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Since we’ve tried to set up the Pro Tools HD Native card it’s been obvious that not every hardware and software manufacturer play nice together.  So instead of dealing with any of this crap any more we decided to take the plunge and buy the newest top of the line converters on the market Avid’s new HD IO.

Check out this article at SoundOnSound.com about the new converters.

In November’s review of the new Avid HD Omni interface for Pro Tools HD systems, we pointed out that although Avid’s new generation of A-D and D-A converters clearly sound excellent, making an informed choice against rivals from Apogee or Prism Sound on the basis of sound quality alone would require detailed listening tests in a controlled environment — tests which, unfortunately, we were unable to arrange in the review timeframe. Fortunately, it turns out that UK Avid resellers MediaPros had arranged exactly the sort of blind tests we would have liked to conduct ourselves. What’s more, not only had they arranged the loan of the test units and the studio — Studio A at Metropolis — but they had also brought along some of the UK’s top engineers and producers to do the listening. The golden ears in question belonged to producer Stephen Street, mix engineer Cenzo Townshend, Abbey Road engineer Sam Okell and engineer Donal Hodgson, who has recorded much of Sting’s recent output.

Four units were included in the tests: the new Avid HD IO (which has the same A-D and D-A converters as the Omni, and thus should in theory sound identical to it); an original Digidesign 192 IO from the previous generation of HD interfaces; a Prism Sound ADA-8XR; and the new Apogee Symphony I/O, with beta Pro Tools HD drivers.

When the patch cables were unscrambled to reveal the results, it turned out that the golden ears had indeed picked out the two newest converters as being the best-sounding. Converter B was revealed to be the Avid HD IO, while the other favourite on the day, converter D, was the Apogee Symphony I/O. Most of those present were surprised to see the Prism ADA-8XR, aka converter A, beaten into third place, but it was perhaps less of a shock that the 192 I/O came last.

A/D Converter Shoot Out

Avid have announced a new version of their flagship DAW, Pro Tools HD, which runs on the host computer’s CPU.

Pro Tools HD Native has an almost identical feature set to the existing TDM-powered Pro Tools HD, including full plug-in delay compensation, support for Avid’s Icon, D-Command and C24 control surfaces, surround-sound mixing and monitoring, and, just like Pro Tools HD, support for up to 192 audio tracks, 160 auxes and 128 instrument tracks. In fact, one of the only limitations of HD Native compared with the TDM-powered version is physical I/O count, though HD Native is still no slouch in that department.

If anything, the Rode K2 is a hint sweeter-sounding than the NTK, and it definitely does the ‘subtle flattery’ thing — which is, after all, why we tolerate tubes inside our microphones in the first place. The way in which it flatters is hard to describe, but, in addition to adding weight to what I call the ‘chest’ frequencies of the voice, it also captures the high-end detail in a way that sounds noticeably smoother and less aggressive than is often the case with solid-state mics. As with the NTK, the lack of a bass roll-off switch means you’ll probably need to engage the low-frequency filter on your preamp or mixer when recording vocals, and you’ll certainly need a pop filter. In fact, pop filters are such essential components of any vocal recording system that I’m surprised more mics don’t come with them — they’re just as important as shockmounts, yet we seem to get those thrown in with nearly every mic we buy these days.

As a vocal mic, the K2 sounds very classy indeed, and it has been deliberately engineered to be reminiscent of classic studio mics. It is, however, rather quieter than some of these tube classics, and probably a lot cheaper to service given that the tubes used in the Rode mics don’t belong to an endangered species. This is a great mic if your voice needs a bit of filling out, or if the high end of your voice needs rounding off. I also tried the mic on the usual acoustic guitar and hand percussion, where it turned in a solid performance, combining warmth with evenness of tone. I particularly liked this mic for strummed acoustic guitar played in a pop style, as you get a punchy, no-nonsense result that sounds almost as though it’s been slightly compressed, with no ragged edges.

Read more on SoundonSound.com

Lexicon now have two new models in the MX range; the MX400 and the MX400XL, the latter reviewed here. As with the MX200, the new units can use USB or standard MIDI I/O to send patch and control data to and from a suitable computer, while all the audio data must be passed via the analogue I/O or the included S/PDIF I/O (as Paul’s review commented, it’s a shame that the audio can’t also be passed via USB, as this would have allowed a very neat cabling arrangement). However, the MX400 models can be thought of as the MX200′s bigger siblings, as they offer four-channel operation. This can be configured in a number of ways, but the most obvious difference between the 400 and the 200 is that the 400 can operate as a surround processor (LR front and LR rear) or as two independent stereo processors (A and B). As with the MX200, each processor actually features two effects engines, so, for example, while Processor A might be dedicated to a high-quality reverb (using both effects engines), Processor B might be used to chain together a delay (engine one) and a chorus (engine two).

I suspect that most users would predominantly employ the MX400 in Dual Stereo mode and, therefore, have two independent Lexicon multi-effects processors available for tracking and mixing duties, from a single rack unit. However, the MX400′s Surround mode is more than just a routing gimmick, and while it might only provide four output channels rather than five (or six for 5.1), the various factory presets demonstrate that the unit is more than capable of providing some very convincing surround reverbs.

Read More at SoundonSound.com

The 5012 is a dual microphone preamplifier with two independent channels, each equipped with the standard facilities, plus a variable high-pass filter. The rear panel features XLRs for the two mic inputs and main line outputs, plus two pairs of TRS quarter-inch sockets for buss linking. There are separate linking busses for each mic channel (labelled A and B), and the two sockets for each allow the buss signal from another unit to be patched in and then the combined output passed on to another unit. In essence, this creates a stereo mix buss which is intended to terminate at a dedicated buss amp-cum-monitoring module, such as the 5014 MS-stereo buss mix and stereo field module. Since the interface is unbalanced and high impedance, and operates at a slightly depressed nominal level compared to the main output, these buss outputs cannot be used easily for any other purpose.

These Portico units are extremely well engineered, mechanically and electronically. High-quality components have been used throughout — nothing really exotic, just good, solid, well-proven devices that do what they are required to do. The attention to detail and the technical specifications are faultless and generous. There is massive headroom, exceptionally low noise floors and careful grounding. There is nothing frivolous or gimmicky about anything, either. The controls and interfacing are all clearly designed by someone who understands precisely what the user needs to do with these tools. And the tools themselves do exactly what they are intended to do, effectively and flexibly. In a simple phrase, these are professional products, designed to deliver professional results to professionals who understand and appreciate what that term means. Expensive, but very desirable!

Read more at SoundonSound.com

The Neumann U87 studio Microphone is famous for its warm sound and well-balanced characteristics. Equipped with a large dual-diaphragm capsule with 3 selectable directional patterns: omnidirectional, cardioid, and figure-8, it offers a 6dB improvement in signal-to-noise over its predecessor. A 10dB attenuation switch enables the U87 to handle sound levels up to 127dB without distortion; and the low frequency response can be reduced to compensate for proximity effect. The preferred studio vocal mic for decades, the Neumann U87 also makes a great main mic for band or home studio recordings, as well as a spot mic for single instruments. Frequency range: 20Hz to 20kHz; impedance rated at 200 ohms.

Read more reviews here.

The Sennheiser MD421 MKII U4 Mic is one of the best-known mics in the world. Walk into any drum booth in any major studio and you’ll most likely see MD 421s on the toms. Talk to just about any seasoned FOH or recording engineer about their drum miking preferences for toms and percussion and the name MD 421 will invariably come up. Its excellent sound qualities also enable it to cope with the most diverse recording conditions and broadcast applications. The 5-position bass control enhances its all-round qualities. With very effective feedback rejection and a highly directional cardioid pickup pattern, placement is a cinch. Rugged construction.  Read More on recording review.com

Check out this video we found that tests different mics on electric guitar.

By Martin Walker, From SoundonSound.com:

With their Lynx One and Two soundcards (reviewed in SOS November 2000 and March 2002 respectively), Lynx Studio Technology have done more than any other company to dispel the myth that audio converters are inevitably compromised when mounted inside a computer. Lynx products are now to be found in lots of professional recording and mastering studios worldwide. However, many studios still use rackmounted converters or digital mixers, yet with the continued move to computer-based workstations, need a way to interface these to their Macs or PCs. With this in mind, Lynx introduced their AES16, which as its name suggests supports up to 16 input and output channels of AES-EBU digital audio at sample rates up to 192kHz. Now they have completed the circle by offering rackmount converters of their own with similarly high quality to that of their soundcards. The Aurora is available in eight-channel and 16-channel versions, and has already caused a stir in the audio community for offering such high quality at significantly lower prices than some competitors. Partnering Aurora converters with an AES16 card provides various additional features, which is why I decided to review them both together.  Read More.

Often the hyperbole that precedes a piece of equipment leads one to think that it will be the answer to all their audio dreams. Too often, this anticipation is the best part of the audio purchase. I had been led to believe that the ~Sebatron~ vmp – 4000 was a high quality transparent mic pre of the uncolored purest approach. While I prefer mic pre’s that color the signal, because I work mainly in the pop genre’, I understand the need for uncolored mic pre amplification for acoustic instruments and classical recording techniques. I can’t tell you how pleasantly surprised I was when I discovered, that while these pre amps are neutral and natural sounding, there is much more to them.  Read More

Check out a Video from our friends at Sound Pure.