New Products, P.

10, 40
MAR CH 2011 | VOLUME 17 | ISSUE 3

STUDIO | LIVE | BROADCAST | CONTRACTING | POST

Pro Audio Review

The Review Resource for Sound Professionals

INSIDE:
TECHNICALLY SPEAKING: Paints and Brushes STUDIO SENSE: The Upside of Limitations

ELECTRO-VOICE

RE320 A CLASSIC
UPDATED

APOGEES

Mighty Mini

one

more reviews

Focal XS Satellite Focusrite ISA 428 MkII Focusrite OctoPre Dynamic MkII Sescom IL-19 Extreme Hum Fighter

www.proaudioreview.com

in this issue
Studio
Covering Recording, Broadcast Production, and Post Production New Studio Products 10
Cover Story 24

ProAudioReview
MARCH 2011 | VOLUME 17 | ISSUE 3

Sound Reinforcement
Covering Live Sound, Contracting, and Installed Sound New Live Products 40
Review 48

Apogee ONE USB Audio and Microphone Interface

by Russ Long

Sescom IL-19 Extreme Hum Fighter

by Strother Bullins

PAR Bench Test 48

Review 28

Sescom IL-19
by Frank Wells

Focusrite OctoPre MkII Dynamic Eight-Channel Microphone Preamplifier

by Strother Bullins

Review 29

Focusrite ISA 428 MkII Four-Channel Microphone Preamplifier

by Rich Tozzoli

48

Review 32

Focal XS Satellite Multimedia Speakers

by Rich Tozzoli

Departments
Technically Speaking

Paints and Brushes

by Frank Wells

Review 34

Electro-Voice RE320 Premium Dynamic Microphone

by Rob Tavaglione

Studio Sense 20

Limitation Loss Lament

by Rob Tavaglione

29 32
Cover Photo: Konrad Snyder Cover Design: Annmarie LaScala

Geared Up 38

Magic Garden Masterings RealTraps

by Steve Harvey

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 par@nbmedia.com. Periodicals postage paid at New York, NY 10016 and additional mailing offices. POSTMASTER: Send address changes to Pro Audio Review, P.O. Box 282, Lowell, MA 01853. Copyright 2011 by NewBay Media, L.L.C. PRINTED IN U.S.A.

ProAudioReview | March 2011

ProAudio Pro Audio Review

The Review Resource for Sound Professionals

M A R C H 2 011

VOLUME 3

ISSUE 3

EDITORIAL Frank Wells, Editorial Director 212-378-0400 x535, fwells@nbmedia.com Strother Bullins, Reviews And Features Editor 336-703-9932, strotherPAR@earthlink.net Fred Goodman, Managing Editor 212-378-0423, fgoodman@nbmedia.com Lynn Fuston, Technical Editor Rich Tozzoli, Software Editor Russ Long, Senior Contributor Ty Ford, Steve Harvey, Will James, Tom Jung, Alex Oana, Randy Poole, Alan Silverman, Rob Tavaglione, Ben Williams, Sterling Wineld, Dan Wothke, Tom Young, Contributors Paul Haggard, Photographer ADVERTISING Tara Preston, Associate Publisher 917-331-8904, tpreston@nbmedia.com Karen Godgart, Sales Director, West Coast Ofce 323-868-5416, kgodgart@nbmedia.com Contessa Abono, Specialty Sales Associate, North 650-238-0296, cabono@nbmedia.com Donovan Boyle, Specialty Sales Associate, South 650-238-0325, dboyle@nbmedia ART & PRODUCTION Nicole Cobban, Senior Art Director Annmarie LaScala, Art Director Fred Vega, Production Manager 212-378-0445, fvega@nbmedia.com CIRCULATION Tracey H. Dwyer, Associate Circulation Director, Audience Development Michele Fonville, Circulation Coordinator Subscriptions: Pro Audio Review, www.MyPARmag.com P.O. Box 234, Lowell, Ma 01853 Tel: 888-266-5828 (U.S.A. Only, 8:30 A.M. - 5 P.M. Est) 978-667-0352 (Outside The U.S.) Fax: 978-671-0460 E-Mail: Newbay@Computerfulllment.com NEWBAY MEDIA AUDIO GROUP John Pledger, Vice President/Group Publishing Director Anthony Savona, Editorial/Creative Director Ragan Whiteside, Web Director Robert Granger, Online Production Manager Ashley Vermillion, Web Production Specialist NEWBAY MEDIA CORPORATE Steve Palm, President & CEO Paul Mastronardi, Chief Financial Ofcer Joe Ferrick, Vice President Of Web Development Denise Robbins, Circulation Director Greg Topf, IT Director Jack Liedke, Controller Ray Vollmer, HR Director REPRINTS AND PERMISSIONS: For Article Reprints, Please Contact Our Reprint Coordinator At Wrights Media: 877-652-5295 PRINTED IN THE U.S.A. Administrative, Advertising, & Editorial Ofces 28 E 28th Street, 12th oor New York, NY 10016 TEL: (212) 378-0400 FAX: (212) 378-0435 E-MAIL: pro@nbmedia.com

ProAudioReview | March 2011

technically speaking

Frank Wells

Paints and Brushes

While reviewing the microphone-preamp-laden content for this issue of PAR, I was reminded of my early years as a studio tech, when I was first learning the intricacies of mic and pre interaction and their effects on recordings. When building a small tracking room, part of an equipment package we purchased from a former studio owner included a Trident TSM console. We were assured wed love the console, however, on powering it up, only three channels acceptably passed audio. A major refitting recapping, replacing worn pots and switches, undoing signal flow modifications and so on was undertaken. While testing, the mic pres revealed themselves as somewhat flawed. The discrete amplifiers were fed from a good Jensen transformer, but the implementation failed to yield the results one would expect from such a simple, classic design. I perused the transformer application notes, then placed a call to Jensen. To my great fortune, Deane Jensen himself answered the phone. I asked my question about the TSM design, and Deane launched into a dissertation on the history of the transformer, aspects of transformer-based design that affect the sonic performance of a circuit and details on how his companys transformers were developed for superior performance. Nearly an hour later, overwhelmed with a wealth of insight, I reluctantly had to bring the conversation back to the TSM. Then, in two sentences, Deane solved our problem, telling me that the secondary of the transformer had been loaded poorly, and suggesting a change to the RC circuit across the secondary. A few minutes later, after replacing two components, I was measuring performance like Id expected from the mic pre, proven out by the pres performance in subsequent tracking sessions. The Trident didnt actually last long in the room, a key client wanting us to put in another SSL. The Trident also had age- and abuse-based issues that typically meant I had a handful of problems to address every morning to keep the beast performing acceptably. There was also the issue of the automation the first-generation Allison 65K VCA-based system was way past being in vogue. That said, we did manage to produce some wonderful tracks, including the very first from the room, Roseanne Cashs Interiors, where she first explored her post-country voice. Particularly now, in the digital age where the conversion and capture of audio is largely transparent to the source, mic and mic pre selection are the paint and brush equivalents in creating sonic portraits. Sure, you can color a sound once its in the box, but at the fine-art stratosphere of recording, the moment of sonic capture and the calculated interplay between sound, mic and pre, are where magic can happen. Heres wishing you magic as you blend your sonic palette.

ProAudioReview | March 2011

new studio products

Sonnox/Fraunhofer Pro-Codec Plug-In
A collaboration between mp3 creator Fraunhofer IIS and plug-in designer/ manufacturer Sonnox has resulted in a plug-in set for online distribution mastering. The Pro-Codec plug-in reportedly enables mix and mastering engineers to audition up to five codecs in real time within a DAW environment, produce an optimized mix and batch encode to multiple formats simultaneously. All major codecs, including mp3, mp3 Surround, AAC-LC and HE-AAC are supported, as are lossless codecs such as mp3 HD and HD-AAC. The Pro-Codec plug-in is compatible with DAWs such as Pro Tools, Logic, Cubase, Nuendo, Sonar, Sequoia and Wavelab. Both Mac and Windows are supported. Price: TBA Contact: Sonnox | sonnoxplugins.com

Allen & Heath GS-R24 Studio Recording Mixer

Allen & Heath (A&H) has unveiled the GS-R24, an analog mid- to largescale console combined with a choice of interface modules, motorized faders for automated mixing and MIDI controllers for tactile interfacing with software DAWs. Based on A&Hs ZED-R16 FireWire recording mixer concept with influences from the classic GS3000, the GS-R24 is primarily aimed at producer/engineer-owned recording studios, although its flexible feature set lends the mixer to live-sound applications requiring multichannel recording, post-production suites and as a general-use residential studio mixer. It is available from $8,999 street (un-motorized fader version). GS-R24 features include an A&H mic preamp and four-band, fully parametric EQ, GS-R24 has 24 mono mic/line channels, two dual input stereo channels, two mono tube preamp channels, six auxes (two switched pre/post EQ), four audio sub-group busses, a master stereo and a master mono bus. There are two studio output sub-mix sections with individual level adjustment, which source monitor signals, and a comprehensive PFL/AFL and stereo Solo In Place system, for use in mix-down operation. A slot in the rear panel provides optional input and output formats via a choice of plug-in interface module cards. The first module available is a 32-channel FireWire interface the GS-R24-FIRE-A with ADAT optical connectivity, which provides a digital send and digital return on all the input channels (mono, stereo and tube pre) and the master stereo, making a total of 32 digital inputs and outputs. Also available from launch will be an analog I/O plus MIDI module with the interface on D-type connectors for wiring to external converters. The MIDI control section provides 24 channel faders (audio and MIDI track), 26 Select switches (dual function channel Solo switches), 12 rotaries, 19 MIDI switches, a further two MIDI faders and a jog wheel for scrolling functions. The mono channels have either motorized or non-motorized faders depending on model, and mode switches configure the mixer to allow different levels of MIDI control and integration with the DAW. Price: $10,999, $11,999 and $799 list (GS-R24 with un-motorized faders, GS-R24 with motorized faders, and GS-R24-FIRE-A card, respectively) Contact: Allen & Heath | allen-heath.com U.S. distributor: American Music & Sound | americalmusicandsound.com

10

ProAudioReview | March 2011

www.proaudioreview.com

new studio products

Bock 241 Large-Diaphragm Condenser Tube Microphone
The Bock 241 updates the performance level of Bock 151, bringing it closer to the companys 251. The 241 mic features a high-frequency flat or minus switch, dedicated cardioid operation, and outboard inductor-based power supply to drive the vintageinspired tube circuitry. Users will notice the 241 offers a similar look and feel to the 251 due to a revised body and head grille that better approximates the 251s sonic cardioid characteristics. The 241 will replace the 151 at exactly the same price point. Price: $3,650 Contact: Bock Audio | bockaudiodesigns.com U.S. distributor: TransAudio Group | transaudiogroup.com

Fostex PM0.4n Biamplified Close-field Studio Monitors

Fostex has released its two-way PM0.4n studio monitors. Featuring a biamp design (18W per LF and HF driver) and new cosmetics/colors, the PM0.4n fits into any audio environment. PM0.4n is now wall-mount-ready with four implanted nuts on the bottom of the enclosure cabinet. The pitch between the nuts is suitable for wallmount brackets, and for surround-sound implementations. Price: $299 list (per pair) Contact: Fostex International | fostexinternational.com U.S. distributor: American Music & Sound | americanmusicandsound.com

Waves Aphex Vintage Aural Exciter Plug-in

Waves Audio, in association with Aphex, has released the modeled plug-in version of the original Aphex Aural Exciter. Officially called the Waves Aphex Vintage Aural Exciter, the plug-in is based on one of the two original tube-powered prototype units developed by Aphex during the mid-70s. The original Aural Exciter traveled from studio to studio as an exclusive (and expensive) rental unit, and was regarded for its ability to increase and enhance presence, brightness and detail on vocal tracks and masters alike, explains Aphex. The Vintage Aural Exciter is bundled with the Waves Mercury package, or separately. Price: $250 and $500 (Native and TDM, respectively) Contact: Waves | waves.com

new studio products

KRK Systems ERGO: Firmware/Software Update
KRK Systems has updated the firmware and software for its ERGO (Enhanced Room Geometry Optimization) standalone, hardware, roomacoustics-correction system. In addition to these updates, KRK ERGO now offers support for Microsoft Windows 7 (64- and 32-bit) and Apple Mac OSX Snow Leopard operating systems. At $499 street, ERGO not only provides room correction, but four monitor outputs, a headphone output, a pair of analog line inputs and an S/PDIF input. The new firmware/software updates also allow the recording source to be dynamically switched between the analog and digital inputs. ERGOs documentation has been updated to highlight the possibilities of ERGO as both an audio interface with built-in room correction, or a standalone system which can be integrated onto the back end of any existing audio hardware. ERGO is capable of correcting two sets of studio monitors or a full 2.1 system with discrete control of the subwoofer. The room correction can correct both the sweet spot and the entire room, and the user can dynamically switch between the two when others are in the room. ERGO utilizes the RoomPerfect algorithm licensed from Lyngdorf Audio. Developed in Denmark, this technology uses highly complex test tones, multiple measurements and over 1,000 EQ points to control the audio environment. The system can derive data on room modes, power response, directivity and LF roll-off, which other modes of correction do not account for. Read PARs review of ERGO here: proaudioreview.com/article/23126. Price: Free and $799 list (firmware/software update and ERGO unit, respectively) Contact: KRK Systems | krksys.com

Apple MacBook Pro featuring Thunderbolt I/O

While the thinner/faster new iPad 2 is Apples big news amongst consumers, we predict the sleeper hit amongst audio professionals will ultimately be Apples new Thunderbolt I/O technology, featured on the next-generation MacBook Pro. Thunderbolt a revolutionary new I/O technology that delivers an amazing 10 gigabits per second data rate, says the company is new to market, developed by Intel in collaboration with Apple. It features two bi-directional channels with transfer speeds up to an 10 Gbps each, delivering PCI Express directly to external peripherals; it can support FireWire and USB consumer devices and Gigabit Ethernet networks via adapters. Thunderbolt also supports DisplayPort for high-resolution displays and works with existing adapters for HDMI, DVI and VGA displays. Other new MacBook Pro features include a built-in FaceTime HD camera, the most green build of a laptop in the computer industry, and ultra-high performance specifications. For more information on new MacBook Pro specs, visit the Apple website. Price: from $1,199 Contact: Apple | apple.com

new studio products

Beyerdynamic DT 1350 Professional Monitoring Headphone
Beyerdynamic has introduced its German-handcrafted DT 1350 professional monitoring headphone featuring Tesla technology. The re-engineered Tesla drivers create a headphone that delivers a high degree of efficiency with extremely low levels of distortion, allowing the DT 1350 to produce a balanced, accurate sound even at the highest volumes. A combination of efficient ambient noise reduction and a maximum sound pressure level of 129 dB make the DT 1350 a compact over-ear headphone good for nearly any performance environment. The Tesla sound transducers help achieve almost lossless magnetic flux. Traditional dynamic systems use a neodymium magnet at the center of the system, the size of which was inevitably limited inside the headphone cup. The Tesla principle sees the magnet mounted as a ring around the coil, allowing more energy to be directed to the membrane where it is required. Another special feature of the Tesla systems is their full-metal design; according to beyer, this prevents uncontrolled resonances in any part of the casing, which might, in turn, distort the sound. The metal also protects the device against electrical interference. Price: $299 Contact: beyerdynamic | beyerdynamic.com

new studio products

Korg nanoSeries2 USB-MIDI Controllers

Korg has unveiled its nanoSeries2, the next generation of slim-line USB-MIDI controllers. The line incorporates many user-requested enhancements and offers them up in the same slim casing as the original nanoSeries. The size and color of the entire series matches a laptop computer. Available in both white and black, the new units-the nanoKEY2, nanoPAD2 and nanoKONTROL2-are targeted as portable control for laptop musicians, DJs, remixers and anyone who wants to make music with a Mac or PC. All three units can be added to the companys 37-note microKEY USB-MIDI keyboard. Price: TBA Contact: Korg | korg.com

Softube TSAR-1 Reverb Plug-In

Softube has begun shipping its TSAR-1 (True Stereo Algorithmic Reverb). Based on a list of vintage classic reverbs, the TSAR-1 reportedly brings pro-quality algorithmic environmental processing to Native platforms (Mac/ PC; VST/AU/RTAS). It is available for $299 street. Central to TSAR-1 is its true stereo design. Many stereo reverbs are actually mono reverbs that combine the L/R input signals and artificially split them on output. Others models are dual mono, which maintains L/R separation, but doesnt account for the L/R crosstalk that occurs in natural spaces. TSAR-1 is said to address these issues with a proprietary reverb engine that is actually four discrete engines, each of which is dedicated to a specific part of the signal path. Price: $329 list Contact: Softube (dist. by MV Audio) | mvproaudio.com

16

ProAudioReview | March 2011

new studio products

Sonodyne SM50Ak, SM100Ak Nearfield Monitors
Sonodyne has launched its SM 50Ak and SM100Ak nearfield monitors. The SM 50Ak is the smallest monitor in the Sonodyne range. Its active biamp design delivers 45 watts to the 5 1/4-inch woofer and 45 watts to the tweeter to reproduce 70 to 22,000 Hz. The next model up is the SM 100Ak (pictured), also biamplified, offering 80 watts to a 6 1/2-inch woofer, and the same 45-watt powered tweeter. The Sonodyne SM 100Ak reportedly delivers more low-end response, a larger sweet spot in front, and greater SPL. Price: $525 and $700 list, each (SM50Ak and SM100Ak, respectively) Contact: TransAudio Group (U.S. distributor) | transaudiogroup.com

Renegade Labs M16 Digital Edit Suite Audio Mixer

Utilizing Renegade Labs 328|MXE chassis, the M16 digital edit suite audio mixer accepts up to 32 input channels of analog, mic-level, AES-format and SD/HD SDI signals, routing to eight analog/digital outputs; additional outputs can be added in either analog, digital or SD/HD SDI-embedded formats. Designed for edit-system control in linear edit suites, the M16 communicates to any edit controller with ESAM II protocol via an RS-422 serial port. Video-centric operation is enhanced by separate rows of buttons for Program or Preset assignment of audio to the faders, along with an edit-system-controlled preview switcher. Price: $13,950 (w/ MXE electronics chassis) Contact: Renegade Labs | renegadelabs.com

18

ProAudioReview | March 2011

opinion

studio sense

by Rob Tavaglione

Limitation Loss Lament

Ah, the old routine. First youd clean the heads and transport, then thread the machine. After rewinding and re-threading, youd go about the tedious process of setting record levels and bias. This took some time, as you were often tempted to try new settings or tape formulations, so you had to be on your toes before the session ever began. Youd place all your mics, get the cans working, get the band playing, listen to your inputs and then ask yourself questions like, Now, what can I combine onto the same track? What inputs can I live without? How much space do I need to save for overdubs? What can I track now and then bounce down later to free up more space?
For the benefit of our younger readers, when I say space, Im talking about something that used to require some serious consideration to work within (not available space on your hard drive). I, for example, had a total of 16 tracks of space. All this effort for a mere 16 tracks of record? Yes, and I relish the memories. While I dont miss all the tape machine setup, getting only 16 minutes of record time on a reel, and so on, I sure do miss constraints: the handicaps, the limitations, the boundaries, the hard lines in the sand that the analog world always provided and that our digital world will not. I conjecture theres something magical about engineering and creating under hardship. Please dont think this is another Luddite rant about the good ol days, the lost arts of the past, etc., as you couldnt get this Mac out of my hands with a crowbar and a pistol. Im not lost in Analogland either; sure, I love a good, beefy, 2-inch or 1/2-inch tape, but modern converter technology, analog emulations and high sample rates have narrowed associated performance gaps down to academic arguments. Here, Im lamenting the loss of limita-

Classic analog tape machines, a.k.a., desirable limitations from days of yore.

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

20 ProAudioReview | March 2011 www.proaudioreview.com

tions (both artistic and technical) that forced us to commit, to scheme, to solve, to compromise, to refine and to clarify. Responses to such limitations are human nature; without them, is our work increasingly less than human? Im no student of psychology, or sociology or religion, so I dont understand why it is that humans are often a bit boring, lazy and wishy-washy when entirely comfortable, yet often creative, focused and ultra-productive when forced, often uncomfortably, by hardship. Are we somehow wired to only give 100 percent when absolutely necessary? Does this somehow explain why many performers only do their very best when facing difficult odds under unreasonable conditions? Perhaps the human mind needs the clarification that challenges bring to truly excel. Tell a performer and/or a producer that they have unlimited track count available; that you can undo anything; that you can correct tone, rhythm or pitch. Suddenly, wheres the motivation to push? This may ring familiar with you I

am friends with a producer who has told me of his successful Manhattan client with literally hundreds of vocal takes per song. This (obviously well funded) client insisted on keeping all takes, month after month, just in case, all at 96k until the point where my friend had multiple drives full of data with sessions that seemed to take forever to open. And yes, the client never went back and used these tracks; they obviously served as some form of performance pacifier, a security blanket, and a means of putting off decision-making and artistic/personal committal. Time constraints arent really the ideal handicaps to introduce here (as they sometimes simply create panic). Im thinking some kind of physical or conceptual limitation to force ourselves into the hero mode limitations that force creative problem-solving, prioritizing and focus. A maximum acceptable track count may be helpful, but maybe more inspiring types of negative stimulus are the key here. Forced spontaneity; unfamiliar instruments or conditions; recording an

ensemble completely live; an absence of processing or effects; minimal microphones: All these things just might elicit once-in-a-lifetime performances. Even as a little kid, I knew I wanted to be an audio engineer because I always fantasized of re-mixing my favorite records, those that I thought had less-than-stellar production. I dreamt of re-recording them with the highest fidelity, all the right fader moves and then bowling over the masses. Yet now, high fidelity is pretty easily achievable to most anyone, and I hear virtually perfect, simply fantastic recordings all the time that do not bowl over the masses. Are our listeners simply jaded from the sheer number of technically high-quality productions out there today, or are they simply missing more emotion, more sincerity, more humanity than our typical modern methodologies allow? I believe they recognize an absence of underlying tension, heightened passion and the sounds of a struggling underdog while overachieving.

Apogee ONE USB Audio and Microphone Interface

ONE is both fantastically designed and shockingly good, offers PARs Senior Contributor, making it a most flexible tool for on-the-go professionals.

by Russ Long
Apogee ONE is a sleek, beautifully designed USB audio interface. Its compact size (slightly larger than an iPhone) and single-knob interface make it visually reminiscent of the classic iPod. ONE is USB-powered and features a mono mic/line input, built-in microphone and stereo output. The device provides 24-bit audio at sample rates of 44.1 kHz or 48 kHz at a quality deserving of the Apogee name. ONE is compatible with any Mac-based Core Audio-compliant application (including Pro Tools 9). Features The $249 ONE measures 2.25 x 4.75 x 1 inches and weighs approximately 1 pound. It includes the ONE interface, breakout cable, USB cable, Apogee Software & Documentation CD and QuickStart Guide. The breakout cable provides audio input via a female XLR or a 1/4-inch jack. The balanced microphone (XLR) input provides 10-63 dB of gain with a maximum input level of +14 dBu and the unbalanced (1/4inch) instrument input provides 0 to 45 dB of gain with a maximum input level of +11 dBu. Choosing the internal electret condenser microphone also allows gain settings of 0 to 45 dB. Stereo output is provided via an unbalanced 1/8-inch jack with

a maximum output level of +12 dBu, perfectly suited to drive headphones or powered speakers. The ONE mic mount ($19.95) makes it possible to mount the ONE on any standard mic stand and the ONE Table Top Mic Stand ($19.95) is a 6.5inch tall tripod that perfectly complements the mic mount. Apogees soft neoprene carry case ($19.95) is the perfect way to make sure ONE stays protected during transport. Apogees Maestro software is the link between ONE and the computer. I downloaded the most recent version from the Apogee site (always a good idea just in case an included disc is outdated) and installation was a breeze. Squeezing into only 34MB of hard drive space, the application requires Mac OS 10.5.7 or later to operate. I was already familiar with the software after logging a bunch of time with the Symphony system

Russ Long is a Nashville-based producer, engineer and mixer as well as a senior contributor to PAR. russlong.ws
24 ProAudioReview | March 2011 www.proaudioreview.com

PHOTO BY KONRAD SNYDER

Pictured: Singer/songwriter Marc Scibilia (marcscibilia.com).

a couple of years ago, and I found the single input/stereo output version that works in tandem with ONE to be simple and intuitive. Maestros Mixer and Control pages provide full control of the applications features. The Mixer page displays a fader, mute and solo buttons, and metering for the single input and the From Software channels as well as larger metering for the To Hardware output level. Metering includes input level and digital over display after conversion from analog to digital. The Control page includes gain controls for the input and output levels as well as input selection between Int Mic, Ext Mic, Ext 48V Mic and Instrument. Stereo output should be selected when ONE is connected to headphones, powered speakers, or a mixing console and Amp should be selected when ONE is connected to an instrument amplifier. When Amp is selected, ONEs output level is fixed making it better suited for instrument amplifier inputs. In Use Ergonomically, ONEs design is fantastic. Pressing the large silver knob encoder cycles through the input and output options allowing you to make input or output gain adjustments without using the Maestro application. One of four encoder function LED indicators

is always illuminated indicating what the encoder is controlling. A three-segment LED meter reflects the input or output level of the selected function. When making a gain adjustment, a window similar to a Macs volume display window appears on the screen showing the input or output being adjusted. Holding the button for a second mutes the output a great feature in the event of a noisy software glitch. In addition to using ONE as an external soundcard, the device provides the option of low-latency live monitoring that can be set up through Maestros control panel. The biggest limitation of ONE is that it only supports sample rates of 44.1 and 48 kHz, prohibiting it from recording to high-resolution projects. This will likely be a deterrent to many potential buyers. The breakout cable is the perfect length, and its locking connector prohibits it from being accidentally detached while in use. While placing the output jack on the bottom of the device makes perfect sense for headphones, its a bit awkward for speaker connection. I anticipate that more people will use ONE with headphones, but having a parallel output on the top of ONE for speaker output would have been a nice feature. ONEs headphone amp is surprisingly good. When traveling and

www.proaudioreview.com

March 2011 | ProAudioReview

25

just listening to music for pleasure, Ive found that the tradeoff for the extra hassle of using ONE (pulling out an extra device and connecting it to my laptop instead of just plugging my headphones into the computer) is well worth it due to the sound improvement. This sound quality was equally good through a pair of Dynaudio BM 5A powered monitors. In both instances, the imaging is wide and the clarity is superb at both soft and loud volume levels. I was initially skeptical of the quality of the built-in mic but was pleasantly surprised after

Fast Facts
Applications Applications: Project Studio, Broadcast, Location Recording, Mobile Recording Key Features Features: Built-in mic; balanced XLR mic pre and unbalanced -inch high-impedance instrument input; software-selectable 48V phantom power; 1/8-inch stereo output; multi-function encoder knob for input gain control and output level control; Core Audio compatible; 24-bit 44.1 kHz or 48 kHz operation; 4 encoder function LED indicators; 3-segment LED input and output metering; Apogees Maestro software for hardware control and low-latency monitoring Price Price: $249 Contact Apogee Digital | 310-584-9394 | apogeedigital.com

PHOTO BY KONRAD SNYDER

Product Points
Compact size; low price; great sound quality; phantom power

support beyond 48 kHz; no PC No support ONE is the affordable mono solution for high-quality mobile recording.

using it to record vocals and guitars. At first, many vocalists may feel awkward singing into something that looks like an iPod but the sound quality is so shockingly good that they may quickly grow accustomed to it. ONE works equally well on acoustic guitar, making it the only device available that will allow you to record full demos or podcasts without needing to purchase an extra mic. I used ONEs mic pre to record a vocal with the Sony C-800G and the result was stunning. While ONEs pre wouldnt be my first choice while working in the studio, I wouldnt hesitate to use it to capture a critical lead vocal or instrument overdub if I was working in a hotel, apartment or somewhere else on the move; its sound quality is beyond anything Ive encountered in the same price range and on par with that of other Apogee products. I recorded electric guitar through ONE along with Line 6s Amp Farm on a Pro Tools 9 session, and it worked great. It worked equally well when recording a bass guitar. Maestro allows various setups to be stored, making it quick and easy to switch between sound sources and mics with minimal setup time. After recording bass, I saved a setup named Gibson EB-2, so the next time I record that bass through the 1/4-inch input, Ill have a reasonably close starting point. I also used ONEs built-in mic to record a bands rehearsal. Besides being limited to a mono recording, it works extremely well, making it the perfect tool for capturing rehearsals and performances to create work tapes as arrangements are worked out before going in the studio. During the review period, I used the ONE along with Pro Tools, Garage Band, Nuendo and Logic, and in every instance, it worked flawlessly. While the biggest weakness of the ONE is its lack of PC compatibility, it could easily be argued that this is yet another significant reason to switch from PC to Mac. Summary Apogee ONE provides a wonderful combination of features, portability and most important, sound quality, at an amazing price point. Any mobile user in need of only a single input should give ONE top consideration.

Score

26

ProAudioReview | March 2011

www.proaudioreview.com

studio review

by Strother Bullins

Focusrite OctoPre MkII Dynamic 8-Channel Microphone Preamplifier

The new OctoPre significantly builds on the qualities of the original, adding More to the mix.

Ive been a fan of Focusrites OctoPre 8-channel mic preamps for some time now. More than 12 years ago, I used the original OctoPre as a front end to a modest recording rig (literally six good microphones, the OctoPre, and a blackface ADAT) to self-record three complete drum sessions at home, ultimately to be used alongside stiff competition: truly great-sounding drum sessions with a real engineer at what was then Masterfonics Studio Six on Music Row in Nashville.
Yet once mixed to the same standards to reside on the same CD, those two extremes in gear and environments became surprisingly immaterial. Thus, when Focusrite announced its latest incarnation of the OctoPre, the MkII Dynamic, my interest was piqued by what it may provide to our industrys continuously growing pool of self-recordists and/or budget-minded audio pros. Features Size 1U, the MkII Dynamic offers all of the same features as the original, plus literally More: in my opinion, the most significant new tool of the MkII Dynamic is More, the simple on/off button per channel that takes each channels one-knob compressor (Compress, which adjusts threshold) and doubles its usefulness. In normal mode, the fixed compression ratio is 2:1; with More, its 4:1, allowing some creative, easy compression-based effects to be laid within selected tracks. Both modes attack times are 1.2ms; release times are 28ms. In a word, More is cool, and especially cool for creative drum tracking. What else is cool about the MkII Dynamic? The same things that were

cool in the original, plus added refinements and improvements in I/O. The front panel offers a preamp Gain rotary per channel alongside the aforementioned Compress knob and More button. Per channel, three helpful LEDs light red, yellow, and red to indicate overload (O/L), active compression, and More ratio doubling, respectively. Next, an 8 x 5 segment LED meter shows per-channel signal levels pre-A/D. Also on the front panel are instrument input selector buttons for channels 1 and 2; two phantom power on/off buttons for channels 1-4 and 5-8; and digital I/O selection via sample rate (44.1 to 96k), clock source (internal, word clock or ADAT), and an AD/DA button to send digital ADAT input to the MkII Dynamics eight line outputs, the latter of which effectively makes the unit an 24-bit, 8-channel D/A converter. Rear panel I/O includes eight Neutrik 1/4inch/XLR combo jacks for channel inputs; eight 1/4-inch line outputs; two ADAT/ Optical/Lightpipe inputs; two ADAT/Optical/ Lightpipe outputs; and BNC word clock

Strother Bullins is the reviews and features editor for Pro Audio Review.
28 ProAudioReview | March 2011 www.proaudioreview.com

input and output connectors. Per 1/4-inch input, either TRS (balanced) or TS (unbalanced) can be used. In Use The MkII Dynamic was as clean and userfriendly as I remember the original to be, and I used the new one quite a bit over the past two months. From conservative compression levels on all inputs to wildly slammed/squished More settings on the majority of inputs, recordings with the MkII Dynamic were as pure, or as colored, as desired. For example, a group of musicians and I collectively flipped over a pair of room mics (AKG Perception 820 tubes), in omni and under the heavy hand of More, about 1/2 compressed from the maximum position simply fun, classic,and rockin, agreed the group. Meanwhile, crucial sound sources that called out for clean transduction and no tracking compression such as a dynamic male vocal via Sontronics Orpheus large-diaphragm condenser in cardioid and a detailed ostinato on a 21-inch Sabian HH Series Vintage Ride cymbal via a Shure KSM141 condenser stereo pair in omni were appropriately captured with the MkII Dynamics superb Saffire preamps. Summary The Focusrite OctoPre MkII Dynamic is quite possibly the best bargain in 8-channel preamps currently available, as it streets for $699. Eight preamps and eight channel compressors featuring the neat More comp ratio doubler, plus its comprehensive analog/digital I/O? Its not only a bargain; it could be considered a steal. For that reason, I will enthusiastically recommend the MkII Dynamic to any of my self-recording brethren as well as to any budget-restricted engineer in need of eight solid preamp-plus-compression channels. Price: $799 list Contact: Focusrite | focusrite.com U.S. distributor: American Music & Sound | 800-431-2609 | americanmusicandsound.com

Focusrite ISA 428 MkII 4-Channel Microphone Preamplifier

PARs software editor finds the new MkII as desirable as his original ISA 428, and then some.

by Rich Tozzoli
It is in our nature to be skeptical, for most of us anyway. So, after Focusrite announced that the update to the classic ISA 428 the MkII would be less expensive than the original, yet maintain the same signal path, how could I not initially question its quality? Being a happy owner of the original ISA 428, I wanted to give the new MkII a thorough, comparative runthrough.
There are a few reasons why I like the original ISA 428: It has four high-quality channels; VU and digital metering; variable impedance, Hi-Z 1/4-inch inputs on the front panel; variable high-pass filters; a digital I/O option; 1/4-inch inserts; and, most importantly, it sounds very good.

Features Breaking the new MkII out of its shipping box, I stacked it right on top of my original ISA 428. The first difference I noticed in the MkII is the lack of analog VU meters. Both units retain the LED meters, displaying levels before the A/D converters. The result is that there is more frontpanel real estate, so the MKII has much bigger knobs for Gain, Filter and Trim on each of the four channels. The Soft Limiter has been removed, as well as the Bit Depth button. On the inside, the power supply has been switched from linear to a switched-mode supply. According to Focusrite, this allows it to be plugged into most mains power supplies around the world without changing a voltage selector or fuse. This not only reduces the weight of the MKII but also (thankfully), lowers the operating temp as the original can run quite hot. In Use Certainly, the cosmetics of the unit are a bit different, but how about the sound? To test this, I took both ISA 428s to my good friend Vincent Miraglias stu-

www.proaudioreview.com

March 2011 | ProAudioReview

29

dio. Miraglia, aside from being an electronic design engineer, is also a talented drummer who records a lot of TV cues with me. Our first step was to install the optional digital card; this 192 kHz, 8-channel card features Burr-Brown pro audio amps, PCM4220 A/D converter chips, a 25-pin D-Sub connector (for DAW users, etc.), two ADAT Lightpipe outputs, choice of one- or two-wire and AES or S/PDIF buttons and Word Clock I/O. Popping the top, we noticed the nice Lundahl LL1538 transformers staring up at us; the MkII uses the same Lundahl transformers and input signal path as the original. The design inside was clean and neat; the digital card install took just a few minutes. Holding down any front button on startup digitally initializes the unit; this only has to be done once. Next, we set the ISA 428s together and plugged an optical cable into an Avid Pro Tools 9 rig. We began with the original ISA 428. For drum tracks, we ran a pair of omni Earthworks SRO mics into channels 1 and 2 as overheads. On channel 3, we placed a Shure Beta 52 on the kick; on channel 4, we placed a Miktek C7 as a mono room mic. We then ran through each of the impedances and recorded the same basic drum pattern. It was the clean, clear sound that I know so well.

Then we plugged in the MkII using the same mic configuration and recorded in the same sequence of impedances; High (6.8K), Med (2.4K), ISA 110 (1.4K) and Low (600). While this was non-scientific (as his playing would understandably change a bit with each pass), we both heard little, if any, difference between the two units. OK, Focusrite wasnt lying: these units would sound the same to our ears. We were more impressed with the different impedances and the effect they had on each mic. The High impedance had the most open sound, with additional top end and clarity. The Medium setting had slightly

very small knobs for Input Gain and Trim and is definitely harder to tweak. Also, I like to ride gain on sessions (especially with vocalists) but it was something I could not do with my original. With the MkII, that would no longer be a problem. However, I do feel that the knobs were tighter on the original; they dont feel as solid on the MkIIs. Taking the MkII back home to my studio, I used it on several acoustic sessions (hear webclips 2 and 3); the results were again what I expected (in a good way): crisp, clean sound with a responsive attack. On guitarist/vocalist Dave Murphy, I used all four channels of the preamp, running a Miktek C7 (at medium impedance) on the body of his Martin 000-18NB; a beyer M120 ribbon (at low impedance) also on the body; and an Earthworks QTC1 (at high impedance) on the neck. From a K&K Pure Western mini pickup, I ran his Sarno Steel

Selected Audio Clips: Focusrite ISA 428 MkII

Visit the link below to hear the various audio clips referenced in Richs review of the ISA 428 MkII Ed.

proaudioreview.com/ focusriteisa428mkii

less top, and Low was almost muted (Low seems to work best with some ribbons). But the ISA 110 setting really knocked us both out. It was punchy and thick, almost like good analog tape. Placing a UA 1176 across the room mic and going for the Bonham thing was just slamming (hear it on webclip 1). But on the high-impedance pass, the 1176 grabbed the extra top end of the hi-hats and cymbals and made it almost brittle. The ISA 110 setting came across much smoother and sat better in the mix. I find the MkII, like the original, to be transparent for the most part, but the various impedances can add color. Regarding setting levels, on the first test with the original unit, I was glad to have the VU meters to get me in the ballpark. With the MkII, I thought I would miss them. Yet without a doubt, it was much easier and faster to set levels with the MkII simply because the knobs are so much bigger and laid out better. The original has

Guitar Black Box DI into the Hi-Z 1/4-inch input on the front of the MkII. Wow! The whole package sounded rich and full, pulling a lot of bass out of a small-bodied Martin. We overdubbed vocal with the C7, then sat back and enjoyed the sounds. Summary Just as I liked the original, I like the Focusrite ISA 428 MkII a lot. It features the same Lundahl transformers, is easier to use, sounds great, and delivers the goods as advertised. I do feel the digital option is very useful for DAW users, and to have this entire package with all the I/O for around 2k (street) is an excellent value. Oh, and I didnt miss the VUs. Price: $1,899 and $624, list (ISA 428 MkII and ISA 8CH A/D card, respectively) Contact: Focusrite | focusrite.com/us U.S. distributor: American Music & Sound | 800-431-2609 | americanmusicandsound.com

Rich Tozzoli is a composer, engineer/mixer and the software editor for Pro Audio Review. richtozzoli.com
30 ProAudioReview | March 2011 www.proaudioreview.com

studio review

by Rich Tozzoli

Focal XS Satellite Multimedia Speakers

Focals XS powered monitoring system features USB connectivity, and even an iPod dock; its a consumer product with truly proapplicable features.
The reality of todays ever-blurring line between consumer and pro audio means some of us listen to our work through nontraditional studio monitors. Focals XS Multimedia Audio System is a great example of a product that fills a niche somewhere in that middle ground.
Features This powered iPod docking system includes a pair of unique brushed metal and black speakers, a compact but sturdy 6.5inch subwoofer, a wireless remote control (that magnetically clips onto the speaker arm), USB cable, power supply cord and 1/8-inch dual mini cable. Inside the sub resides a 70-watt amp, a Burr Brown DAC and dual 30-watt amps for the satellites, which plug in via mesh covered cables attached to each one. The sub also features a volume control. Lowering the sub also removes bass from the satellites; unfortunately, they dont provide specs on the frequencies. The frequency response for the complete system is specd at 39-20 kHz. The right side speaker base houses power and volume controls on top, a dock for your iPod (with eight different adapters), a 1/8-inch mini Aux input on the rear along with a USB connector and a Sync/Audio switch. The sleek-looking two-way satellite speakers reside in small enclosures atop metal arms that elevate them 8 inches above your desk, anchored to gloss black bases. Each features a 3-inch paper cone driver for the mids and a 0.75-inch Mylar tweeter for the highs. In Use I first heard this compact system at The Mastering Palace in New York. Owner/engineer Dave Kutch had them on his desktop, along with several other sets of high-end Focal systems in his room. With their great sound, I felt they would make a perfect setup for my secondary DAW, a Pro Tools 9/Intel system that I use for basic composition, sound design, programming and music listening. Sometimes plans work out. Plugging my PT9 output into the 1/8-inch mini jack and the USB into my computer, I was up and running in minutes. I like the fact that the tweeters lined up perfectly with my ears. I docked my iPhone, and by pressing the Sync/Audio button, charged it and synced it. (Note: You must choose either Sync mode or Audio mode. You cannot listen to your iPod/iPhone while syncing/charging.) With this Sync button, you can also listen to your iPhone/ iPods music, or go back to your iTunes/Aux (PT9) setup. I love this versatility. Aside from my own material, I put on mixes by Seal, Sade, Led Zeppelin, Bob Marley and the London Symphony. I sat back and simply enjoyed the sonic experience. My only complaint with this system is its limited tweakability. I would love to have a software panel with system EQ/crossovers and a volume, so that I have some idea of reference levels and frequencies. It also can get a little mushy in the low mids when you turn up the sub too high; it takes a little time to find the right balance for your room. But for what the XS is, its very effective for pro use. Summary At $599, the Focal XS is not cheap. However, at the risk of sounding clich, you truly get what you pay for. The combination of excellent sound, a powerful sub, USB D/A conversion, iPod Docking/charging, wireless remote, an Aux input and sleek design make them easily worth the money. Its a flexible setup for anyone seeking a good secondary consumer/pro speaker system. Price: $599 Contact: Focal | xs-focal.com

Rich Tozzoli is a composer, engineer/mixer and the software editor for Pro Audio Review. richtozzoli.com
32 ProAudioReview | March 2011 www.proaudioreview.com

studio review

by Rob Tavaglione

Electro-Voice RE320 Premium Dynamic Microphone

E-Vs updated version of the venerable RE20 is a certifiable rockin hit.
The Electro-Voice (E-V) RE20 is a must-know microphone for every audio professional. After all, nearly every broadcaster in America owns between two and 20. They are regularly placed in front of kick drums, bass and guitar cabs, not to mention the majority of radio/ TV announcers. The RE20 could arguably be one of the most popular microphones ever, neck-and-neck with the ubiquitous Shure SM57.
Thus, we will review the RE20s modern update, the E-V RE320, in a purely comparative manner, to help you decide if its right for you and your own applications. For an even broader perspective, lets also throw in real world comparisons with its sibling microphone, the E-V RE27. Features Aesthetically, the RE320 looks very much like an RE20 featuring that striking, classic vented chassis with an updated look due to its black semi-gloss finish. As in the E-V RE27, neodymium magnets are present, though switchable high-pass filters present in the RE20 and RE27 are not. Another significant difference of the RE320 is its selectable EQ filter voiced for kick drum miking, which offers a low-mid frequency scoop. In Use I first tried the RE320 in a live environment, inside a number of kick drums at a Charlotte rock club, with filter engaged. Its performance in a word? Punch. The RE320 translated a lean bottom, plenty of high-mid bass drum shell tone and a well

Selected Audio Clips: Electro-Voice RE320

Visit the link below to hear the various audio clips referenced in Robs review of the RE320 Ed.

proaudioreview.com/evre320
and sculpted mids from the RE320 is notable, while the Beta 91 offers pronounced top. On loud electric guitar, the RE320 does a fine job; it offers more bottom than a SM57, less high-mids and more muscle through the low mids. High SPL is no problem for the RE320 and, to my ears, it seems more faithful than colored in direct comparison to the SM57. Where one might normally use a Sennheiser MD 421 on guitar, the RE320 will excel with more flatness and more excitement. Understandably, the kick drum filter was all wrong on this app, as it removed precious tone. For a broadcasting applications test, I pulled in the big guns. With the help of onair personality Divakar Shukla and station engineer Dave Mitchell, we ran the RE320 through a gamut of broadcast tests at the 100 kW WEND FM in Charlotte. The RE320 and an RE20 were placed three inches apart and three inches from Divakar: in an equilateral triangle, directly on-axis, with no

defined thwack. The venues FOH engineer said he liked it, as it offered more highs than a Beta 52. Onstage, the monitors loved it; my biamped monitor rig there is huge, and the RE320s absence of flab way down low made for the tightest, punchiest onstage kick that I can recall. In the studio, I found the RE320 to have a sonic signature best suited for rock recording, where higher-end note definition is arguably as crucial as thump and the fundamental. In order to create audio clips for my evaluation (and for PARs valued readers), I placed the RE320 inside a 22-inch Pork Pie kick drum (with damping rings on heads, but no pillows or blankets inside), but obviously no other mic could fit through the resonant heads small hole. I did sneak in a Shure Beta 91 (also a favorite for rock kick), placing it in the bottom center of the drum, for less than coincident, but very usable, placement. In webclips 1A and 1B, the additional bottom

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

34 ProAudioReview | March 2011 www.proaudioreview.com

pop filters employed. Technically well as webclips 5A (RE320 with improper (as most announcfilter) and 5B (RE27). Divakar ers angle themselves across the even says of the RE320, Thats mic head, preventing plosives the way Im supposed to sound. and excessive mouth noise), this placement was required for Summary accuracy in evaluation; some Assuming you like the popping Ps may also be inforRE20, you cant go wrong with mative about the mics plosive the RE320 at $299 street. Its performances. additional bottom end seems We found the RE320 to have a useful on both kick and VOs; little more bottom than a RE20, its top end is just as smooth with some scooping at 300 to and broadcast-worthy as the 800 Hz and nearly the same top RE20; its Variable D proximend (RE320 and RE20, webclips ity effect control is tuned just 2A and 2B, respectively). Divakar Divakar Shukla of Charlottes WEND 106.5 FM evaluates the new RE320 right; and the RE320 can hanand Dave loved the RE320 and alongside the original RE20. dle all the abuse of rock n roll. became further enthused when Throw in its eminently useful they heard the RE320 with the kick filter output than the RE20 or RE320), the RE20 mid-scoop filter (that is equally at home engaged (webclip 3A) in direct comparison has less top end and flatter mids; the RE320 on kick and voice) and it seems the to the RE20 (webclip 3B). Both commented sounded a lot like a RE27, at least with its RE320 is a black beauty of a RE20, with how the RE320 with filter sounded more kick filter engaged. Nonetheless, Divakar lots more versatility and nary a negative. finished, as if we had our usual processing and Dave still ultimately preferred the turned on, they said. [These webclips are RE320 with kick filter over the RE27, citing Price: $499 list unprocessed Ed.] its fullness and warmth, further revealed Contact: Electro-Voice | 800-392-3497 | Compared to the RE27 (with a hotter in webclips 4A (RE320) and 4B (RE27) as electrovoice.com
PHOTO: ROB TAVAGLIONE

36

ProAudioReview | March 2011

www.proaudioreview.com

geared up

by Steve Harvey
RealTraps bass traps include a thin membrane behind the front fabric that does two things, Winer offers. It increases the bass absorption quite a bit compared to plain rigid fiberglass or foam. It also is semireflective at mid and high frequencies. You can put a whole pile of them in the room to really improve the low-frequency response without making the room totally dead, as happens with a whole room of foam or fiberglass. RealTraps Diffusor panels also act as bass traps but additionally scatter mid and high frequencies. When positioned on the rear wall (both Near and Far versions are available) they reduce comb filtering for a more focused image. That solves the longstanding dilemma, Should I do bass traps on my back wall or diffusors? Well, you can have both, says Winer. As Winer observes, People say, My room sounds terrible, but I dont want to

Magic Garden Masterings RealTraps

The most crucial audio equipment in the studio is not necessarily electronic. Acoustic treatment can be every bit as important as the recording or mixing equipment in a production environment, and as demonstrated by RealTraps modular products it can be just as transportable.
Brian Lucey, owner of Magic Garden Mastering in Delaware, Ohio, recently added to his complement of RealTraps bass traps when he upgraded from a previous studio space. Brian has two stacks of MegaTraps in the front corners for a total of eight, details Ethan Winer, co-owner of RealTraps (along with Doug Ferrara). He has nine diffusors; he has a door, so he couldnt put one there. He has 12 2 x 2-foot bass traps; six 2 x 4-foot; and six of what we call the HF style. Those are all 6-inch-thick MondoTraps, part of our modular system. Although the acoustic treatment can typically be a part of the fabric of the building and must be left behind if a studio business relocates, the majority of RealTraps products require no screws or glue. In Luceys case, the modules are mostly square or rectangular modules with a uniform thickness that allows the panels to be stacked from floor to ceiling. The optimum acoustic treatment solution is really dependent on the available budget. For those working on a smaller budget, what is a minimal beneficial option? Lets say for a bedroom-sized space, or similar, the bare minimum would be four bass traps, one in each corner, straddling the corner, and two reflection panels, one on each side wall, at the first reflection points, says Winer. Sometimes, when people cant even afford that, well say, Put two bass traps in the front corners and two panels at the side reflection points. Bass traps always help, no matter where you put them. Planning the treatment requires some consultation time, says Winer. In having dealt with us before, Brian knew quite a bit about what he wanted. But I personally spent about two hours over the course of about a month figuring out exactly what he was going to get. Typically, he continues, We have people e-mail pictures or a drawing, or they can describe it. Everybody has questions, even

Brian Lucey of Magic Garden Mastering appears to work fast. when they think they know what they want. So we always prefer to talk to people. Winer explains, Bass traps work best in the corner. He points out, There are 12 corners in a rectangular room: not just where two walls meet, but also where a wall meets the floor and the ceiling. treat it because Im going to move in a year. These are great because you can take them with you, just like you would your speakers or any outboard gear. Contacts: Magic Garden Mastering | magicgardenmastering.com RealTraps | realtraps.com

Steve Harvey is the West Coast editor for PARs sister publicaiton, Pro Sound News.
38 ProAudioReview | March 2011 www.proaudioreview.com

new live products

B&C 6HCX51 Mini Coax
New to the B&C range of coaxial components is the 6HCX51. Weighing in at 3.4 lb, this mini-coax features a single neodymium magnet assembly for both woofer and driver. The polyester-diaphragm, high-frequency driver is loaded with a small 70-degree horn. A 300-watt power rating makes the 6HCX51 targeted for a variety of applications, especially for small-format, fixed-installation enclosures. Price: POA Contact: B&C | bcspeakers.com

Powersoft M Series Amplifiers: Now Shipping

Powersoft is now shipping its M Series line of efficient power amplifiers to distributors. The M Series consists of five new models that include two 4-channel and three 2-channel versions. In expected Powersoft fashion, M Series amplifiers come in a one-rack-unit chassis, 358mm/14.1-inch in depth and weighing just over 16 lbs. The M50Q and M28Q are 4-channel models, delivering up to 1,250W/ ch into 4 ohms. The M30D, M20D and M14D offer 2-channels each with a maximum output of 1,500W/ch at 4 ohms. The entire range reaches down to 360W/ch into 8 ohms. The M Series features Powersofts advanced plug-in DSP module. When installed and preset to meet the needs of a particular installation, including settings for crossover frequency and curves, basic system EQ and protection functions, the parameters cannot be changed, making the M Series a plug and safe power amp, offers Powersoft marketing materials. Price: POA Contact: Powersoft | powersoft-audio.com

Phonic aSK Passive Speaker Series

Phonic has unveiled its aSK passive speaker series. Envisioned as a sister series to the companys iSK series, the aSK series features a total of five new passive models: aSK10, aSK12, aSK15, aSK18 and aSK215. Phonics aSK10, aSK12 and aSK15 are 2-way models offering full-range audio reproduction with 10-, 12- and 15-inch woofers, respectively, along with a Wing-Guide horn that extends beyond 25 kHz. For increased bass response, the aSK215, also a 2-way model, offers two 15-inch woofers in addition to the Wing-Guide horn. The aSK series also features an 18-inch subwoofer model, aSK18, offering low-frequency bass reproduction. Price: TBA Contact: Phonic | phonic.com U.S. distributor: US Music Corp. | usmusiccorp.com

40

ProAudioReview | March 2011

www.proaudioreview.com

new live products

Turbosound TCX Compact Install Series
Turbosound has debuted its TCX Compact series, which offers four passive twoway loudspeakers, and a choice of two band-pass subwoofers. Designed for permanent installs, the Compact series cabinets feature concealed pole-mount sockets and rear handles for an unobtrusive appearance, while being equally suited to portable use. The Compact series comprises the 8-inch, two-way TCX-8; 10-inch, twoway TCX-10; 12-inch, two-way TCX-12; and 15-inch, two-way TCX-15 passive loudspeakers, plus TCX-15B and TCX-18B subwoofers, all with Speakon NL4 and barrier strip connectors. Internal M10 rigging points are provided for use with Turbosound wall and ceiling brackets, and also for OmniMount loudspeaker mounting hardware. Price: POA Contact: Turbosound | turbosound.com U.S. distributor: American Music & Sound | americanmusicandsound.com

CAD Audio Stage4, Stage7, Touring 7 Drum Mic Packs

CAD Audio has introduced three models the Stage4, Stage7 and Touring7 in a streamlined offering of its Drum Mic Pack line. The Stage4 Drum Mic Pack is a 4-piece, drum-miking solution featuring an updated kick drum mic with an extended low end. The snare and tom mics include integral drum mounting clips for setup and mic placement. Also new is the Stage7, a 7-piece drum mic pack that includes an upgraded kick drum mic as well as tom and snare mics with integral drum mounting clips, and upgraded pencil condenser mics. The Touring7 (pictured) is a 7-piece drum mic pack featuring a kick drum mic with an enhanced low end, new pencil condensers and four tom/snare mics and four drum mic clips. All the kits include a vinyl carrying case with strap for transport and storage. Price: $179, $279 and $379 (Stage4, Stage7 and Touring7, respectively) Contact: CAD Audio | cadmics.com

Aviom Pro16 Digital Snakes

Aviom has prepackaged its Pro16 digital snakes in a variety of configurations that are tailored for a range of applications and ensemble sizes. The snakes include the DS48, DS32, DS32m and DS16. The DS48 is a 48x16 digital snake featuring three AN-16/i-M mic-input modules for stage inputs, one AN-16/i input module for returns, and four AN-16/o v.4 output modules, along with the AN-16SBR system bridge. For those users who require fewer channels, the DS32 provides a 32x16 digital snake. The DS32m is a 32x16 digital snake with an integrated Aviom Personal Mixing System that includes four A-16II personal mixers and an A-16D Pro A-Net distributor. Finally, the DS16 is a 16x16 digital snake that could be a starter system or addition to an existing setup. Price: POA Contact: Aviom | aviom.com

www.proaudioreview.com

March 2011 | ProAudioReview

41

new live products

Muse Research Receptor 2: Upgrades Available
Muse Research & Development has upgraded its Receptor 2 line of hardware plug-in players. Included in the refresh is an increase in the storage capacity from 320 GB to 750 GB, an increase in the processing power of the Receptor 2 Pro + and an increase in its storage capacity to 1 TB. In addition, the Receptor 2 Pro Max + has had a 50 percent increase in storage capacity to 1.5 TB and a 10 percent increase in processing speed, resulting in, according to the company, as many as 100 extra voices with which to make music. The system is targeted for use in the studio, in the pit or on the road. Prices: $1,399 and $1,599 (Receptor 2 Pro and Receptor 2 Pro Max upgrades, respectively) Contact: Muse Research | museresearch.com

Drawmer 4X4R Active Splitter

Drawmers 4x4R 1U Active Splitter aimed at any situation that requires audio signals to be split and fed to multiple destinations offers four inputs and 16 balanced outputs with a transparent mic preamp on each input, offering up to 66 dB of gain. The 4x4Rs I/O may be flexibly configured in a variety of ways, ranging from a single input routed to all 16 outputs to four different inputs, each with four outputs and any configuration in between, such as two different inputs, each routed to eight outputs. In addition to the comprehensive input/output linking, the 4x4R features bargraph metering and switchable phantom power on every input channel, and a front-panel headphone jack provides a listen facility to monitor any of the four inputs. The option of transformer isolation is available for some or all of the outputs. Price: $1,395 list Contact: Drawmer | drawmer.com

dbx S Series Signal Processors

dbx has released its S Series, which includes updated versions of the companys graphic equalizers, compressors and crossovers. The series products feature a platinum front panel, and four-color packaging with informative application suggestions for each product. The S Series products include the 231s dual, 31-band graphic equalizer; the 215s dual, 15-band graphic equalizer (pictured); the 131s single, 31-band graphic equalizer; the 266xs compressor/gate; the 166xs compressor/limiter/gate; the 234s/234xs stereo, 2-way/mono, 3-way/mono, 4-way crossover; and the 223s/223xs stereo, 2-way/mono, 3-way crossover. Price: TBA Contact: dbx | harman.com

42

ProAudioReview | March 2011

www.proaudioreview.com

new live products

Avid VENUE IO16 Option Card
Avids VENUE IO16 Option Card for the VENUE SC48 is an optional analog and digital I/O expansion card, allowing the connection of favorite outboard gear such as automixers, EQs, dynamics and multi-effects processors, and digital music players directly to the console. Key features in the VENUE IO16 Option Card include an array of analog and digital I/O connections; eight channel pairs of analog inputs and outputs through 1/4-inch female TRS connectors; eight channels of AES digital inputs and outputs through four XLR connectors; provides direct connectivity between SC48 and third-party outboard devices through a single, cost-effective card, which installs into an available expansion slot; seamless VENUE software integration; and Sample Rate Conversion (SRC) on all digital inputs. All inputs and outputs are routable using the VENUE software patchbay. Price: $2,545 Contact: AVID | avid.com

Avlex MIPRO ACT-7 Wideband Wireless Mic Systems

Avlexs MIPRO ACT-7 Series systems include the MIPRO ACT-717a single-channel, ACT-727a dual-channel, and ACT-747a quad-channel UHF receivers, the ACT-7Ta wideband UHF bodypack transmitter and the ACT-7Ha wideband UHF handheld transmitter. The MIPRO ACT-717a, ACT-727a and ACT-747a receivers each offer 216 MHz bandwidth (482 to 698 MHz) across three 72 MHz wide bands and provide up to 48 interference-free operating channels in band 5UA and 6UA and up to 44 interference-free operating channels in band 5US. This facilitates plenty of choice to identify and select an open frequency, no matter how crowded the RF conditions may be. Band 5UA and 6UA receivers offer 384 selectable preset frequencies and band 5US receivers offer 364 selectable preset frequencies in 15 groups for quick setup and operation. A 16th userdefinable group enables users to select and save up to 16 user-defined presets choosing from 2,881 frequencies in each band. Additional features of the MIPRO ACT-7 Series receivers include PLL (Phase-locked loop) synthesized RF technology with low, spurious emissions and increased RF stability; thirdgeneration RF circuitry featuring improved anti-interference characteristics and increased interference-free channel operation; and enhanced RF saturated dynamic range that decreases interference and THD. Prices: $410, $425, $495, $950, $1,825, $410 and $425 (ACT-7Ta, ACT-7Ha, ACT-717a, ACT-727a and ACT-747a, respectively) Contact: Avlex | avlex.com

44

ProAudioReview | March 2011

www.proaudioreview.com

new live products

Hosa Pro Microphone Cables
Hosa Technologys Pro microphone cables combine REAN connectors by Neutrik with 20 AWG Oxygen-Free Copper (OFC) conductors for enhanced signal clarity, conductive PVC to absorb handling noise, a 90 percent OFC braided shield for effective EMI and RFI rejection, and a thick, 6.8 mm outside diameter (OD) jacket for durability. REAN connectors offer silver-plated contacts, zinc die-cast housing, quadrangle design, a chuck-type strain relief, rubber boot kink protection, and locking latch. Available in standard and hi-Z configurations, the cables are available in 3-, 5-, 10-, 25-, 50- and 100-foot lengths for standard (XLR3F to XLR3M) models. The hi-Z (XLR3F to 1/4-inch TS) models are available in 5-, 10- and 25-foot lengths. Price: $13.20 - $121.60 (3- 100 ft. lengths) Contact: Hosa Technology | hosatech.com

NEXO NX4x4 4-Channel Amplifier

The new NEXO NX4x4 is a 4-channel amplifier for touring or installation applications. It contains a complete library of control parameters for all versions of the companys speakers. This allows a live-sound company that depends on the brand to stock one amp that will work with every model of speaker they own or spec from the smallest PS8 monitor to a 32-box GEO T flown array, down to any sub from an Alpha S2 to the RS18 Ray Sub. This amp is poised to be ready for prime time NEXO power user Gand Concert Sound (GCS) and sister division Gand Sound Installations of Glenview, Illinois have completed real-world testing on the new NEXO NX4x4 amp. According to Yamaha CA, Results have proven the product to be as good as promised. Both divisions are using the monstrous 4-channel amp in many mission-critical projects. Price: POA Contact: Yamaha Commercial Audio Systems | yamahaca.com

RCF SUB 702-AS Active Subwoofer

RCF has introduced the compact, tour-grade SUB 702-AS with a single, 12-inch woofer and 3-inch voice coil, powered by a 700W Digipro digital amplifier. Cabinetry is Baltic birch construction, built for punchy, deep bass, capable of 129 dB maximum SPL, says the company. Other features include crossover selector, a phase flip switch, high-pass outputs, electronic EQ, soft limiter protection, and stereo Combo (XLR and 1/4inch) inputs and stereo XLR outputs. Price: TBA Contact: RCF | http://www.rcf.it/en_US/homepage

46

ProAudioReview | March 2011

www.proaudioreview.com

live review

by Strother Bullins

Sescom IL-19 Extreme Hum Fighter

This affordable, palm-sized hum/noise eliminator is a tool for every audio pros bag of tricks.
Hum and noise problems in both live and recording environments can be maddening. Often mysterious in origin, these issues are usually sussed out as we are pressed for time, while artists, clients and/or audiences patiently wait (best-case scenario). Worst-case scenario, the show must go on with the problem left unsolved, and its not the venue, the amp, the instrument or the artists fault: It is ultimately ours.
Weighing approximately two ounces and pocket-sized, the Sescom IL-19 Extreme Hum Fighter sounds somewhat like a superhero. In many ways, it is; I was personally rescued in several scenarios as illustrated above, yet I was the one who came out looking extraordinary, despite the fact that I often had no idea what the original problem was, except that it was coming from a certain sound source. The IL-19 is an inline XLR-male to XLRfemale matching transformer. Three products in one, touts Sescom, the IL-19 removes ground loop hum, mode noise and differentially induced hum without the need for transformers, ground lifters or phase inverters. As such, it also reduces noise from power supplies and over lengthy cable runs. It can be popped in nearly any-

where in the signal chain: equipment inputs or outputs (amps, preamps, DIs, various analog outboard, etc.), or via connecting two XLRs cables with the IL-19 between. The IL-19 is a most valuable player in live-sound settings, especially in the harshest of environments: club-level gigging, where power is often dirty, and house gear (especially amplifiers) is borderline unusable. In my first application of the IL-19, I popped it in between a mono FOH mix output and an onstage (house) amplifier input, dramatically reducing a hum problem to a comparatively nonexistent level. In another live application, I inserted the IL-19 directly into a bass heads XLR line output, which was headed for FOH (originally generating a certain pesky, low-frequency hum). Voil like that, it was almost gone. At FOH, I also employed the IL-19 directly into the consoles microphone preamp inputs on several vocal microphones, all of which benefitted, at least slightly, with a lower noise floor and/or reduced hum, the cause of which was likely the very long cable (multichannel snake) run. In recording applications, the IL-19 was

also useful, if not as dramatic in its clean up jobs. In recording DI via an intermittently buzzy bass guitar (an early 80s U.S. Fender Bullet Deluxe, which has passive pickups) I inserted the IL-19 between the chains Radial Pro DIs XLR output and a FMR Audio PBC-6A compressor, to tape. No joke, the signal went from I cant record that bass to that works. What was ultimately the problem? Im still not sure, but the IL-19 was my solution. Further, any change in tone that the IL-19 presents is negligible, in my opinion; if it does affect the sound of the signal, its so slight that youd have to be an audiophiletype user to care. Granted, the IL-19 is more of a Fighter than an Eliminator I applied it to a few hum/noise problems that it just couldnt wrangle to an acceptable level. Yet considering its size, flexibility and cost, I was genuinely surprised by how often it was able to improve the lacking or even use the unusable. For that reason, the IL-19 is now my favorite little fighter. Price: $49.95 list Contact: Sescom | sescom.com

Strother Bullins is the reviews and features editor for Pro Audio Review.
48 ProAudioReview | March 2011 www.proaudioreview.com

classifieds
ACOUSTICS AUDIO EQUIPMENT

FREE!

TO ADVERTISE
Contact: Contessa Abono 650-238-0296 cabono@nbmedia.com Get the latest news and information online at

STAY ONE STEP AHEAD

with NewBay Medias FREE Electronic Newsletters Sign-up today by visiting

WWW.PROAUDIOREVIEW.COM

www.nbmedia.com

adindex
9 16 11 8 51 2 45 43 17 19 15 7 31 47 21 Abu Dhabi Acoustics First ADAM Audio Aphex Audio Plus Services Audio-Technica U.S. B&H Pro Audio Behringer Electro-Voice Fingerprint Audio GC Pro Genelec Harman/AKG InfoComm 2011 MiPro twofour54.com acousticsfirst.com adam-audio.com aphex.com audioplusservices.com audio-technica.com bhproaudio.com 39 behringer.com 5 electrovoice.com fingerprintaudio.com gcpro.com genelec.com akg.com infocommshow.org mipro.com.tw 12-13 18 22-23 35 3 27 Solid State Logic Sweetwave Audio Vintage King Xilica Audio Design Yamaha Commercial Audio Systems Yamaha Corporation of America solidstatelogic.com sweetwaveaudio.com vintageking.com xilica.com yamahaca.com yamaha.com/livesound Shure shure.com Renkus-Heinz renkus-heinz.com 37 14 6,35 33 52 6,35 Peavey Phonic Primacoustic Prism Media Products QSC Audio Products Radial Engineering peavey.com/products/ipr phonic.com primacoustic.com sadie.com qscaudio.com radialeng.com

www.proaudioreview.com

March 2011 | ProAudioReview

49

bench test
PAR Bench Test:

by Frank Wells
10.00000 1.00000

Sescom IL-19
Sescoms IL-19 inline isolator is passive and transformer-based, in a nonconductive housing, with no common ground from input to output XLR connectors. The frequency response is relatively flat, within 0.8 dB from 100 Hz to 20 kHz and within 1.8 dB from 20 Hz to 20 kHz, the LF roll-off somewhat indicative of the physical limitations of a transformer that can fit inside even a slightly bloated inline shell. THD+N (Total Harmonic Distortion + Noise) performance at 1 kHz is a respectable .02 percent with a nominal +4 dBu input. LF distortion, again a factor of the transformer size, will be more noticeable. THD+N at 100 Hz with a +4 dBu input is .3 percent, and near 10 percent with a +22 dBu input. The square wave response is also decent. In short, the Sescom IL-19 will perform as advertised, effectively isolating connected circuits and breaking ground loops. LF signals can be significantly colored (though some might say it adds that transformer warmth). For voice in particular, and with the proclivity for ground related issues in spoken-word sound reinforcement situations, the IL-19 could be an event-saving device. For musical applications, let your ears be your guide.

0.10000

0.01000

0.00100

0.00010

% 0.00001 -30.00 dBu -20.00 -10.00 0.00 10.00 20.00

THD+N vs Level, -30 dBu input swept to +22 dBu input. Top trace (green) is 100 Hz. Bottom trace (red) is 1 kHz.
dBr 2.00

0.00

-2.00

-4.00

-6.00

-8.00

2.00 Hz

10.00

100.00

1000.00

10000.00

40000.00

Frequency response, +4 dBu input = 0 dBr.