This Week: Studio Equipment
The TG V70DS is beautifully constructed and easy to handle, with a progressively damped capsule suspension for low handling noises. Since 1924 Beyerdynamic has remained a German family-owned company committed to continuous research and innovative developments for the audio market. All over the world, Beyerdynamic is known for the use of the latest technologies and a high quality standard.
The Mackie Big Knob Studio offers high-resolution USB interfacing with resolutions up to 96kHz. Featuring two Onyx microphone preamps, the Big Knob Studio delivers an ultra-wide gain range - up to 60dB - and award-winning sound quality.
The latest addition to the Big Knob series provides models with unique features and a variety of I/O, ensuring that this interface seamlessly integrates within your existing setup. Suitable for a range of applications, the Mackie Big Knob Studio is equipped with dual headphone outputs, a dedicated amp-driven studio out, a true cue mix and much more.
As for inputs: the AI-1's got both kinds:
The AI-1's single input is a Neutrik Combo Jack, which takes both a 3-pole XLR (common to most microphones) and a quarter-inch jack common to most electric instruments like guitar, bass et al. Layering tracks is as easy as plug in, set level and go.
No cords barred (and other puns):
The Complete Studio Kit comes with the RODE NT1 studio condenser microphone, a shock mount, pop-shield, RODE XLR cable and USB-C/A cables to transfer data from your AI-1 to your computer, and power - including 48V phantom power to your AI-1.
Superior Headphone Amplifier onboard:
Not only does the AI-1 deliver crystal clear audio to your computer software, but headphones have never sounded sweeter thanks to the discrete studio-quality headphone output and level control.
In the box:
- NT1 Cardioid Condenser Microphone
- AI-1 Single Channel Audio Interface
- SMR Shock Mount & Detachable Popshield
- XLR Cable
- USB-C/A Cable
Play a song, all on one surface:
On one dynamic surface you can play beats, basslines, chords, and melodies - and tie them all together to make amazingly multi-layered songs.
Every movement is musical:
On Lightpad M's tactile surface, you shape sounds and make music with Five Dimensions of Touch (5D Touch). Expression is right at your fingertips, so you can bring any musical idea to life.
Touch even deeper musical textures:
The redesigned interface of the Lightpad M builds on the touch-responsive powers of the original Lightpad Block. Lightpad M's surface is deeper, softer, and defined by undulating microkeywaves - for an even more precise playing experience.
Enhanced tactile feedback:
Based on the wave-like surface of ROLI's Seaboard instruments, the 225 microkeywaves of the Lightpad M add more tactile feedback, so you can interact with the surface in a deeper way and gauge each movement more precisely. A thicker, softer silicone layer enhances pressure-responsiveness.
Enhanced visual feedback:
The surface of the Lightpad M is 50% brighter than the original Lightpad Block. It features higher-definition colours and a higher contrast display, so you can move more quickly between notes, instruments, and scales.
Explore a universe of sounds - it's growing all the time:
Lightpad M comes with hundreds of sounds from funky synths to string sections to drums. They're all custom-made for 5D Touch. Expand your collection by purchasing soundpacks from cutting-edge sound designers and world-famous artists like Grimes, RZA, and Steve Aoki. The universe keeps growing, with new soundpacks arriving every month.
Learn how to make music:
Learning a musical instrument can take years. It's much faster on Lightpad M. The gestures for making music are intuitive, and the illuminated grids guide you to play in tune. Also, you're not just learning one instrument. You're learning to play the sounds of hundreds of instruments - all on one portable device.
Expand your music studio:
Lightpad M is one piece of an award-winning music creation system: BLOCKS. Connect to a Seaboard Block, Live Block, Loop Block, Touch Block - or more Lightpad Blocks including the Lightpad M. All Blocks snap together and work together wirelessly. Mix and match, and build your instrument as you grow!
The C03U features dual, large 19mm internally shock-mounted diaphragms with high SPL neodymium elements and three selectable pickup patterns - cardioid, omnidirectional and bidirectional. Each of these patterns provide a smooth, flat frequency response of 20Hz-18kHz supported by a switchable high pass filter and -10dB pad. Capturing audio at a 16-bit, 48kHz resolution, the C03U offers the accuracy you need to be sure that what you hear is what you get.
The C03U is USB compatible with any Mac or PC, so you can just plug the mic in and start recording... No additional drivers or special software is needed. It works well with most DAW software programs, including GarageBand. In addition, a desktop mic stand, mic clip, USB cable and carry pouch are included. All this, along with its solid die-cast construction, makes the C03U just as durable as it is portable.
Samson Sound Deck Software:
Available as a paid download, the Samson Sound Deck Noise Cancellation Software brings noise cancellation technology for enhanced VoIP communication and computer recording to your C03U. Sound Deck uses Digital Noise Reduction algorithms to minimize recurring background noise from loud environments, ensuring only clean, natural sounding vocals are received by your family, friends or business associates.
Music from the Home/Mobile Studio:
For musicians, the convergence of computer and audio technologies has established the home/mobile studio as an alternative to the professional recording facility. Whether you're touring the country or experimenting in your project studio, the C03U sets the standard for integrating your computer into your recording experience. Use the super-cardioid pickup pattern to record a single vocalist/instrumentalist or the omnidirectional configuration to harness an entire ensemble with ambient room miking at a pro-level directly to your computer. The C03U is perfect for recording music on-the-go or in limited spaces, allowing all musicians tremendous freedom to create.
The evolution of podcasting has created a need for high-quality production capabilities that are also attainable by everyone. Satisfying these criteria, the C03U is a podcaster's dream come true. Given a simple USB connection straight into your computer, it provides your podcasts with unparalleled quality in audio recording. With the C03U's multi-pattern pickup abilities, the voices of individual web journalists (super-cardioid), as well as discussion groups (omnidirectional) and interviewers (bi-directional), everywhere are empowered to establish a real identity in the congested world of podcasting.
With computer-based technology becoming more steadily incorporated into educational protocols, useful functions for the C03U among students, professors and administrators are also on the rise. In addition to podcasting, the C03U can expand the educational applications for Skype, VoIP, screen capture software like Camtasia Studio and voice recognition software like Dragon Naturally Speaking. These applications, all of which can be used to teach, study or catalogue academic materials, are made easy with the superior degree of audio recording delivered by the C03U. So, whether you're teaching an online course, reviewing a past lecture or studying for a big exam across multiple computers, the C03U helps to make education a more accessible and interactive experience.
Capturing the Workplace:
The C03U provides answers for those business professionals in need of revitalizing their corporate communications. Ideal for rich media on websites, in multimedia presentations, company meetings or corporate events, the C03U's features allow for easy recording of studio-quality audio clips to make communications more impactful and your presentations come to life. The mobility factor surrounding the C03U is also attractive to business professionals, as it can travel with you as easy as a laptop or briefcase to that next meeting.
Samson offers a collection of pro-level accessories (all sold separately) that can be used to further enhance the recording experience of the C03U, including the PS01 microphone pop filter and the SP01 spider mount. The PS01's nylon mesh screen will reduce vocal popping and sibilance from affecting the performance of your C03U. It also comes equipped with a universal mic stand mounting bracket and a flexible metal gooseneck for convenient placement. Lastly, the SP01 provides the C03U with a reliable shock mount system to absorb unwanted vibrations and disturbances.
The heart of the R31S's performance stems from its shock mounted mic element. Offering high gain output and a low impedance design, the capsule also features a hypercardioid pickup pattern. This enables the R31S to pick up all the nuances of any performance with exceptional clarity and detail, while reducing feedback and unwanted signals.
The R31S offers a frequency response of 50Hz - 15kHz, which is ideal for live concert and stage applications. Also equipped to withstand high sound pressure levels, the mic produces vocals that sound huge and crystal clear. This makes the R31S a versatile tool in home recording live performance settings as well.
The R31S features a convenient On/Off switch, as well as an XLR to 1/4" mic cable. For added versatility, a mic clip is also included.
WARNING: This product contains DEHP, a chemical known to the State of California to cause birth defects and other reproductive harm.
The UB1 can be placed on a conference table, podium, alter or can be mounted using the keyhole mounting points. Because of its low-profile design, the UB1 allows for inconspicuous placement in any setting and will offer professional-grade recordings on either a desktop or laptop computer. The solid zinc body and sturdy steel grill construction make the UB1 a dependable tool for conference rooms, houses of worship, courtrooms, classrooms or anywhere else high quality computer recording is needed.
More focus. More presence:
Maximum focus, enhanced presence: the E845 delivers differences you can hear. Its expanded high frequency range creates space for demanding dynamics with a high signal quality. Vocals become more alive and sound wider and more open - even at different speaking proximities. Designed as a super-cardioid, the E845 easily eliminates ambient noise. A reliable, easy-to-use companion for presentations, conferences, spoken word performance, choirs as well as rehearsal rooms and on stage.
In the box:
1 x E845
1 x Microphone Clip
1 x Pouch
Its balanced frequency range qualifies the E935 for songs of every genre. It clearly gives the voice more space and positions it cleanly in front of loud instruments. With a transparent high-end and warm but well defined lower mids, it lends even gentle voices an impressive intensity and size. The vocal track in the band mix can be emphasized much more easily. The E935 also clearly increases the speech intelligibility. It remains extremely resistant to feedback as well as to the hard conditions of live gigs.
In the box:
- E935 Microphone
- MZQ 800 microphone clamp
- User manual
- Document of Warranty
What is the Beta 87C best suited to?
The Shure Beta 87C is a premium quality cardioid hand-held condenser vocal microphone with exceptionally smooth frequency response and high sound pressure level capability. It is ideal for a professional lead or backing vocalist either on stage, for live recording or in the studio. The cardioid polar pattern makes it ideal for use with in-ear monitoring.
Note: Only blue custom bands are included with purchase. Other colours must be purchased separately.
- Pitch and auxiliary CV's
- 16 bit conversion
- Pitch bend, Accent and Legato outputs
- Accurate DAC
- Program and Manual Trigger buttons
- CV1 out, CV2 out, Gate out, Accent out, Legato out
- Width: 12HP
- Requires 5V
As the panel is 10x10, there are an additional 2 ins and 2 outs that you can hard-wire (solder) to any modules you wish. Or, leave empty and use as a place to store spare pins! Pins not included.
Note: This is a passive module and uses no power.
- 16 jacks
- 10 x 10 pin matrix
- Width: 22HP
- Pitch and auxiliary CV's
- 16 bit conversion
- Pitch bend
- Accurate DAC
- Program and Trig LED
- CV1 out, CV2 out, Gate out
- Width: 6HP
- Requires 5V
There is also an inverted output, so if you mix in an EG for example, you will get an inverted EG out! Great effect.
This module would normally be used for mixing audio signals, although it will do CV's.
- 6 x Inputs, Inverted output, Normal output
- Width: 4HP
The system has two separate modules, the core of the mixer: Hexmix that has six channels with three band EQ, mute, pan and EQ section on the master, and Hexpander that add three auxiliar sends per channel, PFL, individual outs and balanced output.
The mixer has a strong inspiration in classical DJ mixers, providing sharp EQ's for enhanced performance, auxilliar send for effects and individual outputs to record your performance per channel.
The unique Mute Section is a powerful tool for performances, providing a momentary mute function controlled by vactrols and adding a smooth release to the signal decay.
The system is designed to be placed in 6U, instead of the traditional 3U paradigm in Eurorack. So we will have every feature for each channel vertically as a conventional tabletop mixing deck.
This is a six channels mixer with three band EQ, vactrol mutes, pan and volume control per channel.
Inputs for every channel are located at left side of Hexmix. Each jack is normalized to a VCA Expander connection in the back, so if you have a Hexmix VCA, you will have the output of each VCA to every input. connecting a jack in any input will disconnect whatever is coming from VCA.
Each Channel Strip is divided in four basic sections, that will go in the following order: Gain, Mute, EQ and Pan.
Gain is set to unity, so it will act as an attenuator of the input signal. Mutes are clickless, as they are vactrol based. This circuit provide some decay on the mutes, rather than a sharp cut.
Switches have latch position and momentary ones to unmute the channel, providing some really nice performative capabilities.
EQs are quite sharp (12dB) inspired in classic DJ mixers to aggressively cut selected frequencies.
Master section has its own EQ and volume control for the mix of all channels. Master EQ is software than individual channel's (6dB) and it's meant to provide control over the final mix.
It's possible to change output level from line to synth with a switch located in the back.
This will be pretty useful when used in combination with Hexpander, that provides a balanced out at line level. Like this it's possible to have a mix at synth level to re-route the master signal while having an output to PA.
Hexpander is designed to be placed on top of Hexmix. Expanding Eurorack concept to 6u, allows every channel to be aligned as in traditional tabletop mixers.
For every channel you have three auxiliar sends. One pot will measure the amount of signal sent to each of them.
Every auxiliar send has a volume pot, that will measure the level of the signal sent. There are two jacks available so it is possible to send the signal both pre or post fader/EQ at the same time, allowing to patch externally depending if its desired to have the original signal, or the signal after being EQ'ed on the effect.
Returns are stereo, having a switch to select if the signal is coming from synth or line level. Like this, levels can be set, for example, either for a guitar pedal or a FX module at synth level.
Hexpander features a complete PFL system, to send channels to the headphones before you add them to main mix.
Flip PFL switch to send that channel to the headphones out.
With PFL/Master Pot you can do a crossfade between the master signal and every channel sent to PFL. Headphones out will control headphones volume.
Level meter will show the level of the sum of all active PFLs. When there is no PFL active, it will show master level.
Every channel has individual 6,5? jacks out at line level. Here you have the signal of every channel post EQ.
As an addition, you have master balanced output.
Using bus connectors on the back panel, you can chain multiple Mixups together in series, giving you the ability to mix together even more inputs, or to create sub-mixes for routing around larger systems.
Because Mixup is designed specifically for audio (and not for CV mixing), it uses AC-coupled circuitry (which reduces the potential for 'pops' when muting and unmuting audio), and it uses audio-grade, logarithmic attenuators for a smooth, even response across the entire volume range.
This module only works when connected to a Pedal I/O 1U module via ribbon cable.
The design consists of a high fidelity resonant band pass filter, two voltage controlled decay envelopes, multi-mode noise generator, a high fidelity VCA and a voltage controlled diode wave multiplier. Every parameter on the Entity Percussion is voltage controllable.
Features and controls:
BODY control simulates the tightness of a drum head. From soft and muted to flabby and bass heavy.
PITCH affects the frequency of the resonant filter. The nominal control range is from about 8Hz to 2.2kHz. This range is expanded upon use of internal and external control voltage sources.
HARMONICS increases the number of overtones heard via the main resonant sound source. Subtle to extreme. A substantial function of the Entity PS.
RING controls the resonant decay time, independently from the modulation controls. Both short and plucky and very long rings are obtainable. The filter is tuned so that it will always resonate a little, even when RING control is all the way down.
OUTPUT section controls the resonator volume level and the overall output level when NOISE-FILTER mode in enabled. MIX switch selects processing the internal resonator, external source via the EXT IN jack or a mix of both, greatly enhancing the sound capabilities of the Entity PS.
NOISE generator inspired by the Quantum Rainbow 2, with three select-able noise modes - WHITE, PINK and FILTER. FILTER mode routes the noise into the resonator's signal path - to be processed through the resonant filter, harmonics processor and main VCA.
N-LEVEL independently controls the volume and CV level of the noise VCA.
Two voltage controllable decay envelopes are provided to modulate the frequency and/or volume of the resonator and noise. DECAY controls the FM/VCA decay time of the resonator, N-DECAY controls the VCA decay time of the noise generator.
DELAY provides voltage controlled delay of the resonator DECAY envelope with respect to the noise (N-DECAY) envelope - a useful feature for creating various snare, clap and snap sounds and layering internal and external sources.
FM LVL is a bipolar attenuator for controlling the frequency modulation depth of the resonator. The switch below selects the internal resonator decay envelope, a mix of the decay envelope and external FM CV source, or the external FM CV source only.
DUCK output jack provides an offset and inverted copy of the resonator DECAY envelope for ducking VCAs and other modulation duties.
PING! button to demo sounds without a trigger source.
RGB LED for visual feedback of trigger, FM and output waveform
All parameters are voltage controllable.
The F5 dynamic instrument microphone is an ideal choice for snare, toms, percussion and acoustic instruments in live and studio applications. A hypercardioid pick-up pattern helps to minimize feedback and isolate the instrument from ambient sound.
The F5's low impedance and balanced output allow interference-free performance.
- Live Stage, studio
- Snare, toms, percussion
- Guitar and bass cabinets, electric instruments
- Brass, flute, woodwinds
- Acoustic instruments
- Vocals, speech
In The Box:
1 x F5 Instrument Microphone
1 x MC1 Microphone Clip
1 x P1 Carrying Pouch
Optimized for low-frequency bass punch and high-power SPL handling, the Beta 52A's supercardioid design provides maximum isolation from other onstage sounds. It is ideal for the professional musician looking to mic up their kick drum, bass amp and acoustic bass. It has the quality and durability to be used on stage and in the studio.
The supercardioid pickup pattern limits interference from other on-stage sound sources and reduces feedback. The frequency response is perfectly tailored for bass instruments with a 20Hz to 10 kHz frequency response with a presence boost at 4 kHz to let electric basses and kick drums cut through the mix.
Professional sound, exceptional performance:
The perfect introduction to Shure engineering excellence, PG ALTA microphones set a new standard in accessible gear, delivering professional-calibre sound while easily withstanding the demands of everyday rehearsal, performance and recording.
The PGA52 is a professional quality kick drum microphone with an updated design that features a black metallic finish and grille offering an unobtrusive visual presence.
Additional design highlights include a swivel joint featuring a quick-release latch similar to bicycle component-locking technology for extremely quick and easy positioning.
Additional features include a tailored microphone cartridge design for clear reproduction of wind instrument sound sources.
The SM94 is equally at home in sound reinforcement systems or in sound studios and motion picture/TV scoring stages. It is ideally suited for most instruments including harmonica, cymbals, brass and saxophone, as well as guitar amps. When used with the optional wind-screen, the SM94 can be used by vocalists and speech-makers who desire a wide, flat response with minimum coloration.
Holds your microphone securely, and the built-in elastics provide isolation from unwanted vibrations.
Note: Only blue custom bands are included with purchase. Other colours must be purchased separately.
With superior signal to noise performance allows you to put the Class A Boost anywhere in your pedal chain. It can add punch and extra output to a classic overdrive sound and is able to push distortion pedals into extremely aggressive crunch land. Class A Boost is also ideal for hitting the front end of a tube amp to achieve an added layer of sweetness and fat tone.
Playing stable intervals such as octaves, 4ths and power chords result in gnarly, tweezed out grind, while other intervals create ring- modulator textures in all registers while Drive, Blend and Fuzz controls have been added to the original 2-knob design for added signal power and overall flexibility. A variable Drive circuit on the front end allows the musician to tailor the harmonic response of the of the octave circuitry to suit any set of pickups. The octave up is wired in series before a fuzz circuit that can be activated by a push button switch, allowing this micro pedal to produce the devastating, full-wave rectified distortion found in the original, large-format unit. The entire drive, octave, fuzz effect can then be mixed with the original clean signal using the Blend control to taste.
The four channels operate independently or in stereo pairs. Its multi-segment LED metering displays input/output level as well as gain reduction. The Expander/Gate section features a continuously variable Threshold control, as well as a switch for fast or slow release times. The Compressor/Limiter section includes variable Threshold, Ratio and Output levels. S-Com 4's Enhancer switch restores high frequencies that are sometimes diminished by heavy compression.
This wide-ranging combination of features makes the S-Com 4 an efficient and versatile audio tool for a wide variety of applications. Its clean and quiet audio characteristics make it ideal where high sonic integrity is imperative.