Showing posts with label audio interfaces. Show all posts
Showing posts with label audio interfaces. Show all posts

Line 6 Tone Port KB37 Review

Line 6 Tone Port KB37
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As a part-time, semi-professional musician/performer/producer [you can check out our NOVAkILL CDs here at amazon.com] I have a need for good quality and portability at a reasonable price. For maximum flexibility, I have been using USB audio I/O devices for the past 5 or 6 years, as they allow me to work on my workstation at home or laptop on stage with the same equipment. I was first attracted to Line 6 by the announcement of the KB37 because it looks so incredibly slick and sexy. To see if it could deliver the goods, I got hold of a UX2, which is basically the same as the KB37, without the keyboard. It took me about 5 minutes to realise the potential of this set-up so I got hold of a KB37 as soon as they were available.
HARDWARE - The unit feels really solid. The plastic is very heavy-duty and it all seems pretty well put together, although one of my VU meters is slightly crooked. The three-octave keyboard has a good feel and also feels fairly robust. The I/O knobs [chrome] are perhaps a little loose [it is easy to bump them and change their position] where the controller knobs [black] are very stiff until you use them for a while. It is very light-weight and no wider than most two-octave keyboards so it is extremely portable. The footswitch jacks are a real bonus. The audio inputs and outputs are very good, allowing you to get high quality, clean recordings and to monitor everything easily.
DRIVERS - Line 6 Monkey makes sure your drivers and other software are always up-to-date so it is a good idea to let the monkey look for the latest versions when you are setting up as the CD that ships is nowhere near current [it doesn't even support the KB37]. Once the Monkey had done it's thing, everything just worked. You use the driver interface to assign controllers and footswitches to different functions. It works really well but is a little hard to get at in a hurry.
SOFTWARE [GEARBOX] - This is definitely the best part of the deal. The are plenty of amps, cabinets and other effects available and you can chain them all together to create amazing results. If you are not happy with what you get, you can go on-line and buy even more from Line 6, but I have barely scratched the surface of the bundled options after almost a year. GearBox has very flexible routing - you can assign the hardware VU meters to any of a number of things [inputs, outputs, etc]. You can monitor and/or record with or without effects and you can even record your vocals or guitar parts whilst monitoring other instruments through the unit. You can have a single stereo signal path or two unique mono paths. e.g. one set-up for your vocal and a completely separate effect-chain for your guitar at the same time, whilst monitoring your hardware synths through the unit. Because it operates outside the normal Windoze audio system, latency is negligible which makes it great for using live.
IN USE - This is where we ran into a few problems at first. The KB37 only transmits on MIDI channel 1 so, because we had been using Channel 8, I had to go through all of our songs and change things to Channel 1. But it was worth it because in every other way, the KB37 delivers for us. It is a great device for recording vocals and synth parts and it is a flexible and handy controller for our sequencer and soft-synths. On stage it is even more impressive as we can use it for live vocal effects without having to run our voices through our sequencer software. With two footswitches attached I can change GearBox presets easily on stage and mute the effects between songs.
SUPPORT - Terrible. We had a few problems with the unit when we first started using it and the Line 6 forum was completely useless. After 8 weeks of getting no help from them whatsoever, I eventually discovered that the problem was not with the KB37. If it had been, I doubt it would ever have been solved.
OVERALL - This is close to the perfect solution for us. It is robust and portable, simple to use, yet offers incredible sound quality, both for getting clean recordings and from the amazing GearBox software. If the support was better, this would be a 5-star review.

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Cakewalk V-Studio 20 Stereo Audio Interface Review

Cakewalk V-Studio 20 Stereo Audio Interface
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Drivers for Windows 7 64Bits shows many problems, even though the VS20 is a great tool, good recording quality and makes the recording process really friendly.

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Pro Tools Mbox Mini (3rd gen) Review

Pro Tools Mbox  Mini (3rd gen)
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First let me say, I have no idea what the other guy is talking about. I just got my Mbox Mini the other day and had zero issues installing the program.
As for using the Pro Tools, it can do everything and sets the standard. I wish it came with more plug-ins, but those that are included cover all aspects of sound production. I was surprised to see a trimmed-down Guitar Rig 4 plug-in included.
While the learning curve for Pro Tools is steep, once you get the hang of it, there isn't anything it - and you, can't do!

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Mackie Onyx 32 Mixer (4 Bus, 28 Onyx Preamps and 2 Stereo Channels) Review

Mackie Onyx 32 Mixer (4 Bus, 28 Onyx Preamps and 2 Stereo Channels)
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Esta mezcladora es un equipo increiblemente genial, logramos superar todas las desventajas que habíamos tenido tiempo atrás. Tiene una consistencia robusta en los componentes, todos los controles demuestran gran calidad. El manual es sencillo e incluso puedo mencionar que aprendí muchas cosas del manual ya que no se limitan a explicar cuestiones técnicas sino más bien se obtienen ejemplos prácticos. El control que me proporciona sobre lo que quiero tener en el monitor/phones es increible. Todo lo que siempre había querído hacer para poder monitorear la mezcla ahora es posible. La calidad de la ecualización es estupenda realmente no es dificil lograr una equalización adecuada en pocos segundos. El compresor/limitador es un recurso importantísimo que va por el mismo precio. El control de las líneas auxiliares es genial.

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IK Multimedia AmpliTube 3 Amp & FX Tone Modeling Software Review

IK Multimedia AmpliTube 3 Amp and FX Tone Modeling Software
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A guitar/bass amp modeling software product with usable tones...? Seriously?
Yup.
I've used Line6, Studio Devil, and some other unmentionables over the past few years and I just could not accept them as serious tools. Useful for practicing quietly at home in the late night hours? Sure...but when it came to using them for recording, forget it. Everything seemed off, from overall tone to playing dynamics. It was always obvious that you were using software. So for a long time, I just steered clear of these tools, convinced that it would take some long-term research and development to solve the many issues.
But I'm pleased to say that products like Amplitube are giving me hope. I am very impressed with their version 3 and the newer Amplitube Fender release. Someone really has their act together at IK Multimedia and shows a great understanding of how guitar sound is produced overall. Plugging in and finding quite convincing tones ranging from the sweetness of a stereo chorus Roland JC120 to the onslaught of a Mesa Boogie Triple Rectifier with a distortion box out front always brings a smile. There are some less-than-inspiring presets, but these may suit some ears more than mine.
However, the real power is in Amplitube's flexibility. You can take any preset that's in the neighborhood of what you're looking for and then tweak it until you're happy. Everything from stomp boxes to the amp face dials to rack effects and microphone placement, it's all there. You can even tell it which mics (e.g., Shure SM57, etc...) to use, where to place them relative to the speaker, how far you want them from the front of the cabinet, and what type of room (e.g., small studio, hall, etc...) to use. The differences are sometimes subtle, but everything adds up to an overall sound. And once you have the whole configuration "just so", you can save the settings to your own preset folder and then call them up whenever. No need to write everything down and hope that you've accounted for each variable. The software takes care of it for you.
We're using Amplitube with our Mbox 2/Pro Tools LE 8 setup and it makes demo recording so much easier. Now the hardest part of recording is setting up the drums and vocals, as the two guitars and the bass are easy to configure and record. Not to mention that the direct in analog-to-digital recording is clean and free from ambient noise, so there's only minimal scrubbing required during mixdown.
I've read some reviewers out there speaking poorly of Amplitube and about modeling software in general. The central argument is always the same: poor tone and playing dynamics. I can understand this complaint and in the past, I'd be right there with them, chanting the Luddite opposition to digital anything. But not anymore. I'd recommend that the diehards out there demo the newest versions of these products and think again about how things are shaping up. I've been playing on and off for almost twenty years and in that time, I've owned and jammed on a lot of different amps, including a Fender Champ, Deluxe Reverb, and Twin Reverb, a Dr. Z Mazerati, Engl Powerball, two different Marshalls, and a couple Vox. I'm not a tone snob, but my ear is pretty good. To me, the new wave of modeling software is really starting to nail down the tone factor. Moreover, they're getting much better at rendering variables and dynamics such as pick placement and attack.
Is it perfect yet? Eh...maybe not. But things have come a long way and in my opinion, it's good enough for most recording efforts. Pros out there may not agree, but I'm speaking here to everyday folks like me who just enjoy writing and recording music and playing out live on occasion. Note that for live applications, you'll really want a way to access the presets more conveniently, like IK's StompIO floorboard, which is another considerable investment by itself.
Bottom line: give it a try and I really think that (unless you're a tone snob) you'll be impressed.

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M-Audio Fast Track Ultra 8R Review

M-Audio Fast Track Ultra 8R
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Both this and the Presonus FireStudio are quite awesome audio interfaces. Never heard a pop and static is phenomenally low. It is built like a TANK and I'm sure it could withstand a beating. Preamps work great. The only downside, and I mean the only bad thing about this interface is that MIDI requires a breakout cable. Not a big deal but it's just something you could lose easily. I definitely recommend getting this. It really is great.

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MOTU Audio Express 6 x 6 FireWire/USB2.0 Audio Interface Review

MOTU Audio Express 6 x 6 FireWire/USB2.0 Audio Interface
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The Audio Express is solid and sturdy, and comes with adapters so you can mount it on a rack shelf. I'm still learning how to configure it; my first session with the AE took a very long time, the next one went more quickly.
The USB/FireWire interface works well, and the unit will power itself off bus power while on FW, but needs the included audio adapter when using USB.
The front panel is difficult to figure out, and am only now starting to get used to it after using it for a few weeks; a lot of functions are accessed by pressing the pots in to cycle through different modes.
A nice touch is the locking connectors for the combo XLR sockets; no more pulling a mic out accidentally, at least not out of the Audio Express. (This'll put my mind at ease a bit when using phantom power.)
Recommended tentatively, since I'm still leraning the unit; I'm also undecided on whether I should have spent the extra money on the MOTU Ultralite or the MOTU 828mk3 Hybrid Firewire Audio Interface, although the Audio Express's small size makes it far more portable. However, coming from an M-Audio FireWire 410 4-In / 10-Out FireWire Mobile Recording Interface, this unit is a vast improvement.

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PreSonus StudioLive 16.4.2 16-Channel Digital Mixer w/ FireWire I/O Review

PreSonus StudioLive 16.4.2 16-Channel Digital Mixer w/ FireWire I/O
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I bought the StudioLive about a month ago and have been playing with it since then in preparation for winter concert season. The first thing I did was connect a mic to every input and test the gain, routing, and outputs for every channel. Everything worked flawlessly, sounded great, and was easy to do.
Sound Quality
The sound quality on this is amazing. I've been working with Mackie mixers and the low-end A&H one, and the sound is cleaner (absolutely no audible noise even at very high gain). Some people might be worried that the digital EQ would be harsh, but believe me, this sounds just as "analog" as the analog boards I use, and it's actually more precise and more flexible. The quality of the compressor is also great. I've previously only used kind of low-end compressors, and this blows them out of the water. The tone is not colored at all, and I don't hear any weird digital artifacts. I've also pushed the compressor up to limiting, and it's a very smooth sound, not harsh and fuzzy like most digital limiters I've used.
Ease of Use
I love the simplicity and power of the FAT channel. It's great to be able to set up one channel, copy it to all the others, and tweak from there. Routing is also a piece of cake, and the FX interface is intuitive. Overall I think this is very well designed for use in live situations where adjustments have to be immediate.
Features
This is the only board anywhere near this price range that does everything I want - great, clean preamps and mixing; flexible, powerful, sweet-sounding EQ; excellent dynamics processing on every channel (and even the buses!); crystal-clear A/D for recording, with built-in firewire; recording pre or post FAT channel; analog direct outs on every channel right after the preamp; built-in effects that actually sound good.
I think it would be hard to find a live mixer with better sound than this for anywhere near this price. You might be able to find slightly better compression and FX on outboard gear, but it would cost at least $100/channel, and be a pain to patch together in live settings. Not only that, but patch bays and cables add noise that this mixer doesn't have. Plus, this takes no setup time (turn it on, recall settings, go) and is a lot easier to transport (even though the SKB case for this thing is HUGE!). So really I think this is a huge win.
I'm replacing a 16ch mixer, two 8U racks of outboard gear, 2 insert snakes and 2 patch snakes, and an A/D computer interface (E-MU 1616M) with this one piece of equipment that sounds better, cost less in total, and is 100x easier to setup and use. To me, that says 5 stars any day.

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StudioLive is the most powerful and flexible sixteen-channel digital mixer the world has seen. Loaded with sixteen high headroom Class-A XMAX microphone preamplifiers, built-in 28x18 FireWire recording and playback engine, 'Fat-Channel" processing with 4-band EQ's, compressors, limiters and gates, DSP effects, six aux buses, four sub-groups, extensive LED metering, mixer save and recall, channel-strip save/recall/copy/paste, talkback and more, breaking new boundaries for music performance and production

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M-Audio ProFire 2626 High-Definition 26-in/26-out FireWire Audio Interface with Octane Preamp Technology Review

M-Audio ProFire 2626 High-Definition 26-in/26-out FireWire Audio Interface with Octane Preamp Technology
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A few months ago, i decided to update my MOTU 828 mkii firewire interface with something that has better DAC converters, so i did some research and i decided to purchase the M-Audio Profire 2626.
When i plugged this unit in my studio and listened to it, i was taken by the clarity of the DACs, i also did some testing of the preamp mics, and they are clean sounding and uncolored.
So, I thought i had a great deal.. a 192/24 firewire 8x8 interface for around $500. Unfortunately, as i started using the unit more and more in my studio, i realized the many problems m-audio has been infamous for: bad drivers and unreliable software.
1-The biggest problem with the unit is that the latest ASIO M-Audio 2626 Windows XP drivers will blue screen some XP workstations when changing the audio resolution from 96k back to 48k or 44k in a DAW or some other program that uses the unit's driver. There is a thread in the M-Audio's forum about this, and quite a few people are experiencing this problem. As of January 10th 2010, the problem is still unresolved.
The funniest and saddest thing of all, is that when i use the free ASIO4ALL drivers with the Profire-2626, they do not crash Windows when switching audio resolutions. This should tell you how bad M-Audio drivers are.
2-The marketing literature for the M-Audio is basically incorrect and will lead you to believe the digital mixer offers true mixing flexibility (like MOTU's CueMix software) of all inputs and outputs.. which is FALSE. You can use the digital mixer's faders to control the analog inputs coming into the unit, ONLY if the inputs are connected to the preamps via XLR plugs.. if you use TRS 1/4" jacks to connect to inputs 3-8, the signal bypasses the mic preamps and cannot be controlled in the digital mixer. How stupid is that?
I had to go out and order 1/4" to XLR adapters to connect some of my synths to be able to control their input in the digital mixer
My older MOTU 828 mkii unit never had this inconvenience...
3-Want to use the 2626 inputs and outputs to send digital signals from your DAW to an analog box and back into your DAW?
Good Luck.. it took me a while to figure out how to do it (nevermind i used to do this in the MOTU 828 mkii all the time) and then i wasn't able to monitor the return signals without listening to the return signal mixed with the send signal!
Yep.. you can't monitor return signals without going through the mixer unless you are using the XLR inputs.. because if you use the TRS inputs you cannot control or mute the signal!!
2010-02 UPDATE
4-About 10 months ago, a user in the m-audio forums discovered that the Profire 610 and the Profire 2626 are not sample accurate when recording. What does this mean? it means if you want to record a band playing together, the tracks are going to be out of sync with each other, and you will need to synchronize them by hand in your DAW.
M-Audio confirmed this was a problem with their drivers, but after 10 months of waiting a fix hasn't been released yet.
All this problems with M-audio's unreliable and poorly written software have lead me to eventually replace this unit with something that offers better software and hardware quality, like the RME fireface 800.. the thing stopping me is the price.. the RME Fireface goes for about twice the price of the Profire 2626.. and for a good reason.
The experience with the profire 2626 has taught me a lesson: Don't buy another M-Audio product ever again.
But, don't just take my word for it.. point your browser to M-audio's profire forums and you will see all the problems users are having with this unit..


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Building on a legacy of award-winning FireWire audio interfaces, the M-Audio ProFire 2626 brings next-generation performance to your PC or Mac host-based recording system. This powerful interface delivers 26 x 26 simultaneous I/O, complete with an onboard DSP mixer sourced from up to 52 audio streams. It features every kind of connection you needincluding award-winning Octane preamp technology on all eight analog inputs, ADAT, S/PDIF, word clock and MIDI. Critically acclaimed JetPLL jitter elimination technology ensures pristine audio quality and reliable synchronization all the way up to high-definition 24-bit/192kHz resolution. In addition, ProFire 2626 offers easy FireWire connectivity, extremely low latency, dual headphone outputs, front-panel instrument inputs and standalone operation. ProFire 2626 is compatible with most major audio software, including Pro Tools M-Powered.* * Compatible with Pro Tools M-Powered 7.4 with downloadable update. Please visit m-audio.com for update availability. 96kHz and 18 x 18 I/O maximum with Pro Tools M-Powered.

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Alesis MultiMix 8 USB 2.0 Mixer Review

Alesis MultiMix 8 USB 2.0 Mixer
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I was a little nervous to buy this without reading someone's assurance that it would do specifically what I wanted: record our band multi-tracked into a MacBook.
But it works great. No hiccups while streaming 6 channels at once into Garageband. Amazing at the price.

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Designed with low-noise analog electronics, the MultiMix 8 USB 2.0 mixer lets you take advantage of 100 studio-grade 28-bit digital effects. Whether used for mobile or studio recording, the MultiMix 8 USB 2.0 mixer makes recording high-quality audio to your computer fast and easy. The MultiMix 8 USB 2.0 mixer is also bundled with award-winning Cubase LE software for instant creativity right out of the box.
Key Features
10-direct outputs to your computer for recording and 2 return inputs for monitoring
High-gain mic/line (XLR and 1/4-inch balanced) inputs with phantom power, 2 stereo balanced 1/4-inch
Line inputs, aux send (to onboard or external effects), stereo aux return
Switchable 75Hz high pass filters
100 onboard 28-bit preset effects including reverbs, delays, chorus, flanging, pitch and multi-effects
3-band EQ per channel with high/low shelving and mid band pass/reject
Separate 1/4-inch balanced main and monitor outs, headphone out
24-bit, 44.1 to 96 kHz operation with high-end A/D and D/A conversion through an integrated USB 2.0 Audio interface
Steinberg Cubase LE included

Specifications
Input Channels
Mic In Sensitivity Range: -60dBu to -10dBu nominal, +5dBu maximum
Line In Sensitivity Range: -40dBu to -+10dBu nominal, +25dBu maximum
Mic/Line Gain Range: +10 to +60dB

Equalization
High-Pass Filter: 75Hz, 18dB/octave
High Shelving: 12kHz, +/- 15dB
Mid Bandpass/Band Reject: 2.5 kHz, +/- 15dB
Low Shelving: 80Hz, +/- 15dB

Aux Sends
Aux Send A & B Gain Range: -∞ to +10dB

Aux Returns
Aux Return A Gain Range: -∞ to +15dB
Effects Level/Aux Return B Gain Range: -∞ to +15dB

Channel Levels
Channel Level Gain Range: -∞ to +10dB

Master Levels
Main Mix, Ctrl Room Gain Range: -∞ to +10dB

1/4-inch Inputs
Stereo Aux Return Level: +4dBu nominal, +20dBu maximum

RCA Inputs
2-TRACK IN Level: -10dBV nominal, +5dBV maximum

1/4-inch Outputs
Main Mix, Ctrl Room, Ext Aux Send Level: +4dBu nominal, +20dBu maximum
Headphone Output: 75 ohm output impedance >105mW into 75 ohms, >40mW
into 600ohms

RCA Outputs
2-TRACK OUT Level: -10dBV nominal, +5dBV maximum

Dimensions and Weight
14.5 x 10.75 x 5 inches
7 pounds



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Apogee Duet - Audio input adapter - IEEE 1394 (FireWire) Review

Apogee Duet - Audio input adapter - IEEE 1394 (FireWire)
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I bought the Duet to use with my Aluminum iMac and Logic Studio 8 and have had zero problems with the unit. The interface is very streamlined so you have to get used to using a single, multi-function knob for everything. The quality of conversion between analog and digital is head and shoulders above anything else near this price level. It sounds as good as units costing 3 times as much due to the designers' emphasis on quality sound. To get the high quality conversion at this price you are limited to the line outputs and headphone output levels being permanently linked. Some people find this a drawback, so be aware before you buy if this feature is something that is a deal breaker for you.
The small form factor is nice because as anyone with a home studio can attest to, space is not a luxury we have. I didn't pick this for its portability but as it is the size of a paperback book I can imagine it being very easy to tote around with a macbook/pro.
The included Maestro management software is straightforward and lets you set the unit up in seconds with a very easy to understand user interface. Configuring my iMac to use this as the audio input and output took less than a minute from reading the instructions. Making Logic label its mixer to match is equally simple. One thing I found convenient is how OSX lets you still use the iMac's built in speakers for the system alerts so that an error message gong sound isn't sent out through your 100watt studio monitors. You can set the output level of the system alerts separate from the duet's outputs.
The breakout cable is securely attached and the plugs are labeled with big, clear markings so changing hook-ups is easy. It has phantom power if your mics require it, which is set using Maestro.
Most audio interfaces in this price range try to win you over with more I/O channels or other add-ons instead of making the best sound conversion. They trade quality for quantity with predictable results. Apogee decided on doing a simple 2 channel interface, a single physical control and top shelf A/D/A converters so the result is the best 2 channels you can get. When you want more channels without sacrificing quality then you can step up to their Ensemble line.

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Shure PGDMK6-XLR 6 Drum Mic Bundle Review

Shure PGDMK6-XLR 6 Drum Mic Bundle
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I recently purchased this set of microphones and all I have to say is... I love them!! Definitely a very good buy!

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Tascam US-1800 USB2.0 Audio/Midi Interface Review

Tascam US-1800 USB2.0 Audio/Midi Interface
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I bought this unit partly because it came with a nice audio recording program called cubase. I like the interface but trying to register and run the free software has proven to be impossable. Great interface but don't buy it hoping to be able to use the software the company behind the Software has made it impossable to use their product (Steinberg). Interface is really usefull and easy to use. 8 xlr, six 1/4" plus midi and spdif(digital) inputs to connect to your computer with a single usb cord. Four assignable outputs. Phantom power to boot on the xlr ins. Very clean sound and I haven't add any problems with latense. Used it to record my band live, no problems running all 14 analog inputs and spdif at once for 15 tracks.

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Behringer DEQ2496 Component Rack Review

Behringer DEQ2496 Component Rack
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After using this unit about four times, it started crashing with a message that a "fatal error 11" had occured and to reset the device. I could no longer use the device in my live sound PA system due to its unreliability.
I put some heatsinks on the SHARC digital processor chips which were running too hot to touch with your finger. Once the heatsinks were in place, the unit did not crash even after sitting in my garage in 95 degree heat.
If not for this problem, this unit could be an excellent processor unit, superior in fact to units costing far more. The display gives extremely useful information in a clear way. The multi function EQs and compressors are excellent.
Too bad Behringer did not put 50 cent heatsinks in the unit.

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PreSonus Central Station Studio Control Center Review

PreSonus Central Station Studio Control Center
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I've got a very clean signal path, excellent converters, excellent monitors (Genelec), I do all my matrixing and routing through an Audient ASP510, and all I wanted the Central Station for was talkback and the cue send to talent. I liked the fact that I could move the remote control around the room, so the client could use it and the rest of the time the engineer could use it.
I have three complaints: (1) for no reason it completely fails to pass signal and must be unplugged and started up again, (2) it overheats, and (3) oh my god it has the worst-sounding talkback mic I have ever heard. It desperately needs a hi-pass filter on the talkback circuit because it sounds like some evil demon of low frequency RUMBLE has taken over the sound whenever the TB mic is keyed. It DOES have an XLR input for a mic of my choice, but guess what? It has no phantom power, so condenser mics need not apply for the job. Total bust/total crap. The talent complain every time and I don't blame them.
One more gripe for good measure -- how about some XLR inputs? Does everything have to be phono plugs?
Super cheap unit. I refuse to pass my mix buss through it, and people who praise the sound have no idea what good sound is. Take it from someone who owns Bryston SST amps and has been in the business of sound since 1983. Looking to sell mine on ebay right now.

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The Central Station is the ultimate studio-monitoring interface for the modern digital studio. The Central Station features three sets of stereo analog inputs to switch between input sources such as: DAW, mixer, CD/DAT/Tape player, or keyboards/samplers. Two stereo analog inputs feature TRS balanced and the third stereo input features RCA inputs with trim control for level matching of input signals. In addition, the Central Station will accommodate two digital inputs via S/PDIF or ADAT lightpipe providing D/A conversion up to 24Bit/192kHz. This allows you to monitor DAW and CD/DAT outputs through the same professional quality converter for the most accurate A/B comparison and highest quality monitoring environment. The digital to analog converter offers the highest possible audio quality with over 117dB dynamic range and ultra high quality analog circuitry. The Central Station features three sets of monitor outputs, each with their own set of passive trim controls. The monitoring section also provides MUTE, DIM and MONO switches. In addition, the Central Station includes a set of CUE outputs that can feed headphone amplifiers and a separate stereo MAIN line level output.

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PreSonus FireStudio Mobile Review

PreSonus FireStudio Mobile
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I have had this one for 3 weeks now, and have been using it for recording since. I'm using it to replace the Mackie Onyx Satellite I have (which doesn't work with Win Vista) in my home studio.
The first thing I "must" notice was the 4 rubber feet at the bottom of the unit keep coming loose. Presonus didn't do a very good job gluing these to the unit. I got tired of sticking them back on and just leave them off, but that's harmless. Maybe my unit is a pre-release unit or something, cuz I got it 1 week before the supposedly release date of 10/22.
The second issue is the noise I got when plugging my condenser directly into the Mic/Inst 1 (and use the 48V provided by the unit). Quite a bit of noise at 1/2 of the knob. I ended up turning the gain on Mic/Inst1 down to minimum, and have my condenser go to a Studio Projects VTB1 pre-amp instead. WIth this setting, I could crank up the VTB1's Input Gain to 40/60, and Output Level to max (12), while leaving the Mobile's Input Gain at just 1 click above the minimum. I now have no noise on the line. So the preamp on the Mobile is very noisy. I'm using an AKG C414B condenser as my primary mic.
There is no issue with the software driver. Presonus is always good at staying on top with their drivers. Installation is easy. The Firewire connection is very reliable.
The bundled StudioOne software seems very easy to use. But I'm not using it as I already have Cubase 4.5. It's probably just a good starting out software, just like Cubase LE.
I would recommend upgrading your PC should you have anything slower than 2.4GHz. When the CPU is too slow, you're gonna get pops and clicks in your recording, and that usually is not the Audio Interface box's fault. In my case, I have an over-clock i7 Quad Core CPU.
Based on my past experience with Presonus interface (I had a Firepod in the past), Presonus stuff are reliable, their preamp is probably a little noisy, though.

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Carl Martin PlexiTone Pedal Review

Carl Martin PlexiTone Pedal
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There are several good analog pedals that replicate ( not model) the sound of a high-gain Marshall tube amp:
The Sansamp GT-2, and Sansamp "British" pedals, as well as the Sansamp PSA 1.1 all do a great job of that.
The Sansamp PSA 1.1 is best for rack-rigs where midi control and signal-routing flexibility are necessary.
The other two pedals are ideal if you must run with batteries.
If you want PURE ROCKIN MARSHALL TONE, PLUS a great boost feature ( up to 20 dB) then this Carl Martin Plexitone pedal is the best I've have ever heard in 40 years of professional playing. It has the TONE and FEEL of my Customized Marshall 100 watt head (circa 1969) that was modified by Jose Arrendondo in the late 70's.
The CM Plexitone has its own internal power supply, which is absolutely necessary for the massive headroom you need for authentic Marshal tone. That also means you do NOT need a "wall-wart" to run it, but it means you must find an outlet for it.
The three footswitches are robust and spaced so my size 12 boots hit the mark without problems. Bright blue LED lights give instant indication of what's ON. The high-impedance input helps reduce signal loss from cables. In effect, this acts as a buffered "front-end" for the rest of your chain... and it's a damn good buffer too.
If you like your basic amp sound, but need a better preamp for the front-end and could use a boost for solos, this is the pedal to get.
Over the last couple of decades, my friends and I have used various CM products. All of them are great. They build everything like they care. They are good at what they do and it shows. CM pedals are worth the extra dough.
Other than lucky auctions, I got the best price on a new one from Prymaxe, a dealer in New Jersey. The shipping was fast with no problems. Highly recommended.

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