Free Ludwig kick drum kitpiece for Addictive Drums

In the latest XLN Audio newsletter, a new freebie was announced for Addictive Drums users

"To celebrate the great success of the INDIE ADpak and the INDIE Rock MIDI Pak we are giving away an extra Bass Drum we recorded at the same time as the INDIE ADpak.

This is a Ludwig Vistalite (Blue) 22 X 16" and it's recorded exactly as the ICE Custom Shop Bass Drum in the INDIE Kit. This Vistalite bass drum is slightly shorter and deeper in character than the ICE Custom Shop and it's actually the most used bass drum in this studio.

When we tried out drums in the studio for the INDIE ADpak we fell in love with the ICE Custom Shop kit but we were stunned by how great this Vistalite bass drum sounded so we just had to include it in the recording. It's rich, fat and punchy and right now ladies and gentlemen it's for FREE!"

Get the FREE Addictive Drums Kitpiece

Featured Equipment Of The Week: Radial Bones Guitar Effects Pedals

Bones™ - Built for players that LOVE great tone! Bone's represent the evolution of the solid state pedal with low-noise 'Tonebone' circuits, pop free electronic switching and tough 14-guage steel construction.


There are 5 pedals in the Bones line: London Distortion; Hollywood Distortion; Vienna Chorus; Texas Overdrive; Twin City ABY switcher.

Check out the Radial Bones pedals and more at Revolution Audio

Hollywood Dual Distortion

• Variable drive gain distortion
• Modeled after 'American' tube amps
• Dual mode for clean, rhythm & lead

London Dual Distortion

• Multi-stage high gain distortion
• Modeled after 'British Plexi' half stack
• Dual mode for clean, rhythm & lead

Texas Dual Overdrive

• Variable overdrive and tone
• Vintage to extreme overdrive range
• Dual mode for clean, rhythm & lead

Vienna Chorus

• Old school analog bucket brigade chip
• Dual channel for quick choral changes
• Individual Rate and Depth for each chorus channel

Twin City ABY Switcher

• Buffered ABY with Drag™ load correction
• Isolated output eliminates hum and buzz
• 180º polarity sets both amps in phase

Check out the Radial Bones pedals and more at Revolution Audio

Featured Equipment Of The Week: Cakewalk UM-1G MIDI Interface

Cakewalk UM-1G MIDI Interface
The UM-1G is a compact, cable-style 1-In/1-Out USB MIDI Interface. With features like intuitive connector cable labels, a MIDI indicator LED, and a MIDI Check Switch, the UM-1G has been designed to provide the easiest connection of MIDI devices to your computer.
Find out more: UM-1G MIDI Interface

Top Features

1-In/1-Out MIDI port (male), with LED indicators for MIDI I/O signal monitoring

MIDI Check switch for quick troubleshooting of MIDI connections

MIDI cables are engraved with "Connect to MIDI In" and "Connect to MIDI Out" labels for no confusion when connecting devices

Perfect for hobbyists who want to connect a MIDI keyboard to a computer, or musicians who need MIDI connectivity to control or record music with a computer

Ideal for small studios or academic settings where only one MIDI device will be connected in close proximity to the computer

In live performance settings, use the UM-1G to control a synth, drum machine, MIDI light set-up

Find out more: UM-1G MIDI Interface

Distortion Explained Part 1

Distortion Explained Part 1

It is hard to think about the sound of an electric guitar without thinking about distortion. There was a time when electric guitars were always clean. Hard to imagine now.

Traditionally distortion was an unwanted feature in amplifier design. Distortion only occurred when the amp was damaged or overdriven. Possibly the first intentional use of distortion was in the 1951 recording of “Rocket 88″ By Ike Turner and the Kings of rhythm.

Chuck Berry liked to use small tube amps that were easy to overdrive for his trademark sound and other guitarists would intentionally damage their speakers by poking holes in them, causing them to distort.

Leo Fender then started designing amps with some light compression and slight overdrive and Jim Marshall started to design the first amps with significant overdrive. That sound caught on quickly and by the time Jimi Hendrix was using Roger Mayer’s effects pedals, distortion would forever be associated with the electric guitar.

Not just for guitars
When you're recording and mixing, you can use a bit of distortion to give any sound more edge, grit, energy and excitement. Drums, vocals, bass, samples - they can all benefit from a touch of distortion at times. Understanding the different ways distortion can be created and how they sound can help you get better sounds and make better recordings.

So What Is Distortion?

The word distortion means any change in the amplified waveform from the input signal. In the context of musical distortion this means clipping the peaks off the waveform. Because both valves and transistors behave linearly within a certain voltage region, distortion circuits are finely tuned so that the average signal peak just barely pushes the circuit into the clipping region, resulting in the softest clip and the least harsh distortion. Because of this, as the guitar strings are plucked harder, the amount of distortion and the resulting volume both increase, and lighter plucking cleans-up the sound. Distortion adds harmonics and makes a sound more exciting.

Amp Distortion

Valve Overdrive

Before transistors, the traditional way to create distortion was with vacuum valves also known as vacuum tubes. A vacuum tube has a maximum input voltage determined by its bias and a minimum input voltage determined by its supply voltage. When any part of the input waveform approaches these limits, the valve’s amplification becomes less linear, meaning that smaller voltages get amplified more than the large ones. This causes the peaks of the output waveform to be compressed, resulting in a waveform that looks “squashed”. This is known as “soft clipping”, and generates even-order harmonics that add to the warmth and richness of the guitar’s tone. If the valve is driven harder, the compression becomes more extreme and the peaks of the waveforms are clipped. This adds additional odd-order harmonics, creating a “dirty” or “gritty” tone.

Valve distortion is commonly referred to as overdrive, as it is achieved by driving the valves in an amplifier at a higher level than can be handled cleanly. Multiple stages of valve gain/clipping can be “cascaded” to produce a thicker and more complex distortion sound. In some modern valve effects, the “dirty” or “gritty” tone is actually achieved not by high voltage, but by running the circuit at voltages that are too low for the circuit components, resulting in greater non-linearity and distortion. These designs are referred to as “starved plate” configurations.

Transistor Clipping
Transistor clipping stages, on the other hand, behave far more linearly within their operating regions, and faithfully amplify the instrument’s signal until the input voltage falls outside its operating region, at which point the signal is clipped without compression, this “hard clipping” or limiting. This type of distortion tends to produce more odd-order harmonics. Electronically, this is usually achieved by either amplifying the signal to a point where it must be clipped to the supply rails, or by clipping the signal across diodes. Many solid state distortion devices attempt to emulate the sound of overdriven vacuum valves.

So that is basically how Tube and Solid state amps create distortion. Let’s talk about some different types of distortion sounds as found in effects pedals.

Tape Saturation

Another way to create distortion is with magnetic tape. Magnetic tape has a natural compression and saturation when you send it a really hot signal. Even today, many artists of all genres prefer analog tape’s “musical”, “natural” and especially “warm” sound. Due to harmonic distortion, bass can thicken up, creating the illusion of a fuller-sounding mix. In addition, high end can be slightly compressed, which is more natural to the human ear. It is common for artists to record to digital and re-record the tracks to analog reels for this effect of “natural” sound. While recording to analog tape is likely out of the home studio budget, there are tape saturation plugins that you can use while mixing that simulate the effect quite well. Most tape saturation effects are modeling both the magnetic tape and overloading of electronics.

Part 2 will cover the differences between various types of guitar distortions - Overdrives, Fuzz, hi-gain and more.

Featured Equipment Of The Week: Mackie SRM150 Compact PA

Mackie SRM150 Compact PA 
Don't be fooled by the small size. The SRM150 is big on features and sound quality. The built-in three-channel mixer features two combo XLR/line inputs (with true 48V phantom power), a stereo channel for CD/MP3 players, and Mackie's powerful 3-band Active EQ. The SRM150 can even be mounted on a mic stand, making it the ideal personal monitor. Put simply, with its tremendous feature set and 150-watts of world-class sound, the Mackie SRM150 is the perfect solution for any application requiring superior sound quality.
Find out more about the Mackie SRM150

TOP FEATURES

• Extremely portable active loudspeaker system
• Built-in Mackie mixer for superior sound quality with:
  • 3-channel mixer with 3-band active EQ
  • Two high-headroom Mackie Mic/line preamps with 48V phantom power
  • Instrument-ready input (no DI required)
  • Dedicated stereo channel for keyboards, CD, MP3, iPods, etc.
  • Combo "line in" for linking or adding inputs
  • XLR "thru" with mic/line switch for linking more SRM150s or direct send to main PA
• 150-watts of high output, Class-D power
• 5.25” premium-quality, full-range neodymium driver
• Frequency Response: 100Hz to 17.5kHz
• Complete system protection with built-in limiter
• 120 dB Maximum SPL@1meter
• Built-in top carry handle
• Integral aluminum heat sink
• Mic stand integration system for use with stand and boom
• Tough, impact-resistant, polypropylene enclosure

Find out more about the Mackie SRM150

Featured Equipment Of The Week: KRK ERGO System

KRK ERGO System
Room correction system and professional quality monitor controller.

A great mix starts with a great recording room. But when it comes to achieving the most accurate mix, your room may have the upper hand. Like any room, your studio's acoustics include offending frequencies and room reflections, and none of these are helping your mix. Getting a handle on these problems has traditionally meant the installation of soft foam or fabrics, and that's a great start. But now you can get even closer to a perfect room, and a perfect mix, because the future of studio sound is here, and it's called ERGO.
Read all the details: KRK ERGO Monitor controller and Room correction system

TOP FEATURES

• Large Volume Knob: Digitally controlled analog volume control simultaneous control of ERGO's A/B/Sub outputs.
• "A" Speakers: Enables or disables the audio being sent to the "A" speakers.
• "B" speakers: Enables or disables the audio being sent to the "B" or subwoofer speakers.
• Focus / Global / Bypass: Our 3D model allows users to preserve the "good" features of the room, while correcting the bad. ERGO also doesn't color the sound or produce an artificial anechoic environment. Normally, ERGO corrects for your monitoring position. This gives you perfectly corrected sound while mixing. In Global mode, the correct spot is widened so that others (producers, musicians, A&R) can enjoy your mix in a corrected environment.
• Headphone Volume (side panel): Adjusts the output level of the headphone jack. The headphones output mirrors the selected monitor outputs.
• Calibration Switch (back panel): This enables the room calibration microphone and places ERGO into analysis mode.

Buy KRK ERGO in the Revolution Audio online store

Noise Gates Explained

Noise Gates Explained

A noise gate is a form of dynamics processing used to increase dynamic range by lowering the noise floor. A gate is an excellent tool for removing hum from an amp, cleaning up drum tracks between beats, background noise in dialog, and can even be used to reduce the amount of reverb in a recording.

Parameters

The common parameters for a noise gate are:
Threshold – sets the level that the gate will open, when the signal level drops below the threshold the gate closes and mutes the output
Attack – how fast the gate opens
Hold – how long before the gate starts to close
Release – aka Decay, how long until the gate is fully closed again
Range – how much the gated signal will be attenuated
Sidechain – the sidechain is for setting an alternate signal for the gate to be triggered from, sometimes called a Key
Filters – the filters section allows you to fine tune the sidechain signal.

What’s It For?

The normal use for gating is for removing background noise. An essential tool for clean dialog recording.
Some other uses for gates are gated reverb and using the sidechain to activate other effects.

How To Set A Noise Gate

To setup a gate properly, start with the the attack, hold, and release as fast as possible. Set the range to maximum, and the threshold to 0dB.
Start lowering the threshold until the sound starts to get chopped up by the gate. Slow down the attack time to remove any unnatural popping. Adjust the hold and release times to get a more natural decay.
If you don’t want the background noise to be turned down as much then you can reduce the range control.

Other Uses

Gated reverb was a popular effect in the 80s, mostly because of Phil Collins records.
To set it up, take your drum tracks and send them to a stereo reverb with a large room preset.
After the reverb insert a stereo gate. Adjust the gate settings so that the reverb is cut off before then next hit.
In this example you’ll hear the unprocessed drums, then with reverb, then adding the gate. Listen

Favorite Gates

The classic Drawmer DS201 is a hardware noise gate that is hard to beat.
The gate on the Waves SSL E-Channel is good, simple and effective.
The free ReaGate VST is quite good as well.
Noise gates aren’t very much fun to talk about, but they are a powerful tool that you need to know how to use.

Featured Equipment Of The Week: Primacoustic Stratus Acoustic Cloud

Primacoustic Stratus Acoustic Cloud
The Primacoustic Stratus is an acoustical device that suspends above the recording console to control early reflections, flutter echo and help eliminate standing waves that cause resonant peaks in the critical mix position. Once in place, you will immediately enjoy a more controlled and intimate acoustic environment, larger sweet spot and reduced ear fatigue.
Find out more | Primacoustic Stratus Acoustic Cloud $199

TOP FEATURES

• Suspends over the console or listening position
• Attractive fabric wrapped glass wool panel
• Easy to assemble suspension hardware
• Eliminates floor to ceiling reflections

Buy Primacoustic Stratus Acoustic Cloud at Revolution Audio

Featured Equipment Of The Week: Novation Impulse 25

Novation Impulse 25 
 Impulse is a range of professional USB/MIDI controllers. They each have a precision keyboard and a full control surface powered by a brand new version of Novation's Automap control software - Automap 4 (which makes getting hands-on with your DAW/plug-ins fast and simple). Impulse also has 8 back-lit drum pads which can warp arpeggios, roll beats and launch clips in Ableton live.
Read all the details | Novation Impulse 25 professional USB keyboard controller

TOP FEATURES

• Precision semi-weighted keyboard with aftertouch
• Professional control surface gives you full control of your DAW including mixer, transport and plug-in instruments and effects
• Novation’s Automap control software makes it fast and simple to assign knobs, faders and buttons to your music software
• Back-lit drum pads allow you to warp arpeggios and improvise with rhythm patterns – they also launch clips in Ableton
• Large LCD screen displays control information
• Hardware design is tough and rugged
• Comes with Ableton Live Lite, Novation’s Bass Station synth and a Loopmasters sample pack
• USB powered, with expression and sustain pedal inputs as well as MIDI in and out ports for connecting external MIDI instruments

Buy Novation Impulse 25 professional USB keyboard controller at Revolution Audio

Delay Effects Explained

Delay Processors

In it’s simplest form, a delay is made up of very few components.
An audio input, a recording device, a playback device and an audio output.

Tape Delay

Early delay processors, such as the Echosonic, Echoplex and the Roland Space Echo, were based on analog tape technology. They used magnetic tape as the recording and playback medium. Some of these devices adjusted delay time by adjusting the distance between the playback and record heads, and others used fixed heads and adjustable tape speed.

Analog Delay

Analog delay processors became available in the 70s and used solid state electronics as an alternative to the tape delay.

Featured Equipment Of The Week: Focusrite Scarlett 18i6 USB2 audio interface

Focusrite Scarlett 18i6 USB2 audio interface
The Focusrite Scarlett 18i6 is an 18 in / 6 out USB 2.0 audio interface designed to make home multitrack recording a breeze. Alongside two award-winning Focusrite preamps, six high-quality analogue inputs allow you to simultaneously record guitar, bass, vocals and keys. You don’t need to stop there either – pop in the ADAT optical cable from an outboard eight-channel mic pre unit such as the Focusrite OctoPre MkII and you can track the drums at the same time.
Focusrite Scarlett 18i6 USB2 audio interface

Top Features

• Two high-quality award-winning Focusrite preamps
  The best sounding interface in its class. Focusrite's 25-year legacy forms the foundation of this new interface, with two award-winning preamps.
• Total I/O count of 18 inputs and 6 outputs
  All of the analogue and digital inputs you need for home multitrack recording. No need for breakout cables - every input & output has a dedicated socket.
• High-quality 24-bit/96kHz USB interface
  Features professional conversion and jitter elimination technology, guaranteeing pristine audio quality and reliable synchronization.
• Scarlett MixControl ultra-low-latency DSP mixer/router
  Provides an 18 x 6 DSP mixer with excellent routing flexibility, intuitive one-click configurations, and lower than 1.4ms latency (less than the time it takes sound to travel two feet through air!).
• Scarlett VST/AU/RTAS Plug-in Suite, for use in the mix
  Upgrade your standard sequencer effects and bring a touch of class to your session with Focusrite’s Scarlett compression, reverb, gating and EQ.

Find out more and buy Focusrite Scarlett 18i6 at Revolution Audio

Radial announce Firefly Tube DI

At AES 2011 in New York, Radial showed off their newest direct box design the Firefly. The Firefly is Radial's first Tube DI.

The Firefly begins with two inputs to allow quick changes on stage. This can be done using the front panel switch or with a standard latching remote footswitch. The instrument signal is immediately routed to a tuner output that is always on. Following the award winning Radial JDV, the Firefly is also equipped with Drag Control load correction. This enables the artist to adjust the load on the magnetic pickup for a much more natural rendering. When bypassed, the load jumps to 4 meg-ohms enabling the Firefly to be used with piezo pickups.
The class-A circuit features a select 12AX7 tube drive with both gain and trim controls allowing the user to increase the grit and warmth as needed.

Featured Equipment of the Week: Audio-Technica AT4040

Audio-Technica AT4040
The AT4040 has been a staple of pro studios for years. It's a versatile 'work-horse' mic that just sounds great in any application around the studio - Acoustic guitars, Electric guitars, Vocals, Drums - All can be captured exceptionally well with the AT4040
Find out more: Audio-Technica AT4040 large diaphragm cardioid condenser

• Large-diaphragm cardioid condenser mic with dozens of applications 
• A versatile condenser mic for recording, broadcast, and live sound
• Exceptionally low distortion and excellent transient response from transformerless design
• Full, rich sound from bottom to top
• High SPL capacity and precision internal architecture
• Switchable 80Hz hi-pass filter and 10dB pad
• Includes AT8449 shock mount

Full details | Audio-Technica AT4040 large diaphragm cardioid condenser

Novation Automap v4.1

Introducing Automap v4.1
Automap 4.1 is here, bringing the brand new, full-featured version of Novation’s music software control application to all Novation controllers, including the flagship SL MkII.
Automap is free software that comes with all Novation controllers. It gives you instant access to your DAW and plug-ins so you can get hands-on control of your music software. It features a software edit page that graphically shows what software parameter is assigned to which knob, fader or button on the hardware. Automap 4 also has a re-designed GUI and now features a notification system that pops up in the corner of your monitor to tell you what you are controlling when you move a knob, slider or button.

Automap 4 was launched with the Novation's new Impulse controller keyboard range in Summer 2011. The v4.1 update enables Novation’s top of the range SL MkII controllers to work with Automap 4 for instant assignment and convenient control. Other Novation controllers and keyboards are now also compatible with Automap 4, including: Nocturn, Launchpad, UltraNova, ReMOTE SL, Nocturn Keyboard and the SL Compact.

Automap is the original music software control technology. It was launched in 2006 and has evolved over the years with significant workflow improvements. It is simple to set up and start using right away, and gives you unparalleled control over your DAW’s mixer, effects and virtual instruments. It will be available for free download by the beginning of November 2011.

You can download Automap 4.1 here http://novationmusic.com/support/downloads/
An Automap compatible Novation controller is required.
Buy Novation Keyboards and Controllers

Compressors Explained

Compression is a form of Dynamics processing which is any device that preforms automatic gain changes. Other Dynamics processors are Noise Gates, Maximisers, and De-Essers.

A 'vintage' style software compressor

Compression

Compression is an effect that can take a while to understand because the results are not always as obvious as other effects. To explain it as simply as possible, when a signal goes into a compressor, it gets turned down. That’s it. How it does this, how fast, and smoothly is what makes each one unique.

Featured Equipment Of The Week: KRK KNS-8400 Closed Back Headphones

KRK KNS-8400 Closed Back Headphones
Headphones for Educated Ears.

Looking for a pair of headphones that are specifically designed to replicate music as it should be heard with the ability to satisfy experienced ears? Get your head around this: KRK has always been focused solely on accurate monitoring. The KNS 8400 -- with their ability to reveal exactly what you have on the tracks is an ideal choice for critical listening. Being able to discern the most subtle differences in pitch, timbre and tone helps you to get it right every mix, every take, every performance. Isolating memory foam in the ear cushions delivers improved low end response and because they gently conform to your unique head shape you'll be comfortable wearing them all day.
Find out more | KRK KNS-8400
PERFORMANCE

• Accurate, natural and wide frequency response
• Class leading KRK sound clarity, very low-distortion
• Precise Imaging and extended LF response
• High isolation for both noise rejection and leakage

UTILITY

• Detachable and replaceable locking cable
• Rotating ear cups for travel and storage
• Durable, impact resistant materials throughout
• Replaceable ear and head cushions

COMFORT

• Lightweight construction for use over long sessions
• Adjustable low-pressure headband system
• Ear and head cushions utilize advanced memory foam
• Self-aligning yoke system ensures the best possible fit

Buy KRK KNS-8400 in the Revolution Audio Online Store - In stock now!

Featured Equipment Of The Week: Pro Tools 10

Pro Tools 10
Pro Tools 10 is here!
The next generation of the best sounding, most powerful audio production software for recording, composing, editing, and mixing music and sound for picture.
See all the details | AVID Pro Tools 10

 WHAT'S NEW

• Speed up editing and mixing with Clip Gain, and easily adjust and match gain levels, pre-mixer (watch the video)
• Use multiple audio formats in a session—including interleave—without file duplication
• Record and master higher resolution sound with more headroom in 32-bit floating-point format
• Get great responsiveness on slower hard drives with the enhanced disk handler
• Record in low-latency mode, with direct monitoring when using third-party audio interfaces
• Get the sound of System 5 console EQ and dynamics with the Avid Channel Strip plug-in
• Get access to over 500 additional Pro Tools commands when using EUCON controllers (watch the video)
• Work more easily with AudioSuite-rendered clips with reverse processing, handles, and more (watch the video)
• Create extra long-format projects for sequential versioning with the extended 24-hour timeline
• Open fade-heavy sessions faster and get better responsiveness with real-time fades
• Export mixes directly to SoundCloud to share and promote your music to the world

Buy AVID Pro Tools 10
in the Revolution Audio online store Get Pro Tools 10 Upgrades

Featured Equipment Of The Week - Primacoustic IsoPlane & IsoWedge

Primacoustic IsoPlane & IsoWedge
What's the most affordable way to improve the sound of your monitors? Decoupling.
For just $40, the Primacoustic IsoPlane or IsoWedge foam monitor isolation pads will stop speaker vibrations from transmitting to stands or desktop allowing the monitors to sound how they should.

Primacoustic IsoPlane | Primacoustic IsoWedge

The IsoWedge and IsoPlane are monitor isolation pads designed to decouple the sound from the loudspeaker so that it will not resonate with the desk or shelf. This helps reduce an effect called comb-filtering that occurs when various frequencies add or cancel with each other when coupled.

The IsoWedge is angled while the IsoPlane is flat. This allows the user to select between either platform shapes to optimize the studio setup. The IsoPlane can also be used to decouple turntables and other devices that can be adversely affected by sound resonating through the floor and furniture.

Sold in sets of four units, the IsoWedge and IsoPlane are designed to be used in pairs and spaced under the monitor as a means to distribute the weight. The cost effective design makes them ideal for home studio use and other applications where vibrations are an issue and decoupling is required.

TOP FEATURES

• Eliminates resonance from loudspeakers to shelf
• Made from high density open cell acoustic foam
• Down-fire angle to optimize monitor placement
• Cost effective solution for home studio recording

Primacoustic IsoPlane | Primacoustic IsoWedge

Mail-In Rebates for Audio-Technica Wireless Systems

From now to the end of the year Audio-Technica is offering some nice rebates when you purchase new wireless systems.

Audio-Technica wireless systems are available as special order through Revolution Audio.
Email sales[at]revolutionaudio.ca for a quote and more information.


$40 Rebate on 4000 Series Wireless Systems
Outstanding clarity and versatility for live performance, regional touring, fixed installations and more.

• 996 selectable UHF frequencies per band
• IntelliScan™ finds & sets best available frequencies on linked receivers
• True Diversity operation reduces dropouts

$30 Rebate on 3000 Series Wireless Systems
For the wireless user ready to step up to an advanced system.

• 996-1001 selectable UHF frequencies per band
• Nine pre-coordinated frequency scan groups simplify multi-channel wireless system setup
• True Diversity operation reduces dropouts

$20 Rebate on 2000 Series Wireless Systems
Easy setup, clear sound & automatic scanning.

• All 10 channels are compatible for easy use with multiple systems
• Automatic frequency scanning
• True Diversity operation reduces dropouts

For qualifying products purchased between October 1, 2011 and December 31, 2011. Claims must be received by January 31, 2012 to be valid. 

Reverb Explained

Digital Reverb Technology
There are two ways of creating a reverb effect in the digital world, by using mathematical calculations to create a sense of space, which is called Algorithmic. And by creating an impulse response, a snapshot of a real space, and applying that to the sound, which is called Convolution.
Reverb is essentially a series of delayed signals, and Algorithmic reverbs work pretty well to recreate this. Most reverb plugins, stomp boxes, and racks are algorithmic style.

KRK KNS Series Headphones - What's the difference?

We just added the KRK KNS-6400 and KNS-8400 Closed-Back headphones to our online store. KRK are well known for making great home and pro studio monitors but are relatively new to the studio headphone market.
These headphones have been getting great reviews! Performance, comfort, construction quality are all top notch and are very affordable at just $99.99 (kns-6400) and $149.99 (kns-8400).

     

What are the differences between KNS-6400 and KNS-8400 Headphones?
At first glance, the two models seem almost identical. By looking closely at the specifications you will see a few key differences. We've summarized these differences below.
Sensitivity: KNS-6400 will reach 95dB SPL before distortion. KNS-8400 does slightly better with a 97dB SPL rating.
Frequency Response: KNS-6400 = 10-22,000Hz; KNS-8400 = 5-23,000Hz
Isolation: KNS-6400 will isolate up to 26dB of ambient sound and the 8400's will isolate 30dB. (That's even higher than most 'isolation' headphones. Very impressive.
Ear cushion type: The specs say the 6400 have 'Acoustic Cellular foam' and 8400 have 'Acoustic Memory foam'. As you can guess, the memory foam will conform to your head and ears better, improving isolation and comfort.
Cable type: The KNS-6400 have a detachable 2.5M cable. The KNS-8400 adds an inline volume trim.
Weight: The only slight negative for the KNS-8400 is that they are 30g heavier than the 6400 (232g vs 202g). Either could still be considered lightweight compared to other studio headphones.

---

The KRK KNS Series headphones are available in the Revolution Audio Online Store
KNS-6400 Closed Back Headphones
KNS-8400 Closed Back Headphones

Featured Equipment Of The Week: M-Audio Keystation Mini 32

M-Audio Keystation Mini 32
The M-Audio® Keystation Mini 32 is the ideal choice for players on the go. Designed by the company that pioneered mobile music production, this ultra-portable keyboard delivers unmatched playability in its class. Simply plug it into your computer or iPad* and perform two-hand parts with 32 great-feeling, low-profile mini-keys. Customize the keyboard sensitivity to your playing style with highly musical velocity curves—including one specifically for drum programming. Control your performance with four assignable controls, including a rotary knob. And easily play and write music using the included software. With USB bus power and plug-and-play** functionality, Keystation Mini 32 is the easy way to create and perform on the go.
Find out more | Keystation Mini 32

Top Features

• 32 low-profile, velocity-sensitive mini-keys > great feel in an ultra-portable design
• 4 assignable controls—three buttons and a knob > real-time control of your DAW and virtual instruments
• Selectable velocity curves including one for drum programming > customize the keyboard to your playing style
• Robust, high-quality build > withstands frequent, mobile use
• USB bus-powered and class compliant > easy plug-and-play operation with your computer or iPad*

Buy M-Audio Keystation Mini 32 at Revolution Audio

New M-Audio Fast Track C Series USB2 Audio Interfaces

Transform your ideas into professional-quality music with two new interfaces and Pro Tools MP music creation systems

The original, best-selling* M-Audio Fast Track recording interfaces set the standard for quality and ease of use. Now the new Fast Track C-series audio interfaces make it simpler than ever to transform your ideas into professional-quality music. Get the Fast Track C600 or C400 bundled with industry-leading Pro Tools MP recording software—or buy the interfaces separately for use with your favorite software.

With Fast Track C600 and C400, top-panel controls make it easy to stay in the creative flow. You’ll capture amazing performances with built-in reverb and delay effects, sound incredible with an all-new signal path, and easily check your mixes on multiple sets of speakers using the built-in monitor management system. You’ll also enjoy the flexibility to record with your favorite music software—including Pro Tools. Fast Track C-series interfaces give you the freedom to make music at the speed of your creativity.



Buy M-Audio Fast Track C Series USB2 Audio Interfaces At Revolution Audio:

M-Audio Fast Track C400 w/ Pro Tools SE

M-Audio Fast Track C400 + Pro Tools MP9

M-Audio Fast Track C600 w/ Pro Tools SE

M-Audio Fast Track C600 + Pro Tools MP9

Featured Equipment Of The Week: Radial Re-Amping Kit

 Radial Re-Amping Kit
Re-amping kit contains J48 and X-Amp in rugged case. PSU included
Find out more | Radial Re-Amping Kit

Radial J48
The Radial J48 is a great sounding active direct box that has been optimized to produce maximum headroom while working within the limited current available from standard 48V phantom power. By employing a unique switching power supply, the J48 is capable of peak transients to 9 volts without choking. The result is lower harmonic distortion, half the inter-modulation distortion and significantly improved dynamics over other DIs.

Features include a -15dB pad, 180º polarity reverse, a unique merge function to mix two signals to mono, an 80Hz high-pass rumble filter, and ground lift. Like all Radial products, the J48 is built to handle the abuse on the road and features a unique welded I-beam construction for years of trouble free performance.

Radial X-Amp
The Radial X-Amp is an active re-amping device that presents the engineer / producer with a new and innovative creative tool that allows a pre-recorded track from a line level device to drive two guitar amplifiers or effect pedals simultaneously. This opens the door to explore new musical sounds and spur on the creative process.

Features include balanced line level input with LED peak indicator and level control, Class-A circuit topology for optimal reach and frequency response, direct and isolated guitar amplifier outputs, 180º polarity reverse to bring both amps into phase, and dual ground lift options for noise-free operation.

Buy Radial Re-Amping Kit at Revolution Audio

EQ and Filters Explained

The terms EQ and filter seem to mean different things, Filtering is generally what we say when we want to remove frequencies, and EQ is when we want to shape the sound by boosting and cutting.
The truth is, it’s all filtering.

Universal Audio Total Studio Upgrade Promotion

Buy a new LA-610 MKII between October 1st and Dec 31st 2011 and you will qualify for a UAD-2 DUO PCIe or Satellite FREE!

If you are interested in this special offer, email us for details. sales@revolutionaudio.ca

Featured Equipment Of The Week - Presonus AudioBox 22VSL

Presonus AudioBox 22VSL

The Presonus AudioBox 22VSL is a cool new portable USB2 audio interface with some great features. The AudioBox 22VSL introduces a new generation of PreSonus USB 2.0 audio/MIDI interfaces that take hardware/software integration to the logical next step. Using your computer CPU and PreSonus Virtual StudioLive™ (VSL) software, AudioBox VSL-series interfaces provide reverb and and delay effects and the same Fat Channel compression, limiting, semi-parametric EQ, and high-pass filter, as the PreSonus StudioLive™ 16.0.2 digital mixer— all with inaudible latency. Now you can monitor and record with or without real-time dynamics processing and EQ!
Find out more - Presonus AudioBox 22VSL

TOP FEATURES

• 24-bit / 96 kHz 2 x 2 USB 2.0 recording interface
• 2 dual-purpose front-panel input channels, each with:
• Combo XLR mic and balanced ¼" instrument input
• Class A XMAX™ mic / instrument preamp
• Individual channel-trim controls with 0 to +35 dBu mic gain range
• 48V phantom power for condenser microphones (global)
• Mixer control (blends the input signal with the computer playback stream for zero-latency monitoring)
• Headphone jack with level control
• Main-output level control
• LED clip indicator for each channel
• Studio One™ Artist digital audio workstation software included
• Virtual StudioLive™ (VSL) control software included; manages:
• Near-zero-latency monitoring with extensive signal processing
• 4 x 2 DSP mixer
• StudioLive™16.0.2 Fat Channel compressor, limiter, expander, high-pass filter, and semi-parametric EQ for each analog input and its DAW return
• 2 stereo effects buses with reverb and delay
• More than 50 Fat Channel DSP presets for enhancing instrument and vocal recordings
Get the Presonus AudioBox 22VSL at Revolution Audio!

Featured Equipment Of The Week: iZotope Alloy

iZotope Alloy
Alloy is six essential mixing tools for your tracks and busses, with unique MacroPresets that put the controls you need at your fingertips.
Add iZotope Alloy to your tracks and busses and bring them to life with six processors designed to add character to every element of your mix. Alloy gives you exceptional sound quality, vintage emulation balanced with digital precision, time-saving presets and workflow features, and a forward-thinking interface that puts just the controls you need at your fingertips.
Check out iZotope Alloy

TOP FEATURES

• Six precision tools for mixing in one integrated system – Equalizer, Dynamics, Exciter, De-Esser, Transient Shaper and Limiter
• Load one plug-in for all of the essential EQ, dynamics and sound-shaping effects you need on your tracks and busses. Save custom presets and effect chains to suit any need
• Phase Tools panel includes phase invert controls, and a zero-latency phase rotation control to improve waveform symmetry
• Zero-latency mode prevents sync problems in hosts like Pro Tools LE
• RTAS/ AudioSuite, VST, Audio Unit, MAS, DirectX 

Find out more about iZotope Alloy

Productivity tips for home recordists

Often our time to work or play in the studio is limited. There is nothing more frustrating to leave the studio feeling like you've got nothing accomplished. In this article I'll share some productivity tips that I use in my studio.

Don't blame the computer, it's your short attention span!

Remove distractions
If you find that you're spending more time on Twitter and Facebook than actually working on music, UNPLUG from the internet! Sometimes signing out and closing the browser isn't enough.  I do this when I really have to get something done on a deadline, otherwise it easily takes 5X longer. This will help avoid the urge to look online for new samples or plugins or DAW updates.
Next, turn off your cellphone or leave it in another room. It's just a good habit to get into. Besides being a potential distraction, a ringing phone can interrupt a recording and cell phones often cause interference in mics and guitar pickups.
Some people thrive in chaos. For me, a messy workspace is a distraction. I don't need anything on my desk except keyboard, mouse, and a cup of coffee or water. I like to do a 30 second clean up of my desk by taking a cardboard box and tossing everything I won't need into it. The box goes into the closet. Amazingly more than half this stuff never comes out of the box again.

Have a goal
If you go into the studio without a purpose, you probably won't accomplish anything. The goal doesn't have to be big, in fact it's better to have many smaller goals because it feels good to start and complete a task. Goals like "I'm going to learn Song X"; "I'm going to record all the vocals for my newest song"; or even "I'm going to play with this new synth plugin." It's ok to spend time learning a new technique or plugin, just try to keep the experiments separate from your 'work time'.

Be prepared
Make some songwriting templates so that you can get right into recording when inspiration happens. If you already have a bunch of songs recorded, you can remove all the audio files and save it as a template. Think about how much time you just saved!
A template for a heavy metal song would be something like 1 instrument track for virtual drums (already set to an appropriate metal preset), 3 audio tracks for guitars (panned Left, Right, Center) with high-gain amps on each and a 1/16th note delay on Center track, 1 audio track for bass, 2 audio tracks for vocals (with compression), 1 reverb bus.
An electronic music template could be several instrument tracks with your favorite synths on each and a few FX buses with your favorite presets.
Before you sit down to mix, make sure all the distracting timing and pitch issues are taken care of and all extraneous noises are removed. If you are going to replace some of the drums with samples, set up a few options ahead of time so when you're mixing, you're ONLY mixing, not editing and mixing.

Schedule breaks
This might seem a bit weird, but I've found this technique to be really effective, especially at crunch time on a project. I set a timer for 25 minutes, I work non-stop until the timer goes off. I do something else for no longer than 5 minutes. Then set the timer for another 25 minutes. After 4x 25 minute segments I break for 30 minutes. On the breaks you don't want to do anything that would fatigue you further. Washroom, snack, check Twitter, or just relax your eyes and ears. It really works!

What is YOUR distraction in the home studio?

FAQ: What is latency?

Latency
Latency is the time delay between input and output. The lower the latency the better it is for recording, however it is harder on the system and is not always possible.
Latency can make recording very difficult, wherever possible try to minimize it.
Firewire interfaces should be capable of near-zero latency (64 samples) and most USB interfaces have a zero latency monitoring control which sends the unprocessed input directly to the output. This is also called direct monitoring, I strongly advise against using this feature as you don't hear if there is a problem with the recording until it is too late. To adjust the latency of the interface you want to look for the ‘buffer size’ control. A higher buffer size is useful when mixing with a lot of plugins, and a low buffer size is preferable when recording, adjust as necessary.

Featured Equipment Of The Week: Presonus Studio One Artist

Presonus Studio One Artist
Studio One is a groundbreaking music-creation and production application for Mac OS X and Windows XP/Vista that makes audio recording, MIDI sequencing, and audio mastering ridiculously simple right out of the box, yet provides a wealth of professional features.
Fresh code, innovative drag-and-drop MIDI mapping and plug-in management, auto-configuration with PreSonus hardware, insanely good audio quality, unlimited tracks and plug-ins per track, and a powerful, inventive Start page that literally puts the whole project right in your hands are just a few of the compelling features that make Studio One the next generation in audio software. Far from just another music-production program, Studio One changes the rules of the game, giving you a complete, easy-to-use solution from raw tracks to finished master, while supporting the latest standards and technologies.
Studio One Artist Studio One Artist is not a dumbed-down, "lite" version of Studio One Pro. Rather, it's just one version of the same creative recording and production platform--with unlimited track count and the same intuitive interface.
Find out more | Presonus Studio One Artist

FEATURES

• Elegant single-window work environment
• Powerful drag-and-drop functionality
• Unlimited audio tracks, MIDI tracks, virtual instruments, buses, and FX channels
• Content browser with convenient sort options and preview player
• Automatic delay compensation
• Advanced automation
• 32-bit audio processing
• Easy-to-use sidechain routing
• Stunning virtual instruments
• User-friendly sampler
• Most intuitive MIDI-mapping system available
• Real-time audio timestretching and resampling
• K-System metering
• Compatible with any ASIO-, Windows Audio-, or Core Audio-compliant audio interface
• Works with key commands from Pro Tools, Cubase, and Logic.
• Native Effects™ 32-bit effects library with 20 dynamics processors, reverbs, modulations effects, amp simulators, etc.
• Four virtual instruments
• Native Instruments™ Kore™ Player with 150 instruments
• Native Instruments™ Guitar Rig LE
• Toontrack™ EZDrummer Lite
• Nearly 1,400 drum loops (1.4 GB!) by Bandmate™ Loops
• Free jambalaya recipe!

Find out more | Presonus Studio One Artist

Featured Equipment Of The Week: Radial ProRMP passive reamp

Radial ProRMP
Re-amping has been the 'secret weapon' for countless recordings by the biggest names in the business and the process is often used on guitars, bass, keyboards, percussion and even voice to create new textures! The Radial ProRMP is a 100% passive re-amplifier that lets you to take a pre-recorded track and re-amplify it through a guitar amp or effects pedals to create new and exciting tones.
Plug and play easy to use, the ProRMP connects from the recorder to your amp and effects units and does all the impedance matching for you. Just adjust the level to suit!

Find out more | Radial ProRMP

TOP FEATURES

Play prerecorded tracks through amps and pedals

Opens the door to creative new tones and textures

Eliminates repetitive playing during recording

On board level control for fine tuning the gain

Transformer isolated to eliminate buzz and hum

See all the details and buy Radial ProRMP at Revolution Audio

Recording Bass Guitar

Bass doesn't always get the attention it deserves in a recording situation. I see a lot of home recordists rush through bass recording, only to later be frustrated with the bass when it comes time for mixing. It's really too bad because it's the foundation of the song. A great bass will groove tight with the drums and support the guitars. Fitting it in the mix will take minimal effort and you will be loving life.

A great recording starts with a great source. When it comes to tracking bass guitar, the source is comprised of many factors:

• Musician:
• Technique and playing position - Playing with a pick or with fingers or thumb. Intensity, Playing close to the bridge, in the middle or close to the neck. Choose what is appropriate for the song
• What is played - playing bass lines that serve the song and don't clash with the drums or guitars rhythmically or melodically.
• Tuning - Check the tuning often

• Bass:
• Strings - new strings usually sound best and give you the brightest tone to start with.
• Electronics (Pickups and EQ) - The pickup selection and tone settings
• Wood and construction - The wood used in the neck and body really effect the sound. Maple and Ash are bright and punchy, mahogany is thicker and darker.

• Amplification chain:
• Cable - debatable how much impact this has, how about just using one that doesn't hum or crackle if you move it.
• Pedals - If a particular pedal helps get you the desired tone, go for it. I would hold off on spatial effects (delay, reverb) until mixing as they require their own attention.
• Amplifier and EQ settings - tube or solid state. As a starting point put all EQ knobs at 6.
• Cabinet - 1x12", 4x10", 1x15"
• Cabinet position - where in the room, close to walls, on the floor or elevated

Everything contributes to the sound you'll be recording, do whatever you can to get this close to what you need from the start. It won't be the same for every song so you may want to have a few options for basses, though a Fender Jazz bass or MusicMan is versatile enough to get you what you need 80% of the time. Rent or borrow what you don't own before looking for magical plugins to solve all your bass problems.

In my experience getting good bass gear for recording made my life so much easier further along in my projects. For recording you don't necessarily need a massive bass rig, I use a Sterling Ray 34 (Low-end Music Man. Swamp ash body, maple neck, humbucker pickup with active EQ) into a small Ampeg BX112 solid state combo amp with a single 12" woofer. Greatest bass recording gear ever? Ha, far from it, but it got me so much closer to the sound I was looking for. Prior to that I was fighting with a mahogany bass that was deep but had almost no midrange when recorded making it hard to hear clearly in the mix.

A great bass tone in the room is more likely to inspire a great performance. Now you need to capture and enhance it.

• The Recording Chain:
• Mic selection - Dynamic mics and large diaphragm condensers are most common for bass amps. Spend some time comparing.
• Mic position - distance and angle play a big part as always.
• Direct Box (DI) - A direct box allows you to split the signal from the bass, one side continues to the amp, the other goes to a preamp.
• Microphone Preamp - Every preamp has its own tone. A pad option may be required.
• Compressor - Optional but worth testing if you have the option. Its very common to compress the DI track while recording in pro studios.

Record at a conservative level, if you're really digging in for a grindy tone keep the peaks no higher than -6dBFS (DAW metering). An average of anywhere from -18dB to -12dB is all you need. Dynamics will likely be reduced and additional processing is inevitable by the final mix. A clipped signal is useless.

Can you get a great bass recording with just a DI (or plugging right into the interface)? Yes. Can you get a great bass recording with just an amp? Yes. Splitting the signal with a DI before the amp and recording to two tracks gives you more flexibility when it comes to mixing. You may prefer the sound of one over the other, or a blend of the two.

When you do blend the DI and miked amp signals in your DAW it is very likely that you will hear some phase issues. The problem is caused by the DI signal gets to the interface before the mic signal does causing a slight delay. Try inverting the polarity of one of the tracks. This will usually be a dramatic improvement in the low frequencies. This can further be improved by delaying the DI track, often just by a few milliseconds or even samples. You might find it easiest to start with the tracks 'out of phase' then adjust the delay until you have the most cancelation, and invert the polarity again (now in phase). You may not get it to be absolutely perfect but do try to find the best compromise.

By now you should have a good, very usable, better than average bass track recorded into your DAW. We won't get into processing and mixing bass in this article, if you really need info on that right now, check out the Sept 2011 issue of Sound On Sound, great tips on mixing bass in there.

Have a listen to the audio examples I've prepared. Compare the different playing styles, mic position, mic type. In the delay compensation file, notice how the tone changes quite dramatically just by delaying the DI in increments of 10 samples.

Bass Recording Examples by RevolutionAudio

Featured Equipment Of The Week: Audio-Technica ATH-M50

Audio-Technica ATH-M50
With the ATH-M50 professional studio monitor headphones, Audio-Technica has achieved an exceptionally accurate response and long-wearing listening comfort. Designed especially for professional monitoring and mixing, these studiophones feature an efficient collapsible design for space-saving portability and storage.

Circumaural ear pieces swivel 180° for easy one-ear monitoring and luxuriously padded ear cushions create an outstanding seal for maximum isolation. The adjustable headband is generously padded for ultimate comfort during long mixing sessions. A coiled cable at the left earpiece terminates to a gold-plated mini plug with included screw-on 1/4" adapter.

Audio-Technica's sophisticated driver technology and superior components deliver exceptional power handling and very high SPL capabilities while maintaining clarity of sound throughout their extended range, with deep, accurate bass and outstanding high-frequency extension. The headphones feature propriety large-aperture drivers with neodymium magnet systems for ultra-efficient signal transfer.

Read more: Audio Technica ATH-M50

Audio-Technica ATH-M50 Features:
Exceptional audio quality for professional monitoring and mixing
Collapsible design ideal for easy portability and convenient storage
Proprietary 45mm large-aperture drivers with neodymium magnet systems
Closed-back cushioned earcup design creates an outstanding seal for maximum isolation
Adjustable padded headband for comfort during long mixing/recording sessions
Single-sided coiled cable terminates to gold-plated mini plug with screw-on 1/4" adapter

Buy Audio Technica ATH-M50 Headphones at Revolution Audio

Featured Equipment Of The Week: Samson Airline Micro wireless mic system

The Samson AirLine Micro Wireless Earset System gives you wireless freedom without the bodypack. The Airline Micro utilizes the latest in lithium ion battery technology and small, high-quality audio and RF components, representing a breakthrough that brings freedom and convenience to a new level of performance. The result is not only our smallest wireless system, but also Samson's most comfortable, reliable and versatile system ever.

Find out more | Samson Airline Micro

FEATURES

• Wireless UHF 600 MHz system with micro-size AH2 transmitter and AR2 receiver
  
• Tone squelch and auto mute for clear operation
  
• Includes a convenient system carry case
  
• Includes AC adapter and charging cables

Buy Samson Airline Micro at Revolution Audio

Battle Of The Beat Makers 2011

Battle of the Beat Makers 2011
Canada's Producer Pro Audio Conference and Competition

The Battle of the Beat Makers is way more than just producers battling it out for bragging rights and $10,000 in cash and prizes. It has become an international forum where ideas can be exchanged, the latest technology is showcased and career-building networking opportunities present themselves to provide a glimpse into the entire world of the modern producer. This year's program has expanded from a one day format into a full blown 3-day conference with events featuring Grammy Award winning producers and industry heavyweights.

Both Boi1da and T-Minus, (shown above) are past competition Champions and have gone on to produce for many successful artists such as Drake, Rihanna, Eminem, Ludacris and Nicki Minaj. They are returning this year as guest judges alongside fellow Grammy winner 9th Wonder.

Special Events:

• Beatz meet Rhymez - Producer and Artist Networking Party
• Producer Position Lottery - The announcement of the 1st round matchups
  
• Bonus Event - Too be announced
• Pro Audio Conference 2011 - Panels, workshops, product demos and more
  
• Battle of the Beat Makers 2011 - Producer competition with 32 contestants
• Champion Sound - The official Battle of the Beat Makers after party
  
• Production Auction - Bid on some of the best beats from the top producers
• The Wonder Year - Film screening of the 9th Wonder documentary
  
• "The Wonder Year" After Party - Celebrate with famed producer 9th Wonder spinning music

INFO: Battle of the Beat Makers | Registration | FL STUDIO 10 | Wonder Year Trailer

SONAR X1c update available now

New features in SONAR X1c
You can read more about these features in SONAR’s online help by clicking Help > Help Topics.

Bus Selection
Busses in SONAR X1 are now fully selectable and quick group-able.  Additionally the following commands have been added:

• ALT+CLICK on a bus will select that bus as well as all upstream sources
• ALT+CLICK on a track will select that track as well as all downstream destinations

Independent Snap settings in the Piano Roll view
The Piano Roll view now has independent snap settings that can be used to override the global snap value.

Last Note Selected for Draw Tool
The duration of the last clicked note is now remembered when the ‘Last Selected’ item is checked in either the Control Bar or HUD.  When the draw duration is set to ‘Last Selected’ the draw duration will be whatever the last note clicked on in the Staff, Piano Roll or Inline Piano Roll views.

23.976 FPS Timecode format
SONAR now supports 23.976 frames per second on the time ruler.

UI Updates and Fixes

• New UI for Step Sequencer
• New UI for Loop Construction View
• Various UI enhancements

Featured Equipment Of The Week: Mackie Onyx 1220i Firewire Mixer

Mackie Onyx 1220i Firewire Mixer
Onyx-i Series FireWire Production Mixers combine the benefits of a powerful computer interface with the tactile, hands-on control of a premium analog mixer, creating an easy-to-use system that’s perfect for studio or live applications. Qualified by Mackie for use with all major DAWs including Pro Tools® M-Powered™ 8*, the Onyx-i Series opens up a new world of options for anyone interested in computer recording. In addition to an ultra-high quality 24-bit/96kHz FireWire recording interface, Onyx-i mixers offer professional analog features like boutique-quality Onyx mic preamps, classic “British-style” Perkins EQ and pre/post assignable aux sends, all of which can be flexibly routed via integrated FireWire.
Find out more: Mackie Onyx 1220i firewire mixer

The 12-channel Onyx 1220i delivers stunning performance in a size that is decidedly desk-friendly. Premium analog features like boutique-quality Onyx mic pres, smooth 60 mm channel faders and the proven tone-sculpting capability of Perkins EQ allows for performance that is unmatched in this category. The 16x2 built-in FireWire interface will simultaneously deliver all 12 channels, all auxes and the master L/R signal straight to your favorite DAW with zero routing. How easy is that? You can even return a couple of channels from the DAW right back into a channel strip for mix integration. It’s easy, it’s professional…it’s the Onyx 1220i.

TOP FEATURES

* 12-channel premium analog mixer with integrated 24-bit/96kHz FireWire I/O
* Qualified by Mackie for use with all major DAWs, including:

o Pro Tools® 9 o Logic® o SONAR™ o Cubase® o Ableton® Live o Final Cut Pro®

* 4 Onyx boutique-quality mic preamps
*3-band Perkins EQ with sweepable mids on mic/line channels
*3-band Perkins EQ on stereo Line channels
*16x2 FireWire allows for simultaneous streaming of all channels, auxes and master L/R
* Built-in DI on first two channels for direct connection of guitars, bass, etc.
* Individual 48V phantom power switches on all mic inputs
* Talkback section with built in mic and flexible routing
* "Planet Earth" switching power supply for worldwide use
* Optional rack kit available
Find out more and buy Mackie Onyx 1220i Firewire Mixer

Fixing Small Studio Acoustics Problems

This weekend I moved my home studio from one room to another. From a nearly 200 square foot living room to a 100 square foot bedroom. It's been a long time since I've thought about room acoustics and because this is a common situation for home studios, I thought I'd share my experience.
This article will help you understand and overcome the challenges of a dedicated studio in a small room. It will be most helpful to those with symmetrical rooms (no weird angles) and to those that don't need all the usual bedroom stuff, at the very least it will be a starting point to making the best of the situation.

Corner bass trap and broadband absorbers plus foam above.

 The Problems
Small rooms are more likely to have acoustic problems than larger ones, primarily flutter echo, room modes and early reflections that are too short. In my room, I knew there was a very bad flutter echo problem and room modes may be a problem but were predictable. The room is symmetrical also which was an advantage the old room didn't have. The measurements are approximately 11ft long x 9ft wide x 8ft tall. There is a door and a closed on the back wall and 6 x 4 window on the front wall.

Radial Engineering Factory Tour

This week I took a trip out to Port Coquitlam, BC to meet with our rep Dave Collins and have a quick tour of the Radial Engineering factory and warehouse.

View from the street

The Radial factory is where all the Radial DI boxes and Tonebone guitar pedals are built. With an assembly workforce of about 6 they build an average of 100- 200 boxes each day. Impressive.
If you've ever used a Radial product, you know that the quality is exceptional and very rugged. It was very cool to see the gear being built and tested.
This building is also the offices and warehouse for Primacoustic acoustic treatment products for home and pro studios. These products are designed here in Canada but constructed overseas.

Links to Radial gear in our shop: 

• Radial DI boxes, ReAmps and other studio tools
• Tonebone guitar effects pedals
• Primacoustic Acoustic Solutions
  

FAQ: Do you still have classes?

Yes!
No... sort of.
Well not like we used to...

In the old Mississauga storefront we regularly hosted small classes and events for the local home recording enthusiasts. In our current situation this is not possible, (we miss it too).

The current options are:

1. Online 1 on 1 lessons and support - Need help with your system? With little more than an internet connection we can offer personalized lessons to suit your needs. Find out more
2. On-Site 1 on 1 support in the Greater Vancouver Area - Contact Jon in the Vancouver area and ask about his 'Home Studio Rescue' and other lessons.
3. Small group lessons in the Vancouver area - Jon leads the Vancouver Home Recording Meetup group which regularly meets to share tricks and learn about audio concepts.

Featured Equipment Of The Week: Roland UA-101 Octa-capture USB2 audio interface

Roland UA-101 Octa-capture USB2 audio interface
With ten inputs, ten outputs, eight VS PREAMPS, and superb 24-bit/192 kHz audio quality, OCTA-CAPTURE sets a new standard in portable USB 2.0 audio interfaces. Designed for high-level audio production, it combines premium components, Roland-quality engineering, and proprietary preamp and streaming technology. With its compact design and pristine audio quality, OCTA-CAPTURE is not only the perfect interface for multi-channel computer-based production, but also a great solution for expanding the I/O capability of the V-STUDIO 700 and V-STUDIO 100.Brimming with quality and performance that far exceeds its size and price, OCTA-CAPTURE is the next-generation audio interface.
Find out more about the Roland UA-101

TOP FEATURES

• Eight premium mic preamps built in (VS PREAMP)
• AUTO-SENS function intelligently sets optimal input levels for all preamps
• Extremely stable low-latency VS STREAMING driver
• Four independent software-controlled Direct Mixers for creating custom monitor mixes
• Supports all major DAW platforms on Mac or PC, including OSX 10.6 and Windows 7, through ASIO 2.0/WDM (Windows) and Core Audio (Mac) drivers
• Rackmount ears included
• Bundled with Cakewalk Production Plus Pack

Buy Roland UA-101 at Revolution Audio

FAQ: Do you sell computer speakers?

Yes! We do sell computer speakers.
Here are the speakers we carry that are suitable for home computers and media systems:

• Cakewalk MA-15D
• M-Audio AV-20
• M-Audio AV-30
• M-Audio AV-40
• Samson MediaOne 3a
• Samson MediaOne 4a
• Samson MediaOne 5a

The speaker systems listed here come in pairs and are 2 way systems (no subwoofer).

I recommend the AV-40 from M-Audio, as a good balance of price, power, and features.