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5.31.2011

Featured Equipment Of The Week - M-Audio Fast Track Ultra

M-Audio Fast Track Ultra
The Fast Track® Ultra 8 x 8 audio/MIDI interface takes M-Audio’s acclaimed mobile recording line to the next level with high-speed USB 2.0 connectivity, MX Core™ DSP mixer and four preamps with award-winning Octane™ technology. Featuring both analog and digital I/O, it allows recording on all eight channels simultaneously with pristine 24-bit/96kHz fidelity—while M-Audio’s mature low-latency drivers ensure rock-solid stability and performance. The on-board MX Core™ DSP mixer processes eight hardware inputs and eight software returns to the eight hardware outputs, delivering flexible routing and monitoring with delay and reverb. Compatible with most major audio software*, Fast Track Ultra lets you record the way you want—in the studio or on the go. Read all the details.


Top Features
  • high-speed USB 2.0 interface > simultaneous 8 x 8 24-bit/96kHz audio
  • MX Core™ DSP technology > flexible channel routing, monitor sub-mixing and effects processing
  • 4 preamps with award-winning M-Audio Octane™ technology > premium input circuitry
  • compatible with Mac and PC > works with most audio production software

    Buy the M-Audio Fast Track Ultra at Revolution Audio
  • 5.23.2011

    Featured Equipment Of The Week - Samson C01/SR850 mic/headphone bundle

    Samson C01/SR850 mic/headphone bundle

    Two great products bundled to save you money!
    Find out more



    C01 Condenser Microphone
    • Cardioid Pickup Pattern
    • Large 19mm Diaphragm
    • Heavy Gauge Mesh Grill
    • Gold Plated XLR Connector
    • LED Indicates 48V Phantom Power
    • Smooth, Flat Frequency Response
    • Swivel Stand Mount
    • Optional SP01 Shockmount
    SR850 Professional studio reference headphones
    • Semi-open design for enhanced ambient listening environment
    • 50mm drivers for exceptional reproduction and wide dynamic range
    • Frequency Response: 10Hz – 30kHz
    • 32ohm impedance
    • Self-adjusting headband
    • 1/8-inch to 1/4-inch gold plated adapter included
    Buy Samson C01/SR850 bundle at Revolution Audio

    5.17.2011

    Win a Samson Go Mic USB

    Sign Up for our newsletter and WIN cool recording gear!

    The Prize - 1 Samson Go Mic USB [more info]



    How To Enter - Simply reply to the newsletter we sent May 15 with your full name. Not on the list yet? Sign up to win. All new subscribers to the newsletter as of May 15 are automatically entered.
    Bonus Entry - Get a friend to sign up for our newsletter (Send them here), they get entered in the giveaway and you get an extra chance at winning! Just email to let us know who you referred.

    Winner will be announced in the June 1 newsletter.

    Rules, terms and conditions: 1 prize will be awarded to a random eligible Newsletter subscriber. Must be a Revolution Audio Newsletter subscriber living in Canada. DO NOT spam your friends to get them to sign up.

    5.15.2011

    Mastering With Ozone 4

    Izotope Ozone 4 is a suite of powerful mastering effects in one plugin. It is a comprehensive mastering toolkit with an easy to use interface and professional sound quality.
    In this article I will briefly explain the use of the 7 processors within Ozone 4. If you don't have the time to read the 122 page manual or the 64 page Mastering guide (PDF) but you want to get started with Ozone and quick, read on.



    General operation - Ozone's interface is simple, a window for adjusting effects, buttons to select the effect and meters on the side. You'll notice little sliders below the name of each effect, these will scale the amount of that processor. This is not a feature I find useful, it is if you start with presets (see below). Three of the effects are multiband meaning you have control over four independent processors within a frequency range. Four of the effects can be used in Stereo or M/S configurations meaning you can work with the Left and Right channels together or middle and sides separately. M/S mode is not something I use very often unless there are real problems with the source. Buttons in Ozone can be either left or right clicked to increment/decrement the available options. You can double click a slider to type in a value, and you can alt+click to return something to default. The mousewheel will change whichever slider is hovered over. There is a comprehensive undo history function should you need it.

    Headroom - The song you will be mastering should peak no higher than -6dBfs*. If the unmastered file is peaking higher than that you don't give much room for Ozone to do it's thing. Lower the level of that track in the DAW until the loudest point is hitting the meters closer to -6dB.

    Skip the presets - With some effects, particularly reverbs, delays, and modulations, presets are great starting points. Presets for mastering are unhelpful for a number of reasons, with Ozone the presets tend to be way too extreme to be useful. When you first open Ozone the preset browser appears. I recommend just closing that browser and set the processors manually based on what you hear and what is needed.

    Loudness Maximizer - The Loudness Maximizer section is where I start working with Ozone. On the left half of this page are 3 sliders. Threshold, Margin and Character. Starting with the Margin control, bring it down to -0.3. This is the maximum level that your song will be mastered to. There is almost no audible difference between -0.3 and 0.0 but if this file will be converted to mp3 you will run into distortion in that process unless you leave a little room. Next is the Threshold, this increases the level of the song. Setting this to -6.0dB is where I usually start and adjust depending on if I need the final to be louder compared to other songs. If your mix peaks at -6dB and your limiter threshold is -6dB you will be making the song much louder without compressing it yet or really changing the dynamics at all. Setting the threshold at -12 will make the final master much louder but you're starting to squish out a lot of the good stuff from the mix. Louder is not better. The 3rd control, Character is the release time of the maximizer. Most often I leave this on transparent. Lastly I click the "Prevent inter-sample clipping" box.



    Dither - On the right half of the Maximizer page is the dither and DC offset options which both default to off. You need dither when going from a 24 bit recording to a 16 bit master. Click DC offset on and the Dither Type button once. The settings should be MBIT+, High, 16, Normal.** I've done some experimenting and found this to be not worth experimenting with, set and forget.

    Paragraphic Equalizer - Next I switch over to the Equalizer page. The EQ has 8 independent bands that are fully adjustable in type, gain, and Q***. I like to have the EQ parameters shown (show info button) because I'll often type in the values I want. I usually work in analog mode and set the zoom to 6x. I'll usually set a gentle "sweetening" curve with band 1 set to Highpass, 25Hz, 0.60 Q and Band 8 High Shelf 8000Hz, 1.5 dB, 1.00 Q. Somewhere in the lower mids will likely need to be taken out between 250 to 500 Hz depending on where the buildup is. Next I'll sweep and notch out any offending areas. If I'm mastering several songs I'll use a different eq on each song to correct problems and even out the balance between songs. Your computer may not be able to run more than a few Ozones.

    Multiband Dynamics - If there is still frequency balance or control problems, the Multiband Dynamics section is a powerful tool for managing those issues, it's also where you can really destroy a good sounding mix so be careful. There are 4 frequency bands with a separate limiter, compressor and expander for each. You can solo each band to hear what's happening in each. My basic strategy here is to play the loudest part of the song and pull the limiter threshold for each band down until it is just barely being hit. Beyond that things can start to sound unnatural if you're not careful. I've never needed the expander in this section.

    Mastering Reverb - This effect can be useful for evening out the sound of several different songs by putting all the instruments in the same space. At the top of the reverb page you have a high and low filter. Below are wet and the reverb adjustments. I rarely use this particular effect but when I do, all I change is the wet control and move it only to 5%. I don't want it to be to obvious. You may not need this in a typical mastering situation.

    Multiband Harmonic Exciter - This is a particularly powerful section. This is where you add the sparkle and really bring up the excitement for lack of a better term. This is essentially a 4 band distortion. I like Tape mode for rock, wherever I need more aggression and Tube mode where I need something a little smoother but still excited. From left to right, set the amounts to 1, 0.5, 0.5 and 1. I don't find I can use more than 1dB in any band before things sound too crispy. Try adjusting the band crossover points next to fine tune the effect.

    Multiband Stereo Imaging - This section is a four band stereo widener/shrinker. This is where users often get carried away, as with everything in Ozone, it's easy to go too far. I set band 1 to 80Hz and set the widening to -0.6, I set band 3 to 0.2 and band 4 to 0.4. That's it, I may adjust the crossovers but I don't take it any farther than this. I'm making the lows more mono and the highs more stereo.

    Do it again - At this point you'll likely want to go back to the limiter and go through each of the 6 processors again to fine tune the settings to suit the song your mastering. Compare your master to professionally mastered songs in a similar style and adjust. I've assumed that the mixed song you're working on is already pretty close to perfect and it just needs the final touch of mastering. If there are serious problems with instrument balance, too much bass, trashy cymbals or vocals too loud, get those taken care of before you attempt the mastering.

    In closing, I hope this short guide has been helpful, this is just barely covering what Ozone 4 can do, there are so many features, so much flexibility and so many options that I'm always finding something new and am never less than impressed. This is essential software for any project studio.

    Buy Izotope Ozone 4 from the Revolution Audio Online Store.

    Notes:
    * dBfs is the metering scale that is used within your DAW.
    ** Izotope have a thick pdf just on dither if you're bored.
    *** Q is the shape of the curve for an EQ band.

    Featured Equipment Of The Week - iZotope Ozone 4

     iZotope Ozone 4

    The process of mastering ranges from correcting mistakes made in the mix to preparing a recording for target listening environments. Like a final coat of polish, mastering makes the difference between a good sounding mix and a professional sounding master. When you're ready to master, Ozone is all you need.

    Find out more


    Ozone 4 combines seven essential mastering processors into one complete system, letting you give your mixes a finished, full and professional sound. Ozone's critically acclaimed IRC™ Loudness Maximizer gives you commercial volume and fullness without distorting or coloring your mix. An eight band Paragraphic EQ combines linear phase precision with the warmth and character of analog equalizers and even lets you intelligently match your mix to reference tracks. Innovative Multiband Dynamics, Harmonic Exciter and Stereo Imaging tools add depth and polish to your music.
    All of these modules are combined into a single, powerful interface, making the mastering process more efficient and intuitive than ever before. Whether you're a seasoned professional or simply ready to take your productions to the next level, Ozone is the complete solution you need. Your mix isn't finished until you put it through Ozone.

    Key Features
    • Complete mastering system in a single plug-in
    • Includes seven essential mastering tools: Loudness Maximizer, Paragraphic EQ, Multiband Dynamics, Multiband Stereo Imaging, Harmonic Exciter, Dithering, Mastering Reverb
    • Analog-modeled processing combined with linear phase precision
    • Elegant, highly efficient user interface
    • Extensive metering and spectrum analysis tools help you get better results
    • Comprehensive preset manager with over 100 professionally designed presets and new MacroPresets
    • User-definable signal routing
    • Extensive automation support
    • CPU-efficient and optimized for today's low-latency DAW environments
    • Powerful mid/side processing tools
    • Supports sampling rates up to 192kHz
    • Documentation that helps demystify the mastering process

    Get iZotope Ozone 4 in the Revolution Audio Online Store

    5.10.2011

    XLN Audio Drum Solo Competition

    The most recent XLN Audio newsletter announced a great contest for all the Addictive Drum users.
    Drum Solo Competition
    People! Time to whip out the drum sticks and dust off your chops! XLN Audio is hosting a Drum Solo Competition. The 5 best drum solos will be chosen by our XLN Audio expert panel and awarded with one XLN product of choice each! The rules are simple:
    1. RECORD A VIDEO of you playing a drum solo. This can be done with an E-drumkit or a keyboard using Addictive Drums (max 3 min).
    2. UPLOAD THE VIDEO to your Youtube channel and send the link for the video to our email drumsolo@xlnaudio.com before June 01.
    3. CHECK OUR WEBSITE (xlnaudio.com) for links to the uploaded videos and to check out the winners of the Drum Solo Competition!

    You can be good or bad, happy or mad, everybody has got a chance of winning. Now get to it and show us what you have got! Contest winners will be announced on our website and notified via email by the end of June 2011
    You can buy XLN Audio's brilliant virtual drum software Addictive Drums and expansions at Revolution Audio.

    5.09.2011

    Featured Equipment Of The Week - Universal Audio 6176 Vintage Channel strip

    Universal Audio 6176 Vintage Channel strip
    The 6176 Vintage Channel Strip combines the alluring, all-tube sounds of the legendary Bill Putnam-designed 610 microphone preamp, with the signature FET compression of our 1176LN, to create the ultimate recording channel strip. The warm, smooth tones of this mic preamp design — employed to record everyone from Frank Sinatra to Van Halen I — and the unique characteristics of the compressor, are two major reasons why the 6176 is found in studios around the world.
    Thanks to its straightforward controls and hallmark sound, the 6176 is the signal path of choice for engineering heavyweights like Vance Powell and Joe Chiccarelli, plus artists including Chris Martin of Coldplay, Norah Jones, Wyclef Jean, and James Mercer of The Shins. The ability to “Split” or “Join” the preamp and the compressor sections via a simple switch gives the 6176 added flexibility. This is truly UA’s premier channel strip, and among the world’s finest.

    More info: Universal Audio 6176 Vintage Channel Strip




    TOP FEATURES

    • All-tube mic preamp section derived from legendary Bill Putnam-designed 610 modular console
    • Signature 1176LN Class A FET compressor section — heard on countless hit records for more than 30 years
    • "Split" or "Join" switch allows separate or series operation of the preamp and compressor
    • High and Low frequency shelving EQ
    • Variable impedance Input, Gain, and Output levels
    • Mic, balanced Line, and Hi-Z inputs
    • Ultra-quiet operation
    • Stereo interconnection via 1176-SA
    • Hand-built in USA; backed by 1-Year limited warranty
    *** SPECIAL BONUS OFFER *** Great News! From April 1st through June 30th, 2011, UA is offering a "Premium Studio Upgrade." Customers who purchase our top-of-the-line 6176 Vintage Channel Strip will receive the flagship UAD-2 QUAD DSP Accelerator Card package for FREE — a $1,499 value!
    Canadian Customers: Purchase a new 6176 Vintage Channel Strip from an authorized Canadian reseller, then complete the Mail-In Rebate and return with a copy of the receipt to HHB Communications Canada Ltd., 260 King St. East, STE 205 Toronto, Ontario M5A 4L5.

    More info: Universal Audio 6176 Vintage Channel Strip

    5.06.2011

    TC Electronic Global Konnect video series

    TC Electronic has completed their Global Konnect series of videos. A collaboration project with musicians all over the world, recorded, mixed and mastered using TC Electronic gear. Watch and learn about some of the TC Electronic gear as well as some tips and tricks.
    Select TC Electronic recording equipment is available in the Revolution Audio online store.


    Buy TC Electronic recording equipment in the Revolution Audio online store.

    5.03.2011

    Win AKG K44 closed back headphones!

    Sign Up for our newsletter and WIN cool recording gear!

    The Prize - AKG K44 Closed Back Headphones

    Find out more about AKG K44 Headphones


    How To Enter - Simply reply to the newsletter we sent May 1 with your full name. Not on the list yet? Sign up to win. All new subscribers to the newsletter as of May 1 are automatically entered.
    Bonus Entry - Get a friend to sign up for our newsletter (Send them here), they get entered in the giveaway and you get an extra chance at winning! Just email to let us know who you referred.

    Winner will be announced in the May 15 newsletter.

    Rules, terms and conditions: 1 prize will be awarded to a random eligible Newsletter subscriber. Must be a Revolution Audio Newsletter subscriber living in Canada. DO NOT spam your friends to get them to sign up.

    5.01.2011

    Featured Equipment Of The Week - Izotope Nectar

    iZotope Nectar Complete Vocal Suite
    Nectar is a complete set of 11 vocal production effects combined in one plug-in that's designed to give you immediate results. Built-in Styles get the grunt work out of the way so you can focus on the creative finishing touches.
    Features include automatic pitch correction, manual note editor, breath control, gate, compressors, saturation, EQ, de-esser, doubler, limiter, reverb, delay and tons of built-in Style presets.

    Find out more about iZotope Nectar


    Quickly get the 60s Motown sound, the early 90s grunge rock sound, a radio-ready podcasting sound, a subtle jazz vocal or a modern pop sound -- everything from delicate improvements to highly-produced robotic pitch effects.
    Start by selecting one of Nectar's dozens of Styles. Unlike typical presets, Styles configure a professionally-designed effect chain with producer-level controls like Clarity, Warmth and Sparkle. From there, narrow in on the vocal sound you want or experiment with the advanced modules to create a new sound. Either way, Nectar is designed with both the beginner and professional in mind—you choose the level of detail you want to control.

    Find out more about iZotope Nectar

    Audio Mastering basic overview

    What is Mastering?
    Mastering is the final step in the creation of an album before duplication. Mastering is all about the big picture, how the collection of songs works together as an album, and getting the album to sound good on most systems, from HI-FIs to iPods. Mixing is taking a bunch of tracks and making it sound great, Mastering is taking those great mixes and making them even better. It’s the final step of sonic correction and sonic enhancement.

    It’s just about loudness right?
    There’s a misconception that mastering is just about making a recording loud, that’s just one of the processes involved. Compression, Equalization, Harmonic Exciting and Stereo Widening are often part of the mastering process as well.

    Mastering at home
    Before you attempt to master at home there are a few requirements.
    • Room treatment – If you haven’t take the effort to get your studio sounding as good as it can acoustically you can can't completely trust what you're hearing.
    • Monitors – as important as having a great sounding room, you need accurate monitors, you can not master on computer speakers or headphones.
    • Experience – Complete understanding of your tools is essential, if you aren’t 200% sure how to properly use a multi-band harmonic exciter, it might be better to leave this to a professional.

    Watch out!
    Most professionals agree, Mastering your own music is a bad idea. It’s very common for bands to record and mix themselves then send the mixes to a mastering engineer. Why? Partly because of the requirements of mastering, but more because of the emotional attachment you have to your own music. When you’ve just spent a few months recording and mixing, you lose perspective, you can’t see the forest for the trees. If you must master your own music, don’t listen to the songs for few days or weeks, hopefully you will have a different perspective when you do finally listen again. And hopefully you won’t want to go back and remix it all over again.

    Seriously, just tell me how.
    OK, now with all those warnings out of the way, here is a general strategy and workflow for mastering music.
    1. Import files - Your stereo mixdown of each song should be at the same  format as the original files. If you recorded at 24 bit and 48kHz, you export your mix at 24/48k. Bring all the files into a new session with the same settings as the files (24/48).
    2. References - It's a good idea to bring in a few other high quality audio mastered songs in a similar style as a target for the sound you're trying to achieve. You can also choose different styles and focus on different aspects, the low end of song A, the brightness of song B, the width of song C etc. Each reference file goes on a separate track and routed so they will not be going to your effects chain, go directly to your interface outputs if possible.
    3. Limiting - A brickwall limiter will bring up the level to the modern production standard, depending on how hard it's working your mix balances will change. This is something to be aware of and why I recommend having the limiter on fairly early in the mastering process. Start with a fairly conservative level.
    4. EQ - Insert a high quality EQ plugin before the limiter.Start with really gentle settings for sweetening the sound: -1dB at 300Hz; +1dB at 5kHz on the high shelf. If you have a few songs to master in this project I recommend having an EQ for each song to correct problems and even out the frequency balances between songs.
    5. Mix bus compression - You may need to use some compression to get the elements of the mix to 'glue' a little better if there's too much separation between instruments. A stereo compressor pushing back a little all the time is a great way to achieve that. Moderate attack and release and a few dB of gain reduction will help smooth things out before hitting the limiter.
    6. Fades and sequencing - This is a good time to check the beginnings and ends of each song and make sure they fade in nicely and there's no noise or excess time. If you have multiple songs in the project check that each song flows well into the next, try different song orders etc.
    7. Next steps - If you haven't taken a break yet, take a some time to rest your ears. When you come back you should intuitively know what's still a problem and if not leave it alone. It's easy to go to far with mastering.
    8. Exporting - If there is a Dither option in the limiter, switch it on. Render/bounce your mastered song with the highest quality settings
     Hopefully this article has been useful to you, if you have any comments or questions about the tools or techniques please leave a comment.