro-Codec supports the following Codecs:

mp3, Apple AAC iTunes+ (Mac only), AAC-LC, HE-AAC, HE-AAC v2. It will also do mp3 Surround, MPEG Surround, AAC-LC multi-channel, HE-AAC multichannel, as well as mp3-HD and HD-AAC Lossless. It also offers various bitrates, so users can select the best one for their specific needs.

In UseTo keep this simple, I’ll break

down the ProCodec into an easy five-step process, though it pro-vides a variety of features that can go deeper than this.

Step 1: Instantiate the plug-in—Place the plug-in last on the output chain. I happen to use a Master Fader in Pro Tools, so I place it after my ‘mastering’ plug-ins in the last insert slot. Remember, it’s going to encode what it is fed, so it has to be last in the chain. It will default to the Online encode mode, which is what I use for this purpose. Note that users can also render the files offline.

Step 2: Load the Codec—There are five Codec slots available in the Codec List, allowing varied, instantly switchable selec-tions. Simply click in the first slot and select a Codec. Then choose Bitrate, Mode and Quality settings using the free-floating win-dow. Next, select up to four more Codecs and load them in if desired; it will encode five dif-ferent settings simultaneously. Obviously, choices will depend on client needs and

desires. Personally, I like to load a variety of them and audition them at various settings.

For example, Codec slot 1 could be Apple AAC—iTunes+ at 256 kbps; Codec slot 2 could be mp3HD at 256 kbps; and Codec slot 3 could be HD-AAC at 256 kbps. This way, I can listen to what a mix on iTunes would sound like, put the AAC file into my iPod and send out an MP3 for a quick listen.

Step 3: Audition the settings—During DAW playback, users will immediately hear the results of the encoding process. Switching between codec slots will allow users to hear each encoder using the MON button in the Codec List (it turns green when selected). Choosing between the Input Signal (yellow) and Codec signal (green) using the Monitor setting on the upper right corner of the plug-in allows monitoring of the direct input signal and the encoded signal.

The onscreen FFT display shows spectral

Sonnox Fraunhofer Pro-Codec Plug-in, Version 2This timesaving plug-in allows engineers to hear the effects of data compression before it happens.

Rich Tozzoli is the Software Editor for PAR as well as an accomplished recording engineer, composer for television, and active musician.

The Sonnox Fraunhofer Pro-Codec, currently at version 2, is a collabo-ration between, you guessed it, Sonnox and Fraunhofer. As the name implies, it’s a Codec (encoder and decoder) used to monitor what vari-ous data compression settings do to mixes. What makes this product unique? It allows users to monitor the effects of data compression in real time, unlike the old process of encoding, then listening back appraising the sonic impact of the encoding process.

Pro-Codec supports mp3, Apple AAC iTunes+ (Mac only), AACLC, HE-AAC, HE-AAC v2, mp3 Surround, MPEG Surround, AAC-LC multichannel, HE-AAC multichannel, mp3-HD and HD-AAC Lossless.

content of the original input signal in Yellow and the DIFF signal in Red. DIFF is the audio that won’t need to be encoded; press the DIFF button on the right to hear it soloed. The green line at the top is called NMR, or Noise-To-Mask Ratio. Simply put, if it’s all green, a trained listener would have a hard time picking out the difference between the input and codec. If there are a few red marks in the line at certain frequencies, listeners may be able to detect a difference. Generally, upping the encode bitrate will cause differences to become less significant. Just know that all green is good.

Step 4: Select Export Settings—By choosing the Export Settings button, users can tell the Pro-Codec where to place files post-encoding; using the Browse button, the Output Directory path is chosen. Users can name the file as well as include custom strings in the metadata for codec, bitrate, mode, quality, index and date/time. Sometimes for quick file exports, I will turn off all the settings and simply leave the name.

Step 5: Arm the Codec and Record—Next, select the ARM button on each of the codecs in the Codec List. Now engaged, they will turn red and begin flashing. Press Record on the right side of the plug-in: it will flash and, as soon as audio is played, Pro-Codec will begin encoding and say so on-screen. Upon stopping the audio, the files are encoded.

SummaryAs you can imagine, having a tool like this saves lots of time. Using the

Pro-Codec in real time allows me to truly hear what’s going to happen to my mixes in the real world.Price: $499 listContact: Sonnox | sonnoxplugins.com

An engaged DIFF button—the audio that won’t need to be encoded.

The i436 from MicW is a 7 mm diaphragm omni-directional electret condenser, touted as a professional Class 2 microphone, and the kit represents a very functional package to accompany an iPad, including a cool little cylindrical aluminum case that doubles as a mic stand with European mic stand thread in the end. (See picture.) Also included are a 2 m extender cable (1/8” male to 1/8” female) and a 6” adapter cable that allows mics and headphones to be connected to an iDevice at the same time (though the headphones will work only for playback, NOT while record-ing). Also included is a foam windscreen and clothing clip for interview applications. While the i436/iPad combo is very useful, the DSP app notes specify that this combination “does not meet the IEC61672 Class 2 stan-dard, mainly due to production tolerances of iDevices.” I found the mic with extender to

DSP Mobile Analyzer app & MicW i436 Omni Electret Condenser Especially when paired with MicW’s i436 mic, DSP Mobile’s comprehensive app is a flexible test tool for iPad featuring an SPL meter and real time analyzer.

studio review By Lynn Fuston


Who is MicW?

MicW is a member of BSWA Technology Ltd., which is a mea-surement microphone company based in China. It was founded in 1998 as a joint venture between the Chinese Academy of Sciences and five sound engineers to offer more afford-able measurement microphones. Since then, they have branched out into recording and iDevice mics as well.

The Mobile Analyzer app ($14.99 from the App Store) offers a full screen analyzer with either line or bar graph displays with fully customizable colors. It features slow, fast or impulse response, A, B, C or no weight-ing; the ability to take 15 snapshots of the curve on the screen (great for comparing different curves); and resolution as low as 1 octave/bar and up to <1/200th octave. It also includes a signal generator with white or pink noise or sine waves, from 20 Hz to 20 kHz. It comes pre-calibrated to work with the iPad’s internal mic, but can also be used with external mics like the MicW i436. In-app purchases allow frequency response compensation for six MicW mics, including the i436, and the Apple earphones and newer EarPods, ranging in price from $2.99 to $9.99.

The kit represents a very functional measurement package to accompany an iPad.

be very useful for measurement and general recording. While the i436 is about 10 dB qui-eter than the iPad’s internal mic, it is still too noisy for critical music recording.

In UseI used it for rough room mode analysis

and discovered some interesting anoma-lies in several listening rooms using pink noise through the speakers. I also used the SPL metering (in place of my trusty Radio Shack dB meter) to check level con-sistency across mixes. Sometimes visual confirmation of things I “think” I hear is very reassuring, so using it to help determine if a vocal or mix is overly bright or sibilant is very reassuring.

Anyone who has used an iDevice for recording has probably noticed the built-in high pass filter (roughly 24 dB/oct. below 200 Hz) implemented by Apple to reduce rumble and wind noise. While that is very useful, it’s not very accurate. Finally, in iOS 6, that filter is defeat-able, making the use of external mics much more accurate.

Summary For use in analyzing audio or testing

noise or determining deficiencies in play-back systems, even evaluating mixes, the DSP Mobile Analyzer app for iOS works very well. For quick measurements of noise lev-els or determining problematic frequencies or system deficiencies, the i436 is a very handy tool. Together, DSP and MicW com-prise an affordable and well-featured test-ing and metering solution. Prices: $119 and $159 (MicW mic only and MicW full kit, respectively); $14.99 (DSP app only)Contacts: DSP Mobile | dspmobile.de; MicW | mic-w.com

The Competition:

iTestMic from AudioTools is a full-size mic that connects to an iDevice via the 30-pin connec-tor, and features mic/preamp/ADC, so it bypasses all the Apple electronics, all inside the mic for $199.


Wow. I never expected to see a mic like this, or all its extras; it’s like the gift that keeps on giving for someone who is recording on an iPhone or iPad.

Anyone who has recorded music or inter-views with an omni mic knows there are pluses and minuses. The great part? It picks up everything. The bad part? It picks up everything. Many times, hearing every-thing isn’t good—especially for voice or intimate music recordings when in a large reverberant room or one with less than flattering acoustics. That’s where a highly directional mic comes in handy. And they don’t come much handier than this.

FeaturesThe MicW iShotgun mic is a miniature

shotgun mic that is about 5 inches long and no bigger around than my finger, with the included pop filter. Additionally, in the small hard carrying case are two extender cables (1/8-inch to 1/8-inch TRS), a short (0.2 m) coiled and long (3 m) straight; a hot-shoe camera shock mount; the world’s tiniest boom arm (1 m); and three 1/8-inch adapt-ers to allow plugging in mic and headphones simultaneously to the iDevice or two mics at the same time. It’s a real problem-solving bundle, all in a very portable case.

I tried this mic in lots of very inhospitable places, including outdoors, large ambient rooms and even in a car, recording into Auria and Voice Record HD on my iPad 4 and iPhone 4. It works very well. It solves the problem of intrusive ambience and, with its right angle adapter, it can be used as the voice mic for someone speaking on an iOS-based camera.

I compared the iShotgun to the internal mic on the iPad and found that it did much better at picking up desired sounds while diminishing ambient sounds. The level is

~1 dB hotter than the internal mic at the same distance. Noise is roughly equivalent but the low end, which is rolled off in the iShotgun (about 6 dB/octave below 200) and spec’d at 100 Hz to 18 kHz, is fuller with the iPad mic. The pop filter works well except in windy conditions, where a zep-pelin style filter would probably be advised, though I’m not sure if anyone makes one small enough. I also compared it to the Apogee MiC; the MiC is substantially quieter, but less directional and not nearly as small and also drastically more susceptible to low frequency thumps and plosives. [Audio example clip links here: 3daudioinc.com/PAR/MicW_iShotgun —Ed.]

One issue I encountered was EMI noises when the mic was plugged directly into an iPhone 4, but this didn’t happen with the iPad and it was easily remedied by using an extender cable/adapter. Also, the protective cases had to be removed in order to plug the mic directly into my iPhone and iPad; using the extension cables would remedy this. Finally, having the headphone/mic adapter is handy to keep from swapping for record-ing and then playback, but with the devices/software I tried, the headphones will not allow live monitoring of the mic signal.

SummaryAll in all this is a very nice package that

solves lots of problems. It doesn’t sound like an expensive shotgun mic, but for the price that’s to be expected. For someone needing to record to an iDevice under chal-lenging circumstances, it’s a good choice.Price: $249 listContact: MicW | mic-w.com

Lynn Fuston is the Technical Editor for PAR and an accomplished recording engineer based in Nashville. 3daudioinc.com

mini-review by Lynn Fuston

MicW iShotgun Miniature MicrophoneThis iOS microphone is a nifty little problem solver.

studio review by Strother Bullins


Now, as low as $250 street per box (the F5), we could assume that the low-est-priced-ever ADAM monitor line—the F Series featuring ART, with an even further “eXtended” frequency response of “up to 50 kHz”—is somehow a fair step down in capability and quality, too. Yet from what I’ve experienced, that assumption would be wrong; while assembled in Asia, the design, components, specifications and performance are spot-on for this aspiring German manufacturer.

FeaturesReviewed here, the F7 is the larger of

ADAM’s two F Series full-range loudspeak-ers, featuring a 7-inch fiberglass/paper woofer and ART tweeter, powered by a Class AB dual channel amplifier (35 W [x2] of con-tinuous power). The smaller F5 is available, differing only by its woofer’s 5-inch diame-ter, a slightly smaller cabinet and dual 25 W amplifiers. An F7 pair provides a maximum acoustic output of 109 dB-SPL. Also avail-able is the F Series SubF subwoofer featur-ing an 8-inch woofer and 110 W of Class AB amplification, capable of 107 dB-SPL, within a compact 21.8 lb., 14- x 10- x 13.5-inch cabinet (the FSub was not included in this review package). The MDF cabinetry has an attractive, scratch-resistant finish.

The F7 features comprehensive analog input options—combo XLR/TRS and RCA jacks; a present RCA input automatically dis-ables XLR/TRS input. Controls include rotary +/-6 dB shelving filter knobs, set at 5 kHz and 300 Hz, respectively; rotary level con-trol, to +6 dB (+12 dB for SubF); and—rec-ommended for use with a subwoofer—80 Hz high-pass filter on/off switch. The front panel provides a two LED logo panel; a green LED lights when power is on; a red LED lights in Standby, or low power mode, with its auto-matic signal-sensing feature.

In UseIn my own private production space, I

simply switched the ADAM F7 pair with my personal standard, a pair of KRK VXT8 midfield studio monitors. Despite the dif-ferences in price point, size and power—the VXT8 is more expensive, larger and stronger, respectively—I noticed an imme-diate improvement in imaging and appreci-ated the ART tweeter’s characteristically smooth performance. When auditioning very familiar percussive sound sources—from arpeggiated guitar runs to specific cymbals within the stereo landscape—the F7s seemed pinpoint accurate. They made me feel very confident in knowing precisely where things fell within a mix.

For a street price of $399 each (at least $400/pair less than my normal monitors), I was pleasantly surprised by the F7’s per-formance. Though I didn’t have ADAM’s SubF subwoofer, for the evaluation (also $399 street), I found it interesting that a full three-piece F Series rig (two mains and subwoofer) would clock in at exactly the same price as my VXT8 pair. And, for users in smaller, more common modern audio workspaces, this makes the F Series a much more logical choice, I believe, than the kind of midfield powered monitors I normally depend on.

SummaryThere are no gimmicks and few frills to be

found in the F Series: just solid performance for the discriminating, yet budget-conscious and/or space-limited audio producer.Prices: $399 street, eachContact: ADAM Audio | adam-audio.com

ADAM Audio F Series Studio MonitorsThe F7 offers solid, characteristic ADAM Audio performance for the discriminating, budget-conscious and space-limited audio producer.

Strother Bullins is an active live and recording musician as well as the Editor of Pro Audio Review.

Over the past decade, ADAM Audio has cut a wide swath into the stu-dio monitor marketplace. Due to the proprietary Accelerating Ribbon Technology (ART) utilized in its folded ribbon tweeter designs, ADAM Audio is fairly equated with a natural, aurally pleasing and extended high frequency response (at a generally higher-end price point, too).

Rhon PaRkeR (RhonPaRkeR.com)


The F7 pair is hefty—at least to me—for a compact studio monitoring system; at about 20 lbs. each, I had to readjust my nearfield speaker stands so they didn’t fall. Upon power up, the green light indi-cated I was good to go, and I then went around back to make some adjustments.

Since the pair came without a SubF subwoofer, I left the high-pass filter set to flat, then set Level to 0. I also checked that the 5 kHz and 300 Hz EQ filters were set to 0 (flat)—something I found a bit hard to do since there’s no marker on it, only an indentation in the all black screw (I would suggest a colored null point to allows users to easily see settings). Also, I was wondering why the AC cables were only 2 prong and not three. Luckily there was no buzz and they were silent even when ‘live.’

Now, the important thing: the sound.

I’ve worked on ADAM monitors before (both A8X and A7X models), so I felt I knew what to expect. Like its cousins, the F7 sounds seriously good. I started by referencing my own and familiar edgy rock mix of full drums, bass and guitars. It was beefy yet smooth, and I had forgot-ten about how ‘forward’ I’ve generally felt ADAM speakers are; with the F7 pair, the sound is right in your face. Monitoring solo acoustic guitar (Jumbo Guild F50 via Earthworks QTC1 with Grace m103 preamps) was clean, clear and crisp. Male vocals were also notably present (via Miktek C7 with Focusrite ISA preamp); I was able to easily judge how much com-pression and reverb to add.

Next, I called up some aggressive patches in Heavyocity’s AEON, ranging from pumping pulsing lows to shimmering highs. Again, the F7s were very present

and forward though well balanced. Calling up a nice ambient piano patch in Reason with a ton of reverb, I became completely lost in the sound. In fact, with both instru-ments, I started composing immediately. To me, that is the sign of good studio moni-tors: they inspire production.

As I’ve mixed on the same satellite/sub-woofer setup for a decade, I’m accustomed to having a subwoofer. Do these need one? No and yes. With the rock mix, I swept a Brainworx bx_Digital EQ plug-in on the kick and bass (solo isolated); I found low end drop-off at approximately 100 Hz. I did the same sweep on the high end with a GML/Sonnox EQ and Manley Massive Passive; all that info was all there, as expected. That said I would definitely pair the F7s with the SubF for mixing full range. Other than that, these speakers are spot-on. I could com-fortably mix with them, without hesitation.

second opinion by Rich Tozzoli

new live products


Waves GEQ Graphic Equalizer Plug-inDeveloped with live users in mind, Waves GEQ is a graphic equalizer plugin with both Classic and Modern mono and stereo emulations, featuring 30 ISO bands plus high and low pass fil-ters, a high precision floating parametric EQ bell filter, and a real-time analyzer.

According to Waves, “GEQ Classic components use traditional propor-tional Q filters inspired by the renowned DN series 1/3 octave equalizers, which narrow the filter width as you increase a band’s gain; GEQ Modern components utilize special Flat-Top filters, which eliminate the artifacts associated with band interaction, and provide perfect plateau and stair-stepped responses. Users can set band gains one-by-one, or draw their curve via touch-screen or mouse. GEQ’s integrated real-time analyzer lets users compare the difference between two sources.” Price: $99Contact: Waves | waves.com

Avid Stage 48 Remote Box: Special Promotion

For a limited time—until Friday, June 14, 2013—Avid customers can purchase a Venue SC48 Remote System or Mix Rack System (with companion Ethernet Snake Card) and receive a complimentary Stage 48 Remote Box (empty), which Avid confirms is a $3,499 value.

“With an SC48 Remote System and the extra Stage 48, live sound engi-neers gain more input/output distribution versatility, enabling them to place the I/O closer to their sound sources, such as one on stage and the other at front of house or close to wireless sources,” offers Avid promotional material. The Mix Rack System allows movement of the I/O cards from the Mix Rack to the Stage 48. Customers can also add an optional second Stage 48 to their Mix Rack System, further expanding their I/O distribution.Price: POAContact: Avid | avid.com

QSC AcousticDesign Loudspeaker Series: New Models

QSC has added the S8T, S10T and S12 loudspeakers to their AcousticDesign Series of premium surface mount loudspeakers. Designed for foreground/background sound reinforcement applications, these new models feature both constant voltage (70 V/100 V) and low impedance operating modes. Included with each speak-er QSC’s patent-pending X-Mount enables the loudspeak-ers to be mounted either vertically or horizontally from a flat surface. Knurled surfaces on the X-Mount’s pivot points allow the loudspeaker deployment angle to lock in place in 7.5-degree increments. Pan, tilt and yaw adjustments further ensure that the loudspeakers can be positioned to minimize impact on any interior or venue sight lines. To complete the installation, integra-tors lift the loudspeaker onto the mount and it automati-cally locks it into place.

The weather resistant (IP-54) AcousticDesign S8T, S10T and S12 enclosures are constructed from rugged ABS and include a seismic mount molded into the enclo-sure for added safety. Available in black (RAL 9011) or white (RAL 9010), the AcousticDesign S8T, S10T and S12 loudspeakers feature logo free aluminum grilles and the enclosures can be painted to match any decor.Prices: TBAContact: QSC Audio | qsc.com

new live products


Avlex HS-48 and HSP-49 Earset MicrophonesAvlex Corporation has introduced two low pro-file new earset microphones.

The HS-48 employs a back electret omni-directional condenser capsule measuring 3.5 mm in diameter and features an adjustable length boom and flexible ear-hook made with a soft spring polymer.

The HSP-49 also features a premium back elec-tret omni condenser, but with a 3mm capsule diameter; it provides an additional 10 dB of sensitivity compared to its HS-48 sibling.Prices: $210, $275 (HS-48 and HSP-49 in beige, black or brown, respectively)Contact: Avlex |avlex.com

Gator Cases GMIX-DL1608-WP for Mackie DL1608 & DL806

Gator Cases’ molded utility case for the Mackie DL1608 or DL806 digital live mixer for iPad features a water- and dust-proof seal “with IP 67 and Mil-STD-810F Immersion test certifications,” confirms the company. Other features include a custom fit inte-rior foam “nest” to cradle the mixer, lightweight NK-7 “impact-proof” resin exterior, Gator’s Powerclaw latching system, and ATA-300 flight safe rating.

GMIX models are available for competitors StudioLive 16.0.2 and Line 6 StageScape, too. Price: $319 listContact: Gator Cases | gatorcases.com

opinion By Chris “Sully” Sullivan


The willingness of full-grown people to participate in our make-believe is pretty much the ground floor of the entertainment busi-ness. I saw a ventriloquist on TV and my first thought was, “get the puppet closer to the mic.” Seriously. I even said it out loud.

I’ve been doing live sound since before my mom became a Rod Stewart demo-graphic. Still, 28 years after I shoved a Realistic highball microphone into the unbalanced input of a puzzled Macro-Tech, I found myself bamboozled by the tele-vised show business “magic.” Like, only for a minute, of course. But still, even my daughter who was sitting on the couch with me paused, then gave me her pat-ented, withering in a friendly way, but most definitely super judgmental, single, slow eyebrow raise. I assured her it was just my methodology of educational parenting to get her thinking about truth in observation.

My child’s maternally inherited sarcasm aside, it did make me start thinking about the unwritten, yet heavily-leaned-on deal that we “show folk” have with those that shell out cash to be entertained. It goes like this: “Do a good show and some reptilian part of our brains will believe everything you say.”

It’s a great setup, really. Even after pay-ing $50 for parking, $45 for polyester and burlap tour shirts and $25 for a beer and reformatted kielbasa, most audiences are ready to plop down in Soviet-era seating

and give a show the complete benefit of a doubt, almost from the second their incor-rectly deployed skinny jeans meet their seats. They want to participate in the pro-cess, suspend their disbelief, and wow, gasp and whinny for 60, 90 or 120 min-utes—just as long as they’re positive you’re with them, present in the moment, and—above all—aware of what city you’re play-ing. The element we sometimes overlook is one that we, the bringers of the magic, can fully relate to ourselves. The audience isn’t just paying to see that night’s show; most

times, they’ve already integrated the expe-rience and the production of the artist into their whole lives prior to walking in the door. I mean, think about how crazy it is that pop and rock stars casually sport clothing that’s cut at right angles to reality and standard human physiology and yet most fans are like, “Cool. I could pull off a steampunk jock strap with integrated kitten-studded thigh highs and a pipe.”

I’m able to bless the world with these incredibly insightful insights because I like to watch people. I especially enjoy blithely observing them from my oxygen-equipped high horse at FOH while they’re anesthe-tized with Miller Lite, separated from me by huge security guys and a bike rack. But don’t get me wrong. I don’t really like

the general public; you know, when a punt-er has the incomprehensible audacity to amble past 300,000 ushers all the way to the middle of an arena, during an effects-heavy power ballad, to ask me where the bathroom is. I just find observing humans useful, because understanding people is a good way to understand a crowd, and an audience is just a crowd that has dispos-able income and a greater incentive to riot.

Anyway, my thesis is thus: Fans come preloaded with the excitement software installed and optimized. By the time we

see them, the show is just the culmination of their obsession. The artist is already a part of the wallpaper of their lives, like their sister or man-stink on grandpa. To them, the show we’ve mixed or lit or worked a thousand times is a new, vicarious and per-sonal experience that they have a stake in, and the last thing they want is to see it fail, or to be provided with an experience that somehow breaks the illusion. Because if that happens, it means they are failing and thus are fully justified in casually turning and setting the closest thing to them on fire—like maybe that compact, good look-ing, yet highly flammable front-of-house guy that wouldn’t reciprocate their rock devil horns during “Enter Sandman”...or tell them where the bathroom is.

Live Sound MusingsEver wondered what that FOH guy was thinking as he stared off toward the cheap seats, looking bored but surely busy? Sully shares FOH perspectives as an occasional columnist.

Chris “Sully” Sullivan is a quarter-century-long touring veteran, mixing FOH for such artists as Point of Grace, Steven Curtis Chapman and Amy Grant, among many others.

“I just find observing humans useful, because understanding people is a good way to understand a crowd, and an audience is just a crowd that has disposable income and a greater incentive to riot.”

On an extended visit to St. John in the US Virgin Islands, I recorded and mixed some TV music and records with my mobile studio rig as well as played a handful of live shows. Instead of subjecting the audiences to my voice on background vocals, I placed it in use with several lead singers for their thoughts. I also used it for percussion and even as a room mic with the studio setup.

FeaturesThe SR40V’s stainless steel chassis feels beefy and solid in my

hand; an attractive flat black color, it has a black mesh grill protecting

live review By Rich Tozzoli


Recently I was able to put the Earthworks SR40V handheld vocal condenser to the test in some live shows as well as in the studio. Deemed a ‘High Definition Vocal Microphone’ by Earthworks, it certainly earns its title and, when it came to my “real world” usage, much more.

Earthworks SR40V Vocal Condenser MicrophoneThe SR40V vocal condenser is an exceptional, flexible microphone in both its intended live application as well as in recording environments.

Rich Tozzoli is a Grammy-nominated mixer/producer, a prolific TV composer and the Software Editor for Pro Audio Review. richtozzoli.com

the diaphragm. Luckily, the clip is snug, as I’ve had problems with previous clips on my QTC-1 and TC-30k mics (which I’ve generally taped into place). It seems Earthworks has learned that mics should never slip out; this one feels quite secure on a stand. The mic kit comes in a padded plastic touring case.

The specs are unusually impressive for a “live” microphone with a frequency range of 30 Hz to 40 kHz and a hypercardioid polar pattern. It features low handling noise (as it should with response down to 30 Hz!); a 5-micron thick diaphragm; and a self-noise

rating of 22 dB SPL (A-weighted). It handles up to 145 dB SPL with a sensitivity rating of 10 mV/Pa (-40 dBV/Pa).

In UseFor both rehearsals and shows, we used

a compact Allen & Heath ZED mixer and a pair of QSC K10 powered loudspeakers. Note that this mic does need +48 VDC phantom; as soon as I plugged it in, I could hear what “High Definition” means to Earthworks. My first impression was that of “air”—lots of it, and obvious full range response. Even I sounded good singing on this mic! It would be good for voiceover work; it captures the depths of a vocal, as well as breath. While this may sound like hyperbole, when I heard it and directly compared it to the classic Shure SM58 (what the rest of us used for this string of performances), the SR40V was truly in another league. No offense to the tried and true SM58, but it sounded like someone took a mask off the vocalist when swap-ping it for the SR40V. The output of this

mic is also quite hot, and its noise floor is so low it’s hard to know it’s plugged in until I speak into it.

Over the course of the shows, we actu-ally had three different lead vocalists sing into it. Said Scott Moore, with 20-plus years of live experience, “I was really shocked by the depth of range. From low-end to falsetto, everything was fatter ... it helped me sing with extreme confidence and really go for it because I was getting so much back. Then the same thing happened on the gig; the vocals cut through—clean and warm—as they should.”

Next, Dave Gerard of Savoy Truffle and Pablo Schor of Mojo Flyer sang through it; neither vocalist would go back to the SM58. Dave Gerard, a long-time road veteran, took special note of the off-axis response. Since he has to often turn around and cue the band, he noted that it helps that what is heard in front of mic is almost exactly the same as on the side. That is very valuable onstage, as the singers don’t have to be right on it to get great results.

Users can actually “learn” this mic—in the sense of how to get on it hard for more bass response and step off to lighten up a bit. We never had any problems with it, even being left out in the rehearsal room for two weeks in the heat and humidity. Gladly, it features good feedback resistance, as we could hit it pretty hard in the PA without any dreaded squeal.

It even survived a day and a half of what they call Sahara Dust, where desert sand blows in, literally creating a haze in the sky, not to mention kicking up intense heat. The SR40V never blinked and, even though I car-

ried an SM58 as a backup to the show that night, I didn’t need it.

I also used the mic in studio recording applications, recording a vocal piece and on shakers and percussion, with the same results—all clean and clear. I even cut some nice acoustic Resonator tracks with it. [Hear audio examples here: soundcloud.com/pro-audio-review-magazine —Ed.] Since there is a slight bit of handling noise when hold-ing the mic, I would always use a high pass at around 80 Hz (something I normally do anyway in a PA). In addition, I did take it back home and try it as a drum room mic.

It captured a very wide frequency balance, but lacked any real punch in the low end; it rolls off low end at a distance. This was just a test of course; normally I would not use it for such a purpose anyway. It does sound great on a Martin acoustic guitar, with the same effects as it has on vocals—clarity of sound source and a detailed presence. Note that Earthworks also builds a WL40V Wireless Vocal Mic Capsule, a direct adap-tion of the SR40V.

SummaryOverall, I would call the Earthworks

SR40V an exceptional microphone for stage use. Unquestionably, it’s not cheap at a street price of $999. Yet for what it deliv-ers—an uncolored, crisp punch—and the fact that it’s also right at home in the studio, the SR40V is well worth that price. This is one of those mics you have to hear for your-self; once you do, the appeal of the SR40V becomes self-explanatory. Price: $1,499 listContact: Earthworks | earthworksaudio.com

“I was really shocked by the depth of range. From low-end to falsetto, everything was fatter ... it helped me sing with extreme confidence and really go for it because I was getting so much back. Then the same thing happened on the gig; the vocals

cut through—clean and warm—as they should.”—Scott Moore


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Vice President, Professional Systems, Sales and Product MarketingSennheiser Electronic Corporation (SEC), a global market leader in the manufacture and distribution of premium audio solutions, is looking for a dynamic, proven Pro Audio Sales Executive to lead Sennheiser’s Pro Audio business in the US.

The German audio specialist Sennheiser, a market leader in the world of premium audio solutions for professional and consumer applications for over 65 years, has developed a highly-respected premium brand reputation and established strong distribution worldwide. Sennheiser’s commitment to the world of audio is simple: we offer products that provide the finest combination of performance and value available anywhere, and back them up with superlative service.

SEC is the wholly-owned US subsidiary of Sennheiser Germany. SEC markets and distributes and services all Sennheiser products, including a variety of other premium pro audio lines, such as Neumann Microphones, and K-Array Speakers. SEC’s headquarters are based in Old Lyme, Connecticut conveniently located between Boston and New York City, in close proximity to a variety of the company’s key professional customers.

The VP role will be developing all sales and distribution strategies for SEC’s largest business division, Professional Systems, with the aim to further increase sales, product positioning and market share. The position will lead a Sales Force and Product Marketing Team serving the following markets in the US: Broadcast, Theatre, Studio, Rental Houses, Music Retail, Live Sound and Aviation. The position will be responsible for the proper execution of the division strategy in the US, to include achievement of sales quotas, implementation of price policies and product positioning goals. The position will maintain excellent key customer relationships and develop strategies and operational practices to improve competitive advantage in sales and marketing programs. The position will report to the President at SEC and function as the US representative in global Pro Audio Strategy Projects.

To be considered, applicants must have the following essential skills and requirements:• Strong knowledge of audio electronics or high tech product sales• Demonstrated and proven ability to meet and exceed sales goals within the Professional Markets

that Sennheiser serves• Strong knowledge and understanding of the Professional Systems market and industry trends,

competitors and leading customer strategies• Strong sales experience and competitive drive• Outstanding and proven consultative selling abilities• Strong business acumen as well as strong analytical skills• Strong ethics/high integrity with the ability to maintain professional internal and external

relationships that meet company core values• Ability to motivate sales team to meet and exceed sales goals• Ability to plan and manage at both strategic and operational levels• Ability to establish and maintain consistent corporate image throughout product line, promotional

materials and events• Ability to work collaboratively with staff to create a results driven, team oriented environment• Ability to take the initiative to make independent decisions/choices• Highly organized with effective time management skills• Excellent oral and written communication skills and interpersonal skills• Strong PC skills including Microsoft Office

Other Requirements:• Ability to work extended hours as business needs dictate. Travel may include overnight travel• Ability to travel up to travel 75% as required - domestic and international travel• We require a Bachelor’s degree (MBA a plus) with a minimum of 10 years related sales management

experience with at least 5 years related to Professional Systems and at least 5+ years of supervisory experience or equivalent combination of education and experience may be considered. Knowledge and experience of audio electronic industry and products a must

Please visit our careers page for additional positions. Qualified candidates should apply at careers.sennheiserusa.com


sauce to any classic rock-influenced lick.Clear Pebble Phase Shifter: Designed

after what is probably the second most classic phaser—an Electro-Harmonix Small Stone pedal with color switch off—its characteristic funky “talkiness” at higher speeds is spot-on.

Dynasquash: Modeled after the MXR script logo Dyna-Comp—many a guitar-ist’s “solo boost” or “lead channel”—set at infinity to one, just dime it, stomp it and shred; it provides even note consistency and sustain.

In UseInstallation from disc was easy and fast,

with registration being a little different; a challenge/response authorization file from MOTU is required on off-line machines. [If online, explains MOTU, simply enter your keycode and click OK.—Ed.] No problem—it worked and is about as easy as alternate methods. DP8 will now run in 64-bit mode (according to MOTU, this results in faster computation and allows dynamic RAM allo-cation for speed and efficiency; users with OS X 10.6.8 and higher can run DP in 64-bit mode). I cannot accurately gauge how much better DP performs in 64-bit, but I can say that 32-bit operation—which I some-times use when requiring Slate Digital’s Platinum drum triggering plug-in, my sys-tem’s lone 32-bit holdout—does not seem at all compromised, even though I stay 64-bit whenever possible.

I can’t say that Punch Guard has saved me yet, although it does work as promised; it’s comforting to have available (especially if tracking live shows or vocal overdubs in DP). Other enhancements, like preset man-agement and color themes, I am already taking for granted and now can’t imagine living without. I rely on making and recalling templates within DP for efficiency, so my template making has transformed into fine art with the new features.

Big input lists, too many plugs to choose from, long signal chains, etc.: Are these time wasters in getting up to speed? Having a starting point with neutral set-tings, logically laid out, grouped and ready for customizing, visually organized for my personal delight; it’s a pleasure and they are easy to set up and repeat.

Without getting too detailed, I can con-firm that the new plug-ins are great. I can’t say that I own all the pedals and gear mod-eled by DP, but the tones of the familiar are accurate to my memory and immediately recognizable. Much to my surprise, none of the new plug-ins offer presets. I know, only newbies use presets, right? Yet they’re a

great place to start and fun to audition, especially for new ideas.

On the eve of completing this review, I downloaded DP8 for Windows, then trans-ferred a mix from my Mac to my Windows 7 laptop running the new software. It’s run-ning well, there are no significant problems, and it basically felt like my normal DP rig. Very impressive—way to go, MOTU!

SummaryDP8 helps me to work faster for my cli-

ents, injecting more creativity when pushed for time (which is nearly all the time these days, it seems). Launching a session from the starting line is now easier with my cus-tom color schemes, better plug-in manage-ment and saved plug-in chain presets. Once a session has commenced, I’m getting diffi-cult work done much more quickly with the new “power tool belt”—Dynamic EQ, Spatial Maximizer, Subkick, etc.; these premium plugs do the heavy work as well as third party plugs, but with a streamlined ease.

With Logic in dormancy, Pro Tools play-ing catch up, and DP/Windows compatibility upon us, MOTU’s latest Digital Performer is a timely, compelling update. Prices: $495, $395, $195 (full version, “competitive upgrade” and DP users upgrade, respectively)Contact: MOTU | motu.com

MOTU(continued from page 22) 33 AKG

akg.com

51 Audio Plus Servicesaudioplusservices.com

47 B&H Pro Audiobhproaudio.com

21 Clear-Comclearcom.com

35 Fingerprint Audiofingerprintaudio.com

5 Focusritefocusrite.com/ISA

34 Full Compassfullcompass.com

39 Full Compass/Shurefullcompass.com/shurestuff

25 Hosa Technologyhosatech.com

41 INFOCOMMinfocommshow.org

14 IsoAcoustics Inc.isoacoustics.com

9 Lectrosonicslectrosonics.com

15 Line 6 Systemsline6.com

42 Primacousticprimacoustic.com

52 QSC Audio Productsqscaudio.com

6 Radial Engineeringradialeng.com

23 Renkus-Heinzrenkus-heinz.com

17 Rohde & Schwarzohde-schwarz.com

2 Roland Systems Grouprolandsystemsgroup.com

19 Sony Creative Softwaresonycreativesoftware.com

7 Soundcraftusa.soundcraft.com

3 Steinbergsteinberg.net

13 Vintage Kingvintageking.com

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“DP8 for Windows felt like my normal [Mac-based] DP rig. Way to go, MOTU!”

ProAudio.review.may.2013

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