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Teac A-2300SX Manual
Instruction: After click Download and complete offer, you will get access to list of direct links to websites where you can this manual. About About Teac A-2300SX Here you can find all about Teac A-2300SX like manual and other informations. For example: review. Teac A-2300SX manual (user guide) is ready to for free. On the bottom of page users can write a review. If you own a Teac A-2300SX please write about it to help other people. User reviews and opinions Comments to date: 8. Page 1 of 1. Average Rating: 2:45am on Monday, September 27th, 2010 The sheets have great perporation. Bought the staples brand and there was no comparation. Durable Construction,Easy Sheet Removal. We cover the inside of greenhouse windows for the winter here in Montana. Light transmission is very good. Our heating costs are nearly halved. 11:22pm on Sunday, September 26th, 2010 If youre looking for an external drive get this one! This is a really good external drive. Its good value. 2:30pm on Saturday, June 26th, 2010 nice and small slow acces to files slow performance freezes from time to time Very easy to use and very user friendly especially if you are a techno virgin like myself! Brilliant at loading music and films onto. 9:38am on Sunday, June 13th, 2010 A clear waste of money. Easy to install; when working it has average abilities When functioning, errors out when trying to do a full system back-up. This is a very nice little package for backing up a laptop. I got the 100GB version for a techno- phobic friend that runs her business on her laptop. 5:32pm on Saturday, June 5th, 2010 external HD nice presented, reasonable size, very useful thing that it contains USB ATTACHED, good idea for BD present 2:00am on Sunday, May 23rd, 2010 Strong case for excellent durability and drive protection. I ordered the 100GB version for a friend and had no trouble with it, even when using the USB extension cable. This is a nice. 6:14am on Saturday, May 22nd, 2010 Faster than Western Digital 250 GB MyBook (ext. usb) Tested with SiSoftSandra Pro 2007 Home SP1. RECOMMENDED. Comact, stylish, high performance. None 1:38am on Tuesday, May 11th, 2010 DURABLE A VERY GOOD TOUGHDRIVE. BOUGHT THIS 1 YEAR AGO, AND USED IT QUITE EXTENSIVELY, AND AM STILL USING IT. I WILL RECOMEND IT, ITS WORTH TO BUY
Comments posted on www.ps2netdrivers.net are solely the views and opinions of the people posting them and do not necessarily reflect the views or opinions of us. Documents The Making of Amateurism: Mastering a retrospective CD from a variety of old source tapes by David Nichols and Greg Wadley There's a new record out on Chapter Music of Melbourne, Australia, which collects the entire recorded output of Andrew Wilson onto one CD. Wilson's bands, the Four Gods, Frontier Scouts and Andrew Wilson and associates, were never huge sellers in their own country, let alone around the world. However the material bears reissue, for a number of reasons. One, is the interest that is sure to be generated by the special guests involved The Four Gods single, for instance, was not recorded by the original band, but by Wilson backed by two of the GoBetweens, Lindy Morrison and Grant McLennan. One of the Frontier Scouts tracks features feedback generated by the late David McComb, once of The Triffids. Additionally, few people who hear these songs fail to find the sound and the scope of the tracks outstanding. The Four Gods were part of the milieu that produced the early '80s Brisbane sound - the most famous exponents of which were the Go-Betweens. It's music that deserves to be heard. The Project Luckily, when it came to compiling the tracks for the release of what was to be known as Amateurism, we had the full co-operation (and trust, which was useful) of Andrew Wilson himself, and access to the original tapes for all, bar one of the releases. The master tape for the Frontier Scouts single "When Daddy Blows His Top" b/w "Out of Your Shell" had gone AWOL sometime in the 16 years since it was released. Probably even before it was released, when the tapes were used for the soundtrack to a video, which was made for the single at the time. However, we were lucky enough to have access to a near-mint vinyl copy of the single. In addition to the 13 tracks that had been previously released: two singles, two 12" EPs. We also decided to include five unreleased tracks. Three of these were rehearsal recordings by the original Four Gods, from cassette - probably 2-track recording mixdowns, but no one's sure. We also had access to an entire live show from 1984, which had been recorded in stereo to reel-to-reel one night when the Frontier Scouts played at the South Brisbane Rugby League Club. Our friend Mark Louttit, a former Brisbane-ite, (who used to do live sound for bands in the late '70s and early '80s, and who made the original recording) says he recorded the set directly out of the mixing desk onto a TEAC A-3440 4-track recorder. The 4-track was equipped with four custom built companders (noise reduction units) which were designed and built by my brother, John. The 4-track tape was later mixed in stereo onto a TEAC A2300SX, which was also equipped with companders. The same TEAC A-2300SX machine was used in the transfer to computer. We selected two songs from this set, one of which, was a song ("Belmondo") that was also done by the Four Gods. Both bands versions appear on the finished product, for contrast. Annoyingly, (though this is surely the outcome of almost every trawl for a long gone band's back catalogue) a lost tape kept hovering into view every so often, in this case a recording session the Frontier Scouts had done with Victor Van Vugt. These days, he's a producer noted for his work with Nick Cave, Luna, etc. Andrew got in touch with Victor, who recalled the session but didn't have a tape. He then set out looking for the other members of the band and to this date, he hasn't managed to find it. The lost tape has stayed lost. We're hoping that the release of Amateurism will jog someone's memory and disgorge it in which case we'll stick a found lost song on the next Chapter archive release, a compilation of late '70s/early '80s Australian underground music. The Process From a mastering viewpoint, the project presented challenges. The first of these was that the source material was on a variety of formats (often older formats like 1/4 " tape), with different songs made at different times in different studios. Often, data like tape speed, use of noise reduction, and method of recording, were unavailable. Most of the tapes were of unknown or dimly-remembered quality and had probably not been played since they were recorded in the '80s. The second problem was that the age of the source tapes made them fragile. We generally had the only existing masters of the songs, and any songs that we damaged would probably be lost forever. So, every time we put a tape on to play, we had to make sure that whatever sound came off it was captured the first time, in case the tape immediately broke or disintegrated. I (Greg) have played ten year old tapes on my reel-to-reel, where the emulsion fell off the tape so quickly that I had to clean the heads after each play - and there were only a few plays available. To collate the songs, we recorded each of them from source to computer hard disk. The computer was an average Pentium running Windows 98, with a CD burner and a Creative Labs "Live" sound card. The sound editing software was Sound Forge - other software came free with the hardware. This is all standard consumer gear now, and does a fine job for the price. We played the 1/4" tape masters on a multitrack reel-to-reel tape deck, selecting playback tracks so as to get the stereo right. We were lucky with tape speeds and noise redux, and everything, basically, sounded okay. Despite our trepidation, none of the tapes broke during mastering. There was, however, a glitch in one live song that sounded like stretched tape. It seemed to be permanent. We tried to fix it using the variable pitch-shift feature in Sound Forge. You set an envelope, which controls a variable amount of shift during a selected piece of sound. It wasn't overly successful - you have to fiddle for hours to mimic (in reverse) the stretching on the tape. The decision was finally made, as so often seems to happen, to retain the quivering few seconds as, let's say, a reminder of the pre-digital (and pre-recording Walkman?) days. We played the vinyl on a good turntable. We reduced clicks and pops in Sound Forge, and boosted bass, which seemed to be too quiet. The cassette was played on an old Akai cassette deck with glass ferrite heads, which gives very high quality playback. Most songs were improved by removing tape hiss, using the noise reduction plug-in in Sound Forge. This is a handy tool when dealing with old tapes, which can sometimes be unbearably hissy. The plug-in can remove hiss without noticeably affecting the original material, as would happen with EQ. (CoolEdit has a similar feature which seems to be just as good). Andrew decided he'd prefer to order the songs chronologically from the rehearsal tapes, on which was his prerogative, though some might suggest that the 1980 Four Gods tracks weren't the most inviting thing on the CD. The songs were not all from different dates, of course, but in clusters from different eras, so a bit of imagination went into the way they are actually sequenced. To check song order and relative loudness, we played the tracks in order from the hard disk, using wav. player software that comes with the Creative Labs card. Where necessary, tracks were compressed or volume-adjusted in Sound Forge. Finally, the tracks were burned in order onto the master CD. CD-R is generally more useful than DAT at this stage, if you want to pass copies around to all the people who need to check it (almost everyone has a CD player; almost no one has a DAT player). When the right CD-R was approved, it was sent to the pressing plant as the duplication master for the album. Cover art was compiled from old pictures of the Four Gods early '80s colour shots, once again from Mark Louttit's collection and designed by Andrew Wilson and Mia Schoen. The finished product, a valuable piece of Australian music history and a very listenable album is available from Corduroy Records. And there's even more information on the album at the Dave Graney Show website. METALWORKS RECORDING, MASTERING & DVD Mavis Rd. Mississauga, ON L5C 1T7 ph: 905-279-4000 / fax: 905-279- 4008 www.metalworksstudios.com We are a six-room facility located in Toronto, Ontario featuring a NEVE tracking room, three SSL mix rooms (9080 J Series, 4080 G+ Series, 4040 G/E Series), DVD authoring and video edit suite, and a world class 2.0 and 5.1 Mastering room. Protools HD 3 rigs are available in each of our rooms Studios 1, 2, 3, 4, and 6 have 24 I/O HD3 systems (expandable to 96 I/O). On site maintenance and technical support is also available. Metalworks Recording, Mastering and DVD Studios has maintained an unsurpassed level of excellence spanning three decades. Metalworks is regarded as one of North America's premiere recording studios and has been named Studio of the Year for an unprecedented 6 straight years (1998 2005) by Canadian Music Week, which is voted on by the music industry. Metalworks has played host to a veritable who's who of international recording artists, as well as helping many new-comers get started. Some of our artist and producer clients have included: Susan Aglukark, Christina Aguilera, Big Sugar, Big Wreck, Nick Blagona, David Bowie, Graham Brewer, Busta Rhymes, Troy Bynoe, Chicago-The Movie (Catherine Zeta Jones, Richard Gere, Rene Zellweger, Queen Latifah, Mya), Joe Chicarelli, Richard Chycki, Tom Cochrane, The Cranberries, Delerium, Celine Dion, DMX, Ron Fair, Nelly Furtado, Ian Gillan, Irv Gotti, Justin Gray, Al Green, Guns N Roses, JaRule, Rodney Jerkins, Sugar Jones, Eddie Kramer, Ed Krautner, David Leonard, Tony Levin, George Massenburg, The Matthew Good Band, Loreena McKennitt, Brian McKnight, Ben Mink, Moist, Alannah Myles, Anne Murray, Greig Nori, Paul Northfield, *NSYNC, Our Lady Peace, Tim Palmer, Mark Plati, PurPeLoid, Vernon Reid, Robbie Robertson, Bob Rock, Rush, Dave Schiffman, Sisqo, Snow, Sum 41, Swizz Beatz, The Tea Party, David Thoener, Treble Charger, Triumph, Tina Turner, Michael Tucker, Ric Wake, Tommy West and Roch Voisine.
CONTACT INFO:
For Studio, Mastering, and DVD bookings and rates, contact: Paul Gross: Managing Director - Studio Services STUDIO OF THE YEAR 1998 - 2005
STUDIO 1 - Record
Studio 1 is an ideal tracking room with a large 55' X 25' studio floor featuring stone and pine walls, a maple floor and high ceilings. Our room is large enough to accommodate Orchestral sessions of up to 50 people. Two iso booths are available, one of which is a large booth specifically designed for drums and/or vocals. Also available is a C7 Yamaha Grand Piano and a Hammond A100 Organ/Leslie. At the heart of Control Room 1 is our one-of-a-kind vintage Neve 8036 console. Our console has been re-engineered by a team of experts headed by renowned Neve refurbisher Stuart Taylor. This 32x8x32 console features twenty-four 1081 and eight 1064 pre-amp/eq modules. An entirely new 32 input active monitor section was designed, allowing full, easy and accurate monitoring during recording as well as giving the engineer a total of 64 inputs. Protools HD 3 along with a full compliment of plug-ins provide the best sound and recording flexability available. Studio 1 is perfect for the indie artist right up to the highest profile recording project. A large private lounge is available for client use. STUDIO 2 - Mix/Record
Control Room 2 features an 80 input SSL 4080 G+ console with Ultimation and Total Recall. This studio can handle all mixing situations up to the most elaborate and complicated with ProTools HD 3, a platinum waves bundle and 80 SSL G Plus inputs. Adjacent to the control room is a 14' X 20' studio with an oak floor and high ceiling ideal for any musical overdub and vocals. This large, fully appointed mix room is equipped for all music formats as well as lock to picture, and includes a private lounge and billiard area.
STUDIO 3 - Mix/Record
Control Room 3 houses our SSL 4040 G/E console. The adjoining iso-booth is ideal for vocals, overdubs and voice over work. This studio is the ideal recording environment for the indie artist combing state of the art equipment at budget pricing. Opposite the control room is a large lounge area with skylight. STUDIO 5 2.0 and 5.1 Mastering Our world class Mastering Room is loaded with the ultimate sound sculpting tools including: Wavelab, SADiE, Avalon, Apogee, Studer track, Weiss, Waves, Mark Levinson, Dun-Tech, and more. Our three Mastering engineers, Nick Blagona, Scott Lake and Graham Brewer have carved a name for themselves as the best in the country, and continue their role in making Metalworks one of the best-equipped Mastering facilities in North America, either for regular stereo or 5.1 mastering.Gear includes: STUDIO 6 - Mix/Record/Mix 5.1 Surround Studio 6, our most recent addition, is the ultimate in large scale mix rooms with a spacious lounge area behind the console. The centrepiece of Control Room 6 is an 80 input SSL 9080 J console with Ultimation, Total Recall and SL959 5.1 Surround Matrix. A 9' film screen and Sony video monitors are available for DVD and Film/TV applications and the room is Dolby authorized. George Augspurger Custom 2-Way Main Speakers (LCR) have recently been installed in the room. An opulent 25' X 22' studio floor is adjacent to the control room and features a stone fireplace and high ceiling and is complimented by an oak paneled private lounge and billiard area.
ENGINEERS / ASSISTANTS:
Metalworks' engineering staff is comprised of a group of uniquely talented individuals. While their styles vary widely, their commitment to make it work does not. This "can do" attitude is the hallmark of all Metalworks' engineers and assistants, and prevails on all projects, large or small. Their singular purpose of sonic excellence derives from this attitude, and every Metalworks client is a direct beneficiary. The gold and platinum records and CDs that line the walls of our studio attest to the skills of our staff.
STUDIO ONE
CONTROL ROOM: 24 x 20 ft STUDIO: 55 x 25 ft The studio floor is solid maple with pine and stone walls ISO BOOTH ONE: 8 x 9 ft ISO BOOTH TWO: 6 x 4 x 4 ft triangle
CONSOLE
64 input NEVE 8036 (Custom) - 32 input (24 x 1081 EQ's and 8 x 1064 EQ's) with 32 input monitor panel
RECORDERS
PRO TOOLS HD 3 - 24 In 32 Out expandable STUDER A800 MKIII 24 track analog STUDER A820 CTC 1/4" or 1/2" 2 track HHB CDR-850 CD-R Recorder
GATES & EXPANDERS
APHEX 612 DRAWMER DS-201 (x2)
INSTRUMENTS
HAMMOND A100 with Leslie YAMAHA C7 Grand Piano
EQUALIZERS
ORBAN 622B PULTEC EQP-1 PULTEC EQP-1A SUMMIT Dual Program Equalizer
EFFECTS & REVERBS
AKG ADR-64K AUDIO DESIGN RECORDING Vocal Stressor F769X-R EVENTIDE H3000 Ultra-harmonizer EVENTIDE H910 harmonizer LEXICON PCM70 digital delay YAMAHA REV-7 digital reverb YAMAHA SPX90 II multi-effects processor COMPRESSORS & LIMITERS DBX 160 limiter (x2) DBX 160X limiter (x2) DBX 165A limiter NEVE 2254 limiter/compressor (x2) SUMMIT Tube Levelling Amp (x2) TELETRONIX LA2 UREI 1176LN (black) limiter (x2) UREI 1178 limiter UREI LA-4 limiter (x2)
MONITORS Control Room George Augspurger Custom 2-Way Main Speakers KRK V8 YAMAHA NS10M Tracking Room ACCUSOUND AS-460
SYNCHRONIZATION
ADAMS-SMITH 2600 Mavis Rd. Mississauga, ON L5C 1T7 ph: 905-279-4000 / fax: 905-279-4006 www.metalworksstudios.com / [email protected]
STUDIO TWO
CONTROL ROOM: 25 x 24 ft STUDIO: 15 x 20 ft 80 input SSL 4080 G+ Series with Total Recall and Ultimation - 48 G EQ's and 32 E EQ's PRO TOOLS HDI/O (expandable to 96) PLATINUM BUNDLE STUDER A800 MKIII 24 track analog (x2) STUDER A820 CTC 1/4" or 1/2" 2 track HHB CDR-850 CD-R Recorder
EFFECTS
AMS DMX15-805 delay/harmonizer AMS DM220 phaser APHEX Type C aural exciter AUDIO DESIGNS Panscan auto-panner EVENTIDE H3000 SE Ultra-harmonizer EVENTIDE H-910 harmonizer LEXICON PCM41 delay LEXICON PCM70 multi-effects processor LEXICON 93 Prime Time II delay ROLAND SDE3000 delay TC ELECTRONICS 2290 digital delay YAMAHA SPX1000 multi-effects processor YAMAHA SPX90 multi-effects processor
REVERBS
AMS RMX-16 digital reverb EMT 140 tube plate reverb EMT 240 Goldfoil solid-state plate reverb KLARK DN780 digital reverb LEXICON 480L digital reverb ROLAND SRV2000 digital reverb YAMAHA REV1 digital reverb YAMAHA REV7 digital reverb KRK V8 YAMAHA NS10M WESTLAKE TM-3 (Custom) main monitors AURATONE (available upon request) BROOKE-SIREN DPR-402 de-esser DBX 160X limiter (x2) DRAWMER DS201 dual gate (x2) UREI 1176LN (silver/blue) limiter (x2) UREI LA-3 limiter (x2) UREI LA-4 limiter (x2) API ch. equalizer (x2) PULTEC EQH-2 tube eq (x2)
STUDIO THREE
CONTROL ROOM: 14 x 20 ft ISO BOOTH: 5 x 10 ft 40 input SSL 4040 G Series / E with Computer Total Recall (26 E Eqs / 14 G Eqs) PRO TOOLS HD I/O (expandable to 96) STUDER Atrack analog HHB CDR-850 CD-R Recorder AURATONE (available upon request) KRK V8 YAMAHA NS10M YAMAHA YST-SW150 subwoofer
REVERBS EFFECTS
EMT 140 solid state plate reverb EMT 240 Goldfoil solid state plate reverb/delay LEXICON PCM60 digital reverb YAMAHA REV7 digital reverb ART DR-X multi-effects processor ENSONIQ DP/2 multi-effects processor EVENTIDE H3000 Ultra- harmonizer LEXICON LXP-15 LEXICON PCM70 multi-effects processor ROLAND DEP5 multi-effects processor (x2) ROLAND SDE1000 digital delay ROLAND SDE3000 digital delay TC ELECTRONICS 2290 digital delay URSA MAJOR Space Station YAMAHA SPX90 multi-effects processor APHEX 612 expander/gate BROOKE-SIREN DPR-402 de-esser DBX 165 compressor/limiter DBX 160X compressor/limiter (x2) DRAWMER DS-201 Gates UREI 1176LN (silver) limiter UREI LA-4 compressor/limiter
STUDIO FIVE
Wavelab Audio Editing and Mastering Suite SADiE Artemis Mastering Digital Audio Workstation PRO TOOLS HD 3 WAVES Platiunm Bundle WAVES L2 Ultramaximizer T.C. Electronics System 6000 Multichannel Processing Platform WEISS DS1- MK2 Digital De-esser/Compressor/Limiter AVALON AD2077 Class A Mastering Equalizer MANLEY Stereo "Variable-MU" Limiter/Compressor FOCUSRITE Blue 315 MKII Isomorphic Equalizer DECADE FM-850 Stereo FM Transmitter
CONVERTERS
APOGEE PSX-100 24bit A/D-D/A FOCUSRITE Blue 260 D/A STUDER D19 MicVALVE A/D (tube front end)
SPEAKERS
DUN-TECH Sovereign 2001 MISSION 701 STUDER A800 2-trk (1) STUDER A820 2-trk analog tape recorders (1/2" & 1/4") TASCAM DA30 DAT Recorder TASCAM DA45 24-bit DAT Recorder DOLBY 361 (A or SR) x2 HHB CDR-850 CD Recorder HHB CDR-850 + CD Recorder
STUDIO SIX
CONTROL ROOM: 26 x 30 ft STUDIO: 24 x 26 ft 80 input SSL 9080 J Series with Total Recall and Ultimation SSL 959 Surround Matrix 9' film screen and Sony video monitors PRO TOOLS HDI/O (expandable to 96) WAVES Diamond Bundle SONY DVP-5570D CD/DVD Player STUDER A800 MKIII 24 track analog (x2) STUDER A820 CTC 1/4" or 1/2" 2 track TASCAM DA-30 DAT HHB CDR-850 CD-R Recorde DRAWMER 1961 stereo vacuum tube EQ GML 8200 stereo parametric equalizer PULTEC EQP-1A program equalizer (x2)
EFFECTS REVERBS
AMS RMX-16 digital reverb EMT 140 stereo tube plate reverb EMT 140 stereo solid-state plate reverb LEXICON 960L digital effects system QUANTEC QRS digital room simulator ROLAND SRV2000 digital reverb (x2) YAMAHA REV5 digital reverb APHEX Type B aural exciter AMS DMX15-80S stereo digital delay AMS DM2-20 phaser EVENTIDE H3500 DFX-sampling Ultra-harmonizer LEXICON PCM42 digital delay LEXICON PCM70 multi-effects processor (x2) LEXICON Prime Time 95-II digital delay ROLAND SDE3000 digital delay (x2) ROLAND Dimension D chorus TC ELECTRONICS 2290 digital delay YAMAHA SPX1000 multi-effects processor (x2) YAMAHA SPX90 multi-effects processor (x2) AVALON 2044 compressor/limiter DBX 160 XT compressor/limiter (x2) DBX 165 overeasy compressor/limiter DRAWMER DS201 dual gate (x2) FOCUSRITE Series Red 3 limiter GML Stereo compressor/limiter NEVE 2254A limiter/compressor (2 stereo linked) UREI LA-4 compressor/limiter (x2) UREI 1176LN (Blackface) (x2) George Augspurger Custom 2-Way Main Speakers (LCR) AURATONE (available upon request) JBL Rear Cinema 8340A Speakers KRK V8 M&K MPS-2510 Stereo/5.1 surround monitors M&K MPS-5310 subwoofer YAMAHA NS10M
MICROPHONE LIST
AKG (1) C-24 Stereo Tube ** (3) C-414 (Black) (5) C-414 (Silver) (1) C-422 (2) The Tube (6) C-451 (3) C-452 (2) C- 460 (3) C-535 (2) C-567 (2) D-112 (2) D-12 (6) D-190 (1) D-20 (4) D-224E AUDIO TECHNICA (2) AT-4060 (2) AT- 4050/CM5 BEYER DYNAMICS (1) M-500 CROWN (2) PZM ELECTRO-VOICE (1) RE-10 (1) RE-15 (2) RE-16 (4) RE-20 NEUMANN (5) KM-84 (3) U-47 FET (3) U-67 Tube ** (4) U-87 (2) U-89 (1) U-89 (Black) PEARL (1) PML FP-92K (1) PML SP-84 (2) PML VM-41 (1) PML VM-41/12 SENNHEISER (7) MD-421 (3) MD-441 SHURE (1) SM-Beta 57 (9) SM-57 (1) DY-30 TELEFUNKEN (2) U-47 Tube ** ** denotes an additional rental
RENTAL EQUIPMENT
EQUALIZERS: FOCUSRITE ISA ch. 4 Band Eq/Mic Preamp Pair (stereo) NEVE 1064 Eq's/Mic Preamp 1 ch. 4 Band Eq/Mic Preamp
MICROPHONES:
AKG C-24 NEUMANN U-67 TELEFUNKEN U-47
COMPRESSORS / LIMITERS:
AVALON 2044 Opto-Compressor (stereo) DBX 160 VU (stereo) DBX 902 De-essers EL8 Distressor FOCUSRITE Series Red Compressor / Limiter Pair (stereo) GML 8900 Limiter (stereo) NEVE 2254 Compressor / Limiter Pair (stereo) TELETRONIX LA2A (mono) UREI 1176LN (silver)
MISCELLANEOUS:
APOGEE AD16 Converter APOGEE DA16 Converter APOGEE PS 1000 AD/DA Converter LUCID SSG 192 Sync Generator MACKIE 16 Channel Console ROLAND RE201 Space Echo SONY BVU950 Video Cassette Recorder TC6000 Digital Effects System
MIDI / KEYBOARD / MISC:
ALESIS D4 Drum Module HAMMOND A100 LESLIE with or w/o Preamp MOOG Taurus Pedals MOTU MIDI Timepiece ROLAND D-50 Keyboard ROLAND Vocoder
NOISE REDUCTION:
DOLBY SR 24 XP DOLBY SR or A Single Frame w/SR or A Cards
TAPE MACHINES:
Track Headstack STUDER Aor 8 Track 1 TASCAM DA-Bit DAT Machine TASCAM DA-Track Multitrack Machine TASCAM DA- Track Multitrack Machine TEAC A-2300SX Track Tags manuel d'instructions, Guide de l'utilisateur | Manual de instrucciones, Instrucciones de uso | Bedienungsanleitung, Bedienungsanleitung | Manual de Instruções, guia do usuário | инструкция | návod na použitie, Užívateľská príručka, návod k použití | bruksanvisningen | instrukcja, podręcznik użytkownika | kullanım kılavuzu, Kullanım | kézikönyv, használati útmutató | manuale di istruzioni, istruzioni d'uso | handleiding, gebruikershandleiding Sitemap Songs Recorded with Apogee Duet Legendary Sound Quality
Why Apogee Duet is the best choice for your studio Apogee is an award-winning industry leader in digital recording technology with over 25 years of experience. Preferred by recording pros around the world, Apogee products like Duet, Ensemble and Symphony I/O have been instrumental in creating countless GRAMMY® and OSCAR® winning recordings and have set the industry standard in professional recording for over two decades. Duet is built solidly on this reputation. A difference you will hear From the mic preamps to the AD/DA converters and the clocking, Duet is best-in-class and cutting-edge Apogee technology. With components carefully selected in critical listening tests and a highly efficient circuit design, Duet was built by Apogee engineers to make a difference you can hear. Pristine, next generation AD/DA converters Duet’s AD/DA converters are designed to deliver the purest recordings and best listening experience possible. Duet’s efficient circuitry and state-of-the-art components provide a simplified signal path resulting in incredibly transparent recordings. Smooth, detailed world-class mic preamps Much like the AD/DA converters, Duet’s mic preamps feature the latest components and offer seamless click-free transitions as the gain increases and decreases throughout the incredible range of 0-75dB. This unprecedented feature allows you to dial in the perfect level, either with the controller knob or from within software, while delivering ultra-low noise and smooth, crisp detail. Duet’s mic pres are suitable for all dynamic, condenser or ribbon microphones, allowing you to capture any sound without compromise. Soft Limit – Protection from digital overs An Apogee technology first introduced in 1992 on Apogee’s AD-500 converter, Soft Limit can be heard on countless platinum selling records around the world. Once a technology exclusively reserved for Apogee’s most advanced audio converters, Soft Limit is included in Duet and can be enabled in Apogee Maestro software. This superior analog design prevents the digital clipping that causes distortion by instantaneously rounding off transient peaks before they hit the analog-to-digital converter. Soft Limit allows several more decibels of apparent level to be recorded while subtly providing an analog-like warmth to the sound. Inputs & Outputs Control
Audio professionals and artists have chosen Apogee and Waves products to make countless hit recordings. Now when you buy Apogee ONE, Duet, Quartet or Ensemble, you also receive a discount code good for 25% off a single plugin or 35% off any Waves bundle plus an additional $100 voucher* that can be used towards your next Waves plugin purchase. These offers can be applied to any special deals from Waves, giving you the ability to save up to thousands of dollars. Apogee and Waves provide industry standard tools for recording, mixing and mastering audio and offer everything you need to complete your project on Mac, no matter what recording software you use. Waves plugins are incredibly CPU efficient, allowing you to harness the power of your Mac to run more plugins at lower buffer sizes while still maintaining low latency monitoring through your Apogee audio interface. Apogee’s measurably superior mic preamps and transparent AD/DA conversion lets you get the best possible quality from your Waves plugins. With an open native platform and recording software like Logic Pro X, you are free to expand your studio capabilities by adding more plugins from any manufacturer. These Waves special deals are only available to qualifying Duet users upon product registration * Voucher may be redeemed for up to 50% toward any bundle or upgrade, or up to 25% toward any plugin, off the price at the time of redemption. This Voucher may not be combined with multiple plugin discounts. Vouchers can only be used for one order and do not carry a remaining balance. Multiple vouchers may not be combined. Waves Plugins are not compatible with iOS devices. Pro I/O Meet iOS
A revolution in personal & professional recording Apple’s iPad, iPhone and iPod Touch can be incredible tools for audio recording and music creation. Whether you are moving faders on a mixer, playing a virtual instrument, adjusting software parameters, or editing a waveform, creating music with iPad’s multi-touch interface is simply intuitive. With plug and play connectivity to Apogee Duet, you’ll be amazed by how simple it is to set up your studio. Apogee. The first to make professional recording on iPad a reality. Apogee pioneered studio-quality recording on iPad with JAM, the first digital guitar input and MiC the first professional digital microphone for iPad. JAM was featured in Apple’s iPad 2, GarageBand launch video. Now with ONE, Duet and Quartet, Apogee is the first to introduce professional multi-track recording interfaces to the world of iPad and iOS. These products complete this amazing platform by offering musicians, producers and engineers professional tools for music recording, production and listening. Apogee Maestro Software
Advanced Software Control for Advanced I/O Access all control functions and settings with Maestro, Apogee’s comprehensive software control application. Maestro features a single window interface with quick access to all Apogee device settings. Select your input type, enable Soft Limit on mic and instrument inputs, and use the mixer for low latency monitoring. Maestro lets you easily configure your Apogee interface to fit your workflow. All new Maestro developed for iPod touch, iPhone and iPad Maestro, Apogee’s free app for iOS, brings total hardware control to iPad. Designed to create a seamless transition between Mac and iOS, Maestro’s design was customized for each device; iPhone, iPad and Mac, ensuring an intuitive user interface across every platform. The app includes all the same essential functions available on the Mac including low latency monitoring. Maestro can be ed for free from the Apple App Store on your iPod Touch, iPhone, or iPad. USB 2.0 Artists
Recent Projects: Ed Sheeran, Keith Urban, Janelle Monáe "I use Apogee products everyday as a songwriter - I need to record ideas quickly and clearly and often need the quality to be good enough to capture a moment as it happens and there is no other product i have used that does that better than Apogee." Recent Projects: Saturday Night Live "I can’t stress enough how important the workflow is in this kind of environment. If you can’t figure it out in a couple minutes, find another path. And my Duet is my trusty machete through this jungle of last minute changes. My workflow has to be so fast right now that it demands stable products which deliver the same result every time, anywhere. Apogee’s products have always given me the peace of mind to do what I have to do." Recent Projects: Nine Inch Nails, Angels and Airwaves “The Duet is the most elegant and efficient interface I've worked with. I record wherever I go and its comforting to know that quality will never be sacrificed.†Videos Customer Reviews
“I had been using the Focusrite Saffire and was beginning to think my Mackie 824s were dying. Well, with the Apogee Duet they have resurrected. Clarity and deep base. The recording of my guitar sounded better than in the studio. Midi connected with ease. This product is very intuitive and makes sense. Nothing complicated, just pristine input and output. I am very impressed in a good way with this product. Yes, expensive, but my oh my, very perceivable upgrade from the Saffire.†“One of the Best audio interfaces on the market, period. Paired with a pair of Dynaudio BM5 MKIII is just Audio Nirvana. Sound is clear, accurate a detailed. I bought it mostly for music listening because the ESS Sabre 32 DAC but also to use with my Pro Tools 12 rig. One of my best audio purchases ever. 1000% recommended.†“This is my first Apogee device. Everything about it is amazing. It’s low latency it can go down to and the converters on this little guy are mind blowing. The preamps are super clean and sound awesome when you drive them hard with the soft limit on. Def the best small interface I have ever owned. This badboy is going to be part of my mobile rig for a long time to come.†Phil “The Beard” from Cape Coral, FL USA From Sweetwater “I use the Apogee Duet primarily as a simple mono/stereo preamp and ADC for live music, and as a high fidelity DAC. It excels at both. I Also use it to rip vinyl into high resolution digital files. I never really like digital sound all that much, and still prefer vinyl/tape, but the Apogee has been An ear opener…love it.†“Man! What a differnce!” -80’s son of a gun commercial”
“This is a life changer for home studio use. Super clean recording. No buzzing like with my beginner level interfaces of the past. The instruments come alive now and punch me in the guts. Love this thing. Can’t wait to try it with my PA for live shows.†Jeff Hardesty from Owensboro, KY From Sweetwater “all the hype is exactly as it should be. got the duet, now i can’t wait to buy the quartet. i was a little skeptical about running maestro software and what that would be like, turns out you can totally record in pro tools without even opening maestro (it’s a neat and lightweight background program, not bad at all)†“This small little box sounds better than my old ProTools Rig. As a songwriter/ producer I only record single instruments or vocals at a time so no need for a huge interface with tons of inputs and outputs. The sound is spectacular even if you just listen to iTunes through it, you miss it when you are not listening through it. I also have done several remote sessions at a singers house and used my iPhone 5S and Garageband, works perfectly !†Gives Your Music That Big Studio Edge
“The Apogee Duet is a wonderful product. I’ve been recording for years and have sung on many records, commercials and films. Apogee was part of just about every studio that I’ve recorded around the world. To take that same technology and put it in a portable unit where now it can be used with the technology of today is pretty amazing. Today’s technology with ProTools, LOGIC, Digital Performer, Reasons, etc having the Apogee Duet as a companion is well worth it. It will make your music ‘radio ready’. I’ve done many duets in the course of my career, and I’m happy to now have this ‘duet’ interface as one of my studio companions. -)†The Apple of Audio Interfaces: A Review For Beginners
“I started with a $250 audio interface believing I needed 4 inputs. The unit worked well enough but the included software was dated and the instructions were incredibly tedious. Then I went to a $400 model, still believing I “needed” 4 inputs (stereo guitar in inputs 1/2 and stereo synth/keyboard in lines 3/4). The included software was better but the manual was over 100 pages (100 pages for a digital audio interface??). After purchasing two mid-level audio interfaces I decided I would trade 4 inputs for just 2 if it meant I could have easy-to- use equipment and software that nearly guaranteed the highest quality. I decided to purchase the “Apple-equivalent” company and splurged for the Apogee. When I say Apple-equivalent I mean the following: 1. simple & intuitive interface, software, and manual. 2. high-quality 3. sleek design. I’m using a 2.4GHz Intel MacBook Pro (Late 2012) running LogicPro X. I plugged in the Apogee Duet and Logic recognized the Duet immediately. I spent the next 10 minutes figuring out the correct/desired settings within the Apogee Software using the help of other users after Googling “Apogee and Logic” etc. Within 20 minutes of opening the Apogee Box I was up and recording in stereo. Now, after using the product for nearly a month, I’m pleased with my decision. Sure, this interface is nearly 2-3 times the price of others BUT I (the novice) immediately noticed the sound quality in my recordings between this and my previous, less-expensive interfaces. Recordings felt richer, thicker, and with greater depth. I doubt I will use all the features of the Duet, but I’m pleased to know I’ve got the best-sounding portable device without the additional complications. DAW’s and home-recording is complicated enough — you don’t want to spend hours upon hours WASTED on a component designed to simply get your recordings into the DAW.†D. Johnston from San Francisco From Amazon “I was going to ask Marcos Sanchez, my Sweetwater guy, why the Apogee Duet was so expensive, but after we brought it in and set it up I knew the answer. The quality is second to none! It’s well built and enhances playback as well as recording. And frankly, I’ve never seen preamps with so much headroom. This little unit has truly revolutionized the way that we record and play back.” Press Reviews
"In short, the Duet truly is a professional level audio interface. But it’s more than that; it’s somewhat future- proofing yourself. If we’re truly entering the post-PC era, then it’s time that we take our mobile devices seriously as equipment that is completely capable of (and in many cases preferred) producing incredible results that we’ve previously only seen in desktop machines. The Duet makes this possible, and right now it’s the only machine on the market of its caliber." January 20, 2014 "The Duet for iPad & Mac gives you your money's worth, thanks to its beautifully detailed audio quality, software integration, and ease of operation; you almost can't put a price tag on this level of performance." January 20, 2014 "The device just works, works well and with its intuitive design and diminutive form factor, its not in the way - literally or figuratively. What I find most compelling about Duet for iPad and Mac, however, is the utility, and the ability to leverage one investment across multiple use cases. I'm planning to keep Apogee's breakout box connected and wired up on my desktop studio Mac, while using the "octopus-style" breakout cable for mobile use on both my MacBook Pro, and iPad. While the Duet represents true investment in your music making (with a street price of around $650), the ability to easily move the compact, lightweight "brains" of the system around amortizes the cost across three different work environments, letting me get creative literally anytime, anywhere. And with its awesome specs and performance, it ensures professional results no matter which approach I'm taking." Recordings Gallery