Music Equipment
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A-Designs
In recording, there are certain things that you can only know through years of experience, such as which preamp works best on vocals, which one rules on guitar, or what preamp to use if you have a dark-sounding instrument or mic that needs some brightening. With A Designs Audio's EM series preamps you can let the 60 years of combined experience and super tone-sensitive ears of Jon Erickson and Pete Montessi save you years trying eek secrets out of pro engineers and lurking on forums. Each preamp in the series is designed to handle specific recording chores with the remarkable sound quality that A Designs Audio is now famous for. (Read the buzz on the forums, you'll find nothing but raves.) Best of all, you get high-quality audio in a space-saving and affordable package. Custom transformers, the key to a big punchy soundIn solid-state preamp design, the key to a big punchy sound rests in the input and output transformers. (That's where you get what is known as the big iron" sound of the '70s). To ensure top-quality sound, A Designs has their transformers custom-built by Tom Reichenbach of Cine-Mag, whose lineage extends back the days when his father Ed built transformers for Altec-Lansing in the '40s. Not only are the transformer hand-made, they're also ear-made" by Jon (who spent years rebuilding vintage gear for LA studios), and Peter (longtime LA musician and preamp guru), who won't okay a transformer design until they get exactly the sound they're looking for. With the A Designs P1, you can put those ears and 60 years of combined experience to work for you and bring your recordings to new sonic heights.The sound of the EM-BlueThe A Designs EM Series is a twist on the P-1 (based on the best-selling Pacifica). Each color has its own sound. This was accomplished by using different custom wound output and input transformers. The EM-Blue is equipped with a nickel custom-wound output transformer. This emphasizes the highs and produces a much more airy top end tone. When used with a dark -sounding microphone or an alto vocalist, it can produce an absolutely heavenly sound. You will also find this pre useful for recording a snare drum for that crisp crack sound. Plus, you just might want to hear what an electric guitar sounds like going thru nickel transformers (trust us, you do!). So, to get down and dirty with an electric guitar you ll want to use the EM-Blue s DI and 20dB pad, and crank the gain for a slight growl.Solid build quality and functionality The A-Designs EM-Blue features a 1/4-inch Hi-Z direct inject input for instruments, switches for 48-volt phantom power (with LED indicator), -20dB pad and phase reversal, 62dB of gain, a large aluminum cast knob for gain, custom-wound input and output transformers, two thumb screws for easy installation, and an extremely solid build quality. Most of all, the EM-Blue is another stellar example of the A Designs Audio mission: pro audio made affordable, and quali |
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A-Designs
In recording, there are certain things that you can only know through years of experience, such as which preamp works best on vocals, which one rules on guitar, or what preamp to use if you have a dark-sounding instrument or mic that needs some brightening. With A Designs Audio's EM series preamps you can let the 60 years of combined experience and super tone-sensitive ears of Jon Erickson and Pete Montessi save you years trying eek secrets out of pro engineers and lurking on forums. Each preamp in the series is designed to handle specific recording chores with the remarkable sound quality that A Designs Audio is now famous for. (Read the buzz on the forums, you'll find nothing but raves.) Best of all, you get high-quality audio in a space-saving and affordable package. Custom transformers, the key to a big punchy soundIn solid-state preamp design, the key to a big punchy sound rests in the input and output transformers. (That's where you get what is known as the big iron" sound of the '70s). To ensure top-quality sound, A Designs has their transformers custom-built by Tom Reichenbach of Cine-Mag, whose lineage extends back the days when his father Ed built transformers for Altec-Lansing in the '40s. Not only are the transformer hand-made, they're also ear-made" by Jon (who spent years rebuilding vintage gear for LA studios), and Peter (longtime LA musician and preamp guru), who won't okay a transformer design until they get exactly the sound they're looking for. With the A Designs P1, you can put those ears and 60 years of combined experience to work for you and bring your recordings to new sonic heights.The sound of the EM-Red The A Designs EM Series is a twist on the P-1 (based on the best-selling Pacifica). Each color has its own sound. This was accomplished by using different custom wound output and input transformers. The EM-Red comes with a 50/50 output transformer. A Designs Audio added a little kick to this one by changing the input transformer as well. The result is more up front mids ! You ll find this very useful when recording acoustic guitar with a condenser microphone. You can also use the EM-Red for recording toms, both rack and floor. As with all the A Designs Audio modules, the EM-Red is VPR Alliance compliant, and features a 48V phantom power switch, DI input, and phase reversal switch. Solid build quality and functionality The A-Designs EM-Red features a 1/4-inch Hi-Z direct inject input for instruments, switches for 48-volt phantom power (with LED indicator), -20dB pad and phase reversal, 62dB of gain, a large aluminum cast knob for gain, custom-wound input and output transformers, two thumb screws for easy installation, and an extremely solid build quality. Most of all, the EM-Red is another stellar example of the A Designs Audio mission: pro audio made affordable, and quality without compromise.Requires the A Designs R52 (product # 180038) dual slot external power supply (See access |
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A-Designs
In recording, there are certain things that you can only know through years of experience, such as which preamp works best on vocals, which one rules on guitar, or what preamp to use if you have a dark-sounding instrument or mic that needs some brightening. With A Designs Audio's EM series preamps you can let the 60 years of combined experience and super tone-sensitive ears of Jon Erickson and Pete Montessi save you years trying eek secrets out of pro engineers and lurking on forums. Each preamp in the series is designed to handle specific recording chores with the remarkable sound quality that A Designs Audio is now famous for. (Read the buzz on the forums, you'll find nothing but raves.) Best of all, you get high-quality audio in a space-saving and affordable package. Custom transformers, the key to a big punchy soundIn solid-state preamp design, the key to a big punchy sound rests in the input and output transformers. (That's where you get what is known as the big iron" sound of the '70s). To ensure top-quality sound, A Designs has their transformers custom-built by Tom Reichenbach of Cine-Mag, whose lineage extends back the days when his father Ed built transformers for Altec-Lansing in the '40s. Not only are the transformer hand-made, they're also ear-made" by Jon (who spent years rebuilding vintage gear for LA studios), and Peter (longtime LA musician and preamp guru), who won't okay a transformer design until they get exactly the sound they're looking for. With the A Designs P1, you can put those ears and 60 years of combined experience to work for you and bring your recordings to new sonic heights.The sound of the EM-SilverThe A Designs EM Series is a twist on the P-1 (based on the best-selling Pacifica). Each color has its own sound. This was accomplished by using different custom wound output and input transformers. The EM-Silver has a custom wound steel output transformer, which outputs a darker sound than the P-1, EM-Red, and EM-Blue, great for adding body to thin vocals. The EM-Silver is also very good match with ribbon microphones, which makes sense because steel transformers were widely used in the early days of recording and broadcast along with ribbon microphones. The sound/color/flavor you ll receive depends which ribbon mic you have. With today s influx of ribbon microphones there is a wide choice of character range available for you to determine which tone you are looking for or need. Another feature of the EM-Silver is a DI (direct inject) for use with electric instruments. Thanks to the DI and its darker sound, the EM-Silver is a great pre for bass guitar and keyboards. Also, you may like to try the EM-Silver (depending on microphone) for your kick when recording drums! All in all, the Silver is a very versatile tool.Solid build quality and functionality The A-Designs EM-Silver features a 1/4-inch Hi-Z direct inject input for instruments, switches for 48-volt phantom power (with LED |
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A-Designs
The 500HR is a dual-slot, single-space, rack-mounted frame with power supply for A-Designs and other 500 Series compatible audio modules including:A-Designs EM-PEQ Equalizer #241581A-Designs EM-Gold Preamp Module #180029A-Designs P1 Single Channel Microphone Preamp Module #189906A-Designs 500-Red Microphone Preamplifier #189907A-Designs 500-Blue Microphone Preamplifier #189908A-Designs 500-Silver Microphone Preamplifier #189909You are able to use the 500HR and A-Designs module combinations in four basic ways: Loaded with two preamps it becomes a dual-channel mic preamp Loaded with two EQs, it is a dual-channel EQ Loaded with one preamp and one EQ it is a complete pre/post EQ recording channel Use one preamp and the EQ in the 500HR and bypass your pre on your guitar/bass/keyboard amplifier and have a totally different amp for any live situation! |
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A-Designs
Economical, quiet, and compact unit for controlling your audio level. Can be connected to any audio system requiring output gain control. Gives you line level control for guitar, bass, or keyboard amp extension speakers without clipping. Gives useful gain control over mic preamps and power amps, or use multiple units for independent stereo control over powered monitors. It's the no-brainer solution for controlling audio from a variety of sources. |
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A-Designs
The A-Designs ATTY2'D (pronounced "Attitude"), is the big brother of the successful ATTY passive audio line level controller. Think of the ATTY2'D as an ATTY on steroids. It offers fully independent control over 2 stereo pairs and 2 mono signals.The applications have now expanded from a passive line level controller to a host of other uses such as controlling output between multiple products like microphone preamps, CD players, talk backs, and audio surge protectors. It can also be used in a surround sound environment. |
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A-Designs
In recording, there are certain things that you can only know through years of experience, such as which preamp works best on vocals, which one rules on guitar, or what preamp to use if you have a dark-sounding instrument or mic that needs some brightening. With A Designs Audio's EM series preamps you can let the 60 years of combined experience and super tone-sensitive ears of Jon Erickson and Pete Montessi save you years trying eek secrets out of pro engineers and lurking on forums. Each preamp in the series is designed to handle specific recording chores with the remarkable sound quality that A Designs Audio is now famous for. (Read the buzz on the forums, you'll find nothing but raves.) Best of all, you get high-quality audio in a space-saving and affordable package. Custom transformers, the key to a big punchy soundThe A-Designs Audio Erickson Montessi - Gold microphone preamp module is designed to complement the other A-Designs preamp modules and further expand the sonic palette with its own unique frequencies. In solid-state preamp design, the key to a big punchy sound rests in the input and output transformers. (That's where you get what is known as the big iron" sound of the '70s). To ensure top-quality sound, A Designs has their transformers custom-built by Tom Reichenbach of Cine-Mag, whose lineage extends back the days when his father Ed built transformers for Altec-Lansing in the '40s. Not only are the transformer hand-made, they're also ear-made" by Jon (who spent years rebuilding vintage gear for LA studios), and Peter (longtime LA musician and preamp guru), who won't okay a transformer design until they get exactly the sound they're looking for. With a rack full of EM series preamps, you can put those ears and 60 years of combined experience to work for you and bring your recordings to new sonic heights. Another color for the EM paletteThe EM-Gold combines the output transformer of the A-Designs EM-Silver, which will translate into a darker sound, and the input transformer of the A-Designs EM-Red, which gives you up-front" mids. As a result, the EM-Gold brings more midrange frequencies to the lower end of the sonic spectrum, which makes it an excellent choice for drum miking (toms in particular). It also excels on various guitars (especially if you want that midrange chunk" that moves the speakers), vocals, MP3/drum machines, and bass and if you've ever heard the A Designs REDDI, you know that nobody knows their way around bass tone better than A Designs Audio. Solid build quality and functionality The A-Designs EM-Gold features a 1/4-inch Hi-Z direct inject input for instruments, switches for 48-volt phantom power (with LED indicator), -20dB pad and phase reversal, 62dB of gain, a large aluminum cast knob for gain, custom-wound input and output transformers, two thumb screws for easy installation, and an extremely solid build quality. Most of all, the EM-Gold is anoth |
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A-Designs
The classic all-tube Pultec PEQ-1A goes down on the record books as one of the most venerated equalizers of all time, cherished by recording and mastering engineers for its almost mythical ability to improve the sound of just about anything running through it. Finally, after much research and development, A-Designs Audio announces that it has managed to capture much of the essence of the famed EQ in a new product -and one that fits in a compact 500 Series module frame size, no less!Dubbed the EM-PEQ, A-Designs Audio was able to shrink this highly sought after filter design into the now red-hot 500 Series format without compromise to either build quality or sonic caliber. The EQ section design and control layout of the classic PEQ-1A has been meticulously maintained, as well as its wonderfully smooth musicality.Makeup amplification is achieved through the use of the same discrete Class AB amplifier found in A-Designs Audio's popular solid-state Pacifica mic preamp, putting a slightly unique twist on the classic design of yesteryear.Additional features include a nickel core output transformer, gold Grayhill rotary switches, Wima caps, and a true hard bypass. Instead of using common off-the-shelf chokes, A-Designs uses a custom-wound tapped inductor wound to the original values. Fully-balanced, noise-free operation with modern impedance specs make for dummy-proof operation and fast studio integration.The new EM-PEQ is an approved API VPR Alliance product and may also be used in Brent Averill Enterprises racks and A-Designs Audio's R52 manufactured by Avedis Audio Electronics. |
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A-Designs
The HM2EQ is a world-class tube/hybrid 3-band equalizer with a dual-mono design. The A-Design's HAMMER is built to sound musical for larger EQ functions typically found on expensive mastering EQs. It features continuously variable boost and cut controls, but with fixed frequency settings. The HAMMER is engineered with a filtering system that allows the even harmonics to flow through the 12AT7 tubes, filtering out unwanted noise.The unit is housed in a 2U metal chassis with an aluminum faceplate and features a toroidal power transformer. Each channel features identical controls, including switches for bypass, high cut and low cut, as well as six large aluminum rotaries for the EQ section - knobs for the LF (30/50/100/200/300/400), MF (250/500/1.2k/1.6k/2k) and HF (2.5k/3.5k/5k/7.5k/10k/15k) bands, plus accompanying knobs offering ñ13dB of boost/cut for each frequency range.Connections to and from the product are accomplished on the rear panel via a pair of balanced Neutrik XLR input jacks and pair of balanced XLR output jacks.The HM2EQ is designed for applying broad-shaping EQ across many octaves while sounding beautiful without adverse effects on tone. Very low noise floor. It also has hi-cut at 8Khz and lo-cut at 84Hz filters. There is no other EQ available quite like this. |
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A-Designs
There aren't many companies that can design and build one preamp that engineers and producers feel that they could make an entire record with. A Designs Audio has built two. The all-tube MP-1A and the solid-state Pacifica, but we're here to talk about the MP-1A (you can check out the Pacifica later). With A Designs Audio's MP-1A, not only do you get a never-ending sweetspot and sonic majesty, it also gets top marks in "works and plays well with others." Meaning, while some preamps are picky when it comes to mics, the MP-1A welcomes all and sounds great no matter what you put through it ribbon, dynamic, or condenser. Better still, while the MP-1A falls squarely into the realm of "color" preamp, it never overwhelms a track with too much character. If you've been searching for an all-tube preamp with a rich bottom end, sweet and airy top end and enough tonal versatility to record all of your tracks without over-colorization at mixdown, think A designs Audio MP-1A.A Designs Audio MP-1A, First Take: True tube in, tube out mono mic preamp World-class custom-wound transformers Two "tone" switches, give you four unique tone signatures. Audiophile quality and components and a price below comparable boutique preampsTrue tube mic preampThe MP-1A is a classic 1-channel tube mic pre based on the celebrated MP-1. It offers the same true tube in / tube out design, plus the same quality that made the original MP-1 and MP-2 the buzz of the professional audio industry. New features include a -20 db pad switch, two selectable tone switches for four possible tones, plus 60db of gain (perfect for next generation ribbon mics) Classic features include a world-class Cinemag input transformer coupled with a custom wound output transformer, delivering the low noise and top quality sound that you demand from a high-end, high-priced mic-pre. Additional features include a balanced combo XLR/1/4 inch input, a true VU meter, phantom power and phase reverse switches, and a front panel line level input jack.Custom transformers, the key to punchy sound and quiet operationA lot of preamp builders believe that transformers are things to be avoided, but in reality, they're responsible for the sound we prefer in rock/pop music. The trick is finding good ones. Bad transformers can ring or decimate the upper frequency range, but when a transformer is properly designed and built, such as those by Cinemag (who's lineage includes making transformers for the top consoles in recording history) they are a thing of beauty, delivering a full, punchy sound like no other. Plus, thanks to the superior electronic isolation of transformers, noise and hum is reduced. That's why you can overdrive an MP-1A and get rich, milky distortion without the extra noise. The transformers you find in A Designs Audio's preasmps are hand- and "ear-" built by Tom Reichenbach of Cinemag. Tom is the son of the designer of the lege |
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A-Designs
There aren't many companies that can design and build one preamp that engineers and producers feel that they could make an entire record with. A Designs Audio has built two. The all-tube MP-2A and the solid-state Pacifica, but we're here to talk about the MP-2A (you can check out the Pacifica later). With A Designs Audio's MP-2A, not only do you get a never-ending sweetspot and sonic majesty, it also gets top marks in "works and plays well with others." Meaning, while some preamps are picky when it comes to mics, the MP-2A welcomes all and sounds great no matter what you put through it ribbon, dynamic, or condenser. Better still, while the MP-2A falls squarely into the realm of "color" preamp, it never overwhelms a track with too much character. If you've been searching for an all-tube preamp with a rich bottom end, sweet and airy top end and enough tonal versatility to record all of your tracks without over-colorization at mixdown, think A designs Audio MP-2A.A Designs Audio MP-2A, First Take: True tube in, tube out stereo mic preamp World-class custom-wound transformers Two "tone" switches, give you four unique tone signatures. Audiophile quality and components and a price below comparable boutique preampsTrue tube mic preampThe MP-2A is a classic 1-channel tube mic pre based on the celebrated MP-1. It offers the same true tube in / tube out design, plus the same quality that made the original MP-1 and MP-2 the buzz of the professional audio industry. New features include a -20 db pad switch, two selectable tone switches for four possible tones, plus 60db of gain (perfect for next generation ribbon mics) Classic features include a world-class Cinemag input transformer coupled with a custom wound output transformer, delivering the low noise and top quality sound that you demand from a high-end, high-priced mic-pre. Additional features include a balanced combo XLR/1/4 inch input, a true VU meter, phantom power and phase reverse switches, and a front panel line level input jack.Custom transformers, the key to punchy sound and quiet operationA lot of preamp builders believe that transformers are things to be avoided, but in reality, they're responsible for the sound we prefer in rock/pop music. The trick is finding good ones. Bad transformers can ring or decimate the upper frequency range, but when a transformer is properly designed and built, such as those by Cinemag (whose lineage includes making transformers for the top consoles in recording history) they are a thing of beauty, delivering a full, punchy sound like no other. Plus, thanks to the superior electronic isolation of transformers, noise and hum is reduced. That's why you can overdrive an MP-2A and get rich, milky distortion without the extra noise. The transformers you find in A Designs Audio's preasmps are hand- and "ear-" built by Tom Reichenbach of Cinemag. Tom is the son of the designer of the legend |
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A-Designs
In recording, there are certain things that you can only know through years of experience, such as which preamp works best on vocals, which one rules on guitar, or what preamp to use if you have a dark-sounding instrument or mic that needs some brightening. With A Designs Audio's EM series preamps you can let the 60 years of combined experience and super tone-sensitive ears of Jon Erickson and Pete Montessi save you years trying eek secrets out of pro engineers and lurking on forums. Each preamp in the series is designed to handle specific recording chores with the remarkable sound quality that A Designs Audio is now famous for. (Read the buzz on the forums, you'll find nothing but raves.) Best of all, you get high-quality audio in a space-saving and affordable package. Custom transformers, the key to a big punchy soundIn solid-state preamp design, the key to a big punchy sound rests in the input and output transformers. (That's where you get what is known as the big iron" sound of the '70s). To ensure top-quality sound, A Designs has their transformers custom-built by Tom Reichenbach of Cine-Mag, whose lineage extends back the days when his father Ed built transformers for Altec-Lansing in the '40s. Not only are the transformer hand-made, they're also ear-made" by Jon (who spent years rebuilding vintage gear for LA studios), and Peter (longtime LA musician and preamp guru), who won't okay a transformer design until they get exactly the sound they're looking for. With the A Designs P1, you can put those ears and 60 years of combined experience to work for you and bring your recordings to new sonic heights. A single, affordable channel of the incredible Pacifica for your A Designs lunchboxAccording to A Designs owner Peter Montessi, the P-1 was created in order to make the sound of the Pacifica, which has garnered nothing but rave reviews, accessible to more people. For those not familiar, the Pacifica has the sound of the already legendary Quad Eight console as its inspiration and that's a very important distinction. The P-1 and Pacifica are NOT clones of the Quad Eight. They have a sound all their own that's reminiscent of the Quad Eight (used to mix Pink Floyd's The Wall and Boston's "More Than a Feeling"), and according to Quad Eight owners, the Pacifica sounds better. Like the Pacifica, the P-1 rules on guitars, is excellent for vocals and makes acoustic guitars shimmer. It's one of the most versatile preamps there is. This affordable high-end solid-state pre features 48V switchable phantom power, -20dB pad switch, and phase reversal. Custom wound output and input transformers, and direct inject hi-Z input for instruments. As with all A Designs Audio Modular preamps, the P-1 is VPR Alliance compliant.Requires the A Designs R52 (product # 180038) dual slot external power supply (See accessory box below). |
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A-Designs
Consider the A-Designs Pacifica solid state stereo microphone preamplifier if you're ready for your first really good preamp-or the last one you may ever need. How often in life do you encounter someone or something that no one has anything bad to say about? We haven't met that someone yet, but the something is the A Designs Audio Pacifica solid state, dual-channel preamp. This Tec Award nominated beauty has won more hearts than Jennifer Garner, and has, if you'll excuse the pun, garnered more praise from engineers and producers than just about any other preamp to hit the streets in a long, long time. A Designs Audio Pacifica, First Take: 2-channel, solid state preamp with 2 x front-panel hi-Z inputs Custom-wound input and output transformers Captures the sound quality of the legendary Quad Eight console but with more presence and high end Balanced XLR I/O, phase reversal, -20dB pad, +48V phantom powerThe Sound of the 70s RebornThe 1970s was a time of great music and great change in pro audio a golden age if you will. The introduction of solid state electronics led to an explosion in development and a very different sound than the tube gear of previous decades. The recording console in a high-end 1970s studio was likely a Neve, API, or Quad Eight. These companies set the standards for audio quality with a unique sound firmly imprinted on the popular recordings of the era. Even though the Quad Eight mysteriously faded from view, many engineers firmly believe that the Quad eight Ventura, Coronado, and Pacifica consoles were the very best sounding of the big three. Boston s More Than a Feeling and Pink Floyd s The Wall were mixed on a Quad Eight!But rather than just crank out another clone, A Designs Audio s Peter Montessi and audio designer Jon Erickson (who spent years bringing vintage gear back to life for LA studios), added their own touch to bring the preamps of the glory days to serve the present-day needs of the recording world. The result is the Pacifica, a fabulous-sounding preamp the captures the heart and sole of the California and takes the LA sound a step further.Custom Transformers, the Key to a Big Punchy SoundIn solid-state preamp design, the key to a big punchy sound rests in the input and output transformers. (That's where you get what is known as the "big iron" sound of the '70s). To ensure top-quality sound, A Designs has their transformers custom-built by Tom Reichenbach of Cine-Mag, whose lineage extends back the days when his father Ed built transformers for Altec-Lansing in the '40s. (Ed Reichenbach was also one of the designers of the Quad Eight console on which the Pacifica is based.) Not only are the transformer hand-made, they're also ear-made" by Jon and Peter, who won't okay a transformer design until they get exactly the sound they're looking for. After extensive listening tests and redesign after redesign, they finally found the sound they were looking for. And herein |
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A-Designs
After noticing that most lunchbox-style rackmount power supplies always seemed to have only two slots in use, A Designs Audio created the R52 power supply. Now, rather than spend big bucks on an API lunchbox, the R52 gives you an affordable way to bring the magic of A Designs into your studio. Plus, you can easily add more as your studio grows. You are able to use the R52 and A Designs module combinations in four basic ways:1. Loaded with two preamps it becomes a dual channel Mic Pre 2. Loaded with two EQ's it is a dual channel EQ 3. Loaded with one preamp and one EQ and LINK engaged, it is a complete pre/post EQ recording channel 4. Use one preamp and the EQ in the R52 and bypass your pre on your guitar/bass/keyboard amplifier and have a totally different amp for any live situation.The R52 works normally in dual mono, via an XLR in and out for each channel. This enables use as a conventional two channel system for 500 mic pres or EQs. A special feature on the R52 is the LINK switch, which sends the output of Channel 1 (slot 1) to the input of Channel 2 (slot 2). This enables a console-like configuration with an input preamp on channel 1 feeding an EQ on channel 2 to a single balanced XLR output; the channels cascade, channel 1 feeding channel 2 like a console strip. However, the XLR output on Channel 1 (slot 1) is not disconnected during LINK so in a preamp slot 1, EQ slot 2 configuration, you have in 1U a "dry" direct out, a pre-EQ balanced output, and a "wet" post EQ balanced output. This unique option makes it especially flexible to those who own two preamps and two EQs with one rack, so 3 different combinations of systems can be configured in the field by the user. |
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A-Designs
What do world-class bassists Reggie Hamilton and Justin Meldal-Johnsen have in common with producer/engineers Tony Shepperd, Ted Perlman, and Dylan Dresdow? The answer is using the A-Designs REDDI Tube Direct Box as their go-to DI. The REDDI has been field tested and referred to by recording engineers as the "best tube DI ever made." With wider bandwidth and just the right amount of gain, the REDDI stands clear and clean above the competition. Great for basses, guitars, synths, and electronic instruments that require a direct box for recording, the REDDI is ready to give you sound for recording or live performance that you won t ever want to be without. A Designs Audio REDDI, First Take: All-tube direct box with custom output transformer Based on the Ampeg B-15 with an ultra-wide frequency range New version adds a 1/4" thru jack Field-tested by notable engineers/producers before releaseAll-tube and custom transformers the key to big, punchy sound Inside its unmistakable fire-engine red case, the REDDI houses a toroid power transformer, which offers the quietest operation, and a 6N1P tube-driven amplifier that feeds signal direct into a massive custom output transformer. Therein lies the secret to its sound. It s a well-known fact that transformers are responsible for a truly big, punchy sound (also called the big iron sound of the 70s). By sending the tube-amplified, harmonically rich signal direct to a transformer that is hand and ear built you get a sound like no other. (You don t have to take our word for it, see what the pros are saying below.) Ultra-wide Frequency Range Based on the sound of the legendary Ampeg B15 all-tube bass amp, The REDDI's tone is tight, focused, and deep in essence, right in the pocket. It s ultra wide frequency range is another reason for the depth and clarity of the bass, as well as its unique ability to add a sense of dimensionality to whatever instrument is played through it. Another thing that professional bassists have discovered, is that rather than combining the DI sound with an amp, as is customary in bass recording, that sound of the REDDI alone is just perfect. On guitar, keyboards, and other electronic instruments, the REDDI works its particular brand of magic just as effectively as it does on bass. In fact, once you own a REDDI, you ll be tempted to put just about anything you can through it. (In fact, Grammy-winning producer Ted Perlman, has even used the REDDI with a Shure Green Bullet mic to record harmonica!) New version adds a 1/4" thru jack In order to keep the focus of the REDDI on sound quality, A Designs included only the most necessary features. On the original version of the REDDI, A Designs Audio had eliminated the 1/4" thru-put. The reason was because the REDDI sounded so good on its own, A Designs wanted users to realize that they didn t need to combine a miked amp with the direct sound of the REDDI. But A Designs listens to its customers and added a 1/4" th |
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Ableton
So you already have a feel for what Live can do, and now you want the full spectrum of what it does. Time to upgrade to Live 7 with this specially priced software update made specifically for Live 1 through 5 owners.Two Views to Choose You'll find that Live 7 makes a big difference, especially in the live setting, with it's two main views which allow you to do all your work within a single application. The Session View is essentially a musical scratch pad. You can work out new ideas and improvise in a free and easy environment. Each cell in the Session View grid can hold a recording, MIDI file, or any other musical idea, whether they're recorded on the spot or dragged in from the browser. Then you can play your ideas in any order or any time you wish. The Arrangement View takes a more traditional, timeline-based approach to multitrack recording, MIDI sequencing, and other music production tasks. It will record all your actions as you improvise in the Session View, allowing you to edit them whenever you like. Either view you use is simple and basic enough to make your tasks simple and efficient, which is especially useful during a live performance.Elastic Audio With Live 7, you can automate the tempo and it will adjust the music, drum loops, multitrack creations - whatever you add - for you. Record it at whatever speed you're comfortable with, and then play it back until you find the pace you're intending to use it at. Apply a variable amount swing or use Live's Warp Marking function to arbitrarily adjust beats within a loop or audio file. This makes it easier to match music to the hit points or key frames if imported video, or fix timing errors, and with the Auto Warping feature, you can drag in an audio file and it will automatically be assimilated to the tempo you're working in. This makes Live a great ally for DJs, soundtrack producers, and every day musicians alike.Uninterrupted Creative Flow The drag-and-drop interface lets you experiment, browsing and previewing audio files at the project tempo, in realtime, so you can record perfectly cut loops, add effects, and mix and match audio without stopping the music. You'll also get full support for your favorite VST and AU effects and instruments. Utilize quantized loop recording to go straight from recording into looped playback by simply hitting a button. To help uncomplicate things when you're working with a large quantity of effects, instruments, and numerous tracks, Ableton Live has a Freeze function that keeps things moving while you continue experimenting with your editing and automation. Software for Studios Live 7 is a wonderful partner in the studio, serving as your main DAW or as an assistant producer, giving you the professional features you need to record, produce, and perfect ideas. It gives you multitrack recording up to 32-bit/192 kHz, with 64-bit mix bus summing, automatic plug-in delay compensation, and POW-r dithering. It also has a flexible |
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Ableton
Live 6 is so 2006. But now, Live 7 is here. So take advantage of the updated Ableton Live with this specially priced upgrade for owners of Live 6. You already know what to expect as far as quality, but here's what else this version offers:Two Views To Choose The Session View is essentially a musical scratch pad. You can work out new ideas and improvise in a free and easy environment. Each cell in the Session View grid can hold a recording, MIDI file, or any other musical idea, whether they're recorded on the spot or dragged in from the browser. Then you can play your ideas in any order or any time you wish. The Arrangement View takes a more traditional, timeline-based approach to multitrack recording, MIDI sequencing, and other music production tasks. It will record all your actions as you improvise in the Session View, allowing you to edit them whenever you like. Either view you use is simple and basic enough to make your tasks simple and efficient, which is especially useful during a live performance.Elastic Audio With Live 7, you can automate the tempo and it will adjust the music, drum loops, multitrack creations - whatever you add - for you. Record it at whatever speed you're comfortable with, and then play it back until you find the pace you're intending to use it at. Apply a variable amount swing or use Live's Warp Marking function to arbitrarily adjust beats within a loop or audio file. This makes it easier to match music to the hit points or key frames if imported video, or fix timing errors, and with the Auto Warping feature, you can drag in an audio file and it will automatically be assimilated to the tempo you're working in. This makes Ableton Live a great ally for DJs, soundtrack producers, and every day musicians alike.Uninterrupted Creative Flow The drag-and-drop interface lets you experiment, browsing and previewing audio files at the project tempo, in realtime, so you can record perfectly cut loops, add effects, and mix and match audio without stopping the music. You'll also get full support for your favorite VST and AU effects and instruments. Utilize quantized loop recording to go straight from recording into looped playback by simply hitting a button. To help uncomplicate things when you're working with a large quantity of effects, instruments, and numerous tracks, the Live update has a Freeze function that keeps things moving while you continue experimenting with your editing and automation. For Studios Live 7 is a wonderful partner in the studio, serving as your main DAW or as an assistant producer, giving you the professional features you need to record, produce, and perfect ideas. It gives you multitrack recording up to 32-bit/192 kHz, with 64-bit mix bus summing, automatic plug-in delay compensation, and POW-r dithering. It also has a flexible routing scheme, with sidechaining, and allows you to insert and re-order effects as the music plays. While it comes with a large variety of effects a |
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Ableton
So you already have a feel for what Live 7 can do, and now you want the full spectrum of what it does. Time to upgrade to the newest version with this specially priced software update made specifically for Live Lite owners.Two Views to Choose You'll find that the Live 7 upgrade makes a big difference, especially in the live setting, with it's two main views which allow you to do all your work within a single application. The Session View is essentially a musical scratch pad. You can work out new ideas and improvise in a free and easy environment. Each cell in the Session View grid can hold a recording, MIDI file, or any other musical idea, whether they're recorded on the spot or dragged in from the browser. Then you can play your ideas in any order or any time you wish. The Arrangement View takes a more traditional, timeline-based approach to multitrack recording, MIDI sequencing, and other music production tasks. It will record all your actions as you improvise in the Session View, allowing you to edit them whenever you like. Either view you use is simple and basic enough to make your tasks simple and efficient, which is especially useful during a live performance.Elastic Audio With Live 7, you can automate the tempo and it will adjust the music, drum loops, multitrack creations - whatever you add - for you. Record it at whatever speed you're comfortable with, and then play it back until you find the pace you're intending to use it at. Apply a variable amount swing or use Live's Warp Marking function to arbitrarily adjust beats within a loop or audio file. This makes it easier to match music to the hit points or key frames if imported video, or fix timing errors, and with the Auto Warping feature, you can drag in an audio file and it will automatically be assimilated to the tempo you're working in. This makes Live a great ally for DJs, soundtrack producers, and every day musicians alike.Uninterrupted Creative Flow The drag-and-drop interface lets you experiment, browsing and previewing audio files at the project tempo, in realtime, so you can record perfectly cut loops, add effects, and mix and match audio without stopping the music. You'll also get full support for your favorite VST and AU effects and instruments. Utilize quantized loop recording to go straight from recording into looped playback by simply hitting a button. To help uncomplicate things when you're working with a large quantity of effects, instruments, and numerous tracks, Live has a Freeze function that keeps things moving while you continue experimenting with your editing and automation. For Studios The Live 7 update is a wonderful partner in the studio, serving as your main DAW or as an assistant producer, giving you the professional features you need to record, produce, and perfect ideas. It gives you multitrack recording up to 32-bit/192 kHz, with 64-bit mix bus summing, automatic plug-in delay compensation, and POW-r dithering. It also ha |
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Access
Based on Access Music's award-winning synthesizer, Virus for PowerCore offers 16 voices with 3 main oscillators, 2 filters, 3 LFOs, and 2 envelopes for every voice. It is also equipped with an extensive series of oscillators, LFOs, independent multimode filters, and fast envelopes. The FX section features chorus/flanger, phaser, saturation, distortion, analog boost, and ring modulation. In addition, the global reverb/delay and the predelay time can be synched to a song's tempo.A global vocoder with up to 32 bands, and a built-in arpeggiator add to the feature set. Adaptive Control Smoothing allows super smooth parameter rides without any unwanted side effects, and an extensive modulation matrix makes it possible to create the most stunning sounds.Virus for PowerCore can be used as a VST instrument for Windows or Mac, as well as an Audio Unit plug-in under Mac OSX. The actual synth engine is powered by PowerCore, saving the host's CPU for other tasks.Sophisticated patch management gives you control over thousands of patches organized in automatically created hierarchical menus. The file format is the same Standard MIDI file used by the hardware synthesizers, and more than 4000 pre-programmed sounds are accessible from Access Music's website.The Base package offers a licence which enables up to 4 plug-in instances utilising one DSP (16 voices, 4 instances). A multi DSP license can be obtained on top of the Base package which allows the Virus to be instanced on all PowerCore DSPs simultaneously. |
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Access
The Access Virus TI offers the freedom of software synthesis, the power of computer connectivity, and independent hardware portability and control. It has 61 semi-weighted keys with velocity sensitivity and aftertouch. The dual DSP engine serves up 512 RAM and 2048 ROM patches with 80-stereo-voice polyphony (average) as well as a powerful array of oscillators, filters, LFOs, envelopes, and effects. You also get a per-patch programmable arpeggiator and studio-grade 24-bit/192kHz audio conversion. The Virus TI Keyboard links to your computer with VirusControl, a companion software product which ports the hardware synth into a host sequencer for use as a sample-accurate VST/AU instrument, simultaneously offering 2-way audio and MIDI connectivity, control surface functionality, editor and librarian functions, and more.Totally Integrated SynthesizerA scalable USB link connects the Virus to a Mac or PC for total integration of synth and studio. The VirusControl plug-in automatically detects and connects the synth, ensuring a hassle-free configuration every time.From inside a host application, the plug-in enables the Virus hardware to appear as a multichannel VST/AU soft-synth with up to 4 sub-mixes (or 2 ž stereo). Access' proprietary driver technology makes Virus TI the world's first hardware synthesizer with sample-accuracy timing and a delay-compensated audio/MIDI connection.Seamless interconnectivity also provides a real benefit in the software sequencer environment. All multi-timbral sounds and settings used for a project are stored within it with the plug-in, for snapshot total recall, plus editor and librarian functions with no SysEx or 3rd party software hassles.The Virus hardware is also well-equipped to capitalize on the power of Total Integration. With 24-bit/192KHz balanced analog, S/PDIF I/O and MIDI in and out ports, the new Virus is well-suited for use as the main audio and MIDI I/O center for your entire rig. These functions are especially practical for the laptop studio, offering an unmatched range of features and capabilities from one product.Additionally, a Remote Mode allows the Virus hardware to become a control surface for any MIDI-capable device or software, mapping each of the 33 knobs to a specific MIDI message. TI ships with a great selection of templates and includes 32-user memories for custom controller maps. It's a powerful addition that greatly increases the value of the synth's studio footprint.The Legendary Sound of Access: EvolvedFor Total Integration the power and performance of the synth engine have been taken to new extremes thanks to a newly optimized core which delivers unprecedented performance. For starters, polyphony is more than doubled, to 80 voices under average conditions.Alongside the award-winning Virus oscillator models, two completely new types have been added. First is the real Wavetable oscillator model. This unique algorithm can blend waves to create evolving motion or switch bet |
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