Awave ‘SCROOGE’ Moving Sale
Awave is moving to a bigger and more beautiful premises in Hawthorn.
Awave is moving to a bigger and more beautiful premises in Hawthorn.
The result of nearly three years of development, the new VRS8 Virtual Analog interface unifies Slate Digital’s software and hardware into a robust audio ecosystem called The Virtual Recording Studio. We used a “no compromise” design approach, resulting in a fantastic-sounding eight channel audio interface that leads the industry when it comes to components, specs, price and performance.
EIGHT ULTRA LINEAR PREAMPS
The start of any signal chain is extremely important, which is why the VRS8 features EIGHT high bandwidth Ultra Linear microphone preamps. These are the same ‘blank canvas’ design as the VMS-One preamp from our award-winning Virtual Microphone System, enabling you to use our modeling software to recreate the authentic sound of famous microphones and preamps. Each preamp has its own high-quality metal knob, so you can easily set levels like a regular analog preamp – instead of using single logic controller knobs and menus, as some of our competitors have chosen to do.
INDUSTRY BEST CONVERTERS
The next step in the signal chain is the converter itself. Instead of using budget components, the VRS8 offers mastering-quality conversion by incorporating the newest AKM AK5578 converter chips – offering a whopping industry-best 124db of dynamic range on all 8 inputs!
HIGH QUALITY COMPONENTS
The sound of an audio interface relies on much more than the converter chip itself – all of the components in the audio circuit have a direct result on the audio quality. Keeping to our “no compromise” design aesthetic, the VRS8 utilizes high-quality WIMA capacitors for the entire audio path.
LOW LATENCY NATIVE
Part of the goal behind creating the Virtual Recording Studio was to provide a near-realtime experience when using our analog modeled plugins while tracking. In order to achieve that goal, we created a new technology called LLN, which stands for “Low Latency Native”. LLN utilizes a custom hard-wired converter chipset, which reduces managed components in the audio path and allows an incredible .7 milliseconds of latency at 96K (with a 32 sample buffer). This latency spec allows you to monitor through mic and preamp emulations while tracking, giving you the ability to hear your audio in context while still allowing you to change your mind later.
XTC AUDIO CLOCK
The audio clock is the heart of any recording interface, which is why it was important that the VRS8 had a killer clocking system onboard. We use satellite-grade XTC clocking technology, utilizing four temperature-compensated crystal oscillators for ultra-stable audio performance, keeping your audio jitter and distortion free.
DISCRETE HEADPHONE AMPLIFIERS
Most engineers listen to music on headphones when working in the studio, but headphone amplifiers are the first place that manufacturers usually look to cut costs when building an interface. Instead of using typical designs that cost mere pennies, we use discrete amplifiers to ensure that your headphones sound robust and clear for all of your monitoring tasks. Not only that, we also added in two separate monitor mixes and the ability to use the VRS8 as a speaker switcher.
CROSS PLATFORM LOW LATENCY PERFORMANCE
The world of audio interfaces is rarely cross-platform when it comes to performance, meaning that Mac devices (using Thunderbolt) usually far outperform PC interfaces (using USB). While USB can be effective for two-channel designs, it requires more CPU overhead to manage, resulting in higher CPU usage and latency versus Thunderbolt – and the problem just gets worse as you add more channels. Unlike any other interface on the market, the VRS8 offers both Thunderbolt and PCIe connectivity for maximum cross-platform compatibility. The PCIe performance is the same as Thunderbolt. You can also link up to 6 VRS8’s via Thunderbolt to achieve 48 inputs and outputs.
NATIVE MIDI IO
Our “no compromise” design goal extended well into areas that other manufacturers simply ignore, which is evidenced by the VRS8’s native MIDI IO. Unlike USB MIDI interfaces (where MIDI information has to fight with your mouse, keyboard, and other USB traffic) MIDI IO on the VRS8 never touches the USB bus. You can count on hyper-accurate MIDI timing, and stuck sustain pedals when tracking keyboards and synths should become a thing of the past.
The Slate Digital Virtual Recording Studio Ships With A Year License Of The Everything Bundle. The Everything Bundle includes all of the award-winning Slate plugins, worth thousands of dollars. Using the VRS8 and VMS Microphones, you’ll be able to track through world-class microphones, preamps, equalizers, and more in real time.
THE VRS EXPERIENCE
Now you can 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 demos of our VMS microphone plugins, as well as a multitrack session recorded with VMS mics through our VRS8 interface. When you download the plugins and the session, you can load up a track, and experiment with different world-class virtual microphones from the mic locker. Hear the vintage FET47F, 414, and ribbon 121. Try the vocals through the vintage tube 67s, 251, 47s and more.
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
Dave Smith Instruments today announced the Sequential Prophet X, a new, bi-timbral, 8-voice-stereo (16-voice mono) synthesizer that combines samples and synthesis. At the heart of its sound is a newly developed engine that powers two simultaneous 16-bit, 48kHz sample-based instruments plus two high-resolution digital oscillators with waveshape modulation — all processed through analog filters.
Dave Smith commented: “The Prophet X is a powerful evolution of the Prophet series. Musicians have been asking for samples through real analog flters for a long time. We’ve given them not only that, but also all of the synthesis capabilites and awesome sound you’d expect from a Prophet.”
For sample content, Dave Smith turned to acclaimed sound developers 8Dio, known for pioneering “deep sampling,” a detailed approach to sampling that aims to capture all of the nuances and idiosyncracies of a particular sound or instrument. 8Dio co-founder Troels Folmann put it this way: “We’re known for going anywhere and everywhere with sounds. We embrace all sounds as music and feel that if you can capture the musical soul of a sound, you can make it into an instrument. The Prophet X gives musicians a very immediate and responsive way to access this expressiveness.”
The 150 GB sample library in the Prophet X includes numerous acoustic and electronic instruments as well as an extensive collection of ambient and cinematic effects. Users can shape the samples through loop manipulation, sample stretching, and the synthesizer’s many sound-sculpting functions which include 4 envelope generators, 4 LFOs, a deep modulation matrix, and other tools. The Prophet X also provides 50 gigabytes of internal storage for importing additional samples. Several sample libraries will be available from 8Dio at launch. Support for user-created sample content is planned for December, 2018.
A dual-effects engine provides multiple reverbs, two delays (standard and BBD), a chorus, flanger, phase shifter, rotating speaker, high-pass filter, and distortion. In stacked or split voice mode, you can apply two different effects to each layer. Effects parameters can be modulated through the mod matrix as can the samples themselves. A polyphonic step sequencer allows up to 64 steps and up to 6 notes per step, per layer. The Prophet X features a premium-quality, five-octave, semi-weighted keyboard with velocity and channel aftertouch, an integrated power supply, USB support, and three OLED displays.
Dave Smith summed up the new instrument: “Composers will love the Prophet X for soundtracks and synth geeks will love it for its sound mangling potential. But it’s really for everyone because it covers such a wide range of sounds. The new analog filter design we’re using is not only fantastic for synth sounds, but also does something special for the samples.” Added 8Dio co-founder Tawnia Knox: “The Prophet X has almost infinite posibilites. But more importantly, it has a soul. It’s alive. You can touch your sounds in a different way than you ever could.”
Trade up your mixing console for an analog masterpiece Audient 4816 for just $13,999.
Contact us for more information.
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.
Checkout the Unfarichild 670M II and more below.
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:
Nashville, TN (April 10, 2019)—A highlight on country act Old Dominion’s current arena tour has been the performance of a new song, “One Man Band,” with the moment underlined by the group using an Edwina vocal microphone from boutique mic manufacturer Ear Trumpet Labs.
The large-diaphragm condenser Edwina model was selected for the quieter moment in an otherwise high-energy set, as lead vocalist Matthew Ramsey is joined by lead guitarist Brad Tursi to share the Edwina microphone for vocal harmonies.
FOH engineer Ian Zorbaugh noted, “The show designer came to me looking for a ‘vibey’ microphone for two of our vocalists to sing into together. I wanted to give the designer a look he liked, while also achieving a sound quality that I was happy with. I’d heard great things about the sonics of all of the Ear Trumpet products, and obviously, they have a very distinctive vibe. The Edwina sounds great; it has a very detailed, open sound while also being very stable. We use it at the end of a 40-foot thrust, well in front of the PA, so the stability was another key element in making this particular moment in our show a success.”
Lead singer Matthew Ramsey notes, “Playing a new song in our set comes with the risk of losing the full attention of our audience because they aren’t familiar with it. On top of that, it’s somewhat of a ballad. We wanted to make sure this song had its moment [so] when the light hits that microphone at the end of the stage, the crowd instantly knows something special is about to happen, Not only is it great sonically for catching the mix of Brad Tursi’s vocal and mine together, it just looks cool, too.”
Ear Trumpet Labs • www.EarTrumpetLabs.com
Experienced recording engineers are all familiar with the concept of “happy accidents” — those once-in-a-blue-moon moments that ignite spontaneous magic in your recordings. You can’t plan them — they’re organic, comprised of sheer randomness or even bone-headed mistakes. It’s the guitarist getting caught in the wrong key (“modal jazz!”); the wrong track patched into the sidechain (“Grammy-winning engineering!”); singers riffing when they thought it was just a run-through (“pure poetic brilliance!”). The same audio gods sometimes smile down upon a piece of vintage gear. Through decades of repair and maintenance, some units seem to improve with time.
Sear Sound’s Chief Engineer Chris Allen discusses what upgrading to the Aurora(n) means for this legendary studio and how transparency matters.
Following his recent performance with the Red Hot Chili Peppers on the 2019 Grammy awards Post Malone has embarked on a world-wide stadium tour taking a pair of Aurora(n)s along for recording and live playback tracks. The Aurora(n) was chosen for the fidelity and reliability to be the centerpiece of the playback rig. Seen below, two Lynx Custom Shop 24 channel Aurora(n)s each with an LM-DIG digital I/O option installed.
Digital Performer version 10 is now shipping with dozens of exciting new features, including the Clips window for live triggering and looping of audio and MIDI clips, Stretch Audio powered by industry-leading ZTX PRO™ technology, VCA faders, a new convenient Content Browser, VST3 plug-in support, scalable UI, Run command (shift-spacebar) and a 5 GB soundbank containing hundreds of virtual instruments.
Digital Performer 10 will ship Q1, 2019 for macOS (64-bit-only) and Windows 10/8/7 (64- or 32-bit).
Jay Som is the featured band in one of our most unique AEA Sessions yet. Recorded entirely by the new supercardioid KU5A, Jay Som performs ‘Baybee’ from their 2017 album, ‘Everybody Works’. From the cozy comfort of a living room-turned-practice space, Jay Som demonstrates a playful, but precise chemistry.
The sharp directionality of the KU5A allows an entire band like Jay Som to record live and in close proximity without excessive bleed or room tone. It gives engineers and artists a unique combination of superb directionality and warm ribbon tonality in an active, road-ready form factor.
Back in the late nineteen eighties I ran a small boutique by appointment only high end HiFi shop, and at that time our preamplifier of choice was the MANLEY (their first and only product at the time if my memory serves correctly), which we considered to be the finest audio product in the world. Not long after that, MANLEY moved into pro audio which they quickly took by storm and has remained their primary focus ever since. When I met Zia Faruqi at T.H.E. Show Newport 2016 demonstrating the original samples of the MANLEY Absolute Headphone Amplifier I knew this was a product I had to review. Not only was it aesthetically distinctive and beautiful, it offered unique features not seen before in Personal Audio, and exceptional performance that was apparent even at a crowded HiFi show.
If I have this correctly, Zia Faruqi was David Manley’s first employee at the first Vacuum Tube Logic company in England in the 1980’s. The Absolute Headphone Amplifier was Zia’s brain child and he is responsible for the Design Concept, Industrial Design and acted as Project Manager throughout the entire development process going so far as to personally accompany the product to a plethora of Personal Audio Expos.
The MANLEY Absolute Headphone Amplifier boasts of fifteen independent operational controls “each of which was exhaustively developed for convenient adjustability and aural variety.” Two selectable stereo RCA jack pairs of their own design, Teflon® insulated and gold plated, receive the input signals. The volume is controlled on the facia by a front thumb wheel or by the included RF remote control employing a precision stepped relay ladder matrix attenuator in half dB steps, with the Mute switch situated next to the volume control wheel. Vertically mounted just in front of the tubes you will find Baxandall Bass and Treble equalizers that can be completely bypassed via a separate button, and a Balance Control which has a signal swing of up to 144 dB (In the center detent position the balance control is completely removed from the circuit).
In addition to the EQ bypass switch there is a button for mono, source, output (¼” TRS Headphone Jack, a 4-pin XLR Balanced Stereo Output for your high-end balanced headphones, and a set of stereo RCA outputs to use the Absolute Headphone Amplifier as a line-level preamplifier in an existing hifi system) and a button that cycles the transformers through three ranges of output loads (Low 12-50 Ohm, Mid 50-200 Ohm, High 200-600 Ohms).
There is also a selectable Bypass Thru Mode that sends RCA Input 1 directly to the RCA Outputs, when in STANDBY mode, as well as a user adjustable Headphone Overload Protection System which allows you to preset a maximum output level.
Which brings me to the two most interesting and unique features; the first being the ability to switch on-the-fly between all-triode Push-Pull to Single-Ended topology. Essentially, in Push-Pull mode the Harmonic Distortion is significantly lower, power output is greater and noise floor should be lower, whereas Single-Ended completely alters the harmonic structure from odd-order to even-order which is more musical.
The other is my favorite feature the Variable Feedback control which allows you to control the amount of overall negative feedback applied to the amplifier from 0dB, or no Global Negative Feedback, to 10dB of Negative Feedback.
“Negative Feedback in electronics is when a small portion of the output signal is re-introduced back to the input signal to provide a more stable and beneficial corrective result. This control is very useful when determining how “tight” you want your amplifier to sound. For example, a simple female vocal with minimal percussion can sound more intimate with very little feedback, but a complicated symphony orchestra passage may sound better positioned with more feedback. Applying different amounts of negative feedback can also affect the slew rate and apparent “speed” of the sonic character. Other aspects for which to listen include placement, forward or relaxed, darker vs shimmering, or punchy vs mellow.”
On to technical features; the Absolute Headphone Amplifier features custom hand-wound air-gapped dual-mode MANLEY IRON® output transformers, designed and manufactured at the Manley Labs factory in California. It also incorporates their own innovative purpose-designed-for-audio High Voltage switched-mode power supply. “All super-low impedance DC rails are fully regulated and worlds quieter than any linear supply we have ever encountered.”
The review sample I received was fitted with Ruby 12AX7WBC input tubes and RCA 6AQ5A vacuum tubes in the output
The solid billet chassis for the Manley Absolute Headphone Amplifier is available in three color options: Black, Copper, and Silver, and feature hand-rubbed walnut-burl veneer accents for the headphone head-band and ear pad rest areas.
For sources I began with the Schiit Modi 3 (review upcoming), later switching in the Questyle Audio CMA400i, the Questyle Audio CAS192D eventually settling into the Questyle Audio SHB2 Super Sourceand finished off with my Audible Illusions phono stage and a turntable. As to headphones I used the MrSpeakers ETHER2, the MrSpeakers ETHER C Flows and the Audeze LCD3 headphones.
I will start with, you get out of the Manley Absolute Headphone Amplifier exactly what you put into it, which is high praise for an amplifier, and unusual for headphone amplifiers, especially tube headphone amplifiers because many Personal Audio designers seem to be under the delusion that the amplifier should somehow “improve” the sound of the signal fed into it, this usually means rolling off the highs or adding bass or midrange, or adding delay to create more “air”, or messing with the phase to create a more three dimensional image and soundstage, or dynamic range expansion, or a myriad of other tricks to fool people into believing an amplifier sounds better, not to mention basics like TIMD which makes the amplifier sound crisper, and gives the impression of added detail (well there is added detail, the Transient InterModulation Distortion itself, but that’s not music), when in fact any change in the signal is simply degradation and distortion.
After a bit of experimentation, I found that running single ended with the Negative Feedback set to its fully on position (the default position) most fit my tastes and produced the greatest musicality. Listening to Artur Pizarro & Vita Panomariovaite piano duo performance of Rimsky-Korsakov’s “Scheherazade Op 35Andantino quasi allegretto” (Nikolay Rimsky-Korsakov Piano Duos – 24/48 kHz) through the ETHER C Flows was a magical experience with the piano reproduced full and natural in a large recital hall with excellent dynamics, timbre, speed and soundstage.
Dusty Springfield’s voice was palpable and intimate through the ETHER2s for “The Look of Love” (Casino Royale – 24/192 kHz) bracketed on a Jazz Club stage by the upright bass, drums, piano and guitar. The saxophone, brass and strings were warm and inviting without any of the usual harshness associated with those instruments.
The LCD3s let me explore the Absolute Headphone Amplifier’s ability to handle higher impedance loads, and the on the fly impedance switch made it quick and easy work to change headphones. “Sister Seagull” from BeBop Deluxe’s Live in the Air Age (16/44.1) was reproduced lifelike and lively with a 10th row at the Forum soundstage.
Anytime I have a Class A Triode amplifier to audition, I am almost compelled to run vinyl, and the MANLEY did not disappoint. Nicky Hopkins’ No More Changes was a true pleasure to play though the Absolute Headphone Amplifier regardless which headphones I used. The higher resolution of the ETHER2was put on display for “The Lady Sleeps” bringing out the multiple piano tracks and the sweetness of the guitar leads.
The MANLEY Absolute Headphone Amplifier is everything I expected when I first saw it and when I asked for a review sample, it is everything you would expect from a world class rare air well respected audiophile tube amp manufacturer. It does what an audiophile amplifier is supposed to do, which is amplify the sound and nothing else, while introducing as little noise and distortion as possible. To say it is musical is to barely scratch the surface, and possibly beside the point, the dynamics, sound stage, timbre and phase coherency are all top notch.
As expected from a true audiophile piece, it demands a top end source and is able to reproduce every nuance fed into it, and likewise it will pull out the pinnacle of what your headphone can achieve, but it will not change the basic character of those headphones.
The switchable single-ended or push-pull topology and the variable negative feedback control give real insight into those technologies and why they exist (it should be pointed out that negative feedback in a tube amp, and negative feedback in a solid state amp are completely different animals, negative feedback in a solid state amp can produce high levels of TIMD which is not a factor in tube amps).
I found the MANLEY Absolute Headphone Amplifier to be beautiful, versatile (you would be hard pressed to find a headphone that it does not work well with) and fantastic sounding. To put it simply, the MANLEY Absolute Headphone Amplifier is evidence of why those who dabble in the extreme high end of the audiophile world lean towards tube amps.
Price: $4,500 USD
Triode Vacuum Tube Output Stage, Switchable Topology Single-Ended or Push-Pull
2 x 12AX7 (ECC83), 4 x 6AQ5A (EL90)
2 x RCA (Input 1 & Preamp Output = Pass-Thru when amplifier is in Standby or Off)
50 kOhms (Pass-Thru= 300 kOhms)
Maximum Input Level:
7.7 VAC RMS (+20 dBu)
(Conditions: XLR output, PP mode, 16 ohm load, VOLUME max, EQ out, 1kHz sine wave)
Load 16 ohm: 12 dB (Min FB), 3 dB (Max FB)
Load 62 ohm: 17 dB (Min FB), 8 dB (Max FB)
Load 200 ohm: 22 dB (Min FB), 13 dB (Max FB)
(Conditions: XLR output, PP mode, VOLUME Max, EQ out, 1kHz sine wave)
600 mV AC RMS for an output of 100 mW
1.9 VAC RMS for an output of 1W
(Conditions: XLR output, PP mode, FB 12:00 o’clock, 16 ohm load, 1kHz sine wave, VOLUME max, EQ out)
– Precision Stepped Relay Attenuator 0.5dB per step
– 63dB total attenuation – Volume setting to minimum = MUTE
Outputs (transformer coupled):
1 pair RCA- Unbalanced (Preamp Output)
1 x TRS ¼” JACK – Unbalanced
1 x 4 PIN XLR- Balanced
XLR-pin outs – (Left Channel Pin 1= Signal (+), Pin 2= Signal (-), Right Channel Pin 3= Signal (+), Pin 4= Signal (-))
Switchable: Low 12-50 Ohm, Mid 50-200 Ohm, High 200-600 Ohms
Maximum Output Power = 1W into 12 Ohms BW 22Hz-22kHz
Variable Feedback Control (FB):
(Conditions: BAL output, PP mode, 16 ohm load, VOLUME max, EQ out)
Signal to Noise Ratio:
83 dB (1kHz sine wave, 100mW output, BW 22Hz-22kHz)
(Conditions: BAL output, PP mode, FB 12:00 o’clock, 16 ohm load, VOLUME max, EQ out)
-80 dBu BW 22Hz-22kHz
-85 dBu A-Weighted
(Conditions: BAL output, PP mode, FB 12:00 o’clock, 16 ohm load, VOLUME MAX, EQ out)
-71 dB (1kHz sine wave, 100mW output, BW 22Hz-22kHz) Left Channel
-72 dB (1kHz sine wave, 100mW output, BW 22Hz-22kHz) Right Channel
(Conditions: BAL output, PP mode, FB 12:00 o’clock, 16 ohm load, EQ out)
Balance Control Channel attenuation:
Left Channel= 72dB (1kHz sine wave, 100mW output, BW 22Hz-22kHz)
Right Channel= 72dB (1kHz tone, 100mW output, BW 22Hz-22kHz)
(Conditions: BAL output, PP mode, FB Min, 16 ohm load, EQ out)
Push-Pull= Flat 10Hz – 20 kHz (-1dB @ 40 kHz)
Single-Ended= 20Hz – 20 kHz (-0.5dB @ 10Hz, -1dB @ 50 kHz)
(Conditions: BAL output, 100mW output, FB @ 12:00 o’clock, 16 ohm load, EQ out)
Push-Pull= 0.16% THD+N (BW 20Hz-22kHz)
Single-Ended= 1.0% THD+N (BW 20Hz-22kHz)
(Conditions: BAL output, PP mode, 1 kHz sine, 100mW output, FB @ 12:00 o’clock, 16 ohm load, EQ out)
Supplied with Remora RF remote control
Soft Start, 30 second mute-controlled power-up sequence
Operating Mains Voltage: 90-250 VAC, 50-60Hz, universal works worldwide
Unit Dimensions: 11.5 x 5.5 x 8.2” (LxWxH)
Unit Weight: 12 lbs
Shipping Weight = 13.5 lbs
Packing Carton Dimensions: 17 x 11 x 15”
Power consumption STANDBY mode = 0.5W, Max Power = 80W
Heat Rise above ambient temperature at rear panel: 25ºC or 44ºF
Heat Rise above ambient temperature at side panels: 15ºC or 26ºF
Designed, hand-built, and tested to strict quality standards in Connecticut, USA, the Alchemy Series is TELEFUNKEN Elektroakustik’s next generation of large diaphragm tube condensers. These new microphone models feature unique sonic profiles developed from the ground up. The bold new voicings of the Alchemy Series are the TF29, TF39, TF47, and TF51.
Heritage Audio’s mission is to bring back the Golden Age of Recording and adapting it to the 21st Century Studios.
Our products cover the various needs in analog signal processing. They are designed and manufactured in Spain and they are sold in more than 36 countries worldwide.