REVIEW NEVE 8816 VS SOUNDCRAFT GB4-16, OUTSIDE THE BOX

 NEVE VS SOUNDCRAFT

When the Neve 8816 first hit the market I ordered one. I also ordered the 8804 fader package which basically changes the 8816 into a mini Neve console with hands-on faders. Was it a wise investment?

REVIEW TC LEVEL PILOT X: Balanced Desktop Volume Fader

This is one of those products that was not initially clear why I needed it. After giving it a try I can’t live without it. 

REVIEW LITTLE LABS MONOTOR HEADPHONE AMP: The Audio Grail, Sound Purity, for a price

The Little Labs Monotor was not on my radar, my Sweetwater Sales Engineer (Jim S.) put me on to this boutique jewel, made in California. I have Sennheiser HD600 and HD650 headphones in my collection, I typically prefer the HD600 for their clarity but the impedance and load presented by either of these headphones can be challenging for many pieces of gear. In a rare fit of acceptance I said YES and ordered the Monotor without even thinking about the price. Ouch, this little box is not inexpensive but is it worth the price?

REVIEW AUDIOSCAPE EQP-A, VINTAGE PULTEC-STYLE VACUUM TUBE EQUALIZER

I’ve had this pair of AudioScape EQP-A in the studio for just over a year now and they’ve been used on various individual tracks during mixing and on the stereo buss -- trying to hear if they are capable of improving my mixes -- better than other options? I’ve compared them with several plugin recreations and against other affordably priced hardware which is available through retail stores, rather than — Factory-Direct — all products from AudioScape are sold direct and are not available in stores. These equalizers are hand built in Daytona, Florida, but are they Good?

REVIEW BEHRINGER RX1602 LINE MIXER: Versatile Analog and Utility Mixer

click to enlarge

I first discovered the 1602 line mixer back around 2007, I bought three used ones off eBay for $75 (for all three :-) and was amazed how good they sounded — they were from a TV station in Boston and these pieces had years of 24/7 runtime on them when I got them — are they good?

COLEMAN AUDIO TC4, TRANSFER CONSOLE REVIEW, DO YOUR OWN MASTERING

Coleman Audio TC4, TRANSFER CONSOLE

HANDMADE, PREMIUM COMPONENTS, MADE IN USA = MAX BOUTIQUE

Glen Coleman does not build mass produced equipment, instead he focuses on solutions to problems faced by every audio professional. Is the TC4 something you could use?

COLEMAN AUDIO MS6 LINE INPUT SELECTOR REVIEW

 COLEMAN MS6 = MAXIMUM BOUTIQUE CONSTRUCTION

Coleman Audio gadgets are premium handmade audio solutions, each addresses a specific problem and provides the right answer for recording professionals. Do you need this one?

COLEMAN AUDIO SPK5+1 SPEAKER SELECTOR REVIEW

 COLEMAN AUDIO SPK5+1 = BOUTIQUE AND  INDUSTRIAL STRENGTH

This is a very high quality, single-space, 1U, rack mount box with big heavy-duty selector switches to allow you to audition your mix on five different pairs of powered studio monitor speakers. A subwoofer on-off switch is provided so you can add or subtract bass enhancement to your full-range listening experience.

REVIEW JLM VUPPM STEREO METER COMPACT, WORLDS BEST VU METER

Compare level on JLM meter to level on the Neve VU meters. Both are from same source.

I have previously covered the JLM PPM500 meter and you can find that review here. 

In this review we're taking a look at the other way JLM packages their fantastic Peak and Program Meter technology, in a stand alone enclosure.

REVIEW JLM PPM500 PROGRAM LEVEL METERS, BEST VU METERS, NOW IN 500 SERIES SIZE

CLICK TO ENLARGE

 I've always loved good metering when I'm mixing. My ears are highly developed but they can fool me depending on how I feel. Good meters are indifferent to feelings, they just report the connected signal level.

JLM Audio is located in Australia. It's the brainchild of designer Joe Malone. They make a number of interesting DIY products, kits and boutique audio items which serve recording and pro sound industries. I used JLM kits to rebuild some analog VU meters and you can read about them here on High on Technology.

In this review we're going to take a close look at the JLM PPM500 stereo level meters which are packaged for use in 500 series racks like the API VPR500. These meters display peak and average levels simultaneously. They are totally unique and indispensable. 

BEHRINGER A800 REFERENCE AMPLIFIER REVIEW

Update: year of use report at end

A new Behringer A800 arrived today. My girlfriend brought it in from the front porch where Amazon delivered it. She casually asked what was in the big box. I said "a stereo power amplifier" and she said "it sure is light for an amp".

PROWORKSHOP BASIC TRAINING, LISTEN TO YOUR MIX ON DIFFERENT SPEAKERS

LISTENING IS MOST IMPORTANT

by Mark King for proworkshop.com

Rupert Neve, First Contact

Back in 1991 at my first AES convention in New York City, Rupert Neve told me a good set of speakers were the most important tool of any engineer, you need to develop your listening.

API 3124 MIC PREAMP QUAD OUTPUT ATTENUATOR DIY

API MIC PREAMP OUTPUT ATTENUATOR PACKAGE DIY

by Mark King for proworkshop.com

Quad Attenuator box under API 3124

I'm a big fan of the API microphone preamps, they have transformer coupled inputs and outputs along with a wonderful op amp made from discrete components. There is one big problem with these preamps, they have too much output-level for most modern recording equipment.

The solution is to add a master volume control after the output stage. In this DIY article we'll look at how to bring the vintage API 312 mic preamp in to the modern studio and control the output-level in a way that makes this preamp much more useable.

PROWORKSHOP BASIC TRAINING, MOST IMPORTANT CONTROL IN SOUND SYSTEM

TIPS FOR BETTER SOUND AND RECORDING

by Mark King for proworkshop.com

#1. What is the most important control on any sound system?

As the sound engineer it's your responsibility to know where this control is and how to operate it at a moments notice. 

It might sound simple to experienced operators but it is amazing how often I hear the results of it being used poorly.

DIY BUILD THE STEREO MASTERING PRECISION BALANCED-LINE VARIABLE ATTENUATOR

BUILDING THE 600 OHM BALANCED-LINE VARIABLE ATTENUATOR

by Mark King for Proworkshop.com

TWO CHANNEL BALANCED-LINE VARIABLE ATTENUATOR

RACK MOUNTED DIRECTLY BELOW API 2500

THE PROBLEM

I am a big fan of the Warm Audio EQP equalizers. The Proworkshop studio has a pair from the first production run which we bought for tracking use in the studio. Once I heard them in the mastering-loop of our Neve mixer I knew this pair was doomed to stay there because they added so much power and tone to the stereo mix.

Newer production units from Warm Audio include a variable-gain trim-pot control on the back of the unit so you can match two pieces for stereo use. The pair we're using in the Proworkshop mastering system does not have these gain controls.

With the gain control located on the rear of the new Warm models the options for adjustment are still limited unless it's very easy to get to the rear of your rack to tweak the screwdriver-adjustable trim pots. 

THE ATTENUATOR SOLUTION