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4.24.2012

Featured Equipment Of The Week - Presonus BlueTUBE DP V2

Presonus BlueTUBE DP V2
The new Presonus BlueTUBE DP V2 takes the acclaimed Class A XMAX preamp with an additional/optional 12AX7 tube drive stage allowing you to dial in any amount of warmth and saturation.
Find out more


TOP FEATURES
  • Dual path mic/instrument tube preamp
  • 2 input channels, each with:
    • High-headroom Class A XMAX™ mic preamplifier with 80 dB gain range
    • 12AX7 vacuum tube gain stage
    • Tube Drive tube-saturation control
    • 48V phantom power
    • 80 Hz high-pass filter
    • -20 dB pad to reduce hot input levels
    • Polarity-reverse switch
    • Illuminated analog VU input-level meter
  • Input/Output
    • 2 balanced combo mic/unbalanced instrument inputs
    • 2 balanced XLR main (L/R) line outputs
    • 2 unbalanced ¼” main (L/R) line outputs
  • Compact 1/2U chassis
  • External 12 VDC, 1A power supply
Find out all the details: Presonus BlueTUBE DP V2

4.16.2012

Direct Box Basics


What is a DI box?
A DI box aka Direct Inject or Direct box is a tool we use in the studio to bring a signal from an instrument (guitar, bass, keyboards) directly into our recording system.

An audio engineer (or home recording enthusiast) will use the DI box for silent recording, as a backup or to process along with a microphone on an amplifier.

Connections
The DI box typically has 3 input and output connections.
  1. 1/4" TS instrument input - electric guitar or bass connects here
  2. XLR-M balanced output - connects to mic preamp
  3. 1/4" TS Thru - Continues the input path to connect to an amplifier.

For example, the DI box would be connected between an electric bass and audio interface mic input. The clean bass signal can be recorded without the need for an amp.

Functions
The DI box has a few functions.
  1. Impedance change - The instrument circuit will react correctly as if it was connected to an amp, and the mic preamp on the other side of the box will react as if a mic was connected.
    Without this the tone would be wimpy.
  2. Level change - An electric guitar outputs a signal that is relatively low level but significantly higher than the average microphone. The DI box steps the signal down from instrument to mic level.
  3. Unbalanced to balanced connection - Changing the unbalanced guitar signal to balanced mic level allows much longer cable lengths without signal loss or noise.
  4. Pass through - The instrument signal is split and can be continued to an amplifier.
The Hi-Z/instrument input on your audio interface preamps do most of these functions well but a high quality DI box tends to work a bit better and allows you to split the signal to continue to pedals and amplifier.

DI Box options
There are a wide variety of DI boxes on the market today in passive, active, multi-channel, and vacuum tube designs. You can browse our DI box category here: DI Boxes & Re-amps.

A passive DI is just a transformer with a few jacks connected, it doesn't require any power. The Radial JDI is a very popular professional Passive DI Box.

An active DI is a more complex design that requires phantom power (supplied by the mic preamp).
The Radial J48 is a very popular professional Active DI Box.
Different designs, same price. Both proven professional tools used in studios worldwide.

Generally speaking, they both do the same job well. In specific uses or if you are looking for less transparency, one may type may be better than other.

There are also many designed specifically for bass recording with tone controls and overdrive or amp simulation circuitry.
The Radial Bassbone is an exceptional Bass DI/Preamp.

Featured Equipment Of The Week: Mackie 402-VLZ3 4x2 compact mixer

Mackie 402-VLZ3 4x2 compact mixer
An affordable, high-quality, problem solving compact mixer.

The 4-channel 402-VLZ3 delivers pure VLZ3 quality in our smallest form factor ever, making it ideal when your input counts are low, or when space is at a premium. In a sleek, small package, you get the signature VLZ3 high headroom, low noise design, complete with 2 XDR2 preamps, premium EQ, and modern mix bus architecture, for the best-sounding, mini-est pro mixer on the planet. And the price is mini, too—in fact, it’s our lowest price in recorded history for a VLZ3 mixer. At last, you no longer need to buy more mixer than you need just to get the quality you deserve.
Find out all the details: Mackie 402-VLZ3

 Top Features
  • Ultra-compact 4-channel mixer featuring Mackie VLZ3’s signature low noise, high-headroom design
  • 2 studio-grade XDR2™ Extended Dynamic Range mic preamps with:
    • Ultra-wide 60dB gain range
    • 130dB dynamic range
    • +22dBu line input handling
    • Extended low frequency response
    • Distortion under 0.0007% (20Hz
    • 20kHz)
    • Phantom power for studio condenser mics
  • 4 high-headroom line inputs
  • 2 selectable Instrument inputs – no DI box needed
  • 2-Band Active EQ (80Hz, 12kHz) and Lo-Cut filter on mic channels
  • Phantom power for studio condenser mics
  • Dedicated Stereo Line Input and Tape Input channels
  • High-resolution 8-segment stereo meters
  • Sealed rotary controls to resist dust and grime
  • Sleek, rugged steel chassis
  • Includes Tracktion 3™ Music Production Software for Mac or PC 
Get this and so much more in the Revolution Audio Online Store

4.09.2012

Featured Equipment Of The Week: Audio-Technica MB/DK4 Drum Mic Pack

Audio-Technica MB/DK4 Drum Mic Pack
MB/DK4 is an affordable pack of 4 quality dynamic microphones designed for drum applications both live and in studio. The MB/DK4 is a great way to get started with drum recording on a budget - 4 mics for only $185.99!

MB/DK4 includes:
  • 3 x MB 5k Cardioid dynamic for Snare and Tom drums
  • 1 x MB 6k Cardioid dynamic for Kick drum
  • 3 x Drum Rim Mounts
  • Durable plastic storage case
Find out more - MB/DK4 Drum Mic Pack


MB 5k Cardioid Dynamic Snare/Tom Microphone (3 included)
  • Custom-engineered for use on snare and toms
  • Road-ready all-metal construction
  • Low-profile percussion-style design
  • Built-in adjustable stand mount 
Tailored for snare, rack toms and other highly dynamic instruments, the MB 5k snare/tom microphone offers a moving coil dynamic design with cardioid polar pattern, delivering superior off-axis rejection for maximum gain before feedback. With a frequency response of 100-12,000 Hz, the mic is engineered to handle fast transients and high SPLs.

MB 6k Cardioid Dynamic Kick Microphone (1 included)
  • Custom-engineered for use on kick drum
  • Rugged all-metal construction
  • Low-profile percussion-style design
  • Built-in adjustable stand moun
The cardioid dynamic MB 6k kick microphone has a frequency response of 60-12,000 Hz. A natural at handling high SPLs, the MB 6k delivers superior results on bass drum as well as on floor and deep rack toms.

Find out more - MB/DK4 Drum Mic Pack

4.03.2012

Featured Equipment Of The Week: Radial MC3 Monitor Controller

Radial MC3 Monitor Controller 
The Radial MC3 monitor controller is a studio tool that enables the engineer to quickly select between reference monitors, sub woofer or headphones and compare how the mix translates via various playback systems. Unique to the MC3 is the ability to quickly sum mono for AM radio compatibility.
And while most monitor switchers are active the MC3 is 100% passive. This means that unlike active switchers that introduce a buffered electronic circuit in between your recording system and monitors, the MC3 delivers straight wire performance. This eliminates coloration and distortion for more accurate monitoring.
Find out more: Radial MC3 Monitor Controller

 Top Features:
  • Passive studio monitor switcher with headphone amp
  • Control two sets of monitors and sub woofer
  • Mono sum for AM radio compatibility and phase check
  • Individual 'set & forget' controls to fine tune levels
  • 14 gauge steel chassis & outer shell, baked enamel finish 
The Radial MC3... passive, simple and effective monitor control for the masses!

Double Tracking Guitars

Double-neck guitar optional
Double tracking is a very common recording/production technique for almost any genre of music. When it comes to rhythm guitars, this technique is almost a standard method of recording with single tracking used only for solos.

This is also a technique that is often confusing for beginners.Double tracking simply means recording the same part twice and panning each to opposite sides. This creates a wide stereo spread based on the unique nuances in timing and dynamics of each performance. This is the guitarist playing a section of the song perfectly, then repeating it as closely as possible on a second track.

This isn't the same as recording in stereo, using two mics, using a chorus effect or duplicating and delaying one side. Some of these techniques are ways of 'faking' or 'automatic' double tracking, but are simply no substitute for an expertly performed double track. There must be two separate performances for the effect to work.

How To double track guitars
1 - record mono rhythm guitar, with either a microphone on a real amp or virtual amp. This track would be panned center.
2 - when a good take is achieved, and any punch ins are finished, go through the recorded track and tighten up any timing issues.
Here's how it sounds with the first guitar along with drums. The guitar is in the middle.
[mono guitar] (warning heavy metal!)
3 - after editing, pan this guitar (and any extra mics for this performance) to the left.
4 - That was perfect, now play it again! Make a new track and pan it right.
5 - repeat steps 1 and 2 using the same guitar, pickup selection, amp, microphone and any other variables unchanged. Making a change will increase the stereo width but will often result in an unbalanced tone.
Here's the same part with the doubled guitars.
[doubled guitar]

This repeats for each section of the song and if there are multiple guitar parts written or two guitarists in the band, usually each will be double tracked. If there are two guitarists in the band, there could be some confusion. Guitarist 1 plays all his parts twice, guitarist 2 plays all his parts twice. In a simple song this would mean 4 tracks for the rhythm guitars. Often this gets up to 12 or 16 tracks pretty quickly. Guitar solos are usually right up the middle or 'stereoized' with other techniques to make them pop out.

You have to be careful playing the doubled part, if it's too far off from the original it will make a unwanted ping-ponging effect especially in headphones.
Quad Tracking is exactly the same, but you record each part 4 times. Each take has to be perfectly in sync or it just sounds like a terrible mess.

Poor alternatives
So why can't we just duplicate and delay/shift the recording a little for the same effect? Well, simply because it sounds like crap and I'll show you.
[delay]
This is what happens when you copy the original mono recording, delay the copy by 20ms and pan each hard left and right.

Similarly, why not use a stereo chorus?
[chorus]
Still sounds really bad compared to double tracking. I'm not saying don't ever use Chorus, just don't use as an alternative to the big wide powerful double-track sound.