Oct 1, 2011,
By Bobby Frasier
In the 1960s, engineering student Ashoke Mukherjee launched Sonodyne with the idea of bringing stereo sound to India; ever since then, he has been providing both consumer and professional audio solutions out of the company’s manufacturing facilities in Kolkata, India. I had heard rumors of Sonodyne for many years but never had the chance to hear their professional audio products. They now have distribution in the United States through the TransAudio Group out of Las Vegas, which gave me the opportunity to review their SM 100Ak Active Monitors. I found a range of pleasant surprises.
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Sep 1, 2011,
By Steve La Cerra
As the name implies, the OneKnob Bundle from Waves is a collection of plug-ins designed for quick and simple operation through use of a single knob (though some also include a pushbutton). The package includes seven plugs and is available only in Native format, supporting sample rates up to 96 kHz. Two OneKnob plug-ins—Louder and Pressure—support sample rates up to 192 kHz. An iLok is required for authorization.
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Sep 1, 2011,
By Michael Cooper
When it bowed a couple of years ago, Peavey ReValver MK III guitar-amp simulation software garnered a lot of rave reviews for its tube-like tone and the ability to tweak its virtual electronics right down to the component level (for example, modifying the plate load of its simulated tubes). ReValver MK III.V—a paid upgrade from MK III—adds seven new amps, the Budda Budwah effect and Peavey VCL-2 compressor modules, to the mix. (See Fig. 1.) It also more than quintuples the number of convolution-based speaker simulations to 778, counting impulse responses that incorporate variations on microphone choice and position for the same cabinet.
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Sep 1, 2011,
By Barry Rudolph
Ingram Engineering’s MPA685 dual-channel microphone preamp is a large, two-rackspace (14 inches deep) unit that’s handmade in the U.S. and features three switchable input-impedance choices and up to 76 dB of gain. Changing the input impedance presented to a microphone by the preamp alters the mic’s sound and operation. For the recording engineer, having this ability expands the range of sounds possible from any microphone.
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Sep 1, 2011,
By Brandon Hickey
The boom in streaming video has opened up all kinds of new opportunities for audio professionals, and the tools are coming out to make quality audio-based video productions. Case in point: The Roland VR-5 provides a simple, one-box strategy for full-on, multi-camera video production with audio. The features not only negate needing a generous complement of hardware, but also a specialized set of skills and knowledge. With applications ranging from multi-camera capture of live events to live switching of video displays during concerts or church services, the VR-5 can capture a production to an SDHC card, generate live analog or HDMI video, or connect through USB to a computer for instant streaming on the Web.
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Aug 1, 2011,
By Steve La Cerra
Established as a leading manufacturer of high-quality studio mics, Blue Microphones has turned its attention to the live sound market with the en•CORE Series. Intended for onstage use, initial offerings in the en•CORE line include the 100, 200 and 300 (all of which are designed for vocal applications), and the 100i, an instrument microphone possessing a tight pattern for reduced leakage. For this review, Mix received the en•CORE 100 and en•CORE 200 models, each of which ships in a cardboard box, along with a microphone stand holder and a plush-lined, cloth mic bag.
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Aug 1, 2011,
By Barry Rudolph
The Scarlett 8i6 ($299) and 18i6 ($399; reviewed here) are two new USB 2 audio interfaces from Focusrite, and they differ only in their respective number of analog and digital line inputs (eight and 18, respectively). Both half-rack units feature two XLR Combi jacks for either microphone, line, or high-impedance DI inputs that use Focusrite preamps for up to 60dB of gain. Both units provide up to six simultaneous audio output channels.
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Aug 1, 2011,
By Kevin Becka
Getting intimate with your mix is the best way to ensure that you’re covering all the sonic details and not leaving loose ends. It’s often the low-level mix elements that can come back to bite you later. For instance, a shaker, tambourine, reverb tail or delay can sound balanced in a mix heard out of speakers in a room, especially at the end of a long day when your ears are tired. But those mix items can sound out of place when you listen back with fresh ears.
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