New Products, studio | live | broadcast | contracting | post P. 10, 38

July 2013 | volume 19 | issue 7

1 Color - 0 Cyan / 100 Magenta / 99 Yellow / 4 Black

INSIDE: • Best of show AwArds: BESTof ProAudio infoComm 2013 ProAudio SHOW Review ReviewThe Review Resource for Sound Professionals

Sustainable Monitoring Genelec’S MuSic cReaTion SeRieS

more reviews Emotiva Pro Stealth 8 • iOS Portable Synthesis Products • JDK Audio V10, V12 & V14 • Millennia HV-37 • Rascal Audio Two-V • RØDE iXY • Shure KSM9HS www.proaudioreview.com

ProAudioReview in this issue JuLY 2013 | VOLuME 19 | ISSuE 7 Studio Covering Recording, Broadcast Review 28 Production, and Post Production The Sound Collector’s Kit: For the Journeyman Engineer on a Budget Best of Show Awards: 10 by Lynn Fuston InfoComm 2013 Review 30 New Studio Products 12 RØDE iXY Stereo Microphone for iOS Review 14 by Lynn Fuston Genelec M Series M030 Bi-amplified Active Monitors Review 34 by Strother Bullins and Frank Wells Rascal Audio Two-V Dual Microphone Review 18 Preamplifier for JDK Audio V10 Mic Pre, 500 Series V12 Compressor and by Russ Long V14 EQ for 500 Series by Rob Tavaglione 30

Review 22 Emotiva Pro Stealth 8 Sound Reinforcement Studio Monitors Covering Live Sound, by Randy Poole Contracting, and Installed Sound 18 Feature 24 New Live Products 38 Reading the Sines: Developments in Portable Synthesis Review 40 by Tony Ware Shure KSM9HS Dual-Pattern Handheld Condenser Microphone Review 26 by Strother Bullins Millennia HV-37 Two-Channel Preamplifier by Rich Tozzoli and Lynn Fuston Departments Technically Speaking 8 Talk The Talk, Don’t Walk The Walk by Frank Wells 26

Cover & Featured Review Photography: Rhon Parker (rhonparker.com) PRO AUDIO REVIEW (ISSN 1083-6241) is published monthly by NewBay Media LLC, Cover Design: Walter Makarucha, Jr. 28 E 28th Street, 12th floor, New York, NY 10016. Subscription information can be found at www.MyPARmag.com, by calling 212-378-0400, or writing to the above address. Letters to the editor are welcomed at the above address or [email protected].

Periodicals postage paid at New York, NY 10016 and additional mailing offices. 4 ProAudioReview | July 2013 POSTMASTER: Send address changes to Pro Audio Review, P.O. Box 8738, Lowell, MA 01853. © Copyright 2013 by NewBay Media, L.L.C. PRINTED IN U.S.A.

ProAudio

ReviewThe Review Resource for Sound Professionals

July 2013 volume 19 issue 7

Editorial Frank Wells, Editorial director 212-378-0400 x535, [email protected]

strother Bullins, Editor 336-703-9932, [email protected]

Clive young, Managing Editor 212-378-0424, [email protected]

Kelleigh Welch, assistant editor 212-378-0423, [email protected]

lynn Fuston, technical Editor

Rich Tozzoli, Software Editor

Russ long, Senior Contributor

steve Harvey, Will James, Alex oana, Randy Poole, Alan silverman, Christopher sullivan, Rob Tavaglione, Tony Ware, Ben Williams, sterling Winfield, Dan Wothke, Contributors

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6 ProAudioReview | July 2013 technically speaking Frank Wells Talk The Talk, Don’t Walk The Walk In the list of ran- ing patterns, the competition from movies, their software to hardware have an advan- dom seeming video games, social media and other inter- tage in the battle for survival and riches. Be annual celebra- net content, the “democratization of the that through an iLok style authorization or tions, Talk Like A audio industry” lowering the cost of moder- by requiring unique processing hardware to Pirate Day is one ate and small scale sound reinforcement run, Universal Audio being the obvious suc- that stands out and increasing the competition for scarce cess story in the latter case. Quality doesn’t as at least fun, recording dollars—all of these factors have always mean success, as exemplified by if purposeless played their part. another brand that has all but stopped pro- compared to, say, Elsewhere in the content creation market- duction software/hardware engine develop- National Dairy Goat Appreciation Week or place, music production software sales have ment and returned to its stomp box roots. National Catfish Day. But while modern day taken a far more directly attributable assault Networking technology is likely to facilitate piracy at sea is a fairly small international from piracy. Cracked software appears on a distributed hardware approach, with at threat, the professional audio industry has websites almost as fast as new versions are least one major pair of players poised to taken a significant blow from rampant soft- released. A number of battle plans and weap- launch a new flagship. ware piracy, if not a direct broadsides. ons have been developed to fight off the As for you, you should remember the The appropriation of recordings through pirates, but they are equally resourceful in Golden Rule and treat the intellectual prop- illicit means considered a birthright of the their countermeasures and their own schem- erty of others as you would want your own internet generation. Piracy alone cannot ing. The toll taken on software companies is efforts to be respected. Come September be blamed for the demise of the major direct and significant. 19, say “Arrr” all you like, but when it comes label music machine of old. Changing listen- Companies who have managed to tie to software, don’t walk the pirate walk. best of show

Best of Show Awards, InfoComm 2013 Wandering around the floor, we are consistently asked “What have you seen?” The Best Of Show awards for prosoundnetwork.com answer the question. BESTof While other gear was worthy and impressed us—we found interesting things even after the staff made its decisions—below are the products that made the cut. —Frank Wells, Editorial Director, Pro Audio Review SHOW

Allen & Heath Qu-16 rack-mount- beyerdynamic TG 1000 digital speaker configurations, blending various cover- able digital mixer | allen-heath. wireless microphone system | age patterns to achieve the coverage desired. com beyerdynamic.com Now another 20-plus cabinets with asymmetri- As nice a rack-mountable digital mixer as we’ve Looking forward to checking this one out—1100 cal coverage mean even more flexibility and no ever seen. Well spec’d, good looking, with logical meter range and full spectrum support on every energy wasted lighting up walls. operation. And well priced. transmitter and receiver. DAS Audio Aero 40A line array Alto Professional Stealth Bose RoomMatch Horizontally system | dasaudio.com Wireless System for active loud- Asymmetrical Array Module The array components’ acoustic performance is speakers | altoproaudio.com loudspeakers | bose.com winning fans, but the rigging alone is also turn- Can’t easily get a signal to a speaker position? A RoomMatch is based on fulfilling basic design ing heads. simple solution. functions with 20-plus mix and match loud- (continued on page 42)

new studio products

Zoom H6 Handy Recorder Zoom North America’s new H6 Handy Recorder portable recorder offers six tracks of simultaneous recording with a system of interchangeable input capsules that can be swapped out, “much like the lenses of a camera,” explains Zoom. Four capsules are available: stereo X/Y and MS (Mid-Side), both included with the H6; and Shotgun and dual XLR/TRS combo capsules, which are optional. Its USB port enables data transfer to and from audio editing software and allows the H6 to serve as a multichannel audio interface for computers and tablets. The H6 can be attached to a camera strap or mounted directly to a DSLR or cam- corder, and its large full-color display allows recording and playback levels to be read in low-light environments. It records directly to SD, SDHC and SDXC cards up to 128 GB in a variety of MP3 and BWF-compliant WAV file formats, up to 24-bit, 96 kHz resolu- tion. Four XLR/TRS combo jacks enable the connection of external microphones or line-level devices. Each input has its own dedicated gain control and pad switch, as well as phantom power in three different voltages. Other features include a stereo Line Out for connection to camcorders; a head- phone jack and built-in speaker; onboard effects, metronome and chromatic tuner; adjustable playback speed and pitch correction; and Pre-record, Auto-record and Backup-record functions. Price: $399 street Contact: Zoom North America | zoom-na.com

12 ProAudioReview | July 2013 www.proaudioreview.com new studio products

iZotope Classic Textures Expansion Pack for Trash 2 iZotope has released Classic Textures, a new expansion pack for Trash 2 (pictured), the “audio mangling” plug-in. “Showcasing the softer side of Trash,” explains iZotope promotional material, Classic Textures includes over 30 new impulses, including “dark vinyl to classroom projec- tors to crackling fires and 70 new presets to coat mixes in everything from 80’s synth grit to warm wax to earthy, retro moods.” Classic Textures is the second of two expansion packs for Trash 2, following Edge Expansion, a collection of experi- mental sounds. Price: $29 digital download Contact: iZotope | izotope.com

JZ Mics J1 JZ Microphones has introduced a new budget series, J, kicking off with the comparatively low-cost J1, $399, shipping now. Housed in a flat-shaped body with a shockmount included in the set, the J1 sports a wire mesh grill, active diaphragm of 21 mm, and uses JZ Microphone’s patented Golden Drop technology. Stay tuned to the pages of PAR for our full review of the J1. Price: $399 direct Contact: JZ Microphones K-array Anakonda | jzmic.com Bendable Loudspeaker Italian maker of lightweight loudspeakers, Sennheiser-distributed K-array has introduced Anakonda, a “bendable speaker” built primarily for sound installa- tion, but could possibly provide many new flexible monitoring solutions in a wide variety of applications. The bendable Anakonda can be wrapped tightly around poles and mounted to curved and uneven surfaces. Each Anakonda is 6 ft. in length, linkable to 16 combined elements using integrated NL4 connectors. Dedicated presets support a variety of configurations, standalone and combination use with K-array KMT Series subwoofers. Each Anakonda includes a wall bracket, as well as fabric covers in both white and black. Price: $899 list Contact: K-array | k-array.com

www.proaudioreview.com July 2013 | ProAudioReview 13 studio review by Strother Bullins Genelec M Series M030 Bi-amplified Active Monitors

Strother Bullins is the Editor of Pro Audio Review.

14 ProAudioReview | July 2013 www.proaudioreview.com If you’re a musician—which is the customer Genelec envisions for its new Music Creation series—the M030 is built more like your engineer’s speakers than your current monitors.

To my eyes, Genelecs seem to be used by more professional studios and engineers than any other recognizable studio monitor. That means something to me, especially in an industry where they’re not the top seller. Fellow musicians will empathize here, as I haven’t owned the brand of most of my favorite engineers or studios before, either, though I can consider it now. Genelec has approached its new M Series in an admirably attractive way for artist-level end users.

Features bi-amplified active monitor employs a 6.5-inch woofer with Starting with unique aesthetics and physicality, the M030— a one-inch metal dome tweeter, powered by 80 W and 50 W and bigger sibling M040—features cabinetry that is not only amplifiers, respectively. The free-field frequency response is “green” but also saves in manufacturing over the long term, 48 Hz to 21 kHz (+/-3 dB), while peak SPL is 107 dB at one based upon Genelec’s manufacturing details for the M Series, meter. The M040 measures 13 1/4 inches H x 9 1/4 inches W x which is a benefit ultimately passed onto both the customer 9 inches D and weighs 15.4 lbs. and our Earth’s ecological future. Their trademarked Natural Composite Enclosure (NCE) material is made of wood fiber and In Use recyclable material, which Genelec reports is 50 percent wood I used the M030s for hours most days for two months, fiber, 50 percent polymer/recycled materials, and also doesn’t sitting both on my studio desk, and in a variety of different require a lot of handling during manufacturing, which is done locations, applying the corner and desktop EQ settings when in Finland. appropriate, with no sub. I’ve given them a full range of input, Genelec provides additional value in the M Series, like effi- too, from iPod and MacBook headphone outs to high-quality cient, cooler running (“90 percent more efficient”) Class D amps, balanced analog summing of tracks I’ve recorded and am inti- paired with a core set of response shaping controls (sans the mately familiar with. I felt very comfortable with these monitors expansive and expensive DSP of the 8200 line). The aluminum all along, growing more fond of them all the time. housing of a flagship Genelec line—imaginably more durable Whether recording and mixing, or editing, composing and for a studio-hopping pro and offering a certain aesthetic—isn’t writing, these small boxes offer all the creative appeal needed something a M Series customer will pay for. Now, they don’t have for music creation. I listened to them for enjoyment, with a to with the styling of the M Series molded enclosures. range of carefully produced material, too—from early Beatles to Yeezus. I started with common rock references, first believ- Here are Genelec’s own provided specs: ing with AC/DC’s “Shoot To Thrill” at 90 dB; the bottom end is The M030 bi-amplified active monitor utilizes a five-inch controlled, tight, powerful and real. From there up, it’s what I woofer and 0.75-inch metal dome tweeter, powered by 50 W recall hearing in Genelec nearfields (they definitely resemble and 30 W amplifiers respectively. The free-field frequency their 8000 kin): in general, detail in reverb tails and the snare response is 58 Hz to 21 kHz (+/-3 dB), while peak SPL is 103 drum buzz that I almost forgot was there. Basically, whatever is dB at one meter. The M030 measures 10 3/4 inches H x 7 in the mix, I felt I was hearing more than usual using the M030s. 1/2 inches W x 7 1/2 inches D and weighs 8.8 lbs. The M040 Genelec’s new bass port design—the trademarked Laminar

www.proaudioreview.com July 2013 | ProAudioReview 15 Integrated Port (LIP, actually integrated into the cabinet mold and utilizing its legs and the gap between them)—works well; I was surprised that I didn’t long for a subwoofer using a speaker this size. M Series design is neat-looking, too: effi- cient and beautifully modern European to its core. In our musician = IKEA world, this appealing design goes a long way. I’ve never used DSP monitors beyond the audition and review period. Primarily as a self-recording musician, I never felt compelled to spring for the feature, though I would always try to spend a bit extra on getting sufficient response tailoring and a more powerful—and hopefully better overall—monitor for the money. With the M030, Genelec includes a substantial 80 W of Class D amplification—a more powerful Genelec than I could have afforded before. In that way, this particular Genelec com- pletely fits my bill, as I get the attributes I can most appreciate and more com- fortably afford. These M030 monitors look good and feel substantial—with notably tight cabi- nets—and the switches feel high quality and sure. They seem to be quite scratch- resistant, too: a pleasant benefit of new cabinetry material. And the material allows the M030 to be a Genelec with its trademark neutral character. I expect the cabinet material alone will be a topic dis- cussed in some circles, as these speak- ers burgeon in the marketplace.

Summary If these monitors set new trends, and I expect they will, this Music Creation Series mentality will influence more use of eco-friendly composite materials, if not even the development of similarly designed, and similar-looking, cabinetry in our industry. I think that’s a good thing. Further, I appreciate the effort of Genelec to provide, for lack of a better phrase, a “stripped down Gennie” Series for the guys in the band that do know what “the good monitors” sound like.

Price: $640 each, street Contact: Genelec | genelec.com

16 ProAudioReview | July 2013 PAR Editorial Director Frank Wells discussed the M Series’ design core of “embedded sustainability” with Genelec’s Will Eggleston:

Will: “Ilpo Martikainen, as one of materials. We are trademarking it as project for quite a few years now the founders of the company, has a the Natural Composite Enclosure. and we feel very comfortable about very strong opinion about embedded In terms of what it takes to actually its performance and certainly the sustainability. The company, and all manufacture this product, it’s very efficiency attributes that class D the people that work there and even much hands-off because it’s pres- amplifiers bring to the project. here [at Genelec USA], and in China, sure injected. The amount of hand “The M Series also uses intel- are very respectful of the values that finishing that occurs with this prod- ligent signal sensing power man- the company’s had over the years, uct is significantly lower than what agement. For example, it goes into especially as it relates to energy we would have with the other enclo- a ‘standby’ mode after one half conservation, pollution and ‘where sures that we make. This enclosure hour of not sensing any signal are we going on this big planet? How material is lighter. The material is input or use. In standby, it will draw are we going to be able to help in self-painted. It’s going to use less less than 1/2 of one watt out of a some way.’ If your goal is to not use energy to ship it. It’s going to take wall. The clever part is that once it a whole lot of energy making and less energy to manufacture it. The senses signal input, it immediately shipping a product, then your design packing material is totally made comes out of the standby mode. criteria is going to change.” from recycled material.” Every one of our products is being “The M Series design approach [manufactured] with this Intelligent came from the direction of reliabil- On Class D Amps Signal Sensing circuit. That’s part ity and sustainability. We’re using Will continues: “The class D of the philosophy that has perpetu- a unique natural fiber composite amplification used in the M Series ated over the last several years. bio-recycled material. It’s about half- is something new for us as well. Genelec’s environmental conscious- wood pulp with additional polymer- We’ve been working on this ampli- ness is, I think, unique within the based material and other recycled fier design in-house as a research (continued on page 42) studio review by Rob Tavaglione JDK Audio V10 Mic Pre, V12 Compressor and V14 EQ for 500 Series API offshoot JDK Audio offers three overbuilt, clean and straightforward modules for its trendsetting 500 Series format.

Three analog processors featuring a military aesthetic from JDK ing up (or mid-boosting) bass guitar, for example. With only one V14 in my pos- Audio have been cut in half, turned on their side and radically session, I can’t say how well it would work shrunken. Yes, JDK is entering the world of its parent company, API on full program or mixes, though I would Audio, via the decades-old 500 Series format. likely miss not having high or low shelves, not to mention not having fully parametric operation. V10 Mic Pre Editor Fuston], I’d truly be going nuts for it. JDK Audio’s R20 rack-mount preamp V12 Compressor begat the V10, offering 54 dB of gain, -20 V14 EQ I saved the best for last in this review, dB pad, polarity reverse and 48 VDC phan- A descendant of the JDK R24 (which as I really am fond of the V12 comp. A few tom power in a simple design. The front was modeled after API’s 562), the V14 EQ is years back, I reviewed the JDK Audio R22 panel quarter-inch DI instrument input has single channel and four-band with continu- compressor; this V12 sounds the same to 45 dB of gain and a -10 dB pad. A ten ously variable frequencies, 12 dB of boost/ my ears. Like the R22, the V14 is modeled segment, three-color LED meter monitors cut per band, dual concentric knobs and a after the comp in ATI’s Paragon mixing con- output level. bypass switch. Via its transformer output, soles; it does not provide attack or release Verbally describing the V10’s character is the V14 is capable of +24 dB output before controls but features API’s Thrust circuit no simple task, as its typical performance clipping. (an HPF filter in the sidechain—an absolute is largely without character—clean, trans- Of the three units in this 500 Series, necessity, in my opinion). parent, flat, dynamic and linear. The V10 the V14 is the most compromised by the The V12 has soft or hard knee reaction, seems to excel at making signals louder format. Squeezing four bands of EQ con- ratios from 1:1 to 10:1 (allowing very low without doing much of anything else. The trol into one 500 Series space is no easy ratio purist work) and manual make-up V10 doesn’t tonally change at very low or feat, and the controls are easily bumpable gain while Thrust enables moderate pump- high gain levels; I’ve tracked vocals with the when changing other settings. It is also ing when defeated (if so desired). Though I gain anywhere from seven o’clock to three difficult to hear one band’s action when only had one V12 to review, I do remember o’clock without congestion, large noise floor the bypass is global and affects all bands. how nice the R22 treated stereo mixes shifts or brittleness. There isn’t a helpful detent at 0 dB (flat), (despite lacking variable time constants) In fact, despite the flexibility that the either. and these V12s are stereo linkable. For largely neutral V10 offers—it excels at jobs Despite ergonomic issues, the V14 tracking with more density without any like drums, bass DI and guitars, too—I find does actually sound quite nice. The top dulling, smearing or artifacts, the V12 is it to be a natural for vocals, where it stays end is crisp, yet polite when boosting more versatile than I expected it to be. out of the way, allowing a mic or compres- and the overall character is more clean sor’s character to shine through. If the V10 and hi-fi than gritty or aggressive. I also In Use: All Together Now offered multiple impedance settings, an found boosting bass to be very musical Applied in a series like a channel strip, output level control and, for better repeat- compared with other similarly priced EQs this JDK trio allowed for some unexpected ability, a legend for the gain control [a (most likely due to well-chosen Q values); applications. For example, I took a bass DI, notorious API oversight, says PAR Technical this is especially apparent when fatten- added lots of input gain, a little mid scoop,

Rob Tavaglione owns and operates Charlotte, NC’s Catalyst Recording. [email protected].

18 ProAudioReview | July 2013 www.proaudioreview.com V10 Mic Pre V12 Compressor V14 EQ Thrust, soft knee and a high ratio of 8:1 Conversely, with a female vocal, I dialed Summary for steady and aggressive “in your face” input gain at three o’clock, making my large There are a lot choices out there today in bass (not unlike 8:1 on an 1176)—great diaphragm condenser extremely sensitive the 500 Series module realm. But if you pre- results. Next, I had a “mic eating” vocalist without any nastiness or excessive sibi- fer simple and straightforward designs with on a dynamic mic, maxed the preamp input lance. I then rolled off just a little 10k for a clean punch and versatile signal amplifi- (with no pad), removed rumble and plo- smoothness and added a 3:1 ratio while the cation without distracting personality or a sives, squeezed 12 dB off with Thrust and V12 worked like mad to contain the uneven big footprint, JDK’s 500 Series modules will hard knee, then padded the whole output levels of the novice vocalist. Despite the not disappoint. After all, API is where the (with an in-line attenuator or a mixer chan- difficulty of this task, this JDK 500 Series whole 500 Series craze started; it does it nel) to avoid recorder/ADC distortion—a “strip” delivered a perfectly acceptable right, and arguably does it best. tasty fuzz-overloaded sound that is warmly vocal with more consistency, pleasantness inviting and musical. The latter application and naturalness than I should’ve received Prices: $599 street, each works well on bass DI, too. by rights. Contact: JDK Audio | jdkaudio.com

www.proaudioreview.com July 2013 | ProAudioReview 19 studio review by Randy Poole Emotiva Pro Stealth 8 Studio Monitor Price-defying performance and a 30-day money-back guarantee via direct purchase makes the Stealth 8 a clear consideration for large near-field monitor buyers. Emotiva Professional—now in the consumer and pro audio speaker business for 30 years—takes a markedly different approach to selling studio monitors. It sells directly to the customer, with a 30-day money-back guarantee, believing that gives the customer the best possible price, allow- ing customers to audition their new speakers in their own space for an extended comparison and evaluation time period.

Emotiva’s Stealth series represents the next evolutionary step in speaker design for the Emotiva Pro brand, with the Stealth 6 and Stealth 8, using 6 and 8-inch woofers, respectively.

Features Weighing 41.5 lbs. and measuring 16.5 x 12 X 15 inches, the Stealth 8 features a fully discrete amplifier design with 200 W of power per driver, allowing for a rated peak output in the 120 dB SPL range. A 10.5” x 5/8” rear-facing port expels low frequency energy from the Stealth 8. Its proprietary airmotiv high-frequency driver is a 60 x 32 mm folded ribbon, while the 8-inch low frequency driver is made of woven polypropylene. The cabinet’s front face, which is milled from a 2-inch block Randy’s monitor auditioning scheme, featuring the Stealth 8 (bottom) of MDF, features steep angles designed to and HR824 (top) at his Poole Room studio in Franklin, TN.

Randy Poole is a Nashville-based recording engineer and a regular contributor to Pro Audio Review.

20 ProAudioReview | July 2013 www.proaudioreview.com

reduce diffraction, resulting in what Emotiva over 120 dB—pretty loud calls their minimum acoustic signature for a near-field monitor. cabinet. According to the manufacturer, the For practical application Stealth Series’ internal structure is exten- of low frequency exten- sively braced, utilizing three-phase internal sion, I mixed a song with dampening to dramatically reduce reflec- a breakdown section full tions inside the cabinet. of high-neck bass guitar Input is provided by a combination fills; I heard some low balanced XLR/balanced or unbalanced rumbles coming from the quarter-inch connector on the rear panel, open E string. Switching accompanied by the power switch, the +/- 6 to my standard 824s, dB gain adjustment pot, and DIP switches this low frequency rum- for EQ—bass tilt: -2, -4, or -6 dB at 40 Hz ble was not even notice- (starting at 1250 Hz); bass roll off: -2, -4, able. So, I automated a -6, or -8 at 40 Hz (starting at 250 Hz); and filter to easily correct the treble tilt: +1, -1, or -2 dB (above 3 kHz). issue and kept on mixing with the Stealth 8 pair. In Use My Emotiva mixes Over the years, I’ve tried several position- translated very well to ing schemes in order to accurately compare other systems, I believe studio monitors—inside/outside pairs, left/ due in part to the Stealth right pairs, and various arrangements with 8’s clear midrange one pair of speakers resting on their sides. response—no low-mid I’ve found that left/right generally works the frequency anomalies best, though it causes too much interaction here. Highs via ribbon between compared speakers. Finally, I tried tweeters are smooth what I call ‘Over Under’—flip one pair upside with good detail, too. down, then place them on top of the bottom I’ve also become a fan pair with carpet dampening in between. of listening back to mixes at low SPLs on imaging I needed in order to mix comfort- After lowering the overall arrangement by these monitors; they are incredibly even ably. (And, if you haven’t guessed, these a couple of inches, this is by far the best and accurate at low volumes. are now my main mix speakers—my first comparison technique I have found. And finally, further leisure listening monitor switch in 15 years.) With my standard Mackie HR824 pair to some of my favorite mix references upside down and angled down slightly from revealed just how punchy and well bal- Summary the top of the Stealth 8 pair, I discovered the anced the Stealth 8 seems to be. Further, I After hours and hours of listening and Stealth 8 can match Mackie imaging, yet found the mix transition between monitors mixing, I’ve found the Stealth 8 to be sound distinctively better for lower cost; an to be a fairly easy one; I did listen to refer- easy on the ears, not to mention accu- HR824mk2 is approximately $699 street, ence material at the beginning of a tracking rate, detailed, and bargain-priced. There are while a Stealth 8 is currently $639 direct. day and several times before a mixing day, few drawbacks on the Stealth 8: the power Switching between the two pairs in this though after that, I was comfortable. switch is on the back (and I prefer the front) arrangement allowed me to easily discern Just yesterday, I asked my mastering and they’re hefty, at 41 lbs. differences. engineer if he had heard any changes in my A combination of plentiful power, notable Next I tracked and mixed several proj- mixes lately, as I had moved to using the depth and clarity and an impressive price/ ects with this setup (and no subwoofers). Stealth 8 pair full time. He was surprised that performance ratio makes the Stealth 8 A standout characteristic of the Stealth he had not detected anything, especially con- nothing short of stunning. If you’re in the 8 is its high power handling; e.g., cutting sidering I had switched to a ribbon tweeter. market for a large near-field pair, no matter rhythm tracks and monitoring at high SPLs I must note that monitoring is a bit dif- your budget, these need to be on your short in order to hear everything (and impress ferent on ribbon tweets—it’s a softer touch list for a listen. After 30 days, I expect you the clients), and not having the kick drum with more pleasant high end, while disper- won’t be sending them back. cause amplifier limiting is priceless. sion is a little narrower in the vertical plane, The Stealth 8 reaches all the way to though the horizontal plane is the same. Price: $639 each, direct 30 Hz, and is only a few dB down at that. I’d used ribbon tweeters before, and this Contact: Emotiva Pro | emotivapro.com/ It will also produce short-term peaks of was the first time that ribbons provided the products/stealth-8

22 ProAudioReview | July 2013 www.proaudioreview.com

studio review by Tony Ware iOS Audio Production Reading the Sines: Developments in Portable Synthesis

All the great synthesizers have had generous personalities. To dismiss like the Roland TB-303 and the Arp 2600, one of the first semi-modular patchable ana- those great synths as mere machines does them a great disservice. log synthesizers, and what was really fun in Some growl, others articulate. There are those that warble angelic the beginning was the contact with knobs, chorales, and others that sputter and drone. faders and patch cords, which got lost in the computer,” says Richard Devine, an artist and sound designer who has contributed sound banks and presets to such iOS apps as Animoog, Waldorf Nave and Propellerhead Thor. “The iPad, especially with a controller, returns that direct interaction, and the con- nection between your finger and a param- eter, filter, oscillator, etc., is so intuitive it erases the hesitation some people experi- ence with a traditional computer set-up. “There just appears to be less of an obsta- cle to generating immediate results, which inspires people to push further in exploring the synths,” continues Devine. “And once they do they realize developers are develop- ing these great GUIs that manage to tuck in pages of extensive routing and distinctive modulation that stands out even from the virtual synths being offered as plug-ins.” Devine’s no stranger to the relationship between sonic and human response. He Devine has contributed to sound banks and presets to many popular iOS synthesis apps. specializes in boutique sound design, sonic But it’s hard to get to know someone if the point where there’s no compromise in mnemonics and audio logos, interface you never meet them, and thanks to steep functionality. While iOS had many sound sounds, sample library content, effects for entry costs and learning curves, only a toys since launch, developers really stepped TV, film and video games, as well as interac- select few got to experience all that these it up with the release of the iPad, taking tive web-based environments. It’s a com- legendary circuit ensembles had to give. into account multipoint manipulation while mercial career that grew out of recording The barrier between investment and return releasing fully fledged ports and expressive leftfield soundscapes for the likes of Warp has been greatly lessened, however, thanks new interfaces. Features-wise, iOS synths and Schematic Records, coaxed from such to the evolution of Apple’s iOS. have hit parity with many of the hardware iconic boxes as the aforementioned Arp Building on the democratization of the and softsynths previously available, while 2600, the Roland TR-808 and the Jupiter-6, last decade’s digital audio workstation revo- adding in a gestural component that was lost as well as graphically editable physical lution, iOS has put access to fully realized due to the mouse for many years. It’s an envi- modeling hardware such as the Clavia Nord vintage gear emulations and previously ronment that’s inviting to the novice while Modular G2. Even without touchscreens, unseen sound design environments into the satisfying to the expert. Just like this expert: the music was gestural and expressive, hands of anyone with an interest, an iPad though at times you wondered if it was giv- and a small amount of disposable income. Case Study: Artist/Sound ing you a devilish grin and the middle finger. More impressive than even the portabil- Designer Richard Devine Having cut his sawtooth on hardware, ity or the affordability is that we’re now at “I started making music on instruments Devine was approached in 1999 by Berlin,

DC-based live DJ and pro audio industry journalist Tony Ware is a writer for Pro Audio Review and contributes to sister publication Electronic Musician.

24 ProAudioReview | July 2013 www.proaudioreview.com (L to R): Waldorf Nave Cosmos Lead and Chord Complex virtual synths, respectively; Propellerhead Thor Polysonic Synthesizer’s Devine Marble Pad. Germany-based Native Instruments, and he equally great sounds. Devine also hopes companies, including proceeded to have a long relationship devel- “Some apps reinvent hardware, while Apple itself, will follow the lead of Korg and oping factory content, expansion libraries apps like Impaktor directly take into account Propellerhead Software’s Thor and release and effects algorithms for Battery, Kontakt, the actual iPad hardware,” continues Devine. more mobile-friendly versions of their flag- Absynth, Reaktor, FM8 and Massive, among “It uses the microphone input to trigger ships. He initially saw the potential of a fully other virtual instruments. He was also an physical percussion emulations, which you integrated compositional environment when early adopter of one of the first multitouch can filter and manipulate, and it’s virtual preparing a demo song for the launch of music composition/control tools: Lemur, synthesis that wouldn’t be as compelling in Retronyms’ Tabletop 2.0, and he hopes to see which started on a dedicated hardwired a larger form factor or if you had to set up a an iOS version of Logic Pro that takes advan- platform and is now available as an iPad app. signal chain beforehand. The true success of tage of the inter-app audio-routing capabilities In recent years, however, Devine has the iPad is making it easier and more enjoy- introduced to iPad in 2012 by Audiobus (and gained a reputation for compositions able for end users to get unique sounds.” that are rumored to be augmented natively in that source less from virtual instruments Reflecting on the singular presets he iOS 7, to be released in fall 2013). and more from configuring Cwejman and has personally contributed to the iOS envi- “GarageBand can do tracking and sim- Doepfer Eurorack modules, among others, ronment, Devine explains that his goal is ple arrangements, but I’d like Apple to do in order to capture the circuitry’s phan- to “utilize all the distinct features that a something closer to [Steinberg’s] Cubasis, tasmal essence. The iPad, however, has software tool has so it can be a spring- focusing on more serious audio editing and established itself in a middle ground where board for other people to get inspired and sequencing functions for people making apps such as Animoog can produce cre- want to look under the hood to see how electronic music,” explains Devine. “It could atively regurgitating morph groups without and why one thing is affecting another. have a piano roll editor, a group of vir- too much of the editor nitpicking, while also I’m not trying to recreate an established tual instruments, something like the EXS24 offering the modern convenience of saving sound set like the MemoryMoog bass or sampler and maybe a physical modeling and recalling presets. Roland Hoover, which has been done a mil- synth, but best of all would be if it was open “Animoog could have focused on analog lion times, because an app like Nave has to third-party apps internally. To be able to warmth with thick 24 dB ladder filters, but such an in-depth modulation matrix, and open up Nave and Thor on different chan- instead Moog saw the platform for what features like a blades function for dynamic nels with different processing, all tweaked it was: an opportunity to expand on or go triggering of polyphonic modulation. There by your fingertips on the couch and my beyond what’s already been done in the are X/Y interfaces that can be automated laptop would start to look vintage.” computer or in a piece of hardware,” says by LFOs—a four-track that allows you to Devine. “Korg is also a good company to bounce down an improvisational sketch—it Where We’re Headed reference, because they were one of the offers so many ways of sequencing or play- It’s not just within the confines of iOS first ones to show how they could produce ing sounds and so many opportunities to where innovation is evolving and threaten- an accurate reproduction with the iMS-20, ‘play it wrong’ in an inspiring way.” ing to antiquate our workflow, and PAR is but it went way deeper than even what the Other ways Devine suggests doing dedicating this space to exploring these Legacy Collection plug-in offered, allowing wrong right key on the apps Borderlands new thoroughfares. Each issue, we’ll look multiple instances, a sequencer, a global and Samplr, which are two of his favorites at digital sound creation, manipulation, recorder, a drum machine station. And the for directing field recordings through float- performance and monitoring tools that PPG WaveMapper [by Wolfgang Palm] is a ing processing cells and gesture-triggered help bring the mobile environment more good example of old technology reinvented dividing changes, respectively. “You can get in line with professional-grade audio with an easier, graphically oriented environ- these beautifully granulating, slicing audio workstations. As for personalities, have no ment for programming. To be honest, the textures, so it’s a great way to regenerate doubt we’ll meet a few. It’s not about think- original PPG Wave hardware was cumber- newly complex content and interesting tim- ing outside the box; it’s about rethinking some and it was time-consuming to get bres out of old sounds,” he says. what the box is in the first place.

www.proaudioreview.com July 2013 | ProAudioReview 25 studio review by Rich Tozzoli Millennia HV-37 Two-Channel Preamplifier Dual HV-35 preamps in this 1U chassis is an excellent front end for acoustic instrument recording jobs, and much more.

Some reviews are easier than others. Luckily, we at PAR get to use players and exceptional instruments—that never hurts—yet the beautiful thing is those a lot of what I’ve previously referred to as “the good stuff,” and instruments translated to the end recording Millennia’s HV-37 preamp squarely fits into the “good stuff” category. almost like I was standing in front of them. This is thanks in large part to the HV-37. In my extensive use of the HV-37 in various acoustic recording appli- I realize this is a PAR review, and I was cations, it gave me everything I needed. probably supposed to use the DI to make it “official,” but hey—I’m focusing on the Features signal path. When recording, I use different real-world use of this preamp. Honestly, I Incorporating a pair of HV-35 500 series preamps for different purposes; it has to do didn’t need the Hi-Z input, so this applica- module preamps into a fully self-contained with the player, instrument, mic, room and tion would have been forced. single space rack unit, the HV-37’s layout is purpose. Sometimes a colored preamp is One suggestion for Millennia: How about quite simple. Included is a quarter-inch Hi-Z just what’s called for, and other times ‘invis- making the power-on light a little bigger, or instrument input with a small gain knob (15- ible’ is needed. The HV-37, in my opinion, is brighter? If you aren’t standing directly in 60 dB), followed by buttons for instrument invisible: It steps out of the way of the mic front of the unit, it’s very hard to tell if this input, 80 Hz roll-off filter (3 dB per octave), and allows recording like no amplifier was guy is on until you hear the mics go live. It’s DC coupled ribbon mic mode (with 10 dB there. I like that. a minor issue, and if any sound degradation gain boost), +48 VDC phantom power, polar- I’ve had a handful of projects recently was a trade-off, I’ll just look closer. ity switch and 15 dB pad. Finally, there is a that called for an almost classical approach signal present light indicating signal at -46 in purity of sound, even though it wasn’t Summary dB (green) or a +22 dB peak (red). Double classical music. I broke out some of my Overall, for a street price of under $750 the above description, add in a power switch favorite go-to mics, including an Earthworks per channel, HV-37 buyers get a high-end and a small power-on light, and that’s the QTC-1 matched pair and DPA 2011C matched preamp that excels at capturing acoustic front panel. On the rear, there is XLR I/O per pair. Working in both my Pro Tools HDX and music. The HV-37 delivers on all the adjec- channel and the IEC power cable connection UA Apollo mobile rigs, I used the HV-37 on tives you might expect to hear; it’s clean, for the internal power supply (120 – 240 V cello, violin, overheads, acoustic guitars, pure, invisible and musical. It helps me operation) completes the package. vibes, shakers, percussion and even voice. make great music and is now a valuable The noise floor of the HV-37 is hardly even part of my acoustic recording rig. In Use there; it is low enough to use in super delicate With its transformerless input and ultra recording situations. Sure, I used very good Price: $1,439 street clean design, it provides just what you’d microphones and very good Mogami cable Contact: Millennia | mil-media.com/HV-37. expect it to: an uncolored and accurate (for both my HDX and Apollo rigs) with fine html

Rich Tozzoli is a Grammy-nominated mixer/producer, a prolific TV composer and the Software Editor for Pro Audio Review. richtozzoli.com

26 ProAudioReview | July 2013 www.proaudioreview.com second opinion by Lynn Fuston Millennia “The HV-37 delivers on all the adjectives Media HV-35 you might expect to hear; As a longtime Millennia Media preamp advo- it’s clean, pure, invisible and musical.” cate—having owned both the 8-channel HV-3D and the newer 8-channel HV-3R—I’m a huge fan of these preamps. I frequently record orchestras through them, with the sig- nal path being Mic > Preamp > Pro Tools. With the right combination of player, mic and mic position, all I need is gain and no other modi- fication to the signal. Everything from strings to woodwinds to brass to harp, when paired with the right mic and the Millennia preamps, is really easy to get a great sound for without any knob turning at all (except for gain). My singular frustration with my Millennia has been the lack of a high pass filter. When recording in studios with air conditioning rumble or wood floors that conduct low end, unwanted low frequency excursion is often an issue. I hate going from the preamp out to an EQ or console (additional circuitry) just to dump unusable or inaudible frequencies, but frequently I am required to do that when working with mics that have no highpass filter, like all of my numerous ribbon mics. So, I am delighted that the HV-35 (500 Series, $799 retail) incorporates all the fea- tures of the HV-3R and adds a highpass filter. On my last orchestra session, I had the oppor- tunity to use a pair of these alongside my valued HV-3R and they sound just the same— something that cannot be said about all 500 Series realizations of preamps. I welcome the inclusion of a ribbon input, with the additional 10 dB of gain, though I didn’t have a chance to check it out on that date.

July 2013 | ProAudioReview 27 studio review by Lynn Fuston The Sound Collector’s Kit For the Journeyman Engineer on a Budget I began my field recording career with a quarter-inch reel-to-reel for monitoring. If I need to record an electric instrument, recorder and mics, cables and lots of extensions cords. We’ve come I have the Apogee JAM, USB-direct box, a long ways since then, thankfully. These days, if someone (like me) which gives me a quarter-inch instrument input. For software, I rely on Voice Record needs to record on the go with a minimum of gear and weight, yet Pro by Dayana Networks, which is free not sacrifice quality, what gear would be a good choice? unless you want to get rid of ads and then it’s $2.99. Other software options are Auria Here is a package I’ve put together or up high. (The folding stand and cables and GarageBand. IK Multimedia makes an that allows me to record field interviews came with the Apogee MiC.) iKlip range of clips for attaching iPads and or stereo ambience and effects and is so I carry two wind filters that I do not iPhones to mic stands. RØDE plans to offer compact and lightweight that I can take it consider optional, either for voice record- a “hotshoe mount” for attaching an iPhone with me anywhere (and frequently do). The ing or exterior recording: one foam for the to a DSLR/video camera. whole package zips into a padded case that Apogee and the furry RØDE Dead Kitten is only 9 x 13 x 3.5 inches. (I need to put it for the iXY. Then I have adapters that will on a scale and see how much it weighs.) convert from Lightning (iPad4/iPhone5) to The whole package For recorders, I use my iPad 4 (64G) or 30-pin, Lightning to USB, or Apple’s Camera iPhone 4 (16G). By keeping the photos and Connection kit (30-pin to SD card or USB) zips into a padded apps stripped down, I have plenty of room. along with the iDevice chargers and their Even with only 8 GB free for recording on cables and I can pretty much connect to case that is only my iPhone, I can still record 8 hours in ste- anything I encounter. I carry either earbuds 9 x 13 x 3.5 inches. reo at 24/48 kHz. or my Audio-Technica ATH-M50 headphones For mics, I have the Apogee MiC with cables (x2) and the RØDE iXY stereo mic. The Apogee works well for mono voice (pod- cast, interview) or acoustic instrument purposes and the RØDE iXY is great for simple fixed-point stereo. The iXY plugs directly into the 30-pin con- nector on my iPhone 4 and the two Apogee cables terminate as 30-pin or USB. Condenser mics are very sus- ceptible to handling noise, so I carry a desktop folding tripod that screws into the Apogee MiC via a camera thread (quarter- inch 20). I also have an adapter for quarter-inch 20 to the US mic stand standard 5/8-inch 27 thread in case I need to mount iPhone 5 and iPad 4, Apogee MiC and JAM, RØDE iXY with Dead Kitten, Audio-Technica ATH-M50, standard Apple the mic in front of an instrument earbuds and various iOS connectors and cables comprise our Technical Editor’s 2013 field recording kit.

Lynn Fuston is a Nashville-based engineer, owner of 3D Audio Inc., and the Technical Editor for PAR. 3daudioinc.com.

28 ProAudioReview | July 2013 www.proaudioreview.com

studio review by Lynn Fuston

RØDE iXY Stereo iXY Sound Samples (at 16-bit/48 kHz)

Microphone for iOS 3daudioinc.com/rodeixy_ Our Technical Editor recently travelled through samples_fromhawaii 1. Fireworks off Waikiki bay in paradise with RØDE’s simple-to-use, 96 kHz- Honolulu capable stereo mic for iPhone and iPad. 2. Spouting Horn (blowhole) in Poipu 3. Crystal Harmonics Sound Art On a recent recording assign- Studio in Koloa ment, as I roamed around the 4. Surf at 3 AM near Waimea 5. Windswept Kalalau trail on island of Kauai—the primitive Napali coast of Kauai (wind “garden isle” of the Hawaiian muff test) 6. Showoff bird at 4000’ above island chain—I was overwhelmed sea level at Kalalau lookout not only by the beauty, but also by the unique sounds of this very isolated island located 2,500 miles away from Los Angeles in one direction and Samoa in the other. There are sounds and sights here that exist few other places on the globe. Knowing what I would encounter, I had arranged to audition the new iDevice mic in the RØDE lineup: the stereo iXY. A crossed-pair of condensers in XY configuration connected to the Apple 30-pin adapter that will plug directly into an iPhone 4/4S or iPad 3 (or earlier) with built-in ADC that is capable of 24-bit/96 kHz record- ing: what an ingenious and con- venient idea. I was determined to use it to document my whole Hawaii trip.

Lynn Fuston is a Nashville-based engineer, owner of 3D Audio Inc., and the Technical Editor for PAR.

30 ProAudioReview | July 2013 www.proaudioreview.com

Features music demo, performance on a whim or to monitor the recording, iOS will use the RØDE did a brilliant job of packaging the just a unique sound I encounter. This mic earbud mic for the recording instead of iXY. The boxed clear case holds the mic, was made for times like that. It sounds very the iXY—just so you know. So plug in the a firm-shell case and a foam wind filter. good, drastically better than the iPhone earbuds first. Given the susceptibility of condenser mics mic, and is also stereo and records at up to The only limitation I found when using to wind noise, I would strongly recommend 96 kHz. There were several occasions (like the iXY is that I had to be very careful adding RØDE’s “Dead Kitten” wind muff if the biggest fireworks display of the year on about handling noise (thumps)—as with any outdoor recording is ever anticipated. the night that I happened to be in Waikiki, any condenser mic—and that can be heard During my trip, the iXY lived in the wind staged from three boats about a mile out to on these recorded samples. Holding the muff. sea) when I was able to record the sound in mic perfectly still is possible, but chal- Let’s start with the basics. First and fore- stereo and also shoot video with my phone; lenging. Setting the iPhone on a desktop most, I love that this mic is 2 x 2.25 x 1.5 it excels for occasions like that. Another is the best option by far, but position it so inches small—small enough that there’s unique sound is the blowhole, or Spouting first reflections from the hard surface don’t little excuse for not carrying it everywhere. Horn, which is found on volcanic islands. A cause comb filtering. I positioned it so that I kept it in the wind muff in my cargo-pock- tunnel in the rock surface of a cliff connects the mic was on the edge, hanging out over eted shorts all the time, unless I was going to a cave where the waves crash in, forming the desktop. I was able to achieve excellent rafting or hiking in the rain, when I sealed it a spout that erupts with a blast of water and field recordings with it under very challeng- and my phone in a ziplock bag. I own a col- foam with each wave surge. It makes a very ing conditions, including on a mountainside lection of other “i-mics” with cables, adapt- unique and unexpected sound; it sounds on the rugged Napali coast of Kauai, with ers and mounting hardware that are great like a dragon breathing. I knew I wanted to winds blowing in excess of 20 MPH. I was for certain tasks, but the advantage of hav- record that and the iXY did an excellent job. shocked at how well the dead kitten worked, ing something so compact and convenient Practically, the iXY is the simplest mic blocking wind noise that would otherwise is huge. The best thing is that it sounds to use. Plug it into the 30-pin connector on have rendered the recording unusable. drastically better than the pencil-lead-sized the end of the phone, pick your recording The wind muff is also a great conversation mic in the iPhone. app and hit record. It could not be simpler. starter. I had one hiker think it was a pet rat However, there is one caveat of using iOS when he saw it, while another commented In Use mics that I learned. For absolute simplicity that it looks just like a “tribble” (1960s Star As much as I hate to admit it, there are of operation and configuration, Apple’s iOS Trek reference: “The Trouble with Tribbles.”) times when I just need to record something recognizes the last device that was plugged Several conversations ensued as I used it, and the importance of getting the record- in as the mic of choice. Thus, if I plug in the with couples from around the globe. If I were ing supersedes concerns about ultimate iXY and then next plug in a set of Apple ear- a single man who was traveling and wanted fidelity. It may be an interview or a quick buds (with the included mic for telephony) to meet women and couldn’t carry a cute pet, this would definitely be the next best thing. I digress. RØDE Rec Recording App I only encountered one problem with the mic and that was a digital noise in the RØDE makes a companion recording app for iPhone/iPad 3 (or earlier), left channel on a few recordings. While called RØDE Rec ($5.99 at the App Store) or the free version, RØDE Rec I was never able to reliably pinpoint the LE. The RØDE Rec app is very full featured and allows for recording at cause, it only happened a few times and I sampling frequencies from 8 kHz up to 96 kHz, track naming, markers suspect it might have to do with the con- during recording, embedding of metadata, compression/expansion/EQ/ nector not seating properly, i.e. pilot error. hi and lo pass, and varispeed playback. While it is the most comprehen- Doing a preliminary test recording (always sive stereo recording app I’ve encountered, I had one occasion when I recorded an 18-minute interview, stopped the recording and when I went advised) will make sure this doesn’t ruin to the soundfile library, the file memo showed, “Nothing recorded.” This an important recording. The challenge of an happened on two other occasions as well, so three lost recordings out of on-phone mic is the amount of technology about 30. To me, even one lost recording is unacceptable so, for critical and RF from the phone electronics in such purposes, I would recommend using another app, such as Voice Record, close proximity to the sensitive low-level which is free and works reliably, even with fewer features. mic circuit. At press time, RØDE Microphones announced its purchase of the FiRe audio recording application for Apple iOS devices (the basis for Rode Summary Rec) from Audiofile Engineering. RØDE has taken complete ownership of Most of the time, the iXY sounded excel- the app as well as the fundamental code. In the next few months, RØDE lent, though lacking in real low end (as intends to release improved versions of RØDE Rec. (continued on page 42)

32 ProAudioReview | July 2013 www.proaudioreview.com

studio review by Russ Long Rascal Audio Two-V Dual Microphone Preamplifier for 500 Series Varying the sonic character of a microphone from clean to extreme saturation without losing any musicality makes this device appealing for any engineer with a 500-series rack. The +48 VDC phantom power switch is accompanied by a greenish-blue LED sig- While Rascal Audio’s Joel Cameron has been designing, building, and nifying that phantom power is active. The modifying equipment for well over 10 years, my introduction to the 0˚/180˚ switch inverts the polarity, and the company was via the Analogue ToneBuss, which I reviewed (and subse- High Pass switch activates a 6 dB/octave high-pass filter with a 120 Hz corner fre- quently purchased) in 2009. The Plano, Texas-based company has recently quency; Joel Cameron has evidently found released its second product, a two-channel 500-series mic pre called the the magic corner frequency and curve to cre- Two-V, which offers impressive performance and extreme versatility. ate the closest thing to a perfect high pass filter. Impedance is switchable between high Features arrangement allows two of the transform- (1200 ohms) and low (300 ohms). The Rascal Audio Two-V provides two ers to easily fit into a double-wide chassis). channels of microphone preamplification The Two-V’s two channels have identi- In Use in a doublewide 500-series module. The cal controls that include Gain, Input and Engineers who haven’t used a mic pre “Rascal Audio Grey” (painted a battleship Output knobs and Phantom, Impedance, with three independent (and interdepen- gray) device features black knobs with gray Polarity and High Pass Filter switches. The dent) controls may be slightly thrown off inserts. The $1,289 unit is constructed with stepped Gain rotary switch varies from 40 by the concept at first. Once I got used to a blend of old-school and current compo- dB to 70 dB in 6 dB steps. The continu- it though (which was rather quickly), it’s nents, such as custom designed, propri- ously variable Input control acts as a pad all quite intuitive, making it an amazing etary I/O transformers; these are likely the between the microphone input transformer tone-shaping tool. When recording a sound most critical component in the circuit as and the first active gain stage. Although source that I want to keep clean, open and they are fastidiously wound to attain a pre- it is located below the Gain control on the natural (most often piano and orchestral cise performance characteristic specifically front panel, it actually precedes the circuit’s instruments), I start with the Gain at 40 for the Two-V. active gain block. When the Input control is and Input turned all the way down (no While it’s no surprise that a two-channel turned all the way down, the input signal is signal passing) and the Output all the way mic preamp requires two 500-series slots, fully attenuated. The continuously variable up (no trim). I then increase the level of the the fact that the One-V (the $725 mono Output control acts as a fader, allowing Input control while watching the meters on version of the pre) is also a double-wide control between the preamp stage and the my DAW or tape machine until the desired device demands an explanation. The truth output stage. When the Output control is level is reached. If I turn the Input level all is the narrowest dimension of the preamp’s turned all the way down, no signal passes, the way up and the signal still needs to be output transformer is wider than a single and when it is turned all the way up, there higher, I start increasing the Gain control 500-series slot (staggering the transformer is no attenuation between the gain stages. (in 6 dB increments) until the signal just

34 ProAudioReview | July 2013 www.proaudioreview.com passes the desired level and then I back drums, bass and percussion, electric and off the Input control until the desired signal acoustic guitars, and violins and violas and Two-V Component level is reached. The result is a smooth, had wonderful results in every instance. I Selection: wonderful sound that isn’t completely void used the mic pre to record dozens of vocal of color and character, but is natural. performances, always finding the pre to be When preamp color is the goal—and trust present, punchy and forward. Vocals record- Rascal Audio’s Joel Cameron carefully selected the components me, once you hear the beautiful tone of the ed via Two-V cut through a mix easier than for the discrete, Class-A Two-V and Two-V, it most likely will be—I start with most other tracks I’ve recorded; I found that he explains his philosophy towards the Output set around 11 or 12 o’clock and they don’t require the vocal to be mixed as component selection: “Component then experiment with increasing the Gain loud but can still completely cut through a choice is, of course, critical to the and Input controls until the desired sound is mix. I absolutely love the sound of the high- performance of a device, but in my experience, the most expensive or attained. Once the sound is there, I increase pass filter which, with few exceptions (e.g., esoteric components aren’t neces- the Output level while watching the DAW or bass guitar, kick drum, toms, etc.), I use the sarily the ones that provide the tape machine meters until the desired level majority of the time; it somehow removes most satisfying tone upon audition- is reached. The Two-V’s unique design causes the exact amount of problem low-frequency ing. Measurements are useful, but the Gain and Input controls to alter the char- information without compromising the sound auditioning has to be the ultimate determiner of component selec- acter and tone of a signal in a different way, in any way. There’s no pad on the Two-V and tion, and the results can some- so the combination of these two controls pro- the lowest gain setting is 40 dB, but since times be surprising. This is true for vides the user with a broad-stroke tonal paint- there is a variable input, I never wanted for the Two-V as well. I have listened brush to mold the sound into the desired a separate pad even with a high-output mic to this circuit a great deal over result. Due to the overload characteristics of and a loud sound source, I had great results the last couple of years and have chosen the components that bring the Two-V’s custom transformers, as satura- using the mic pre along with a Royer R-122V the biggest smile to my face when tion increases, transients are smoothed; in to record an exceptionally loud guitar amp. using it. Of course, the transform- some instances, the Two-V almost sounds ers have enormous impact on a like a tube device, especially noticeable with Summary circuit like this, so I spent a lot of drums and percussion. I should also mention Where most clone mic pres are typically time getting those just right.” Joel goes on to say—and I’m that the low impedance gain setting shines what I describe as one-trick-ponies, the sure you’d be hard pressed to when using dynamic mics on kick, snare and Two-V uses custom-designed transformers find a professional engineer to toms; it adds an impact and thickness to the and provides much more control of the disagree—“There is no shortage of drums that is unbelievable. interaction between its stages than old- lackluster products with killer com- I had great results using the pre along school designs. This yields a mic pre that ponents in them.” Joel Cameron selects components for his circuit with a pair of Radial JDI direct boxes to has a fantastic sound, yet is much broader designs based on what his ears record keyboards; it worked wonderfully in its sonic flexibility than any solid-state (and the ears of his customers) along with a Demeter Tube DI to record bass preamp I’ve ever encountered. tell him, not based on the compo- guitar. Actually, my only complaint about nent’s impressive measurements the Two-V is the lack of instrument inputs. Price: $1,289 in a sterile environment. —Russ Long I used the Two-V to record everything from Contact: Rascal Audio | rascalaudio.net

new live products

Rational Acoustics Smaart v.7 Di Rational Acoustics has released Smaart v.7 Di (Dual-Channel Interface), the two-channel version of the standard Smaart v.7 analysis software. The Smaart v.7 Di platform is a sim- pler version of the Smaart v.7, yet still utilizes the Smaart v.7 Spectrum and Transfer Function measurement engines. “Smaart v.7 Di’s fixed, Powersoft Ottocanali Amplifier two-channel architecture makes all critical Series Expands configuration and control parameters acces- sible on a single UI (user interface), providing Powersoft has expanded its Ottocanali series with the addition of three new measurements without the standard version’s 8-channel power amplifiers for fixed installations—Ottocanali 4K4, Ottocanali 8K4 multi-measurement, multi-mode complexity,” and Ottocanali 12K4. The three amplifiers have been designed to work at low or explains Rational Acoustics. high impedance, can run at 2 ohms as a standard operational parameter and can Smaart v.7 Di’s Spectrum and Transfer power 70 V and 100 V distributed lines without the need for external transform- Function engines have the same power and ers. Powersoft’s approach to class D amplification gives the amplifiers high output capabilities as those in the standard version. power, up to 12 kW over eight channels for the largest model. Every amplifier in However, v.7 Di does not include a separate this series has two universal switch mode power supplies with PFC (Power Factor Impulse Response (IR) Mode nor any of the Correction) each independently powering a set of four channels. In addition, patent- Acoustic Tools. Instead, all time domain mea- ed SRM (Smart Rails Management) technology reportedly maximizes the efficiency surement capabilities in v.7 Di reside in the Live of the system, reducing the power consumption at any load and usage condition. IR display of the Transfer Function measure- Price: TBA ment. Smaart v.7 Di operates natively in both Contact: Powersoft powersoft-audio.com | Windows and Mac operating systems (includ- ing 32- and 64-bit versions). Both versions of Line 6 Relay V75-SC 14-channel Smaart use the same RTA and Transfer Function data formats. Digital Wireless handheld Smaart v.7 Di is available for purchase imme- Microphone/Transmitter diately via the Rational Acoustics online web store or from any authorized Rational Acoustics Line 6 has released its new Relay V75-SC 14-channel digital wireless handheld dealer or distributor. Each new license comes microphone/transmitter with super-cardioid dynamic capsule. Designed for use with two available installs. with the XD-V75 digital wireless system, Relay V75-SC is designed to isolate vocals Price: $595 while rejecting stage noise. The V75-SC is the first Line 6 vocal wireless solution to be Contact: Rational Acoustics | released under the Relay brand. The XD-V75, XD-V55 and XD-V35 vocal wireless sys- rationalacoustics.com tems will also join G-series instrument wireless solutions as part of the Relay family. The V75-SC features 24-bit audio, 10 Hz to 20 kHz frequency response and a dynamic range of up to 118 dB SPL (A weighted). Relay V75-SC also offers four micro- phone models, including three based on popular super-cardioid live mics, allowing vocalists to choose a sound to match their voice, performance style and venue. Price: $209 street Contact: Line 6 | line6.com

38 ProAudioReview | July 2013 www.proaudioreview.com live review by Strother Bullins Shure KSM9HS Dual-Pattern Handheld Condenser Microphone With switchable hypercardioid or subcardioid patterns, this KSM9 truly becomes a multipurpose live condenser. Shure’s new KSM9HS handheld vocal microphone offers users the detailed, smooth and balanced sound of the original KSM9, but with a different pair of polar pattern selections, which I found to increase its usefulness substantially.

Features Like its KSM9 predecessor, it’s also Priced at approximately $699 street— built with internal shock mounting the same price as the cardioid/supercar- for its cartridge plus a subsonic filter, dioid KSM9—the KSM9HS offers an elec- noticeably reducing handling noise and tret condenser capsule, selectable hyper- rumble, respectively. A three-stage, cardioid (more directional than the KSM9 mesh-layered pop protection grille supercardioid setting) and subcardioid (a does a solid job of battling breath-based rounder polar pattern, less directional than noise and wind—especially useful for the KSM9 cardioid setting) patterns, and a outdoor use. 150 dB-plus maximum SPL handling ability. The KSM Series is already at the top Maximum off-axis rejections are at 110 and of Shure’s product array, though it’s still 180 degrees, hypercardioid and subcardioid a welcome surprise just how incred- settings, respectively. ibly well this mic is built and packaged. Frequency-wise, the KSM9HS’s subcar- For one example, the pattern switch is dioid is flatter across a wider portion of the solid, and in hand, the mic simply feels band, and extends lower; hypercardioid is overbuilt. And if you only fully trust pretty flat out to 20 kHz. The subcardioid a Halliburton, you’ll find its aluminum never drops below zero at around 2 kHz—a case comforting. slight shelf in effect. Overall the mic deliv- ers a crisp, immediate sound, one perfect In Use for allowing vocals to pop forward in an With the KSM9’s well-deserved attractive sheen, which I found especially status as a premium handheld vocal desirable and useful in crowded live mixes, condenser, the primary question I had for one example. about the KSM9HS was, are subcardi-

Strother Bullins is the Editor of Pro Audio Review and an active live musician. www.proaudioreview.com July 2013 | ProAudioReview 39 oid and hypercardioid patterns more useful crowded and amplified stage, the hypercar- Summary than super- and standard cardioid? With dioid allowed me to simply click a switch The KSM9HS is a great tool for a “first-grab” solid dynamic cardioids (and most like- instead of swapping in a different mic for live microphone kit, and likely the premium ly SM57s) almost always within reach, I more gain before feedback. From a pure live handheld condenser choice for the most believe so. flexibility standpoint, the KSM9HS is an important artist on stage. I really like the sub- I used the KSM9HS in a variety of com- incredibly useful “main” live microphone. cardioid pattern, which makes the KSM9HS

“Vocalists generally seemed to like their voice via the KSM9HS, and it seemed to encourage confidence at the mic. Most commented on the crispness and detail it brought to their performances—overall, a full and rich bottom with no overt boominess, thanks to very little proximity effect, and a notably open top end.” mon live applications: mainly lead male and Vocalists generally seemed to like their unique in the wide range of common live female vocals, plus close-miked acoustic voices via the KSM9HS, and it seemed to condensers in the marketplace. Paired with guitars, guitar amp cabinet, snare drum encourage confidence at the mic. Most a half-dozen SM57s, KSM9HS users will have and percussion (djembe and tambou- commented on the crispness and detail it a solid collection of transducers for most any rine). Especially in less dense, acoustic brought to their performances—overall, a gig, at any professional level. instrument mixes, I really appreciated the full and rich bottom with no overt boomi- increased environmental “air” in the signal ness, thanks to very little proximity effect, Price: $699 street from the subcardioid setting. For a more and a notably open top end. Contact: Shure | shure.com adindex classifieds 12 Acoustics First acousticsfirst.com ACOUSTICS RepAIR SeRvICeS 43 Audio Plus Services audioplusservices.com 37 B&H Pro Audio bhproaudio.com 36 Dave Hill Designs/Crane Song davehilldesigns.com STUDIO FURNISHINGS 29 DBX dbxpro.com 27 DPA Microphones dpamicrophones.com 7 Focusrite focusrite.com/ISA 10 Full Compass Stay One fullcompass.com SteP ahead 5 Genelec with NewBay Media’s FRee genelecusa.com Electronic Newsletters 11 Lectrosonics All EntERtAinmEnt lectrosonics.com tEchnology topicS 35 Lewitt Audio covEREd lewitt-audio.com For the latest Simply visit 21 Maag Audio industry news www.nbmedia.com maagaudio.com and click on the 23 Mogan Microphones and information “Email Newsletters” link. Then choose as many moganmicrophones.com visit newsletters you need. 17 Parts Express proaudioreview.com Sign-up today by visiting parts-express.com/catalog FREE! www.nbmedia.com 16 Primacoustic primacoustic.com 44 QSC Audio Products RecRuiting? qscaudio.com 6 Radial Engineering Reach your target audience radialeng.com of over 67,000 audio 8 Rascal Audio industry professionals. rascalaudio.net Place a recruitment ad 9 Rode Microphones in all 3 of our pro audio ixymic.com

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1 Color - 0 Cyan / 100 Magenta / 99 Yellow / 4 Black Best of Show Outline GTO C-12 line it’s only available for the new RØDE (continued from page 10) source array | outlin- AcousticDesign series of loud- (continued from page 32) earray.com speakers from QSC, but that’s just DPA Podium This dual 12-inch, 4 x 6.5- for now, I’m hoping. Kudos to prod- can be heard on the fireworks Microphones | dpami- inch mid driver and 2 x 3 uct manager Phil Sanchez and recording) and I did have the crophones.com compression driver loaded array his team for the entire, superbly iOS hi-pass filter switched off. Interchange high end DPA mic element adds more push to the conceived AD package (and the Are these recordings as good heads on the end of a gooseneck! Outline compact GTO line. design consideration did even as a dedicated stereo pair extend to packaging). of $1,000 mics on a shock- JBL Professional QSC CXD/PLD process- mount/boom arm recording CWT128 loudspeaker | ing amplifiers | qsc.com VUE Audiotechnik into a Sound Devices 702? harman.com Lots of flexibility, efficient power and VUEPoint digital beam Likely not, but this iXY/iPhone Its Crossfired Waveguide Technology value in QSC’s new amps, with lines steering technology | setup didn’t cost me $4000- is aimed at providing dispersion of configured for touring and install. vueaudio.com plus, either. For $199, I would 160-degrees, covering the width of AFMG has been perfecting EASE strongly recommend it if you— two cabinets with a single box. QSC X-Mount integrat- Focus and their FIRMaker cover- like me—ever need to record ed loudspeaker mount- age optimization algorithm for something and don’t typically Martin MLA Mini line ing solution | qsc.com sometime, and the VUE team carry around a recorder and array | martin-audio. OK, so QSC gets two. But the geek embraced the concept and made mics. If you, like many people com in me made this the piece of kit its implementation a reality in a I encountered while I was in Leveraging down the DSP driven that I talked about more than remarkably short time period. Hawaii—from studio owner to cellular control of array compo- any other at InfoComm. Anyone Smart partnering. professional videographer to nents for smaller, even floor who has ever tried to match posi- layperson doing casual record- mounted, applications. tioning of two speakers with an Again, these aren’t the only worthy ings—have an iPhone and Omnimount will appreciate the products at the convention, but need a convenient economical Mogan Elite ICE omni- knurled and grooved aluminum of those that were having a USA quality recording solution, you directional earset cup and ball system that allows debut at InfoCOMM, these were need one of these. microphone | mogan- speed and repeatability. Then the baker’s dozen that turned the microphones.com slap the speaker on in half-a- most heads among the PAR/PSN Price: $199 These earworn mics are winning second with the x-slotted mount and other sister publication staffs Contact: RØDE Microphones | over a lot of ears. on the rear of the speaker. Sure, in attendance. ixymic.com

Genelec’s Eggleston Did the design team tweak the had to go back to the design phase waveguide knowing that the rooms a couple of times to make sure that (continued from page 17) might be a little bit more reflective? the port flow was as smooth as pos- loudspeaker industry.” Only a bit. I think that if you had a sible. That’s one of the benefits of look at the directivity indexes, they injection molding—you can go back would be only modestly different and change specific things. It’s On Component Quality: with a goal of understanding where Will offers insight on Genelec’s worked out very well.” the products would be headed, or continued focus on component On lack of DSP features: quality: “The transducers won’t be where they would be placed.” That’s “another example of where any different than what you have in any typical Genelec product. We On The Laminar Integrated Port: we’ve been able to save time and won’t go to a different part supplier Will explains the design: “The M energy making the product,” offers because it’s going to save a tenth of Series’ legs actually integrate into Will. “While we weren’t overtly trying a Euro; it’s just not going to make the port. We call it LIP for Laminar to make something less expensive, a whole lot of sense for us to do Integrated Port, where the port is we knew we could have something that, especially if there is a potential actually part of the mold. On the M that would be competitively a bit less impact on reliability. We haven’t Series, the port is part of the front money with the same size drivers given anything up in terms of sound half of the enclosure. The fact that and a product that could be a ben- character. Indeed an M Series it’s part of what the product sup- efit to the target market.” monitor will sound like a Genelec. ports itself with is even cooler; we —courtesy of Pro Sound News

42 ProAudioReview | July 2013 www.proaudioreview.com