Gear :: Reviews
Feb 1, 2012,
By Bobby Frasier
Last year I had the pleasure of reviewing Equator Audio’s Q12 monitors for Mix (February 2011) and was impressed with many of their features—most importantly, the sound of those formidable 12-inch coaxial speakers. With the D5, Equator continues its philosophy of point-source sound reproduction, albeit in a greatly reduced footprint, power rating, maximum SPL and price point....
Jan 1, 2012,
By Brandon T. Hickey
At the end of 2009, I first became familiar with Studio One and was immediately impressed with the overall look, ease of use and extensive features. The next upgrade, Version 1.5, added QuickTime movie imports, uploads to SoundCloud integrated into the mastering suite, “time stretching” and numerous other tweaks and improvements in response to user feedback. My expectations were high for V. 2, reviewed here, especially with radical innovations like the first DAW implementation of Celemony’s Melodyne ARA technology, which seamlessly integrates the popular pitch-correction software into Studio One.
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Jan 1, 2012,
By Barry Rudolph
The Slate Digital Virtual Console Collection plug-ins model the sonically pleasing harmonic distortion, noise and saturation effects of overdriving the transistorized channel and mix bus amplifier circuits used in four of the most highly prized vintage English and American analog recording consoles ever made. ...
Jan 1, 2012,
By Kevin Becka
Some manufacturers produce products that are the best one-trick ponies money can buy, while others attempt to pack a wide range of features into a rackmountable or desktop unit. The Retro Powerstrip channel strip adheres to the latter philosophy with great results and no corners cut. The Powerstrip features a tube preamp with lots of clean gain; a Pultec-style, 2-band passive tube EQ; and variable-mu tube compressor in a two-rackspace unit.
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Jan 1, 2012,
By Michael Cooper
New from The Sound Guy is a potpourri of effects—wrapped up in one plug-in—that use Fast Fourier Transform to massage and mangle audio. Flanging, multiband tremolo, equalization and pitch shifting are just the beginning. Other processors virtually transform vocals into keyboard instruments or robots to startling effect. But the biggest eyebrow-raiser is Spectral Machine’s list price: only $49.95.
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Dec 1, 2011,
By Kevin Becka
I’m writing this review just a week after AES 2011 in New York City where the underlying theme was “hardware and lots of it.” One of the stand-out pieces of gear at the show was the single-channel, Lindell Audio 17X FET transformer-coupled compressor/limiter. Sweden-based Lindell is best known for its high-end Reference Modular I and II three-way loudspeaker systems, so making a compressor is a new venture. ...
Dec 1, 2011,
By Bobby Frasier
Neumann has been setting standards in front-end transducer technology for 83 years, as well as producing phonograph record-cutting lathes, mixing desks and even rechargeable batteries. Now, the company has entered into the world of speaker manufacturing via an arrangement with Klein+Hummel, a company with a long-standing reputation of producing exceptional speaker systems for recording, mixing and broadcast. Carrying the Neumann logo on their speakers, this tradition will no doubt be continued with utmost German precision, as witnessed in this first product offering.
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Dec 1, 2011,
By Fab Dupont
The BAX EQ is Dangerous Music’s first foray into the world of actual audio “processing.” The brand is well known for pioneering the concept of analog summing with its Dangerous 2-Bus, as well as bringing high-end monitoring systems and mastering consoles to the independent studio market. For this first attempt at a processor, Dangerous Music chose to bring an old-school hi-fi concept to the professional world.
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