Thanks a heap to our youtube buddy sprayking for the heads up!

…that every home and project studio should consider during upgrades.

In its unassuming black box, the Sparrow doesn’t look like much (although, to be honest, I really like the look of the box).  The front panel has a power button, 2 TRS analog inputs, and a knob for selecting sample rate.  The back of the unit has SPDIF (BNC, although the BNC>RCA adapter is included) and AES out, and a jack for the wall-wart connector.  It also has a red button for engaging 176.4 and 192 kHz sample rates.

The specs posted on the BLA website are very impressive.

Dynamic range, Converter: 120dB
Dynamic range, Analog: 33dB
SNR: -110dB
Slew rate, Analog: approx 6000v/us, depending upon input signal strength
Max analog input before digital clipping: +10dBu
Min analog input necessary for digital output: -20dBu
Inputs: Balanced, TRS
Outputs: SPDIF, AES-EBU
Sampling rates: 44.1kHz-192kHz
Bit rate: 24 bit

However, everyone knows the specs only tell us so much.  Time to test it out.  For comparison, I used my stock Digidesign 003R line inputs.  The Sparrow was connected via the SPDIF input of the 003R with a high end cable.

I started with a fairly simple test – I hooked up the analog outputs of an inexpensive drum machine into the analog inputs of the Sparrow, and then the 003R, playing the same 4-bar loop into each (and recording into Pro Tools at 88.2).  The results were surprising.  For starters, the Sparrow was significantly louder (more than 2 dB).  Of course, our ears are often drawn to louder sources, so I gain matched the two files.  Upon gain matching, I listened to each a few times, alternating back and forth with the Solo button in the mixer.

The Sparrow is much better than the stock 003R converters in a number of ways.  Most notably, spectral differences were present in many areas.  The above-6k area of the Sparrow was more present, but was not harsh or fatiguing in any way.  I’m anxious to put a vocalist through the Sparrow – I expect an excellent top end (“air”) to the vocals without sibilance problems.  More to come on this in later posts. The low mid range (200-400 Hz area) was also much better in the Sparrow.  Subjective terms don’t really help describe things on the internet, but “tighter” is an appropriate word here.  The 003R sounded slightly hyped in this frequency area (leading to a slightly “muddy” sound in comparison).  Finally, the bass end of the spectrum (below 100 Hz) seemed extended and much more filled out.  The kick drum had a larger presence around 60 Hz.

The transient response of the Sparrow was also seemingly more accurate.  

Of course, we would love to hear from any of you who are using the Sparrow, or any thoughts about other A/D converters that make it happen for you.

–Connor

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

To delete the last loop or phrase you played hold down the LOOP REC/PLAY button and then press and hold the SCALE button.

The screen will display the beat you are currently on in the loop while the SCALE button is held down. For example, for an 8 beat loop you would hold LOOP REC/PLAY and SCALE from the beginning of beat 1 til the end of beat 8.

P.S. Check out this awesome hack that doubles the length of your loop (although IMO you should hook this puppy up to your audio interface and use Garageband or Logic to record your loops!)

http://blogs.oreilly.com/digitalmedia/2008/08/kaossilator-4-bar-loop-hack.html

Avid has decided to retire the Digidesign name. No big surprise really. Read more here:

[EDIT: Looks like they took down the announcement--maybe a little premature since the Digi brand is so strongly embedded. Especially with DUC, etc. --Damon]

In this article I will cover how to use Logic Pro to compose music for film. I’ve been using Logic for over 2 years now and recently I was asked to help write music for a short film.  Naturally my program of choice was Logic (I’m still on version 8 but this article should apply to 9 as well).  So here I would like to share my experience and provide an intro tutorial for working with video in Logic.

First, we need to get the video into Logic. This can be done easily by navigating to Options – Movie – Open Movie.

The video I used was a .mov file (about 4 minutes long) but I’ve also imported just about every other kind of video file into Logic without any issues. After Logic does its thing and imports the video in you will have a small “Movie” window in the upper left corner like so:

When you double click the movie window it will detach from the sidebar and expand for full viewing.  If you’re lucky enough to have a second monitor you can detach and drag this window onto it for a much easier viewing experience.

The next thing I would highly recommend you do is go back to the Options – Movie menu and select Create Scene Marker – Entire Movie. This will create handy scene markers underneath the bar markers.

I found this to be extremely helpful when I wanted to line up crucial hits and cues to the movie.  The scene markers are also displayed in all editing windows such as the Piano Roll, so you can fine tune everything.

Believe it or not that’s pretty much the gist of getting a video into Logic.  It’s an easy process and once I had everything set up in this fashion I found it very intuitive working with the Logic interface on one screen and watching the results on another.

One thing I should note here *** Working with a video in Logic (especially an HD video) was very resource intensive on my February 2008 Macbook Pro with 2GB of RAM.  The final project had about 35 channels and the computer was not able to handle it without frequent playback errors.  So if you are thinking about scoring a feature film you want to make sure you have a lot of RAM and enough processing power to get the job done. ***

Ready to see the results? Here is the final version of the short film Alderwood Ch.2 which was selected as a Top 5 video in a nationwide contest by Canon and Vimeo.  It is now up to voters to select a winner.

Alderwood – Chapter 2 from Kenny Mosher on Vimeo.

If you have a moment please vote for Alderwood Ch.2 by clicking below:
http://vimeo.com/groups/beyondthestill

-PJ

This is the holy grail for some users, but make sure you do your homework. There is a laundry list of as yet still non-64 bit compatible features:

• Firewire streaming of video
• Digital Cinema Desktop
• AAF import and export
• EuCon control surface support
• Automap of parameters with control surfaces
• OMF import and export
• Conversion to MP3
• Recycle (REX) file support
• ReWire support
• Vienna Symphonic Library Tool
• Logic Node processing
• AKAI format sample import

The Vienna Symphonic Library item is a show stopper for me just yet. But hopefully these third party issues will be resolved in short order. The OMF conversion and ReWire will be a pretty big deal for some folks as well.

Anyway. If you take the plunge, be sure to give us a full report!

Damon
The Studio FIles

…Sometimes it’s just better for the PC users. If anyone wants to try some of these (Antress Modern Plugins) out and give us some feedback, I’ve heard really great things.

Oh, and did I mention that they are FREE!?!

I am in the process of re-deploying my dual core PC to run some sample libraries and Vienna Ensemble Pro, so I could install them with that outboard rig. Check it out and let’s see.

Happy New Year everybody. We’ve got some cool stuff in store for the new decade, so stay tuned!

Damon
The Studio Files

One of the hardest things for me to grasp in my early audio days was figuring out how to attack a mix.  I knew that compression and EQ were important and used often, and so I usually ended up putting at least one of each on just about every track.  That’s what everyone does, right?

Wrong!

Another pitfall I experienced developed as a result of plug-ins being so flexible.  “Hey look, this EQ plug-in has 12 bands! Certainly I need to use them all!”

Wrong!

I learned over time that it is not about processing the tracks because you “should”, rather it’s about using your ears to figure out not only what needs processing, but specifically why it needs it.

While I got these tough principles eventually, I wish I had limited myself from the get-go.  Instead of utilizing the limitless power of the DAW to the extreme, setup some guidelines for yourself.

For example, let’s pretend I need to do a mix of a pop rock song that has 24 tracks.  In even a basic DAW, it is likely that it’s chock full of plug-ins (compression, EQ, delay, reverb, flangers, amp simulators, expanders, gates, auto-tuners…).  What if you just limited yourself to compression, EQ, delay and reverb?  ::Gasp!!::  As crazy as it may seem, these are building blocks of a mix.  You can make great music with just these four processors.

For this hypothetical mix, I am only going to allow myself to use 8 compressors (either mono or stereo).  With only 8 compressors, you will need to choose wisely.  Will you use compression on every drum track?  If so, will you run out before you get to the lead vocal or other important instruments?

Let’s continue with the limitations – I will allow myself to use EQ on every channel, but I’ll limit myself to 3 bands/filters per channel (so I could do a high and low shelf plus a cut in the mids, but then I wouldn’t be able to add anything else).  This begins to (somewhat) simulate the experience in a room of hardware – kind of like an analog desk, where you may only have a few bands of EQ per channel.  You need to choose your processing carefully.

Finally – let’s talk time effects.  Maybe you will only allow yourself to setup two reverbs and two delays.  In this case, maybe you’d choose a plate and hall reverb, and a mono and a stereo delay line.  Also, you’ll probably put these on auxiliary tracks, so that multiple tracks in your mix can take advantage of one plug-in.

On a side note, it can also be cool to restrict yourself to one type of plug-in per processor.  That is, I can only use one compressor plug-in for all my compressors, only one EQ plug-in, etc.  That way, you will really learn the sound and workflow of that particular plug-in.

Now, while in a full-on mix, it is very possible that the music will call for more processing.  However, these techniques can still prove beneficial.  I like to keep these concepts in the back of my mind when getting rough mixes going.  I always ask myself: “How far can I take this mix with just EQ, compression, delay, and reverb??”.  By carefully choosing your processing while rough mixing (and not cluttering up the mix with huge amounts of plug-ins), you can keep things simple, organized, and sounding great.  Rough mixes should be all about making quick, yet thoughtful decisions while not overextending your processing.  Leave space for all that wacky automation and special effects that will come as the mix progresses!

Really great mixes can be made with this amount of processing.  Compare this limited DAW setup’s flexibility to what the great studios of the 60s had – we are still waaaaaaaay ahead, even in this limited setup.  You may even notice that your “simple” mixes sound better than your more complex mixes.  Sometimes the availability of so many different options can cloud our ears and judgment.

A final thing you can do to improve your skills is set concrete time limits for yourself.  Don’t leave something important, thinking that you will have all night to listen to it and then can “tweak it tomorrow”.  Give yourself 6-8 hours, and at the end of that time, you print your mix.

The first few times you try these techniques, it may be slightly frustrating, but by the 3rd or 4th time, you will notice your skills moving up to the next level.

The next few articles coming up will be about basic approaches to compression and EQ.

C

The Studio Files

DSD: Direct Stream DigitalA digital audio conversion method (from Sony and Phillips) that uses a 1-bit, 2.822 mHz sampling rate (64 times that of CD-quality audio).

This is primarily used for the SACD format.  Some high-end converters will work with DSD (and a few workstations, like Pyramix).

C

The Studio Files

Upgrading your recording setup is a very tricky and important process.  Spending the right amount of money on the right piece(s) of gear can be daunting.  The last thing you need is to be in debt on a piece of gear that you don’t actually need or to get an awesome deal on an insignificant upgrade.First things first – figure out your needs and goals!

Are you a studio that primarily does voiceover work?  Do you frequently record rock bands (specifically drum kits) and require 8+ channels at a time?  Are you mostly concerned with sound design or audio-for-video?  Your studio’s requirements will carry the most weight in this upgrade decision making process.  Figuring these things out is more important than figuring out your budget.  Also think about the future – if you normally do singer/songwriter recordings, but have the ambition (and space!) to start taking band clients, then perhaps that’s the path to take.

Second – Show me the money!

Now that you know your short- and long-term goals for the studio, you need to have the hard conversation: $$$$$.  Fear not though – great upgrades are available for almost any studio at any budget.  What I usually recommend is to figure out the maximum money you’d like to spend, and also consider what you have the cash for and what will be on credit.  Unless a piece of gear will absolutely be used to generate consistent money for you, I would not put it on credit.  While I am not a financial analyst, I do feel comfortable saying that fiscal responsibility is a very important consideration for studio owners.

Third – Start listing.

OK – so you know what features your studio needs and you know how much green you have available.  Time to open the catalogs and search engines and start looking for product.  But how do you know if a piece of gear or software is good/bad?  Start by doing internet searches for reviews.  While these reviews aren’t the end-all of information, they often can give you a general idea of how the product is accepted.  Also compare user reviews to those from magazines and distributors.  If this is a piece of gear that connects to (or installs on) your computer, check manufacturer’s websites for compatibility information.  Almost nothing is worse than waiting a month to get a piece only to find out it won’t work on your system.

Fourth – Compare and contrast

From here, I usually make an Excel spreadsheet that lists the features, pros, cons, and prices of similar pieces of gear.  Now it comes down to reviews, gut reactions, and hopefully demo experience.  Try to find a friend or peer that has used any of this gear.  Call your dealer and see if they offer demo periods on any of the products.  Find a local studio that has the piece and see if you can visit to check it out.  Plus – you can post on TheStudioFiles.com and we will be happy to help guide you through your purchases (more on that in a sec).

As far as questions like:

What do I buy first – converters, preamps, mics, etc? How much to invest in acoustic treatment? Should I upgrade my computer? Do I need new plug-ins? What’s the best studio upgrade for under 500$?

Unfortunately these are usually only addressable on an individual basis.  You will need to take into account a number of variables, most of which concentrate on the status quo of your existing setup.  Feel free to post your upgrade questions here (or elsewhere on the site) and we will help guide you through them.  If these are more significant upgrade questions (that would require longer conversations etc.) please feel free to email me.

C

The Studio Files

While this software is not ready for full release, the daring audio engineer can try it out on their Snow Leopard system.

That being said, I would recommend NOT installing this on your machine, unless you make a complete system backup before doing so.  Operating system (OS) upgrades are often a nightmare for DAW users, and its usually more prudent to wait at least a few weeks to wait and make sure that the transition will go smoothly.  This is especially true if you are in the middle of a project or are on a deadline.

Another thing to watch out for – this release marks the end of compatibility with a number of interfaces and computers.  The (really old) Digidesign 888, 882, 1622, and ADAT bridge will all be incompatible.  Additionally, this marks the end of compatibility with PowerPC Macs (pre-Intel chips), original MBoxes, and the Expansion HD Chasis.

If you try this out, be sure to let us know (in the comments) if your system is working or not.

C

The Studio Files

For anyone having the error where Windows XP won’t read your Pro Tools install disc – I don’t have a solution at this point, but I am searching.  In the meantime, check out Digidesign.com and DUC.digidesign.com for some insight.  Hopefully a Digi tech person might be able to help further.

If you are experiencing either a glitch while loading the program (i.e. it stalls at “structure.dpm”) or if you are having bugs while running the program – its likely that it is being caused by a non-compatible plug-in or instrument.  If you list your system specs here and let me know what third party plugs you are running (as described in the post I linked to above), I can help.  Usually its as simple as moving a few files out of your plug-in folder.  Also, trashing your Digidesign preferences helps a lot of the time as well.

[EDIT] Thanks to marsman for this tip – Marsman let us know that he was having the “freeze at structure.dpm” problem during the Pro Tools loading screen.  He uninstalled Internet Explorer 8 (and installed Firefox as his web browser) and that fixed his problem.  If anyone else finds that this fixes their situation, please let us know!

Thanks – and if I haven’t answered your question, please post it in this post so its easy to find.

C

The Studio Files

After quite a long period of absence, I am back… I’m going to try to answer a lot of the questions I’ve gotten in the past, but if you are still having problems, please post them again or send me an email to remind me.  Its an exciting time for the industry – check back to TheStudioFiles.com for updates.  Its also an exciting time for TheStudioFiles.com – more on this to come.

Also, please read this post before sending questions: http://thestudiofiles.com/?p=848

If I am missing a lot of that information, its nearly impossible to diagnose a problem.  Following those guidelines will help your problems get solved much quicker.

Finally, if you are asking about suggestions for your production (i.e. a mix/master critique etc.) please send me an email with an example.

Thanks

C

The Studio Files