McGary Audio

Showing posts with label Live Recording. Show all posts
Showing posts with label Live Recording. Show all posts

Sunday, January 2, 2022

2021 EAN Product Of The Year!
Rogue Audio Tube Combo!
RP-5/RP-7 Preamps,
Stereo 100 Power Amp

You Pick It !
A Rogue  Audio Tube Combo:
RP-5 oRP-7 Tube Preamp 
With Rogue Audio Stereo 100 Amp

  “For 25 years, Rogue Audio has delivered classy, true-to-the music, tube designs in various configurations. The Stereo 100 and either of the aforementioned RP series preamps are a perfect pairing if you want the classic smoothness of tubes with a dose of tight, dynamic and a consistent airy sonic presentation.
  The Stereo 100 is a one terrific amplifier, utilizing KT120 output tubes, ultra-linear or triode operation, adjustable bias and a complement of quality audiophile grade of parts that is a pure treat for your favorite speakers. And it ain’t that expensive, considering the premium performance. You combine it with either the RP-7 12AU7-based preamp ($4,995), or the slightly more Euphonic RP-9’s 6H30P tube-based design $7,995) (both pre’s with plenty of connection options), and you get the gorgeous, but gentle accuracy that Rogue tube products are all about.
  Whether its vinyl, digital media, streaming, or a great Classical station from your favorite tuner, the audio listening experience is always satisfying with a pairing of Rogue’s.”
—John Gatski

 EAN Founder John Gatski has been evaluating consumer, audiophile, home cinema and professional audio gear since 1988. In 1995, he created Pro Audio Review, and he has written for Sound-On-Sound, Audio, Laserviews, Enjoy The Music, The Audiophile Voice, High Performance Review, Radio World and TV Technology. Everything Audio Network is based in Kensington, Md. Articles on this site are the copyright of the ©Everything Audio Network. Any unauthorized use, via print or Internet, without written permission is prohibited. John Gatski can be reached via email: jmgatski@gmail.com

Saturday, January 1, 2022

EAN Product Of The Year:
Best Upgrade!
Essence Adds Native DSD
To HDACC II-4K HDMI DAC


Essence Adds Pure DSD Playback
To HDACC II-4K HDMI DAC
New DAC Price: $599;
(Older Units Updated Via Firmware)


www.essenceelectrostatic.com

 “When EAN reviewed the HDACC II-4K HDMI v2.0b DAC a few years ago, we loved everything about its ability to decode hi-res PCM audio from its HDMI input (as well as TOSlink and Coax). And it offered upsampling, headphone amp, analog input, 4K picture quality, etc. It was a bargain at $600! However, its only flaw was no decoding of pure DSD from SACDs and DSD files (via player USB stick inputs). The DAC could convert the DSD to PCM, but no discrete DSD playback was possible. The HDACC II-4K had the DSD decode capability built into the DAC chip; it just was not turned on.
  We wondered aloud to Essence whether the factory could activate the DSD-over-HDMI decoding  feature, Eventually, low and behold, the pure DSD decode process  was finally turned on in a firmware update. So now, audiophiles with SACD/DSD player capability, via the HDMI, can connect their player to the HDACC II-4K and hear the pure stereo DSD from its outputs. It can,  in fact, play the higher 5.6 MHz sample rate DSD that is often used in audio files. If you have a cheap universal player with SACD capability (2.8 MHz) and HDMI (Sony, Samsung Pioneer, etc.). the  HDACC II-4K decode is quite a treat for your ears over an internal player’s decoding. Even against the mighty Oppo BDP-205 internal converters, the Essence holds its own — just using a cheap HDMI SACD capable player. The current version sells for $600; older ones can be upgraded for free by getting following instructions via the Essence website. The HDACC II-4K is one of the few DACs that has HDMI connectivity, and adding the SACD/DSD player decoding compatibility is just icing on the cake.”

  EAN Founder John Gatski has been evaluating consumer, audiophile, home cinema and professional audio gear since 1988. In 1995, he created Pro Audio Review, and he has written for Sound-On-Sound, Audio, Laserviews, Enjoy The Music, The Audiophile Voice, High Performance Review, Radio World and TV Technology. Everything Audio Network is based in Kensington, Md. Articles on this site are the copyright of the ©Everything Audio Network. Any unauthorized use, via print or Internet, without written permission is prohibited. John Gatski can be reached via email: jmgatski@gmail.com

Tuesday, April 11, 2017

Live/Studio Review
Audix Performance Series
Wireless Mic/Instrument Systems
"Pro Caliber Wireless Capability"

©Everything Audio Network

Brevis
Price: starts at $500
Likes: price, excellent performance
Dislikes: mic mute button a little big
Wow Factor: one sleeper of a wireless
More Info: Audix Performance 

by Dave O’Brien
  Ever since the first wireless audio systems were introduced by highly skilled radio engineers in the late 1950s, manufacturers have been striving to provide wider range, higher fidelity, and better reliability. For many years, transmitters only operated on fixed frequencies. If interference occurred, the engineer would need to break out another transmitter operating on a different frequency. Fortunately for them radio traffic was far sparser then.
  Today, the available RF spectrum is considerably more limited and the potential for interference is much higher. In an effort to keep up with the times manufacturers now offer systems that are capable of operating on many frequencies. These systems are known to be frequency agile. 
   The Audix Performance Series wireless systems combine Diversity and True Diversity reception with their highly revered microphone capsules, sturdy construction, and two-touch operation to set the standard in high quality, moderately priced, easy-to-operate wireless systems. Audix is no stranger to microphone technology; the company has been making top-notch mics for over 30 years, including the live-sound vocal staples OM5 and OM6, the ubiquitous i5 and D6 dynamics and one of our favorite recording mics for piano and guitar: the SCX25A condenser.

Features
  All Audix Performance Series systems share certain features. Among them are one-touch auto scan to search for a clear RF channel and one-touch sync that links the transmitter to the base via infrared beam. These two features provide a system of frequency selection and programming so simple a child could do it.
  An easy-to-read, high-contrast LCD display provides status information, including operating frequency, RF level, AF level, battery level, link loss indicator, and also provides a clear and intuitive programming interface. 
  All of the systems are housed in a durable metal chassis and provide both XLR and 1/4-inch connectors for greater flexibility. A rack-mount kit is included with every 2-channel system complete with BNC cables to relocate the antennas to the front panel.
  If you are looking for a high-quality, great-sounding wireless system for music, presentations, stage or other types of audio productions, Audix's new Performance Series wireless systems are worthy candidates for purchase

  What is particularly impressive about the Audix Performance Series systems are all the available options. Handheld, lavaliere, head-worn, and instrument microphones are the main categories of transmitter options. Within these categories, are numerous options for selecting various types of microphones depending on application. 
  From there, the line is divided into two levels: the 40 Series offering Diversity operation and the 60 Series offering True Diversity operation. Diversity operation provides reception through two antennas that are internally combined and processed by one radio module. True Diversity operation provides reception through two antennas that are internally combined and processed by two radio modules from which the strongest signal is continually and seamlessly selected. Both 40 and 60 Series systems are available in single-and dual-channel models, a unique feature in these price ranges.
  Our test samples included the AP42 C2 Guitar package, priced at $1,000 retail and the AP61 OM5 wireless mic package, priced at $800 retail Prices range from a basic wireless mic system ($500 retail — all the way to $1,500 for more comprehensive needs.
  The Audix 40 Series receivers feature 106 pre-coordinated frequencies over a 32 MHz band. When combining multiple systems, up to 16 unique channels may be used simultaneously. The 40 Series systems are designed for a 300-foot operating range.


Audix Performance Wireless 42 Option


  The 60 Series receivers double the bandwidth to 64 MHz and increase the number of pre-coordinated frequencies to 207. The 60 Series receivers also offer the ability to manually tune in to 2,560 individual frequencies. The wider bandwidth also allows for more systems to operate. Up to 24 unique channels may be used simultaneously. The operating range is increased to 450 feet.
  To simplify operation, ALL transmitters are 64 MHz and will work with both the 40 Series and 60 Series receivers. No need to keep track of which transmitters go with which receiver.    
  Also available as an optional accessory is the ADS48 antenna distribution system to help simplify multi-system set-ups. Up to four single channel receivers or 4 dual channel receivers can be combined with each ADS48. This means that 8 channels of wireless can be combined on one distribution system taking up only 5 rack spaces. This is an excellent feature!

The audition
  The first thing I noticed about the review sample of the Audix Performance Wireless System H60 was the solid and sleek build quality. The handheld microphone exhibits an attractive style, is easy to hold and its well-voiced tone is what I expect from the Audix camp. Ergonomically, the receiver has a large display, nice, soft, touch buttons and the sturdy feel of a professional quality unit. 
  To confirm operability and to get to know the Audix operation parameters, I powered the two systems up in my home studio to become familiar with the products before taking them into the field. Ultimately, I used 60 Series for most of the field testing.
  Ease of operation was clearly a strong focus of the Audix design team. Setting the frequency was as simple as pressing and holding the up or down button on the receiver, waiting about 10-15 seconds for a clear channel to be selected, and then pressing the “sync” button on the receiver while holding the transmitter in front of the unit. That's it. No rotary switches. No math. No degree in Radio Frequency engineering needed.
  Audix has successfully incorporated high-performance into their wireless systems. Quite simply, the clear, natural vocal sound, along with Audix's clean, wireless signal path, competes with any system out there, especially at these price points.

  I plugged the microphone receiver into a small PA system for a quick test: a Mackie 1H604 VLZ with 2 JBL 515XT speakers. The resulting signal was dead quiet with none of the low-level hiss or interference sometimes present in wireless mics. Sound quality was excellent. Side by side with my Shure Beta SM58 dynamic microphone, the Audix H60 transmitter fitted with the acclaimed OM5 dynamic cardioid capsule, performed very well. The system relayed a full, rich signal and exceptionally broad dynamic range.
  One of my concerns with using modern wireless microphone systems is that companies apply dynamic range compression to the signal at the transmitter, and often times the compression is too heavy handed for my tastes, resulting in a squashed, boxy sound.
  That was not the case with the Audix. The H60 handheld transmitter does a great job of handling soft, intimate passages and louder transients with no tonal coloring — providing all the dynamic response of a wired mic. This is a really good sounding wireless system!

The intuitive receiver
  The menus on the receiver are simple and intuitive, and I found that the default settings worked quite well — with one exception. Instead of leaving it active per the default settings, I elected to lock out the mute button on the transmitter. It's a very useful feature to have as I was going to be giving this to a singer that had never used it. The mute button, although recessed, is prominently positioned in the middle of the mic. I did not want any unintended dropouts because of an inadvertent mute activation. To change back to the default mute active status, you make a change to the transmitter setting via the receiver menu; a re-sync is required to insure the previously saved settings are overwritten. 

Guitar wireless testing
  I plugged in the B60 instrument transmitter and tested the Audix Performance Wireless System with my Custom Epiphone Casino Elitist (the made-in-Japan model) into a Marshall JMJ30 tube amp. The JMJ is a handmade amp closely modeled after the fabled Vox AC30. This setup is widely known for the chiming sound quality generated by the Gibson P90 single coil pickups (similar to the Elitist P/Us), combined with an incredibly clear, Top Boost tube amp channel.




  To test the wireless instrument sound quality quotient, the Audix wireless would be replacing a 20-foot Belden 8218, low-capacitance guitar cable with George L connectors. Matching the tonal quality of the Belden cable would prove to be a tall order for the Audix Performance Series Wireless B60 body pack transmitter. But the Audix delivered. The bright, airy, guitar chime came through mostly intact, compared to the Belden cable. Plus, the Audix was very quiet as far as background noise that always seems to permeate long, passive, instrument cables. I have never come across a wireless system that handled my guitar so well.
  The real value of this transmitter became evident when I added my pedal board to the rig. The difference in response and tone was nil with the Audix, and as a guitarist, the ability to walk around free, unencumbered by a cable, is truly liberating! Both 40 and 60 Series systems provided excellent range — more than 200 feet without a single dropout. 

Getting vocal
  I also put the 60 Series system through a vocal field test with a variety band in a medium-size club setting — about 350 people. The console was a Presonus StudioLive 24.4 feeding audio to JBL 515XT speakers — with subs and vocal wedges. The band's female lead vocalist had been using a comparable wireless mic for several years and agreed to try the Audix wireless for lead vocal. Setup was quick; I performed the frequency scan and sync without incident.
  The real value of this transmitter became evident when I added my pedal board to the rig. The difference in response and tone was nil with the Audix, and as a guitarist, the ability to walk around free, unencumbered by a cable, is truly liberating! Both 40 and 60 Series systems provided excellent range — more than 200 feet without a single dropout.

  The handheld transmitter exhibited excellent feedback rejection. Even when the singer was directly in front of the mains there was little to no feedback. In this setting, the OM5 wireless transmitter proved to be clear and open sounding with impressive high-frequency response and dynamic range. The band's sound man (a big fan of Audix's legendary OM5 dynamic microphone) was quite impressed with the Audix wireless OM5 and its “openness and clarity.” 
  The singer, who was used to being vocally processed with compression in the vocal channel, was shocked at how different she sounded using the Audix rig. Since she relied on extensive compression from her normal wireless to handle her typical live vocal performances, it took her a bit of time to get use to the much-more natural, live, dynamic audio quality of her voice through the Audix system. Her vocal really opened up.


  I was really impressed with her voice via Audix, as I prefer less processing on good singers. Besides, why would anyone want to color or compress such good audio quality? Audix has successfully incorporated high-performance into their wireless systems. Quite simply, the clear, natural vocal sound along with Audix's clean, wireless signal path competes with any system out there, especially at these price points.

The verdict
  If you are looking for a high-quality, great-sounding wireless system for music, presentations, stage or other types of audio productions, Audix's new Performance Series wireless systems are worthy candidates for purchase. There are a wide variety of configurations available to suit virtually any requirement, and the ease of setup, along with the incredible bang for your buck, puts them at the top of my list. The Audix Performance Series wireless systems also earns an Everything Audio Network Stellar Sound Award.

  Dave O’Brien is a sound engineer who has worked in the professional broadcast industry for over 20 years. He is also a musician who lives and works in the Washington, DC area and a regular contributor to the Everything Audio Network. Articles on this site are the copyright of the ©Everything Audio Network. Any unauthorized use, via print or Internet, without written permission is prohibited..

Wednesday, August 24, 2016

Recording/Live Gear Review!
SHURE KSM8 Dualdyne
Dynamic Vocal Microphone

Shure KSM8: More Impact, Less Punch

Brevis...
Price: $499
Likes: big sweet spot, smooth
Dislikes:  more money than a '58
Wow Factor: a "more honest" dynamic
More Info: Shure KSM8

 by John Gatski
 Shure has been a leader in studio and live performance microphones for more than 50 years. The ubiquitous SM57 and SM58 are likely the two most popular dynamic microphones in the industry. But just when you think that dynamic transducer technology has fully matured, Shure comes along with a new dynamic twist: the Dualdyne KSM8 vocal microphone.

Features
  The KSM8 is a dual-diaphragm, cardioid handheld dynamic microphone with two-diaphragms implemented — offering a bigger sweet spot and a flatter frequency response than your typical handheld dynamic. The new design also helps to greatly reduce proximity effect, which unbalances the bass response versus the rest of the spectrum because you have to get so close to the element. The KSM8 also maintains Shure’s noted cardioid, off-axis rejection of unwanted sound and bleed from other sources from the front  and sides.
  To increase its durability and lower handling noise Shure uses aerospace SoftMag technology, a patent-pending Diaphragm Stabilization System, and pneumatic internal shock mounting.

  On vocals, the first sonic impression of the KSM8 was the lack of sizzle, a warm, smooth tone without the hype. Dare I say, almost like tube-like. And a huge sweet spot that extends further back

  Besides the bigger sweet spot, the Dualdyne design achieves what I really like about the Shure KSM8: a flatter frequency response, which reveals a more accurate sonic persona versus most dynamic microphones made today. Over the last 20 years, it seems that mics have moved to the “hotter” side in the mid/presence range of 2 kHz to 6 kHz, in order to punch vocals through the high-decibel haze of modern live performances. However, if you like to record with a dynamic, which has often has a more direct, natural character than a condenser, the presence peak (crispness) has to be EQ'd to flatten the tone.
  The KSM8 has a much flatter curve than the say a SM58. If You look at the factory graphs, the SM58 is flat from 100 Hz to 1 kHz, but the response gradually rises from 1 kHz to 3 kHz (+ 3.5 dB), and then sharply rises to 5 dB by 4.5 kHz and stays around + 5 dB until 6 kHz, where it starts to flatten again, down to +1.5 by 8 kHz. The response spikes again — to +4.5 dB by 10 kHz, where it then eventually starts to fall as most dynamics do; the useable response to 15 kHz.

Inside KSM8

  In contrast, the KSM8 is relatively flat all the way to 2 kHz, and exhibits a series of gentle 2.5 dB and lower bumps in the presence range response before a fall off just before 10 kHz. It is -5 dB at 12 kHz. Overall, though the response confirms a less-punchy, more accurate response to 10 kHz that I was hearing in my testing.
  On voice and instruments, the KSM8 sounds flatter, by comparison, to mics that I had on hand, including a SM58. The sound has less sizzle, and in my book that can be a good thing. Vocals without extra focus in the midrange and upper midrange/low treble sound more natural with this mic.   



The KSM8 is collecting its share of award nods


  On the minus side, bass-hewn voices may not get the lift in the upper band of the mic’s range as they do  with standard dynamics, but, overall, I like the path Shure has chosen. Natural and accurate are audio characteristics I appreciate in all areas of the audio chain. If you start with a flat mic, all the better.
  The mic comes in brushed nickel or black, and is housed in a nice zippered case. A mic clip is included. Retail price is $499.

The audition
  I set up the KSM8, the black version, in my home recording studio. I mated it with one of the cleanest, accurate mic preamps — the True Engineering P2. The mic was linked to the preamp with a 12 ft. Wireworld Professional XLR cable. Another cable fed the preamp outputs to a TASCAM DA-3000 master recorder.
  I recorded solo vocals first with a SM58, then the KSM8, and finally a Mojave MA-300 tube condenser microphone to get a reference point on where this Shure mic is in the mic spectrum.

Comes in nickel or black

  A later recorded vocal was made with accompaniment with my custom Martin OO-28 fingerstyle guitar to see how the KSM8 picks up two instruments from the one mic. Just for comparison purposes, I also tracked a Yamaha U1 professional upright piano with a mic stand bar extended above the open lid. I also laid down two tracks of my Gibson L5 CES Custom jazz guitar, played through an original Fender Deluxe Reverb, circa 1965.
  On vocals, the first sonic impression of the KSM8 was the lack of sizzle, a warm smooth tone without the hype. Dare I say, almost like tube-like. And a huge sweet spot that extends further back than normal dynamic cardioids. Accompanying myself with the Martin acoustic, the vocals and guitar were picked up nicely even at two feet away. A singer/guitarist should really like this mic if you just want a simple relay of the two sources with one transducer; it works great.

  Couple the great tone with Shure’s exemplary build and packaging, you got yourself an Everything Audio Network Stellar Award winner. Its superb quality also bumps the KSM8 onto our 2016 Microphone Of The Year list.

  Yet the off-axis rejection is excellent; sounds coming from back and sides of the mic are firmly suppressed to enhance the clarity of the up-front source. But you still have that bigger, on-axis sweet spot, thanks to the Dualdyne design.
  I liked the smooth body so much that I also tracked the Gibson jazz guitar with the KSM8. For a dynamic, I liked the way it picks up the humbucker/tube amp tone — the natural attack of the tone without any extra mid emphasis. It obviously does not have the extended top end of a condenser, but it sounds pretty darn good. Way smoother than a ‘57.
  And yes, it captured the essential tone of the U1 piano— a lean bass, sparkly sounding, upright without exacerbating the low-treble register. My recorded 24/192 tracks were good enough to use in a mix, mic quality wise.

The verdict
  All in all, the Shure KSM8 is a welcome change for the dynamic microphone niche. A smooth accurate response to 10 kHz, which means less exaggerated punch when you don’t need it, which also means less EQ needed. The Dualdyne cartridge also creates a bigger sweet spot in the on-axis field to the point you don’t have to eat the mic. That attribute also results in less proximity effect.
  I think that over time, the KSM8‘s atypical dynamic accuracy will push it into a variety of uses including instrument recording and studio vocals. Couple the great tone with Shure’s exemplary build and packaging, you got yourself an Everything Audio Network Stellar Sound Award winner. Its superb quality also bumps the KSM8 onto our 2016 Microphone Of The Year list. Because of its audio quality and unique design, the KSM8 also been nominated for a National Association of Music Merchants (NAMM) TEC Award in the microphone category.

  John Gatski has been evaluating consumer, audiophile, home cinema and professional audio gear since 1988. In 1995, he created Pro Audio Review, and he has written for Audio, Laserviews, Enjoy The Music, The Audiophile Voice, High Performance Review, Radio World and TV Technology. Everything Audio Network is based in Kensington, Md. Articles on this site are the copyright of the ©Everything Audio Network. Any unauthorized use, via print or Internet, without written permission is prohibited. John Gatski can be reached via everything.audio@verizon.net



Tuesday, December 8, 2015

Home Recording/Live!
Shure PGASTUDIOKIT4
4X-Microphone Kit Test


Brevis...
Price: $299
Likes: Good sound, rugged, price
Dislikes: no complaints from me
Wow Factor: Four solid mics under $300!
Info: PGASTUDIOKIT4

by Richard Alan Salz
  While there can be no doubt that today’s inexpensive microphones are worlds better than the microphones of even 10- or 15-years ago, fact is many of the microphones that come bundled in “affordable” kits are not really worth using, once one gets past the beginner stage. Many of these mic conglomerates are designed for specific instruments. Drum mic kits, for example, are very popular.

In the kit
  The Shure PGASTUDIOKIT4 isn’t technically a drum microphone kit, since only the PGA52 (kick drum microphone) is actually designated a drum microphone. The other mics in the kit two PGA57 (instrument microphone) and PGA181 (cardioid condenser instrument/vocal microphone) are designated as general usage microphones! That said, the PGA57 works perfectly on the snare drum (as would an SM57) and the PGA181’s work great as overhead drum microphones.The kit also includes two WA371 stand adapters, four XLR to XLR cables, a A25D mic clip, and the case.
 The Shure PGASTUDIOKIT4 is a worthy entrant in a crowded mic kit market, and, unlike most microphone packages it can work on a variety of sources and in a variety of settings including your home project recording studio or your live gig.

  The PSK4 is actually a set of four very usable microphones (plus clips, cables, and case) that are a natural for the home recordist or live player. All the microphones are nicely finished and feature rugged housings and include mounts If you didn’t know these were budget microphones you’d have no idea of their price point. As well, the included case and cables are of nice quality. We used the PSK4 on a variety of sources, here’s what we found:

Drums
  Using a GMS CL Series maple kit we placed the PGA52 inside the port of the 22” bass drum, set the PGA57 approximately 1.5-inches above the far edge of the 14”x5.5” snare drum, and positioned the PGA181 microphones 5 feet off the floor and 2’ from the front of the kit on separate stands, angled inwards and down so that they formed an equilateral triangle with the snare drum.
  Used in conjunction with a vintage 1985 Fender PA mixer (transformer balanced and discrete) we were impressed with the punchy and extended response of the kick drum. The fundamental was present and solid, and only the most minimal equalization was required to accentuate the beater sound to obtain a modern kick drum sound that would be appropriate for recording or live usage.




  Similarly, the PGA57 delivered the ubiquitous “donk” sound that we expect to hear from the SM57 microphone. It’s not the last word in clarity, but it is an immediately usable sound and we would expect that anyone who was accustomed to the SM57 would find 90% of the performance of that venerable microphone present and accounted for in the PGA57.
  The PGA181 was the real surprise of the package, providing a warm and balanced response with way more rendering of ambiance than one would expect from a microphone that only retails for $94! The Turkish Impression jazz cymbals sounded clear and dynamic, without the harshness that lesser microphones seem to suffer from.

Guitar
  Using a Paul Reed Smith Mira S2 plugged into a Mesa/Boogie two-channel Dual Rectifier head connected to a Marshall 4x12 straight back cabinet, we were more than satisfied with the combination of the PGA57 positioned at the edge of one of the speakers, and the PGA181 positioned a few feet away into the room to provide an ambient bubble to augment the direct sound. The PGA57 in this usage was very very close to a (newer Mexican manufactured) SM57 that we had on hand. Suffice it to say that one could introduce a greater difference through moving the microphone an inch or two from its position compared to switching the microphones.

Bass
  Using an obscure JTB tube preamp connected to a Behringer Europower 2500 power amp played through a vintage Marshall 1x18” JCM 800 cabinet, the PGA52 sounded good reproducing the output from the fretless FBB bass we tested it with. We found the accentuated low frequency response to be a nice fit with amplifier set up. That said, the microphone sounded a little bit dull when used with a Fender Precision bass strung with new stainless steel round wound strings. In this application, one might want to augment the sound with a direct feed.

Vocals
  Let’s be clear, if you had the choice between using the PGA181 or a Vintage Neumann U47 you’d only use the Shure microphone if someone made you “an offer you can’t refuse” (to slightly misquote Don Corleone). In the real world, the PGA181, though, is very nice sounding microphone capable of yielding professional results when positioned in front of a worthy source. You’ll want to make sure your console has a high-pass filter since the PGA181 does not have one.

The verdict
  The Shure PGASTUDIOKIT4 is a worthy entrant in a crowded mic kit market, and, unlike most microphone packages it can work on a variety of sources and in a variety of settings including your home project recording studio or your live gig. The mics are rugged and sound way better than their price would indicate. At its street price of $299, the PGASTUDIOKIT4 is a great value for the amateur and working professional musician/engineer. We also have placed the mic set on our Everything Audio Network Stellar Sound Award list. And by the way, I was so impressed I bought the kit.

  Richard Alan Salz is a musician, recording/live sound engineer and the president of On-Site Acoustic Testing, based in headquartered in Vermont. He also has massed a collection of 30+ guitars and several collectible classic guitar amplifiers. He can be reached at his email: sales@onsiteacoustictesting.com. Articles on this site are the copyright of the ©Everything Audio Network. Any unauthorized use, via print or Internet, without written permission is prohibited.

  



Tuesday, January 21, 2014

EAN Quick-REVIEW!
Two New PCM/DSD RecordersTested:
TASCAM DA-3000 Master Recorder,
Sony PCM-D100 Handheld Recorder


Standalone Hi-Res Perfection - $1,249
(New Updated Review With Benchtest)
Click Here!
The Portable That Does It All - $999


by John Gatski
  With all the clamor for hands-on info on the new TASCAM DA-3000 24-192/double speed DSD master stereo recorder and Sony’s new PCM-D100 PCM/DSD handheld recorder, several days of review notes have netted me enough info to pass on to you recording fanatics in condensed form. Long-form review and measurements are coming in a couple of weeks.
**Both these recorders are versatile high-res units that can be used by seasoned pros, musicians, home-studio operators, and quality conscious audiophiles who want the best quality audio for original and dubbed recordings, such as LP digital archiving. TASCAM DA-3000: 24/192 and 2X DSD, too.

TASCAM DA-3000: A Masterful Master Recorder
  As the replacement for the highly regarded, $2,600 DVRA1000-HD stereo master PCM/DSD recorder-player, that was originally launched as the 2RU DVRA-1000 with DVD drive in 2005, I was unsure how much quality TASCAM could squeeze into a $1,000 one-RU DA-3000 ($1,249 retail). After using it for a bit, I am happy to report that this versatile, pro/pro-sumer/audiophile-friendly unit gives you everything you got in the DVRA-1000, plus double speed DSD, better analog output and more intuitive control; you also get all the same connections, but improved Burr Brown converters.
  In the short amount of time I possessed the DA-3000 demo unit, I made numerous dubs, mix-downs and original recordings. In short order, I was impressed by its A/D and D/A performance — in PCM (192 kHz) and the double-speed DSD 5.6 MHz sample rate.


The double-speed DSD’s subjective sonic impression is one of a slightly, but audible, tighter bass and image focus than at 2.8 MHz, and the 24/192 PCM recordings are ultra smooth — with generous layers of detail

  It is a first rate player/recorder with its tracks recorded and played from Compact Flash, the king of the small format flash media. Recorded detail, depth and width at 192K and at the 5.6 MHz DSD rate is spectacular! The double-speed DSD’s subjective sonic impression is one of a slightly, but audible, tighter bass and image focus than at 2.8 MHz, and the 24/192 PCM recordings are ultra smooth — with generous layers of detail and ultra-quick transient response on guitar string attack, brass instruments and drum cymbals.


Metering is excellent on this 1RU DA-3000

  It has plenty of connections for external clocking, and A/D-D/A connection (including DSD converters), and a full array of balanced and unbalanced analog connections. The meter legend and lighting are superior to the DVRA-1000HD, the hard drive version of the original DVD-drive based deck, and the headphone amp is much smoother sounding — with a wider soundstage.
  I was initially apprehensive about how good TASCAM could make the DA-3000 considering its much smaller footprint and $1,600 price reduction, compared to the DVRA-1000HD. Now, after using it, I believe it is superior in every way. Anyone want to buy two well-used DVRA-1000s? Stay tuned for our full review and bench test. More info at TASCAM DA-3000.

Sony Adds New Flagship Portable PCM-D100:
Now With 24/192, DSD and FLAC Player
  With all the renewed interest in DSD via Internet download and more activity on the recording front, Sony has released a replacement for the long-running PCM-D50 and the PCM-D1 handheld player/recorders. The D1 flagship was released about 10 years ago. Having owned a D1, the second-tier D50 and the 2010 introduced, entry level PCM-D10, I can honestly say that after a few days of use, the D100 performs so much better than the older generation models.
  The new handheld recorder includes two Sony cardioid microphones, 32-GB internal hard drive, SD Card slot and the ability to record up to 24/192 PCM and DSD at 2.8MHz sample rate. It also can playback high-res FLAC files. The unit runs on four-AA batteries, rechargeable or throw-aways, and has the typical switches and menu-based functions found on today’s musician grade/pro handhelds.


Where the PCM-D100 excels over its older brethren is the sound quality; the PCM 24/192 and DSD quality are superb. In dubbing a bunch of very hi-res recordings and with original guitar tracks recorded through the mics, the sound was significantly more detailed and smoother

  Where the PCM-D100 excels over its older brethren is the sound quality; the PCM 24/192 and DSD quality are superb. In dubbing a bunch of very hi-res recordings and with original guitar tracks recorded through the mics, the sound was significantly more detailed and smoother than the $2,000 D1, with its mid 2001 converter technology. The DSD mode is excellent as well, though the 24-bit format recording path yields many more ways to process and edit. In DSD format, the analog-warmness always shines through.
  The onboard analog parts are first rate as well, especially for a portable. Headphone output offers plenty of oomph for hard-to-drive headphones, and the circuit lacks the edgy sonic signature of the old D1. The headphone amp drove my AKG K702 Anniversary headphones to ear splitting levels at level 4 out of the 10 available on the rotary volume knob.
  The PCM-D1 had high-grade Sony microphones, but I always thought they were a bit bright sounding. The mics on the D100 are smoother. The D50’s recorded sound was less harsh than the D1, but the D100 blows it away, as well, with its ultimate fidelity and higher-res capabilities. As an example, the D1 or D50 would not handle 88.2K sample rate music, only 96K. The D100 handles all PCM sample rates from 44.1 kHz to 192 kHz.

Handy, Dandy and DSD

  Power efficiency also is up on the PCM-D100. The old PCM-D1 burned through batteries. It used to run out of gas with alkaline throwaways in 40 minutes of recording and playback. With the new recorder, I get more than eight hours of continual playback.
  Feature-wise, the D100 has optical digital in and out ports, like the D50, and is about the same size. Overall, I would compare the D100‘s general sonic quality with the much cheaper, but high-performing TASCAM DR-100 Mk-II PCM handheld, but the Sony two ups the TASCAM with its ability to go to 192K on PCM, and discrete DSD.
  The D100 also makes for a dandy carry-along high-res music player for all but the highest PCM sample rates (352.8 and 384), and FLAC and DSD music downloads. In a word, the Sony D100 is fast becoming my new favorite handheld player/recorder. I just wish it was a couple of hundred bucks less.
  Stay tuned for more in-depth testing on the new PCM-D100. More info at:
Sony PCM-D100.

  John Gatski is publisher/owner of the Everything Audio Network©Articles on this site are the copyright of the Everything Audio NetworkAny unauthorized use, via print or Internet, without written permission is prohibited.




Friday, July 19, 2013

Home Recording Studio Review!
Presonus StudioLive SL16.02:
A Digital Desk For The Analog-Minded

“ Home Studio or Live: Compact Format Digital Mixer”

Brevis...
Price: $1,599
Likes: price, sound versatility
Dislikes: needs more mic pres
More info: Presonus StudioLive

by James Edlund

  I’ve never been a big fan of digital mixing consoles. Given the choice, I’ll pick analog every time. I like every possible tweak right at my fingertips and hate scrolling through banks, layers and menus.
  But for what I do these days, digital only makes sense. So, the goal has been to find the most versatile and best-sounding compact digital console out there — one with a blade, a saw, scissors, magnifying glass, tweezers — and that little plastic toothpick. We’re talking the sonic equivalent of a Swiss Army Knife.
  My idealized Swiss Army digital desk has to travel easily for on-location voice over and video production. Second, it needs to set up quickly and easily for solo home studio recording, band rehearsals and live performances.
  Over the years, I’ve used everything from the Mackie to Midas for the above applications, but none has left me completely satisfied. So, when I learned that PreSonus was expanding its StudioLive family to include a compact digital desk, I wanted a closer look.

Features
  The PreSonus SL 16.0.2, priced at $1,399 on the street, is loaded with many of the same features of its big brothers, the 16.4.2 and 24.4.2, just with less inputs/channels. The 16.0.2 has 16-line inputs, 12 Class-A mic pres, four aux mix buses, a dedicated talkback section — even MIDI I/O. To that, add a 16x16 FireWire recording and playback engine and two onboard 32-bit effects processors, jammed with high-quality reverbs, delays and more. Every channel has compression/limiting, gates, and 3-band semi-parametric EQ and there’s 31-band graphic equalization on the mains.
The work surface mimics the classic analog console work surface we’ve been using for years and each channel’s gain structure can be adjusted via the channel strip. There’s no endless scrolling through pages.

  It also comes complete with loads of software in a neat little box labeled as StudioLive Software Library. The first of the included software components is Studio One Artist, an easy-to-use, intuitive and flexible DAW. Another program called Capture allows easy live recording and Virtual StudioLive gives you control of the mixer via a laptop. And, for the truly tech savvy, StudioLive Remote for iPad and QMix for iPhone/iPod Touch an app from the Apple store.
  StudioLive Remote offers virtually complete control of the mixer. You can change routing, link channels, edit dynamics processing and effects, flip polarity, use Smaart, change scenes, etc., from the iPad. You also can view the compressor and EQ curves and can adjust them directly in the graphic. QMix controls just the aux mixes.
  Virtual StudioLive also is an editor/librarian and integrates the Smaart Spectrograph and RTA, the former is offered in very few boards at any price.
  I’ll say it again. iPad. Now imagine walking around the studio — or better yet, a performance venue — and affecting real-time EQ changes on the compact mixer — all without the substantial investment that similar technologies cost in larger systems. StudioLive Remote also gives you control over the auxes, so theoretically every performer in a band could have an iPhone/iPad and control his/her own mix. This could definitely come in handy in the studio, allowing musicians to tailor their headphone mixes. So much of “Can I get a little more of me, please?”

Rugged and Easy To Use
  Let’s face it, many cheap compact mixers are practically disposable. Not the SL 16.0.2. Right out of the box, you get an idea of how serious this little guy is. The SL 16.0.2 is heavy — as in over 15 pounds. And there is not a lot of plastic. The console chassis is metal, making it a practical choice for moving in and out of clubs, rehearsal spaces and wherever I set up my video/audio gear. Kudos to PreSonus for a rugged design that withstands real-world conditions — something you’ll want to take care of but don’t have to treat like someone with Brittle Bone disease.

Plenty of connections for home recording studios

  The work surface mimics the classic analog console work surface we’ve been using for years; each channel’s gain structure can be adjusted via the channel strip. There’s no endless scrolling through pages. Simply select your channel, and follow the signal path from the fader to the trim knob at the top — through myriad signal processing options in The Fat Channel. Even effects can be assigned and adjusted by channel via Fat Channel, an extension of each channel strip. Yes, it feels like an analog console.

The Fat Channel
  Fat Channel is the heart of the SL 16.0.2. Basically, it gives you control of dynamics, routing, and panning at the touch of a Select button for every input and output. Twelve multi-purpose knobs and meters control nearly every adjustment you’ll need to make, including choosing between high-pass filters, expanders, compressors, limiters, 3-band semi-parametric EQs and phase inverters. You can also create sends and effects mixes for all four analog aux sends and both internal effects buses. Via the Fat Channel is also where you meter the inputs, aux and main outputs, and gain reduction for all 16 channels. Plus, you can copy, save, and load mix scenes and recall your fader position for stored mixes.

The Audition
  I used a simple set-up for testing solo instrumentation and voice over. To find out how the mixer really sounded used three industry standard mics: I connected a Shure SM57; a Shure SM58; and an Electro-Voice RE20. All were connected to the SL 16.0.2 with premium BLUE Kiwi microphone cables, monitored through AKG-K240 headphones and Mackie HR824 monitors.
  I recorded my voice, a 1969 Martin D-18, a Gibson dobro and a Rodriguez Tele-style plugged into both a Mojotone ’57 Twin kit amplifier and a 1974 Vibrolux Reverb — via a Monster guitar cable; no outboard effects, EQ set to flat. To test vocals, I recited parts of a web video script I had been working on and my own voice singing with acoustic guitar.
One reason the 16.0.2 sounds so good is its high-quality preamp section. PreSonus’ proprietary XMAX preamps deliver tons of headroom via an 18V high-voltage power rail design, discrete components (not op-amps) and class-A circuitry (rather than AB).

  Right out the gate I was very pleased—no latency. Recording both voice and guitar, tracking was seamless. Sans effects and with flat EQ, what I heard through my cans was spot-on — no overt coloration. Everything sounded just as it should, musical and full of sonic character without the noise, distortion and harshness present in a lot of the cheap compact-format digital desks.
  One reason the 16.0.2 sounds so good is its high-quality preamp section. PreSonus’ proprietary XMAX preamps deliver tons of headroom via an 18V high-voltage power rail design, discrete components (not op-amps) and class-A circuitry (rather than AB). To get this quality of preamps at this price point—and in a compact format console—is something that’s definitely been missing from the market.

Virtual StudioLive enables computer control of mixer

  Plus, you get great A/D-D/A conversion with a factory spec’d 118 dB dynamic range, adding significantly to the desk’s clean sound. PreSonus also says one of the core technologies in the desk is JetPLL Synchronization, which “incorporates noise shaping to virtually remove all audio-band jitter, ensuring optimal converter performance when networking two or more digital-audio devices.” The result, they say, is better stereo separation and clearer, more transparent audio. That’s definitely good news for those of you who will be integrating the unit into existing studios or adding inputs via other digital devices.

Rehearsal Recording
  The guys in my band were immediately apprehensive of recording with the new mixer, saying they didn’t want to make our limited rehearsal time “too complicated.”
  In the old days we hung PZMs and recorded to DAT. Eventually, we put together a small ProTools rig, but soon the rehearsals lost steam as we spent more time mixing, less playing. The rig soon gathered dust and was later jettisoned. Then we started experimenting with handheld digital recorders like the Zoom H4N. The purpose of these recordings was simply to capture moments of spontaneity or seeds of a new song. So, like I said, the guys were a bit wary of the new machine.
But once we got everything mic’d and the live mix the way the band wanted (with four monitor mixes, mind you) it was as simple as launching the PreSonus Capture software, creating a New Session and hitting the record button. Even our stoned bass player learned how to operate the console.

  But once we got everything mic’d and the live mix the way the band wanted (with 4 monitor mixes, mind you), it was as simple as launching the PreSonus Capture software, creating a New Session and hitting the record button. Even our stoned bass player learned how to operate the console and software, including inserting markers to easily export new songs or parts of songs as separate files in Capture.
  You’ve gotta love that the software automatically maps up to 16 inputs — almost automatically. Then, if you want, you can mix the Capture files in Studio One Artist, adding effects, EQ, etc., — in the box or back on the console via FireWire. It’s brilliant. The guys are sold.

Live recording/mixong
  Although I have yet to use the 16.0.2 in a live FOH/Monitors and recording situation beyond band rehearsals, Jeff Taylor of The Farm A/V, in Minneapolis, says the desk is a perfect mixer for various live sound duties like small-to-medium-sized clubs, houses of worship, theater, corporate A/V and live performance studios in broadcast facilities. Its remote access also makes the 16.0.2. especially attractive to commercial sound designers and installers.

The nit picks
  This version of the StudioLive is limited to 12 mic preamps inputs, which could be am issue for some recording applications. Also, the faders are not motorized, and there is no auto channel selection when a fader is moved. Not a huge deal, but worth pointing out. Otherwise, the desk is just amazing.

The Verdict 
  At the end of the day, the PreSonus 16.0.2 does exactly what it purports and a whole lot more. It is versatile for almost any application including the ever important home recording studio. Throw in its amazing price, ease of use and high-end sound quality and compatibility with wireless ancillaries iPad, iPhone, iPod Touch I challenge you to find a similar feature set in any other compact-format digital desk on the market — for anywhere near this price. 

Formerly of Electro-Voice, James Edlund is a certified audio junkie, musician and home studio engineer. He also is an editor for North American Fisherman magazine.

©Articles on this site are the copyright of the Everything Audio NetworkAny unauthorized use, via print or Internet, without written permission is prohibited.



Sponsored Link!