proaudio review november 2012

IntellIgent Portable MIxerLine 6 StageScape

New Products, P. 10, 44 studio | live | broadcast | contracting | p o s t

3Holiday Giftsfor the Audio Pro

INSIDE:• Technically Speaking:

Polish And Perspective• Studio Sense:

The Mastering Engineer’s Demise?

Blue Reactor • iZotope Ozone 5 • Sonnox Oxford Limiter • Thermionic Culture The Fat Bustard, The Phoenix & The Pullet • Waves L3-16

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NOv E M BE R 2012 | vOLu M E 18 | iS S u E 11

ProAudioReviewProAudioReviewthe Review Resource for Sound professionals

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in this issueSound ReinforcementCovering Live Sound, Contracting, and Installed Sound

New Studio Products

ReviewHoliday Gift Ideas for the Audio Pro

by Russ Long

ReviewMust-Have Plug-ins: Mix Bus

Manipulators featuring iZotope, Sonnox & Waves

by Rich Tozzoli

ReviewiZotope Ozone 5 Advanced

Mastering Suiteby Russ Long

ReviewThermionic Culture The Phoenix

Mastering Plus Compressor by Rob Tavaglione

ReviewThermionic Culture The Pullet Mini

Passive Equalizer by Rob Tavaglione

ReviewThermionic Culture The Fat

Bustard MKII Valve Passive Input Summing Mixer

by Ian Schreier

ReviewBlue Reactor Multipattern

Condenser Microphoneby Rob Tavaglione

New Live Products

ReviewLine 6 StageScape M20d Mixer

by Strother Bullins

Technically SpeakingPolish And Perspective

by Frank Wells

Studio SenseMastering Matters: The Death of the

Mastering Engineer?by Alan Silverman

PRO AUDIO REVIEW (ISSN 1083-6241) is published monthly by NewBay Media LLC, 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].

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StudioCovering Recording, Broadcast Production, and Post Production

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ProAudioReviewNOVEMBER 2012 | VOLuME 18 | ISSuE 11

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Ty Ford, steve Harvey, Will James, Tom Jung, Alex oana, randy Poole, Alan silverman, rob Tavaglione, ben Williams, sterling Winfield, Dan Wothke, Tom Young, Contributors

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technically speaking Frank Wells

Alan Silverman’s treatise on mod-ern mastering in this month’s issue found me a sym-pathetic reader.

Mastering was once an absolutely nec-essary step in the process of prepping a production for mass replication and distribu-tion. This aspect of mastering (really, a pre-master stage—the last artistic step before true mechanical production master creation and subsequent replication) required both aesthetic and engineering skills. For vinyl replication, for instance, if the final product was going to sound its best and be playable, the cutting of a lacquer master required skill, experience, a pair of good ears and no small quantity of specialized gear.

For compact disc mastering, those same requirements applied. That is, until CD repli-cation plants began accepting Orange Book (CD-R) discs as premasters, and inexpen-sive imaging software and CD-R burners became widely available and affordable. The gear portion of the equation was largely becoming nullified.

Working then in a facility that included mastering, I remember the discussions we had as business began to be affected and the first hints of the future of mastering began to peek over the horizon. The conclusion then, which still applies today, is that one might obtain the capability to perform mastering tasks, but the sensibility couldn’t be bought off the shelf. That capability is ever easier to acquire. The necessity for specialized hard-ware continues to decline in an age where

physical replication is no longer mandatory.Still, mastering does matter. Sure, there is

some small percentage of engineers whose mixes require no further processing, or who have the sensibility to master their own proj-ects. The odds are great that you are not one of them. The ‘democratization’ of the recording industry nearly guarantees that, statistically. True mastering engineers bring an encyclope-dic sonic perspective to a project. You might be able to duplicate their toolset, but not their ability to know when, and precisely how, to employ it. It’s also very unlikely that you have as accurate a monitoring environment, and yet more unlikely that you are as familiar with that environment as a mastering engineer.

Considering mastering with a qualified engineer a luxury is more often than not an illustration of false economy.

Polish And Perspective

10 ProAudioReview | November 2012 www.proaudioreview.com

During each of the pro audio industry’s major US-based conventions and trade shows, the editors of PSN and PAR, with assistance from the editors of sister titles MIX and Audio Media, comb the exhibit halls for new and noteworthy products. Gear and software that show particular merit are singled out for the awards. All prod-ucts debuting at a given event are eligible.

The winners are: ADAM Audio F-Series studio monitorsAKG D12 VR microphoneAMS Neve 1073N microphone preamplifierAntelope Audio Orion 32 multichannel converterAphex 500 Series Modules Audio-Technica AT5040 cardioid condenser microphoneCedar DNS One AAX dialogue noise suppressor Dangerous Source I/O deviceFairlight QUANTUM mid-size audio post-production consoleFocusrite Forte USB audio interfaceGrace Design m905 stereo monitor controllerIsoAcoustics ISO-L8R200 studio monitor standsiZ Technology RADAR 6 digital multitrack recorder/editor

Lawo mc2 56 MKII digital production mixerLewitt Audio DTP Percussion Series microphonesMiktek R99 dual model ribbon microphoneMillennia HV-37 microphone preamplifierMoog 500 Series Analog Delay moduleNeumann KH 310 A active studio monitorPMC twotwo active studio monitorPrism Sound Lyra Series USB interfacesRadial Engineering Gold Digger & Cherry Picker microphone and

preamplifier selectorsRupert Neve Designs 5059 16x2x2 satellite mixerSennheiser Digital 9000 wireless systemsShadow Hills Mastering Compressor Shure KSM9HS handheld vocal microphoneSimaudio, Ltd. MOON 3500MP microphone preamplifier Slate Pro Audio Raven MTX Multitouch Production ConsoleSolid State Logic E-Series for 500 Series RacksUndertone Audio UnFairchild Model 670M compressor

Stay tuned to the pages of Pro Audio Review for detailed product announcements and subsequent reviews of these deserving winners.

133rd AES Best of Show Award WinnersThe editorial staffs of Pro Sound News and Pro Audio Review magazines presented the second annual ProSoundNetwork Best of Show Awards for the 133rd AES Convention last month in San Francisco.

BESTSHOW

of

new studio productsPrism Sound Lyra Audio Interface

Based on the Prism Orpheus, Lyra 1 and Lyra 2 both incorporate new ARM Cortex-based Xcore processor design, offering class-compliant USB interfacing, plus DSP and a low latency “console-quality” digital mixer for foldback monitoring. Both products also have optical SPDIF capability and Lyra 2 also supports ADAT. Lyra 1 offers two analog input channels, one for instrument/line and one for mic/line, plus two D/A output channels and optical-only digital I/O. Lyra 2 offers two A/D input channels with switchable microphone, instrument or line input modes and four DA output channels. Both optical-only digital I/O and copper S/PDIF are available on this version of Lyra, which also offers wordclock In/Out enabling synchro-nization with other digital devices.Prices: from $2,166 (Lyra 1)Contact: Prism Sound |prismsound.com

new studio products

Miktek R99 Auto-Set Dual Mode Velocity Ribbon MicrophoneThe R99 ribbon is designed to “cap-ture the classic sound of a world class vintage ribbon microphone,” offers Miktek promotional material, yet is essentially two-mics-in-one, as it allows the engineer to select the “classic” path, or a modern active electronic amplifier “sim-ply by applying standard phantom power.”

The R99 is purportedly capable of handling high SPL, features a custom-designed AMI transformer and rib-bon element made from “precision Japanese aluminum,” and comes stan-dard with a case, clip and shockmount. Price: TBAContact: Miktek | miktekaudio.com

ProAudioReview | November 201212

Audio-Technica AT5040 Cardioid Condenser Microphone The hand-built AT5040 side-address condenser features a proprietary element design with four ultra-thin (2 micron) rectangular dia-phragms “that function together providing combined surface area unachievable in a standard round diaphragm,” explains A-T documenta-tion. Designed as a vocal microphone “with smooth top end and controlled sibilance,” the AT5040’s large-diaphragm characteristics and fast transient response reportedly make it ideal for recording acoustic instruments, too.

By using four diaphragms as a single capsule, the AT5040 achieves a “remarkably large surface area without the increased weight and decreased transient response that are the expected limitations of expansive size.”

Another key AT5040 design feature is advanced internal shock mounting, coupled with the additional isola-tion of the new AT8480 shock mount. Featuring a proprietary design, the AT8480 was engineered not only to

isolate the microphone, but “to rid the apparatus itself of any unwanted reso-nances and other audio aberrations that could be transmitted to the microphone.”

The AT5040 will ship in January 2013.Price: $2,999Contact: Audio-Technica | audio-technica.com

new studio products


Slate Pro Audio Raven MTX Multitouch Production ConsoleUnveiled at the 133rd AES Convention, Slate Pro Audio’s Raven MTX Multitouch Production Console is a unique mixing console/DAW controller featuring Slate’s own custom-built 46-inch “Nano Glide” touchscreen displaying their Raven Mixer and user-customizable multifunction Toolbar, plus a fully-featured analog monitoring sec-tion based on 100 percent digitally-controlled analog circuits. Built to work with the user’s digital audio workstation of choice, the Raven MTX’s GUI is essentially the user’s GUI, allowing complete touch access to faders, pans, mutes, solos, sends, automation, and plug-in inserts. As such, plug-ins, for example, can become the size of 19” outboard gear, as tweak-able as their hardware counterparts, “a world-first in DAW control,” offers Steven Slate.

“When we began to develop the Raven concept, we studied the touch screen industry for months and became experts in the various technologies,” Slate continues. “We realized something very quickly: to make a multi touch monitor suited for the pro audio industry, no ‘off-the-shelf’ product would work. They were too slow — with thick, untreated glass and unusable parallax between your finger and the image. The screens themselves wouldn’t look correct at the angle that we needed, the glass had a horrible friction to it, and there were no proper drivers to do real Mac and PC integration with professional DAWs. So we started from the beginning and built the Raven touch display from the ground up, using brand new touchscreen technologies that were literally being introduced to the market as we were working.” Price: TBAContact: Slate Pro Audio | slateproaudio.com

Lawo 2nd-Gen mc256 Production ConsoleLawo has introduced the second-generation mc256 production console. Featuring cross-platform compatibility with its two larger mc2 Series sib-lings — the flagship mc2290 and mc2266 — the new mc256 introduces many new features aimed at streamlining workflow efficiencies. Among the mc256’s new features is two-man operation with fully decentralized control of all parameters including bank and layer selection, EQ, dynam-

ics and bus assignment. The new mc256 offers improved ergonomic and intuitive handling.

As part of the mc256’s enhanced functional-ity, the new console also provides expanded, simplified touch operation-making workflow more intuitive. This applies to operational aspects such as VCA allocation, bus assignment, meter pickup/mode select, and mix-minus con-figuration. This enhanced operation is further accentuated by the console’s new button-glow provisions for color-coding the channel strips.

In addition to the new features, the mc256 provides full support of RAVENNA technology for real time processing of audio signals in IP-based networked environments. With as many as 256 I/Os per CAT-5, this capability conserves space and saves cost.Price: POAContact: Lawo | lawo.de

new studio products

Lewitt Upgrades DTP MicsThe two high performance workhorses of Lewitt Audio’s DTP Percussion series, the DTP 340 REX and the DTP 640 REX, have under-gone a model upgrade for 2012. Both the DTP 340 REX and the DTP 640 REX will now have a slide control-activated Enhanced Frequency Response (EFR) in which the dynamic ele-ment emphasizes frequencies from 70-150 Hz and 3-5 kHz — especially optimized for use on kick drums. The flagship of the DTP series, the DTP 640 REX, combines this sound quality with the advantages of dual-element technol-ogy — a dynamic ele-ment and condenser element, both posi-tioned in the housing, remain on separate channels on the user’s mixer of choice.Price: TBAContact: Lewitt Audio | lewitt-audio.com

ProAudioReview | November 201216

Dangerous Music Dangerous Source Monitor ControllerDangerous Music’s latest is the Dangerous Source monitor controller, a portable desktop unit priced at $899 street. The Dangerous Source fits beneath a 13-inch laptop or within close reach for volume, input selection, speaker switching, and headphone control. Features include USB connectivity, speaker switching for two sets of speakers; speaker volume; AES/SPDIF digital in; two stereo analog in; and

dual headphone out with a separate level control. The Dangerous Source is capable of up to 24-bit, 192kHz on both digital inputs. Price: $1,099 listContact: Dangerous Music | dangerousmusic.com

new studio productsAphex 500 Series: New Modules

Aphex has introduced its new 500 Series modules. The 500 Series now includes six models: J PRE 500 Mic Pre; EQF 500 Parametric Equalizer; DUAL RPA 500 Mic Pre; A PRE 500 Mic Pre; the COMP 500 Optical Compressor; and the previously unveiled EX•BB 500 Aural Exciter/Big Bottom module.

The J PRE 500 mic pre is inspired by the flagship Aphex 1788A remote controlled preamp. They both have the same Jensen JT11K8 nickel input Transformer and Aphex patented Mic Limiter technology. The EQF 500 reissue is a modern take on the Aphex EQF-2 500 series three-band equalizer, originally introduced in the 1980s. The DUAL RPA 500 mic pre is a two-channel solid state/tube hybrid preamp. The A PRE 500 mic pre is inspired by the Aphex 188 eight-channel preamp. They both use a custom designed Aphex input Transformer. The new COMP 500 module is an optical compressor. It features an electronically balanced input and uses a Jensen JT-11DL nickel output balancing transformer. The EX•BB 500 is a mono, 500 Series module version of the popular Aphex Aural Exciter and Optical Big Bottom processors. Prices: TBAContact: Aphex | aphex.com

Akai MPC Renaissance Music Production ControllerAkai Professional has introduced their next generation MPC that interfaces the controller’s layout and workflow with computer software for an integrated hardware/software system.

The MPC Renaissance hardware includes 16 backlit control pads, 16 Q-Link cotrols and a backlit LCD screen. Along with MPS Note Repeat, Swing and transport controls, MPC Renaissance includes vintage modes to provide the character of previous MPC devices. The controller also includes two XLR-quarter-inch combo jack inputs, a dedicated turntable input, a four-channel USB 2.0 audio interface and two-port USB hub, two MIDI inputs and four MIDI outputs. Additional outputs are quarter-inch analog and SPDIF digital.

MPC software is Mac and Windows compatible and offers 128-track sequencing capability and a 9GB+ sound library, including all the sounds of the MPC3000. The software supports mapping and control of VST plug-ins, can work alone or as a primary DAW or as a VST/AU plug-in. WAV, MP3, AIFF, REX, and SND file types are supported and the MPC Renaissance is backwards compatible with samples and sequences from previous MPC models.Price: $1,299 streetContact: Akai | akaiprompc.com


Lynx Aurora: Update For Pro Tools Users

Lynx Studio Technology is issuing a revised version of the LT-HD firmware for its Aurora converters. The LT-HD Version 10 firmware update allows the Aurora 16 and Aurora 8 to emulate the interface characteristics of the Avid HD I/O converter, allowing seamless operation with the latest Pro Tools offerings from Avid. Lynx has also announced a limited time offer for buyers to get the LT-HD card with updated LT-HD firmware for free when purchased with a new Aurora converter.Price: From $2,195 list (Aurora 8)Contact: Lynx Studio Technology | lynxstudio.com

opinion studio sense By Alan Silverman


A mastering engineer friend and I were discussing this some months ago, ponder-ing what we would do for our next careers. I ran into him recently and asked how he was making out in finding a new profession. “Well,” he said, “some interesting things have happened since we last met,” and he went on to tell the following tale.

Mixer-Mastering RemorseAn artist he had mastered an album

for a few years back called him to get his opinion on a project. The artist explained he had his new release mixed by a top mix-ing team known for chart successes, and they included mastering in the package. He apologized to my friend for not coming to him for the job, since he’d done great on the last album, but it seemed expedient and cost effective to let the mixers do it themselves. The thing was, he wasn’t sure about the results and could my friend just listen and give an opinion on the mastering. The artist is no newbie, just the opposite; he is a successful fifty-million career seller. My friend, being a cool guy without an attitude, agreed to give an opinion but asked for not only the mixing team’s mastered but the

un-mastered mixes as well. Soon, two songs, before and after mas-

tering, arrived at his inbox by Internet. He explained he didn’t want to presume that the mixer-made masters weren’t any good; they could be great and perhaps the artist hadn’t been listening in the right circumstances.

As it turned out, in a level-matched com-parison, it was evident that the mixers had harmed their own mixes. Most problem-atically, the vocal quality took a step in the wrong direction. The mixers had damaged their own work with the EQ they applied in their mastering and the artist felt it. It wasn’t even a matter of level; the mixes themselves were great and hot enough; if nothing had been done but release them without any further processing, it would have been okay.

My friend then did his own EQ on the two tracks, sweetening the vocal with a few well-placed tweaks and taming a few gnarly resonances. The artist was extremely happy and grateful, and sent the rest of the album to be remastered from the original mixes. The release went on to become a finalist in this year’s Latin Grammy Awards.

Not long afterward, my friend received

an email from the management of another of his clients – a very well-known improvi-sational avant-groove jazz-funk band with a long legacy and large following. To my friend’s surprise, it was a repeat of the same story. The mixer of the project did the mas-tering and the band felt something was off. My friend lamented that the mixes were excellent, but the mixer’s mastering was not. He was given the project, finished it, and received a call from the manger saying, “We thought we could do without master-ing, but we were wrong.”

My friend then told me that this same scenario had played out no less than a half-dozen more times in 2012 alone! So many artists had bought into the mixer-mastered model, only to come away disappointed and needing to have it redone.

Mastering engineers can be a compara-tively lonely bunch, sequestered away in their labs, so when we get together it’s a rare opportunity to share stories and suc-cesses with someone who understands.

My friend showed me some comments he had gotten from clients:

“What you’ve done is brilliant and sur-prising. I’m not even listening with my

Mastering Matters: The Death of the Mastering Engineer? The word is out — professional mastering is no longer needed; the profession is obsolete, done and over, gone the way of the dodo. You can read it on the Internet, in magazines, and watch it on YouTube. There are countless plug-ins and boxes that can do the job and plenty of tutorials showing exactly how it’s done. Many mixers offer the service as a built-in part of their mixing fee.

“The mixer-mastered model is challenged by a number of pitfalls.”

NYC-based mastering engineer Alan Silverman is a two-time Grammy nominee in the Album of the Year category for mastering. arfdigital.com.

ears anymore but with my breath and the master makes me breathe deep. Absolutely unreal!”

“Beautiful, refined and unique – we are touched by your brilliant work!”

“It has that overall magical quality that you can’t quite put your finger on - great work. Bravo!!!”

“I don’t know what the differences are, but when you got done I loved the way it washed over my skin.”

Clearly, when mastering works well, it is a tremendous value-added for artists. It takes a special breed of engineer that can inspire that kind of heart-felt enthusiasm and gratitude.

Mastering Vs. Mixer-MasteredIt’s no secret that recorded music has

hit upon tough economic times. In many areas, “good enough” has become the new good. Every artist needs to cut costs, but mixers and mastering engineers have very different skill sets. Real mastering requires a specialized form of engineering talent that is not commonplace. It calls for a vast

amount of experience and a highly accurate monitoring environment loaded with the absolute highest grade speakers, ampli-fiers, converters, and processors.

The mixer-mastered model is challenged by a number of pitfalls. If there is an error in the monitoring — and most mix environ-ments contain at least one or more serious monitoring flaws if for no other reason than the layout required by the ergonomics of tracking and mixing — then the error is doubled when mastering is done in the same room. The mixer has heard the project countless times, so objectivity from a mas-tering perspective is impossible.

For financial reasons alone, a top flight mastering chain is unaffordable to most mix rooms due to competition from so many other requirements. Mastering, to be truly successful, requires bringing fresh ears to the project. It seems paradoxical that a mixer could take his own mix to the next level in mastering, or it would have been mixed that way. To trust the final criti-cal stage of a project to anyone less than the most qualified and experienced master-

ing engineer can turn things in the wrong direction just when they are at the finish line. When a mixer attempts the mastering and falls short, it’s a lose-lose situation; both the mixer’s own work and the artist’s creation must face the world at less than full potential.

To be fair, the bar for entry into mastering has fallen so low that there are bad experi-ences taking place with mastering services of all different stripes. This is why referrals, track record, and good communication are essential to finding the right person for the critical last step in the chain. Contrary to what the forums and ads imply, mastering by a talented specialist is more important then ever now that budgets and corners are being cut in so many other places. At the end of the day, artists want and will pay for their work to be presented in the best possible light. History has shown that a team effort with engineers playing to their specialties and strengths best serves the artist. To paraphrase Mark Twain, rumors of the death of the mastering craft have been greatly exaggerated.

studio review By Russ Long


With the holidays just right around the corner, it’s time to shop for your favorite engineer or producer — or time to make your own wish list!

Around my house, monitors, interfaces and microphones are a bit too pricey to make my own list but there are a handful of items that are priced right and can actu-ally improve your workflow and/or quality of work. Recently reviewed for PAR, my own KB Covers keyboard cover and custom Mac key-board (reviewed in PAR July 2012, kbcov-ers.com) and Royer RSM-SS1 Sling-Shock Microphone Shock Mount (PAR August, 2012, royerlabs.com) are perfect examples of such gifts, as are Blue Microphone’s Mikey digital, Pete’s Place’s Blast Pad Filter, Sonoma Wire Works’ Guitar Jack Model 2, Heil Sound’s USBQ, Joe Barresi’s Mixing Rock downloadable video, and two fabulous new books, Larry the O’s Power Tools for Studio One 2 ($39.99), and Mixerman’s Zen and the Art of Producing ($24.99).

1Blue Mikey digital USB microphone, $99

Blue’s Mikey digital makes sure you always have the means to capture high-quality ste-reo audio. The device is 2.5” square by a half-inch and it weighs just under three ounces. It includes a line-input, USB port (to provide power to the device that is connected to the Mikey) and a sleek design that allows the microphone enclosure to be rotated over 230-degrees. Also included is a quarter-inch

to mini adapter, allowing you to plug a guitar or keyboard into the Mikey’s 1/8-inch input and a padded carry-pouch for protection and storage.

The Mikey’s microphone has three gain settings that provide flexibility in recording various sound levels. Where the built-in mic begins to distort around 100 dB, the Mikey’s gain setting will allow distortion free recording well beyond 110 dB. The line input sets the gain automatically.

The Mikey digital replaces the Mikey for iPod and is com-patible with all of Apple’s iOS devices that support digital connectivity. This includes the iPod touch 4G and later, iPhone 4 and later, and all iPad/iPad mini models. Devices that utilize the Lightning connection require a Lightning to 30-pin adapter ($39 from the Apple Store). The Mikey is a digital device and it utilizes Blue’s discrete preamplifi-er, processing and A/D conversion before passing the (16-bit/44.1 kHz only) digital signal into the attached iOS device.

I’ve been carrying the Mikey digital around in my computer bag for the past two months and it’s been great to always have the device within reach. Since getting my iPhone 4S a year ago, I’ve been impressed with the qual-ity of both the built-in video capabilities and the built-in audio record quality, but moreso with the Mikey as the quality level of my

iPhone recordings drastically improved. With the exception of the phone and Apple FaceTime functions, the iOS device rec-ognizes the Mikey as a micro-phone and uses it within any application that utilizes a micro-phone. The Mikey is extremely easy to use as well as it only has one three-position gain switch and the level LEDs make it easy to see which of the set-tings is optimum. While the line input’s automatic gain setting works well in most instances [an automatic gain control, or AGC, acting as an auto-limiter/expander - Ed.], I do wish there was a way to manually set the line input level or at least turn off the automatic mode, as I found that this isn’t always desirable. I don’t really see the

strength of the Mikey being the line input though so this isn’t a huge issue.

Included in the recordings I’ve made since getting the Mikey are an organ perfor-mance in an old theater, a loud rock show in a Nashville club, and a song demo that includes two passes of acoustic guitar and two vocal tracks (recorded to my iPhone with the Sonoma Wireworks FourTrack app). In most instances I find myself recording to the McDSP Retro Recorder but I’ve also had great results utilizing Garage Band, Blue FIRe and the (unfortunately) no-longer available iProRecorder app. Contact: bluemic.com/mikey_digital

Holiday Gift Ideas for the Audio ProPAR’s Senior Contributor offers a list of affordable problem solvers that all good little engineers are sure to appreciate.

Russ Long is a Nashville-based producer, engineer and mixer as well as a senior contributor to PAR. russlong.ws

Blue Microphone’s Mikey atop an iPhone.

2Pete’s Place Blast Pad Filter, $297

Pop filters are a means of reducing or elimi-nating the massive popping sound that is caused by the mechanical impact of fast moving air on a microphone’s diaphragm. They also protect microphones from saliva and humid breath that can damage or even destroy a diaphragm over time. Depending on their design, build-quality and materials, pop filters do this task with varying degrees of success. And often, the higher the suc-cess, the greater the sonic cost; foam pop filters can color the sound, making it more covered and dark.

After doing this for nearly 25 years, I was under the impression (in the words of Bruce Hornsby) “that’s just the way it is/some things will never change.” Thankfully, Peter Montessi has proven me wrong with the Pete’s Place Blast Pad Filter. The Blast Pad Filter has a diameter of five inches and it weighs just over five ounces. The main body of this beautifully constructed device is made of corrosion-resistant anodized aluminum and there are two layers of corrosion-resistant stain-less steel mesh screens, each of different mesh density. The outer edge of the filter is ported to allow air to escape between the two meshes.

It seems pricey at first but once you hear how great it sounds (or actually, how

great it doesn’t sound, as it doesn’t make any noticeable changes in the sound at all), it is well worth the price. I was so surprised at the transparency of the filter I had someone whisper into my ear from about six inches away and move the filter in and out of the path and I couldn’t detect a sonic change at all. Besides working wonders on vocal recording, I’ve successfully used the filter while record-ing kick drum with an AEA A440 (about 2.5 feet away from the front head) and an Ampeg 4-12 bass cabinet with a Coles 4038. Contact: petesplaceaudio.com/filter.html

3Sonoma Wire Works Guitar Jack Model 2,

$199The best all-around iOS interface that I’ve encountered is Sonoma Wire Works’ Guitar Jack Model 2. While it is primarily market-ed as a tool for recording guitar, this compact well-made contraption includes a high-quality 24-bit AD/DA converter, a 1/8-inch stereo micro-phone input, and a 1/8-inch head-phone output in addition to a

1/4-inch instrument input. Measuring just 2.5” x 2.3” x 0.6” and weighing just 2.25 oz., the Guitar Jack supports simultaneous recording via the microphone and instru-ment inputs, making it easy to record gui-tar/vocal song demos virtually anywhere. The headphone output is a significant upgrade from the output on any of the iOS devices as well allowing for near audiophile listening when coupled with a great pair of headphones. I’ve spent hours both listen-ing for enjoyment and critiquing my mixes listening to my Audio-Technica ATH-M50 headphones through the Guitar Jack and it sounds stellar.

I’ve been using the Guitar Jack Model 2 along with my iPhone and iPad for nearly a year now and have found it to work per-fectly with all of my audio apps includ-ing FourTrack, AmpliTube, FiRe, DigiTech Stomp Shop, Guitar Tone, GarageBand and studio.HD. The only downside is that not all of these apps include the GuitarJack control panel so, in some instances (such as GarageBand), I will open FourTrack to access the control panel to set my record-ing levels before opening GarageBand. Since the GuitarJack is so solid and rather heavy for its size, I had problems with it not staying locked into the iOS device so I purchased a short extension cable, which I always utilize when using the device. Additionally, a Lightning to 30-pin Adapter will be needed if using the Guitar Jack with one of the newer iOS devices, but operation is unaffected.Contact: sonomawireworks.com/guitarjack


Pete’s Place Blast Pads

The Sonoma Wire Works Guitar Jack Model 2

connected to an iPad

4Heil Sound USBQ, $90There’s already an abundance of

compact, single-channel USB mic pre-amps on the market (MXL’s Mic Mate, Blue Microphone’s Icicle, Shure’s X2u, etc.), so I was initially surprised to see that Heil Sound was releasing yet another one of these devices. A closer evaluation of the options in this field reveals that they are all lacking EQ. That’s why Heil’s USBQ is now king in this area because in addition to a microphone preamp with gain con-trol and switchable phantom power and a headphone amplifier with independent gain control, the USBQ has +/- 12 dB equalization controls at 80 Hz and 10 kHz.

The visually-stunning, anodized purple USBQ provides 16-bit recording at either 44.1 or 48 kHz. An LED illuminates red to signify that it is successfully linked to a computer’s USB port and blue when phan-tom power is activated. The mic pre is quiet and works well with most microphones (it only has 40 dB of gain so it won’t perform as well with low level microphones). In addi-tion to using it with the staple range of Heil mics (PR-22, PR-30, PR-35 and PR-40), I’ve used it with a Mojave MA-301fet, Audix SCX25 and a Neumann KM86i and I’ve had great results in every instance. The equal-izer is musical with excellent frequency choices and its wide Q makes it nearly impossible to create a sonic problem that can’t be overcome in the mix process.

I’ve used the USBQ and my MacBook Pro to record to Pro Tools, Studio One 2 and Logic and it’s worked like a charm in every instance. Contact: heilsound.com/amateur/products/usbq/

5Joe Barresi Mixing Rock, $75 download

I reviewed the Joe Barresi Tracking Rockvideo just over a year ago and couldn’t

wait to see the mix segment that was released a few months ago. After viewing it I’m happy to report that, once again, Joe Barresi delivers. The video is very well done. It was shot in HD and looks fantas-tic. In the process of walking the viewer completely through the mix process, Joe packs the information into the program and his dry wit keeps it from ever get-ting boring. Joe’s mix technique, which effectively integrates Pro Tools, an SSL 4000 desk and tons of analog gear, has enough information to satisfy both analog diehards as well is those of us mixing completely ITB. Included with the video are supplementary photographs of the analog gear, additional information on the SSL desk and the Pro Tools session.Contact: techbreakfast.com/joeb_mixing/index.html

6Power Tools for Studio One 2 and Zen and the

Art of Producing, $39.99 and $24.99, respectivelyPreSonus Studio One 2 is still very much the new kid on the DAW block. One of the challenges in learning a new DAW is that there are generally limited educational materials available for them. Power Tools for Studio One 2 is part of Hal Leonard’s Power Tools series (which also includes coverage of Pro Tools 10, Logic Pro 9, Reason 6 and Cubase 5); it does a fan-tastic job of getting you up and running in Studio One 2 and guiding you into some of the more complex functions that aren’t covered in the application’s documenta-tion. The book was penned by Larry the O whose writing I’ve enjoyed since the early Electronic Musician days. Not only does he make the read enjoyable, he does a fantastic job of making the information accessible even for the most novice users.

Included with the book is a DVD with an hour of visual training that does a great job of walking the viewer through everything from Quantizing Audio and Comping to Tips for Drum Production and Macros.

I was introduced to “Mixerman” nearly a decade ago when his first book was just a blog floating around the Internet. My engineer and producer friends and I would sit around the studio, laughing, with the realization that we weren’t the only ones going through all of this stuff. Mixerman’s third book, Zen and the Art of Producing, was released a few months ago and, while having loads of insight into production, it is also extremely entertaining and enlighten-ing. I’ve never laughed so hard while still

feeling like I learned something.

Whether you are a seasoned pro or a young producer, you’ll walk away with something from this book (and will laugh your butt off in the process, guaranteed). Contact: halleonard.com, mixerman.net

November 2012 | ProAudioReviewwww.proaudioreview.com 25

Heil Sound’s USBQ

Power Tools for Studio One 2 by Larry the O

studio review By Rich Tozzoli


Rich Tozzoli is a Grammy-nominated engineer, mixer and composer as well as PAR’s Software Editor. richtozzoli.com

1Waves L3-16 Multimaximizer Multiband

Mastering Plug-inTaken directly from the lineage of the popular L1, L2 and L3 plug-ins, the L3-16 Multimaximizer is a 16-band auto-summing peak limiter. It features a 6-band EQ with lin-ear phase crossovers, IDR Increased Digital Resolution re-quantizing, Dither, Noise Shaping and a peak limiter mixer (PLMixer).

I tend to place the L3-16 last on my mix bus and use it for several purposes. First, I start with the Global Limiter Section, pull-ing down the Out Ceiling to just below 0.0 — say, to -0.4 or -0.5. This prevents the plug-in from clipping the final mix. [Tech Ed. Fuston adds: Apple’s new Mastered for iTunes spec recommends a minimum of 1 dB of headroom to avoid clipping the codec.] Next, I will pull down the Threshold

until the Attenuation meter lights up, indicating gain reduction. Then I drag the threshold down even more, at which point I hear the overall mix volume increase. I’ll play with the Threshold to find the line between an acceptably louder mix and one that is suffering fidelity loss; then I turn up the Threshold to keep things clean.

The other thing I use quite a bit in the L3-16 is the EQ, which is applied before

the Limiter section. Its six bands of paragraphic EQ feature a separation menu that sets the overlap between bands. Each band features controls for Frequency, Gain, Q and Priority. These bands are visible above the six-teen internal crossover bands. What is nice about the L3-16 is that it can apply more attenuation to bands that contain higher peaks, not just work-ing in broadband. In use, that means I’m able to apply selec-

tive EQ and limiting to the areas of the mix that need it most. If my high end is fine, but the low is booming a bit, I can adjust the 3-16 to control only that area of the mix. Often I will set the high band to a shelf and add a touch of air at around 8kHz and above, while pulling down any-thing below 60Hz or so. With some carefully added Gain, this plug-in can

really help pop a mix through your speakers — without getting in the way. Price: $540 and $550 (L3-16 Native + L3 Native, TDM and Native, respectively)Contact: Waves | waves.com

2Sonnox Oxford LimiterThe Oxford Limiter does just what you

want it to; it makes things louder with no sonic degradation. In fact, it has a unique Enhance feature that I use on just about every mix, adding harmonic excitement in a way that an EQ cannot.

It’s very easy to use, as there are only three sections: Input, Pre-Process and Output. The first thing I do is simply raise up the Input Gain (up to +18dB), pull back the Output Level to just below 0.0dB and raise up the magic Enhance feature. I’ll always leave the Audio Gain set to IN (helping to smooth out the over-

Mix Bus ManipulatorsPAR’s Software Editor details his top three choices for tools to make his mixes pop.

Without addressing the obvious issues of the “volume wars,” there’s no denying we all like our mixes to stand out. One way to get that to happen is to use some processing across the Master Bus (or Mixer), such as a limiter. Let’s examine three different tools that each do the job in their own unique way.

Must-Have Plug-ins

Waves’ L3-16 Multimaximizer

Sonnox’s Oxford Limiter

all levels) and the Safe Mode On (so I cannot clip the output). Whammo! My mix sounds better than it did just seconds earlier.

While it’s technically difficult to describe how the Enhance feature works, by raising up to around 30%, you can hear a bit more loudness, detail and harmonic content in the mix, especially with things like cym-bals, vocals and guitars. It is possible to push it up to 125%, but I find around 25-40% works wonders.

Taking it a bit farther, you can use the Recon Meter, which switches the Output meter from peak sample to reconstruction mode. Levels above 0.0 dB (up to +6 dB) can be automatically corrected and recon-structed by using the AUTO COMP button. While I don’t push my audio hard enough to require corrections, it’s good to know its there if I need it. Also, since the Limiter uses look-ahead processing, the Pre-Processing section can be used to adjust control over Attack, Release and Soft Knee. Price $330 and $500 list (Native and TDM, respectively) Contact: Sonnox | sonnoxplugins.com

3iZotope Alloy 2While I realize Alloy 2 is

considered a mixing tool, I tend to use it as a utility device on the Master Fader. Overall, it fea-tures an EQ, Dynamics, Exciter, De-Esser, Transient Shaper and a Limiter. On final mixes in par-ticular, I use the Limiter, EQ and Exciter sections together.

One of the interesting aspects of this plug-in is the Exciter, which can be used in a multi-band mode. When enabled as such, each of the three separate frequency selectable sections features a graph with the choice of Tube, Tape, Warm and Retro sound, as well as a Drive slider, Mix ‘wheel’ and Width ‘wheel’. This sounds especially good with guitar and drum heavy tracks, where you can break up the frequency bands and push them each individually. For example, you could add some Retro sound and Drive to the bottom of the mix at 100% while using some Warmth on the top at, say, 25%. Some very unique and useful

results can be had with this tool.I will also use the simple Limiter for

a touch of gain, which has a choice over Soft/Hard, Speed (in ms), Stereo Link (or multi mono), Threshold, Margin (max. out-put) and a Phase Rotate. Combine that with a touch of EQ with selectable Bell, Low/High Shelf, Low-pass, Hi-pass and even Baxandall curves, and Alloy 2 can do nice things to your final mix. Price: $249 listContact: iZotope | izotope.com

iZotope’s Alloy 2

studio review By Russ Long


Ozone 5 Advanced is the lat-est manifestation of iZotope’s comprehensive mastering suite that integrates eight essen-tial mastering/mixing tools into a single plug-in including Maximizer, Equalizer, Multiband Dynamics, Multiband Stereo Imaging, Multiband Harmonic Exciter, Reverb, Dithering, and Meter Bridge. In addition to being found in the Ozone 5 plug-in, all of these tools, with the exception of Dithering and Meter Bridge, are available as separate component plug-ins. Features

Ozone 5 comes in two variations, Ozone 5 Advanced and Ozone 5. The primary dif-ference between the two is that the stan-dard version of Ozone 5 has no Meter Bridge (which I must say is worth the additional $750 for the advanced version) and no way to use the separate components as independent plug-ins. While this review is focused on the Advanced version, the iZotope website includes a version com-parison chart that will help you determine which version is right for you.

The Ozone 5 Advanced signal path fol-lows this sequence: Equalizer, Reverb, Harmonic Exciter, Dynamics, Stereo Imaging, Post Equalizer and Maximizer. The

Equalizer emulates both analog and lin-ear-phase filters and includes a spectrum analyzer in the EQ window that makes it easy to locate problem frequencies as well as view the effect of the equalization on the signal. The plug-in features eight filter bands that can be set to bell, high-pass, low-pass, or shelf. The digital mode contains three selectable phase modes including Minimum, Linear and Mixed. The Equalizer includes a Matching EQ mode that allows an audio signal to be adjusted with up to 8,000 linear-phase filters to match the frequency spectrum of another signal.

While Reverb is the last tool I’d expect to find in a mastering suite, I suppose there are instances where someone might want to add some ambience to a completed mix. As far as I’m concerned, Ozone 5 Advanced is just as valuable of a mixing tool as it is a mastering tool, so I use the separate reverb plug-in all of the time when I’m mixing. The

Reverb module beautifully combines con-volution and algorithmic technologies to create a highly manipulatable and wonder-ful sounding reverb. The early reflections are built on convolution samples captured from real spaces and the late reverb tail is built on a high-quality algorithm. The mod-ule includes Room, Theater, Plate (based on the EMT 140), Hall, Cathedral and Arena settings and an M/S option gives the user the ability to add reverb independently to things panned to the center or things panned to the side. It sounds amazing with the only downside being that it is fairly CPU-intensive so users working on older com-puters may have some performance issues when using multiple instances of the reverb in a mix situation. I have had great results using Ozone 5’s reverb on vocals, drums, percussion and acoustic instruments and it sounds wonderful.

When I first heard the Harmonic Exciter

iZotope Ozone 5 Advanced Mastering SuiteWhether mixing or mastering, iZotope Ozone 5 Advanced has every essential tool needed to make a song truly shine.

Russ Long is a Nashville-based producer, engineer and mixer as well as a senior contributor to PAR. russlong.ws

Ozone 5’s EQ GUI

my thought was a four-band Aural Exciter revamped for the 21st Century (I’ve always liked the Aural Exciter when used in moderation). The mod-ule splits the audio signal into four user-adjustable frequency bands that can be independently processed with one of several types of musical dis-tortion including Warm, Retro, Tape or one of the three (Tube, Triode, or Dual Triode) tube styles. This mod-ule also includes an M/S processing option that allows different amounts of enhancement to be applied to the middle and side signals before being combined back into stereo.

The Dynamics module provides 1-4 bands of analog-modeled compres-sion, limiting, gating and expansion. It includes a 0-10 ms look-ahead feature as well as variable-knee compression. Also included is Auto Gain, which adds gain to compensate for the drop in level caused by the dynamics pro-cessing, making it easy to compare the processed signal to the original signal without being misguided by differences in level. Another feature is Gain Reduction Trace and Histogram metering, allowing the compression over time to be viewed.

The Stereo Imaging module pro-vides the ability to employ stereo image enhancement (either widening or narrowing) to up to four frequen-cy bands. The module’s metering is excellent, allowing the user to see exactly what processing is being done to a signal. The handy Stereoize feature utilizes stereo synthesis to add width to mono or narrow recordings. I’ve had great results utilizing this on my stereo mix as well as utilizing it to work wonders on pads and mono keyboards. The Post Equalizer is a second EQ that is identical in performance to the Equalizer allowing the user to apply equalization after the Reverb, Harmonic Exciter, Dynamics, and Stereo Imaging modules.

The final module, Maximizer, is a single-band limiter (applies the same processing to the entire mix) designed to create an overall louder master without changing the

sound of the mix. The Maximizer provides five modes of processing (IRC, IRC II, IRC III, Hard, and Soft) to allow the processing to be tailored to the source material. While I typically spend time toggling through and comparing the five modes, I almost always end up using the IRC III which provides a punchy track with as much loudness as needed with minimal, if any, sonic artifacts.

The configurable Meter Bridge opens its own user-sizable meter window and can be set to display any combina-tion of Spectrogram, Spectrum Analyzer, Vectorscope, and Loudness Metering win-dows. If you are displaying multiple meters, they are independently sizable within the Meter Bridge window. The Spectrogram is

visually incredible, offering 2D and 3D viewing options that accurately visualize frequency information with regards to amplitude and time. Variable Meter Tap routing allows an audio stream from anywhere within a session to be routed to the spec-trogram. The Spectrum Analyzer pro-vides spectrum display for Stereo Average (Mid), Stereo Difference (Side), Average/Diff (Mid/Side), Left/Right, Stereo Maximum or Hybrid Stereo Width. The Vectorscope meter provides a view of the stereo image of the audio signal. The level meters can independently monitor input and output levels as well as display-ing staple industry standard meter-ing options including Peak + RMS, K-System (the brilliant metering stan-dard developed by mastering guru Bob Katz), and BS.1770 loudness metering which is compliant with the International Telecommunication Union (ITU-R BS.1770-2) and the European Broadcasting Union (EBU R128) recommendations. The Ozone 5 Advanced Dithering functionality is built around iZotope’s proprietary MBIT+ dither algorithm allowing the user to dither as low as 8-bits with astonishingly high quality.

In UseThe more I use Ozone 5 Advanced,

the more I like it; I haven’t mixed without out it since installing it six

months ago. I’m not always a big fan of plug-in presets as with many plug-ins they are extreme variations that appear to be built more for showing the sonic variation of the plug-in rather than creating a usable preset. This is not at all true with Ozone 5. It includes tons of presets but they are nearly all both musical and usable.

Ozone 5’s EQ has enough sonic flexibility to be either a precise surgical tool or a col-ored musical tone shaper. Its graphical inter-face is superb; it’s simple to drag an EQ point to the desired frequency and then set the amount of boost or cut in an instant. The Q can be set with the mouse or trackball wheel.

Top to bottom: Ozone 5’s Dynamics, Imager and Maximizer GUIs.


(continued on page 50)

studio review By Rob Tavaglione


The Phoenix’s mouthful of a moni-ker, mastering designation and $6k street price may place it primarily at home with the most experienced and seasoned of engi-neers, but I also believe it is the ultimate compressor for struggling novices! How so? Read on.

FeaturesThe two-channel variable-mu Phoenix MP

is a step up from the standard Phoenix, with stepped input and output controls, a side-chain filter, standby switch and zero adjust-ment. The PMP has controls for dual-mono operation (or stereo via the Link switch), including a wide range of input gain (-7 to +21 dB) to allow mastering or tracking apps, a six-position stepped attack (ranging from 4 ms to 120 ms), seven-position stepped release (from 40 ms to 2.2s), threshold within a 14 dB range, output trims (from -12 dB to +4.5 dB), a three-position HPF in the sidechain (either out, 150 or 300 Hz), dual VU meters, front-panel meter-zeroing pots and a standby feature. There is no ratio con-trol (as it inherently varies with the amount of compression), but ratio starts at a low 1.2:1 and maxes at 5:1 at -15 dB.

In UseThe PMP’s appearance has a noticeable

lack of mystery. It features clean white legends against its stark black faceplate, all familiar controls and intuitive operation; it’s

easy enough to just dig right in. Well, actu-ally you ought to hold off for a few; keep the unit in Standby at least long enough for the tubes to get up to operating temp; when the VUs get up to about half-level and then you’re clear for takeoff (a similar slow power down is also suggested to preserve tube and cap life).

After setting all the controls for “no com-pression,” you’ll also notice nothing; that is, this unit sounds the same when neutralized as it does when bypassed. This is the sound of transparency. Once engaged, there’s little to tell your ear you’ve begun compressing, so it’s a good thing for those VU meters.

At this point, I began trying to make the

PMP misbehave into doing something ugly so I could begin dialing back into interest-ing sounds. And I quickly found that this unit doesn’t want to do anything bad; it will get all dull and gastrointestinal if absolutely punished, but it will not get fuzzy or delight-fully crunchy like a 1176.

Fast attack is seldom my method, but Attack #1 was surprisingly usable on the PMP. Controls are somewhat interdepen-dent here for sure, so I found that with a HPF in place in the sidechain and just the right threshold I could get the downright smoothest, fast-attack sound I’d ever heard. In fact, I slowed Release down to #7 and got

Thermionic Culture The Phoenix Mastering Plus CompressorThe Phoenix is a super-powerful, super-flexible and super-forgiving compressor, built to world-class standards and capable of all manner of clean, gentle and musical compression.

Rob Tavaglione has owned and operated Catalyst Recording in Charlotte, NC since 1995. catalystrecording.com




Signals are affected by a network of resistors, capacitors and 16 inductor coils to achieve precise tonal variation, much like with a Pultec EQ (which the Pullet is indeed loosely based on). Such passive circuitry reportedly offers a cleanliness and purity of signal, although — you guessed it — about 40 dB of gain is required after the Pullet to make up for its signal loss.

To that end, Thermionic Culture highly rec-ommends the use of their Earlybird 2.2 mic preamp for make-up gain, although most any professional two-channel mic amp will suffice. The Earlybird has Pullet inputs, optimized at 1200 ohms, and offers a +40 dB gain stage as well as low frequency EQ points that compli-ment the Pullet’s EQ limitations (more on this later). Remember that the preamp chosen for this makeup gain will affect your signals tonality and any impedance loading here will affect frequency balance, for better or worse.

FeaturesOnce you go through the trouble of properly

interfacing the Pullet (I set up cables so I could make EQ adjustments sitting right smack in my mid-field sweet spot), you’ll find significant

EQ power in its deceptively simple package. A Mid Lift section offers a continuously vari-able 21 dB of boost [boost actually being less attenuation of the selected passband, as the Pullet is passive—Ed.] at 11 frequency points between 800 Hz and 8.5 kHz, with Hi, Medium or Lo Q. The Mid Cut section offers up to 21 dB of cut with 11 frequencies between 230 Hz and 8 kHz, with no Q control (it would be Medium, in my estimation). A High Top shelf offers a fixed 6 dB of boost or cut for three cut freq’s (6, 11 or 15k), or three boost frequen-cies (10, 12 or 15 kHz). There are two sets of the controls, including two bypass switches.

In UseAlthough one could force the Pullet into

any number of EQ situations, I found it to most naturally fit in as a part of my mix’s L/R buss, or in mastering. There, the EQ points make perfect sense and the controls seem to have defined purpose. For mixes that need a little vocal lift, select the fre-quency that sweetens the voice and either lift it very gently (with Med Q) or more broadly (with Lo Q). The results are beauti-ful and effective beyond words, pulling your

vocal forward with an elegance, clarity and lack of phase shift. It just sounds really nice.

Conversely, the Mid Cut section can deal with pesky problems like 230 Hz mud build-up, 500 Hz boxiness or “cheap condenser hell” 4 kHz edginess with the gentle hands of a fine surgeon, removing the unwanted tis-sue, leaving surrounding tissue untouched and giving the patient a sculpted glow they never had before hitting the operating table.

The High Top section can surely round off excessive top, no problem; it’s the boost options that are more powerfully effective, maybe sometimes even too effective since +6 dB is the only option. If a mix needs some high altitude air, some sibilance or some bite, the Pullet puts it there with a tonality that defies explanation. It’s super sweet with no ringing or buzz; it’s very clear and natural; it’s just “right.”

I sweetened up some mixes with the Pullet and then conveniently tried to achieve the same improvements with the Earlybird 2.2’s EQ that I had patched in-line. The Earlybird has some nice sounding EQ, mind you; an all-tube path makes for some sweet forgiveness and musicality. Yet compared to the Pullet, the Earlybird’s EQ changes were far less defined, with a touch of blur to the imaging and seemingly not as musically specific. Yes, I’m struggling with descriptions here; the Pullet simply sounds

Thermionic Culture The Pullet Mini Passive EqualizerThis EQ “simply sounds more true, more natural and more like what my mind envisions when I reach for knobs,” offers our Contributor.

Rob Tavaglione has owned and operated Catalyst Recording in Charlotte NC since 1995. catalystrecording.com

The “mini” within the Pullet’s moniker is not mini as in 500 Series or a stompbox; its mini is that the Pullet is only 1RU and four inches deep. This diminutive size is characteristic of the “passive” part of the Pullet name, passive as in “no active circuitry,” and no 110V AC required.


studio review By Ian Schreier


Even when much of the mixing these days happens inside of a DAW, summing some or all of the audio channels in the analog domain has long been a preference among mix pros, myself included. There is a new tool for just this purpose built by those titans of the tube circuit, Thermionic Culture.

Cheekily enough, it’s called the Fat Bustard mkII, an all valve (tube) passive input summing mixer. It has 14 inputs with four stereo inputs, four mono pan-able inputs, two aux inputs with a pan switch and a separate monitor output with level control.

FeaturesIn addition to its basic summing duties,

the Fat Bustard has several controls that add a lot of functional pluses when finishing up a mix — most notably, a bright red knob labeled “attitude.” This control adds increas-ing amount of drive to the tubes in the sum-ming stage, resulting in increased amounts of second-order harmonics and distortion.

Two bands of boost and two bands of cut EQ are provided for tailoring the top and bottom ends, using a type of EQ curve they call Varislope. There is also a suite of controls for manipulating the stereo field. The “Spread Control” is a mid-side matrix

with adjustable gain balance between mid and side signals (either broadband, or, if using the “Spread Filter,” band-limited). There is also a “Bass to Centre” control, which allows bass frequencies in the stereo mix to be summed to mono in two different low frequency ranges, plus a setting for all frequencies to mono.

A stereo balance control and rotary 31-position ELMA switch allow control over output levels. Other features worth men-tion are the discrete monitor level control, the int/ext switch, and extra outputs, all of which provide a useful way to connect and control monitors via Fat Bustard. This is especially useful when it’s the only mixer being used.

In UseThe Fat Bustard MKII performs very

well. It has a logical layout, good detented pots where you’d expect them and good sweepable pots where you need them. Each section has an on-off switch, allowing me to

turn off the bits I was not using.Overall, the unit is very quiet with little self

noise, unless of course I was adding large amounts of “Attitude.” While the “Attitude” control is a great way to heat up tracks that sound a little cold or sterile, be warned: it’s fun, thus easy to overdo. I could make a mix really aggressive and punchy, but also turn it to angry mush if I wasn’t careful.

Tonally, the EQ sounds very musical and has a pleasantly Pultec-esque sound. This might be Fat Bustard’s best feature. “Spread Control” and “Spread Filter” function as advertised, but each would be infinitely better if there was an insert point giving access to the signals, allowing for separate mid and side compression and EQ process-ing. (Maybe a new feature in the MKIII? Hint, hint.) There is some audible cross-talk between channels, but it’s not enough to be a problem, in my opinion.

As a way of evaluating the overall per-formance and the fundamental quality of

Thermionic Culture The Fat Bustard MKII Valve Passive Input Summing MixerGreat fidelity and headroom, and usefully fun tonal control, the Fat Bustard brings analog attitude to analog mixing fans.

Ian Schreier is the chief engineer for Manifold Recording, a world-class recording studio/media production facility near Chapel Hill, North Carolina. miraverse.com


a musical, totally leveled sound that was actually quite nice as well.

I tried some extreme stuff like parallel compression on my drum subgroup, but this is not the PMP’s purpose. The PMP does not provide the grunge, attitude or color that such parallel apps favor.

However, tracking is right up the PMP’s alley. If you’re looking to contain instruments without anyone knowing, then the PMP is an easy choice. You’ll need to fiddle with the seesaw between input level, attack, release and (most importantly) the HPF setting, but only because you’ll find a number of varied yet useful settings; you can’t go wrong, as there are only various degrees of right.

The PMP is simply perfect on vocals, whether tracking or mixing. Either way, it’s thing is clean, clear and dynamically contained without any artifacts. Unlike sub-grouped drums, the PMP is heavenly on your vocal mix buss or the L/R, whether

entirely or in parallel, working like mad, with nary a hint it’s there. [Visit prosoundnet-work.com/TCPhoenix for audio clips from this performance. - Ed.]

Lest we neglect mastering, yes — the PMP is up to its name. The stepped controls get the repeatability you’ll need, but it’s the flexibility of the HPF that will rock your world. The HPF in the sidechain is so musi-cal and useful that it not only offers 150 or 300 Hz, but you can set each channel differently and get an average setting of 225 Hz! These two knobs alone are pow-erful enough to eliminate some of your subsequent EQ changes — I’m talking major bottom-end sculpting and control here.

The very best thing about the PMP is the way it can gel a mix without mucking up the clarity of the top or the thump of the bot-tom. It’s like a magical hand that reaches in and gently taps on anything trying to sneak up out of the mix, without even touch-ing anything else. If meticulously tweaked with attack, release and HPF all in perfect balance, the PMP achieved the most musi-cally transparent mix compression I’ve ever heard, period.

SummaryWhere in the world am I coming from rec-

ommending the PMP for novices? Let’s just say I’m being excessively practical; imagine all the time it would save. Think of all those years of poorly compressed work from cheap compressors replaced by good compression sounds as the PMP can barely do anything that’s downright wrong. All those beginner

vocal tracks with distorted peaks and mixes with unwanted pumping/artifacts = all A-OK with the PMP in a student’s hands.

All lightheartedness aside, the Phoenix Mastering Plus is a super-powerful, super-flexible and super-forgiving compressor, built to world-class standards and capable of all manner of clean, gentle and musical com-pression. No distortion box or signal mangler, the Phoenix MP achieves transparent, versa-tile dynamic containment, even when in fast attack, fast release or leveling modes. Price: $6,500 listContact: Thermionic Culture |thermionicculture.com


For Gearheads OnlyPMP Components� Valves (tubes) are all Mullard or

Siemens� Input/compression: PCC85

(equivalent to 9AQ8) x 2, user serviceable

� Output: ECC 81 (equivalent 12AT7 or CV4024) x 2, factory serviceable only

� Sidechain: EB91 (equivalent 6AL5 or CV4025) x 2, seldom require service

Switches� Input: 24 position ELMA� Threshold: 11 position ELMA� Attack/release: 6 position

ALPHA attack, 7 position release

� Output: 31 position OMEG � Transformers: Sowter

Phoenix(continued from page 34)

the FB MKII circuits, I took six stereo stems from a mix of a recent Jimmy Herring (gui-tarist for Aquarium Rescue Unit, Widespread Panic) live in-studio concert recording done here, at Manifold Recording, and summed them four ways: through the MKII, our API Vision console, our Harrison Trion digital console, and inside of Pro Tools. [Visit pro-soundnetwork.com/TCFatBustard for Ian’s audio examples. — Ed.] The stems consist-

ed of 96k/24-bit sub-mixes of drums, bass, keys, guitar, room mics and FX returns. For the purposes of a direct comparison, all the different mixers were set up as passive summing devices — i.e., no EQ, minimum “Attitude,” no spread, etc. To my ears in a blind listening test, the API Vision won handily, the Harrison and FB tied for sec-ond, and the PT/ITB-summed mix was last. But judge for yourself; differences among the top three could be chalked up to per-sonal preference.

SummaryIf you’re working mostly in a DAW environ-

ment and looking for a way to do some sum-ming in the analog domain when mixing, or you just need to combine and monitor analog signals in the studio for any reason, the Fat Bustard MKII is a spectacular tool to do it with. It provides great fidelity and headroom, with fun and very useful tonal control, and, lest we forget, plenty of Attitude. Price: $5,825 listContact: Thermionic Culture |thermionicculture.com

Fat Bustard(continued from page 37)

The PMP can gel a mix without mucking up top-end clarity or bottom-end thump.



FeaturesReactor employs a center-terminated

capsule (similar to Blue’s B6 model) with 34mm-diameter Mylar diaphragms, Class A electronics and discrete components. Three polar patterns are offered — cardioid, omni and figure eight; there is no pad or HPF. The capsule swivels 90 degrees, allowing more placement flexibility when auditioning polar patterns, or easier adjustments for Mid-Side (or Blumlein) stereo techniques. Polar pat-tern selection is via a rotating magnifying glass/switch that enlarges the LED backlit pattern icon.

Reactor includes a wire mesh pop filter that is held in place by a magnetic yoke. A very George Jetson looking shockmount and aluminum case are included with Reactor. The Reactor handles 135 dB SPL, has a minimal 9 dB of self-noise (A-rated) and a street price of $499.

In UseUpon mounting Reactor to a stand for

the first time, a number of things became quite apparent to me. This mic is not large and hollow, droning with resonance; it is solid, heavy and remarkably well built. At 2.2 lbs. in weight, it is clear that just any old boom stand will not suffice; it really needs a premium tripod (sandbagged) or weighted-

base stand. A counter-weighted, full-size boom is what a wise engineer will use.

Initial mic placements revealed an impor-tant limitation: the shockmount is not a flexible one. Sure, you can force Reactor into holding its position, cranking the tension on your boom’s swivels and torquing the shockmount’s thumb-screw, but it’s not easy. Reactor’s very top heavy design means that the slightest disruption results in the mic swinging upside down. But wait — that’s probably the best position for it! Thus, I finally let Reactor just hang down and fought physics no more.

Moving on, I began by tracking some loud electric guitars. Close-miking the cab with a cardioid pattern, Reactor’s output was screaming hot — even too hot for my Manley TNT preamp — so I employed a -10 dB in-line pad. [Tech Ed. Fuston notes: If a resistive inline pad is used on a con-denser or active ribbon microphone, it will act as a voltage divider and lower the 48 VDC phantom power to the mic, potentially com-promising the microphone’s performance.]

Once at level, Reactor’s sound reached out and slapped me with prominent high-mids, a lean bottom and plenty of air and openness up top. I then moved the mic from

the speaker’s center towards the edge, find-ing more fullness and body. In this appli-cation, I was cutting mostly guitar solos;

Blue Reactor LDC MicrophoneThe Reactor is a most unique multipattern condenser microphone that your clients will likely love.

I must admit — it’s rather hard not to begin this review of the Blue Reactor with my eyes; with its gyroscopically shaped shock mount, detached capsule housing, integral pop filter and large analog gauge-like body, I can’t help but pour over the visuals of this microphone. If any one modern microphone is visually arresting, it’s this one. However, from the moment I saw it, I couldn’t help but wonder if Reactor’s performance could stand alongside its steampunk sexiness.

Rob Tavaglione is the owner of Charlotte’s Catalyst Recording and a regular contributor to PAR. catalystrecording.com

Reactor’s translation was nicely detailed, with plenty of excitement and sparkle, even after a touch of reductive high-mid EQ.

I brought in singer/songwriter Neil Jackson to put Reactor through an “all acoustic” test. Not surprisingly, Neil loved the mic’s styling, and, now clearly enthused, he quipped how he’d expect to see Reactor dropping from the ceiling, accompanied by radar blips and depth charges, as if in a Jules Verne novel adapted for the big screen. [Visit prosoundnetwork.com/BlueReactor for audio clips from this performance. - Ed.]

On Neil’s acoustic guitar, we got a fan-tastic sound that avoided all boominess, captured abundant top end detail without harshness, and required no EQ. On vocals, Neil got all gushy for Reactor, calling it “amazing,” and we both preferred it in omni for vocals. To us, it seemed that cardioid added a little bump somewhere between boxy and nasal vocal frequencies; omni had flatter mids and sweeter sounding sibilants (figure 8 was nice, too, and flatter than I expected). Even so, I scooped around 2.5 kHz to prevent too much forwardness.

On basses, both acoustic upright and electric via bass cabinet, the Reactor’s accu-rate transients and pristine top translated the sources’ peaks marvelously. Bottom end wasn’t abundant enough, though; EQ, or an additional ribbon mic, solved the prob-lem. The same can be said for ambient drum overhead applications; it provides great detail and air, though more body and thickness would be welcome.

Side note: When switching polar pat-terns, Reactor makes a pop, so remember to mute the output before experimenting.

SummaryAs much as the Reactor had me reach-

ing for EQ, I must say I liked its tone. Its airiness, realism and detail made for some sweet tracks, especially after some correc-tive EQ. And I must note that any pro-grade microphone that can inspire performers like the Reactor does is welcome at this studio.

For me, the trouble with this microphone lies in its size and placement. As much as I love its aesthetics, I cannot recom-mend this mic to any engineer that shares

my admittedly strict values of practical-ity, simplicity and, yes, “function over form.” Reactor’s body seems unnecessarily heavy; the shockmount is nearly adequate but unbalanced and awkward in use; the pop filter does not prevent plosive pops and requires additional help; the overall size/weight of the Reactor prevents it from mounting in tight spots (or at any angle); and the swiveling capsule’s function is negated by the shifty shockmount, if one is attempting M-S placement. Furthermore, a pad or a filter could open up more apps.

Frankly, my clients liked the Reactor more than I did, so my position requires some second guessing. If you want truly unique styling, a forward condenser sound and don’t mind the extra effort in place-ment, then the Reactor will delight you and impress your clients while bringing a slight-ly “submarine chic” vibe to your studio — and most of us could use a little extra vibe, couldn’t we? Price: $499 Contact: Blue Microphones |bluemic.com/reactor

new live products


Soundcraft Vi V4.7 Software UpdateSoundcraft recently released the new V4.7 software for the company’s Vi Series range of digital consoles, providing a major input-capacity increase for the Vi4 model, as well as the new virtual Vi software for the Vi1 and a number of feature upgrades across the board. The Soundcraft Vi4 can now handle 96 inputs to mix, bringing it into line with the Vi2 and Vi6 mod-els; show-files are now fully compatible between Vi2, 4 and 6 consoles, so settings can be moved between consoles from a USB memory stick. To take advan-tage of the 96 inputs to mix on the Vi4, three DSP cards must be fitted to the local rack. Vi4 consoles with only 2 DSP cards will be uplifted to 64 inputs to mix, from 48. Similarly, rental companies with inventories of both Vi4 and Vi6 can now standardize on local racks.

The same software update includes the dedicated Virtual Vi offline editor for the Vi1 console, so users can program shows offline.Price: Free download (soundcraft.com/downloads/software.aspx)Contact: Soundcraft | soundcraft.com

Roland M-200i iPad V-MixerRoland Systems Group has introduced the Roland M-200i, a compact mixing solution for the iPad, aimed at live sound. The iPad app is fully functional on all key aspects of the M-200i mixing and control param-eters. It not only contains the typical Preamp control, Pan, high pass filters, and extensive PEQ and GEQ control, it also includes the ability to store and recall scenes, adjust compressors and gates, sends on faders, effect editing and many other controls. This enables complete remote control of a mix from any location in the room. Wirelessly con-nect using a router plugged into the LAN port on the M-200i or use the Roland Wireless Connect adapter (WNA1100-RL) plugged into a USB port. Additionally you can connect an iPad using a multi-pin iPad cable included with the M-200i that not only provides wired connectivity but also charges the iPad.

The physical console features a 32-channel architecture with 17 motorized faders, 8 AUX, 4 Matrix, 8 DCAs, 24 physical inputs and 14 outputs (expandable to 64x54). In addition to the physical inputs, the

M-200i can mix in audio sources from the USB port (flash key). If you don’t have an iPad available, the console is fully controllable via the built-in LCD screen along with buttons to navigate all the mixing parameters in the M-200i.

The M-200i also includes a Roland Ethernet Audio Communication (REAC) port that opens the door to expandability options, including multi-channel playback/recording, additional remote physical inputs, and personal mixing system.

The M-200i will ship in January 2013.Price: TBAContact: Roland Systems Group | rolandsystemsgroup.com

new live products


Kaltman Creations IWxCPA Antenna

Kaltman Creations LLC recently introduced the Invisible Waves IWxCPA antenna to improve recep-tion for wireless m i c r ophone s. The IWxCPA incor-porates directional “circular polarization” (CP) technology for both receiving and transmitting pro-audio wireless applica-tions. It is designed to help reduce interference, reduce drop outs, help eliminate ‘swishing’ noise artifacts, improve RF signal to noise and enhance the reception of signals propagated through and around objects.

The new IWxCPA antenna uses advanced circular polarization tech-nology, which produces a ‘drop-out free’ transmitter and receiver combi-nation that is never out of phase. This technology, along with the antenna’s directional attributes, helps to guar-antee as reliable of an RF signal link as possible. The antenna design is unique because of its low-visibility flat panel sign. Unlike paddle and helical antennas that point into the performance area and expose their large sides to the audience, the the-atre black IWxCPA panel faces the performance area leaving only a 1.3 inch edge visible to the audience.Price: $299 each, $499 per pairContact: Kaltman Creations LLC |kaltmancreationsllc.com

Allen & Heath iLive Firmware Updates

Allen & Heath has released the latest version of its iLive firmware, V1.9, includ-ing new GEQ, Dynamic EQ and Multi-Band compres-sor emulations, increased MIDI control options, and improvements to the func-tionality in the supporting iLive Editor software and MixPad app. All 32 mix outputs now benefit from extra Graphic EQ Low Frequency bands and a choice of four GEQ emulations: classic 1/3rd octave Constant-Q, industry standard Proportional-Q, Digi-Q for minimal band interac-tion, and a new asymmetric Hybrid - plus display of the resulting frequency response and a superimposed RTA view. The four models are available at a touch of a button and can be audibly and visually auditioned in real time with no patching or recall needed. V1.9 is available to download now from the company’s website. Price: Free downloadContact: Allen & Heath | allen-heath.com

Behringer Q Series USB MixersBehringer has released its Xenyx Q Series USB mixers. With configurations rang-ing from 5 to 24 inputs, the new Q Series features Behringer’s Xenyx micro-phone preamps, described by the company as “Neo-classic British EQs [that] allow gentle or even dras-tic sound shaping for any input signal.” Select models feature switchable phantom power plus dedicated wireless-ready integration for Behringer’s upcoming ULM Series digital wireless microphones.

Built-in USB/audio interfaces, one-knob mono channel compressors and Klark Teknik FX engines are also on board. The Xenyx Q Series USB mixers can be used for live sound, recording and podcasting applications. As an added bonus, Behringer offers a downloadable library of free recording and editing software, turning any Mac or PC computer into a complete audio workstation.

All models are covered by Behringer’s 3-year limited warranty.Price: $59-$429 streetContact: Behringer | behringer.com

live review Strother Bullins


The StageScape M20d live sound mixer is another Line 6 innovation of that kind; at first glance, it’s nothing like the channel-stripped mixers of old. Unique and high-tech sexy, it is streamlined, largely naked of knobs and buttons and provides no vertical faders. Paired with complimentary Line 6 StageSource loudspeakers, it is built to do things that tradition-al portable PA rigs do not, such as provide touchscreen visual-based mixing; multichannel recording with soundcheck loop capabilities; comprehensive iPad remote con-trol; auto-sensing I/O; loads of DSP power; and much more, all in an intelligent, digitally-networked rig.

Key FeaturesOut of the box, the M20d feels

rock solid. This forward-thinking product is built for the expected rig-ors of a modern gigging musician’s life, and its seven-inch, full color touch screen and 20 buttons/knobs brings all the capabilities of the M20d to my fingertips. Its footprint is approximately 16-inches wide by 14-inches deep — compact, unclut-tered and highly functional.

I/O is comprehensive — a dozen auto-sensing mic/line (XLR or quar-

ter-inch) combination inputs; four quarter-inch auto-sensing line inputs; four auto-sensing monitor outputs (balanced XLR); and two audio-sensing main outputs (bal-anced XLR). Also included — quarter-inch headphone output with adjacent volume

knob; eighth-inch “aux in” for mobile device audio input; dual quarter-inch foot switch inputs; USB PC jack (for recording/playback via standalone DAW); as well as a USB 2.0 dock and a SD card slot (either is recording/playback-ready for presets and MP3/WAV file storage).

Most interesting within the M20d’s I/O category is Line 6’s proprietary L6 LINK connection. It utilizes an AES/EBU 110 Ohm cable to send digital audio in one direction while sending control info in two directions, allowing control of Line 6 products when used with a StageScape-centered PA. Read more about it here: line6.com/l6link.

Once inside the M20d, audio signal input encounters a multitude of simply-presented but deep treat-ment options. The mixer recognizes each input type: for example, pop in a condenser microphone into XLR input 1, and an instrument via DI into quarter-inch input 2; each will immediately appear on the vibrant touchscreen. From there, each input gains its own customizable chan-nel strip with gain, EQ, effects and routing options; these parameters are dialed in by the dozen multi-function push-knob encoders below the screen. This auto-sensing based setup alone can save a lot of time and headache during load-in/sound-check.

To the left of the screen, the five vertically-aligned buttons allow access to (from top to bottom) Setup, where the user configures I/O and accesses the Stage Icon Gallery, so a kick drum can be assigned to the screen to represent the kick drum mic input; Tweak, to adjust

Line 6 StageScape M20d Mixer Intelligent and intuitive, this unique digital mixer is the heart of Line 6’s ambitious rewrite of what users know about portable PA.

Strother Bullins is a musician, self-recordist and the Editor of Pro Audio Review.

I’ve come to expect the unexpected from Line 6, a pro audio company with an overall design philosophy that, first and foremost, serves musician end-users. From their first incarnation of the POD digital guitar amp modeler in the late ‘90s to their 2010 entree to live sound, their XD Digital Wireless line, Line 6 has well served those not locked to the traditional standards of legacy pro audio equipment.

The M20d sits atop its L6 LINK-compatible “smart” powered loudspeaker, the StageSource L3t.

EQ, dynamics and effects per input; Record, to set up recording functions for up to 16-channel tracking plus the main mix out-put; Monitor, to set stage monitor send lev-els per channel; and Perform, which locks parameters to prevent accidental changes during an event. To the right of the screen are the vertically aligned, self-explanatory Mute Mics and Mute All buttons, plus a large Master Volume pot.

After initial setup, intuitive adjustment options abound. Highlights include the Tone X-Y “Quick Tweak” Pad, a quick-adjust, nearly fool-proof full-screen GUI controller that adjusts multiple parameters via an X-Y, finger-drag-based window; for example, from the Setup screen, I simply touch the Kick icon, then tap Tweak to enter the Quick Tweak screen. With the center of the screen labeled as Neutral, the four corners are Boom, Snap, Scoop and Smack. Dragging the X-Y’s crosshair center to where I hear the best balance of the four extremes — it’s that simple. The multicolored push-knobs are great as both visual and tactile tools, espe-cially in Tweak mode.

“Deep Tweak” Edit Mode provides more “traditional” plug-in GUIs per parameter or effect for delving deeper. In other words, using “Quick Tweak” got me close, if not there, while “Deep Tweak” is the last 5-10 percent. Also notable is Total Scene Recall for saving/recalling stage setup, and four stereo Master Effects Engines are provided — two reverbs, vocal doubler, and a delay/chorus/flanger.

Finally, Quick Capture and iPad control features allow M20d users access to some truly pro-level capabilities. One-touch acti-vation of Quick Capture records up to 20 seconds of soundcheck material from any input source to internal memory; simply loop it and tweak it to my heart’s con-tent. Further, users can record full songs to full shows to either SD card or via USB; StageScape is an all-in-one portable record-ing rig. Meanwhile, iPad control, via a com-

patible USB WiFi adapter, allows adjustment to any other M20d parameters from any-where in the venue. The iPad aspect of the M20d opens up a literal world of options — multiple iPads can be connected, thus each band member’s iPad is their own moni-tor mixer.

When the M20d is paired with StageSource loudspeakers — each with its own internal mixer and EQ, feedback suppression, and even an accelerometer (detecting if the speaker is horizontal for Floor Monitor mode or vertical for Main Monitor mode) — L6 LINK allows automatic self-configuration, stereo signal pan, and 31-band graphic EQs on each speaker.

In UseThis was a challenging review for me

to write in all honesty. The StageScape M20d is incredibly intuitive that it’s hard

to fully convey its simplicity. Trying it out is the only way to fully understand its capabilities.

Taking it out of the box, plugging it in, and tapping through the screens, I literally figured it out on the fly. Within 30 minutes — with no manual, without a video tuto-rial or even glancing at a quick start guide — I was doing most everything the M20d advertises.

Paired with dual StageSource L3t mains and the StageSource L3s subwoofer, I used the M20d for a variety of live events.

Whether at a club for a rock show with near-ly all inputs full; at an acoustic show, care-fully pouring over Line 6’s great-sounding effects and having great success using the Quick Capture feature for a detailed sound-check; or at a local church, watching “light bulbs” going off over volunteers’ heads as I explained its operation with very few words, the StageScape proved its worth to me, and I was a skeptic no more. For these gigs, the M20d performed at least on par with — and, in most cases, surpassed — any other por-table live mixer I’ve ever used in terms of sound quality, intuitiveness, and features.

Finally, the recording capabilities of the M20d make it much more than a great live mixer. For many modern audio types, this could be their only hardware mixer.

SummaryFor those apprehensive about digital

mixers for portable PA appli-cations, the M20d may final-ly be the epiphany that will change one’s mixing lifestyle. I believe the M20d is the first product on the street of its kind that is intuitive enough for virtually every potential end user.

This is not an inexpensive mixer, thus it will still be out of reach of many portable PA users. I would also not recom-mend it for a venue without a house engineer. As intuitive as it is, it could still inhibit a gig; I can just see a band of weekend warriors gathering around this space-age thing,

30 minutes before the downbeat, scratch-ing their heads. The M20d is ideal for the discriminating, forward thinking engineer or gigging band looking to lighten the load, as well as for houses-of-worship or the-aters featuring a variety of performers and modern needs. Paired with Line 6’s L6 LINK-equipped StageSource powered speakers, the M20d becomes a modular live sound system that will make its engineer look almost as smart as his mixer. Price: $2,799 listContact: Line 6 | line6.com


The iPad aspect of the M20d opens up a literal world of options.

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STUdIO fUrnITUrE

Features like multi-band saturation and multi-band stereo width control that rarely get used, when they do, they make the difference between a good mix and a great mix. Ozone 5 provides so much flexibility and power, I can’t imagine ever mixing with-out it. The multiband modules have inde-pendent crossover settings as well making it easy to fine tune from module to module instead of trying to come up with a generic setting that works globally. Ozone’s Undo feature makes it easy to reference previous settings. A/B points can actually be set in the history as well.

Although the module routing order within the plug-in follows perfect logical sense, there is still the occasional instance that a different order is desired. Thankfully, iZotope made it

easy to change the module order via the Filter Graph. Since adding Ozone 5 Advanced to my normal mix workflow, I’ve become accus-tomed to keeping the sizable Meter Bridge window permanently for all of my metering needs. Unfortunately, the Meter Bridge isn’t available as a single plug-in, so I’ve become accustomed to just sliding my Ozone 5 plug-in window off the screen.

SummaryiZotope’s Ozone 5 is the only full-function

mastering plug-in suite that I’ve encoun-tered that includes everything needed to transform a final mix into a final master within a single plug-in. And to top it off, it’s one of the best sounding plug-ins available today. Price: $249 and $999 (Ozone 5 and Ozone 5 Advanced, respectively)Contact: iZotope, Inc. | izotope.com


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3 Yamaha Corporation of America yamaha.com/livesound

Ozone(continued from page 32)

more true, more natural and more like what my mind envisions when I reach for knobs.

SummaryI must admit that all this musical power with

no low EQ band is a little disappointing. But what the Pullet does do, it flat out does best. This box will set you back $1,695 street and you’ll need an Earlybird or another very nice mic amp to do it right, but such cost and trou-ble is surely worth it for ambitious mastering engineers. I can see this investment as having immediate payback with easy EQ improve-ments and happy clients who will value your work ... even if they don’t exactly know why.Price: $1,899 listContact: Thermionic Culture |thermionicculture.com

Pullet(continued from page 36)

proaudio review november 2012

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