Most of us working in home studios use 2-way nearfield monitoring. 3-way monitors in smaller home studio environments are often impractical for three reasons. First, is cost, second is the physical size of the monitors and third is the size of the room. Eve Audio have a unique solution to 3 way monitoring with their SC305 model, that addresses all these obstacles.
Chord Composer from Intuitive Audio is a chord generator plug-in which allows you to create fully customizable chord progressions, based on varying amounts of input from the user. It’s part chord progression “generator” and part chord progression “builder”. In this video, I test it out to see how it works in terms of the different ways it can generate chord patterns and rhythms based on varying degrees of user input.
We've been asked by many people to take a look at the Mac mini 2018 to see if the claims of it being 'awesome' on the one hand or that the 'USB2 audio is broken' are true. There's some merit in other reviews and also in anecdotal evidence from forums and social media, but to be frank, the only way to get to the facts is to test it ourselves. Not only have we tested this Mac mini 2018 on its own but benchmarked it against a Mac Pro Late 2013 to give you a sense of the power under the hood of the Mac mini 2018.
I’m sure we have all seen the recording trick where you use a speaker, traditionally the woofer from a Yamaha NS-10 monitor speaker, to record the kick or bass drums from the outside. This technique is an excellent way to capture some real low-end sub tones but, there is nothing pretty about a homemade “Heath Robinson” contraption cobbled together stand arrangement. Could the Solomon LoFreq be an aesthetically and musically pleasing, alternative to the high priced Yamaha or DW alternative?
21 feature laden and analog rich plugins designed by the geniuses who have shaped the sound of modern music, could this be the ultimate effects package? Guest contributor DJ Marc JB who is one half of remixers/producers Bimbo Jones shares his thoughts and experience with this Soundtoys 5.
The HEDD Tower Mains are big main monitors and that part of the market is dominated by a handful of very respected and very established names. Can this very original infinite baffle design compete at the top end?
Why do we want great studio monitors? That is not an obvious question to answer. On one hand, we want some degree of gratification as we are working on our music. In other words, we want it to sound good. But we also want to make sure we are mixing our music properly so that it will sound great wherever it is listened to. I am going to suggest a third facet. The better our studio monitors are, the more we take them for granted. And that is a good thing! The main thing I want from my monitors is to not think about them. I mean like ever.
In this studio test we put the Wes Audio Beta 76 through it’s paces. It looks like an 1176, all be it with a handful of neat additions… but does it sound like an 1176? What makes this take on a legend different from the original units which came before?
How much do you have to spend to get a pair of monitors which are good enough to use to make reliable mixing decisions? Considering how important monitoring is to every decision you make when mixing and that monitors are one of those categories of equipment where the people who can will spend tens of thousands on “professional monitoring”. Is it sensible to mix on monitors which cost this little?
As you can imagine we at Production Expert get a chance to test a vast amount of the latest software and hardware but once in a while a brand approaches us that we have no experience of. This was the case with JZ Microphones (pronounced Jay Zed, not Jay Zee). This is how I got on using the JZ Microphones Black Hole BH-1S and the BH2 in a tracking session.
Little did I know when I started this series of articles it would strike up quite so much discussion. Thanks to everyone who took part and then added their comments. They have made very interesting reading. So here is the final part of the series, the results, with a final added bonus twist.
There is nothing that stirs my musical emotions more than listening to a large group of performers in the same room at the same time. It is quite something to feel the amount of air moved by a symphony orchestra or an 18 piece bing band. But not all of us have access to the spaces, gear and players required to record an ensemble of this size. However, you can “fake” it. In this article I’m going to show you how and let you listen to the results so far.
This is the fifth part of our tourney into what has become the Great Audio Summing Debate. Well done! You made it. It would not have been the same without you. This time we are again listening to an audio example summed through 16 channels of my Audient ASP8024HE console, but this time we are kicking in the magic bullets that are “Retro Iron”, “Low Bump” and “High Lift” to hear if some of the key features of the new Heritage Edition version of the Audient ASP8024 console really do improve things when it comes to the final mix.
In this the fourth part of the Audio Summing Debate we are going to start doing some “proper mixing” on a console. This time we listen to an audio example summed through my Audient ASP8024HE console to hear if all that analogue console beauty and wonder if it can actually be heard in the mix.
This article is part 3 of the Audio Summing Debate and we are at the half-way point in our listening test. We are going back to the AMS Neve 8816 summing mixer as it has as audio magic trick to pull out of it’s top hat of delights. This time we run the same track through the 8816 but we have engaged the 8816s secret mixing weapon, Width <W> (No actual magic was, is, nor has ever been done!)
This article is part 2 of the Audio Summing Debate in which we are going to put another analogue out-of-the-box hardware mixing workflow to the test to find out if you can hear the difference and if you like the difference between the “sound” of analogue hardware and an In-The-Box mix.
A great many articles have been written about the pros, cons and and myths about summing in or out of the “box” in the analogue or digital domain. in this series of articles I have tried to carry out the sort of real world tests that actually means something - Does summing in the analogue world sound different/better than mixing or summing in-the-box (ITB)?
In this article we throw the rule book out of the window. We set out to discover if it is at all possible to get a trustworthy speaker calibration profile without using a recommended measurement microphone. Is it absolutely necessary to buy a measurement microphone if you only intend to demo speaker calibration software?
In this exclusive first look video we show you a selection of new features in FabFilter Pro-Q 3 including dynamic EQ, brick wall filter slopes, per band m/s, invert gain, tilt slope, Q-gain interaction and the new analyzer which displays the full EQ spectrum from other Pro-Q 3 instances in your sessions.
UnderToneAudio’s MPEQ-1 channel strip features a Swiss Army Knife style 4 band parametric EQ section and glorious sounding mic pre. In this test we provide you an up close and personal overview of the device supported by some uninterrupted audio examples of this comprehensive outboard EQ in action.