API 1608-II Console Commissioned at Cuyahoga Community College
Cuyahoga Community College in Cleveland, OH has recently commissioned a new API 1608-II console as the centerpiece of its Recording Arts and Technology program. The console sale was facilitated by official API dealer Vintage King.
David Kennedy, Tri-C’s Recording Arts and Technology Program Manager says, “The API 1608-II was selected for our studio classroom for a few reasons. The first reason we chose the 1608-II is the quality of mic preamps, since students do a lot of tracking in the room. Next, the 1608-II’s modularity and ability to customize appealed to us, as we have added a few extra processors and have another 500- rack right next to it. Finally, the 1608-II was chosen for the ability to break a mix out of the box. Students use Pro Tools to mix quite often, and this gives them a high quality alternative.”
Manley Labs Tour & Interview with President/Co-Founder EveAnna Manley
Manley Labs are well known for producing some of the industry’s premiere microphones and signal processors, including pieces like the iconic Vari Mu compressor/limiter and the Massive Passive EQ!
Today, we’re touring the incredible Manley facility headquartered in Chino, California with the president and co-founder of the company herself, EveAnna Manley!
Manley’s first products were hi-fi tube amps/preamps built in the original Vacuum Tube Logic of America factory.
In January 1989, EveAnna met the crew there and became a member of the production team. She quickly learned to solder and assemble vacuum tube amps, eventually working her way into the QC department.
Around this time in the late ’80s, the first Manley professional products were developed. The start of it was the original 1u Reference 60dB Microphone Preamplifier, followed by the Manley Enhanced Pultec and Mid Frequency Equalizers. These products, along with the Reference Cardioid and Reference Gold microphones, made their debut at the 1990 Los Angeles AES Show.
The new Manley Labs was established in Chino, California. There, the company continued to produce its hi-fi and pro studio equipment alongside. After just a year, the factory acquired a computer-controlled mechanical engraving machine and, very importantly, a transformer winding department. These custom transformers rapidly become a hallmark of the Manley sound!
After just a few years, co-founder David Manley abruptly left the company and country in 1996. At that time, EveAnna Manley took the helm and started to form what is now the modern Manley Labs we’re most familiar with.
From the early 2000s, Manley has strived to streamline their production process while also maintaining the highest standards of quality in their equipment.
Pieces like the CORE Channel Strip, released in 2014, and others like the FORCE, NU MU, and ELOP+, all provide an incredibly low noise floor, true high-voltage brawn, and superior headroom required for serious analogue sound! From the company itself:
MANLEY LABORATORIES CONTINUES TO PRODUCE RECORDING, MIXING, MASTERING, AND PLAYBACK EQUIPMENT OF TOP CALIBER, PROUDLY MAINTAINING THE GREAT ANALOGUE TRADITIONS UPON WHICH THE COMPANY WAS BUILT…TUBES RULE.
API Co-Founder Saul Walker Receives Technical GRAMMY
On Saturday, May 11th, API Co-Founder Saul Walker (1969-2016) was honored with the Recording AcademyTMTechnical GRAMMY® Award for his life-long achievements in the music industry as an exceptional designer, engineer, teacher, and mentor. In attendance at the Hollywood Dolby Theatre ceremony were API President Larry Droppa and Mr. Walker’s family, including his daughter Yren Berry who accepted the award on his behalf.
Although Mr. Walker founded API 50 years ago in 1969, his designs remain the backbone of API and continue to influence the music industry. API could not be more honored to continue his legacy 50 years later. API would like to thank the Recording AcademyTM and the GRAMMY®Awards for recognizing Saul Walker’s influence and accomplishments within the music industry.
API 2448 Console Available for Demo at Wes Lachot’s Overdub Lane Recording Studio
JESSUP, MD: Renowned studio designer Wes Lachot has commissioned a custom 32-channel API 2448 console, now available for demo, at his Overdub Lane Recording studio facility in Durham, North Carolina.
In operation since 1983, Overdub Lane Recording has hosted countless sessions for artists such as Krist Novoselic (Nirvana), Meat Puppets, Tift Merritt, Alejandro Escovedo, The Mountain Goats, John McLaughlin, and Superchunk among many others. Lachot worked as an Engineer/Producer at Overdub throughout the 80s and 90s before forming his extremely successful studio design and acoustic consulting firm Wes Lachot Design Group.
Lachot previously installed a 48-channel API 1608 console in Overdub’s control room, which he expanded from its original 16 channels over time, and with the addition of the 2448, he firmly stands by the API sound.
“We’ve installed many big name consoles in studios over the years,” says Lachot. “But I’ve always thought that the APIs sounded the best.”
For more on Overdub Lane, including contact information, please visit www.overdublane.com.
ABOUT API (AUTOMATED PROCESSES INC.)
Established 50 years ago, Automated Processes Inc. is the world leader in analog recording gear, and features the Vision, Legacy AXS, 2448, 1608-II, and THE BOX recording consoles, as well as its legendary line of analog signal processing equipment.
Audient ASP4816: “The best of both analogue and digital” for Emmanuel College
An ASP4816 console has been installed in a new performing arts centre at Emmanuel College in Victoria, Australia. “I wanted to bring the best of both analogue and digital to our wonderful new space,” explains tutor and studio technician, Peter Sassmanshausen, who specified the desk after six months’ in-depth research.
“The Audient ASP4816 is a beautiful console with a small footprint and a massive sound”
“The Audient ASP4816 is a beautiful console with a small footprint and a massive sound,” he says. “It was by far the stand-out console even amongst more expensive models, nothing seemed close to providing the heart and soul this desk has. The preamps were raved about – these I can vouch for 100%. They contain a warmth and are yet transparent.
“The complexity of routing, the in-line architecture and the EQs are laid out so well and in such a user-friendly manner, I knew the students would immediately adapt to its intuitive and creative nature.” Which – although it is still early days – they certainly seem to have. Peter recalls their initial reaction to the new studio setup: “They were amazed to find this wonderful addition to what is already a great facility. It’s still all very new for them, but I do feel they are grasping the concepts of routing, gain staging and EQ much quicker on the inline console rather than ‘in the box’.
“I’m very privileged to be able to use and teach with such an iconic and outstanding console”
“It has always been my goal to get an analogue console in front of the students and somehow bridge the gap between the practicality of analogue and the sheer capabilities of the digital realm,” he says and has managed that with aplomb. Integrating the Audient desk with the Slate Raven MTI2, which he describes as “a nice, modern twist”, it all fits neatly into a modified Argosy 90 series workstation.
As well as being integral to the music production course – all the students will be using the desk for assessments over the course of the year – the studio has already been used to record voiceovers for film and video publications for the college. Peter describes this as “an exciting process for both the students involved in performing the voiceovers and for those helping to record them.”
ASP4816: “I knew the students would immediately adapt to its intuitive and creative nature”
The brand new performing arts centre, The STAGE (Student Theatre for Arts and Growth at Emmanuel) opened in November 2018 and comprises a 250-seat theatre with tiered seating, band rehearsal areas, studios for individual tuition, a dance studio, a large multi-purpose classroom as well as the professional standard recording studio. “Since the opening of The STAGE we have had increased enrolments to study VCE VET Cert III in both Performance and Production,” says Peter who also tells us that the College is training several technicians to cater for outside bookings. “We are more than happy with the interest and outcome.”
He concludes, “I’m very privileged to be able to use and teach with such an iconic and outstanding console and even more excited to continue discovering everything the ASP4816 has to offer.” Audient wishes him and Emmanuel College every success in the future.
Rejoice, the unofficial start of Summer 2019 has arrived – Happy Memorial Day Weekend, everybody! We are very excited to announce that we are kicking this Summer off right with a completely updated version of the Neuro Mobile App. In keeping with our commitment to create the best possible user experience, we have completely revised the App’s look and feel. The updated Neuro App features a more intuitive control interface, in-depth pedal information pages, enhanced preset search capabilities, profile following, and more. If you don’t already have the Neuro Mobile App you can check it out for free at the App Store and Google Play – just search “Source Audio Neuro.”
And let us know what you think of the updates – even the criticisms. We are always looking for ways to make our gear more awesome.
The C4 Synth – our Eurorack modular synthesizer in a box – continues to edge closer and closer to completion. We just posted some fresh images of the Neuro Desktop’s C4 editing panel as well as a block diagram – they will give you some quick insight to the massive tonal possibilities beneath the hood of this pedal. Some of the cool features in the C4 Synth include four parallel Voices with a choice of three types of synth oscillator wave shapes, a synchronized pair of programmable 16 step sequencers, and over 20 modulating filters. The C4 is our most ambitious pedal to date and we cannot wait to hear the sounds you create with it.
Josh Scott of JHS Pedals Looks At the Ventris Dual Reverb in His “Extraordinary Reverbs” Vlog
If you’re anything like us, you look forward to Thursday because of (A.) its close proximity to the weekend and (B.) the inevitable release of another edition of the JHS Vlog. We had the great pleasure of meeting Josh Scott – the brilliant mastermind behind JHS pedals – at Winter NAMM 2019. After getting to know each other and expressing some mutual admiration we agreed to engage in a bit of pedal swapping. We shipped out a few Source Audio pedals and in about a week we received Josh’s Bonsai Drive (9 Tube Screamers in one box!) and the JHS Whitey Tighty and Pulp n’ Peel Compressors – killer, killer pedals.
And low and behold, a couple of weeks ago the Ventris Dual Reverb showed up in JHS’s Extraordinary Reverbs Vlog – you gotta love that. In the video Josh pulls some really great sounds from some really great reverb pedals, including a look at the Ventris’ Offspring engine. Enjoy!
Summit’s digital New Oxford Oscillators offer subtractive, FM and wavetable synthesis, and feed into genuine analogue dual filters, distortion and VCAs. The multitimbral engine enables merging and combining of two complete and independent patches, while up to 16 simultaneous voices deliver enough harmonic depth for even the richest of pads.
The best sounding synthesiser Novation has ever made
Summit doubles the power of Peak’s digital New Oxford Oscillators up to 16 voices and two parts, and adds a wealth of new features and a premium-quality five-octave keyboard. A synth much greater than the sum of its parts, it gives the serious producer or performer everything they need to design and play stunning basses, leads, arps, pads, effects and beyond.
Totally tactile sound design
Summit takes Peak’s architecture and workflow to new heights, with a swathe of extra front panel controls for hands-on wrangling of FM, effects, LFOs and more; dual filters with six LP/HP/BP combinations; audio input for processing external sources with the onboard effects; and auxiliary audio outputs.
Analogue where it matters
The true stereo analogue signal path comprises dual analogue multimode filters, analogue VCAs and three stages of analogue distortion – pre- and post-filter, and post-VCA. With roots in the legendary OSCar, via Bass Station II, Summit’s analogue credentials are truly impressive.
Two Peaks in one synth – and then some
Two Peaks in one synth – and then some
The 16-voice, multitimbral engine combines two simultaneous patches. Split or stack them for keyboard-divided or layered sounds, or switch the entire synth between two separate and independently controlled setups, perhaps using one as an effects processor for an external input source.
Also, Summit can use all your Peak patches
Our best keyboard ever
Five-octave, semi-weighted, velocity-sensitive keyboard with aftertouch – the same premium-quality keybed as introduced with our SL MkIII controller keyboard.
New Oxford educated
Digital New Oxford Oscillators are capable of subtractive, FM and wavetable synthesis. Waveforms are generated directly on the FPGA (Field Programmable Gate Array) chip, using 24MHz bitstream processing; and adjustable drift and divergence emulate the inherent and often desirable instability of analogue circuits.
True analogue filters and distortion
The New Oxford Oscillators output to true analogue filters, with origins in the classic OSCar synth, and three stages of analogue distortion give you ample saturation options.
Summit’s dual filter is switchable between six paired combinations of low-pass, high-pass and band-pass modes at 12dB/octave, or any single mode at 24dB/octave, for a broad range of sonic possibilities.
Hands-on sound design
Packed with modulation sources for deep sound design – LFOs, envelopes, Animate buttons and more. Extended controls see
FM parameters, envelope loop switches and LFOs 3/4 moved from Peak’s menu system to the front panel, for easy programming and tweaking.
Audio in and auxiliary audio out
Hook up external instruments for processing with Summit’s onboard effects, while using it as a synth at the same time.
Onboard reverb, chorus and delay effects are hosted on the FPGA. They’re also controlled directly from the front panel, and available as modulation targets in the dedicated FX Mod Matrix.
Product Hardware Specifications
16 note polyphony (dependent on voices used per note)
Layered, Split, Dual Bi-Timbral Modes
5 Voice Modes – Mono, MonoLG, Mono2, Poly, Poly2
1 noise generator with HP filter control
1 ring modulator
1 amp envelope and 2 mod envelopes (ADHSR + looping)
Sine, tri, sawtooth, square / pulse, plus 43 wavetables of 5 waveforms per row
1 state variable OTA filter per voice
Low-pass / band-pass / high-pass / dual filter (separation of each 12dB filters)
dual filter: LP > HP, LP > BP, HP > BP, LP + HP, LP + BP, HP + BP, LP + LP, BP + BP, and HP + HP
16 modulation slots per patch
2 sources per destination per slot
Aftertouch (polyphonic and channel AT)
Expression pedal 1
Expression pedal 2
Mod envelope 1
Mod envelope 2
CV mod input bi-polar
Oscillator 1-3 frequency, v-sync level, shape amount and level
Noise source level
Ring modulator output level
Overall synth output level
Filter drive, distortion, cut-off frequency and resonance
LFO 1 and 2 frequency
Amp env / mod env 1 / mod env 2 attack, decay and release
Moog Matriarch is a patchable 4-note paraphonic analog synthesizer with a built-in Sequencer, Arpeggiator, stereo Ladder Filters, and stereo Analog Delay. Create rich evolving chord patterns immediately with “no patching required”, then tap into an abundance of inspiring textures, new sounds, and an endless supply of happy accidents through Matriarch’s 90 modular patch points. Based on the vintage circuitry of classic Moog synthesizer modules, Matriarch is a catalyst for creative ideas and a medium for multidimensional expression.
● Mono, duo, and 4-note paraphonic playability
● Stereo analog delay w/ up to 700ms of MIDI sync-able stereo or ping/pong style repeats
● 256 step sequencer w/ up to 4 notes per step and 12 stored patterns. (Can be decoupled from Matriarch to independently sequence external gear)
● Arpeggiator with selectable modes (Order, Forward/Backward, Random)
● Semi-modular analog synthesizer – no patching required
● 90 modular patch points for endless exploration
● Expressive 49-note Fatar keyboard w/ patchable velocity and aftertouch
● 4 analog oscillators w/ selectable waveshape and hard sync per-oscillator
● Full-range analog LFO with 6 selectable waveshapes
● Dual analog filters with parallel (HP/LP), stereo (LP/LP), and series (HP/LP) modes available
● Dual analog ADSR envelopes
● Dual analog VCAs
● 3x bipolar voltage controlled attenuators with ring mod capability
● 2×4 parallel wired unbuffered mults
● Additional simple analog LFO useful for adding modulation to delay, filters and VCAs
● 1/4“ external audio input for processing guitars, drum machines, and more through Matriarch’s analog circuits
● Stereo ¼” and 3.5mm Eurorack level audio outputs
Barfoot Sound’s Masters of the Craft – Kenny Larkin
Kenny Larkin aka Dark Comedy is an American techno producer from Detroit. He has been described by Allmusic as “massively influential” on American, British, and German techno. To this day Larkin is perpetually touring around the world and producing tracks in his Los Angeles studio. His long career and insatiable pursuit for perfection makes him a master of his craft.
In Kenny Larkin’s Own Words
To be a master of your craft is to live, sleep, breathe what you do, to study the greats that came before you, to learn the trade anyway you can, listen to people that you look up to, listen to their stuff. Try to duplicate what they do in your own way to get inspired and to put your own little spin on it.
I was literally blown away by those little speakers, how amazing the bass was and actually the whole range
I actually went to the Air Force in 1986 and then came back and heard this weird sound in the clubs, electronic sounds. Didn’t know what it was. I was used to Kraftwerk and those kind of bands that did music with synthesizers, but never did I hear this type of dance music type stuff. Anyway, I hooked up with a guy named Richie Hawtin who was actually DJing in downtown Detroit at one of these clubs and we became friends and found out that once I started going to these clubs that the music was actually coming out of the city. Everything that you hear today on the radio or EDM is kind of like a removed version of dance music that started in Detroit. A lot of these top DJs, EDM DJs they look to us as their influences, so, yeah, that’s how we started.
Takes me a while to write music. Even though I do dance music, I still take pride in trying do something that’s going to be considered different than what you actually hear on the radio or on whatever these other artists are doing, electronic music artists. The inspiration can come in two hours and you finish the track or sometimes it could take days or sometimes it can take months. It’s literally like that for me. I can’t go in and just turn on gear and do a drum pattern and just go off that drum pattern. It’s really all about feeling for me.
I heard about Barefoot Sound on the forums. I was looking for some new monitors, so I started there and I started redoing the whole studio. I heard them and fell in love. I was literally blown away by those little speakers, how amazing the bass was and actually the whole range. They’re going to give you what you put into them. If you’re doing some nasty sounding stuff, it’s going to reveal that and that’s another thing that’s obviously important. But, yeah, the size and the technology that’s behind these speakers are amazing, especially with the dual woofers, which cancels out all the vibration, which is amazing. – Kenny Larkin, American Techno Producer & DJ