Awave Mix It with FOCAL SM9 Trade In Deal (Limited Time Only)
Get a pair of amazing Focal SM9 Studio Monitors for $5999.00, when you trade ANY eligible model from brands including ADAM, DYN-AUDIO, KRK, EVENT, GENELEC, EVE, BAREFOOT, QUESTED, FOCAL, MACKIE, PMC, UNITY AUDIO, YAMAHA.*
These professional studio monitors normally retail for $12,398 A PAIR!
Call Awave on 03 9813 1833 or email email@example.com to organise you trade in deal today, before stock runs out.
*All monitors traded must be in pairs. Subject to full working & cosmetic condition – offer is limited while stocks last
There are a few limitations of the original Fairchild that we set out to address. First, we have made careful adjustments to the circuitry that greatly improve the lifespan and reliability of the tubes. Additionally, we’ve added a whole host of exciting new features that have never before been available on a Fairchild. The UnFairchild sports 6 original preset Time Constants and 4 variable Time Constants (attack and release), MS function, side chain processing, a true bypass, fine adjustment of left/right balance, user adjustable “DC Threshold”, and “Feed-Back” vs. “Feed-Forward” functionality. With the UnFairchild, we’ve made this extraordinary circuit flexible enough to handle pretty much every compression task on any style of music.
Based in Southern California, BAE build hand-wired transformer-balanced outboard recording gear faithful to classic English and American designs.
We stock all BAE Audio’s extensive product range here at Awave which you can view here:
The Classic Tubes 3 Expansion Pack adds five new lush, vintage, and warm tube mics to the Virtual Microphone System mic locker. From German classics to custom hybrid Tube/Ribbon mics, these mics will help give your recordings a classic tone and feel.
One Year Later – Strange Weather’s API Legacy AXS Console
One Year Later: Strange Weather’s API Legacy AXS Console
JUNE 2018; BROOKLYN, NY: Last year, Strange Weather studio installed a 32 channel Legacy AXS at its Brooklyn facility. The studio had been home to a 1608 console since 2007, with expansions added over the years, but Producer/Engineer and studio owner Marc Alan Goodman was ready for a console upgrade.
“We made hundreds of amazing records on the 1608 for over a decade,” said Goodman. “But eventually we found ourselves wanting even more routing options, so we decided to upgrade to the new Legacy AXS.”
In the year since Strange Weather has installed the AXS console, the studio has been heavily booked, with Producer/Mixer and Goodman’s business partner Daniel Schlett commenting that the console has drawn new engineers, producers and artists to the studio.
Schlett notes that the albums he and Goodman have worked on have been extremely diverse, and adds, “The fact that the AXS was always able to deliver what we needed and keep up with the quick pace of the sessions was super helpful.”
Strange Weather recently tracked and mixed albums for Steve Gunn, Kassa Overall and Big Yuki, to name a few. The studio also has a few projects in the pipeline for this summer with Curtis Harding, Sly 5th Ave, and Melanie Charles, among others.
“The console has absolutely improved the workflow of our studio,” says Schlett. “The new console’s available routing features allow for all types of situations to move more efficiently. In both recording and mixing sessions, we’ve found the console to work in a number of ways to make all tasks to move easily and quickly.”
“There are almost too many exciting features to list,” Schlett adds. “We love the automated bus matrix section, the built in 2500, all of the available auxes, and, at the end of the day, the reliability and sound!”
Located in Stevensville, Maryland, Paul Reed Smith Guitars is one of the world’s premier guitar and amplifier manufacturers. Since our humble beginning in 1985, PRS Guitars has always strived to create the highest quality instruments possible. Now available at Awave!
Designed in conjunction with the expertise of mixer Chris Lord Alge, the CLA10 studio monitors are the faithful modern reproduction of the most iconic studio monitor of the last 30 years. Mix with the studio monitors that truly define “the sound of hits”.
A tremendous amount of attention has been put into ensuring that performance matches that of the original speakers. CLA10 is made from MDF with a real wood veneer. We changed the rear terminal plate to use a better grade of connector. The crossover network uses the same value capacitors – just a better grade of material and rating. The inductors exactly match the original in dc resistance, winding dimensions and value.
“I put my mixing reputation on these great speakers and I am mixing on them as I write this”
It’s been a historic week at Slate Digital with the release of the VMS ML-2 small diaphragm modeling microphone. Our dealers are NOW shippingthese incredibly versatile microphones to you, our amazing customers, and the reviews and testimonials are coming in
Our friends at Production Expert have created this thorough video review of the VMS ML-2. Click below and watch as they mic up a drum set with 4 VMS ML-2’s and a VMS ML-1.
WATCH PRODUCTION EXPERT’S REVIEW OF THE VMS ML-2
Here’s what our awesome customers are saying about the VMS ML-2!
With the VMS ML-2 release we created a way for you to experience the Slate Virtual Recording Studio including ALL of our microphone models.
Click below to go to The VRS Experience page where you can download all the Slate plugins including 14 day demos of our VMS microphone plugins, as well as a multitrack session recorded with VMS mics through our upcoming VRS8 interface.
MOTU Release the 8PRE-ES 24×28 Thunderbolt/USB Audio Interface
Introducing the 828es Thunderbolt/USB interface for Mac, PC and iOS
Re-engineered with renowned ESS Sabre32™ DAC technology and a new front panel design, the 828es connects to a Mac, PC or iOS device over Thunderbolt™ or USB with low latency, high performance drivers to deliver 60 total channels of I/O, 48-channel mixing and 32-bit floating point DSP effects processing.
Superb analog sound and ultra low latency performance
Advanced extras, incorporated from MOTU’s flagship 1248 interface, include ESS Sabre32™ DAC technology with 123 dB dynamic range, ultra low round trip latency (RTL) performance as low as 1.6 ms at 96 kHz over Thunderbolt (and 1.9 ms over USB), USB audio class compliant firmware for connection to iOS™ devices (with a standard camera adapter, sold separately), convenient web app control from any mobile computing device, flexible matrix-style routing and splitting, stand alone mixing with Wi-Fi control and AVB/TSN audio networking for system expansion.
New control room features
New control room features appearing for the first time on a MOTU interface include a built-in talkback mic with front panel “talk” button and “A/B” monitor select, mute and sum-to-mono buttons for the main outs.
Numerous features brought forward from the award-winning 828x model include pre-converter sends for the two mic inputs, dedicated quarter-inch time code input and output jacks, MIDI in and out jacks, BNC word clock I/O, a foot switch input for hands free punch-in during recording, AudioDesk workstation software and a suite of audio analysis apps.
All the I/O you need
Housed in a sturdy, aluminum alloy chassis (one rack space), the 828es provides 28 inputs and 32 outputs, including two redesigned mic/guitar “combo” style inputs featuring high quality, transparent preamps with front panel control (and remote software control) of individual gain/pad/48V phantom power. The hi-Z quarter-inch sockets on the combo jacks provide amp-like performance when plugging in a guitar.
Additional I/O includes eight balanced (TRS) analog in/out (with DC coupled outputs), separate main outs on XLR jacks, two banks of 8-channel optical I/O (switchable to stereo TOSLink), RCA S/PDIF digital I/O and two independent front panel headphone jacks with volume controls.
Slate Virtual Recording Studio – Free Demo – The VRS Experience
When I was twenty years old, I was interning at a pro studio in Boston, Massachusetts where I had the fortune of working with high end gear like vintage mics, tape machines, consoles, and all the rack gear you could ever want. Then I’d retire back to my janky little home studio, dreaming of one day having the money to afford all the cool toys from my day job.
That’s why I am so thrilled about the Slate Digital Virtual Recording Studio.Now you don’t have to be elite or rich to have access to the industry’s most sought-after tools, including a locker full of the very best microphones.
But don’t take my word for it, try it yourself.
I’m so pleased to let Slate users know that they can now experience ALL of our Virtual Microphone models! By visiting the VRS Experience, you can download demos of all Slate Plugins, including 14 day demos of both our Classic Tubes Mic module and our new Classic Instruments Mic Module. You can then download the VRS Session which was recorded with ML-2 and ML-1 microphones, and audition the virtual mics to hear the incredibly precise tone of the mic modeling. You’ll want to make sure you activate all the Slate and Eiosis plugins since they are needed for the session.
So I hope you enjoy playing around with the Virtual Recording Studio! It’s a lot of fun to shape your own sound using your own mic combinations! Happy mixing!
The 3d Card Upgrade is a user-installable hardware and software combination that completely refreshes your Metric Halo devices for the next leg of the digital revolution. It replaces all the digital & computer interfacing on your hardware with up-to-date, cutting-edge implementations.
The 3d Card Upgrade includes:
MH Link — Exceptionally low-latency, Ultra-high-bandwidth audio, clock and data connections over Gigabit Ethernet.
MH EdgeBus — An Ultra-high-bandwidth programmable and pluggable audio expansion slot. MH EdgeBus allows you to effortlessly extend your system to be exactly the interface you need at any given moment.
MH Console – A modern, 64-bit application to control your entire system with a simple, lightning fast and flexible routing model and a stunning new visual design.
MH Mixer – 128 input x 64 bus multi-box unified zero-latency mixer.
MH MonitorControl – Integrated surround capable monitor controller with system processing capability. Includes Analog Domain level control on ULN-8/LIO-8 hardware.
MH Record – 128 input ultra-reliable multitrack recorder with deep hardware integration.
MH DSP Engine — Enhanced processing power and massive memory in the hardware. All 3d hardware includes the +DSP license providing over a hundred plug-ins and the unique Metric Halo Graph environment.
MH Link Audio — Direct Ethernet CoreAudio driver (with support for up to 128 channels of I/O @ 192k).
USB Audio — USB-C Class Audio Interface.
This release is Early Access. What does that mean?
Early Access means Final Production Hardware with Public Beta Software.
Purchasing during the Early Access period provides a discount over the final price.
Early access MH Console software is for macOS only.
Early access firmware supports built in UAC2 drivers on Win10, Linux and iOS (but no MH Console support on those platforms yet).
MH Link – Small Plug, Huge Pipe
Introducing MH Link — our ultra-low latency Gigabit Ethernet based box-healing backplane
MH Link redefines audio interconnect technology. It supports up to 128 channels at 32-bit/192k, bidirectionally, on each port. MH Link intelligently manages low-jitter audio clock distribution, high-bandwidth audio streaming and system control data all on a single lightweight, inexpensive, industry-standard Cat5/5e Ethernet cable. MH Link helps you to maximize your audio performance while minimizing complexity.
MH Link key features:
No Latency offset — The MH Link transport effectively unifies all connected devices into one unit. There is no latency offset between the individual devices. With MH Link, the maximum transport latency between units is 16 microseconds, regardless of whether two units are directly connected or there are 16 additional units in between.
Up to 100 meter MH Link Cables — Say goodbye to your expensive, heavy, noisy analog snakes. Place your Metric Halo setup where it is best positioned and remove hundreds of meters of analog audio cable. Easily connect your Metric Halo unit with commodity Cat5/5e cable with up to 100 meters of cable length per MH Link connection.
Split systems — With up to 100 meters of cable between units, put your primary system on stage (or your live room) and your monitor box at FOH (or your control room). MH Link adds no latency and provides a common clock; you can even use existing installed wiring plants for tie-lines.
Integrated daisy-chain support — No need for the added expense and complexity of Ethernet switches.
MH Link uses true locking connectors to provide security from cables getting snagged and disconnected at inopportune times.
Galvanically isolated — Because MH Link is based on Ethernet and is transformer coupled at each port all your connections are galvanically isolated. This makes operation extremely safe while also protecting your recording system against electrical interference and the introduction of data-path ground loops.
Integrated, Automatic Clocking — No need for word-clock or any other digital interface to transparently lock multiple MH Linked unit’s clocks.
Standards-compliance provides support for both direct connection and switched connection to computers via MH Link Audio — our Ethernet CoreAudio driver.
The Portal to Your Future
Upgrading to 3d means that you are prepared for whatever future interfaces you may need. The MH EdgeBus port integrated with every 3d Card accepts Metric Halo’s exclusive high-speed expansion EdgeCards.
In addition to the connectivity already included with the 3d Card, the following EdgeCard variants are now available with the 3d release, with more planned for the future:
MH EdgeCard: SPDIF • AES
MH EdgeCard: ADAT x4
MH EdgeCard: SPDIF • ADAT x2
MH EdgeCard: SPDIF x2 • ADAT x2
MH EdgeCard: MADI Optical x2
MH EdgeCard: SPDIF • MIDI
MH EdgeCard: MADI Copper x4
MH EdgeCard: MADI Copper • Optical
MH EdgeCard: Eight Channel AES
Welcome your new Console — MH Console
Ultimate Console and Mixer Solution
A new engine deserves a new Console. For 3d, we designed a new retina-enabled, 64-bit, cross-platform console application: MH Console.
MH Console features a high-impact, modern, flat design with scalable UI elements. With user controllable color theming and extensive support for user-configurable interaction preferences, it is easy to tune the console to fit your style (and your eyesight). MH Console also adds support for standard UI gestures including drag-and-drop for inserts and multi-strip control swiping.
It is built to support both multi-window and single-window modes — so you can work comfortably no matter what your windowing style is — it even supports full-screen mode.
MH Console features an expanded and updated MH Mixer. Building on the power of the v.5 Mixer, MH Mixer continues to support all the v.5 features that you have come to rely on: multi-bus mixing, arbitrary routing, input and output multing, zero-latency hardware plug-ins, surround support, and headamp control. MH Mixer removes the barriers that limited the v.5 mixer by providing:
Up to 128 channels of input (@192k)
Up to 64 (mono) busses (@192k)
Mix busses that span all the hardware in your MH system
Automatic routing to the computer
Cascade assignment of inputs, sends, busses and plug-ins
Instantiating plug-ins and graphs with presets
Dragging plug-in inserts within the mixer (including drag-copy)
Unlimited Parameter Link Groups
Unlimited Mute Groups
Fully configurable Main, Aux and Group busses (up to a total of 64 mono busses)
Aux sends directly on mixer strips
Flipping Auxes onto the primary mix surface (in both the UI and on hardware control surfaces)
These new mixing features unlock new workflows specifically targeted at mixing for live and zero-latency cue mixing during tracking.
More Channels. More Power. Simple Setup. Zero Latency. No Aggregate Devices Required.
Every Metric Halo 3d Device includes Metric Halo’s custom Multicore-Audio Network-on-a-Chip technology which is a unique hybrid of custom FPGA processors and programmable floating point DSP processing.
The 3d Core combines hardware MH Link packet processors, Digital Audio I/O processors, dedicated hardware for Mixing, Routing, and Metering along with programmable DSP to form a flexible, programmable Audio Network System.
MH Console uses the 3d Core in each unit and the network of MH Link connections to automatically aggregate all the resources of your Metric Halo 3d hardware units into one unified device. Unlike many competitive products, 3d does not require a central unit in order to aggregate. This means that you can scale your system one box at a time without having to make a big investment up front.
3d is designed to balance DSP power with I/O capabilities. As you add more Metric Halo I/O, your DSP power increases proportionally. With 3d you can simply connect a second unit to double the performance and each additional MH Linked unit increases the overall processing power of the system.
With 3d, all I/Os, mix busses, DSPs and processing engines are first-class citizens. Unlike other products where low-latency routing can only be done within a given unit, MH Link supports routing from any resource on any box to any resource on any other box with only 3 samples total latency.
Adding more boxes to your system adds more I/O channels to the mixer (both input and output). Need another headphone output? Add a box. Need more mic inputs? Add a box. All inputs are available to all busses and all busses can be sent to any and all of physically connected boxes and their the outputs across the system.
MH Console gives you the freedom to route anything anywhere, while greatly simplifying the process of configuring the system to meet your needs. It provides:
Unified Mixer — The new MH Mixer breaks boundaries. It unites all channels and busses of the physically connected units at mix level across devices. You decide where the signal goes and MH Console takes care of the routing for you.
Unified Clocking — All connected devices obey your selected master, no matter which sample rate is selected from 44.1 to 192 kHz. If you select external clock, all units automatically track the external clock with no user intervention. MH Link controls the synchronization precisely across all MH Linked devices. Internal clock provides sample rate accuracy of better than 1.5 PPM and barely measurable drift. Each unit contains an agile digital PLL to distribute system clock with ultra-low jitter and fast automatic lock to any sample rate.
Unified Driver — Your DAW sees only one device connected to the computer; all device I/O is aggregated in the hardware. The dreaded “Aggregate Device” will quickly disappear into the depths of your memory – forever!
Unified System — Metric Halo’s 3d technology enables you to focus on the tasks that are most critical to you (making great music) while hiding the complex routing required to make your music a reality. The system magically scales across your hardware while presenting a single comprehensive UI to control it all — something nobody has been able to pull off before 3d.
MH MonitorControl — Monitoring is Key
Hear the Transparent Sound of Metric Halo D/A Conversion
You have to be able to hear your audio properly to make good decisions. For 3d we built in MH MonitorControl: an integrated, system-wide, surround-capable monitor controller.
MH MonitorControl allows the exceptional Metric Halo D/A converters to shine without the need for any additional hardware.
MH MonitorControl on ULN-8/LIO-8 features analog domain gain control for pristine level management at full converter resolution.
In addition to all the expected features of a monitor control solution (including source and destination selection, gain control, mute, dim, speaker mute/solo and mono fold-down), MH MonitorControl provides extensive support for:
System routing — All sources, busses and destinations in the system are available to the monitor controller; your monitor outputs can be on any box in your system
Output path processing – Each output path includes an integrated signal processing graph for Room EQ, crossovers and other processing. This supports:
Different EQ for alternate sets of monitors
Different processing on the same monitors (e.g. bandwidth limiting to emulate smaller speakers on a full-range system)
Path Calibration – All output paths have independent overall level calibration as well as independent time delays and level calibration for each output channel
Input path trims — All input sources have independent trim controls for level matching
Input path mode control — Monitor input selection can optionally control the analog domain Mic/Line switch in the ULN-8 for more analog input sources.
Input path clock source control — Monitor input selection can optionally control the system clock source for monitoring digital inputs that must function as a clock master
MH Record – Get on track
Record with Unparalleled Stability, Simplicity, Sound-Quality and Track Count…
Originally developed to record Soulive’s 2003 Blue Note live album “Soulive (Live)” the Record Panel was designed to capture the inputs of multiple 2882s direct to disk.
MIOConsole’s integrated Record Panel implemented a simple capture tool: rock-solid and light-weight with direct access to the hardware.
Over the years, the Record Panel added advanced features including SMPTE LTC decoding, audio file time stamping, BWF support and file auto-breaking for long-form live recording.
MH Console expands on the design of the Record Panel and integrates MH Record – a take-based recording engine with deep integration with the 3d hardware. MH Record maintains the legendary stability and reliability that the Record Panel is known for while adding a host of new features.
MH Record provides:
Deep Integration — MH Record automatically tracks the mixer’s track configuration and record enables
Support for recording up to 128 channels @ 192k
Per-track metering in the MH Record view
Optional live track waveform overviews
Direct access to monitor mix controls and headamp controls from the track view
Floating transport controls with time and take display
Integrated sample-accurate SMPTE LTC decoder
BWF timestamp and metadata support
Flexible take folder and media file naming support
BWF, CAF, AIFF and FLAC recording support
Support for 64-bit BWF and CAF
User-selectable 16, 24 and 32-bit per sample recording support
Manual, TC, and Level-based record triggering
User-configurable pre- and post-roll (up to 30 seconds)
Pre-roll lets you start recording before you hit the record button
Level-based record triggering is like an automatic assistant engineer — never miss a take
Multiple redundant mirrored recordings; add as many mirrors as your computer can support
Support for recording multi-mono, stereo, surround or polyphonic files
Control surface support for record enables, transport controls and time readout
Integrated with MH Console — no additional software or licenses needed
For live recording and take-based tracking, MH Record offers unparalleled stability, simplicity and sound-quality.
MH DSP Engine
Scalable Processing Power & Massive Memory
Full +DSP License Included with Each 3d Card
In 2001, Metric Halo blazed a trail for the industry by introducing the first interface with support for instantiable DSP.
17 years later we took +DSP to the next level. 3d core technology is based upon a fused FPGA/multi-processor design. To take advantage of this we offloaded as much of the core audio processing functions from the DSPs to the FPGA as we could.
And the results are stunning.
Within the FPGA we implemented a complementary set of custom designed audio-optimized processors that all interface to each other with virtually no latency. The Metric Halo custom designed processors in each 3d Card include:
A fully interpolated, high-precision 128 input by 64 output matrix mixer
A 1024×1024 channel audio signal crosspoint router
A 1024 channel VU, PPM and Peak Hold metering engine
MH Link packet formatter and processor
Custom USB audio packet formatter and processor
A variety of audio data processors
Custom DMA processor with fixed/float conversion support
The processing power of the FPGA-based custom processors in 3d amount to roughly 30x the processing power of the DSP on the 2d Card. All the processors in the FPGA run with 1 sample of latency. All processors in the FPGA support their full capability at 192kHz. All of the audio transport in the system (with the exception of DSP processing) is managed completely in hardware.
The 3d Core DMA engine connects to the fully programmable floating point DSP cores, which continue to support instantiable plug-in processing, with the added benefit of massively increasing the amount of low-latency memory available to the plug-ins. Each 3d Card has 1 GB of memory available for DSP processing – more than 2500x the memory that was available on 2d. This means that running out of memory for delays or reverbs is a thing of the past.
We have included the full +DSP suite with the purchase of 3d. You can now access all the +DSP plug-ins as well as the +DSP graph on all units without an additional license.
Control Surface Support for Mackie Control and Eucon
MH Console supports the industry-standard Mackie Control protocol as well as Avid’s EuCon control surface protocol. If you want tactile control over MH Console, all you have to do is add one of the many supported control surfaces.
Faders, pans, mute, solo, headamp controls and MH Record transport controls are at your finger tips, and MH Console is ultra-responsive – no lag between the surface and the DSP.
You can navigate through your mix from your surface. Moving an Aux to the faders is a single button push, and if your surface has a master fader, the selected bus master is always on the master fader.
The Future (proof)
3d is just the start of the next chapter in MH’s audio technologies. We have built future-proof extensibility into the hardware at its base level.
Buy 3d for the problems it solves for you today. With Metric Halo’s 17 year proven commitment to future proof hardware, you can be confident that it will continue to help you solve new problems tomorrow.
In this blog takeover, legendary producer/mixing engineer Chuck Zwicky (Prince, Soul Asylum, Dead Prez and Jeff Beck) talks with us about the living, breathing quality of sound.
My mixing setup is a hybrid combination of DAW routing and Analog processing, and sometimes I let the technology dictate the decision making by showcasing the quirks and unpredictable outcomes that the interactions of various pieces of gear have with sound sources. This can seem quite subtle on a first listen, but the overall effect is that the mix is more “alive.”
A case in point: A few years ago I mixed an album for a band from Minneapolis called The Suburbs. The album was to be a comeback of sorts, as it was their first new album in nearly 3 decades. This band was a shining star in the 1980s Minneapolis music scene; their records and 12” remixes were characterized by hypnotic bass lines, sparse and sophisticated keyboard parts and wild, nearly punk guitar accents — and always with a strong sense of melody and groove.
When I received the first track to mix, a catchy tune called “Dumbass Kids,” I gave a lot of thought about how to approach it. I went for period authentic, as if it was some long lost follow-up to their previous record. I pondered what it might be like if a band like the Rolling Stones had released a new record after a very, very long break. Wouldn’t the fans want them to sound exactly like the Rolling Stones, rather than a bunch of veterans trying to re-invent themselves as something they weren’t?
To this end I didn’t use any equipment or techniques that weren’t available to an engineer working in a typical studio in the mid 1980s, except, of course, for the fact that I was using a DAW instead of 2” tape for playback.
What I want to focus on here is the drum sound. Having a recognizable drum sound is as important to a band’s sound as the lead singer (in my humble opinion). Back in the day, drummer Hugo Klaers sometimes used a deep snare with a “Duraline” head, which was made of woven Kevlar (same stuff used in bulletproof vests). This gave the snare a characteristically deep and punchy sound with almost no ring or overtones. The snare I had on “tape” wasn’t quite the sound I was hearing in my head. It definitely needed… something.
So, in keeping with my attempt to be period correct I knew I had to use the Eventide H910 to deepen the sound of that snare drum, employing a technique first popularized on David Bowie’s 1977 album Low. Alas, I didn’t have an actual hardware H910…
so I turned to the Eventide H910 plug-in, released a few years ago.
The effect I used to deepen the snare sound is achieved by turning the pitch knob of the H910 slightly flat and turning up the feedback control until the tail of the drum is the right length, sometimes using the additional delay of 7.5ms, 15ms or more to increase the “length” of the snare sound.
One of the characteristics of the H910 that was considered a “flaw” in it’s day was its tendency to leave audible digital artifacts, AKA “The Glitch,” when pitch shifting. This was solved by Eventide in the next model — the H949 — which featured a “de-glitch” circuit made possible by the clever use of analog and digital technology.
The effect of the glitch in my application of the H910 as a snare enhancer is that the snare hits would land at various points in the H910’s independently looping memory cycles. This has the effect of randomizing the time and duration of the feedback trail, sometimes giving a very satisfying “doooom” effect to the share and sometimes a truncated “thwack.”
Using this technique I was able to get a fat, punchy and yet heavy snare that balanced the sparse arrangement perfectly. Because the snare effect was inconsistent, it gives a living, breathing quality to the sound, something that a sample of the “perfect” snare hit wouldn’t.
Here’s the result:
And the verdict?
Well, reportedly the drummer was jumping up and down saying, “That’s what we’re supposed to sound like!”
Here’s the entire album:(I used the effect on pretty much every track)
Barefoot Sound – Masters of the Craft with Carmen & Camille
Juno Award-nominated twin sisters, Carmen & Camille are a Canadian pop duo that melds together luscious harmonies, driving beats and catchy synths creating their own unique sound. They enjoyed a wide slate of press and industry coverage including hitting the top 20 in Billboard’s Emerging Artist chart. Their hard work, intuition and dedication makes them masters of their craft.
In Carmen & Camille’s Own Words
Being a master of your craft, that entails growing, and wanting to learn more, and learning new things, and evolving as a musician, as a producer, as a person.
It’s also knowing what makes you unique. We all have different skill sets in the music industry, and to me, it’s the fine tuning of what you are interested in, what you’re good in, that makes you your own master of your own craft.
Inspiration comes everywhere. we definitely feel like the best times is when it just flows from a higher being, or source, whether it be a heartbreak, or just observations of life, or love, or just getting lucky.
Deciding to do music was just something that came very natural to us. Our parents are musicians. Our mom sings, our dad plays guitar.
Yeah, so most parents want their kids to be doctors and lawyers, and our parents wanted us to be musicians. So, it all happened very naturally.
Inspiration comes everywhere. we definitely feel like the best times is when it just flows from a higher being, or source, whether it be a heartbreak, or just observations of life, or love, or just getting lucky.
Lately, we’ve really just enjoyed sitting down with the laptop, and the computer, and writing, and starting with a drum beat, and programming some quick drums, or starting with an acoustic guitar part, and then writing, to that, the melody and lyrics. But, sometimes it just comes from sitting with an acoustic guitar and really hammering out the song. We think that can often speed up the process, when we actually finish the song first, and then go into production mode.
But, sometimes it’s just like, you just want to make a beat that makes you feel something, and then write to that.
We think simplicity is something we’re really honing in on. We’ve always been ones to add every sound, and then take it away. And, lately it’s been-
It’s like, we like that epic, M83, lush, big sound, that’s awesome and epic, but then suddenly we’re like, “Okay, wait. Let’s pull it back, and get to the core of this song.”
Yeah, it’s like Chanel’s quote, “Take one piece of jewelry off.” That’s what we’re kind of having to do. Just strip it away, and strip it away, and it’s like, when the parts are right, it just sits in the pocket.
Our production partner, Joey from Electrobase music, he was the first one to let me listen, and it was a game changer. He was like, “You’re going to love these speakers,” and it was beyond what we thought. You hear everything. You hear things you didn’t think were even in there. So, when you’re making your music, you get to have that clarity of sound, and you get to hear things that you just don’t in other speakers.
– Carmen & Camille, Juno Award-Nominated Musicians