The Vintech 473 offers 4 channels of Neve 1073-like preamp with shelving EQ in a 2 space rackmount unit.  It uses an external power supply (sold seperately) which can power up to 6 channels of Vintech preamps.

In Use:

Right after I got the unit, I got a chance to use it in a tracking session.

The external power supply has a good side and a bad side.  The good side is that the 473 stays fairly cool (temperature) even when running all 4 channels all day.  You can also power a few different units with one power supply.  The bad side is that its external and at this time, I can’t find a rackmount adapter for it.  It isn’t really a big deal, but carrying around extra cables and trying to find a case for it can be a tiny hump for the traveling engineer/producer.  I also wish it could power 8 channels (so I wouldn’t have to buy another if I get another 473…).  That all being said, I feel confident saying that I think the benefits outweigh the negatives.

First up, I used it on drums (specifically inside kick mic, snare drum top, and LR overheads).  The output attenuation pot was really nice to have on drums.  I could drive the preamp gain a little hotter (to get a taste of the transistor crunch), but could lower the output to prevent clipping the A/D. This was especially good on the close mics.  The shelving EQ was very convenient, and sounded great to boot.  I ended up dialing in a bit of 12k for the overheads, a bit of 60Hz for the kick, and adding some 3k to the snare.  A quick note – the unit is very easy to use.  That may seems like an odd comment, but it made the workflow very smooth.  The knobs are large, easy to grab, and are clearly labeled; the switches are large and take some effort to push (- a good thing!); things like this make me happy. 

I thought the preamps (and EQ) sounded fantastic.  The transients of the kick and snare sounded great (especially with the extra gain I gave to the input stage).  It worked well on overheads too.  Usually I prefer a tube preamp on overheads (due to the distortion qualities, transient response, etc…) but I thought the very-slightly overdriven 473 sounded great in this application.

Next I used the unit to track guitars.  I used two amps, mic’ing each off axis, one with an SM57 (with the transformer taken out) and the other with a FatHead II (stock tranny).   I ended up dialing 40-50 dB of gain and had no noise problems.  The 57 was plenty bright, but the ribbon would need some EQ.  A quick flick of the EQ switch, and I dialed in a fairly substantial boost at 3k.  It brought the track up to an appropriate level of brightness in the high end without becoming harsh.  While the 473 doesn’t have the EQ capabilities of the single channel strips from Vintech (or the original Neve’s for that matter), I find the shelves to be very convenient and great sounding.

After guitars, I used it on vocals (U87ai -> Vintech).  We actually started with the 87 through a UA 6176, and while that is another great unit (with tons of sonic options), we ended up liking the Vintech better on this particular application.  The Vintech had no tube color, which is what the song/singer was dictating.  The preamp performed just as how I would expect a 1073-like pre: very well.  I would feel comfortable using this as an everyday vocal preamp.  There are a lot of sonic options packed into this unit – the ability to drive the input hot and pull down the output, the EQ, etc…

A quick note in the middle here – the input impedance switch is another nice tool to have.  Switching from 300 up to 1200 Ohms did about what you’d expect (slightly more gain, slightly more present high frequencies).  Again, this is another sonic option the engineer has at his/her fingertips.  Convenience (as well as excellent quality) is really a theme on this unit.

For the pro studio, this is a great sounding unit at a great price.  4 channels of Neve preamps for around $3000 is a steal.  For the home or project studio, the 473 is a excellent choice for high quality front-end.  The preamps sound great, have plenty of (clean) gain for any mic, and the shelving EQ is excellent for tracking.  Additionally, the Hi-Z inputs on the front are great for tracking guitars, and the line inputs (and EQ) can give a great new color to in-the-box tracks.

// end of old review – start of new review

Well, it’s one year later, and I can say I’m just as thrilled with the unit.  I’ve done far less tracking this year as mixing, and the Vintech has shined.

The unit has held up well to my many travels.  I usually suit it up in a rack case and haul it all over the place.  I will still say that the external power supply is a bit of a hassle.  While I appreciate it’s merits in keeping the 473 cool and the power away from the audio, it is still hard to lug around in a separate box.  But – the hassle is worth it – the sound is awesome.

In mixing, I have it normalled out of my converters (to the line inputs) for inserts.  I use it on drums occasionally, but typically I throw my lead vocals and sometimes acoustic guitars through it.  Just driving a vocal through the line stage and adding a little EQ can bring it to the next level (anyone with a Neve console will probably tell you the exact same thing).  While the preamp sections are invaluable, it’s hard to ignore the awesomeness of having this unit for mixing.

As in my Avid Pro Tools Native HD+ HD I/O 16×16 analog review, let’s do the final breakdown:

Pros of the Vintech 473

• Amazing, amazing sound
• Great versatility for both tracking and mixing
• Rugged design, has held up well through travels
• Large pots and switches, makes dialing in settings in a heated session easy
• External power supply keeps heat and power away from your audio

Cons of the Vintech 473

• External power supply is an extra thing to haul around if you are often mobile
• Price – although for me, this was the best sound/price matchup of all the Neve clones, it is still pricey.  This could be a limiting factor for some studios

Overall, I’m very happy with the unit after the first year… here’s to many more!

Connor

The Studio Files

The Review:  Short version – In my experience, Pro Tools HD Native is the perfect stepping stone between high end LE systems and HD TDM systems.  So far in use, it has shown itself to be incredibly powerful and robust – with excellent converters and super low latency to boot.  Highly recommended!

The Review: (more important) Long version -

Let’s start with the basics – system details and installation.

I am running this setup on an 8-core 3.2 Ghz Mac Pro (2008-2009).  I also run a Duende mini via Firewire and a UAD PCIe card (I was anxious to see how PT HD Native would cope with these plug-in processing peripherals).  Installation was really simple – installed the PCIe Native HD card first, connected the Avid HD I/O interface via the provided mini Digilink cable, and booted up the computer (interface off at this point).  From there, I registered and activated my products on Avid.com.  That got me right to the license for Pro Tools 9 (no need to install 8.5 first) - which I transferred to my iLok via iLok.com.  (Incidentally, if anyone has questions on the install/activation process, just let me know and I can help) I downloaded the massive PT 9.0.1 HD installer (good job on the d/l speeds Avid – only took ~18 minutes).  From there, it was as simple as installing, restarting, and launching Pro Tools.

After verifying that my HD I/O was factory-calibrated correctly (which it was) and running tones through all of my newly-soldered patchbay connections to check continuity and normals, it was time to push Pro Tools Native HD to the max and see how it responded.

EDIT: Head over to the new review post HERE where I do a more controlled benchmarking test of Pro Tools 9′s performance.  Right here, I was sold on the power and features of HD Native, especially since I was at one of the lowest buffer settings for a huge mix.  While it probably wouldn’t work at a or post house or studio requiring bigger counts (as those situations could require far more computer resources, much larger I/O, ability to track larger numbers during mixdown, etc.), from a small to mid-sized music studio’s perspective, this is the holy grail.

All the features you’d expect to see in Pro Tools HD are there – for me, it’s all about the Automation!  I did a few test sessions with crazy automation just to make sure things were working correctly (which they were).

The system responds quickly – just like a normal Native system.  So far it seems extremely stable – not one crash yet – but I’ll update this post in the next month to confirm.

The section everyone looks for: the CONS of Pro Tools Native HD.

Well, this is a hard section to write at this point because I am extremely satisfied so far.  Without installation problems, bugs, workflow impedances, or performance issues… I can’t complain about much.  I think the price may still be a limiting factor for some studios.  Dealer advertised price of this bundle (Native HD + Avid HD I/O 16×16 analog) is around $8,000.  However, as with most expensive gear, it’s likely you can negotiate with your dealer for a lower price.  Additionally, Avid is offering generous trade-in deals from LE systems (i.e. a 002 or 003R trade-in will get you $1000 off the price of admission).

Of course – you don’t have to get the 16×16 analog (most expensive model).  Avid also sells the 8x8x8, the 16×16 digital, as well as the OMNI (which is probably very attractive to most project studios looking to move to HD Native).

Another option is to go with the Native PCIe card with a different company’s converters.  Lynx converters sound great and are moderately priced in comparison.  One thing to note is that with non-Avid interfaces, the latency of your system will be slightly higher (the new Avid interfaces are faaaassssttttttt).

That all being said, you get what you pay for.  Pro Tools HD Native, while not free, is an excellent professional-level system beaming with power and features.

The boring stuff to remember:

A few days before my system came in, I spent time upgrading and verifying my computer software.  Previously, I was running Leopard (10.5.2 I think…).  Why so outdated??  Because – my workflow involves getting my computer to a setup that works without bugs, and then leaving it alone, not updating anything (barring emerging problems) until I make a major system upgrade.

I started with a Snow Leopard install via disc, and then proceeded with the combo updater to 10.6.6 (Sidenote: As boring as RTFM statements are… every PT user should check out Avid’s website for compatibility.  They list very detailed specs about both hardware and software, showing you what pieces they’ve officially tested and qualified).  From there, I checked the compatibility of all my plug-ins and wirtual instruments… downloaded compatible versions… blah blah blah.  My point is: take the time to do your homework and install compatible plug-ins/VIs.  I’ve already seen a lot of performance issues on other user’s systems originating from incompatible software.  As long as you follow the hardware and software guidelines set forth by Avid, you’ll be fine (which is why they go through the trouble of qualifying as many systems as they do).

// In sum – I am very happy with the performance and features of Pro Tools HD Native 9.  I believe the future of much studio recording lies in the hands of these types of Native Systems.  While (for the foreseeable future) there is still a significant need for HD TDM-like DSP systems, I would put my money on more Native systems (i.e. Apogee’s symphony, PT HD Native, etc.) gaining ground in the next 5-10 years.

Questions about HD Native, Pro Tools 9, or anything else related??  Ask here or send me an email.

Connor

TheStudioFiles.com

The Kensington Expert Mouse is an oversized trackball-style mouse with 4 buttons and a scroll wheel.  Its designed to dramatically reduce wrist fatigue (and comes with a gel wrist pad).  Trackballs are much better for your wrist than a traditional mouse (no carpal tunnel!)

Before delving into the features, I can tell you that the mouse feels excellent.  The ball is very large, and the added inertia helps you make smooth and precise movements.  The buttons are strategically placed, with easy access yet few mis-clicks.  The scroll wheel is a great addition (which is usually not present on trackballs), and in my opinion is one of the features that really sets this mouse apart.

The mouse comes with a software package to help you customize its functions.  Each button is assignable to any click, function or key combination.  Notice that one of my buttons is assigned to “Swap Scrolling”.  By clicking that button, the scroll wheel (around the ball) changes from vertical to horizontal scrolling.  This means you will never have to move your mouse to the side of a window to scroll, in any direction, ever. In addition, you can assign a function to the pressing of both top and both bottom buttons.  For me, this means I can switch tools, edit modes, and track views in Pro Tools without my left hand on the keyboard.  Below is the software panel where you can choose your functions.

After getting used to the mouse for about 15 minutes, I noticed a dramatic improvement in speed.  Having extra “hotclicks” at your disposel is really awesome.

The one downside is that this is not an inexpensive mouse.  It retails for over $100, but you can find it on Amazon for around $70. In my opinion, I would gladly pay twice that.

A DAW user’s dream, with no wrist fatigue.

C

The Studio Files

Cascade Microphones’ FatHead II is sonically the same as the original FatHead.  However, the FatHead II has slightly different stylings, a larger body, and comes with a shockmount.  Specifically in this review I will be discussing the FatHead II Stereo Pair (street price: around $400).  A single FatHead II retails for around $219.  The FatHead II is a figure-eight ribbon mic, and because of its symmetrical design (unlike earlier FatHeads), it has an identical frequency response on each side.  The FatHead II also comes in three different color options.

The packaging for the mics is top notch.  I received mine (packed securely inside a cardboard box) in a sturdy aluminum flight case.  In addition to the two microphones, the flight case holds both shockmounts (which are very robust), the Blumlein adapter and bar, and two polishing clothes.  All of these accessories are included for free, which is a classy way to go.  Before plugging the mics in, it was very good to know that Cascade is concerned with giving its customers quality accessories and cases without extra cost.

The first thing I did with the mics was to attach them to the Blumlein bar and fly them over top of a rock drumset.  (This was in a room with a tall, vaulted (and treated) ceiling).  Once I had the mics setup and plugged in, someone in the control room turned on phantom power (::yikes::).  Luckily the FatHeads are protected from 48v and were not damaged by this engineering no-no. (not that I would recommend trying this for yourself…).

The smooth transient response was very appealing, but the mics were a little darker in the highs than I would have liked on that source.  This was a very fast-paced drum session, so I decided to take the FatHeads down and replaced them with AKG 414s.  Instead, I just took one FatHead, put it in front of the kit about 8′ back, and positioned it so that the diaphragm was pointed straight up and down (in an attempt to have a room mic with little direct sound which I could crush with a compressor).  The mic responded phenomenally in this application.  While it didn’t end up being my first choice for overheads, I now go to the FatHead first for room mics (especially crushed, talkback-style room mics).  On a different drum session (say maybe a jazz or lighter rock session), I think the FatHeads will be a perfect choice.

A quick side note – one thing I realized as the day progressed (I always end up wishing I had more time to spend on drum mic’ing) was that the FatHeads sometimes need a little EQ on the way in.  I was tracking with a Vintech 473, and quickly realized that a little 3k shelf really opened up the top end of the FatHeads.  They can take a fairly substantial boost before beginning to sound harsh.

After drums, I tracked some loud electric guitars with the fatheads.  By the end of the day, the mic had been in front of a small (1×12) Fender, a big (4×12) Marshall, and a few other medium sized amps.  Verdict: This is an excellent guitar amp mic.  It can take an SPL beating (up to 165 dB SPL!!!) and really mellows out the top end of the amps.  I usually started with a FatHead and a 57 on the cab, in order to maintain a point of reference.  Most of the guitar tracks needed a little high-shelf EQ on the way in (often 3k, once in awhile, the 12k setting).  However, the mics took the EQ very well and really sounded fantastic.

The figure-8 pattern was also a versatile tool (as one would expect with most any ribbon mic).  By aiming the mic at different angles, a balance of more/less room tone could be established without changing the position of the mic.  Another convenient thing about this mic is its symmetry.  Once, I was using two mics on a guitar cab, and was in the recording room (with headphones on to listen) moving mics.  I heard that the 2 mics were comb filtering pretty badly, and rather than stopping, running into the other room, and hitting the polarity switch, I just turned one of them around.

I also quickly had a chance to track an acoustic guitar with a pair of these.  Once again, I had to EQ (sucking some out at 220Hz and boosting the hi-shelf), but the sound was very natural.  The mics were definitely a nice alternative to the faster, more present response of a typical small-diaphragm condenser on acoustic guitar.  While this sound wouldn’t be perfect in every application, it was favorable and natural sounding representation of the instrument for this particular track.

I did not have the opportunity (yet) to try the FatHead II out on brass.  However, Cascade has a page full of samples of various brass and other instruments.

I would highly recommend that every project or home studio owner pick up a pair of these.  They are great utility microphones, especially for loud sources.  I also found them to be great for “colored” microphone applications (such as the drum room mics).  You will want to pair them with a high quality preamp (the mic requires a fair amount of clean gain) with EQ (for occasional, necessary brightening).  The FatHead IIs also transport well (for the traveling/freelance worker).  The case is very sturdy, and the blumlein bar fits almost all other mics (it doesn’t work well on fairly tall mics, such as the Neumann U87).  The FatHead II has a sound far above its price point and is a great way for anyone to get into ribbon microphones.

The Band: Wild Sweet Orange

The Album: We Have Cause to Be Uneasy

When I first heard Wild Sweet Orange’s LP, We Have Cause To Be Uneasy, my only regret was that I didn’t hear them sooner. I wanted to be the one that told everyone about this amazing band. I wanted to hear everyone comment on how awesome the band’s name was, and then call me 4 days later, after they had listened to the album, and thank me for the suggestion. But alas, I was not the first person to hear them, I was 7,999th. (according to their myspace page).

We Have Cause to Be Uneasy is the Band’s debut album, but you would never guess this from the maturity of their sound. While the core of the instrumentation represents the standard of any rock band, they don’t seem to be afraid of incorporating different sounds into their songs. Accordian, Triangle, synths and banjo all find their way onto the record with a prepared confidence. Unusual guitar delays and effects modules enhance the haunting vibe on a number of tracks, proving that they are not your average rockers. WSO blends the raw aggression of Southern rock with an indie/folk  sparkle that gives listeners something to remember. I found myself humming their hooks days later, wondering what the line was from.

The first line of “Ten Dead Dogs” immediately pulls you into the album, entranced with Preston Lovinggood’s voice. The lightness of his tone and angst in the lines makes you listen to each lyric, thankful that his voice is not any whinier (at risk of being emo). The song writing is refreshingly intelligent. The rhymes are varied and you actually feel proud when you can foresee what the next word is going to be, which is rarely the case. While most of the tracks are longer than the average pop tune, I never was tempted to skip to the next song. The band finds a way to rotate the musical textures enough to keep the listener interested, and the lyrics are well written enough to complete the story before things become repetitive.

I was most impressed with “Aretha’s Gold”, which appears later in the album. This grungy love track has all the elements of a classic rock song…and I mean all the elements. There are enough breakdowns to choke a horse and I could hear glimmers of grunge, 60′s, 90′s Pop and Indie rock in each verse… beautifully done, however. When the song drops down to an acoustic guitar and vocals, you remember how sick (good sick) Lovinggood’s voice is. The breakdown lasts about 8 bars longer than you would expect, but when the band returns you are ready to start rocking again, even though you are already 5:22 in to the song.

note – The only bands that I know of that can pull that off are legendary.

The production quality of the LP (this is a studio website), is about as adventurous as the writing.  Each track has a slightly different feel too, while avoiding a mix tape quality. Producer Mike McCarthy tried some interesting things with reverb throughout the album.  While I found the lead vocals to be a little too “platey” by normal mixing standards they definitely enhance the etherial sound of the tracks. Most of the mixes were nice and washy, but an occasional lead guitar part would cut through with little or no delay. Harmony parts were wonderfully mixed and provided enough of a musical idea to entice the avid car stereo harmonizer to chime in.

Wild Sweet Orange has started to tip the scales of the their own fate, gaining more national momentum with every show.  Touring the states such bands like What Made Milwaukee Famous (another new favorite of mine), I will not be surprised if we start seeing WSO all over the place. Make sure you check them out…and tell your friends… you don’t want someone else to ask you, “Have you ever heard of Wild Sweet Orange?”

What do your musical ears tell you?  I f you get a chance to listen to their stuff, drop me a line with your thoughts on Wild Sweet Orange.

Wild Sweet Orange  on myspace

www.wildsweetmusic.com

BJSR

03F1E9D2-12E6-8140-3FCC-F5361DF8D781

1.02.21

1.02.05

Your man about town here with a first (second) look at the Line 6 JM4 Looper.

As promised, I spent the extra time to read through the manual before busting open this beautiful machine. It was hard… but I got through it, and I am glad I did. There is so much to know about this station. I would have been very limited if I would have just fiddled with the UI for a couple of weeks.

After spending a couple hours getting to know the JM4 Looper I am very impressed.

Line 6 made a big leap from their past model,  M13 Stompbox Modeler, which featured a plethora of stompbox amp modules, but only 28 seconds of recording time. The JM4 has a completely streamlined designed, which makes tweaking your music a lot more intuitive. It feels much more like an actual amp unit than the drum machine layout of its ancestors.

The JM4 Looper seems to be designed for both the writer and performer in mind. While there are large number of features and effects that can be adjusted, saved, and recorded, the looper can also be set up so only a few features are easily altered. This makes performing with the station a much less complicated experience.

Line 6 also increased the usability of the station by featuring 4 separate inputs.

-guitar

-mic

-Aux

-CD/MP3

The player is able to switch between these channels on the fly with simple tapping commands. This allows for each channel to have its own level, EQ, effect settings for a performance. Switching between them takes a little practice, but works really well once you have the technique down. You can use SD card to save your recorded loops and bring in music from other recordings. I have yet to do this, so I am not sure how well this feature works. I intend on recording music to be sent back and forth with another musician using reason, so I hope it works as well as it sounds.

The JM4 features a bank of nice drum grooves and full songs to jam to. There are a wide variety of genres recorded by well known musicians. When choosing a full song to jam to, the station will automatically load an amp module that fits with the style of song being played.  From there you can tweak the levels to jam with whatever sound you want. I had some fun playing around with the drum tracks. I think they will come in handy when trying to write an upbeat guitar part when I am away from an actual drummer. My only complaint, however, was that the drum tracks only have one tempo setting. I spent a bunch of time thumbing through the manual, but couldn’t find a solution.

There is an ON BOARD TUNER … sorry, I was really excited about this. When you want to tune your guitar, hold the tap tempo button, and it mutes to signal and displays the tuner. This is a very convenient feature that I am sure a lot of people will appreciate.

That is all I have for now. I still have a lot more noodling to do with it, but I thought I would share my first impressions. There are soooooooo many capabilities with this machine that it will take some time before you can really fluid with the UI.

Stay tuned for more about the Line 6 JM4 Looper as I learn more and get some recordings up.

BJSR

03F1E9D2-12E6-8140-3FCC-F5361DF8D781

1.02.21

1.02.05

Your man about town here with some new gear! I just got the Line 6 JM4 Looper and I’m pumped to get to know this jam-packed station. Line 6 recently released this product to compete with the other popular looping stations made by Boss and DigiTech. Line 6 has a great reputation for producing sturdy, high-quality pedals so I am sure this looper will be no exception.

The second I got home, I opened the box…

Took out the Manual…

And CLOSED THE BOX.

I am going to read this whole manual (maybe even the Spanish version) until I know this machine like the back of my hand.  I don’t want to fall into the trap of busting open a new toy and throwing out the manual with the box and wrappers. There are so many amazing features that I will never use if I don’t familiarize myself with the JM4′s OS.

Therefore, my next post will be on my impressions of the JM4 Looper in its entirety.

Stay tuned.

-BJSR

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1.02.21

1.02.05

(I am using a Mac Pro, Leopard 10.5.2, Pro Tools LE 7.4.2)

I installed the version that came with the included CD (version 3.0) and ran Line 6′s “Monkey” registering/activation program. The program didn’t see my connected interface (even though I could run the standalone version of the GearBox). Without seeing my interface, I was unable to register/activate the product.

On top of this, I kept reading (both on the website and in the user’s manual) that I needed to pay another $100 to get the “Plug-in version” of the software… I was slightly irritated, as the only reason I bought the software was to use it as a plug-in (This issue was resolved without problem or spending any money, don’t worry!)

I went through the help forums at Line6 and found out that I should download the new version of the GearBox software (3.60) and install that instead. It was a rather large download (I think over 150 MB), but it installed without problem. Now the Monkey software worked, seeing my interface and registering/activating successfully online.

At 32 samples in Pro Tools (or even 64), it feels like you are playing an amp, without noticeable latency. The sounds are great for both guitar and bass, and the number of amps, effects, and options is awesome. If you need a good amp simulator, or are moving into a small space where hauling all of your amps isn’t practical (i.e. a college dorm room, etc.), this is a great great plug-in. I achieved awesome sounds right away by bringing my guitar in on two mono tracks (panned hard) with a different amp model on each.

As of my initial impressions, I would highly recommend this product (especially at this price)

(As a final plug here, I ordered this from Sweetwater at 3:00pm, and it was at my house by 9:00am the next day. I used the “Free Shipping” option…)

C

The Studio Files

I cannot wait until their brand becomes more widely distributed in the US.

We received a Helios (large diaphragm tube), Orpheus (large diaphragm condenser), Sigma (ribbon), and an Apollo (stereo ribbon). I had a great feeling about these mics when I was opening them up for the first time. The mics come in flight-style cases (with built-in combination locks). When you open the cases, you find one of two things:

1) A beautiful microphone in a black velvet-lined case.

2) A beautiful microphone in a black velvet-lined wooden case inside of a black velvet-lined case.

This immediately told me that Sontronics cares about their mics. The two ribbons also came with shockmounts in the case. I couldn’t wait to get them plugged in.

I put the mics through the paces during a week long tracking session for a band called Versus the Ocean (out of Michigan). The sources included rock vocals, drum set, big guitar cabs, acoustic guitars, room mics–all the usual suspects. I also briefly used them for some light rock/adult contemporary recordings.

Apollo

This mic is great on anything! (I’ll get into more specifics of course). It also looks amazing, with the open grill protecting the ribbons on all sides. The included shockmount holds the mic securely, with no problems attaching it. The mic is also phantom powered, which made getting a strong output a non-issue (you won’t need a pre specifically designed for ribbons).

Its a very natural sounding mic. When you pull up the fader in the control room, it sounds like you are sitting next to the performer. The mid-to-upper midrange is very well defined, and is where this mic seemed to shine. The first time I used it, I set it up as a room mic on a drum set. It was approximately 10 feet back, and 7 feet in the air (limited by the room size), pointing slightly down towards the cymbals. I threw some AKG414′s up as well (as I often use those as room mics when I can). The band and I both immediately liked the Apollo better for the room mics. As you would expect from a ribbon (as compared to normal condensers), the Apollo was darker in the high end than the 414′s, which really helped to tame the drum set and give it a very natural sound.

I also used the Apollo as the distance mic (about 6 feet back) for a strummed (with a pick) acoustic guitar. It added just the right amount of warmth and really helped to define the mid range (around 600-1.5K) a lot better. The track began with solo acoustic guitar, eventually bringing in the full band. The midrange of the Apollo made it so that I didn’t have to touch the fader of the acoustic guitar once the band came in; it still cut through just fine.

Despite its unique appearance, this is definitely an “everyday” mic for a project or pro studio. I put it on a stand at the beginning of a week long tracking session, and never took it down all week. You will love it.

Sigma

Like the Apollo, I set up the Sigma at the beginning of the week, and never put it back in the case. It’s a beautiful looking looking mic, with the ribbon being very well protected. Its also fairly small in dimension, so you can fit it into tight places without a problem. The shockmount fits snugly and is the same equipment included with the Apollo, which is convenient.
I first used the Sigma on the drum set as a ride cymbal mic. I had a pair of overheads up, but I threw the Sigma up on the ride in case the crashes and China (which were placed physically higher than the ride) would drown out the ride. It was a great mic for this application, yielding the typically soft, defined cymbal sound you’d expect from a ribbon. However, I ended up getting rid of the track for the mix, as the overheads were allowing the ride to cut through without a problem. I also think this mic would make a great shoulder/talkback mic (“slammed” with compression–the typical SSL technique) on drum set.

The Sigma was chosen as the primary guitar cabinet mic for the band (Marshall and B-52 tube half stacks). In almost every case, we either just mic’ed the cabinet in mono with the Sigma, or added a close mic (usually and SM57) to blend with the Sigma. I started with the Sigma a little closer than I would normally place ribbons (approximately 2.5 feet back from the cab), just to hear how it sounded. At first, it seemed a little muddy in the low mids, with not quite enough higher mid definition. Then I decided to move it back a bit more (to about 5 feet away from the cabinet). This was the sound we were looking for. It produced a monstrously huge sound with plenty of definition. Often we would also track a close mic’ed SM57 and hard pan the two tracks left/right.

Later, when tracking some of the lighter adult contemporary songs (obviously a different artist!), I tried the Sigma out on a finger picked acoustic guitar. It was a nice acoustic guitar (Taylor) and I was happy that the Sigma really didn’t color the sound of the guitar at all. Again, like its stereo brother, it was like sticking your ear up to the guitar.

Orpheus

This little guy was my underdog coming into the review, but it surprised us all.

The Orpheus is a large diaphragm condenser with a rather large basket over the diaphragm. It came in another wooden case lined with black velvet. I took this mic out last, as it was going to be compared with fancy stereo ribbons, big tube mics…. etc…. I now wish that I would have grabbed it earlier!

The first thing I wrote down in my notes for the review was that this is one of the most convenient mics you will ever use. The switches on the front are great (3 polar patterns, and a +/-10dB button). The switches are big and easy to flip, with no guessing about what position they are in. As simple as it sounds, this was a big hit. No twisting and looking for a symbol; no using a screwdriver to flick a tiny switch that inevitably goes too far; just simple, big switches.

As an additional bonus, this mic sounds awesome too. I first threw it up on acoustic guitar. I actually started in omni, as this was going to be a fairly distant part in a crowded mix. That track made it to mixdown without EQ, just a slight adjustment in the fader. The high end is similar to the Helios (which I will discuss next), and the omni setting negated any proximity effect from micing the guitar so closely. I also close miced an amp (Marshall tube) on clean for a small section of a song. This was chosen over the SM57. While I think the high end may have been a little much for a distorted track, it was appropriate for the clean.

Although the Orpheus was slightly dwarfed for its vocal performance by its big brother (Helios) as well as some other manufacturer’s flagship mics, I think it makes a very nice vocal mic as well. It is fairly neutral throughout the spectrum, with a presence boost up top. I think this mic would also be good on solo strings (although I didn’t have the opportunity to check it out). The +10dB switch would be convenient on softer strings, and the open high end would really brighten things up (but still leaving a fairly natural sound to the original instrument).

I’ve already said it a few times in this review (and you will hear it again), but this is a mic you will put on a stand, and never take down. It sounds very good on any number of sources, and is very convenient to setup (pad, polar pattern, etc.). Given its inexpensive price, this may be the best deal of the Sontronics mics (which is really saying a lot!).

Helios

The Helios is an impressively vintage-looking large diaphragm tube mic. To my ears, it has a vintage inspired sound (plenty of low mids and fairly “tubey”) with a very open and airy top end. In my opinion, the high end of this mic has a similar sound to something like an AKG414 (with a tube in it obviously). The case that guards the Helios is quite cool. Its an aluminum flight case with custom foam inside, holding the mic (in a wood case), the power supply, mic stand adapters, and cables very neatly. The mic has a continuously variable polar pattern selection, and although I didn’t have a ton of opportunity to play with this, I love mics with this feature, as sometimes the standard cardioid just isn’t quite right. It seems that the power supply safely ramps up the voltage to the tube, and the blue light on the power supply lets you know when it is ready. (I would suggest leaving the power supply on for at least 20-30 minutes before you get into this mic. To my ears, the color really comes out only after it really warms up).

I first tried this mic out on the lead singer of VTO. To be perfectly honest, I didn’t care for it on his voice. I felt that it was just a little too colored and “tube” sounding (this of course was exaggerated by the singer’s immense volume). I ended up switching it out for a non-tube, slightly more neutral mic. Nevertheless, I was not dissappointed in the least. It wasn’t that I was particularly “unhappy” with the sound of the mic, rather, just that it wasn’t the “right” sound for that particular situation. Even a C12 running through a Milennia and a Prism converter isn’t “right” on every source material.

I revisited this mic again on another male singer: this time a soft baritone for some light rock.

Awesome. The overtones of the tube added a light “grit” or character to his voice that was really missing. Plus, the slight boost up top let the vocals sit in the track without any additive EQ up there. I really liked it here.

I think at high volumes, this mic really shows its tube side and may be a little colored for some sources (although that may be a fairly blanket statement for tube gear as the input goes up…). At the same time, it can also be a benefit. I tried it out as a mono shoulder mic on a drumset. The tube sounded great, adding a great color to the drum mix.

The Helios could definitely be the “everyday workhorse tube mic” of your project (or pro) studio. Other than not being my first choice on one source, this mic sounded awesome in front of anything. Like the other Sontronics mics, this mic went on a stand at the beginning of the week and was never taken down.

The next time I go to upgrade my mic closet, I will be getting some Sontronics mics. I am very impressed by the microphones’ amazing sounds, as well as their looks and cases. Additionally, the mics are very inexpensive relative to their performance. At the tracking session, I had some mics (by other manufacturers) that ranged from the same price to triple the price of the Sontronics microphones. However, the Sontronics were easily the most used microphones of the session.

Your man about town here with an announcement  on the Studio Files’ newest installation… MUSIC REVIEWS.

We are going to be hitting this a little differently than your average critique.  So much work goes into all of the great music that we are hearing these days, but many of those who do that work can be overlooked by the masses. We here at The Studio Files are going to dive deeper into all of this music and really look at what people are doing in the studio. No genre will be overlooked, no producer unnamed, and no synth part ignored. We want people to start talking about who is making the music as much as who’s performing the music…and we don’t just mean Timberland.

Stay tuned for all the reviews to come, and PLEASE, let us know who we should be looking at. Drop us a line and tell us who is making good music these days.

But the most amazingly amateurish performance on display was not behind a microphone, it was apparently behind a mixing board. The mix for live broadcast was stunningly bad. The (obviously pre-recorded) background singers were WAY out in front. The rapper (appearing Romeo-style from the set balcony) was barely audible as well.

One possible explanation could be that the producers insisted on a lousy mix to keep us from hearing more prominently an irretrievably unpleasant performance in too excruciating detail–but I doubt it. More likely that it was just an incompetent mix. In general, I would have to say that the level of musicianship in the live band (totally smokin’) on American Idol this season has definitely exceeded the evident expertise of the audio and video production. Apparently, this sort of thing has become a lost art.

If you are an aspiring audio or mix engineer, take heed: You need to develop your ears at the same time as you develop your “knob twirlers.” Engineering expertise without musicianship = bad mixes that 100 million people get to hear on live tv.

Dude. That’s what I’m sayin’

Peace.

DS

Except where otherwise indicated, all recordings were tracked with a True Systems preamp into the line inputs of a Digidesign 003Rack, recorded into Pro Tools at 44.1/24. The guitar recordings were on a 4×12 cabinet of a Peavey XXL with a Les Paul. The piano is an early 90′s Young Chang, and the mics were placed just outside the lid (open), aimed towards the center of the strings, just behind the dampers. Click the links on the names of the mics to go to violetusa.com for full technical specifications.

The Black Knight (Street price: $399)

This was the first mic I tested out, and it ended up being my favorite. I actually started by using it as a voiceover mic for a few of our videos on the front page, but obviously, the conversion to an online streaming format undermines the great quality of this mic. The swiveling head is a really useful feature. For example, when I’m setting up a vocal mic, I always end up having to make small adjustments (which requires tweaking the stand, moving the pop filter, adjusting the mic clip…..). With the Black Knight, these small adjustments can be made with relative ease. That being said, there is the potential with any moving or adjustable parts that they could wear out or otherwise malfunction with a lot of use. The swivel bearing on the BK seems pretty solid, though, and ought to stand the test of time.

The Black Knight is a great vocal mic; its subtle boost around 3k brought out the best in my voice. It also seemed to capture the lower midrange frequencies very well, not coloring them (or cutting them) like some mics can.

The swiveling head was also perfect for making adjustments while recording my guitar cab. In the audio examples below, there are 4 different guitar recordings. These were all done on axis, with the mic put very close to the speaker. I would encourage you to compare the recordings to the other mics (including the Shure SM57 I used as a “reference” point). On most of those guitar recordings, I prefer the Black Knight. It had a way of capturing the tone of the guitar (even the more distorted examples), without sounding harsh. Again, the midrange seemed very accurate and smooth.

The Black Knight had very interesting results on the piano. (I compared all the piano recordings to an AKG414) While it wasn’t quite as open and “airy” up top as the 414 , it seemed to have more definition in the upper mids (likely caused by the mic’s boost around 3k). Although it wouldn’t be my first choice for a classical piano recording, I think it would help define a piano in a rock or alternative mix. It’s fairly accurate to the original sound of the piano, but the nice mids presence would help it cut through.

The Black Knight could definitely be a “workhorse” mic for any studio. It sounded great on anything I put it in front of. The swiveling head is the most convenient feature I’ve ever seen on a mic.

The Finger (Street Price: $325)

I chose to test out the Finger without the reflection ring (although I wish I had more time to delve into that). Overall, the Finger had a very unique “sonic footprint”. While I didn’t like it on every source I put it on, it was that “perfect” sound on certain sources, especially when trying to get something to cut through a mix.

Violet’s website didn’t list “guitar cabs” as one of its recommended applications, but with its touted ability to handle 140 dBSPL, I decided to try it in front of my guitar cab as well. While I usually preferred the 57 or Black Knight to the Finger, it did have its own, distinctive character. I think the mic’s wide boost above 5k sometimes made the electric guitar a little too bright. But, in front of an acoustic guitar, this mic could really do the trick.

To me, the Finger performed most admirably on the piano. It captured the clarity of the piano better than the other mics. Compared to the 414, I thought the Finger was more exciting and brought out the attack of each note a little better. Since I was recording a Young Chang, it may have been a little bright. But, on a “better” piano, like a Bosendorfer or Steinway D (which also would end up being fuller and darker pianos), the Finger would be even better for pop and commercial applications. Although I only had one Finger for the review, I am anxious to try a stereo pair of Fingers on a piano; I think it would be a great fit.

The Finger is a great mic for acoustic instruments, but also definitely has its applications on guitar cabs and the like. While it was not my first choice on those sources, it does produce a distinctive, highly “present” sound. In many situations, that could be just what you are looking for. If you are looking for a small diphragm condenser with character, this mic could definitely fit the bill.

The Flamingo Jr. (Street Price: $835)

This mic is a little more expensive than the Black Knight and Finger, but its definitely worth it. The Flamingo Jr. is the workhorse of the collection. It sounded good on everything I recorded.

Like the Black Knight, I also recorded some voice-overs with the Flamingo Jr. The response of this mic seems very tailored to vocal applications (with the slight bass boost, the slight cut in the mids, and then the boosts up top). Vocals track very clean and distinct with this unit. Make sure you use a good pop filter (as with almost any mic in this league), the mic is very sensitive.

When I recorded the guitar tracks with the Flamingo Jr., it was like I was putting my ear up to the cabinet. The mic translated the sound very well. The boost in the low end was great for distorted and clean guitars alike. Although this mic has a boost at around 3k and above 10k, the guitar didn’t seem harsh at all. I don’t think it was quite as sonically interesting as the Black Knight, but it was very pleasing and accurate.

The Flamingo Jr. also made a nice piano mic (although in stereo it probably would be even better). Like the Finger, I thought it may have been just a tad bright. But, if we were recording a little darker (and longer) piano, this would be an excellent mic. Given that this mic can handle almost 140 dBSPL, it would probably sound great in stereo much closer to the strings.

I’d love to pick up a Flamingo Jr. or two for my studio. The fact that it sounds great on any source makes it a perfect addition to the mic cabinet. If you own a home or project studio, this would be a great choice for your primary vocal mic (but you’d get the added bonus of it being great on almost any source).

XLR Cable from Cable Up

Violet also sent us a mic cable. I compared it to the Mogami cables I was using for the mic testing. I could not discern a difference between the Mogami and Cable Up cable when tracking. The cable felt very well made too. The wire was thick and slightly rigid, but still coiled very neatly and easily. The one complaint I have is the rubber around the female end. It made it a little difficult to attach and remove mics. Other than that, I thought it was a well made and nice sounding cable.

Overall, I think Violet Designs has some extremely useful and correctly priced microphones here. At their prices, I think these mics meet or beat the performance of any other mics. If you are looking to purchase a Violet mic, I might suggest the Black Knight. For the quality and features of this mic, the $399 price tag is an excellent deal. All the Violet mics perform above their price tags. On top of that, their unique and intentional character will add a new flair to your mic closet.

Here’s an excerpt from a note that Damon sent to the folks at Violet Designs:

Overall, we liked the mics for the price–they have varying degrees of frequency enhancement that can work quite well for certain applications. I liked the high mid “zip” on the flamingo as a second mic on the frets of an acoustic guitar. Pleasingly crunchy (through a TL valve pre) without sounding brittle. Have to be careful about plugin sweetening presets with this mic, because they often make a little boost just where the mic is already shining!

Connor put them all through the paces on his Peavey and liked the BK the best for that application. All compared to an SM57 for reference, but the BK provided some nice punch & sizzle without sacrificing a basically smooth response. Very nice for the price again. The only thing I worry about is that project recordists, who will certainly be able to afford these mics, might easily overdo it in the 3-5KHz range . . . We’ll certainly discuss it on the website.

Below are some audio examples that could give a comparative feel for the sound of the microphones in different applications:

• Distorted Guitar – SM57
• Distorted Guitar – Black Knight
• Distorted Guitar – Finger
• Distorted Guitar – Flamingo Jr.
  

• Distorted Guitar2 – SM57
• Distorted Guitar2 – Black Knight
• Distorted Guitar2 – Finger
• Distorted Guitar2 – Flamingo Jr.

• Overdriven Guitar – SM57
• Overdriven Guitar – Black Knight
• Overdriven Guitar – Finger
• Overdriven Guitar – Flamingo Jr.

• Clean Guitar – SM57
• Clean Guitar – Black Knight
• Clean Guitar – Finger
• Clean Guitar – Flamingo Jr.

• Piano (pop) – 414
• Piano (pop) – Black Knight
• Piano (pop) – Finger
• Piano (pop) – Flamingo Jr.

• Piano (Chopin) – 414
• Piano (Chopin) – Black Knight
• Piano (Chopin) – Finger
• Piano (Chopin) – Flamingo Jr.

• Piano (Debussy) – 414
• Piano (Debussy) – Black Knight
• Piano (Debussy) – Finger
• Piano (Debussy) – Flamingo Jr.

C

The Studio Files