Showing posts with label home recording. Show all posts
Showing posts with label home recording. 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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Fostex MR-8mkII 8-Track Digital Recorder Silver Review

Fostex MR-8mkII 8-Track Digital Recorder Silver
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I still have the 1st gen MR-8 (the red one) and when I got the silver Mk-II for Christmas, I wasn't sure I really needed it, as I thought it was no better than my red one but for throwing on a few more bells & whistles. Firing it up and laying down a few basic tracks and playing them back demonstrated that not only are there a couple more features but the sound quality is much improved over the original. I played it back through my stereo with my wife in another room across the hall and she thought I was playing the guitar and singing live. So, I'm looking forward to doing a lot of recording with this unit with more professional sound quality (I believe it is equivalent to PC sound quality, plus I like the silver finish much better than the old red model!) This is a very nice personal recorder for not a lot of money.

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Audio-Technica AT4021 Cardioid Condenser Microphone Review

Audio-Technica AT4021 Cardioid Condenser Microphone
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This is a sweet little small-diaphragm condenser. It is near-ruler-flat from 20-20KHz. Getting those extremes -- 15K-20Hz and especially 20-50Hz -- is unusual in an affordable cardioid SDC.
I like this mic for general acoustic ensemble or instrument recording because of the extended low and high-end (really sweet lows). It is very popular on acoustic guitars, and wherever you want to capture the shimmer up top (choirs, drum overheads). I've gotten agreeable full-range jazz drum kit tracks by setting one up level with the top of the kick, a foot out in front of the kit.
Another mic to consider at this price/performance point is the Shure SM81 Instrument Microphone (it has just the slightest bit of color compared to the 4021, and a narrower frequency range, but it is a classic clean bright sound for this kind of thing). You can find sound samples of this and other comparable mics by searching for SDC microphone shootout on the web.
You may also be weighing this against Rode NT5 Matched Pair Recording Condenser Package (or you were back when this was $250). I think the 4021 sounds a tad better than the NT5 as a single mic, a little less hyped upper mid. But if you are planning on using two as a stereo pair, you might prefer the NT5 matched pair, because its off-axis response is more suitable for stereo recording. The off-axis response of the 4021 is pretty interesting -- it stays flatter for the mid- and higher-frequencies, and drops off for the lows. That's backwards from many mics. It means it's more forgiving about placement for something like an acoustic guitar or cymbal. But it also means your stereo image will smear towards the center with coincident stereo miking techniques, except for the low frequencies (exactly where coincident imaging is less effective anyway).
So if you use a pair of these for stereo, set up non-coincident, ORTF or even as you might place omnis. I get really pleasing results with a 4021 pair inside a grand piano, in an ORTF configuration nearly centered inside with one pointing to the high hammers and one pointing to the low strings at the back of the piano.

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Blue Microphones Baby Bottle Cardioid Condenser Mic Review

Blue Microphones Baby Bottle Cardioid Condenser Mic
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I've experimented at my home studio with many mics in this price range... and I've worked in very high end rooms where we had Neuman's and old Sony's. It doesn't matter, if you don't have basic mic techniques down, you can make a 7ooo.oo "moded" Telefunkin sound like the condenser in your old cassette recorder.
With That in Mind...
This Mic Rivals Mics costing three times it's list price to my ears.
Plenty of bottom, well appointed high's .. and a very present but un-screechy midrange. Excellent for loud guitars, snare drums.. even lower "bout" mic-ing on a Larivee Concert Grand acoustic at a slight off-axis proved bright and full. But where this thing really shines, is on Female Vocals... Gospell/Country/Even Pop,, close and warm with low low noise...wow~
I have a "Studio Projects" original C-1 with a slight mod that I use for Male/metal/Pop vocal stuff as it delivers a munch sharper mid and high, the Baby Bottle for Female Vox/Acoustic git/Electric git/horns and Piano... over head, a pair of C-1000's an "Earthworks" drum "set" and a Sanheiser for Electric Bass cab.. and that's about it. If I have a Thousand bucks total invested I'd be surprised. And I'm charging 80.00 an hour (home studios can make money)
If I had only "1" to go do a job with.. It would be the Blue.. I'd really like to buy 2 preferably in sequence and then I'd get rid of the C1000's all together.
Lastly..It's got a "Euro" Vibe ...I can't put my finger on it any better than that. Funny thing about Chinese Mics they all sound the same,,,(except for the SP C-1), None of them have that real clarity without the sibilant shrill top end.. The Bottle is so low noise and silky smooth it's an immediate thing... you'll feel it.
If I lost It..
I would replace it immediately.


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Rode NTK Tube Condenser Microphone Review

Rode NTK Tube Condenser Microphone
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Great mic - excellent sound. I have been a pro voiceover artist for over 30 years and have dealt with a variety of studio mics. In building my own studio I really wanted a front end that had a clear and smooth full-range sound. The R0de NTK was recommended to me by another "big voice" artist, and completely lives up to the recommendation. Everyone I have talked to says it's about the best value out there. If you have cash to blow, you can get a "noyyyyyymannnnn" (raise eyebrows here), or you can enjoy the sound of this mic and take the extra $3200 and spend it on more gear. The hard plastic padded case for the mic and power supply are a nice touch. Don't forget to buy a shock mount for it!
Enjoy -

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Avalon VT737SP Class A Tube Channel Strip Review

Avalon VT737SP Class A Tube Channel Strip
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I use this channel strip during nearly every recording session I run. The sound is amazing for vocals (in combination with a good mic), producing a warm and yet extremely clean sound.
I have used the unit on acoustic guitar, kick drum, electric guitar and even bass. I was able to get stunning sound from all sources, with a little tweaking of the settings and mic placement.
This unit is capable of immaculate results. Well worth the money.

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Behringer 1622FX 16-Input 2/2 Bus Mixer with Effects and USB Review

Behringer 1622FX 16-Input 2/2 Bus Mixer with Effects and USB
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I have been looking for a mixer for my home studio. I use it to produce audio programming for a radio station.
I checked several others along with this. I heard good reviews on Mackie products. I have seen them in action and I believe they are quite good. However, after a comparison, the Behringer is of equal quality with more features for a lower price. I would highly recommend this to anyone needing to mix several aux sources along with microphones.

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The X1622USB features four XENYX-fueled mic inputs with channel Inserts, "one knob" compressors and 3-band British-style EQs with a sweepable, semi-parametric mid frequency band. The four stereo line-level channels offer enhanced fine-tuning via 4-band EQ, which is extremely handy for adjusting critical keyboard midrange frequencies. Aux 1 Sends are switchable (pre- or post-fader) and individual channels can be assigned to two subgroups for mixing flexibility.

XENYX USB Series Mixers XENYX USB Series mixers are designed to handle your live gigs, and they provide the state-of-the-art tools you need to make stunning, professional-quality recordings. Along with their built-in USB/audio interfaces, XENYX USB mixers come with all the recording and editing software you'll need to turn your computer system into a complete, high-performance home recording studio.
Sonically Superior Mic Preamps All XENYX mixers have one thing in common--great-sounding, high headroom XENYX mic preamps. These state-of-the-art mic pres represent a major step in the evolution of audio technology--and they can easily hold their own, even when compared to the most expensive stand-alone mic preamps. XENYX preamps offer a staggering 130 dB of dynamic range, with a bandwidth that extends from below 10 Hz to well above 200 kHz. Armed with these outstanding mic preamps, XENYX mixers provide such transparent, crystal-clear performance you just might think someone upgraded your mics while you weren't looking.
Sublimely Musical British EQ The British consoles of the 1960s and '70s changed the sound of rock and roll--without them the British Invasion might not have happened. Those legendary mixing desks soon became the envy of engineers and producers all over the world. The channel EQ on our XENYX mixers is based on that very same circuitry, allowing you to imbue signals with incredible warmth and detailed musical character. Even when applied generously, these equalizers exhibit sweet forgiveness and superb audio quality.
One-Knob Compression Ask professional sound engineers what their favorite piece of external processing gear is and the majority response will be virtually unanimous--dynamic compression. What is compression? We're glad you asked. Compression essentially limits the dynamic range of a signal, lowering the level of loud sounds and turning up softer sounds, to achieve sonic balance. But applying compression is a delicate art that many novice, and even intermediate, sound techs have great difficulty mastering. Our "one-knob" compression is available on all mono channels and is easy to operate, even for entry-level users. With this one knob, you can easily dial in the perfect amount of compression for instruments and vocals, creating powerful mixes with punch and clarity. This is indeed a rare feature for products in this class--but standard on all XENYX USB mixers.
Effective FX All XENYX USB Series mixers (except the 1204USB) feature our new 24-bit dual engine FX processor, with 16 editable, studio-grade presets including reverb, chorus, flanger, delay, pitch shifter and multi-effects. Complete with a highly accurate input meter, these effects can be altered to your personal taste via the Parameter control. Time-based functions can be entered manually by pressing the Tap button in tempo with the music.
Recording Bliss There was a time when the recording process called for lots and lots of expensive gear, which meant the average musician had to buy time at a recording studio--and that time was pricey indeed. But modern technology has put personal recording well within the reach of virtually anyone with access to a computer. How do you get all that music flying around your brain into your computer? That's where XENYX USB mixers come in. Thanks to the built-in, bi-directional stereo USB audio interface, you can connect any of these mixers directly to your PC or Mac computer via a single USB cable. Now any signal source you connect to the mixer can be recorded directly to your hard drive.
Software Included Because you'll want to take full advantage of the XENYX USB Series mixers' recording and podcasting potential, Behringer has thrown in a massive software package that includes Audacity (the most popular open source audio editor), Podifier, Juice, Podnova and Golden Ear (a great selection of podcasting software). You're ready to go live on your PC or Mac computer right out of the box! You also get more than 100 virtual instruments and 50 FX plug-ins, turning your computer into a complete home-based or mobile recording studio from input to output.
energyXT2.5 Compact BEHRINGER Edition Included When you're ready to take your recording projects to the next level, XT Software's energyXT is just the trick. This amazing DAW (digital audio workstation) makes it easy to manipulate your audio and MIDI files, turning song ideas into stunning CD or Web-ready recordings. energyXT includes its own multi-FX processor, plus a built-in synthesizer/sampler and a drum machine, both of which can be accessed directly via an external controller (such as our UMA25S) or programmed in step-write mode.
What's in the Box Behringer 1622FX Mixer, Power Cable, User's Manual, Software CDs, Rack Mount Brackets

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Behringer PMP3000 1,200-Watt 16-Channel Powered Mixer Review

Behringer PMP3000 1,200-Watt 16-Channel Powered Mixer
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We bought this powered mixer to replace a defective one at our church. Our sanctuary can seat 900 people and so it is a fairly large auditorium. The mixer has more power than the previous powered mixer and many more features. I especially like the individual channel mute buttons so we can kill a mic without having to move the gain adjustments. The only thing I did not like about this mixer is there was no block working diagram available. So we had to construct one for ourselves. To a trained eye, by using a block schematic diagram, it is easier to know how to set up the mixer for different applications and to troubleshoot a problem.
The actual steady state power output is more like 200 watts (each of the two stereo outputs)for our 8 ohm speaker system but still is greater that the old powered mixer. That is a total of 400 watts as compared to the (at first glance) advertised 1200 watts. We do not have to use the maximum gain on any channel so the output is fine for our use. There is also a headset output that follows the actual powered signal which can give you a better idea of mixed signal that is sent to the speakers and to our DVD and CD recorders.
The people at Behringer were able to answer all my questions without any problems so tech support was great. We did have a little difficulty in figuring out how to use the FX special effects (reverb, etc) generator but once we did figure it out, using it was just as advertised. You can probably guess that the instruction manual is not extensively done. But with a limited budget for an emergency purchase of a powered mixer, we are thoroughly satisfied with the quality and price.
The price is exceptional and caused a few doubting comments about how could we get what we needed for such a small price. We have been using the unit for two months now with absolutely no problems.
My suggestion is that before you purchase this unit, download the instruction manual from the Behringer site. You will see the output connection is not a 1/4 jack. If that is what you have, you will have to buy an adapter or convert the present cable connection to the new type. The adapters or connectors are not very expensive (Neutrik NA4LJX Speakon To 1/4" Mono Jack Adapter)and cost under $11 including shipping. You can optionally by the Speakon connectors and convert the speaker cable to the new connector type.

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If you need superior stereo sound for small club gigs, churches or speeches, but have to keep the outboard gear to a minimum, the 16-channel PMP3000 can deliver. This 1,200- Watt mixer has built-in mic preamps and an FX processor, as well as enough power to drive mains and monitors, thanks to dual onboard 600-Watt power amps.

Massive Mono or Stunning Stereo The PMP3000 gives you the choice of 2 x 600-Watt stereo, 2 x 600-Watt dual mono or 1,200-Watt bridged mono sound. Whether the center of attention happens to be a folk trio, a speech, or a synth-rock band with mind-boggling stereo patches, the PMP3000 can accommodate. This sonic versatility also makes it an excellent choice for churches, where vocals and stereo recordings often share face time.
Classic Control, State-of-the-Art Sound Leave the mic preamps at home, because the quality of sound that was once only available in the studio is ready to go wherever you do. Eight built-in, boutique-caliber mic preamps with switchable +48 V phantom power make it possible to use either dynamic or condenser mics with the PMP3000.
Built-in Digital Effects Processor The PMP3000 is also equipped with a 24-bit FX processor, giving you 100 mind-blowing digital effect presets such as delay, chorus and reverb. Apply them to any channel, as well as to the monitors and main output. In case you're pulling double duty as sound engineer and performer, the FX processor features a footswitch jack for remote on/off.
Changing the Channels The PMP3000 gives you excellent flexibility to accommodate whatever a performance requires. Channels 1-8 are for mics, guitars and other mono instruments. Stereo channels 9-16 are ideal for keyboards. All mono channels have 3-band EQ, switchable Low Cut filter for eliminating infrasonics, and Clip LEDs to indicate when the input signal is too hot.
The Ins and Outs Use the CD/TAPE IN RCA inputs to feed in external stereo signals from CD players or tape decks. The VOICE CANCELLER switch eliminates the vocals from pre-recorded music for karaoke applications.
CD/TAPE RCA outputs send line-level signals from the mixer to a recording device. Left and right output 1/4" connectors are there in case you need to connect more power amps. Connect your monitor power amps or active monitor speakers to the MON SEND output.
A STANDBY switch mutes all mic channels during breaks, preventing the microphones from picking up noise or interference. You can leave all faders untouched while you play a CD via the CD/TAPE inputs.
The FBQ Feedback Detection system automatically shows you which frequencies are causing feedback. Just touch the FBQ button and watch the red LEDs on the 7-band graphic EQ pinpoint which frequencies to adjust for optimized sound, without the feedback.
Speaking of Optimized Output The PMP3000's POWER AMP switch toggles between three operating modes: MAIN, MON/MONO and BRIDGE (the power outputs of A and B on the back panel are added and provided at OUTPUT B). Dual mono mode allows you to use Output A for mono Mains and Output B for monitors. This clever functionality powers both your mains and monitors without the need for an additional power amp.
What's in the Box Behringer PMP3000 Powered Mixer, Power Cable, User's Manual

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Allen & Heath ZED-10FX Four Mono Mic/Lines with 2 Active D.I., 3 Stereo Line Inputs and Onboard Effects Review

Allen and Heath ZED-10FX Four Mono Mic/Lines with 2 Active D.I., 3 Stereo Line Inputs and Onboard Effects
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Just got the ZED-10FX. So far, I have only tested it and done 1 gig but wanted to get a quick review in for those of you shopping as vigorously as I was. My goal was to find something that had high quality audio but a low channel count and small footprint (I'm a solo musician). It has thus far met my needs.
My first priority was finding quality mic preamps, I've found this to be as important as the microphone that's used. These apparently use the same design as the ones A&H puts in their acclaimed MixWizard series. I can only compare them to the Mackie CFX series preamps that I'm used to and LOVE. The ZED's are just as good or better- really clear, warm, and responsive. I also use a stereo channel to run a loop station with beats, electronic phrases, and live guitars. The overall output of the mixer just sounds great- clean, punchy, musical. The EQ is killer as well, very legit and impactful as you adjust. Knobs instead of faders was initially a turn-off for me but I must say I am really happy with these. They are very well mounted and have a heavy, super smooth movement to them. The gradual and fluid change in the levels as you turn the knobs is far superior to what I'm used to with Mackie. They are also very brightly colored and contrasted for low light identification of everything. I would actually take these knobs over a cheap 60mm fader any day.
I have not done any USB recording so can't say much on that (although it's a little disappointing not to have channel separation as you would get with the cheaper Alesis Multimix). However, the analog recording and signal routing flexibility of the ZED is impressive and sold me. Personally I am running my stage monitor out of the "monitor out" and saving the aux send as well as the assignable "record out" for sub mixing and live recording to a digital 4-track. Also, the circuitry and switching of everything is really clever and illustrated well on the mixer surface with helpful connecting lines.
Construction seems pretty solid short of some barely noticeable stressing on the seams of the red plastic sides (Made in China, par for the course) and the rubber feet are not perfectly level with each other. Neither issue represents any malfunction as far as I can tell but I'll admit its aesthetically annoying.
As far as the FX go, I think they are easy enough to control and the basics are there (reverbs, delays, etc.) However they didn't blow me away sonically at least for recording- just a hair on the cheapy sounding side. I've been fine with them in live application though and they are certainly adequate for this price point.
Overall, this is a great sounding mixer that's the size of a bulky laptop and weighs 8 lbs.! Combine it with some nice active loudspeakers (I use QSC K10s) and you've got a powerful system that fits in your trunk.


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Built by Allen & Heath, ZED-10FX is an amazing little desk for small band mixing, complete with onboard effects. It is ultra portable for carrying to the gig, and can be used for recording live or in the studio. Guitars can be plugged in directly to the mixer using the specially designed high-impedance inputs, while the mixer has two stereo inputs for MP3/CD players or keyboards. Equipped with professional XLR stereo outputs and a flexible monitoring section with headphone and speaker feed outputs. ZED-10FX is bundled with IK Multimedia's AmpliTube X-GEAR software, giving access to superbly modelled amps and effects. Class A FET (Field Effect Transistor) inputs deliver the warmth associated with valve tube preamplifiers and a 26dB gain boost switch provides gain needed for instruments with very low output pickups. In addition to all of this, a USB port enables direct connection to a PC or Mac for direct recording and stereo playback with your DAW software of choice. Allen & Heath is known for building high quality mixers for the last 40+ years. At any time of day or night, across the globe, there is an Allen & Heath mixer out there working hard, sounding great and making life a little easier for the person at the controls. Back in the early 70s Allen & Heath hand-built consoles in a tiny factory in London for elite bands like Pink Floyd and The Who. These days Allen & Heath customers are spread across almost every environment imaginable, including touring, theatres, churches, nightclubs, TV and radio stations, recording studios and countless other places where great sound matters.

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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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RODE NT1A Cardioid Condenser Microphone Review

RODE NT1A Cardioid Condenser Microphone
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If you are in to producing/engineering and want a super mean condensor mic without spending alot of cash, this is one to get; very cheap with an extremely expensive sound. It does not have any polar switches or any built in eq's, but most all DAW's do have eq's and phase reverse abilities. Plus, its better to cut freq's that are there, then to try and boost freq's that aren't there; the latter is impossible actually. I'm telling you, don't let the price tag throw you off; this baby makes everything sound good. I've used it on vocals, acoustic guitars, drums as an overhead/ride mic as well as a room mic for ambience. I also have a matched pair of NT 5's that are also absolutely amazing. Rode is a great Australian company that makes amazing mics with a 10 year warranty; yep...10 years. Get one, you won't be dissapointed. Remember though, bad acoustics = bad recording sound.

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The original NT1 was voted "Best Microphone at Any Price" by the editors of Electronic Musician magazine. The NT1A delivers performance usually associated with higher priced microphones. Features: large capsule (1") with gold-plated membrane; cardioid polar pattern; ultra low noise, transformerless circuitry; state of the art surface mount electronics; heavy-duty satin-nickel finish; internal shock mounting system; gold plated output connectors; true condenser (externally biased); full frequency response. The NT1A will blow you away! Ultra low-noise, transformerless circuitry.Cardioid polar pattern.Large capsule (1") with gold-plated membrane.Surface mount electronics.Heavy-duty satin-nickel finish.Internal shock mounting system.Gold plated output connectors.True condenser design (externally biased). WARRANTYAll RODE products are warrantied for 1 year from the date of purchase. Your purchase may be registered ?on-line? or by mailing the warranty card. The RODE Warranty covers parts and labour that may be required to repair the microphone during the warranty period.The Warranty excludes defects caused by normal wear, modification, shipping damage or failure to use the microphone as per RODE's Instruction Guide.

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Audio Technica AE5400 Handheld Condenser Microphone Review

Audio Technica AE5400 Handheld Condenser Microphone
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I purchased this microphone as a gift to a very talented Vocalist. I looked at many brands and models. After giving this microphone, I received several demo tapes on which it was used. Amazing! What a difference over the 58 wired and wireless he was using. One big attraction is the ability to use the microphone in either flat or low roll off modes. This extends the utility dramatically. I'm glad I went this way.

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ART Pro MPAII Microphone Preamplifier Review

ART Pro MPAII Microphone Preamplifier
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Can you find a better sounding mic pre with more functionality than the ART Pro MPAII? Absolutely. Can you find a better mic pre anywhere near this price range? Not in my experience.
The controls are intuitive and the sound is excellent. My only two complaints are:
1.) The stock tubes that come with this unit are CHEAP. If you get this, I would recommend ordering a pair of high quality tubes as well. I went with TungSol 12AX7 Gold Pin tubes, and the difference in sound was substantial. l'd probably have bumped my rating up to 5 stars if the stock tubes had been better.
2.) It would have been nice if ART had put the XLR inputs on the front of the unit next to the 1/4 inch inputs. As it stands, the XLR inputs are on the rear. I have my components mounted in a stationary rack integrated into a desk, and hooking up mics can be a bit of a chore. This is a small complaint, but it's something to be considered.
Beyond that, this is a great buy for someone looking to see big improvements in their sound without spending vast sums of money.

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M-Audio Solaris Multipattern Condenser Microphone Review

M-Audio Solaris Multipattern Condenser Microphone
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Happy with product, only took about a week. It actually came with a shock mount which that wasn't list to come with it. Thanks

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The Solaris is a large-capsule condenser microphone that sounds as good as it looks. Beneath the stylish exterior lies the best-sounding solid-state electronics available at any price. Vintage design principles merge with incredibly tight manufacturing standards to yield no more than +/-1dB of deviation across the entire 20Hz-20kHz frequency range. The industry-thinnest evaporated gold diaphragm also delivers incredible sensitivity. Multi-pattern architecture provides flexibility that makes it ideal for just about any miking situation--included capturing vocals, guitar, piano, drums and live events. It's like having three mics in one.

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Digidesign Command 8 Control Surface for Pro Tools Review

Digidesign Command 8 Control Surface for Pro Tools
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My son is a sound recording technology student at college. I'm a computer expert. To help my son in his studies, I upgraded his Apple/Sonar DAW to a ProTools environment. We spent many thousands of dollars doing so, and it was a painful experience.
The Command|8 proved to be the most frustrating element in the entire digital sound chain, and a lack of good documentation and support from Avid (or whatever it is called today - the company appears to merge and change its name weekly) does not help.
It took weeks to get the device configured and working reliably with ProTools 8. Even after that it would constantly require recalibration or would go offline arbitrarily, requiring reinstallation of protools to bring it back. I have no idea how pro-am studios manage to survive using ProTools.
A few weeks out of warranty, the display failed and the unit refused to come online. The faders go crazy for a few minutes then park at the bottom although you can hear the fader motors still clicking wildly. This problem is posted several times on the Avid user forums, and appears to be a common defect. Repair costs might run to several hundred dollars.
Unlike most users, we read the user manuals "avidly" and followerd all user directions. As a former sound engineer myself, I insisted that all equipment in the sound chain was covered with dustcloths when not in use. This device was probably used less than 100 hours in its lifetime.
Do not buy this product.

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Mackie PPM1012 12-Channel, 1600-Watt Powered Desktop Mixer Review

Mackie PPM1012 12-Channel, 1600-Watt Powered Desktop Mixer
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I've been a musician playing in clubs and all types of other venues since the sixties. Some of the bands I've been part of used massive PA systems to get a quality sound. I'm talking racks of power amps, EQ's, Effects , etc. etc..
That was then, this is now. This Mackie board does it all and does it all extremely well !! You'll have plenty of headroom. There is more than ample power when you need it, just waiting to kick in and support your vocals and anything else you run through this board. The effects are superb with two high quality effects processors that you can tweek out and blend the effects to your liking. The clarity of this board is so good that all I have to run is a slight curve on my equalizers to get a nice clean and clear sound. Match this unit up with a high quality pair of speakers and a couple of good powered subs, and you're sound is Happening !!
Sizing down and maintaining good sound at my age is important to me. Other powered consoles I used and thought were OK just don't compare to this. Having a well-polished act, I need the best sounding equipment with the smallest footprint. Although a tad bit heavy, this mixer takes the place of hundreds of pounds worth of PA.
Now, I can't wait to get to the gig and hear my new Mackie. I couldn't be more pleased !!
Jim, SW Fla.

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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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