1985 — 2023

MUSIC PRODUCTION TECHNIQUES / INDEPENDENT IN-DEPTH PRODUCT TESTS / ENGINEER & PRODUCER INTERVIEWS / LIVE SOUND

New dimensions in synthesis

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 LE ADER

ELECTRIC BLUES
Research by the Music Producers Guild shows that To give you an idea of the potential impact, ARC
studio booking rates are the same today as they were Studios near Oxford are currently paying around £1100
15 years ago. High-end studios such as Liverpool’s per month just to power their air-conditioning, which
Sam Inglis
Editor In Chief
Motor Museum and Kempston Street Studios are fully is vital to prevent equipment from overheating. From
booked, but there’s constant downward pressure April, that figure could treble, meaning air-con alone
on these rates, as labels demand more for less. At would be eating up nearly a week’s gross income for
the same time, the costs involved in running a studio the studio every month. That’s not even considering
have spiralled. the cost of powering equipment (and no, you can’t just “Squeeze studios,
The studio sector had barely found its feet after turn an SSL off when you’re not using it).
Covid before Russia’s invasion of Ukraine sparked But the thing is that studios are culturally significant.
and you choke
a global energy crisis. An MPG poll has found that British artists Harry Styles and Wet Leg carried off the pipeline
studios are paying between 250 and 400 percent multiple Grammy and BRIT Awards with projects wholly
more for their electricity now than they were in 2021. or partly recorded in Britain. Kempston Street (originally
that develops
This has been a heavy blow, and it’s about to get Parr Street) Studios invested three years of largely new artists and
a lot worse. If it wasn’t for government support, costs unpaid work into helping Blossoms blossom. Motor
would have spiralled even further — and that support Museum has likewise been a linchpin of the thriving
producers.”
is about to end. Liverpool scene, supporting local acts. If these studios
From April, the vital energy support scheme that are forced to tighten their belts even further, that
recording studios have received is set to reduce risk-taking will suffer. Squeeze studios, and you choke
drastically. The new scheme currently set to take over the pipeline that develops new artists and producers.
from April is split into two categories. Institutions that The long-term cultural and economic value of
are considered culturally significant, such as zoos, Britain’s recording industry is far greater than the
museums and libraries, can claim the top tier of this short-term cost of helping it through our present crisis,
new scheme. The discount is applied to 70 percent and the Music Producers Guild are rightly campaigning
of the usage and can provide a maximum discount of to have studios recategorised so that they can qualify
£89.1/MWh for electricity customers. But studios have for the higher tier of government support. You can help
been told that they’re only eligible for the lower-tier by either joining the MPG or writing to your own MP
discount of 1.9p per unit. and explaining just how much is at stake!  

A DM I N I S T R AT I ON E D I T OR I A L ADV ER T ISING
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ALLIA BUSINESS CENTRE Managing Director/Chairman Ian Gilby Editorial Director Dave Lockwood Sales Director Robert Cottee
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T +44 (0)1223 851658 Marketing Director Paul Gilby [email protected]
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P R ODUC T I ON Production Editor Chris Korff
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4 April 2023 / www.soundonsound.com

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TECHNOLOGY
Distributed in the UK & Ireland by Sound Technology Ltd | soundtech.co.uk | 01462 480000
 132 INSIDE TRACK

IN THIS ISSUE www.soundonsound.com

April 2023 / issue 6 / volume 38

FEATURES WIN

34 Staying Healthy In The Studio

Part 1: Sleep
Setting boundaries to protect our health is hard, but it will help us
live longer and do better work.

NEVE 88M
52 Do You Need A Subwoofer?
If you need more low end from your monitors, adding a sub can

AUDIO INTERFACE
be very tempting — but is it the right option for you?

66 Sleaford Mods: Recording UK Grim

As their new album reveals, there’s a lot more to the minimalist,
WOR TH £1074
abrasive sound of Sleaford Mods than meets the ear. PAGE 82

80 How I Got That Sound

The multi-talented Leo Abrahams explains how he made a whole
track with a guitar and some very in-depth parallel processing.
120 Ian Shepherd: Loudness & Dynamics
It’s nearly a decade since the LUFS standard for loudness
measurement was defined, yet many still seem confused about
84 Controlling A Neo Instruments
what it means for music production.
Ventilator II From A Stage Organ
This DIY adaptor cable will fool your organ into thinking a real 132 Inside Track: Ethan Stevens
Leslie is attached. Metro Boomin’s right-hand man is championing old-school
mixing techniques in the 21st Century.
108 Modular
Synthesizer legend Lisa Bella Donna talks about Moog and her 144 Q&A
long love of modular. Your studio and recording questions answered.

118 Talkback 162 Why I Love... The Electrix Repeater

Experimental producer Mikado Koko on serendipity, her favourite Ted Morcaldi on why the Electrix Repeater is still king of the
iPad music apps, and remixing Noam Chomsky. hardware loopers.
 46 WARM AUDIO WA-MPX & WA-2MPX

ON TEST
8 sE Electronics DCM3 & DCM6 62 Multichannel Microphone 110 Hit’n’Mix RipX DeepCreate
Dynamic Microphones Array Design Source Separation & Audio
Book Review Processing Software
10 Ampeg SVT Suite
Bass Amp Modelling Plug-in 62 OneOdio Monitor 80 114 Arturia Pigments 4
Open-back Headphones Software Synthesizer
12 Klevgrand Tomofon
Software Synthesizer 63 Wave Alchemy Glow 126 Sonarworks SoundID Reference
Reverb Plug-in For Multichannel
14 Slate + Ash Choreographs
Virtual Instrument 64 Soundevice Digital Mastermind Monitor Correction System
Mastering Plug-in
16 G-Sonique Techno Reverb RRTX24 138 Tokyo Dawn Records
VST3 Reverb Plug-in For Windows 74 Imaginando VS SimuLathe
Visual Synthesizer Vinyl Mastering Preparation Plug-in
18 Wave Arts Panorama 7
3D Panning Plug-in 76 Zoom AMS-22, 24 & 44 146 Sample Libraries
USB Audio Interfaces
20 Arturia MiniFreak V Noon Instruments Toska
Software Synthesizer 88 DPA Ultimate Recording Kit Sonora Cinematic Harmonic Bloom
Microphone Collection
Heavyocity Avant Modern Keys
22 IK Multimedia iRig Stream Mic Pro 92 OM System LS-P5
USB Microphone & Audio Interface Sample Logic Genesis - Pads In
Stereo Digital Recorder Motion
COVER

26 Expressive E Osmose 96 UA Sphere DLX & Sphere LX

40
Polyphonic Synthesizer
Locomotive Audio WT-Comp
Modelling Microphone Systems WORKSHOPS
100 Chris Hein OCTA
Vari-mu Compressor Sample Library
42 Lauten Audio LA-220 v2 148 Studio One
104 Strymon Cloudburst
Cardioid Capacitor Microphone Digital Reverb Pedal 150 Cubase
46 Warm Audio WA-MPX & WA-2MPX 106 Instruō Cnōc & Cruïnn 152 Digital Performer
Valve Microphone Preamplifiers Eurorack Module
156 Pro Tools
58 Korg Drumlogue 107 RYK Modular Vector Wave
Drum Machine Eurorack Module 158 Logic
 ON TE ST

sE Electronics
DCM3 & DCM6
Dynamic Microphones The DCM6 has
a button at
its base to
sE’s new dynamic design comes in engage the
both active and passive flavours. Dynamite
preamp
circuitry, but
Physically the mics measure 158 x 86 x 62mm and
the two mics are
weigh just over half a kilogram. Outwardly the only otherwise identical.
obvious difference is that the DCM6 has a red
button on the base to turn on or off the I did notice that these mics pick up a lot
Dynamite preamp. of low end from their surroundings. They
Gold-plated XLR connector pins don’t have onboard low-cut filters, so for
are used to help avoid contact voice recording, adding low cut on your
resistance due to corrosion, while preamp, interface or DAW plug-in might
the capsule itself uses a neodymium be a good plan. Of course the generous
magnet and a copper voice coil to bass extension cuts both ways, so when
achieve a frequency range of 40Hz-18kHz you come to record drums, bass or electric
(-10dB), with the DCM3’s sensitivity specified as -52dBV. guitar, you can be sure you’re not going to
The frequency graph in the manuals for both models lose any low-end punch.
PAUL WHITE
shows a very broad presence hump starting at around For podcast-style recording, I found that
hile sE made their 1kHz and falling back again by 18kHz, centred at 5kHz I needed to have the gain control on my

W mark building
capacitor studio
mics, and later some notable
and around 6dB above nominal at its highest point.
The basic microphone body design includes
an integrated pop filter, a shockmounted capsule,
interface turned most of the way up when
using the DCM3, but the result was still
perfectly clean. Using the DCM6 with the
ribbon models (including and an integral swivel mic-stand mount that comes Dynamite boost switched in meant I needed
the Rupert Neve-designed with a thread adaptor for US or EU threads. In many much less preamp gain, but in other
RNR-1), they also have a range situations the internal shockmounting means that an respects the sonic outcome was identical.
of moving-coil models, to external shockmount will not be necessary, though A clear benefit of the active circuity is that
which the DCM3 and DCM6 the mic is very sensitive to low frequencies. A fairly budget preamps don’t have to be pushed
are the latest additions. Both standard-sized dynamic capsule, protected by the hard to get the required gain, and you can
employ the same capsule, type of basket you might expect to find on a handheld also record quiet instruments and other
with a frequency response live-sound mic, sits on a wide, squat body, allowing sounds that are a little further away without
voiced to capture a smooth and the sculpted foam windshield that fits over it to follow struggling for level. The dual-stage pop filter
natural vocal sound, the key its contours. Unscrewing the basket reveals that the (foam and wire basket) is also very effective.
difference being them being capsule is mounted in a very resilient suspension. Given their affordable price, build quality
that the DCM6 incorporates Priced at around 50 percent more than its and sonic credentials, I have to conclude that
active circuitry derived from passive sibling, but still very affordable, the DCM6 both versions of this mic offer good value for
sE’s Dynamite inline preamp. has a seemingly identical technical specification to money as well as having uses beyond voice
Designed to be powered from the DCM3 until we come to sensitivity, which jumps recording. Indeed, there’s no reason not to
a standard phantom power from -52dBV to -22dBV when the active preamp is use them for live sound. I would have liked
source, this adds a fixed 30dB switched in. This requires 48V phantom power and a built-in low-cut filter switch, but other than
of clean gain. The preamp in draws just over 3mA. If the Dynamite button is pressed that I have no complaints.  
the DCM6 can be bypassed in with no phantom power applied, there is no output
when loud sources are being from the mic. In my tests, the DCM6 in passive mode summary
recorded, but is a real help sounds exactly the same as the DCM3 model.
These are both very capable dynamic
when dealing with quieter or
more distant sounds.
In Use microphones with numerous applications
beyond vocal and speech recording.
Both mics share the The voicing of these mics gives them a well-defined
same all-metal housing with top end, which aids speech clarity when used for
£ DCM3 €119, DCM6 €169.
satin black finish, and are podcasting or recording vocalists who need a little help Prices include VAT.
configured as end-address, to cut through. The broad nature of the upper-frequency E [email protected]
cardioid-pattern models. voicing avoids the treble sounding aggressive, but W www.seelectronics.com

8 April 2023 / www.soundonsound.com

 PROFESSIONAL MONITORS I ST6
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 ON TE ST

sound front — so I’m

pleased to say that this
one does! I tried a few
instruments and styles
and permutations of the
three amp heads and the
cabs or cabinet pairs,
and discovered a vast
range of bass voicings
which could fit any style,
from warm and fat to
aggressive rock. I have to
confess, though, that my
personal favourite is the
SVT-4PRO head, with its
in-built graphic equaliser
and compressor. Most of
my bass playing these
days is done on my
fretless bass, which I’ve
long thought sounded
good being DI’ed — but
it sounds so much bigger

Ampeg SVT Suite and somehow more solid through these

virtual amps!
All the pedals do their job well too.
A combination of the Opto Comp and
Bass Amp Modelling Plug-in Liquifier chorus worked particularly well
on my fretless bass. That Rocktaver
Ampeg’s first official plug-in a Sennheiser MD421, an AKG D112, a Coles also works smoothly, though of course
4038, an Electro-Voice RE20 and a Royer you’ll need good speakers to handle
offers a range of classic R121 ribbon. some of the lowest notes! As with most
heads, cabs and effects. Dual-cab and dual-IR modes enable similar octave pedals, it only works
two speaker cabs or speaker impulse with a monophonic input, but it’s also
PAUL WHITE
responses to be used at the same time, capable of producing a passable bass
arious companies have offered and should you want to experiment sound from a standard guitar. Having

V plug-in models of revered Ampeg

bass amps, but this one is the first
to come from Ampeg themselves, and as
further, there’s a facility to load your own
IRs. Each cabinet can be miked using any
of six virtual microphones, with adjustable
a selection of effects pedals on board
is great; it hasn’t made the GUI at all
cluttered, and it makes it easy to save
well as offering a selection of modelled positioning across the speaker and your pedal setup with your amp settings.
amps and cabinets, it boasts a range of a choice of straight or angled orientation. So even if you already have other
useful effects. Currently at version 1.1, the There are also three fixed room mics that plug-ins that do a similar job on the
company’s SVT Suite supports AU, AAX can be mixed in. To add to the range of amp-modelling front, this might make the
and VST plug-in hosts on Mac/Windows sounds available, the suite also includes plug-in appeal: it’s great to be able to
operating systems; I tested the plug-in in models of five Ampeg effects pedals, save the whole setup in a single plug-in.
Logic Pro running on a Mac. including two new ones — the Rocktaver The bottom line is that if you wish
octave pedal and the Phasifier. These join to record bass guitar without using an
Overview the Opto Comp, the Scrambler and the amp or modelling pedal, the SVT Suite
The plug-in offers the user a choice of Liquifier chorus. will get the job done in style and with
three classic Ampeg bass amp heads: There are 50 artist presets included, the minimum of fuss. But you don’t
the Heritage 50th Anniversary SVT, the and these cover most bass styles. That’s have to take my word for it: there’s
Heritage SVT-CL, and the SVT-4PRO. great if you like to use presets, but it’s a free 14-day trial, so it’s easy to decide
Any of these heads can be paired with important to note that setting up your own for yourself.
any of eight included Ampeg speaker is just as easy as using an actual amp head.
cabinet models, and these include the Separate tabs access the pedals (which are summary
classic Heritage SVT-810AV, complete with arranged as a pedalboard), the amp heads
A good-sounding emulation of Ampeg’s
flexible miking options. Other cabinets and the speaker/miking setups. real-world bass amps, with a selection of
include the SVT-610HLF, the SVT-15E, the heads, cabs and effects.
SVT-210AV, the SVT-212AV, the SVT-112AV
The Bottom Line
and the SVT-810 Squareback. In the Photorealistic amp panels would mean £ £149.88 including VAT.
virtual mic locker we find a Neumann U47, little if the plug-in didn’t deliver on the W https://ampeg.com

10 April 2023 / www.soundonsound.com

 ON TE ST

box into which you can drag

your own samples. Tomofon
can create an Audio
Model instrument from just
one sample or combine
multiple samples for
greater complexity, but it is
important that the imported
samples are monophonic
so as not to confuse the
analysis process. After
doing a few experiments
I concluded that the samples
that work best are of
a nominally consistent level
with no gaps, and that they
include some significant
timbral changes. For
example, if you just import
a sample of somebody
singing a sustained ‘Ahh’

Klevgrand include strings, vocals,

brass, woodwind, guitars
and so on. The way the
notes are spread across the
sound, the extracted waves
won’t have much variety
regardless of the position
from which they are taken.

Tomofon
keyboard is depicted in the Import a complete sung or
Audio Model display at the spoken word, however, and
bottom of the GUI, showing the instrument has more
the pitch zones and their formant information to
frequency range. When play with.
Software Synthesizer playing, Depth modulation
Conclusion
is shown by yellow dots
Klevgrand introduce a new take on moving vertically over the Despite the initial unfamiliar
wavetable synthesis. Audio Model. operational paradigm,
Above the envelope Tomofon is actually very
PAUL WHITE display are tabs for Gain, easy to use and, to my
Depth, Pitch and Filter, ear, produces sounds
vailable for Mac OS and Windows (AU/VST/AAX), the allowing them each to be reminiscent of traditional

A Tomofon plug-in might best be described as ‘a wavetable

synth, Jim, but not as we know it’. Klevgrand say that
the instrument employs a new ‘Audio Model’ format, containing
controlled by their own
envelope or LFO. There’s
a controller matrix at the left
wavetable synths,
occupying that twilight zone
between realistic samples
thousands of waves based on real audio as its sound sources. of the GUI, below which are and sounds that are entirely
It is not a sampler, though you can feed it with samples, and On buttons for four voices. synthesized. Some of the
it isn’t your usual wavetable synth either. As I understand the Delay and reverb effects are pad sounds are particularly
process, Tomofon analyses a monophonic sample, which can also built in. Below the ADR appealing. The options to
contain different notes, and then spreads the pitches across the envelope display, which control various parameters
keyboard in keygroups populated by separate wavetables. includes a loop between D by LFO or envelope can
Sounds are created by repeating single-cycle waveforms in and R, are controls for Time add a lot of movement to
a similar manner to the more familiar wavetable synthesis. It is and Value, but note that the sounds too, but you do
possible to modulate the position (Depth) within the wavetable the nodes on the graph can have to choose your own
from which waves are taken, which is what gives the sounds only be moved vertically, imported sounds carefully to
movement. Klevgrand explain that when playing a note at so in the horizontal plane avoid the results sounding
a certain pitch and at a certain Depth, the engine will find the the visual node spacing too similar.  
nearest two pitch zones and inside those two pitch zones find does not reflect the actual
the nearest two waves according to the Depth value, then it will spacing as set up using the summary
render a new momentary wave. Maybe I’ve oversimplified what time controls. Tomofon offers a new slant
is actually going on, but that seems to be the gist of it! Clicking the Editor button on wavetable synthesis that
brings up a file management produces some interesting results.
Diving In area, faders for Normalise,
Tomofon comes with 124 Audio Models and over 180 presets Smoothing and Clean Up, £ $129.99 including VAT.
based on multiple expressions of several instrument that as well as an Import Audio W www.klevgrand.com

12 April 2023 / www.soundonsound.com

 SSL ORIGIN from £35,999
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 ON TE ST

MIDI CC available. Being within the Kontakt realm,

it’s also easy to apply MIDI CCs, via MIDI Learn, from
a hardware controller.

Dancing Dots
The modulation section itself requires the selection of
a couple of menus to steer to the appropriate setting.
Once initiated any of the LFOs will treat you to
a little dot-based dance, reflecting the selected LFO
waveform, of which there are many. You can select
traditional wave shapes or jazz up your modulation
with rhythmic or complex waves.
The three step sequencers adopt a similar
outlook, allowing up to 16 steps per sequence, with
capacity to divert modulations to numerous sources
simultaneously. Step direction may be altered, along
with note value denomination.
In many quarters that would be more than enough
for a Kontakt instrument, but there is a further section,
which provides eight modules; these extend from
triggering and harmony to coloration, and they can
also be deployed simultaneously.

Slate + Ash The attributes of each module appear to the

right of each when selected, so arguably act as
another form of menu. The Trigger module operates
much like an arpeggiator, but when used alongside

Choreographs
Virtual Instrument sound designers as well as
the clock-based modulation sources can sound
amazingly complex. The Harmony module allows the
addition of notes to yield a chord from a single note
trigger. This thickens the texture significantly and
very quickly, with the notes assigned being open to
composers the quality is as modulation from previously mentioned sources. Away
Choreographs is not so assured as it is substantial. from the initial note triggers, other modules in the
There are also drum and section affect timbral colour, via amp simulators and
much a Kontakt instrument as
sound effects sources, distortion. The significant depths that you can plumb
a perpetual motion machine. adding to the palette. by way of modulation are so extensive that you can
These initial elements create some amazing pulsating textures. To provide
DAV E G A L E feed directly to some some initial examples, Slate + Ash have curated an
effects; a delay, reverb extensive set of preset patches, categorised to guide
ill Slater and Simon Ashdown, and impulse response you to your preference.

W better known as the

developer/composer and
sound-designer collective Slate + Ash,
engine are independently
populated alongside the
oscillator and filter. This
Final Steps
Slate + Ash have always created fascinating and
have always been known for extending might seem bizarre, but beautiful-sounding instruments and Choreographs is
the boundaries of Kontakt instruments. it ties into the modulation no exception. Sonically, it sounds clean and musical,
Their latest navigates a beautiful element of Choreographs. but with the ability to add grit where you may need
medium between steps and triggers, Each of these primary it. It has capacity on many different musical levels,
with multiple modulations. components adopts but excels at pulsing and rhythmic patterns, with
the guise of a fader, continued interest provided through modulation.
Upfront Collectives with activation placed The ability to get lost in the Choreographs sound
As a synth construct things appear above and modulation world, and create unique patches, is one of its most
relatively familiar, with three oscillators application below. Routing endearing qualities.  
up front, feeding a low-pass filter. The a modulator to either
oscillator wave content is significant, of these is as simple as summary
with 427 sampled sources, ranging from clicking underneath the
Choreographs is packed full of modulatory possibilities,
the more common saws and squares fader and selecting your which tempo-match beautifully with its triggered elements.
generated by vintage synths, through to modulation source. These With so many sampled sources built in, you’ll find it difficult
complex digital wave shapes generated are fairly abundant, with to exhaust its sonic capabilities any time soon.
by digital synths and modular sources. three LFOs, three step
The 22GB download provides an idea of sequencers, velocity £ £249 including VAT.
scale, but as Slate + Ash are in-demand control, randomisation and W www.slateandash.com

14 April 2023 / www.soundonsound.com

 ON TE ST

G-Sonique Techno
JOHN WALDEN

lmost every

A mainstream DAW now

includes a plug-in
bundle containing one or
more reverb plug-ins, so pretty
much every computer-based
music producer already
Reverb RRTX24
has access to a selection of
spring, plate, hall or other VST3 Reverb Plug-in For Windows
standard reverb ‘spaces’. But
if your music making features
an experimental streak,
you’ll probably enjoy reverb
effects that offer a little more
‘creative inspiration’ — and,
if you use a Windows-based
machine you might find
that G-Sonique’s RRTX24
Resonant Techno Reverb,
described by the developers
as an “algorithmic FX
extraterrestrial reverb”,
might appeal.
G-Sonique are a small
development team based
in the Slovak Republic, Seeking creative inspiration? This reverb might be up your street...
and while the RRTX24 has
been my first encounter G-Sonique’s website describes RRTX24 as an could definitely enjoy adding some of
with their plug-ins it seems “algorithmic reverb” but, in the absence of any formal these unusual sonic textures to their
they were founded back documentation or any instructional video, you’re productions, be that on drums, guitars,
in 2007, and they already pretty much left to your own devices to work out synths, bass or vocals. RRTX24 can
offer lots of modestly priced how the various controls interact. With appropriate certainly do ear-catching, and that often
virtual instruments, effects settings, you can essentially bypass the filters, means that it suits less busy/more minimal
plug-ins and sample packs. resonators and LFO modulation (it would be a cool musical arrangements; the quirkiness of
Their effects line-up includes addition if there were individual bypass buttons for the reverb often works best if the mix
a number of EQ, compression these three elements!) and dial in some very usable leaves some space in which it can shine.
and tape emulation/saturation conventional reverb flavours, using just the controls
plug-ins (mostly for Windows, within the Techno Reverb Engine panel.
Verdict
but some can run on Mac OS) However, once you move beyond the Engine I don’t know if RRTX24 is typical of
whose hardware inspiration is panel, in sonic terms things can quickly get G-Sonique’s broader range. But given
hinted at by their visuals. But experimental. For example, the different filter the combination of unusual features and
there is also a line of more types (various low, high, band and peaking filters wallet-friendly price, it could find favour
creative and/or experimental are available) can radically alter the nature of the with lots of independent electronic
effects, and the RRTX24 most reverb, while the LFO modulation can go from gentle music-makers with a minimalist music
certainly fits into this category. movement to adding an extreme sound-design production setup. If that’s you, and you’re
rhythmic element. That’s great for old-school working on a Windows system, there’s
In Use modulation, though there’s no option to sync the LFO a trial version available to download on
As you can see in the to the host’s tempo, which I might sometimes have G-Sonique’s website, and I’d very much
screenshot, the GUI is more appreciated. The Resonators panel lets you take your encourage you to try it out.
functional than fancy, with experimentation even further and, by this stage, you
a dark, almost industrial vibe. are able to go well beyond any conventional ‘space’. summary
The main controls are split It’s sci-fi, alien, industrial and artificial... and that, of
into four panels. There’s course, is the whole point! The results can be weird, If you’re a Windows user on the lookout
for some experimental reverb options,
a Preset Manager panel too, unconventional but also wonderful. G-Sonique’s RRTX24 plug-in is well worth
but you may find you don’t Naturally, this means this won’t be a plug-in exploring — and it won’t break the bank!
need it, since in my tests for everyone. But it most certainly could appeal
Cubase Pro 12’s plug-in preset to sound designers, whether for musical contexts £ €32.99. (Discounted to €19.90 when
system seemed to have direct or music-to-picture sound effects, and in a purely going to press.)
access to the presets. musical context, electronic music producers W www.g-sonique.com

16 April 2023 / www.soundonsound.com

_PolyBrute Noir

Discover the A sleek limited-edition of the Brute

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Exclusively distributed in the UK and Ireland by Source • T: 020 8962 5080 • W: sourcedistribution.co.uk/arturia
 ON TE ST

Wave Arts Panorama 7

3D Panning Plug-in
Can a plug-in really convey
the impression of 3D spatial
panning on both headphones
and stereo loudspeakers?
PAUL WHITE

everal DAWs include a binaural panner,

S but Wave Arts’ Panorama 7 takes the

concept further. It uses 3D audio and
acoustic environment modelling algorithms to
simulate the way sound behaves in real spaces,
and it works not only on headphones but can
create a 3D output that works with stereo
speakers too. An important feature is that it
includes boundary reflections: as the sound is
moved around the virtual space, the reflections
change, reinforcing the illusion that sources are
moving around the listener. AU, VST and AAX panning distances of up to 100 feet; the spatial effects. You could use data for
hosts are supported, on Mac OS and Windows. previous version offered a maximum of your own ears to optimise your personal
The most significant addition in this version 10 feet. The right-hand panel changes listening experience, of course, but
is a ‘pan sequencer’, which can automatically depending on whether Spatializer or a product like this is more likely to be
move the pan position of mono or stereo sources Sequencer mode is selected. Spatializer used to create music mixes for a wider
between user-defined ‘waypoints’ around the allows for placement of the direct sound audience, and since everyone has
head icon in the middle of the virtual space. This (in degrees or feet), setting of reflections a slightly different head shape and no two
can be thought of as a surround auto-panner, amount and boundary distances, and pairs of outer ears (pinnae) are the same,
and the sequencer has note value options boundary materials can be selected from some form of ‘average’ head and ear data
and multipliers, so that the panning effect can a menu offering soft drapes, reflective must be used. This means some will find
be tempo-sync’ed. (If you prefer to control the plaster, glass, unrendered concrete, and the 3D panning effect more convincing
panning path using DAW automation, you can more. An overall reverb type may also be than others do, especially when listening
do that in the usual way.) Panning can be circular added, along with settings for level roll-off on loudspeakers. But even if your brain
or spherical, and there’s an option to view the with distance, separately adjustable doesn’t quite buy into that ‘it’s behind you’
panning space from above, from the side, from for the Direct, Reflections and Reverb illusion, the effect still remains artistically
the rear or in 3D. components. Headphone or the type of impressive, conveying a genuine sense
There’s also support for the standard SOFA speaker arrangement can be selected on of movement and location within a space.
(Spatially Oriented Format for Acoustics) the right. Switch to Sequencer mode, and If you want to satisfy both loudspeaker
head-related impulse responses (HRIRs) — a link you have the option to add waypoints, listeners and headphone listeners, I find
on the Wave Arts site takes you to a conversion change the curve of the pan control ramp it best to use the binaural option only
application, Sofa2Pan, which can convert (linear, exponential or sine) and to set the to treat a mix’s ‘ear candy’ elements ,
SOFA files into Panorama format. This opens tempo-linked parameters for the pan. and keep all the key sounds in good old
up possibilities for educational use. Also added Separate tick boxes turn on Sequencer, stereo. All in all, it’s an intriguing plug-in
is a Near Head model, designed to improve the Near Head modelling and Doppler, that’s well worth trying.
accuracy for positions close to the head. This should you need to add pitch change that
works by calculating head shadowing based corresponds to movement.
summary
on a spherical head model. There’s also Stereo More than most ‘virtual surround’
Pan HRIR and Stereo Passthru HRIR, to facilitate
Impressions panners, Panorama 7 includes boundary
binaural to loudspeaker conversion. Having near perfect inter-aural reflections and an impressive surround
auto-pan feature.
I was interested to note that the new GUI separation, headphones naturally offer
was developed by Volger: based in Ukraine, he a more controlled environment than
£ Full price £154. Discounted to £102.34
has developed this and other interfaces while loudspeakers, and this inevitably makes
when going to press. Prices include
under bombardment! Graphical changes to the the 3D effect most convincing. But the VAT. Owners of Panorama 6 can
GUI include a darker look and a larger panning processing options for loudspeaker upgrade for a reduced price.
area, and you’ll soon notice the ability to emulate listening do still produce very worthwhile W https://wavearts.com

18 April 2023 / www.soundonsound.com

 NEW

12Mic-D
Network-Ready Microphone Preamp
with Dante, ADAT & MADI
The new 12-channel digitally controlled microphone preamplifier with no-compromise
A/D conversion and a multitude of features. Designed to make it a perfect companion
for any professional recording.

Dante Connectivity meets RME Reliability

The 12Mic-D represents the next generation of network-ready devices from RME, following
their concept of creating powerful and flexible devices. Merging 12 crystal-clear preamps
with comprehensive I/O options, remote-control functionality and the networking power of
Dante, the RME Audio 12Mic-D represents the cutting-edge of
RME’s preamp technology.

Worldwide Distribution: Audio AG, +49 8133 9181-0, www.audioag.com • UK Distribution: Synthax UK, +44 1727 821870, www.synthax.co.uk
www.rme-audio.com
 ON TE ST

Arturia MiniFreak V
SIMON SHERBOURNE

he V series instruments

T have, until now,

modelled classic synths
and keys from decades past.
Software Synthesizer
Now Arturia have hit a kind
of synth singularity, with their
new instrument arriving in
both hardware and software
versions simultaneously.
Initially MiniFreak V came
bundled with the hardware
synth, but it’s now available
separately. There’s no word
on whether it will get folded
into a future version of the
V Collection.

Modular Approach
I reviewed the MiniFreak in
December 2022 and loved
it. Most of what I said there
applies to the plug-in as it’s
essentially the same synth,
with the exception that the
analogue filter on the hardware
is recreated digitally. MiniFreak
takes the sound engine (or
more accurately, engines)
The MiniFreak V is every bit as good as its hardware counterpart.
and main topology of their 6-voice polyphony, there are modes where one Some elements that are highly tactile on
MicroFreak monosynth and oscillator feeds the other for FM and sound-shaping. the hardware feel a little disconnected on
expands on them to make Alternatively you can gang both oscillators to the same the plug-in, in particular the Macro controls
a much more versatile poly. It’s engine in a 12-voice paraphonic mode. and the sequencer. The Macros are a pair
not simply a multi-voice Micro: The MicroFreak’s useful Wavetable and Vocoder of performance sliders that can modulate
it’s got dual oscillator sections, modes are missing here, but Arturia say that they will up to four different parameters each, and
and all the other sections and return in new and better forms later. Even without are a key contributor in many patches. On
modulators have also been them, the range of sounds you can make with the the keyboard you can keep the Macros to
expanded and polyphonised. MiniFreak plug-in is impressive, from all kinds of hand, in place of the Pitch and Mod strips.
The joy of the Freaks is classic polys and keys, beautiful crystalline plucks You might miss their significance if coming
the multi-algorithm digital and shifting pads, to plenty of filthy basses and rave to the plug-in version using a regular MIDI
oscillators. Much like Mutable hoovers. Three multi-mode stereo effects stages controller, and you’ll definitely want to
Instruments’ Plaits module, contribute to the more lush and polished sound of map them. And if you happen to have the
you can dial between various the Mini compared to its Micro sibling. Sequencing hardware MiniFreak lying around, you can
different sound engines, and arpeggiation are also at the heart of the Freak’s take direct control of the plug-in from there.
including basic waves and offerings, with multiple modes, momentary effects
virtual analogue, Karplus and the Spice and Dice feature, which injects varying
Conclusion
Strong, Formant, Waveshaper, degrees of randomness. MiniFreak V has all the sonic versatility
and lots more. In fact and goodness of the hardware instrument.
some of the algorithms are
Interfaces What it loses in terms of hands-on control,
open-sourced from Plaits, and Arturia’s V instruments usually recreate the front panels it makes up for with the extra simplicity
three are derived from Noise of the original hardware, but the MiniFreak’s interface when programming and designing sounds.
Engineering’s Virt Iter Legio has been rethought to suit screen and mouse. For the Highly recommended.
module. For each oscillator most part this works really well, for example bringing
module, there’s a set of three real-time waveforms, dynamic control labelling and summary
core parameters that appear drop-down menus to the oscillator sections. It also MiniFreak is brilliant and has become my
on the orange-rimmed knobs makes modulation assignment in the Matrix a piece of go-to synth in both V and IRL incarnations.
below the waveform displays. cake. The graphics representing the effects are great,
As well as the default layering although I miss the quirky wireframe visuals used on £ €199 including VAT.
of two sound engines with the hardware. W www.arturia.com

20 April 2023 / www.soundonsound.com

 Your recordings
made better

10in | 14out Audio Interface

2 x Audient Console Mic Preamps | Class Leading AD/DA Converters

1 x JFET Instrument Input | 2 x Fully Balanced Inserts | 1 x ADAT Input & Output
Ultra-Low Latency | Audio Loop-back | Dual Headphone Outputs | USB 3.0
 ON TE ST

IK Multimedia
iRig Stream Mic Pro
USB Microphone PAUL WHITE
offers a choice of polar patterns (cardioid,
figure-8, omni or stereo) and is based on
& Audio Interface hese days pretty much everybody a back-to-back pair of half-inch electret

IK’s new iRig model

offers a lot of features for
T who makes microphones offers
a USB mic, but IK Multimedia’s iRig
Stream Mic Pro goes further than most by
capacitor capsules. While the iRig Stream
Mic Pro can be used with any app that
records or streams audio, it also comes with
including a multi-channel mode. Equipped iRig Recorder 3 LE (iPhone/iPad/Android)
your money. with 24-bit/96kHz converters, the mic software for audio and video recording.

22 April 2023 / www.soundonsound.com

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 ON TE ST
I K M U LT I M E D I A I R I G S T R E A M M I C P R O

You also get MixBox CS (for iPad) and audio. When the loopback symbol is
MixBox SE (for Mac/PC), which feature
IK Multimedia selected, loopback can be turned on or
a selection of effects taken from the T-Racks iRig Stream Mic Pro off by turning the knob (clockwise is on,
suite, including dynamics, EQ and reverb. €169 anticlockwise is off). When loopback is on,
Power comes from the host device’s PROS audio coming from the host device via USB
USB or Lightning port, and the iRig Stream • Affordable. is routed back to the host along with the
Mic Pro is MFi certified, which means you • Flexible routing options. mic and aux signals, so you should check
can use an optional DC PSU to charge the • Multiple mic patterns including your host routing to make sure you don’t
connected Lightning device while using the stereo. create a feedback loop.
mic. Mini-DIN to iOS Lightning and mini-DIN CONS Holding down the knob for five seconds
to USB-C cables are included to facilitate • The stereo mode is actually a dual accesses the operation mode menu, where
connection to current iPhones, iPads and capsule back-to-back mode, so stereo the LED ring shows whether the mic is in
Android devices, as well as Macs and PCs. recording techniques may have to be two-channel or multi-channel mode. In
adapted.
Constructionally, the mic is housed in two-channel mode, each channel carries
a chunky, non-resonant plastic case and SUMMARY the mic signal plus the aux and loopback
incorporates a metal desk stand attached Much more than just a USB mic, the contributions, whereas in multi-channel
using a swivel mount. A turn-and-press iRig Stream Mic Pro offers multiple mode, channels 1+2 carry the left/right
polar patterns, a stereo mic mode,
encoder surrounded by an LED ring mixes of the aux and loopback feeds,
a loopback input and stereo line-level
occupies the front of the mic, with 3.5mm recording. It’s also very intuitive in use. and channels 3+4 carry the discrete mic
TRS jacks for the headphone out and signals. The output side of the interface is
aux input on the underside. A mini-DIN supported, so that you can hear the final always stereo.
connector on the back of the mic accepts sound of the mic without latency using the
the included USB or Lightning cable, and onboard headphone amp.
Performance
the power input is also on the back. Although controlling everything from Importantly, the mic delivers a clean sound
Usefully, the iRig Stream Mic Pro a single knob might sound like it could get with no significant background noise,
incorporates IK’s Loopback Plus, which complicated, the way the illuminated icons and is suitable for various instrument
allows the user to bring in audio sources and LED ring work together actually makes recording tasks as well as vocals and
from other software running on the things very straightforward. Pressing the podcasts. The only mic spec is a rather
same computer or mobile device. This encoder steps through the setup options, vague 20Hz-20kHz frequency response
makes it possible to route the mic signal with visual feedback from the illuminated (without quoting the ‘dB down’ limits)
into a separate app and a maximum SPL
to add reverb, EQ or “The mic delivers a clean sound with no handling of 115dB. Having
noise-reduction processing, a choice of mic patterns
before being passed on significant background noise, and is suitable is welcome, though it is
to the likes of TikTok or worth mentioning that
Instagram. In the basic
for various instrument recording tasks as well the back-to-back stereo
two-channel mode, any line as vocals and podcasts.” configuration is a little
inputs or loopback sources unorthodox and may be
are mixed down to stereo along with the icons beneath. For example, when you more useful for placing between two
mic signals, which is usually what you want get to the Mic Patterns icon, pressing sound sources rather than in front of them
when live streaming. If multi-channel mode the encoder again allows the knob to be for conventional stereo recording. You
is selected, the two mic capsules are routed turned to select the appropriate pattern, may also find that room acoustics play
to channels 3+4 while the loopback and aux again shown by the icons. When the stereo a large part in how effective the stereo
inputs feed channels 1+2, so that up to four pattern is selected, the two capsules are mode sounds.
discrete audio sources are available for use routed separately. The cardioid mic symbol The iRig Stream Mic Pro’s routing
in a DAW or other recording app. shows green for stereo or blue for mono, abilities lend themselves to more elaborate
and the knob sets the mic gain, with the podcasting setups and also to studio
How Use LED ring acting as a peak level meter for recording, as you could record separately
The mic is set up using only the press-and the mic signal. During adjustment the LED from the two mic capsules and from
turn encoder, which also mutes the audio ring shows the gain setting for a couple a stereo line-level source (via the aux input)
for around half a second when pressed to of seconds before reverting to metering at the same time. That loopback facility
avoid disturbing noises. Using the encoder mode. Pressing and holding the knob could also prove extremely useful for
you can control the microphone gain, mutes and unmutes the mic capsules, podcasting and streaming applications.
mute status, headphone volume, overall whereupon the mic symbol turns orange I think it is fair to say, then, that iRig
streaming level, loopback on/off, monitor to indicate that mute is active. Step to the Stream Mic Pro is both versatile and good
mix, pattern selection and a high-pass filter Headphone symbol to access the phones value considering its abilities and sound
(off, 60Hz, 100Hz or 200Hz). An 11-segment volume, and so on. quality — and you also get MixBox SE
LED display around the knob plus a row of When the streaming symbol is selected, for free.
backlit symbols provide visual feedback the knob sets the overall level of the
when setting up. The LED ring doubles streaming audio, which is a mix of the mic £ €169.99 including VAT.
as a level indicator. Direct monitoring is capsules, the aux in and any loopback W www.ikmultimedia.com

24 April 2023 / www.soundonsound.com

 ON TE ST

Expressive E Osmose
software and hardware synths is still
Polyphonic Synthesizer entirely possible, though, via USB or DIN
MIDI (and even CV: see the ‘Additional
Expressive E’s Osmose is a synthesizer like no other. Expressive Control’ box for more
ROBIN BIGWOOD
Two things mark out the Osmose about that).
as substantially different to its obvious So it’s all a fascinating prospect, and
he quest to make MPE-friendly competitors. First, it has it’s here at last. After such an extended

T keyboard-based synths
expressive has taken quite
a journey over the decades. First there
what might appear at first sight to
be a conventional keyboard action,
with full-size black and white keys.
billing, does the Osmose reality live up to
the hype?

Physical
were levers, wheels, pedals, the odd A totally different kettle of F#s from the
touch strip and breath-controller input, Seaboard’s squishy continuous silicone The Osmose is quite a hefty unit,
and keyboard aftertouch. More recently rubber surface, the K-Board’s hard strips, weighing in at 8.3kg, and measuring
we’ve seen more radical experiments and the Linnstrument’s fret-like squares. 894 x 316 x 87.5mm. The base and
in form factor, underpinned by the MPE Actually it’s far from conventional, as we’ll sides of the casework are a tough
(MIDI Polyphonic Expression) protocol: see in a minute, but it’s relatively more so plastic, and the top panel is metal. The
they include ROLI’s Seaboards, KMI’s than any other MPE keyboard to date. construction quality feels really good: it’s
K-Board and Roger Linn’s Linnstrument. Second, it has a built-in synth engine. a classy product.
Now there’s another option, in the So for the first time since the original Up top, various controls surround
form of Expressive E’s Osmose. This (but now long-discontinued) Seaboard a high-resolution colour LED screen that
was announced by the French company Grand we have a complete, stand-alone, offers good visibility and contrast from
back in 2019, with a launch planned relatively affordable expressive synth that almost all angles. The buttons include
for later in 2020. But with the small doesn’t rely on compatibility with soft dedicated preset up/down recall and
intervention of a global pandemic, it’s synths running on an attached PC. That octave transposition up to two octaves
taken until now for production to go into gives the potential for tighter integration in either direction. There’s also a pair of
full swing and units to start getting out between touch and sound, and better fader-like handles, one sprung and one
to purchasers. immediacy and ease of use. Control of not, in the normal way, for pitch-bend

26 April 2023 / www.soundonsound.com

 at the rear. And from there on it gets more will produce attacks that positively jump
unconventional still. out of the speakers if you tap or fully
Keys have an initial dip of about 9mm depress the key more quickly. Some
to a first point of resistance. Keep pushing sounds will trigger another range of
though and they’ll go much further: for responses when you let go of the keys at
white keys, at least as far again, and different rates. Yet others offer staggered
for black another 4-5 mm. Massively attack points, with discrete events at
more than the (at most) few millimetres perhaps 2, 4 and 6 mm into the key dip.
of aftertouch movement offered by Or, all of these things combined.
a conventional synth action, and far I was expecting the Osmose key
smoother and more fluid in feel. action to be expressive, in some general
And here’s the bombshell: the keys sense. The reality is more sophisticated
also move from side to side. Black keys and musically potent: it’s a truly exquisite
subtly rock up to about 4mm both left and level of sensitivity on offer, with a feeling
right at all times. White keys can’t move of in-the-moment immediacy that can be
much at rest, but as soon as you depress breathtaking. Yes, it’s a simple synth-like
them even a millimetre or so they’ll keyboard, in one sense. But this action
wiggle almost as far, staying horizontal as also has aspects of response that are
they do so. closer to various percussive instruments,
As you might expect, these novel perhaps hand drums or metal pans.
dimensions of key travel are intimately Or, just as often, it gives the sensation
involved with the expressive response that your finger has become bow- or
of the Osmose. The left and right X-axis breath-like. The very high level and speed
movement is essentially for key-driven of integration with the sound engine
pitch bend, so you can wobble your is no doubt crucial in supporting this.
fingers for vibrato. Pitch-bend amount is There’s also a real feeling of ‘aliveness’
determined by the patch, but even then, in many sounds, with a degree of timbral
there’s the scope for different players’ complexity and development that is
vibratos to be quite unique. Single finger beyond most virtual analogue synths.
touches easily activate it, but you can
go further by supporting a key-front with
Osmose Advanced
your thumb, for example. So that’s how it feels. How does it work?
The initial and aftertouch-like key Well, the integration with the onboard
dips have some similarity in playing feel synth engine really is important. The
and modulation. None of the buttons with what conventional synths offer from synth is called the EaganMatrix, and is
and encoders surrounding the screen their velocity and aftertouch phases, but identical to that used in one of the most
have a dedicated function but are ‘soft’, in reality the situation is more complex long-established and sophisticated (but
relating to what’s visible on the screen and subtle, and capable of vastly greater
next to them. The endless encoders can expression. To understand it, for the
also be push-clicked to confirm settings purposes of this review, we can do it the
Expressive E Osmose
and so on. easy way or the hard way... Actually let’s £1659
Rear-panel connections include do both. PROS
a stereo pair of quarter-inch • MPE-like (and better) expressivity
pseudo-balanced TRS line outputs,
Osmose Easy delivered through a ‘normal’ moving
two quarter-inch pedal inputs, a USB-B Using various onboard synth sounds, it’ll key action.
• The onboard synth sounds superb
socket, DIN MIDI In and Out, and an inlet take most players only seconds to realise
and is beautifully integrated with
for the supplied 12V 1.5A centre-positive the Osmose key response is not like aspects of touch.
external PSU. The power plug can be other synths, even those with polyphonic • Eminently usable as both a simple
locked in place with a quarter-turn, which aftertouch. Many sounds begin to speak and MPE-ready MIDI controller, via
is a nice touch. On the front there’s from just the lightest touch, of only 1 or USB and DIN.
• Fine build quality, friendly interface,
a stereo quarter-inch headphone output 2 mm. Further exploration of the key dip and apparently excellent software
with a sprung, retractable volume knob. is generally met with greater volume or stability to match.
The main event, however, is the intensity, or some kind of timbral variation,
keyboard action itself, which sits proud and with an impressive speed and finesse
CONS
• Full patch editing on Mac/PC only, via
of the casework in an unusual way. The of response. Perhaps it goes without Max, and will require investment of
full piano-sized keys (with white keys saying that this is delivered with typical time, and courage.
a notably long 152mm) have a matte MPE-like independence from key to key:
finish, and in most ways look entirely so one key can be swelling, as another is
SUMMARY
A paradigm-busting, deeply expressive
normal. Much less so though are the vibratoed, and another is released. synth and MIDI controller that is
black extensions of the key levers, going At the same time, many sounds that both audaciously innovative and
back a further 85mm towards pivot points can be ‘squeezed’ into, smooth as treacle, reassuringly familiar.

www.soundonsound.com / April 2023 27

 ON TE ST
EXPRESSIVE E OSMOSE

The Osmose’s rear-panel connections are

gathered together at one end and include MIDI I/O
sockets, a USB-B port and quarter-inch audio outputs.

also expensive and rare) expressive and magnitude (for very smooth). streams, but they are only ever exposed
instruments, the Haken Continuum. Indeed, Interestingly, it does away with the (and of concern) if you want to record
the Osmose is a formal collaboration concept of key velocity (or, in MPE terms, a stand-alone Osmose performance to
between Expressive E and Haken Audio. Strike Value) completely, and instead a MIDI sequencer. That’s done using
More on those names by the way: Lippold derives note onset information from a dedicated second virtual USB MIDI port.
Haken is the inventor of the Continuum, ‘attack trajectory’, a much more precise However, the Osmose will function
and also a DSP algorithm developer and assessment of key travel over time that perfectly well as an MPE or basic MIDI
professor of Electrical and Computer can take into account key dip as well as controller. It does that by deriving velocity
Science at the University of Illinois, while rate and acceleration. data (or MPE Strike Value) from the initial
Edmund Eagan is the developer of the Another notable point: Osmose offers key touch, and various types of channel or
Continuum/Osmose software editor and no response at all to front-back (Y-axis) polyphonic pressure from the aftertouch.
principal sound designer for the system. finger position, which is a key element An ‘Ext MIDI’ mode, with a dedicated
The Osmose’s internal control of continuous playing surfaces like the button, toggles the Osmose’s interface
scheme is not based on MPE MIDI but Continuum and more recent Seaboards. entirely over to MIDI control functions. And
then a handful of dedicated MIDI control
profiles are provided, including a full MPE
Additional Expressive Control implementation, ‘classic keyboard’ (which
turns off all expressive features except
One important aspect of the Osmose’s touch triggering ratchets with aftertouch — for individual
is called ‘Pressure Glide’. To some extent this notes in a held chord if you vary your touch velocity and channel aftertouch), and ‘poly
works around the fact that the Osmose’s playing appropriately — or controlling gate length with aftertouch’ (which gives good compatibility
surface is not continuous, so can’t support the a pedal. Eleven factory presets are provided, and with synths like the Oberheim OB-6 that
same kind of intuitive Theremin-like swoops as you can save your own creations too. offer this response, but not full MPE). The
a Seaboard or Continuum. What it does is to allow Some MPE synths do away with pitch-bend point in the key dip at which notes trigger
any pitch intervals up to a user-defined maximum and modulation wheels: the Osmose wears its varies between modes: higher/earlier for
to trigger a legato/portamento transition, like on pair quite prominently, and they’re useful to have
MPE, and lower/later for ‘classic keyboard’.
a monosynth. So if your max was two semitones, for several reasons. The pitch-bend is good for
then you can still play polyphonically, but any general MIDI control, when key vibrato is turned That’s some real sophistication, and very
notes two semitones apart or less will become off, or for when you want to bend pitch further nicely considered.
intertwined to produce a single note, the pitch than finger vibrato allows. The mod wheel is also
of which changes as you rock the pair of keys in often tied to one of the internal synth macros, Inside The Matrix
a see-saw fashion. Much easier to understand and can conjure important variations in each Let’s turn now to Osmose’s internal synth,
in practice than to describe! It’s a pretty nice sound a little more quickly than the encoders.
the EaganMatrix. It’s lifted straight from
compromise between the discrete key and The same goes for the pedal inputs, which
continuous surface approach. Pressure Glide are configurable for expression pedals (a list the one used in recent versions of the
opens up various new playing gestures, like of the most compatible is on the Expressive E Haken Continuum, running on six custom
up/down flicks of the hand, as well as really website) and switch or continuous sustain types, SHARC DSP chips, and supporting up to
slow glissandos, and you can turn it on and off with settings and calibration procedures in the 24 notes of polyphony, often realised as
easily while playing. There’s a further playing Osmose’s global settings. 12 stereo voices. It’ll do multi-oscillator
technique available, which is far from obvious. On Finally, there’s an optional add-on for the
virtual analogue, FM, physical modelling
the black lever extensions behind the main part Osmose: the Haken CVC (Continuum Voltage
of the Osmose keys you can easily do semitone Converter). This will be of interest to analogue and a kind of granular synthesis, amongst
glissandos, and if your touch is sufficiently tenuto and modular synth users who want to explore other things, but there’s no sample replay
and Pressure Glide is on, then quasi-continuous response rates that vastly outstrip MIDI or aspect. It’s essentially monotimbral:
glides over big pitch ranges are possible even MIDI-to-CV converters. The $549 oblong lump a bi-timbral keyboard split is apparently
when the glide interval is small. interfaces with the Osmose DIN output when technically possible, though not currently
Then, not employed much in the factory presets it’s been switched to a proprietary high-speed supported on the Osmose. Having said
but lurking in a ‘Playing’ tab is an extremely good mode. You can then plug-in a couple of your
Moog System 55s, or whatever, and enjoy four
that, the impression of multitimbral layers,
arpeggiator. It has 10 parameters, many of which
can be modulated in real time by control inputs polyphonic voices with independent control with perhaps a percussive element
from keys, wheels and pedals. All sorts of things streams for pitch, initial pressure and aftertouch, alongside a sustaining pad, say, is entirely
are possible, like expanding the octave range or scaled if necessary via the Haken Editor software. feasible given the flexibility of the synth
architecture. Which is extensive...

28 April 2023 / www.soundonsound.com

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 ON TE ST
EXPRESSIVE E OSMOSE

The Osmose software editor runs in Cycling 74’s Max, which it’s not necessary to own: apparently the
demo version supports the editor just fine. There is logic and clarity here, but if you’ve come from a knobby a time, with the Osmose seeming to
hardware synth you may wonder what planet you’ve landed on. open doors and spark creativity in a way
that I’ve only rarely experienced. Or
There are five flexible oscillators/ pluck, either ready to be teased out with that maybe is more often associated
waveshapers plus additional noise the key action in Jekyll and Hyde fashion. with acoustic instruments. It’s a really
sources, five multi-mode filters with Things can be really very warm, lush special, wonderful synth. Though what
various slopes, two filter banks with and ‘analogue’; twangy and edgy like it’s not, I hasten to add, is anything much
eight or 48 related filters (which also a modern FM synth; or dark, noisy and like a sampler: there are sounds that
act as the basis for various types of complex like the best plug-in physical are a bit like a sax, or flute, or cello, and
physical modelling, granular and additive modellers and granular synthesizers. you can solo using them with amazing
synthesis), time delays (which support A real timbral chameleon. expressivity, but they’re unashamed
chorus and flanging as well as another All the factory presets, over 500 of synthetic equivalents.
kind of physical modelling), shape them, offer six sound control macros that The flip-side of the EaganMatrix is its
generators, a convolution module, and often dial in timbral variations, changes in programming interface, which for many
a ‘recirculator’ for various types of delays response speed or effects depth from the of us will require a paradigm shift in
and reverbs. Osmose encoders. Similarly accessible the way we think about synths. To put
The way it sounds can, to my global effects include reverb and five it in another way (and horribly mangle
frequently synth-pummelled ears, be types of delay, EQ, and a compressor/ both a metaphor and a great quote), in
very fine indeed. It’s a good sign when gain module. Tweaked presets can be this matrix Kansas has definitely gone
factory presets sound good despite not saved to one of 128 user memory slots. bye-bye.
dripping with reverb and other effects, As well as this tremendous timbral In the Haken Editor software there
and the Osmose’s aren’t. What then range, there’s often a unique sort of are no familiar knobs or sliders, or
comes out of the EaganMatrix is a vast complexity too. I mentioned the sense of even readily identifiable ‘modules’ like
gamut of timbres: purely synthetic tones ‘aliveness’ before, and there’s a further oscillators, filters, LFOs or envelope
that sound like Moogs or Oberheims one liquid or organic quality in many sounds, generators. But it is a massively modular
minute, and complex, turbulent physically even those that are in every other way design, in which you patch sources to
modelled wind, string and guitar or bass completely electronic in style. I found it destinations at intersections on a grid.
sounds the next. Some patches defy really beguiling. Think VCS3 pin-board, but rather than
description completely, and can even be It’s no exaggeration to say that during pins you place numbers (mathematical
several sounds rolled into one: perhaps testing I got lost in many individual constants, for fixed signal flow), inputs
a multi-layered slow pad and a sharp factory presets for an hour or more at from the Osmose playing surface (with

30 April 2023 / www.soundonsound.com

 ON TE ST
EXPRESSIVE E OSMOSE

The Osmose measures 894 x 316 x 87.5mm and

weighs in at a considerable 8.3kg.

to gate, pitch, aftertouch and initial mind, but in the few days I had looking Osmose is truly staggering. Personally,
touch), and ‘formulas’ denoted with at them I made useful progress. And I’m I think it’s one of the most exciting
a letter-name. These are the hardest a decidedly un-mathematical creature. electronic instruments to appear in a long
bit to understand at first, but are Perhaps we should consider that in the time — I’m even tempted to say ‘ever’ —
essentially mini-algorithms that can take same way some people take a course to and there are a few reasons for that.
in all key-touch inputs at once, and do learn Max, Pure Data or SuperCollider, First, that remarkable keyboard
anything with them from simple scaling that’s the price of entry for the action, which simultaneously feels so
and limiting to more complex algebraic EaganMatrix as well. I do wonder, though, familiar, works so intuitively, and yet
mathematical operations. if in the future we might see a version of can support such a wide range of novel
The ‘problem’ with the EaganMatrix the editor that presents a much friendlier, gestures and playing techniques. And
is how alien it feels at first if your graphics-driven interface, hides the which could open up whole new worlds
experience of synthesis is primarily full matrix but pulls appropriate strings of expression and sound interaction for
knobby hardware or software synths. behind the scenes, and trades some keyboard players and composers. I was
Also that it is not readily tweakable, and open-endedness for ease of use. That’s concerned at first that the lack of front/
for even apparently trivial adjustments pure speculation on my part, but it seems rear position sensing represented a step
(relative opening or closing of a filter, or an eminently sensible direction of travel. backwards compared to other MPE
changing the rate of an LFO) it’s close to products out there, but in real terms,
impossible to know where to start. How
Forward Osmosis very little flexibility is lost. Thinking about
factory patches are constructed will also It’s a massive achievement for any ways continuous surface controllers
be a total mystery until you are much company to bring a successful, are played, Y-axis movements are often
more experienced with the system. well-rounded product to the market.
An EaganMatrix formula takes real-time inputs
However, it is quite possible to learn, To do that for an MPE-type instrument,
from the keys and modifies them in various ways,
and structured tutorials are provided which is normally so niche in its appeal, to control audio or modulation signal flow in the
with the editor download. They’re not which rewrites the rule book again, and matrix. It’s not for the faint-hearted, but gives
tremendous control over touch response.

32 April 2023 / www.soundonsound.com

 the whole very slick and friendly, just
occasionally the screen/button/encoder
interactions are a bit non-intuitive,
with some lack of consistency about
how you navigate, select and ‘validate’
full synth-like control panel in front settings and lists. Expressive E told me
that there are plans to allow custom
computer in sight, if necessary, MIDI control templates to be saved in
broader a future firmware, and that would be
a really useful development. On the
review unit I saw one trivial hardware
glitch, with the centre position of the
pitch-bend fader sometimes generating
a dribble of data, but this seems to be
more a matter of calibration, and the
small size of the ‘null’, and can also be fixed
in firmware.
In the end, what we have in the
Osmose is a synth that’s truly unique,
surprisingly versatile, can be hugely
inspiring, and sounds very, very good
indeed. The fact that it’s relatively
affordable, with a price lower than that
of many other conventional polysynths,
analogue or not, is the icing on the
-to-day cake. In a synth world that sometimes
seems fixated with churning out
four-octave keyboard, the same old, the Osmose stands
makes little difference in the real world, of course, and the springy, somewhat as a paragon of strange, wonderful
and is probably easier to control to boot. malleable action isn’t what I’d choose otherness. With a doubtless growing
Second, the built-in sound engine. first for piano sounds, but I wouldn’t user base and further development in
Yes, it’s currently a good challenge hesitate to use it for most synth or future it’s going to be interesting to see
to program, but more importantly the sample-library duties. how deep this rabbit hole goes.  
integration with the keyboard action As for anything that could use
is pretty much flawless, sometimes improvement, there doesn’t seem to
£ £1659 including VAT.
apparently magical, and it’s both be much. We could wish for a knobby E [email protected]
super-flexible and extremely nice EaganMatrix spin-off, I suppose. And W www.sourcedistribution.co.uk
sounding. The quality and consistency whilst the onboard operating system is on W www.expressivee.com

 

 




  
 


 
 FE ATURE

Staying Healthy In The Studio Part 1: Sleep Income Support Scheme was going to be
our most predictable client to date.
Setting boundaries to protect our health is hard, but it Later, in a more sombre reflection,
I understood that our job was often not
will help us live longer and do better work. a healthy one, and that it was setting
JACK RUSTON
looking after the rest of ourselves too. many of us up for a situation where we
In the early days of the first lockdown, would neither be able to continue as we

“L
ook after your ears.” It’s as the Great Global Bake-off got had been, nor afford to retire.
a message that has become underway, a friend and I joked that It wasn’t as if my colleagues were
so ubiquitous in the world nobody in music was going to notice any stashing away piles of cash, as some had
of professional audio that even those difference: we all spent months locked done in the ’90s. Like those working in
with the most profound tinnitus have, by indoors, confined to dark rooms and living the financial world, we were subject to
now, heard it loud and clear. And while on deliveries anyway. Half of us only went stress, lack of sleep, a sedentary lifestyle
I wholeheartedly agree, I think we may outside to smoke, and we were paid so and poor diet, yet we weren’t getting
need to give a little consideration to inconsistently that the Self-Employment the compensatory Christmas bonus. In

34 April 2023 / www.soundonsound.com

 a luxury my former colleagues do not terms of the sheer level of misery and
always have, and in some instances suffering it may cause, and the resources
I have kept comments anonymous. I’m it may require in the coming decades. If
extremely appreciative to everyone for anything is going to drive the financial
their crucial contributions to what I feel collapse of the NHS, it is this.
should be an ongoing conversation.
Update Required
Health Matters Why are we so unhealthy? Poor metabolic
If the events of the past three years have health largely comes down to a mismatch
taught us anything, it’s that our baseline between our modern diet and lifestyle,
level of health matters. Prior to the early and those to which we have adapted over
days of 2020, in the developed world at the past couple of million years. Human
least, we had arrived at the belief that physiology is set up for acute rather than
the incidence of serious, life-threatening chronic stress, feast and famine, frequent
disease came down to a game of and varied movement and a strong sense
genetic roulette: a combination of bad of social connection.
luck and a poor choice of parents. It fell Over the last 10,000 years, and
to modern medicine to save us, and in particularly the last 50 or so, our lives
the unexpected event that it couldn’t, we have changed unrecognisably, but our
were out of options. physiology hardly at all. We employ the
To some degree Covid has changed same stress response that was so good
that paradigm. It’s a virus which affects at keeping us alive in an encounter with
us all differently, and while this isn’t an angry bear, when confronted with an
the place to explore the pathology angry email. The chronic drip-feed of
of severe Covid, as 2020 unfolded sensationalised news — terrible global
it quickly began to emerge that poor events about which we can do nothing,
metabolic health was associated with our high-glycaemic, nutrient-poor
bad outcomes. diet, toxins in our air, food and water,
So, what is poor metabolic health? disrupted sleep patterns and a sedentary
It is effectively the road that leads us lifestyle — all provoke this same, now
towards Type 2 diabetes. While there’s inappropriate physiological response.
no single, standardised test, doctors Our heart rate, blood pressure and
like to look at things like blood sugar, blood sugar rise, and physical resources
blood pressure and the makeup of are diverted away from recovery and
our blood lipids, as well as our level of digestion, and towards skeletal muscle.
visceral fat — that which is deposited Our immune system function is altered
in and around our abdominal organs. in order to prevent inflammation from
In combination, these markers say a lot hindering our chances of immediate
about our overall disease risk: Type 2 survival, the long-term consequences
diabetes is associated with a greater a matter of supreme indifference in
risk of heart disease, kidney disease, a violent encounter with a potentially
many cancers, mental health issues lethal adversary. This is fight, or flight.
like anxiety and depression as well But for us, of course, there is no bear.
as neurodegenerative diseases like There are just these chronic insults to our
dementia and Alzheimer’s. homeostasis, and while it’s not as if our
Shockingly, only 12 percent of heart rate hits 200bpm every time we get
our 20s, most of us can get away with American adults have optimal markers an email notification, it’s the drip-feed of
anything, but give it a couple of decades, of metabolic health, with indications stress that sets us on a bad path. Over
and we can find that we’ve run the ship that these numbers are worsening, time we develop systemic inflammation,
slowly but surely onto the rocks, forced to and the CDC’s 2022 National Diabetes compromised immune system function,
take time off due to poor physical health, Statistics Report estimates that 130 insulin resistance, hypertension,
while being psychologically crushed million are living with pre-diabetes or hyperglycaemia, visceral fat accumulation
by the question of how we will survive diabetes. Mirrored here in the UK, this and a loss of lean mass: all things that
financially in the process. situation has undoubtedly affected doctors don’t like, and which put us firmly
In writing this series, I asked a number our capacity to deal with Covid, both in that ‘poor metabolic health’ camp.
of audio professionals how their career individually and societally. So let’s get to the point. How are these
has affected their health and wellbeing, While we’ve been understandably issues manifesting themselves in the
and what advice they could offer in preoccupied with that immediate threat, audio industry, and what can we do to
mitigating those ill-effects. Having this unfolding metabolic health crisis address them?
personally stepped away from the music has the potential to make the current While there’s a great degree of overlap
industry, I’m free to speak out, but that’s pandemic look like a rounding error in between the lifestyle factors that affect us

www.soundonsound.com / April 2023 35

 FE ATURE
S T AY I N G H E A LT H Y I N T H E S T U D I O P A R T 1 : S L E E P

Going to bed late undermines the benefits

of sleep, even if you still get your full quota.

in studio work, for clarity, this series will and Psychology at the University Of within just one week, we see levels that
consider them in four broad categories: California, Berkeley. could be classified as pre-diabetic.
sleep, stress, nutrition and movement. Lack of sleep causes issues with We need around 7.5 to 9 hours of
blood sugar regulation, appetite, impulse sleep per night, while bearing in mind
Protect Your Sleep control, recovery, concentration, response that it’s normal to be awake for around
“Every physiological system in the body, times, hormone production and function, 10 percent of the time from the point at
and every single operation of the mind immune function and blood pressure. which we first fall asleep. In practice, we
is wonderfully enhanced by sleep when It’s hard to overstate quite how much it would ideally spend 9-10 hours actually in
you get it, and demonstrably impaired matters, and its effects on every cell in bed with the lights off.
when you don’t get enough”: Dr Matthew the body. Sleep deprivation can affect our In studio jobs, however, lack of sleep
Walker, Professor of Neuroscience blood sugar regulation so profoundly that is a prerequisite: expected, demanded,

Eating, Drinking & Sleeping

In writing this series, I took the decision to avoid the time taken to detoxify 75 percent of it) of around 12
subjects of drugs, alcohol and smoking, because hours. If we remain subject to its influence, we will
nobody really needs me to point out their harms. But experience poor-quality sleep: even if we’re not
I will just make the point that alcohol is problematic actually awake, we won’t be getting the amount
for sleep in a way that isn’t so obvious. If we drink of deep sleep and REM sleep that we should be.
before bed — and of course that is usually when we If we possibly can, we want to stop consuming
drink — we don’t get restorative sleep. Even a small caffeine around 12 hours before bedtime.
amount of alcohol will prevent us from getting the Personally I struggle to do that, especially since
depth of sleep that we need, and we will be much I like to get to bed as early as possible, but if we
more likely to wake up, mind racing, at 2am. Don’t can’t make that 12-hour cutoff, we should get as
buy in to the idea that alcohol helps you get to close as possible. Deliberate use of caffeine to
sleep. It helps you get to a subconscious state of work through the night is a mistake, and while on
processing alcohol. This also applies to cannabis the odd occasion it’s a mistake worth making, if
(and CBD has mixed effects). we do this habitually, we’re going to discover that
On that note, it’s worth understanding the the juice wasn’t worth the squeeze.
benefits and pitfalls of the most commonly If we’re to avoid caffeine in the afternoon,
consumed drug in the world: caffeine. With its what about that post-lunch energy crash? There
profoundly positive effects on alertness and focus, are two common reasons for ‘the crash’. The first, When a drug is as ubiquitous as caffeine, it’s
it’s hardly surprising that caffeine has become as we will discuss when we move on to nutrition, easy to overlook its effects!
a staple in almost every human culture, and none is reactive hypoglycaemia: we eat a meal that’s
more so than that of the recording studio. Despite high in refined carbohydrates, and the excessive from the natural daily build-up of adenosine, plus
having nothing whatsoever to do with audio, insulin required ends up pushing our blood glucose that which we hadn’t allowed to fully clear from
career paths in the traditional studio model nearly a little low, making us feel tired and depleted. The the previous night. If we can wait 90 minutes or so
always began with mastering the art of brewing second reason brings us back to caffeine: when we until we first consume caffeine in the morning, we
caffeinated beverages. And yes, a staggering wake in the morning, we still have some residual can reduce that related crash in the afternoon. All
number of sessions have been fuelled by nicotine adenosine — the compound that builds up during we need to do is to have our coffee when we begin
and other, more nefarious stimulants, but while the day to make us feel sleepy — in our system. work, rather than when we wake up.
their use has rather waned in recent years, the Caffeine blocks our adenosine receptors, which Speaking of timing our intake, the timing of
same can not be said of caffeine. While we love is how it increases alertness. The problem is that our food is also important. We’ll talk about this
it, and often benefit greatly from it, we need to be if we ingest caffeine immediately on waking, we more in the nutrition section, but it’s important
a little careful with how we use it. prevent the clearance of that residual adenosine. to understand that for optimal sleep, we want to
Caffeine hangs around in our system for quite When our coffee begins to wear off in the leave three or four hours between eating dinner
a long time. It has a quarter life (the amount of afternoon, we’re hit with a greater ‘sleep pressure’ and going to bed.

36 April 2023 / www.soundonsound.com

 SONTRONICS
S
O
N
T
R
O
N
I
C
S ® ®

a badge of honour. As an engineer, I would often arrive at

9am to set up. The client would arrive at around 11am, and
we’d work through until the early hours of the following
morning. I’d back up, switch off and lock up, before driving
cardioid valve condenser microphone
home, often arriving around 2-3am. It’d take a little time
to calm down and get to sleep, before waking again by
7:30am to get showered and dressed, leaving in time for
a 9am start. I wasn’t even getting 50 percent of the sleep
I needed, and that would go on for weeks at a time.
Grant Stang of Silver Shark Studios has similar
experience: “I’m up and out of the house by 8am. Sessions
might finish at 10pm. A lot of my sessions are at the “Sets a new benchmark”
Jack Ruston, Reviewer (Sound On Sound)
weekend, so my personal life suffers. I am pretty much
permanently knackered. You get home at 10:30pm and
you don’t want to cook, so you just eat rubbish. I try to
“Easily competes with
get into bed by midnight, but if you’ve had a really busy any vintage mic”
Paul Epworth (Adele, U2, Coldplay)
session you’re still buzzing, and your head is full of all the
things you still need to do to take care of the business. If
someone opens a studio, they should be aware that it’s
“An absolute dream!”
PJ Harvey, Artist/Composer
not all music.”
Everyone I approached for comments raised long “So silky smooth and
hours and lack of sleep as an issue. One producer said
“I think 8 to 10 hours is a reasonable working day. I know
beautifully designed”
Andrew Dudman, Engineer (Abbey Road)
I can’t handle working 15 or 16 hours a day any more,
but sometimes you get pushed into doing it. I come out
of it thinking ‘I just don’t want to do this any more.’ You , DEVELO
ED

PE
DESIGN
shouldn’t be expected to do that. There’s a bravado thing

D
K
that I really dislike, but it’s tricky to talk about it. It’s an old

EU
M
&

model of the industry. It can make me so miserable. Is it ADE IN T

sustainable?” Not if we want to maintain optimal health.

Tim Bazell highlights not only the dangers of long
hours, but the well-documented harms of changing hours:
“My health has certainly been affected by the insane hours
and the lack of sleep and down time. Some sessions start
at 10am and others at 6pm, so there’s a constant shifting
of hours. I’m not a great sleeper, so that lack of routine is
not good for me.”

No Easy Options
Can’t you just catch up on the weekends? It doesn’t work
like that. It is a myth that an hour of sleep debt can be
‘paid off’ with an hour of extra sleep. When we sleep
poorly, we’re causing physical damage. While increasing
our sleep will certainly be a crucial part of the process of
healing and repair, age will probably be a better indicator
of our ability to fully recover.
It’s not just our bodies that sustain damage. It’s
rare that our performance isn’t going to suffer to some
degree. It may be that the quality of our work is so high at
baseline, that we can still meet the client’s expectations
while running at half speed. What’s more likely is that little
mistakes are going to creep in, that we might become
irritable or snappy at times, or that our inevitable signs of
fatigue are misinterpreted as apathy or boredom. In any
event, we’ve lost the opportunity to show the client our
very best, in a world where reputation is everything.
The primary reason for our poor sleep is that we don’t
spend enough time in bed. We all have other obligations
and the simple reality is that we need between four and
eight hours every day to travel to and from work, shower,
cook, shop, put the washing on, exercise, pick the kids up

All our mics are covered by Sontronics’ unique LIFETIME WARRANTY

Find out more at www.sontronics.com
 FE ATURE
S T AY I N G H E A LT H Y I N T H E S T U D I O P A R T 1 : S L E E P

Spending longer in the studio doesn’t translate to

doing more or better work. By the end of a 16-hour day,
your effectiveness will inevitably drop. Photo: Brett Sayles

or do whatever else it is that makes up because of that alignment with our natural more than 8 hours, and doing more than
life’s tapestry. If we’re in the studio for circadian rhythms. I do appreciate that this 10 is just silly.”
16 hours, we’re certainly not going to be is going to be difficult for many people, There’s an opportunity cost to be
getting eight hours of sleep. We might just but even if we can be asleep by 11pm, juggled here. On the one hand, there’s
about get four. Even a 12-hour working day that’s considerably better than 1am, and the ability to say yes to everything and
is cutting it very fine, and 10 hours seems it still allows for that important window everyone, while on the other, there’s our
a reasonable maximum. between eating dinner and sleeping. ability to continue long-term. We can invest
A second reason is that we’re going in potentially furthering our career in the
to bed too late, regardless of our actual
Deferred Gratification short term, or in ensuring that it is able to
sleep duration. We’re out of sync with And so we arrive at the crux of the matter. continue into the future.
the diurnal rhythms of light and dark. We Can studio professionals work a 10-hour There is always going to be pressure
might not need to get out of bed until day or less, finishing in time for dinner by, to work longer and later. Clients assume
10am, but if we go to bed at 2am, it’s only say 8pm? The answer is going to rather that they can deliver the goods over
a few short hours until we’re disturbed depend on our position, on our career a smaller number of very long days,
by the sun and the noises of the rest stage, and to a large extent on what despite experience and logic dictating that
of the world around us. Our cortisol is particular part of the industry we work in. they can not. But Neil Rogers then points
starting to rise, and that second half of It might be that when we’re starting out out that even if a band accept that more
our sleep time, the time when REM sleep we have to do these things, but there days would be better, that might not be
is prioritised, isn’t what it should be. This should ultimately be a transition towards a practical option: “It’s hard to get bands
mismatch between our circadian rhythms a more sustainable work/life balance, together because of their jobs.” Grant
and daylight actually affects our stress as many of those I spoke to have done. Strang elaborates: “That’s a big thing. They
response and so our insulin sensitivity “Some clients still seem surprised when are working. Sometimes they’re supposed
and blood glucose the following day. I say that my working day is 10am-6pm,” to be working from home on the day
When our daughter was born, I was says Sean Genockey. “I still get they’re in the studio.”
given one of the most valuable pieces everything done, and I’ve seen a huge
of advice I’ve ever received: “When improvement in the quality of my work.“
A Better Alternative
you put the baby down in the evening, Jim Homes (Boe Weaver): “For the last At some point we have to set some
get into bed, turn the light off and go to 15 years we’ve never worked past 8pm. boundaries. It may only be a few days
sleep. That way, when it all goes wrong We start at 10am, and work a 10-hour day. of late nights for each client, but for us it
in the middle of the night, you’ll already If we had a shorter working day we were quickly becomes unsustainable.
have had some sleep.” It proved to be so so much more focused. We got more done. It’s natural to then ask ourselves how
useful that now, 10 years later, we are still We realised that nothing good was ever we will get everything done. The simple
regularly in bed with the light off at 9pm. happening between 10pm and 4am.” answer is that we need to work smarter,
We’ve noticed that the more sleep we get Neil Rogers: “I’m going to be strict rather than longer. In any given day, we
before midnight, the better. This is likely about sensible hours. I don’t want to work can only do a limited amount of highly

38 April 2023 / www.soundonsound.com

 focused, creative work. I often found that what the client’s notes are. But if we’re
the longer the day, the less efficient we About The Author planning to tackle a new mix that day,
as well as doing tweaks on the previous
became. This efficiency is something that
we often notice when children come into Jack Ruston is a former recording engineer mix, we’re much better off doing the
our lives. As our opportunity to get things and mixer. During his 25-year career creative work on the new mix with a clear
his clients included Judas Priest, James
done shrinks, so we become faster, more head. The tweaks are usually going to
Morrison, Foxes, Birdy and Walking On
agile in our working practices. Jim Homes Cars. He was a 2017 nominee for the MPG’s be functional changes. We can do those
alludes to this in his previous comment Breakthrough Engineer Of The Year award. later, when we’re tired. In any event, if
about working hours, and he continues: In 2020 he took the decision to move on we’re going to open a client email, we
“During Covid, to isolate each of our from music for a variety of reasons, not should open that one email, and not get
families, we split the day between us, and least of all to pursue another great passion: sidetracked with all the other stuff that
food and nutrition. In 2022 he qualified
each worked four hours. I can’t tell you clogs up our inboxes.
as a Nutritional Therapy Practitioner. His
how productive we were. We were so hobbies include telling people how it used
energised. When you know that every 10 to be, and trying to remember the names of Tips:
minutes counts, you make the most of that various plug-ins.
10 minutes.” • Shorten the working day to 10 hours
Our focus is subject to physiological or less.
cycles of around 90 minutes, and it’s our agenda. It’s helpful to strictly avoid • Work smarter, not longer.
also dependent on our circadian rhythm. emails or other messages, notifications • Go to bed as early as possible.
Most of us tend to get a block or two in or calls until after that task is done. If we • Avoid alcohol.
the morning, and another early in the allow minutiae to work their way in, we • Control caffeine.
afternoon. Those of us that work on our risk the opportunity slipping past. Once • Keep your bedroom cool and as dark
own usually know instinctively when those we’ve drained our capacity for focused as possible.
blocks tend to fall in our day. We can work, we can crack open those emails • Avoiding eating within three to four
maximise our productivity, and so shorten and address less important matters. hours of bedtime.
our day by using those focused spells Obviously, if we’re mixing, we may • Never look at your phone if you wake
to tackle the most important task(s) on need to check messages in order to see during the night.

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 ON TE ST

Locomotive Audio
WT-Comp Vari-mu Compressor

NEIL ROGERS This characterful valve processor offers vari-mu

compression at a very attractive price.
’m a paid-up member of the vari-mu fan

I club. I own, and have owned, a number

of this type of valve compressor, and
it seems to me that their only downside
I was intrigued, then, when I first
learned of Locomotive Audio’s WT-Comp
(aka the Weight Tank): it seemed to
a degree, change the personality of the
audio that passes through it. The literature
reinforces that idea: it seems keen not
is that the really good ones tend to be tick many of the boxes I look for in only to describe the quality components
rather expensive! terms of features, while being priced that our audio will encounter in the signal
very competitively. Locomotive are path, including three (input, inter-stage
Locomotive Audio based in St Louis, Missouri, from where and output) all-steel transformers and two
WT-Comp designer Eric Strouth began to release valves (a 6BC8 and a 12AU7), but also to
£999 his interpretations of classic recording offer up the sort of colourful adjectives
gear in 2015. Hannes Bieger reviewed that might encourage people to stray
PROS the Model 14B in SOS May 2017 (www. outside their DAW when mixing.
• Very solid build quality.
soundonsound.com/reviews/locomotive- With its sizeable vintage-style input
• A quality variable-mu compressor at
a very good price. audio-model-14b) and was full of praise. and output controls, large VU meter and
• Characterful compression. Whilst it’s by no means expensive (in chunky switches, this compressor feels
• Capable of some great saturation/ vari-mu terms!), the 14B is priced more reassuringly well built and pretty hefty
distortion effects. in the ‘normal’ realms for high-end valve too. Power comes in on an IEC inlet
• Smooth and Drive controls a nice
option.
gear. So I think it’s fair to say that the with integrated fuse holder; the voltage
WT-Comp is Locomotive’s attempt to is switchable between European and
CONS make this style of tool more accessible. US mains. With a fixed 4:1 threshold,
• Perhaps a little heavy-handed for Locomotive say the WT-Comp takes the front-panel controls are nice and
more delicate sources.
its inspiration from various classic straightforward: gain reduction is achieved
SUMMARY compressors, including the Universal by playing with the large input and output
The Weight Tank sets out to impose Audio 175B and the Altec 436A (and its dials and there are controls for attack and
itself on your audio, and it does just British mod), along with some aspects of release, along with the option of using
that, with its multiple transformers
their own 14B, and the goal here is clear: the WT-Comp in Smooth or Drive mode.
and valves adding colourful, weighty
compression via a simple but effective thick, characterful compression that can Locomotive explain that the Smooth
set of controls. not only control the dynamic range but, to setting produces a “smooth, sweet tone”

40 April 2023 / www.soundonsound.com

 being over the top. I got a little nervous times and changing how hard the signal
when tracking vocals, as I could clearly hit the compression circuit.
hear saturation and harmonics being It’s sometimes hard to convey all
introduced. This was not unpleasant, this in words, so I created a few audio
but something I wasn’t always ready to examples to help you hear what I’m
commit to when tracking, so I generally writing about. You can find these on
found myself using quite subtle settings the SOS website at https://sosm.ag/
during this period. locomotive-audio-weight-tank.
In the more controlled environment of
a mixing session, I was able to evaluate
Weigh To Go?
the WT in a more structured, detailed While it’s easy to get up and running
way, and as I did so I began to learn more with a vari-mu like this, I’ll admit it took
about its personality. Starting with what me a little while to figure out just what
turned out to be my favourite application type of tool I was playing with here. I find
for this device, it did a super job of that this type of compressor can take
‘pinning down’ a clean electric guitar part, a little getting used compared with the
whilst also adding some upper-midrange more common VCA or FET compressors.
harmonics (in the Drive setting) that Everything is that bit slower, and it’s
helped the guitar to sit more confidently common when looking at the meters to
in the mix. It did a similar job on acoustic see quite large amounts of gain reduction
guitar, though I was aware that I was being applied initially, before then
trading off some of the nicer high-end observing the meter hovering around
content of a strummed part, in exchange the low dB range, before being released
for a more consistent dynamic. when the music stops. The conclusion
I found myself striking a similar I eventually arrived at was that it sits
compromise at times when using the WT somewhere between being a classic
on vocals. If a voice benefited from a little Altec-style compressor and a dedicated
harmonic ‘edge’ it was fine to get stuck in, tube-driven ‘colour’ box.
but I typically found I had to use another The WT’s key strength, to my ears, is
1176-style compressor in the chain to get that it does what it says on the tin: it adds
a vocal sitting as I wanted it to against the weight, colour and harmonic content
whilst the Drive setting will produce music. Perhaps, not surprisingly, I found to things like bass, guitars, drum room
more harmonically rich, overdriven-style it suited male vocals best — it felt a bit mics and the right sort of vocals. On the
results, due to a change in how the 12AU7 heavy-handed for a couple of the female right material, it’s a lovely, seductive
output tube is biased. Finally, we have the voices I tried it on. effect. As I’ve suggested above, it’s often
welcome addition of a true bypass switch, It was great to hear how the WT not subtle, but if handled with a little
which allows you to audition the effect performed on bass guitar. It was possible care and used in the Smooth setting it
of the compression — it’s a feature not to dial in large amounts of gain reduction can also do the more conventional job
always found on this style of compressor. before the compression became overly of compression. Does it deliver ‘that’
audible, and I was also impressed with high-end vari-mu sound? Well, yes and
In At The Deep End its ability to shape the initial transient of no. On many sources, such as bass
The WT-Comp saw plenty of action at a bass part — the attack knob seemed to guitar and the right guitar or vocal part,
my studio during the review period, and give me plenty of fine control over how it will get you very close indeed. Unlike
for the first week or so I put it to use the bass sat with the other instruments. some of the higher-end (and rather more
during some busy tracking sessions. On drum room mics, and indeed any expensive) tools I have and have used,
My first impressions seemed to match source that will happily take a dose of it wasn’t always the right tool for the
my preconceptions and I quickly found attitude, the WT performed very well job and judged on these terms I was
putting this compressor in the chain of indeed. I was impressed by how much occasionally aware of a slight ‘sonic
drum room mics or bass guitar seemed I could shape things like cymbal decay compromise’. Judged against other units
to add a little weight and ‘heft’ without — a combination of varying the release costing around the same, though, it’s very
attractive. The WT-Comp does exactly
what it promises to do, then, and would
be a superb addition to tracking or mixing
setups in need of good value, characterful
hardware options.  

£ £999 including VAT.

T KMR Audio +44 (0)20 8445 2446
E [email protected]
The Weight Tank can run on US or European mains voltages — to swap, you just need to flip a switch and W www.kmraudio.com
change a fuse in the rear-panel IEC housing. W www.locomotiveaudio.com

www.soundonsound.com / April 2023 41

 ON TE ST

Lauten Audio LA-220 v2

Cardioid Capacitor Microphone The Lauten range is completed by
the newly refreshed Black series, which
Lauten Audio’s updated LA-220 offers both the Yin contains three models. The LA-120 is
and Yang of affordable capacitor mics! a small-diaphragm ‘pencil’ mic with
interchangeable cardioid and omni
SAM INGLIS
notable success, as many previous capsules. The LA-320 is an affordable
reviews in these pages will testify. large-diaphragm valve mic. And the
y now we’re all very familiar with And unlike many mic companies who subject of this review is an even more

B the business model whereby

Western design and quality
control are combined with Far Eastern
adopt this approach, Lauten are not
afraid to innovate. Their Synergy series
microphones are designed to solve
affordable, solid-state, large-diaphragm
capacitor mic.

Welcome To LA
manufacturing, hopefully delivering real-world isolation problems, whilst
products that are affordable without their Signature-series Eden and Atlantis Though it’s not intended as a homage or
compromising on standards. It’s a model models offer three distinct tonalities in a recreation, the LA-220 v2 resembles
that Lauten Audio have pursued with a single mic. a slightly smaller Neumann U87 in

42 April 2023 / www.soundonsound.com

appearance, with a gently tapered to 130dB before 0.5% distortion at 1kHz is
body and a wedge-shaped headbasket. reached. Self-noise is quoted as less than
Lauten Audio LA-220 v2
Build quality seems good, with a smart 15dBA, which is not state of the art, but £303
matte-black body topped off by a very comparable to the U87s of this world. PROS
shiny grille, and a pleasingly heavy-duty • Excellent value for money.
shockmount is supplied. There’s also
Split Personalities • Good build quality and shockmount.
a soft fabric bag to protect the mic Perhaps the most intriguing claim Lauten • Offers a choice of two very different
sonic personalities.
when not in use, but no proper case or make for the LA-220 is that it represents
storage box. “two mics in one”, letting you “choose CONS
Inside the headbasket lurks a 32mm between modern clarity and classic • Some might prefer a tone in between
centre-terminated, externally polarised warmth at the flick of a switch”. The body the default bright and filtered
capsule, of which only the front of the mic actually bears two switches, of dark options.
• No case or box supplied.
diaphragm bears a conductive gold which the first is a conventional high-pass
layer, making this a cardioid-only mic. filter. The LA-220’s dual personalities SUMMARY
As in many affordable capacitor mics, are swapped using the second, which A highly affordable large-diaphragm
the design of this capsule is based is described as a low-pass filter. This mic with a true Jekyll and Hyde
character!
on the Neumann K67, though Lauten is an unusual feature to find on any
Audio have made some interesting microphone, at least in switchable form, By contrast, the circuitry in the Neumann
modifications (see box). but it does make sense in terms of the U67 and U87 isn’t flat: it’s designed to
Unusually for a mic in this origins of the design. ‘de-emphasise’ the treble boost coming
price bracket, the LA-220 has Most K67-style capsules have from the capsule, thus creating an
a transformer-balanced output, and a naturally rising high-frequency overall on-axis response that is relatively
it presents a fairly standard nominal response, and if this is paired with neutral. So it might make sense to
impedance of 200Ω. It requires active circuitry that has a flat frequency see the LA-220’s low-pass filter as an
standard 48V phantom power, delivers response, the resulting mic can be pretty attempt to offer the best of both worlds.
a sensible sensitivity of 16mV/Pa, and bright. This was a common theme among When switched out, it allows the intrinsic
will tolerate sound pressure levels of up early Chinese capacitor microphones. sparkle and brightness of the capsule
 ON TE ST
L AUTEN AUDIO L A-220 V2

to come through unimpeded; when

engaged, it tames this high-frequency Capsule Compression?
emphasis, providing the aforementioned
“classic warmth”. Concerning the LA-220 v2, Lauten Audio’s
The frequency response plot on website makes the intriguing assertion that:
“Unlike traditional capsule designs, our
Lauten’s website is broadly flat from
hand-tuned 32mm transducer naturally imparts
200Hz to 15kHz, with a 1dB rise at 10kHz gentle compression and balance to any sound
and a presumably proximity-related bump source.” Whilst there is a difference in transient
at 100Hz. The filters are represented as response between large- and small-diaphragm
straight lines rolling off frequencies below capacitor mics, and between these and
120Hz and above 12kHz respectively, moving-coil or ribbon designs, I’ve never before
heard of a capsule with an innate ability to
but I suspect this is more of a visual
control dynamics. Lauten Audio’s President, Trent
aid to understanding their action than Thompson, explains: “All of our capsules are
a real-world measurement. designed to do this. However, it is much more
If my experience is anything to go sonically apparent in microphones like the Eden
by, anyone buying the LA-220 on the and Atlantis because the 38mm capsule was
strength of this graph might be in for designed from the ground up in-house by our
a surprise — especially if they compare Chief Engineer/Physicist, Dr Charles Chen.
“In the case of the LA-220 v2, the changes we
it with other mics. For example, the
made to the capsule, diaphragm, backplate, and
published frequency response of the spacing of the K67 slightly slow and smooth the
Neumann U87 actually has a little more attack of incoming transients and lightly balance
going on at the top end than that of the sounds beyond that. It’s easier to say ‘gentle
LA-220, but in a direct comparison, the compression’ because everyone has a picture The LA-220 capsule is derived from the
Lauten mic is substantially brighter. When of what that sounds like in their head, but in the classic Neumann K67 design, but incorporates
end, we are trying to mimic some of the sonic some twists of Lauten Audio’s invention.
I recorded vocals with the two mics side
characteristics of a classic signal chain into each
by side, matching the Neumann to the microphone. Our goal is to deliver as close to drum overheads, and very much liked them in this
LA-220 required a high shelving boost of a ‘finished’ sound at the source as possible to role. Having already tested them on other sources,
at least 6dB at 10kHz or thereabouts, with make the recording easier for the end user.” I was anticipating that they might be a little sharp
a broad enough bandwidth to reach right In practice, this effect is quite hard to assess, on drums, but this wasn’t the case: they delivered
down into the upper midrange. because you can’t turn it off or isolate it from a balanced, punchy sound that sat well in the mix
other aspects of the mic’s performance. But, as without EQ. They certainly didn’t sound overtly
Not that this brightness is necessarily
Lauten Audio kindly loaned me a pair of LA-220s compressed, but perhaps a little more ‘solid’ than
a bad thing. It adds a welcome liveliness for testing, I took the opportunity to try them as I’d have expected, for want of a better word.
to acoustic guitar and many other
instruments, and although you’d need
to be careful with hand percussion or it’s a first-order (6dB/octave) filter, and aren’t kidding! I’m not convinced the
sibilant vocalists, it generally does a good that 12kHz represents the frequency published frequency response graph
job of making things sound exciting where the response is -6dB down. As really does justice to the contrast, but
without straying into ‘ouch’ territory. the slope is very broad, this means the as ever, these things are best judged
A healthy treble emphasis is not unusual effect is audible throughout the treble using ears rather than eyes. Do so, and
among mics in this price bracket, and it and midrange. I think most people will find plenty of
was interesting to compare the LA-220 Consequently, with the filter engaged, use for both of its personalities. Indeed,
with Austrian Audio’s OC16, another the LA-220 becomes overtly warm and such is the contrast that some might
notably bright microphone. The OC16’s dark. Darker, in fact, than any vintage feel the perfect Goldilocks zone would
presence lift seems more pronounced capacitor mic I’ve used, with the possible be somewhere in between — but if you
in the 5-7 kHz region, whilst the LA-220 exception of some old Sony models. find the sound it captures on a given
has more of an edge in the midrange; The filter doesn’t just cut out the airiness source is too bright with the filter
subjectively, the OC16 comes across as at the very top; it also takes away the out and too dark with it in, it always
airier and smoother, whilst the LA-220 is midrange ‘bite’, and the overall sound responded well to post-recording EQ in
a touch more ‘rock & roll’. is quite soft. If it’s an attempt to make my tests. And the best thing of all is the
the mic sound more like, say, a U87, it price. It’s not all that many years since
The Dark Side actually overshoots the mark a bit. As the idea of buying one high-quality
Activating the low-pass filter gave me a consequence it can sound a bit woolly capacitor mic at this sort of sum would
another surprise, because on paper, you and unfocused on some sources — but by have seemed like a wild dream. Getting
might expect a 12kHz low-pass filter to the same token, if you’re trying to thicken two for the price of one seems quite
be quite subtle. The published frequency up a weedy-sounding voice, smooth the bargain.  
response suggests it should leave most out a harsh guitar amp or tame a toppy
of the audio band unaffected. In practice, tambourine, it could be just the ticket.
£ £303 including VAT.
though, its effect is more dramatic than
Hearing Double T Synthax +44 (0)1727 821870
I was expecting, to the point where it E [email protected]
completely changes the character of When Lauten Audio describe the LA-220 W www.synthax.co.uk
the microphone. Lauten explained that as being “two mics in one”, then, they W www.lautenaudio.com

44 April 2023 / www.soundonsound.com

 ON TE ST

Warm Audio
WA-MPX & WA-2MPX
Valve Microphone Preamplifiers Electric and Manufacturing Company
designed and manufactured professional
tape recorders, with tube-based audio
Countless hits were recorded using Ampex tape recorders electronics. In 1950, Ampex introduced
and their characterful tube input stages. These preamps the Model 300 and continued to develop
promise that legendary sound in a convenient format. its tube-based preamplifiers over the
years, introducing the 350 in 1953 and the
BOB THOMAS
microphone preamplifier that, in its 351 in 1958. The 351, whose influence is
various incarnations, contributed to the evident in the external appearance and
arm Audio’s latest releases, the sonic signature of a significant number of internal circuitry of Warm Audio’s MPX

W WA-MPX single-channel tube

microphone preamplifier and its
two-channel companion the WA-2MPX,
iconic 1950s and 1960s studio recordings,
in particular from the United States.
From the late 1940s into the early
and 2MPX, was a very different beast to
its predecessor, in that PCBs replaced
point to point wiring and 12AX7 and 12AT7
are inspired by an Ampex tube-based 1960s, the California-based Ampex tubes displaced the older unit’s metal

46 April 2023 / www.soundonsound.com

envelope tubes. In addition, the 351 and expensive, and have flown under the
was fitted with an internal power RADAR of many musicians and engineers.
Warm Audio
supply, as opposed to the large
WA-MPX & WA-2MPX
external version that powered the
Outside & In £759/£1329
350, saving both weight and cost. With their 2U silver front panels and PROS
As these tube-based Ampex black graphics, black control knobs and • Capable of adding a wide range of
audio recorders were scrapped black VU meter housings, both the MPX character and colour to any source.
in favour of their solid-state and the 2MPX certainly look the Ampex • Getting great results is simple and
replacements, a number of studio part. However, the presence of the MPX’s intuitive.
• Exceptional value for money.
engineers began to use the 300, bank of eight chunky toggle switches • Very cool cosmetics.
350 and 351 preamplifiers as (seven for control, plus power on/off)
standalone mic preamps — a trend and the 2MPX’s line of 15 (two sets of CONS
that was repeated later with, for seven control switches, separated by • None.
example, microphone preamplifiers power on/off in the centre), all of which SUMMARY
from the Neve desks that had lost have individual LEDs that illuminate Superb recreations and expansions of
out to SSL consoles. However, when a function is active, indicate that the signature sound of an iconic 1950s
unlike Neve preamps, which are these units are much more than mere microphone preamplifier — the MPX
and 2MPX deliver so much more than
relatively easy to reconfigure recreations. Across the two units, the just a ‘vintage tube sound’.
or reproduce, reconfiguring the channel controls, I/O connectors and
Ampex preamps requires a more metering are identical. On the MPX, to a higher 1:18 ratio, decreasing the
than passing knowledge of tube there is plenty of room on the front panel channel input impedance from 600Ω
electronics and a healthy respect between controls. And, despite the to 150Ω in the process. Finally, there’s
for potentially lethal voltages. Thus, doubling of population density on the Tape Sat, which inserts an emulation of
these units have remained scarce 2MPX, reducing the size of both meters magnetic tape saturation.
and control knobs has allowed Warm The PCBs, components, layout and
Audio to retain a similar feeling of space construction of the hand-assembled MPX
on that unit too. and 2MPX are all of a very high standard
Controlling the signal path through with not an integrated circuit in sight. The
the channel, a three-position rotary channel cards (one in the MPX and two
switch selects between the XLR balanced in the 2MPX) are all identical, their major
microphone, TRS jack balanced line and landmarks being the seven 12V relays
the unbalanced front-panel instrument that are activated by the front-panel
inputs. A Preamplifier Gain control, scaled switches, the three tubes (each in
from 0-90, sets the amount of tube individual screening cans), and the input
gain applied to the input signal, and an and output Cinemag transformers, which
unscaled Output Level control, acting as have been custom-wound to the original
a 600Ω output impedance attenuator, vintage specifications. Because of where
adjusts the level of the signal leaving the input transformer sits on the PCB
the channel and gives you the ability to I couldn’t make out its model number, but
increase preamp gain to saturate the the output transformer is a CM-351BPC,
signal without overloading the input of the 351 denoting the fact that this
the next device in your signal chain. transformer has the extra winding, first
All other front-panel channel functions seen on the Ampex 351, which feeds the
are switched, with the actual switching negative feedback loop that helps to
being carried out by relays on the reduce distortion in the 12AU7 push-pull
channel PCB. 48V phantom power and output stage. On both the MPX and the
polarity are present as you’d expect, with 2MPX, toroidal mains transformers feed
gently-sloping high-pass and low-pass chunky analogue power supplies, whose
filters, whose corner frequencies at 80Hz main task is to deliver a 300V B+ supply
and 2kHz respectively are welcome, and to the three tubes.
unexpected, additions. The remaining
three switches deliver facilities that I don’t
Transformers, Tubes And...
recall having come across previously on Tape?
a studio microphone preamp. The first of The skeleton of the channel signal path
these is the High Gain switch that brings is a familiar one: from input transformer
in 20dB of clean gain, increasing the to preamplifier, then phase inverter to
maximum gain available for low-output push-pull amplifier to output transformer.
microphones and low-level sources The step-up microphone input transformer
from 70 to 90 dB. Then there’s the Tone is a little unusual in that activating
switch, which reconfigures the input the Tone function switches its input
step-up transformer from a 1:9 turns ratio impedance and secondary winding ratio

www.soundonsound.com / April 2023 47

 ON TE ST
WARM AUDIO WA-MPX & WA-2MPX

The rear-panel audio I/O are provided on both

XLR and TRS, to make connection to your studio inverter that drives the 12AU7, whose old-school, plugging my Bang & Olufsen
easy using your existing cables. triodes are configured as the push-pull BM5 stereo ribbon microphone straight
output stage. In normal operation, only into both channels of the 2MPX, with High
from 600Ω/1:9 to 150Ω/1:18. The 150Ω/1:18 one triode in the first 12AX7 is active. Gain engaged to give me the 150Ω/1:15
setting approximates to the microphone Engaging High Gain brings that tube’s combination that would have been used
input transformer setup in the original 351 second triode into circuit, resulting in an back in the day with ribbon mics. The
(150Ω/1:15). Activating the Tone function extra 20dB of clean gain, which increases result was, to my ears, absolutely stunning.
also increases the step-up gain through the maximum gain available through the The 2MPX is so intuitively controllable, and
the input transformer from 17dB at the 1:9 MPX for low-output microphones and it added a sense of warmth, weight and
ratio to 23dB at the 1:18 setting. low-level sources from 70 to 90 dB. density (thanks to those transformers and
As in the 351, the balanced line input I must confess to a wry smile when tubes) to produce a clean yet characterful
signal runs through a resistor network I first saw the Tape Sat switch on the front performance that gave my B&O BM5 an
that pads it down to microphone level, panel. But the more that I think about additional dimension in its sound that
before it reaches the microphone input it, the more I like having that function in I hadn’t heard before.
transformer. This arrangement, which a unit based on a 1950s original, since Increasing the preamplifier gain and
routes the line signal through the the effect of recording audio on magnetic reducing the output level allowed me to
microphone preamplifier and its high-ratio tape is a major component of the sound experiment with driving the BM5-2MPX
input transformer was, apparently, not of tracks from that era. The all-discrete, combination into distortion. Fun though
always considered optimum in a sonic all-analogue combination of transistors, that was, it didn’t sound that great,
sense by recording engineers back in the diodes and resistors that delivers this and I much preferred the character of
day. This appears to have led to many effect has been designed to emulate the the distortion that became available
major studios either bypassing the 351’s slight compression, increased harmonic when I replaced the BM5 with my
mic preamp when using the balanced line distortion and the filtering out of the lower rather ancient dynamic microphones,
input or using the 351’s unbalanced line sub-bass and upper treble frequencies a Sennheiser MD421 and a Shure SM57.
input, which bypassed the microphone that you’d get from magnetic tape Backing off the gain while keeping
transformer. The front-panel instrument saturation in a tape recorder running at the High Gain in circuit cleaned up the
input, which is situated where the original 15ips (inches per second), plus a few extra distortion and coaxed great-sounding,
351’s headphone jack sat, is the MPX’s dB of gain. characterful performances from those two
equivalent to that unbalanced input. microphones, and allowed me to add in
All the tubes in the signal path (two
In Use all the grit, girth and density that I could
12AX7s and one 12AU7) are twin triodes, What you’ll really notice when you switch wish for.
which indicates that they are each made on an MPX (or a 2MPX), other than the Switching out the High Gain on the
up of two identical triodes sitting in the VU meters’ comforting yellow-orange 2MPX to go back to the default 600Ω/1:9,
same glass envelope. The first 12AX7 glow, is the very low noise floor, even with I brought my AKG C414-ULS pair into play.
acts as the preamplifier stage, the second gain and output levels at maximum. This As with the stereo BM5, I often partner
is the first tube in the output stage. The obviously reflects a very careful approach these microphones with a Pendulum SPS1
latter’s two triodes make up the phase to design and build. To start with, I went dual-channel microphone preamplifier

48 April 2023 / www.soundonsound.com

 ON TE ST
WARM AUDIO WA-MPX & WA-2MPX

There are lots of toggle switches on the front

front-panel function that affects it is Tape synths, brass or whatever, the MPX and
panels, and most control their associated functions
using relays on the inside. Sat. However, the onboard preamp on 2MPX both offer immediately accessible,
my Godin was also perfectly capable intuitive and very controllable means of
for stereo and Mid-Sides recording, of driving the balanced line input adding character, warmth and weight.
when I want their linearity and neutrality unbalanced, so I could access all the You can drive their input transformers
to shine through unsullied. Using the MPX’s functionality — and I can report that hard, slam an extra 20dB into their phase
2MPX and aiming for maximum clarity the MPX offers rather splendid distortion inverters to ensure that the push-pull
and fidelity, those innate characteristics opportunities to the discerning musician. 12AU7 output tubes saturate their output
are still all there, although the colour and However, all this is only scratching transformers, and still keep the signal
character that the MPX and 2MPX can the surface of what the MPX circuitry can going into the next stage of your chain
add to their overall response can become do. Once you get a feel for the different at the level it needs to be. What you do
rather addictive. input transformer impedance/turn ratios and what you get is down to your taste,
It was a similar story with the line affect your microphones, line-level creativity and ears.
inputs, which I tried using the 600Ω/1:9 signals and instruments, and also how to While the circuits are the same, I’d
transformer setting. The sense of warmth manipulate the gain inside the MPX, you’ll personally like to have both of these units
and weight that the 2MPX could add to find yourself with a vast, intuitive palette in my studio! If I had to choose between
the stereo stems that I experimented of character and colour at your disposal. them, my heart would take a pair of the
with really spoke to me. Having cut my One slight drawback, which will be of single-channel MPX over the 2MPX,
engineering teeth on an early Neve interest to some more than others, is that largely because they look fabulous
console and a Studer A80, I’d have the rotary controls are not detented and together! But my head would point out
absolutely no qualms about using an MPX their scaling is rather coarse, so recalling that I don’t have that much free rack
or a 2MPX, with the Tape Sat engaged a particular setting is going to require space, which makes the 2MPX perhaps
across a track or bus just to add a touch a recall sheet, a photograph or a black a more realistic choice. Given the prices of
(or more) of vintage colour. chinagraph pencil. restored original 351 preamps these days,
The instrument input, which is I reckon the MPX and the 2MPX both offer
actually switched via a relay, was
Finally exceptional value for money. If you’re
a slightly different story, since the only The Warm Audio MPX and 2MPX are, searching for a preamp with a vintage vibe
to my mind, superb and rather special or for a preamp that can add colour and
microphone preamplifiers. Unless character to any signal passing through
ALTERNATIVES it, then you absolutely have to audition
you’re really into the sonic signature
Other than tracking down a rebuilt
of old-school recording, neither are Warm Audio’s MPX and 2MPX. At least
original 351, the only hardware alternative
to the MPX I could find is the EC3, from likely to be your ‘one and only’ mic/line one of these review units won’t be making
Austin-based Electric & Company. That preamp. But of course most of us already its way back to Warm Audio!  
device appears to be, essentially, a 351 have capable ‘vanilla’ preamps on our
clone. However, neither an original 351 interfaces, and when you’re looking for
nor the EC3 have tone-shaping abilities £ WA-MPX £759. WA-2MPX £1329.
that come close to those offered by
a way to enhance the sound of a source, Prices include VAT.
Warm Audio’s MPX and 2MPX. either as you’re recording it or after the E [email protected]
fact, be it drums, bass, vocals, keyboards, W https://warmaudio.com

50 April 2023 / www.soundonsound.com

 TECHNIQUE

If you need more low

end from your monitors,
adding a sub can be very
tempting — but is it the
right option for you?
CHRIS KORFF
Do You Need A Subwoofer?

I
f you’re reading this, chances are
you’ve got a pair of studio monitors.
But if, like many of us (myself
included!), your ‘studio’ is also a guest
room, bedroom, box room or home office,
rather than a dedicated space, then your
monitors are also likely to be fairly small,
and that inherently means they won’t be
particularly bassy.
Whether that’s a problem or not
depends on a number of factors (the type
of music you make, how tolerant your
neighbours are...), but if you want more
bass from your monitors, your options
are either to buy a bigger set of monitors,
or to augment your current pair with
a subwoofer. The sub option has a number
of advantages: it can be cheaper than
buying a whole new set of speakers, and
it allows for greater flexibility in terms of
placement. There are limitations on where
main monitors can be placed because
of the need to establish a good stereo
image, but because most subwoofers are
essentially omnidirectional, they can be
located almost anywhere, and so the way
a sub excites the room’s acoustics can be
chosen with greater freedom. When done
skilfully, that can result in a flatter response
at the listening position than might be
possible with full-range monitors alone.
There are pitfalls, though, and in this
article I’ll explain some of them. Along
the way, I’ll discuss the basics of how
subwoofers work, what features to look out that sound waves are generated by both reason, many speakers and subwoofers
for, and how to get the best out of one if sides of the speaker cone, much of their employ a ‘reflex port’. At its simplest, this is
you decide a sub is right for you. energy is essentially wasted by firing basically a hole in the cabinet that allows
sound away from you. Naturally, the sound some of the rear-firing sound to escape,
The Down Low that comes from the rear of the cone is in reinforcing the sound from the front and
Back in SOS September 2021, I explored opposite polarity to that coming from the increasing the speaker’s efficiency. By
the many ways that loudspeakers can front, and will partially cancel if the two fitting a tube to said hole, you can ‘tune’
be designed. Since low frequencies are are allowed to mix. So, speaker cones are the port so that it increases the speaker’s
inherently unruly things, most of that generally put into cabinets to occlude that efficiency around a particular frequency —
article covered the fundamentals of bass rear-firing sound. usually somewhere around 60-80 Hz for
reproduction, the principles of which are In a sealed cabinet, that’s where things a typical two-way monitor, and perhaps half
the same for subwoofers as they are for end: the rear-firing energy is more or less that (ie. an octave below) or even lower for
full-range monitors, so for an in-depth look, eliminated, but much of the energy from a subwoofer. The efficiency improvement
do give it a read: www.soundonsound.com/ the cone is wasted by being absorbed you get from doing so is considerable,
sound-advice/how-choose-studio-monitors. within the cabinet. The air inside the which is why the majority of subwoofers —
To recap a little: low frequencies require cabinet also inhibits the cone’s movement, from affordable models like the KRK S8.4
a lot of energy to play back, and given reducing efficiency even further. For this to high-end designs like the Focal Sub 12

52 April 2023 / www.soundonsound.com

and Genelec W371 — are ported designs. performs best acoustically, in the room, You can even combine the two
Ports can introduce problems of their might also be where your filing cabinet, approaches, by putting the sub at the
own, though, especially in subwoofers. spare bed, outboard rack or potted yucca listening position and taking measurements
First, tuning them to a low enough tree is. around the room (it’s a lot easier to move
frequency requires a very long tube, As to where that optimal position is, a microphone around than a subwoofer!). In
which means a very large cabinet. there are a few ways to find out. You can either case, you’ll need a suitable test tone.
Second, the ports need to have a large be scientific about it, using a measurement You can either make one yourself using
enough cross-section to not suffer from microphone at the listening position a software synth playing pure sine waves,
compression effects. Third, ports can and a real-time analyser to assess the or, if you’re lazy, you can simply download
generate their own resonance, which can subwoofer’s response at multiple locations one from www.soundonsound.com/
cause something known colloquially as in the room to identify the best spot... techniques/room-improvement-audio-file.
‘one-note bass’, where a particular note But that involves repeatedly moving
plays inordinately loud. This is particularly a large and heavy subwoofer around,
Crossing Over
common among home theatre subs, where while tediously taking and re-taking There’s more to setting up a subwoofer
the exact pitch of an explosion or car acoustic measurements. than just finding the right place for it, but
crash doesn’t really matter, but can cause A more practical but still perfectly valid the amount of tweaking that you can
serious problems if you’re you’re trying method is to place the subwoofer at the actually do afterwards will depend on your
to mix a song with a melodic bass line! listening position, play some test tones sub’s features. I’ll assume here that you’re
There are other potential pitfalls involved in through it, and then crawl around on your considering a powered subwoofer, as
engineering a port, but suffice it to say it’s studio floor to identify the spot where the that describes the vast majority of studio
not a simple matter. response is smoothest — that is, where all models. Being active, then, your potential
So, despite the efficiency savings that the notes are heard at roughly the same sub will have its own level control. Setting
ports introduce, some manufacturers level (as you move around the room, the right level for your sub is rather like
stick with the sealed-box approach. That, you’ll find that some notes become almost adding reverb to a vocal: it should be loud
however, requires a powerful, high-spec inaudible, while others sound significantly enough that you miss it when it’s gone,
driver capable of long excursions and louder, which is the opposite of what we but not so loud that it draws attention to
which won’t suffer from overheating. It want). That spot is where you should place itself. The sound of a subwoofer doing its
also requires a large, sturdy, non-resonant your subwoofer. job well is essentially the sound of your
cabinet, and both of these things are
inherently expensive. Good examples An easy way to identify the best position for your
include the ATC SCS70 Pro, Dynaudio’s subwoofer is to put the sub at the listening position,
18S and the Neumann KH750. Tellingly, and then crawl around your studio to identify the
all those models use premium, place where it gives the smoothest response.
in-house-built drivers.

Product Placement
So, subwoofers aren’t easy to design
or build. Unfortunately, nor are they
straightforward to install. They’re inherently
large things for a start, so you need to find
room for them! They’re heavy things, too,
which is why you’ll most commonly see
them sited on the floor. This actually has
one excellent advantage, in that it increases
the subwoofer’s efficiency: unlike a speaker
on a stand, say, which will radiate its bass
energy in all directions, a speaker (or
subwoofer) placed on the floor will benefit
from something called the ‘boundary effect’.
Essentially, all the energy that it expends
on downward-firing sound is immediately
reflected back up off the floor, reinforcing
the sound that’s firing upwards. This is
especially helpful at low frequencies, which
require a lot of energy to generate, and
means that a subwoofer won’t have to work
too hard to produce a decent level — which
is excellent news, because any speaker
working too hard is liable to distort.
The down side of floor placement
is that the position at which your sub

www.soundonsound.com / April 2023 53

 TECHNIQUE
SUBWOOFERS

monitors, but ‘filled out’. You can make this

judgement by ear, or you can again get the
measurement mic out and adjust the sub’s
level until you get as smooth a response
as possible.
Next thing to consider is the crossover.
Just as your monitors require a crossover
to separate the low from the high
frequencies so that your tweeter and
woofer focus on what they do best,
a sub needs to isolate the extreme low
frequencies while sending everything
else to your main monitors. Here, you’ll
see some variation between subwoofers:
some will have a switch to choose
between a couple of frequencies, while
others will have a continuously variable
control. The exact frequency you set it to
will depend on the subwoofer and your
main monitors: ideally, it shouldn’t be
higher than 120Hz or so (above that, you’ll
start to hear the sub as a separate entity,
rather than as an extra octave coming
Most subwoofers will feature a variable crossover control, which allows you to determine the frequency
from your main monitors), and preferably
below which the subwoofer takes over from your main monitors.
lower if your mains can produce a healthy
level below that. For typical two-way What this switch does is reverse the sub’s your ears in the same condition! Your sub
studio monitors, 60-80 Hz is usually about output, so that ‘outie’ cone movements might be considerably further away from
right; the sub’s output needs to ‘meet’ that become ‘innie’ ones, and vice versa. your monitors, which would incur a time
or your monitors, in order to avoid a ‘gap’ What you want is for your monitors’ cone delay, or you might have sealed-box
in the overall frequency response. excursions to match the sub’s around the monitors with a very tight response and
If the sub has a polarity switch, it’s crossover frequency, but even if sound a ported woofer with a sluggish one, so it’s
definitely worth experimenting with to leaves them both at the same time, and definitely worth experimenting with their
see which setting gives the best results. in the same polarity, it might not reach relative polarities.

On Brand
An obvious and oft-asked question about
subwoofers is: should I get one the same brand as
my monitors? The answer isn’t entirely clear-cut.
In theory, it shouldn’t really matter: if the sub
has a good complement of controls (adjustable
crossover, polarity and variable phase), it ought
to be possible to get it to work with pretty much
any pair of monitors. But that theory falls apart
somewhat at both the budget and high ends of
the market...
Cheaper subs sometimes offer just a couple
of preset crossover frequency options, which
obviously limits the extent to which you can tune
them. However, those frequencies may well have
been chosen to work best with monitors in the
same product range, in which case staying on
brand obviously makes sense.
At the pricier end of the market, DSP-equipped
speaker ranges often have presets designed to
work with the other speakers and subs from the
same company. Some brands, notably ADAM
Audio, Genelec, Neumann and Wayne Jones
Audio, even incorporate room correction, where Genelec and Neumann’s DSP-equipped monitors
the speakers and sub can be connected to feature those companies’ proprietary room
computers running measurement and analysis correction systems, while Wayne Jones Audio and
software, allowing the entire system (speakers, some ADAM Audio speakers incorporate Sonarworks’
sub and room) to be optimised as a whole. SoundID system.

54 April 2023 / www.soundonsound.com

 Also Available
In Black
You imagine it, we’ll build it in the Scan Custom Shop

Tech : Heart : Soul. It’s what we do.

scan.co.uk/proaudio . 01204 47 47 47
 TECHNIQUE
SUBWOOFERS

mains. So even if your main monitors are

decent, adding a cheaper subwoofer can
make the monitoring system as a whole
worse. Good-quality, low-distortion subs
are expensive, and even then, to get
the most out of them will require an
acoustically treated room, which further
adds to the cost.
It’s understandable, then, that
questions along the line of “What
sub should I get?” are often met with
a barrage of questions in response,
such as “Is your room treated?”, “What
monitors do you have?” and even “Why
do you think you need one?” This caution
makes perfect sense from a mixing and
mastering point of view, but can have
the effect of putting people off the idea
Some models also include a variable phase control, which can help you fine-tune the combined response
of your sub and monitors.
entirely. As long as any other monitoring
issues have been dealt with as well as is
A somewhat related control is ‘phase’, anomalies in your studio. The crossover practicable, and care is taken to set them
and some (but not all) subs will have parameters may also be a little more up properly, subwoofers can be genuinely
a variable phase control. Think of this as involved than a simple frequency knob, useful monitoring tools. But those
a frequency-specific delay and you’ll be in perhaps allowing you to adjust the slope conditions do have to be met!
the ballpark; by adjusting a subwoofer’s of the low- and high-pass filters, as well as There is another reason for getting
phase response you can ‘tune’ how well their frequencies. Some digital subs might a sub, though, beyond the goal of pristine,
your sub reinforces the output of your even have an element of room correction full-range monitoring. In our world of
speakers, more precisely than by switching built in (see ‘On Brand’ box). measurement mics and frequency
the polarity alone. Finally, many subwoofers will have responses, it often gets overlooked that
A useful way of checking the sub an extra jack socket round the back to Bass Is Fun. Ravers and clubgoers know
polarity/phase is to play a sine tone at accommodate a footswitch, for bypassing this very well, and have for decades
somewhere near the crossover frequency the sub. Usually (but not always; check the been enjoying sub-bass on sound
(85Hz is often a good bet; it needs to manual!), this will let you instantly mute systems that would bring the average
be something that both the sub and the sub while disengaging the crossover, mastering engineer to tears. My point
satellites reproduce at the same time). You so that you can hear your main monitors is that not everyone with a home studio
then adjust the phase or polarity switch in their natural state — useful if you want aspires to be a mastering engineer.
and listen for which setting gives the to hear whether your sine-wave sub-bass The electronic music producers I know
loudest signal — indicating the sub and part will be audible on more limited aspire to have their music played on
satellites are more in-phase than not at the sound systems. rigs with multiple 21-inch scoop bins
listening position. in reappropriated warehouses, not
It’s also worth mentioning that the
On The Up Side linear-phase, DSP-aligned systems in
crossover, level and phase controls As you can see, there’s rather more to light, airy rooms containing nothing but 10
(assuming they are all present) will interact installing a subwoofer than just plugging grand’s worth of hi-fi speakers, a cactus
with each other to some extent, so be it in and turning the volume up. The huge and a Herman Miller chair.
prepared to go around the adjustment loop wavelengths inherent to low frequencies Musicians and composers likewise
a few times to fine-tune the alignment. The also mean that, whatever you do, there have much to gain from having unscientific
most effective order is to set the phase are still likely to be areas of your room fun in the studio: whether you’re noodling
alignment first, then tune the crossover, where the bass response will be uneven. away on a synth or guitar, playing bass
and finally set the level. Deceptively bass-light or bass-heavy lines, programming drums or DJ’ing, a little
If you’ve opted for a sub with DSP, monitoring will manifest as mixes that extra heft can be just the thing to help you
then you’ll likely have even more options sound bass-heavy or bass-light when get in the zone. So, from a creativity and
for tuning and tweaking. DSP-enabled they’re played on other systems in other enjoyability point of view, a sub — even
subs will usually have a delay option, to acoustic environments, and in the worst a cheap one, in an unoptimal position and
help you more accurately compensate cases, will mean you’ll have to completely perhaps turned up a teeny bit too much
for subwoofer placement: a good rule of revise your mix balance. — can be both enjoyable and creatively
thumb is one millisecond per foot, so if What’s more, it’s not just the level of inspiring. Just don’t expect a cheaper
your sub is three feet further away than bass that’s important: distortion from a ‘for fun’ system to give you anything
your monitors, a 3ms delay will bring it cheaper high-excursion driver can easily like as much information as a high-end,
into alignment. run up into the kHz, even if the sub’s input well-configured monitor and sub combo
You might also have an EQ band or is filtered at 80Hz or so, and this distortion — and remember to bypass the sub when
two to play with, to counter any acoustic can end up masking sound from your you’re doing your rough mixes!  

56 April 2023 / www.soundonsound.com

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 ON TE ST

Korg Drumlogue mode provides pattern recall from

Drum Machine the strip, with bank selection from the
screen/encoders. Slightly annoyingly, the
Never afraid to be different, Korg have combined Drumlogue doesn’t remember where you
analogue and digital in a unique drum machine. were after booting.
Special mention goes to Loop mode:
SIMON SHERBOURNE
wooden end-cheeks. Its wedge shape a step repeater that loops the held steps
presents a pleasingly raked control at your selected rate. I always think this
he ’logues started out as Korg’s panel. Fifteen knobs are divided is the most useful performance feature

T next-generation analogue synth

line, but the Prologue polysynth
added a digital oscillator to the mix which
among choice sound parameters
from the 10 drum channels. The ‘Multi’
synth occupies an 11th channel with
a drum machine can have, letting you
create off-the-cuff little fills, builds and
glitches. I love how this one lets you hold
now also features on the Minilogue XD no dedicated controls. Instead this is and cycle a non-contiguous set of steps
and NTS-1 kit synth. The Drumlogue controlled from the four data encoders like on Korg’s SQ-1 sequencer.
continues this hybrid approach, teaming and screen, which are also used for
up four analogue drum voices with six most other settings.
Analogue Sounds
sample-based channels and a variation The row of tiny pots at the top of the The Drumlogue has analogue synthesis
of the same digital module found in the panel make up a channel mixer. Along circuits for kick, snare and two toms.
synths. It’s an appealing concept: if you’re the bottom is the standard-issue strip These follow tried and trusted synthesis
trying to decide between, say, a digital of 16 step keys, which in this case are schemes familiar to any analogue
Roland Aira drum machine and a modern clicky buttons rather than pads, with no drum aficionado, but with an added
analogue like Arturia’s DrumBrute Impact, velocity detection. Basic operation is twist: three of the channels can blend
perhaps this offers a middle way? intuitive and based around modes. In in a sample-based transient. The kick
Live mode the main buttons become channel has dedicated knobs for
Overview manual sound triggers for finger Decay, Tuning and Drive. Further sound
The Drumlogue is compact but chunky, drumming or recording. In Step mode, parameters accessed via the screen
with a metal wrap-around top sheet on the buttons turn into a step sequencer include pitch sweep amount and speed,
a plastic chassis, sandwiched between for the focused Part. Program Select envelope hold time and filter cutoff/

58 April 2023 / www.soundonsound.com

 on the kick and toms. There are eight the Start Time parameter. Other controls
different Snappy types, including 808 and accessed from the screen are the filter,
909, several colours of noise and three drive, bit reduction and mix/effects
degrees of lo-fi bit reduction. send settings.
The two toms are the same but
with different pitch ranges, and are
Difference Engine
synthesised with a pair of detuned Track 11 is the synth track and offers
tones. Ten sample layer sounds are a choice of two built-in engines, or User
provided, some of which help build more modules that can be downloaded and
realistic tom sounds, and some of which added to the Drumlogue. The fixed
can create other types of percussion options are a filtered noise generator and
like blocks and zaps. The Slap option VPM (Variable Phase Modulation), which
effectively provides an alternative snare is Korg’s Casio-like implementation of FM.
synth. As with two of the sample tracks, The VPM engine is versatile and useful,
the toms share panel controls, with the and ticks a box if you’re weighing up the
second of the pair accessed via Shift. Drumlogue vs Roland’s TR-8S.
This is quite a pain if you’re triggering the Pre-installed in the User section — and
second tom (or sample 2) manually from currently the only available module — is
the buttons, as the buttons also have Shift Nano, a synth created by the excellent
functions. If you are holding Shift and hit Ukrainian plug-in developer Sinevibes.
the High Tom (and you will) trigger, you Nano is a two-oscillator synth, with
will actually clear the part settings. multiple detunable waveform pairings,
filters, a multi-mode envelope and LFO.
Sample Tracks It’s not just the User synth that can
Despite the track naming (CH, OH, RS, be extended with third-party add-ons;
resonance. Leaving the sample CP, SP1, SP2), the six digital channels you can also download and install
layer off you get a fat dusty kick are more or less interchangeable, but additional effects modules to add to the
with a satisfying low-end shake and have different controls on the panel. The built-in reverb, delay and master effects.
an icing of noise. The main tone is nominal hi-hat (CH/OH) and clap (CP) These ‘Units’ are made using an SDK
quite saturated even before you tracks get a dedicated Decay knob each, available from Korg. Many have already
bring in the Drive control. One issue while the two sample tracks (SP1, SP2) been created (most sold commercially)
is that Drive cranks up the noise have a full complement of Attack, Decay for the other ’logue synths and NTS-1,
floor and this doesn’t follow the and Tune, albeit shared via Shift. The but unfortunately these are not directly
main Decay contour. So for shorter hats and clap do get an Attack control via compatible with the Drumlogue. Korg say
kicks, you get a period of noise screen diving, but the rimshot (RS) track they are similar and should be easy to
following the main sound. does not and has no physical controls. port, but none were available to try yet.
The kick has its own character, All the tracks access the same pool
but can emulate the classics up to of sounds, which is divided into banks
Sequencing
a point. With maxed-out sweep set as per the track naming. There are 16 The Drumlogue employs a familiar
to a very short time you can get of each primary type, then a bank of 64 structure of banks and patterns, which
that punchy 909 bounce, although Misc sounds that collates percussion
it’s a noticeably noisier version. sounds, cymbals, tonal stabs and textures Korg Drumlogue
The noise component of the tone and some vocal samples. There’s then £489
can’t be adjusted separately but a currently empty Expansion bank and
the filter can be used to roll it off. a User folder. User samples are loaded on PROS
• Best-of-both approach with analogue
This noise can add a hard transient, by connecting the unit to your computer
and digital voices.
but you also have a choice of 16 in external storage mode. The scope is • Open synth and effect slots.
Attack samples. These include rather limited here: you can only have • Modern, nimble sequencing.
various clicks, acoustic-like hits 128 user samples on the drum machine • Split outs and USB controller hosting.
and classic sample-based drum at a time, and there’s only a tiny 32MB of • Groove control.
machine flavours. available storage. You also have to name CONS
The snare is a conventional every sample file to be numbered from • Stingy sample memory.
blend of a tuned body tone and 001 upwards, which is super fun. • Fussy file-naming convention for
a noise-based layer that borrows The sample tracks have an always-on samples.
• Only one track per direct out.
Roland’s ‘Snappy’ nomenclature. attack-decay envelope with no hold or • Buttons not great for real-time
The Snappy knob controls the sustain and a maximum time of about two triggering.
decay of the noise, with level seconds for each stage. So the longest
being controlled from the screen you could play back a sample is about
SUMMARY
An intriguing mash-up of analogue,
pages. The snare is all analogue, four seconds with full attack and decay. sample-based and digital synth
with the Snappy synth component Longer samples can be loaded in and approaches in a familiar and
replacing the PCM layer found you can reach different parts of them with approachable drum machine.

www.soundonsound.com / April 2023 59

 ON TE ST
KORG DRUMLOGUE

Rear Of The Year

The Drumlogue scores highly on the connectivity all channels at once (ideal for finger drumming Alongside the main stereo and headphone outs
front. As well as conventional MIDI I/O there are from a pad controller) and control multiple are a further four assignable audio outputs — very
two USB connections: one for connecting the parameters across the unit. In Single mode, each useful for isolating sounds, although it would
Drumlogue as a client device, and a host port track is controlled from a different MIDI channel, be nice if you could assign more than one track
for directly connecting a USB MIDI keyboard or allowing melodic play of the sample and synth per output. The mini-jack audio input can bring
controller. Connected controllers can operate in channels. Clock can be sent and received over in sound from another instrument, but you can’t
multi- or single-channel mode. Multi lets you play MIDI, USB, or via the analogue sync ports. sample into the Drumlogue.

can be recalled from the screen or main quantising. As well as more traditional want to do for recording. Drumlogue
button strip. The default is for instant Swing, you can choose from a list of doesn’t provide for audio over USB like
pattern triggering in step — always my different groove styles that suit particular its Roland and Elektron peers.
preferred choice — but you can also styles or percussion instruments. Both As well as the reverb and delay sends,
choose to queue pattern launches, velocity and timing can be humanised to a handful of master effects are available
and can also chain patterns. Patterns these grooves by degrees, and can be to refine, boost or grunge up your mix
store the kit (including the analogue applied globally or per track. It’s a real outputs. The compressor option comes
sounds) as well as the sequence, a clear secret weapon! with a pretty sophisticated side-chaining
differentiator from the DrumBrutes, which implementation, with the option to set
don’t store sound settings. This does
Performance levels from each track to feed the ducking
mean that sounds and panel controls are Alongside the power features for input, and the chance to bypass channels
not always in sync. programming, the Drumlogue performs individually from the master effect.
Patterns can be recorded in real well as a hands-on instrument. Having
time (quantised or unquantised) while those direct controls of analogue
Modern Classic
in Live mode, or entered track-by-track channels is great, and just playing with I came to the Drumlogue straight
in the usual grid fashion in Step mode. the Decay and Drive on the kick can turn from a month with Polyend’s
Patterns can be adjusted up to 64 steps a basic beat into a dynamic performance. convention-busting Play groovebox, and
using the Grow and Shrink buttons next I did wish you could change some of the it felt like putting on a pair of comfortable
to the page indicators, and individual assignments, especially on the digital old slippers. This looks, feels and
tracks can run with different speeds channels. Things like the filters and the operates like a classic drum machine.
and lengths. A system pref chooses synth tracks can only ever be tweaked But don’t be fooled, the Drumlogue has
whether Growing a pattern duplicates the from screen pages. Maybe a Macro page all the mod cons in its sequencer, effects
existing sequence. could be added in a future update? and digital synthesis.
The Drumlogue keeps up with modern There’s no specific Fill function, but If you judged it purely on the sampler
conventions by providing per-step trigger with instant take-over launching this is side, the Drumlogue is not as feature
conditions, including probability, bar easily replaced by hot-swapping pattern rich as the competition (although it does
skipping and repeats (ratchets). For all the variations. And as I mentioned right at support stereo samples, unlike most
digital tracks you can also dial in notes the start, there’s the Loop function for comparable devices). There are a lot of
chromatically per step to create melodic momentarily auto-repeating or shuffling excellent drum machines in this price
sequences. It would have been cool if sequence steps. range, but the Drumlogue is unique
you could do this for the kick track too, Supporting both live performance among them in combining analogue
for those analogue 808 bass lines — you and recording are four individual sound and digital voices, as well as supporting
can automate the unquantised pitch but outputs in addition to the main stereo user-installable custom synths and
it’s not easy. Live motion sequencing is mix. You can choose which track routes effects. It’s old school, it’s new school,
available as well as per-step parameter to each output, and whether they are it’s... middle school? However you
control, with a maximum of eight lanes. excluded from the mix bus. Unfortunately categorise it, it’s lots of fun, has potential
This automation is displayed as bar you can’t mix more than one track to for continued development and will likely
graphs similar to the lane graphics in the an individual output, which would be hit the sweet spot for many.  
’logue synths. the obvious thing to do with the two hat
Something a little different that channels, for example. You also can’t £ £489 including VAT.
I love on the Drumlogue is groove isolate the effects returns, which I would W www.korg.com

60 April 2023 / www.soundonsound.com

 ON TE ST

Multichannel Microphone Array Design Book Review

Long-serving readers of Sound On Sound these ideas to include height options.
may recall my review in 2015 of Michael The book closes with four annexes, the
Williams’ two-volume tome, Microphone first of which covers the requirements of
Arrays For Stereo And Multichannel windshielding for outdoor applications, with
Sound Recording. I’m pleased to report an analysis of different solutions. Annex
that Michael has continued his research B looks at a multi-channel colour-coding
in this field, specifically into 3D arrays, standard for XLRs to help with hooking up
and has recently published a new edition multiple microphones in the correct order.
entitled Multichannel Microphone Array The third annex explains ‘Zenith Zone
Design. This latest version contains all Steering’ (you’re going to have to read the
of the information from the previous two book to get to grips with that!) and, lastly,
volumes in a new, 444-page single volume. Annex D reproduces various full-page
Each chapter has been updated where diagrams of SRA charts for both stereo and
necessary, and the chapter order has multi-channel arrays.
been restructured for a more logical flow By reordering some of the chapters,
of information. More importantly, though, I think Michael has made this new volume an art, but that science is explained clearly
this new book also includes much new an easier and more logical book to read, and thoroughly in Michael Williams’ new
information regarding 3D audio arrays and greatly aided by revised layouts and book. Anyone with a technical interest in
their practical design and applications. clearer diagrams. For owners of the earlier the underlying knowledge of microphone
As before, the book starts with a review two-volume books much of the content will arrays will find MMAD a genuinely
of stereo loudspeaker configurations before be familiar, of course, but the new material fascinating and informative book and,
discussing Michael’s superb Stereo Zoom concerning 3D audio is a very welcome as I mentioned when reviewing the
concept to explain the real-world aspects of and helpful addition, which is increasingly previous incarnation, this work really is
familiar stereo microphone arrays. Chapter relevant to modern recording requirements. unparalleled and may well revolutionise
3 concerns ear training to recognise and As before, there is also an associated the way practitioners think about different
analyse the key sonic aspects of different website with additional information microphone array techniques in real-world
stereo mic arrays, while the next chapter (www.mmad.info), which continues to be applications. Very highly recommended.
dives into designing stereo mic arrays in updated with new material in development The paperback book is available directly
even greater detail. The special case of (including three-channel ‘Triphony’ from Michael Williams via the email address
Mid-Sides arrays is given its own chapter. array designs). given below. Hugh Robjohns
Horizontal multi-channel arrays are The science of designing stereo and £ €48 plus postage.
given the same expansive treatment multi-channel microphone arrays is certainly E [email protected]
in Chapter 6, while Chapter 7 extends complex enough to warrant being called W www.williamsmmad.com

OneOdio Monitor 80 feeling of being ‘back to front’, they’re

reasonably comfortable to wear. They’re
Open-back Headphones also relatively easy to drive, despite their
OneOdio’s Monitor 60 closed-back high impedance: any half-decent audio
headphones, which I reviewed back in interface should be able to generate
July (www.soundonsound.com/reviews/ a decent enough level from them.
oneodio-monitor-60), are an impressive Sound-wise, they share quite a similar
value-for-money proposition. As an all-round basic character to the Monitor 60, with
studio tool or something for musicians to a fairly rich low end, a broad suck-out in
hear themselves on, they do a good job at the midrange and an obvious presence
a very affordable price. If you want to mix peak somewhere in the 4-5 kHz region.
on headphones, though, it would be well although there are some similarities in However, I didn’t find these characteristics
worth spending extra to get something that terms of construction, there are also many quite as distracting this time around. The
sounds less coloured and more neutral. differences, for instance in the shape of the Monitor 80s certainly aren’t the last word
And, obligingly, the Hong Kong-based earcups and the depth and material of the in neutrality but, unlike the Monitor 60s,
manufacturers have now launched have cushions. As with the Monitor 60, there’s I can imagine adapting to their tonality well
their own candidate for this role. an eighth-inch mini-jack socket in the left enough to produce tolerably good mixes.
The Monitor 80s are the more upmarket earcup and a quarter-inch one in the right. You’re not quite getting a Ferrari for
open-backed cousin of the Monitor 60s, Two cables are supplied, one terminated in Ford money, but if you’re on a tight budget,
but it would be misleading to characterise two mini-jacks and the other in one of each, the OneOdio Monitor 80s will get you
them merely as an open version of the for use either way round, as appropriate. from A to B, and in reasonable comfort!
same design. Whereas the Monitor You also get a smart and robust carry case. Sam Inglis
60s present a typical low impedance The Monitor 80s sit quite lightly on the £ £111.60 including VAT.
of 38Ω, the Monitor 80s are 250Ω; and head, and although they gave me an odd W www.oneodio.com

62 April 2023 / www.soundonsound.com

Wave Alchemy Glow
Reverb Plug-in
Released in 1978, the AMS RMX16
hardware reverb was the first
microprocessor-controlled, 15-bit digital
delay and pitch-shifter, and many of the
classic ’80s records used them in the
production of gated drums, lush synth
sounds and atmospheric vocals — you
could say its sound is in our musical on Mac OS or Windows, and includes A0, Hall C1, Hall B3, Hall A1, Plate A1,
DNA! As with much vintage gear, the Apple Silicon support. It comes with 170 Plate B1, NonLin 2, Reverse 1, Reverse 2,
magic of its sound was borne out of presets, and there’s a ‘dice’ function for Image P1 and Freeze, the latter producing
technological limitations of the time, such random selection, though if you prefer a continuous reverb tail that builds up as
as limited processing power and imperfect to create patches from scratch it’s very more input is sent its way. Additional DSP
converters, which in this instance resulted straightforward. While the UA version is features include gating, ducking, transient
in a somewhat ‘grainy’ but incredibly based on code ported from the original smoothing and Flux, the last adding
spacious sound. A casual search for used hardware, Wave Alchemy have taken pitch modulation and enhancing stereo
hardware units in working order threw up a hybrid approach that employs impulse ‘spatialisation’. There’s also a switchable
astronomical prices (in the thousands). responses (I gather around 1000 IRs were Modern mode, designed to produce
Universal Audio offer a plug-in involved!) taken from the original hardware, a tighter low end with more punch by
recreation but, at the time of writing, it and uses more DSP processing to add summing the low end below 80Hz to
only runs on their DSP platform; AMS also features not present on the original, which mono and adding a wide 4dB dip centred
offer a hardware 500-series version. Now, are designed to increase the appeal for at 1kHz. For those who like to use mono
Wave Alchemy have created an affordable modern producers. reverbs to help localise panned sounds (by
native plug-in alternative. Called Glow, it The 14 reverb algorithms available panning the reverb to the same place as
supports VST3, AU and AAX hosts running are Ambience, Room A1, Room B1, Room the dry sound), there’s a phase-coherent

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mono mode, and the pre-delay time has example, we normally think of ‘ambience’ magic on vocals and synth parts. The grainy
the option of being tempo-sync’ed. Finally, as a short burst of early reflections used nature of the reverb becomes most evident
for those who baulk at the idea of the to create a sense of space with little or on percussive sounds such as drums,
resizeable GUI being pink, there’s a choice no reverb tail, but you can take the decay producing that distinctly ’80s flavour. It’s
of black, blue or grey. time of the Ambience algorithm up to a long time since I used one of the originals,
The Level, (pre) Delay and filter controls 7.5 seconds for a long and characterful but Glow produces results very much as
are largely self explanatory, though the reverb. The NonLin 2 program produces I remember them, with an unashamedly
new Smooth control might need some the classic gated reverb so often heard on vintage character. However, I reckon the
explanation. This reduces the initial ’80s drums, but Glow’s Gate time slider additional features make Glow rather
transients of drum sounds before they hit means that any of the algorithms can be more useful than the original. That Modern
the reverb engine, which allows the reverb tweaked to create gated reverb effects. In button, for instance, really does clean up
to focus on the drum’s decay. Glow’s Duck fact, I found this to work particularly well on the low end nicely, particularly on drums.
control reduces the reverb level in the the Room B algorithm. Reverse performs I think it’s fair to say that few people
presence of an incoming sound, effectively the usual trick of creating an upward ramp would want to have an RMX16, either real or
causing the reverb to swell during gaps. of early reflections to simulate a backwards virtual, as their only source of reverb these
Then there’s Flux, which to my ears adds sound envelope. days, but it’s great for those occasions
a chorus-like modulation. The three As with many of the early digital reverbs, where you need to add a bit of vintage
sections of the parameter window show the the AMS RMX16 sounds somewhat coarse magic, and Wave Alchemy have made Glow
decay time, the high-frequency damping and crude when compared with more affordable enough that it’s not too hard
filter settings and the algorithm type, where modern designs, but it is precisely that gritty to justify adding it to your reverb arsenal.
each can be adjusted independently. character that creates its sonic signature. Paul White
Some of the algorithms may not be quite Glow’s gated drum sounds really nail that £ £59 including VAT.
what you expect from their names. For ’80s vibe, while the other spaces work W www.wavealchemy.co.uk

Soundevice Digital Mastermind Mastering Plug-in

Marketed under the United Plugins in addition to the input signal.
‘umbrella’, Soundevice Digital’s Mastermind Output metering shows
plug-in aims to provide a selection of the stereo levels alongside
tools in a single, uncomplicated GUI so the limiter’s gain reduction.
as to make mastering your mixes easy. Clicking the Soundevice Digital
A typical basic mastering chain might logo takes you to the website,
include EQ, compression and limiting, but from which you can download
Mastermind does things a little differently. the user manual.
Instead of conventional compression, for In use, Mastermind does
example, we have the one-knob Optimizer, a good job of adding detail
a kind of ‘secret sauce’ process that lifts and weight to an already
detail out of a mix while also making it good-sounding mix, and the
sound bigger. To my ears, this sounds like EQ works nicely for overall
a combination of dynamics processing and tonal balancing. To use the Match EQ obvious. The limiter is effective in gaining
spectral reshaping. For EQ, there’s a simple there are two learn buttons, one for the a little more level, but it’s probably a good
two-band shelving EQ with switchable reference source and one for your track. idea to insert a loudness metering plug-in
frequencies, for gentle tonal shaping, This works in much the same way as other after Mastermind, since it doesn’t have
and this is based on an unnamed classic matching EQs: you learn the profile of your one of its own; without one, it’s easy to find
American analogue equaliser, and has source for several seconds, then learn yourself overusing the limiter and delivering
variable tube-style saturation should you your own mix’s profile, and the software ‘congested’ mixes that most streaming
wish to add some warmth at this stage. If calculates a complex EQ curve to force platforms can end up turning down!
you need to benchmark an existing mix, the spectrum of your mix to match that of Mastermind might not have the forensic
there’s also a Match EQ facility, and at the the reference. How effective this process EQ or complex compressor chains of
end of the chain the limiter has adjustable is generally depends on how similar the a real-life mastering suite for fixing more
saturation — yet another opportunity to types of material are to start with, and complex problems, then, but if you just
add character. Finally there’s a Stereo in my experience using lower settings need to flatter an already decent mix and
Width control to narrow or widen the of the Match control can sound better then bring it up to an appropriate level, this
stereo image. than aiming for a 100% match. I found the is a good-sounding collection of tools, it’s
The GUI is divided into logical sections Optimizer sounded best set at around the easy to use, and it’s actually pretty effective.
and, except for the adjustable input gain half-way mark, at which point it lifts out In fact, as a quick and easy solution to
control, each section has its own on/off low-level detail to make the mix sound mix polishing, Mastermind has much to
button; there’s also a master bypass. richer and more interesting, while the tube commend it. Paul White
A spectrum display at the top of the screen and saturation stages are good for adding £ £115
shows the signal both pre- and post-limiter, a subtle warmth without sounding too W https://unitedplugins.com

64 April 2023 / www.soundonsound.com

 Clarity Redefined

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 INTER VIE W

Recording UK Grim
lot more to the
minimalist, abrasive sound of Sleaford Mods than
meets the ear.

Andrew Fearn (left) and

Jason Williamson at JT Soar
Studios in Nottingham, where
UK Grim was recorded.

66 April 2023 / www.soundonsound.com

 investigated every time we come to do I mean, I’ve used trackers before, but it
TOM DOYLE
another album. It needs to be thoroughly can be a bit brain crunchy sometimes,

I
nstantly recognisable by Andrew thought about. There’s no half measures.” especially to write a song in. They’re OK
Fearn’s minimalist, post-punky for writing loops and whatnot. But Music
electronic beats and bass lines and
Hands On X was basically like a modern sequencer
Jason Williamson’s ranty, aggressive Andrew Fearn grew up on a farm in the now where you’ve got a screen where you
vocals — cleverly and often hilariously village of Saxilby, Lincolnshire, before can put notes in [ ].”
detailing his views on the decaying state studying music at Newark College In 1997, Fearn progressed to a Casio
of the UK — Sleaford Mods have been (dropping out after a year when he says FZ-10M sampler. “It had eight outputs, so
one of the most unlikely British musical he “got led astray by people in the pub”) it was great if you had a mixer,” he says.
successes of the past decade. Since and then moving to Nottingham in 1989 “I’d write the whole track on the Amiga,
releasing their first proper album together, after he enrolled on a recording course. have that running 8-bit samples, with the
2013’s Austerity Dogs, Williamson and “You would learn electronics for two days FZ, and two Zoom effects racks. I used to
Fearn have taken their partnership from and then sound recording,” he remembers. try to make stuff with the FZ that sounded
a bedroom operation releasing CD-Rs and “The first day I was standing with a pen like riffs. Like, sampling guitars and things
playing in Nottingham pubs to a deal with and a pad, having to jot down notes of and just make a chuggy loop. I’d be writing
Rough Trade Records, Top 10 albums, and a mixing desk, and thinking, ‘I just want to a lot of control changes for the effects,
sell-out tours. play with it.’” and everything would be programmed,
“We’re a bit of an anomaly,” says Fearn. Before long, he’d invested in a Fostex so I’d just be pressing Play and it would
“We’ve just come from a weird place... X-26 cassette four-track and began run a track. But at one point, I realised it
Lincolnshire!” was too complicated.
Williamson says Everything would be
of their idiosyncratic
sound: “People
Jason Williamson: “I’m constantly really glitchy.
“So, it was a slow
perceived it as being conscious that, although there’s not evolution of, like, making
really influenced by lots of stuff on cassette,
the Fall or whatever. that much to Sleaford Mods, it has to be until the MiniDisc came
No disrespect to Mark out, which was a bit of
E Smith and God rest thoroughly investigated every time we a revolution. After that,
his soul, but that just
wasn’t true.”
come to do another album. It needs to I’d just WAV things on
the computer, then
Instead, Williamson
lists as key inspirations
be thoroughly thought about. There’s I could edit them later.
“I feel like up until
the Jam circa 1980
album Sound Affects,
no half measures.” I met Jason really, I was
part of a massive crowd
especially Bruce of people that were
Foxton’s distinctive, rumbling bass lines, dabbling with recording in his bedroom. known as bedroom artists. That’s basically
and Keith Tenniswood and the late Andrew “A mate of mine lent me an Alesis what you were. But having a boundary
Weatherall’s Two Lone Swordsmen MicroVerb, which was absolutely brilliant,” is quite a good thing for making music,
project, particularly the 2004 album he says. But a lingering memory stuck because you work around different ways
From The Double Gone Chapel. Fearn, in his mind of seeing Paul Hardcastle of doing things.”
meanwhile, had long specialised in making (responsible for 1985’s UK Number 1, ‘19’)
stripped-down electronic tracks. on TV in the mid-’80s demonstrating an
Meeting Of Minds
“Sometimes I’ll have a bit of an idea... Emulator, and Fearn became fascinated For his part, Jason Williamson had
just like a drumbeat, for example,” the latter with the notion of sampling. struggled for years to have a music
explains of their working methods, “and “The idea of being able to sample career, both as the singer in bands and
then he’ll start shouting something on it something was a lot more interesting to as a solo artist. His creative breakthrough
and the melody will come out of it. Other me then than synthesis. I mean, I’m a lot came when in 2005 he booked Rubber
times, I’ll have one of those kind of eureka more interested in synthesis now. But just Biscuit Studio in Nottingham and, together
moments where I just write a whole piece. the fact that you could record any sound... with Simon Parfrement, began messing
“I do think once you create a musical it was, y’know, kind of a frontier, wasn’t it? around with the ideas that would lead to
concept,” he adds, “which is not really Just mind-blowing.” Sleaford Mods. Often it involved working
something I’ve done this sort of powerfully Keen to dive into learning about with bootleg samples. The first track they
before, things just do come to you.” sampling, Fearn began using Music X made together was titled ‘Ashtray’ and
As is evident on their latest album, software on a Commodore Amiga 1200. featured Williamson rapping over a heavy
UK Grim, minimalism remains key to their “You could play four 8-bit samples at metal loop.
sound. “It’s timeless, innit?” Williamson once,” he recalls. “So it was a bit like using “It was ignited by basically me and
stresses. “But I mean, it’s how you use it, a four-track in a digital sense, because Simon twatting about with somebody’s CD
Photo: Phil Booth

isn’t it? This is why I’m constantly conscious you could bounce samples together for that they gave us,” says Williamson. “We
that, although there’s not that much to certain parts of a track. A lot of people just looped a bit of it, and I turned it into
Sleaford Mods, it has to be thoroughly used OctaMED, which was more popular. a song. I just started moaning over it about,

www.soundonsound.com / April 2023 67

 INTER VIE W
SLEAFORD MODS

Andrew Fearn’s home studio is still relatively modest, though

host to an ever-growing modular rig. Visible far left is Andrew’s
now-ancient Yamaha MD4S MiniDisc multitracker.

y’know, the cult of David Bowie and all Fearn playing some of his own tracks in the remembers. “So Jason would literally be
this bullshit. I took it to work the next day basement. “I would turn up with a laptop stood right in front of the speakers with
and people were like, ‘Oh, this is actually and just play my stuff,” Fearn says. a 58 and there’d be loads of spill.”
all right.’ And I thought, ‘Oh, OK.’ So, it just “It was really grimy,” says Williamson. “He would sometimes say, ‘Oh, can you
went from there. I kept getting segments “Not grimy as in grime music. But it was move back a little bit?’” Williamson laughs.
off records that I really loved.” really dirty. It was a remix of the George “I felt like it really added a bit of liveness
Jason Williamson made four low-key Michael song, ‘Careless Whisper’. It to a lot of those older albums,” says Fearn.
Sleaford Mods albums with Parfrement sounded so horrible, so industrial, but there “Y’know, it added this sort of weird top
between 2007-2011, involving illicit was something quite warm about it as well. end to a lot of the tracks. Because you’re
samples lifted from the likes of Marvin And I thought, ‘That sounds perfect.’” basically putting the whole track back on
Gaye, Jeff Beck, the Sex Pistols, the Verve Together the pair collaborated on the the [ ] track.”
and Dr Octagon. “I wasn’t in a position to fifth Sleaford Mods CD-R, the colourfully “It needed to sound raw,” Williamson
get clearance for any of these things,” he titled Wank, before many of the tracks adds. “He took a bit of spill out, but the
points out. “It was always an Achilles heel were re-used for their first official release, mistakes were just as important as the
that you could only press about 50 CD-Rs Austerity Dogs. “It came along just at the song ideas, in the sense of little glitches.
at a time when you released an album. right time,” says Fearn. “I probably would That was something that I really enjoyed
So I was looking for something more have given up! I was literally just hanging in doing and still do, y’know. If I mess up on
homegrown and original.” there, really.” a vocal line, repeat a line or if I trip it up, so
Williamson had begun performing alone long as it’s not blatant, then we keep it in.”
as Sleaford Mods, rapping over CDs. One
Dust To Dust In terms of direction for their early
night in 2010, after his set supporting LA Fearn and Williamson’s studio in the early recordings, Williamson told Fearn that
noise artist John Wiese at the Chameleon days of Sleaford Mods was situated in he was a fan of the “dusty appeal” of
club in Nottingham, he was having the former’s flat. “It was really small, and RZA’s productions for Wu-Tang Clan.
a cigarette outside when he heard Andrew I had my monitors on wall stands,” Fearn “But he never quite nailed the Wu-Tang

68 April 2023 / www.soundonsound.com

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 INTER VIE W
SLEAFORD MODS

Some of the rhythms on UK Grim were

composed using a Nintendo DS Lite, which served as
a super-portable drum machine for writing whilst on tour.

Photo: Ian Tatham

sound,” the frontman reckons. “There was on a beaten-up Fostex four-track he’d in Ableton for his Extnddntwrk records.
something quite clean about it as well. borrowed from a friend. “I had to take the “I mean, you’ve got to have some kind of
But also quite ’80s, quite aggro. Which is screws off the bottom of it because the system,” he says, “so I still use Acid to build
obviously his style.” rubber band kept coming off. So, I’d have the tracks with Jason. I’d do a lot of stuff
Fearn, meanwhile, was at the time to keep repairing it all the time. I started in Acid where I’d just be chopping a lot of
using a combination of bits and bobs of making tape loops, undoing tapes. On small notes up, and re-rendering things.
equipment: the cheaper, the better. “I had the track ‘Donkey’ [from Austerity Dogs] Making my own WAVs and regurgitating
a jailbroken iPad, so I had loads of free the beat is from a tape loop album stuff back into the computer.
stuff. I had a mate that used to crack lots I made [in 2012, under his ongoing solo “Jason just wants to get on with it.
of software for me, so everything was name Extnddntwrk]. Y’know, so if I turn up and I’ve got one or
cracked basically.” two or three WAVs in Acid, then all we’ve
At the same time, he also began
Quick Steps got to do is get on with it. If there’s a bit
sampling beats from cassette tape Fearn’s preferred DAW for Sleaford that’s not working, I can easily chop it out.”
loops that he’d made back in 2009 Mods is Magix Acid, although he works It’s pretty clear from the intensity
of Williamson’s performances that the
frontman works at a furious pace. “Yeah,”
Local Band Fearn laughs. “I mean, he’s not as bad
With the exception of 2017’s English Tapas, which right with it. It’s a good record.” as he used to be, because he kind of
was made at Pulp bassist Steve Mackey’s West Since then, Sleaford Mods have completed understands the process. Definitely in the
Heath Garage Studios in London, Sleaford Mods their last three albums — Eton Alive (2019), Spare early days, there was very little time. If you
have always recorded in Nottingham. Ribs (2021) and this year’s UK Grim — at JT Soar hadn’t done three tracks by the end of the
“I think we needed a change of scenery,” Studios in Nottingham. “They’ve got loads and night, then it hadn’t been a good night.”
Jason Williamson says of English Tapas. “We tried loads of old-school kit in there,” says Andrew
When it came to 2014’s Divide And
doing demos for the album at the Chameleon, Fearn. “Loads of old synths, Russian copies of
the club that we used to gig at, and it just wasn’t stuff, and loads of guitars. I’ll probably turn up Exit and the following year’s Key Markets,
working. Andrew had moved out of his flat onto with the goods anyway, most of the time, but if Sleaford Mods began to slowly develop
a narrowboat, so we couldn’t really record there. we do need something, we can use it.” their sound. ‘Tied Up In Nottz’ in particular,
And so we went down to Steve Mackey’s place. “It’s local, and we know it, so we don’t really from the former album, featured Fearn
“It was great. Really, it was not too different need to go anywhere else,” Williamson adds. playing a skeletal, Joy Division-styled
to Andrew’s old flat, except that there were “Andrew likes to have his things in front of
guitar part and a live drum loop.
a lot more instruments, there was a lot more him and he’s up for the idea of experimenting
apparatus to use. I was trying to stop drinking with other stuff, but we don’t necessarily need “A friend of mine had a studio in
and taking drugs. So that period there was a lot a massively plush studio, y’know. JT Soar is spot Nottingham,” he says, “and we were kind
of change and disruption. But I think we did all on for us, really.” of sharing it. He bought loads of these
affordable mics and had the whole kit

70 April 2023 / www.soundonsound.com

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 INTER VIE W
SLEAFORD MODS

set up. So one day, I just played beats.

Photo: Phil Booth

But even though we did lots of beats and
recorded for a few hours, once you’ve
used that sound for a track, you can’t really
use it again. That’s been kind of part of
the learning curve of like, ‘Well, OK, we’ve
used that sound. You could maybe steal
the snare from it and put it with a different
hi-hat and kick to make a new sound.’”

Down The Money Pit

Searching for new ways to make beats
is a constant process for Fearn. ‘Mork
n Mindy’, from 2021’s Spare Ribs, for
instance, employs the unmistakable tones
of Teenage Engineering’s PO-12 Pocket
Operator mini drum machine. For the new
album, UK Grim, he created some of the
rhythms while on tour using a Nintendo
DS Lite loaded with Korg M01D software.
Elsewhere, Fearn has moved into the
modular world. “I can lose days using this
modular stuff,” he admits. “I can fall down
a rabbit hole with one of the things that
I’ve bought. The great thing about modular
stuff is it just makes what you do so much
more instant. I mean, it’s a bit of a money
pit, I have bought more than I need, but
I haven’t gotten that crazy with it.”
Along with his array of Mutable
Instruments modules, some of the key
sounds on UK Grim were created using
a 1010music Bitbox. “It’s a sampler, and you
get a touchscreen on it,” he says. “It’s the
dream device. I’ve tried to buy things that
were more affordable. I’m not stinking rich Jason Williamson in the vocal booth at JT Soar.
or anything, but I’ve got some money. But
I wouldn’t know what to do with a pair of
Neve compressors. I just want something Talking Heads,” he says of the latter. “Which purposeful on Sleaford Mods’ records.
that I can be creative with.” is kind of why I bought it. But I just try and “It’s often the case of less is more. The
Similarly, Fearn is a fan of Erica use different basses all the time, just to get great thing about modular stuff is, just by
Synths’ Sample Drum. “That’s like a more away from it sounding like a band. using VCAs and things, you can make
basic version of the Bitbox. You can CV “Even if I use the same bass, I’ll just things sort of kick out. Like on ‘UK Grim’,
everything. I mean, it’s nice to be able to run it through the [ ] Bias I played the bass line, but then I sampled
control panning and volume and reverb, and FX plug-in, which is quite nice. You get it. And then I played it back through
the amount of reverb, when you want it.” lots of valve amps and things. I think it’s a VCA with a trigger, which is why it
Fearn is also a follower of Eurorack guru a bit more subtle than running it through sounds really, really sort of tight.”
and module developer Ben Wilson aka Guitar Rig or something. Quite often now, Another important purchase was
DivKid’s tutorial videos. “I can be there all because the fidelity of the music seems a Roland Boutique SH-01A. “That’s the
day watching those videos, and then going, to have gone up a little bit more, I’ll run first thing I bought when I finally got a bit
‘Oh, I’ll try and do that. I’ve got that thing.’ a sub-bass sound along with the bass line of cash,” Fearn says. “I thought about
Often, that’s how I’ll make a piece of music to sort of give it a bit more oomph. getting an original one, but at the time
now. Because a lot of modular kit things “It’s become a bit more important, they were, like, 800 quid. But with the
are quite Swiss Army Knife-y. They do I think, the production,” he adds. small one, it’s great because it’s got a CV/
a multitude of things.” “I was quite prepared to just be in the gate out on it, and it’s got a clock in. It’s
background, making a trashy sound. But a very useful tool. I probably use it more
At The Bottom Of It All I think that if you do get an opportunity to as a sequencer.”
In terms of bass lines, Fearn has used progress as a band, it’s going to become
everything from Moog and Korg Gadget more important, isn’t it?”
Higher Fidelity
iPad synths to an old Fender Squier bass. For the most part, Fearn likes to As time has gone on, Williamson has
“It sounds like the Stranglers, it sounds like keep the effects processing simple and progressed from performing in the

72 April 2023 / www.soundonsound.com

 Guest Passes
As with Spare Ribs, which featured singers track. He was right to do that because it was
Billy Nomates on ‘Mork n Mindy’ and Amyl a bit laboured, in a way, so he shortened his
& the Sniffers’ Amy Taylor on ‘Nudge It’, new verse, but then Perry didn’t like the fact that it
Sleaford Mods album UK Grim features guest had chopped off... whatever the fuck he’s singing
appearances. Dry Cleaning’s Florence Shaw about. So he rewrote the verse.”
appears on ‘Force 10 From Navarone’ and Perry “It did go on too long,” Williamson admits. “It
Farrell and Dave Navarro from Jane’s Addiction was a case of: ‘It needs to go bang, bang, bang,
on ‘So Trendy’. The latter pair’s parts were finish.’ It’s probably one of the strangest tracks
recorded in Los Angeles. I think we’ve done. It’s quite bright, which is
“With Perry, we wrote the song, sent it to him unusual, but it works. Andrew had his guitar line
and said, ‘Just do what you want,’” says Jason that he’d done, and Dave Navarro just jumped on
Williamson. “And he sent it back and it fitted there and kind of mimicked that. But obviously,
brilliant. But it took a while to edit it.” added his own little flair to it. What’s great is
“That track was a bit of a nightmare, really, the fact that when you’re working with people
control room at JT Soar to the studio’s in the end,” says Andrew Fearn. “We kind of like that, or with any of them, they always pay
booth. Typically he uses a Peluso P49, got sick of hearing it because we had to redo it homage to the track, y’know, they don’t just
a modern take on the classic Neumann several times. Initially, he sent the verse over, piss all over it. That’s the sign of someone really
and then Jason wanted to shorten the whole good, I think.”
M49. “Because he goes in the booth
now,” says Fearn, “occasionally we’ll just
tighten up his delivery a little bit. If he’s mixed before we get together. So any focus on what the band actually is.
a bit off with the timing, we’ll jigger the we’re just mixing vocals in and playing If we weren’t doing it the same way that
note around.” it a few times. Sometimes you can hit we did it originally, then it wouldn’t be the
“Also, things are a bit more a problematic track, and something can same thing.”
experimental now,” says Williamson. “I try take a long time. But, touch wood, it Neither will they be making the sound
and use my voice in different ways. There’s rarely happens for me.” of Sleaford Mods records much posher.
a lot more space between stuff, it’s not just Expect no orchestral arrangements any
out-and-out ranting.”
Keeping The Faith time soon. “I think if it went over the
In terms of vocal processing, on Anyone who has witnessed the weird top, it would really grate with my voice,”
the early Sleaford Mods albums where and brilliant intensity of Sleaford Mods Williamson reckons. “My voice is not the
Williamson was using a Shure SM58, Fearn live will know that Andrew Fearn has most glamorous of things. As is clearly
would polish the tracks using iZotope’s no equipment on stage apart from demonstrated on the song with Perry
Nectar. These days, Farrell. He’s got
he just has to add this really bright
a tiny amount of Andrew Fearn: “I was quite prepared to just vocal. And mine
reverb. “I’ve been is completely
using the Waves be in the background, making a trashy sound. bleeurgh.”
plug-ins,” he says. Looking to the
“Now it’s more that But I think that if you do get an opportunity future, Andrew
it might need a bit
of reverb to go with
to progress as a band, it’s going to become Fearn and Jason
Williamson aren’t
the tracks because
the music’s evolved
more important, isn’t it?” entirely sure how
they’d like to move
a bit more. Before, Sleaford Mods
because the 58 is not that great really, a Lenovo ThinkPad T61 laptop, from forward sonically. “Eventually you are
the Nectar was just supplying a bit more which he plays the mixed backing tracks going to push yourselves into a corner,
lushness to the vocal sound. A lot of the and grooves away. “I thought about aren’t you?” Fearn reckons. “But, then
time we were using it as a fidelity boost.” buying some new laptops for this next again, will we?”
One part of the record-making tour,” he says, “but I just haven’t got “I’ve got no idea what we’re going to
process that doesn’t take Sleaford Mods around to it. And they still work fine. do next,” says Williamson. “All I can hope
very long is mixing. “No, it doesn’t need They’re famous for being a workhorse, for is that it takes care of itself... it moves
over-labouring,” Williamson stresses. aren’t they? But they’re T-range ones along of its own accord. So long as you
“Andrew near enough mixes a lot of it there and I could get some X-range ones, are willing to walk with it, it usually goes
and then [during recording]. He might take which would be smaller. So they’d be into interesting fields.
it home and have a tinker, but I always get better, because they stay with me on the “We’ve not done an overtly crap album
the track at the latest, like, a week later. plane, and it’d make my bag lighter!” yet. I think some have hit fans harder than
He just doesn’t spend too much time on it. But, in terms of developing Sleaford other ones, but I’m convinced that we
Because it doesn’t need it.” Mods’ stage act further, Fearn doesn’t can carry this on forever. At the minute,
“I suppose that’s kind of one of the see himself ever playing synths live, or my creative hole is depleted. But then,
easier things about minimal music, isn’t it?” even his bass guitar parts. “If we started Andrew will send something through, and
Fearn points out. “The music’s relatively playing instruments, it would totally lose you’ll be off again.”  

www.soundonsound.com / April 2023 73

 ON TE ST

Imaginando VS is a visual
synthesizer designed for
music and musicians.
Imaginando VS
PAUL WHITE Visual Synthesizer Modulation can come from LFOs,
envelope generators or audio Sources.
hy review a visual

W synth in an audio
magazine? Well,
many of us put up our music
online, and on platforms such as
YouTube that support videos as
well as sound, experience shows
that you’ll get far more hits if you
have some video to go along
with your music. That’s where
Imaginando’s VS comes in, and
as it is designed for musicians,
its controls have a lot in common
with the sound synthesizers that
we are used to.

It’s a Synthesizer, Jim...

VS (for Visual Synthesizer)
really is a synthesizer, only
instead of oscillators it produces
visuals based on a library of
‘materials’. These materials are
basically shaders. In computer
graphics, a shader calculates
the appropriate levels of light,
darkness and colour during
the rendering of a 3D scene —
a process known as shading.
Just as oscillators can be
modulated in an analogue synth,
these materials have variable parameters layers with an additional background layer and there are tutorial videos on how to
that can affect things like shape, size, that can be an imported photo or a movie. achieve this for different DAWs. As an
position on the screen, rotation and so on. VS is available for Mac OS, Windows and example, you might have your kick drum
Materials can be arranged in up to eight iOS and can be used stand-alone or as controlling one layer and a melody line
a plug-in with compatible DAWs such as controlling another. It is also possible to
Ableton Live. load in standard MIDI files.
Imaginando VS Each layer acts as a polyphonic
€99 synthesis engine (though it can be
Guided Tour
PROS switched to mono) so that the same The interface shows MIDI Learn status,
• By combining the various materials material, when triggered via MIDI, can clock source, tempo and patch name at
and layering them in different ways, appear multiple times if different voices the top of the screen, along with patch
it is possible to create a range of have different characteristics such as navigation and load/save controls. A menu
appealing dynamic images that
respond to your music.
placement on the screen. A single audio bar offers a help guide, undo/redo, and
file can be imported and be processed to a check on the frame rate of your video. If
CONS be used as up to four modulation sources, the frame rate starts to shift, the chances
• As with any synth, it takes a little either via full-band gating or via gating are that you are overtaxing your GPU,
while to explore all the options, but
it is still possible to get impressive
a specific part of the audio spectrum, which so you can select a less detailed image
results with very little effort. then feeds an envelope follower. VS can quality or perhaps use fewer layers.
also respond to a live input via the sound Occupying most of the screen area is
SUMMARY interface input or to MIDI from a MIDI the screen where you see your animated
If your music is short of views
because it has no accompanying
keyboard. With your DAW you can send visuals, though this can be made full
video, VS provides an easy way to specific MIDI parts on different channels to size or detached to allow for full-screen
generate some. the layers to create more complex visuals, viewing on a second monitor. Note that VS

74 April 2023 / www.soundonsound.com

supports Syphon (Mac), Spout (Windows)
and NDI cross-platform. A red Record
button at the top left of the screen renders
your visual performance as a video file.
Directly below are the buttons for the
eight layers plus the B (background) layer
and a colour selection button that accesses
the familiar colour wheel. A materials
library allows you to select a material for
each layer. Three further icons select the
modulation, the mod matrix and the audio/
MIDI source follower sections. The LFO has
a choice of waveforms including random,
and can be tempo-sync’ed if required. In
the audio follower section there’s a choice
of Gate or Spectrum mode for the four
audio modulation sources, with a display
showing the audio signal spectrum overlaid
with a threshold line. The threshold can
be adjusted via a knob while in Spectrum
mode, the grey area showing the selected
part of the spectrum. Note that above
the gate threshold the signal envelope
is tracked. There are Attack and Release The modulation matrix is very like that of an audio synth.
controls for the two envelope generators
and for the audio follower.
The next button opens the modulation
matrix which shows the four LFOs, two
envelope generators, four audio sources,
Kbd and Velo along the top and applies to
the currently selected layer. These sources
can be assigned to various parameters
such as hue, saturation, brightness
and alpha; alpha effectively sets the
transparency of a layer to allow deeper
layers to show through. The thin horizontal
bar at the top of the matrix section access
two further parameter pages. Note that the
background layer can’t be modulated. The
third icon button opens a panel into which
an audio or MIDI file can be loaded via
a browser, where transport buttons allow
the audio to be played, stopped or looped.
That leaves the row of controls directly
below the layer buttons, these again
relating to the currently selected layer
affecting such parameters as position on
screen, image size and brightness, and Envelope followers can be generated from audio or MIDI sources.
so on. The number of controls in this row generate some slowly evolving patterns learn a lot by seeing how these are put
change according to the type of material that are not linked to the musical content. together. If that isn’t enough, there are also
selected. Right at the end of the row are On the other hand, music with a strong expansion packs available. The resulting
buttons for mono mode, MIDI trigger beat can be set up to follow audio or patterns have an endearingly retro feel
selection and MIDI channel. a selected MIDI part to create pattern with rotating shapes, fireballs, clouds,
movements that lock onto the beat in very lace-like filters, kaleidoscopic patterns,
Conclusion positive ways. DAW automation can also shifting grids and pulsing blobs, so you can
While you can modulate different layers in be used to operate most of the controls, easily produce something that will keep the
different ways, things can get quite busy including the Enable buttons for the various interest of those listening to your music on
unless you keep things subtle. Indeed for layers, so you can easily bring in changes YouTube or other video platforms.
ambient music you can get good results at strategic points in the music.
by setting the tempo and some slow There are 35 presets and 49 different £ €99 including VAT.
movement for the layers, then letting VS materials to get you started, and you can W www.imaginando.pt

www.soundonsound.com / April 2023 75

 ON TE ST

Zoom AMS-22, 24 & 44 USB Audio Interfaces

Zoom’s AMS interfaces are small, simple and extremely tough.
ROBIN VINCENT
floor and protect the knobs from taking a mini-jack headphone output, and those
a whack. impressively shiny full-sized jack outputs
he AMS devices are utility-styled They are plastic, lightweight, and on the back. You can use the left side of

T plastic boxes that are the most

likely audio interface in your bag
to survive a stage dive intact. They’d
will tip over when you plug in cables.
However, they have some very grippy
strips on the bottom of the ears that will
the line input at the same time as the XLR
to squeeze two inputs out of it at once,
but essentially the 22 is a solo device. The
almost be adorably tiny if they weren’t so keep them from moving around once slightly larger knob controls the level of
funny-looking. The AMS-22 is the tiniest, you’ve balanced your arrangement of both headphones and line output.
and it’s not much bigger than a fidget cables. They are surprisingly robust. The 24 ups the game to a pair of
toy. It’s barely bigger than the XLR combi I have stood on them, kicked them around XLR/jack combi inputs that can handle
input jack and twin TRS jack output and they seem unlikely to crack open. The microphones or line levels. A switch on
sockets. It could go anywhere, in anything knobs are unbothered. Of course the flip the top turns the first input into a Hi-Z
other than your jeans pocket, where it side of the unbotherable low-profile knobs input suitable for a guitar. You have
looks a bit lumpy. is that they are fiddly to use. Who was it separate fiddly gain knobs for each
The larger AMS-24 fits in your hand who said design is compromise? channel and a switch to combine them
like a square plastic hand grenade, and into a stereo input. We now have two
the larger AMS-44 is a bit more like
Connections headphone outputs, A and B, each with
a walkie-talkie. They all share the same The AMS-22 has a single XLR/TRS its own volume control. The outputs are
design concept of low-profile knobs and combi input for mic or guitar with independent. Output A covers the outputs
extended ears that keep the body off the a fiddly gain knob, a stereo line input, on the back and the first headphone

76 April 2023 / www.soundonsound.com

socket. The second headphone socket, separate stereo outputs. In Streaming bus-powered via USB from a regular
output B, is treated as a separate output mode all the inputs are mixed to stereo. laptop or computer. No problems there.
by your DAW. So everything can go straight into your But when it comes to mobile devices
The 44 is the same as the 24 but streaming software without you having such as phones and tablets, it can get
with four XLR/jack combi inputs on to set up a monitor mix or do any other a bit odd. In the manuals Zoom have
the front, although only the first one messing about. As a bonus, outputs 1+2 gone to great lengths to state that for
can be switched to Hi-Z guitar mode. are now routed to both output A and phone/tablet use, the interfaces must be
Inputs 1+2 on the 22, and 3+4 on the 44, output B, so the headphone outputs powered from another source. All three
have a stereo switch to turn them into mirror each other, which is what you interfaces have a second USB-C port
a combined stereo input. want if you are podcasting or jamming expressly for power. However, on the
with someone. website for the AMS-22 there’s a video of
Buttons a young chap playing guitar on a balcony
On the right side of each box are
Power with a single USB cable connecting the
a couple of switches. One to turn For interfaces designed to be portable, interface to his phone. This shouldn’t
on direct monitoring and another to the question of powering can be work. Neither should a photo further
enable loopback. Loopback is a handy an important one. All three can be down of it being used with a tablet, with
streaming-friendly function that will
route the output of whatever is coming
out of your computer or device, straight
back into the input. This enables you
to record the output of the software
you’re using back into another piece of
software, or, perhaps, stream through
your video streaming software. On your

Two of a kind
phone, a simple scenario would be that
you could play back a track, sing over
the top with a mic plugged into the
AMS-22 and have the combination of For your one-of-a-kind sound
your voice and the playback streamed
over your favourite social media
platform. And all it takes is a switch on
the interface to make that happen.
The AMS-24 and 44 have an
additional switch on the top to swap
between ‘Music’ and ‘Streaming’. In
Music mode it works like a regular
audio interface, with inputs 1-4
appearing as mono inputs to your DAW,
and outputs A and B appearing as

Zoom AMS-22, 24 & 44

£69/£99/£140
PROS
• Compact.
• Robust.
• Simple to use.
• Battery powered (except AMS-22). When a complex live stage needs to sound its best, you need
• Portable.
• Loopback and instant streaming mix. mics that seamlessly combine to capture the true sound.
CONS
• Fiddly knobs.
2012 Cardioid Mic
• A bit ugly. excellent close-miking results on any instrument
• AMS-22 isn’t quite as portable as the
others. 2015 Wide Cardioid Mic
• A bit too simple for some. amazing overhead ambient pick up of instruments
• No monitoring/mixing software.

SUMMARY
Three remarkably robust, lightweight
and simple audio interfaces from Zoom
that hide their beauty on the inside,
along with the battery power on the
larger two.
dpamicrophones.com/live

www.soundonsound.com / April 2023 77

 ON TE ST
ZO OM A M S - 2 2 , 24 & 4 4

Small (129 x 74 x
46mm), smaller (94.5
x 74 x 46mm) and
smallest (68 x 57.7 x
46mm).

a single cable. However, when you get to AMS-22 was designed with the intention it doesn’t extend to the AMS-22, but
the Power Options part of the web page, to use bus power from phones, but the there’s just no room.
it states that it must use external power technology is just not very reliable. This
with phones and tablets. There’s also seems true of nearly all audio interfaces
In Use
a photo of our guitar-playing friend who that can run with phones. Plugging them into a computer is
now has a power cable plugged into the However, Zoom had a moment of a breeze. Of course, there’s a driver to
AMS-22. clarity when it came to the larger AMS-24 download for Windows, but it’s a quick
I’m pointing this out install, and you’re off.
because I absolutely There’s no monitoring
would have assumed “I think the sweet spot lies in the AMS-24. It can or mixing software,
that the AMS-22 could but if you dig around
be bus-powered by
do a bit of everything. You can sing and play guitar, in the old Windows
a phone. In testing you can podcast or jam with a friend, live stream, Control Panel, you
it out, I did actually will find a place
get my iPhone X to loopback, and run it all through a phone with where you can adjust
power the AMS-22 a couple of AA batteries.” the buffer size and
via the camera kit sample rate. This will
adaptor. However, it also come up under
only worked once, and I can’t get it to do and 44. If all it really needs is a bit of ASIO settings in your DAW. Zoom have
it again. So, you will have to carry a USB a power boost to get it running with chosen to put all the functionality on the
power pack if you want to stream with the phones then why not build in a battery box itself, making it very easy to use.
AMS-22 while you’re out and about. The compartment? And that’s what they’ve If you want to change the gain, stream
strange thing is that once it’s powered done. Stick in a pair of AA batteries, in stereo, engage loopback or direct
and connected to your phone, you and you’ve got a properly mobile audio monitoring, then you’ll find a switch
can then remove the power, and it will recording solution with a single cable to for it. I like the neatness and the lack
continue to work fine. So it feels like the your phone or tablet. It’s a shame that of complexity.

78 April 2023 / www.soundonsound.com

 THE MIDI SPECIALISTS

MERGE
The AMS-24 and 44’s battery power makes them truly
portable interfaces.

When running with a desktop DAW the buffer size

could be taken down to an ambitious 16 samples. In real
terms, that gave a very workable and glitch-free 1.86ms
input and 4.33ms output latency. Easing off to 128 samples
gave a very respectable 4.40ms input and 6.96ms output
latency. A round-trip latency of approximately 10ms at
a regular buffer size is pretty decent in my view, and at no
SPLIT
point did it feel laggy or troublesome.
The interfaces are 24-bit, up to 96kHz, and report an
Equivalent Input Noise of -120dBu at +54dB/150Ω. There
is a bit of noise if you crank up the inputs, but it’s not
noticeable when you have a dynamic mic or guitar set to
an appropriate gain.

Conclusion
Zoom have thrown a bunch of cheap and cheerful audio

CONVERT
interfaces into a very crowded marketplace in the hope of
making a splash. I think they get more right than wrong,
and they could be the perfect choice for people wanting
something simple on the go. The shared single mic/guitar
input and the unfortunate need for external power when
using a phone takes the wind out of the AMS-22’s sails.
However, for a laptop DJ, either live or streaming, it is
a perfect little nugget of an audio upgrade.
I think the sweet spot lies in the AMS-24. It can do
a bit of everything. You can sing and play guitar, you can
podcast or jam with a friend, live stream, loopback, and
run it all through a phone with a couple of AA batteries.

CONTROL
There’s no complicated setup or fiddling around on your
computer. It’s simple, small and untroubled by whatever
device you want to run it with. Stick it in your bag and it
will survive any environment and work in any scenario. If
you need a couple more inputs, then there’s the AMS-44.
They are not going to look impressive on your
desktop or your Instagram account. There’s no

FIND THE BOX

delightful metering beyond a single LED, and the knobs
are not fabulous. But these are about doing the job
with the minimum

YOU NEED AT
£ AMS-22 £69, AMS-24 £99, of fuss, and I think
AMS-44 £140. Prices include VAT. they do that very
W www.zoomcorp.com well.  

kenton.co.uk
 FE ATURE

Leo Abrahams:
‘Harm Organ’

Hear The Sound

W https://open.spotify.com/
another. From there, both signals are track/1r6lVjhqrYewPz5vo9vfkS
J O E M AT E R A
treated quite heavily with parallel Audio W www.youtube.com/
watch?v=nexPVtPIMGA

A
s a composer, producer, engineer Effect Racks in Ableton Live. The source
and musician, Englishman Leo of the pulse in this track is a Max For
Abrahams has worked with artists Live plug-in called Vibrato Cauldron.
ranging from Brian Eno, Goldfrapp and The rate of the pulse is being modulated
Brett Anderson of Suede, to David Byrne, by a sine-wave LFO, with a further LFO
Regina Spektor, Carl Barât and Katie Melua, modulating the rate of that sine wave, very
to name but a few. His experimental and subtly. So, you can feel there is a kind of
innovative spirit is always at the fore in his groove, but you can’t predict the rhythm
continuing search for new sounds, textures because it’s essentially irregular. I’m really
and sonic landscapes. Asked to choose interested in grooves that aren’t divisible or
a favourite sound to dissect, he nominates repeatable, but still have an internal logic.
the track ‘Harm Organ’ from his 2021 solo “The dry guitar is going through
album, Scene Memory 2. a number of different effects, the main ones
being [Plugin Alliance] Byome which is
Multiplicity a modular-style effect, and [Sonic Charge]
“Although it sounds like there’s a lot going Echobode. I use MIDI expression pedals to of four or five elements, and then mixed
on in the track, all the sounds are coming control these plug-ins and to sort of morph them in the conventional way — nothing
from one guitar. My initial concept for the and switch from one bunch of settings to dramatic or very creative, it was more
record was to try to achieve a multi-layered another. When the groove changes at the corrective. Most of the work was in
sound without resorting to any kind of end of the track, that’s the Vibrato Cauldron controlling resonant frequencies, and
looping. The setup for this track — and chain switching over to another set of I mostly used [ ] Soothe and
the rest of the album — starts with my effects built around [Sinevibes] Inertia. the FabFilter Pro-Q 3 for that. I added
guitar going into a Plus Pedal, which is I spent a long time building the patch and a little bit of saturation on the mix bus
like a piano sustain pedal with a granular figuring out the general approach, but the with a UAD Studer A800. The idea is that
freeze function. performance itself is one improvised take I can go out and improvise with these
“The signal then splits, with the without any overdubs. patches live and have it sound like the
sustained sound going into one input “Once I captured the performance, record, without relying on too much
on my interface, and the dry guitar into I printed out the stems, which consisted post-processing.”  

80 April 2023 / www.soundonsound.com

novationmusic.com/launchkey-88
 COMPE TITION

Win! Neve 88M

Audio Interface

Worth £1074
To enter, please visit:
https://sosm.ag/neve-comp-0423
eve is one of the most That combination is exactly As well as offering two high-quality

N presitigious names in pro audio.

The company’s consoles grace
some of the most high-profile studios in
what’s offered by Neve’s 88M
audio interface. The 88M crams two
transformer-balanced preamps, based on
recording paths, the 88M also features
balanced insert points for each input,
allowing you to easily integrate outboard
the world, while their preamps, including Neve’s state-of-the-art 88RS console, into hardware. And for situations where two
the legendary 1073, have facilitated a 2-in, 2-out audio interface. Even better, channels isn’t enough, a pair of Lightpipe
countless recordings across every the 88M draws its power from USB, ports allow for an additional eight inputs
genre imaginable. making it truly portable. and outputs via ADAT.
It’s fair to say, though, that until Employing the same Marinair For this month’s exclusive SOS
recently their products have been aimed transformers as in the 88RS, the 88M’s competition, we’ve teamed up with Neve
exclusively at the professional end of preamp specs are impressive: dynamic to offer you the chance to win an 88M
the market. Few home studios have range is greater than 110dB, while the interface of your very own. To be in with
the space for a large-format analogue frequency response remains within a chance of winning this fantastic prize,
recording console, while most home 0.1dB across the entire audible spectrum simply follow the URL shown, and answer
recordists make do with the preamps (20Hz-20kHz). And as well as making the questions there, by Friday 7th April
built into their audio interfaces. But light work of pretty much any microphone 2023. Good luck!  
what if you could get the quality of signal, the DI input impedance of 900kΩ
a high-end console in a convenient USB ensures that passive guitars and basses Prizes kindly donated by
interface format? will always give of their best. W www.neve.com

82 April 2023 / www.soundonsound.com

CLASSIC. MODERN. EFFORTLESSLY VERSATILE.

MASSIVE WAVETABLE SOUND | REAL WARMTH AND CHARACTER

24 voices · 3 osc per voice · 4 multi-parts · dual analog & digital filters

4 envelopes & LFOs · built-in wavemaker · arp+song sequencer · knob per function

g r o o v e s y n t h e s i s . c o m
 TECHNIQUE

Controlling A Neo Instruments Leslies really only use two connection formats: an 8-pin DIN
socket or an 11-pin Amphenol socket; the latter is far and
Ventilator II From A Stage Organ away the most common.
Since neither connector carries mains power (unlike
This DIY adaptor cable will fool your organ into most of the vintage Leslie interfaces) it’s relatively
thinking a real Leslie is attached. straightforward and safe to construct an adaptor cable.
Only modest soldering experience and DIY skills are
HUGH ROBJOHNS
emulator. Fortunately, required and all the parts are available from specialist
most stage organs have retailers or online marketplaces. Please note, though, that

T
he Neo Instruments Ventilator II a special socket for this is not intended as a step-by-step constructional guide,
Leslie emulator pedal (reviewed connecting a real Leslie and while the information in this article has been carefully
in SOS November 2014: www. speaker and, when researched it is used entirely at your own risk — neither
soundonsound.com/reviews/neo-instr plugged in, the onboard Sound On Sound Publications Ltd nor the author can
uments-ventilator-ii-mini-vent) is widely emulator is automatically accept any responsibility whatsoever for misprints, void
regarded as a one of the very best disabled and the fast/ warranties, or any harm to equipment or persons!
hardware Leslie cabinet simulators slow controls routed to the Although it’s virtually the modern standard Leslie
currently available, with many experienced external Leslie instead. But interface, I’ve been unable to find a ready-made adaptor
organ players preferring it to the simulators wouldn’t it be great if there cable for the 11-pin format used on models such as
built into their stage organs. There were a way of fooling the Suzuki-Hammond’s old XK3, the new XK5, the SKX and
are several versions of the Ventilator organ into believing the the SK-Pro models, as well as almost all of the popular
of different sizes and capabilities, and Ventilator II pedal is a real clone organs including Viscount’s Legend organ range,
many users are quite happy to tread Leslie, thereby disabling Nord’s C-series organs, Crumar’s Mojos, and many more.
on the pedal’s own stomp buttons the internal emulator So this article will concentrate on the requirements for this
to change Leslie speeds. However, and routing the fast/slow adaptor. Hammond already offer a ready-made adaptor
the large Ventilator II model includes controls directly to the cable to connect a Ventilator II pedal to the 8-pin DIN Leslie
a remote-control connection which allows pedal? Well, there is! And connector found on the popular (but no longer available)
speed switching via a separate foot pedal, it just requires a custom Suzuki-Hammond SK1, SK2 and XK1-c stage organs, but if
a classic ‘half-moon’ (Hammond CU-1) adaptor cable to plug into you’d like to make your own I’ve included the wiring details
switch mounted on the organ itself, or the organ’s Leslie socket. in the ‘8-Pin DIN Leslie Interface’ box.
even an expression pedal for fully variable There have been a lot
speed control. of different Leslie speaker
Leslie Connection Overview
models over the years, As I said earlier, an organ with a built-in Leslie emulation
Socket To Me and they’ve used a variety needs to know if an external Leslie speaker system has
Despite all this versatility, some players of similar-looking but been connected so that it can: (a) disable and bypass its
prefer to use the dedicated fast/slow incompatible connection internal Leslie simulator; (b) route the organ’s Leslie speed
speed buttons on the organ console itself, formats. But thankfully, switching to control the external Leslie; and (c) in most
which normally control the internal Leslie modern stage organs and cases also route the organ sounds via the Leslie connector

84 April 2023 / www.soundonsound.com

 Most stage organs now
use an 11-pin Amphenol
connector to connect to
rotary speakers.

The diagram shows the wiring for the 11-pin

instead of the normal line-out connectors. default), and this parameter is stored with
Amphenol connector, viewed from wiring side.
This ‘Leslie present’ information is conveyed all patches. In this configuration, pipe
in different ways for the 8-pin DIN and 11-pin organ patches and extra voices on organs switches again saves settings and exits the
Amphenol connections, but it’s obviously that include them will continue to play (in secondary mode.
critical that we replicate this feature for stereo) through the instrument’s rear-panel To work correctly with the Leslie adaptor
correct operation with the Ventilator II pedal. line outputs as normal. The alternative cable the Ventilator II’s Remote option
While all Leslies accept a mono organ setting in Hammond models is ‘3ch’, needs to be set to Switch 2, which is with
input signal to the Rotary speaker channel, whereby pipe organ patches and extra the control knob in the 9 o’clock position.
many models also accept one or two extra voices are also routed through the Leslie This configures the unit to expect the
line inputs to feed Stationary channels — connector to feed a real Leslie’s Stationary latching grounded speed control signals
fixed speakers typically used to reproduce channels. However, using the adaptor which the organ generates.
non-organ sounds. For example, many stage cable would render them inaudible, as they
Hammond organs include extra voices like are removed from the organ’s line outputs
11-pin Amphenol Interface
electric pianos, choirs, strings and so on, but won’t reach the Ventilator II either! For the 11-pin Amphenol Leslie connector,
and those aren’t normally routed through Having sorted out the audio path, the system used to inform the organ that
the rotary speakers. So most stage organs we need to consider the speed control a Leslie is connected relies on detecting
provide two options for these extra voices: functions. The speed of all modern Leslies a DC voltage (of at least 12V) on pin 11.
(a) send them to the Leslie’s Stationary is set using two control lines which simply Obviously, when a real Leslie is connected
channels, if provided; or (b) route them as need to be grounded to activate and that 12V is obtained from the Leslie’s
usual to the organ’s own line outputs. The sustain the required mode. One line selects internal power supply, but the Ventilator II
latter is normally the default condition, of the slow (Chorale) speed, while the other can’t do that directly. We could use a spare
course. Separating the organ and extra selects fast (Tremolo) speed. If neither are 12V DC wall-wart power supply for the
voices in this way is potentially helpful, too, grounded the Leslie stops (Brake). purpose, but I think it’s more convenient to
improving mixing flexibility on stage. Neo Instruments have provided several use the Ventilator’s own PSU since it has
Obviously, the Ventilator II only emulates different remote-control options in the to be there anyway and the organ doesn’t
a Rotary channel, so it’s important that Ventilator II which are selected using the draw any significant current from this
the organ is configured to send only the Remote function. This is a secondary mode sensing voltage.
organ sounds via the Leslie connector. In of the unit’s variable knobs, accessed Consequently, this design of adaptor
Suzuki-Hammond models that is done via simply by pressing the Bypass and Slow/ cable terminates in the 11-pin Amphenol
the configuration menu, under sub-menus Fast stomp switches simultaneously. The plug at one end, with four tails at the other:
along the lines of: Leslie Parameters / Speed LEDs blink twice per second to a quarter-inch TRS jack plug for the speed
External Leslie Speaker / Leslie Channels. indicate secondary mode is active and, control functions, a quarter-inch TS jack
The critical value is ‘1ch’ (usually the once the parameters are set, pressing both plug for the monaural organ audio signal,
a 5.5 x 2.1mm coaxial socket to accept
Ventilator II Connection Amphenol Plug FunctionF the Ventilator’s 12V DC supply, and a 5.5
x 2.1mm coaxial plug to pass that 12V
Audio TS Tip Pin-1 Single Channel Organ Audio DC supply through to the Neo Ventilator
Audio TS Sleeve Pin-4 Audio Ground II. Both coaxial connectors are wired
centre-positive.
Control TRS Sleeve Pin-5 Control Ground The 11-pin Amphenol plug is available
Control TRS Ring Pin-7 Leslie Fast (when grounded to pin-5) from specialist Hammond/Leslie spares
retailers, but I’ve also seen them on
Control TRS Tip Pin-8 Leslie Slow (when grounded to pin-5)
popular online market sites quite regularly.
(If neither Pin-7 or 8 are grounded the Leslie Stops) Beware: the rear covers are often sold
separately (and in different styles), and you
Power In/Out Gnd Pin-5 Control Ground
need to make sure you get both parts! The
Power In/Out +ve Pin-11 +12VDC provides Leslie Detection plug typically comes with a large crinkly
washer, which is intended to hold the plug

www.soundonsound.com / April 2023 85

 TECHNIQUE
S TAGE ORGA N TO V E N TIL ATOR II C A BLE

8-pin DIN Leslie Interface

The 8-pin DIN version of the adaptor Series pre-jacketed 2-pair cable (www.
cable is much simpler, breaking out to vdctrading.com/products/van-damme-b
a quarter-inch TS plug for the unbalanced lue-series-studio-grade-pre-jacketed-2-
organ signal input, and a TRS plug for the pair-multicore-per-metre). The overall
remote speed control. The 8-pin DIN plug diameter of this cable is 7.5mm, so I had
(standard, not mini!) is widely available to remove the rubber strain-relief sleeve
from most electronic component suppliers. from the plug and replace that function
Here in the UK, for example, the Deltron with generous heatshrink sleeving over the
metal-bodied version is available for under whole plug and cable. The two inner pairs
£3 ($3.60) from CPC (https://cpc.farnell. in the multicore have their own jackets and
com/deltron-enclosures/611-0800/8- are robust enough to be wired straight into
pin-standard-black-din-plug/dp/CN00057). the TS and TRS plugs.
The cable entry hole in the Deltron The wiring arrangements are listed in
strain relief is only 6mm in diameter, but it’s the table below. The link between pin 5 The simpler 8-pin DIN version of the adaptor cable...
possible to squeeze two very slim cables and the control ground on pin 2 informs the
into the DIN plug. However, I opted to use organ that an external Leslie is connected
a more robust single multicore cable, partly — no external power supply is required
because I have a lot of it lying around (I use in this case. If neither pin 7 nor 8 are
it for wiring stereo mic arrays all the time!). grounded, the Leslie stops. Pins 4 and 6 are
So in my version I used Van Damme Blue not connected.

Ventilator II Connection DIN Plug Function

Audio TS Plug Tip Pin-1 Single Channel Organ Audio
Audio TS Plug Sleeve Pin-3 Audio Ground
Pin-5 ‘Leslie Present’ (connect to Pin-2)
Control TRS Plug Sleeve Pin-2 Control Ground
Control TRS Plug Ring Pin-7 Leslie Fast (when grounded)
...and its wiring connection diagram, viewed from the
Control TRS Plug Tip Pin-8 Leslie Slow (when grounded)
wiring side.

into a chassis hole (such as in a Leslie main current-carrying part of the cabling cable length depends on where you
amp); it’s not needed when using a rear as short as possible and so I spliced intend to place the Ventilator II and where
cover, so don’t worry that you have a spare a ‘sensing’ cable into the middle of a short the Leslie socket is on the organ, but 1.8m
part and nowhere to put it! Pin numbers are extension instead, with suitable insulation to 2m seems about right. In my cable, pair
normally embossed on the Bakelite plug and heat-shrink sleeving to isolate and one carried the unbalanced audio (with
body, and while some versions have solder reinforce the join. In my adaptor cable, the black core wired in parallel with the
tags to connect the wires, others just have this connection was hidden under more screen), pair two delivered the control
hollow pins. For this older type, the wires heat-shrink sleeving where the control and signals terminating in a TRS plug, and the
have to be poked right down through the audio tails break out of the main cable. third pair carried the power sensing (using
middle of the pin and soldered at This powering arrangement the black and red inner cores only).
the tip instead — so make sure means only three cables Given the presence of a 12V DC supply
you have plenty of terminating are needed from the with a reasonable current capability,
wire available, and a powerful Amphenol plug, it is obviously wise to test the adaptor
soldering iron! rather than four, and cable connections very carefully after
For the power connections I used Canford MSJ construction, using a multimeter to check
the easiest option is to three-pair miniature for continuity and shorts between each
purchase a ready-made jacketed break-out connector’s terminals and
extension cable with multi-pair the appropriate Amphenol pins. Then
5.5 x 2.1mm plug and cable for double-check all the power connections
socket. You could the purpose again to make absolutely sure there are
use a pair of very (www.canford. no shorts or reversals. The required wiring
long extensions co.uk/canford-msj-min is indicated in the table on the previous
to run down to iature-braid-screened-stra page. Note that several pins are unused
the Amphenol nded-conductor-individual in the adaptor cable and, for reference,
plug and back, ly-jacketed-multipair-cable). that pins 2+3 are Stationary channel audio
but I prefer to keep the This is available at around inputs. Also, pin 6 is grounded when the
As well as passing audio and control signals, £6.70 per metre, with 1m being organ is working, to inform a real Leslie
the 11-pin Amphenol adaptor cable makes use of the minimum length, so it’s quite speaker to power up, while pins 9+10
the Ventilator II’s PSU. affordable. Obviously, the required are unused.  

86 April 2023 / www.soundonsound.com

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 ON TE ST

DPA Ultimate Recording Kit

Microphone Collection
DPA’s new flagship mic bundle
offers quality and quantity in
abundance. We put it to work in
a busy studio...
NEIL ROGERS

anish company DPA Microphones have

D a reputation for producing high-quality

capacitor microphones, and I think it’s fair to
say that these are most visible in live, classical, theatre
and broadcast environments. As an engineer who
works almost entirely in the recording studio, I haven’t
always considered them an option when assessing
new microphone purchases. Nor have I often come
across DPA mics in other studios that I’ve used over
the years. My lack of exposure to their mics ended
in spectacular fashion with this review, however, as
I got to take a look at their Ultimate Recording Kit mic

88 April 2023 / www.soundonsound.com

collection. Spread over three immaculately
organised tiers in a large Pelican-style
flightcase, the collection contains more than
30 microphones alongside several modular
capsule options, numerous attachment clips,
mounting hardware, stereo bars and most
other tools you could possibly require for
close/spot-miking duties as well as stereo
capture of large ensembles.
We’ve reviewed many of these mics
before, so I’m not going to attempt to cover
the entire collection in detail. Instead,
this review will be more of a whistle-stop
tour, with a focus on the mics that I found
especially useful in my studio.

From The Top

The first layer of the collection is focused
around DPA’s 4099 instrument microphones
— 10 of them, in fact. These are full-range,
miniature capacitor mics attached to flexible
gooseneck arms. The 4099s are designed
for close-miking instruments without the The top layer includes no fewer than 10 of DPA’s celebrated 4099 mics, plus mounting hardware for
need for cumbersome stands, cables or a variety of string, woodwind and brass instruments.
mounting, and the collection includes
a selection of clamps and clips catering for plus six of the ‘extreme’ option which can flagship 4000-series pencil-style mics,
a wide range of instruments such as drums, cope with a whopping 153dB SPL. alongside pairs of smaller preamp options
cello, acoustic guitars, piano and brass. It takes a while to get used to handling from the same part of DPA’s range. There’s
Featuring a supercardioid polar pattern, the the mics, and the miniature cabling in a lot to talk about here, but I’m going to
standard 4099 has an SPL rating of 142dB, particular can be a little challenging for focus on explaining the significance of the
and this collection includes four of those, fatter fingers! Once you have your desired modular capsules within this family of mics.
mount figured out, however, the 4099s The stereo pairs of pencil mics I mentioned
offer a highly convenient way of getting all have the same MMP-A preamplifier
DPA Ultimate Recording Kit a getting a quality mic not only close to but section, which is a transformerless design
£36,700 also attached to an instrument. I had great intended to be used with a variety of
success using them for acoustic guitar on capsules. There are also two other preamp
PROS
a live video session I was doing at the studio, options included in this section, which can
• A varied and extensive collection of
high-end DPA microphones. and quickly got very used to using them all be used with the same range of capsules.
• DPA’s modular preamp and capsule on toms when recording drums. I didn’t These additional preamps include four of the
system is very well conceived and get a chance try every mount, but I liked MMP-C preamp options, which are smaller
engineered. the double bass option (for positioning on and more affordable if bought individually. If
• 4099 gooseneck mics offer
a convenient way of close-miking
the strings between the bridge and the you need an even smaller footprint there are
a variety of instruments. tailpiece), and generally the whole system two MMP-ER preamps, which come attached
• The pencil mics sound stunningly seems very well thought-out. Given the to a long XLR cable for hanging or generally
pristine and ‘lifelike’. convenience of these small mics, it’s not getting into hard-to-reach places.
• Live vocal mics do their job very
hard to see what they are so popular with As already mentioned, any of these
well indeed.
• Huge range of mounting and live and theatre engineers, but I found bodies can be used with the same group of
accessory options included. them very useful indeed in the studio. In capsules. Included here are omni, cardioid,
close-miking situations where you might supercardioid and wide cardioid options,
CONS
typically use quite a coloured-sounding as well as four of DPA’s more affordable
• The quality of this collection is
reflected in the price. dynamic mic, it can sometimes be a little 2011c twin-diaphragm cardioid capsules.
disorientating to be presented with a more In use, swapping the capsules out is very
SUMMARY neutral, full-range sound. It’s definitely easy indeed, and the high quality of the
The DPA Ultimate Recording preferable for me, however, to be able to EQ engineering can be immediately felt when
Kit is an extensive collection of
high-end capacitor microphones out anything that isn’t needed, rather than screwing or unscrewing them. When
and accessories, many optimised trying to compensate for something that I used any of the larger pencil-style mics in
for recording a huge variety of a mic hasn’t captured at the source. a stereo configuration, the lifelike quality
instruments. With both clip-on and of the sound coming out of the speakers
modular pencil mics, it gives you Middle Earth in my control room was simply stunning.
pretty much everything you might
need to produce high-quality, lifelike The second layer of the collection contains I auditioned the different capsule options
recordings both live and in the studio. no fewer than four matched pairs of DPA’s as drum overheads and above an upright

www.soundonsound.com / April 2023 89

 ON TE ST
D P A U LT I M A T E R E C O R D I N G K I T

In the middle, we have a selection of 2011, 4011, 4041, 4015 and 4018 The bottom tier houses two live vocal capacitor mics (a d:facto and a 2028)
small-diaphragm capacitor models, plus mounting hardware. and a pair of 4018V capsules, plus more mounting hardware and accessories,
including a wide stereo bar.
piano and felt a bit spoilt for choice when vocal mic which has a supercardioid polar
considering the relative differences. pattern. I got a chance to try these vocal Rolling Updates
I tended to prefer the more directional mics on a few different ‘live video’ tracking
options above the drum kit, but the omni sessions, and in a very loud room I was This kit is not a ‘static’ product; rather, it’s
intended as an ongoing showcase of DPA’s
mics sounded seriously good on piano, or impressed not only with how directional the
line-up, so as their line-up changes, so will the
when used as more of a room/ambience mics were, but also with how any spill that kit. For example, as we were going to press
option. The 4015 wide cardioid capsules was coming into the mics — from cymbals in we learnt that DPA will soon be releasing
are worthy of a special mention, as it’s not particular — sounded much nicer than when a new range of small-diaphragm ‘pencil’ mics,
a typical polar pattern but seems to offer using my usual handheld options. which will eventually replace two of the 2011
a great ‘best of both worlds’ option. They models found here. The next kit update will
sounded great on drums and placed in
Summing Up also include DPA’s 4055 kick-drum mic.
front of a double bass or acoustic guitar, Although the Ultimate Studio Kit is
providing clean transients and a highly technically a product that can be bought, and microphone. Also, any non-direct
accurate, but smooth, picture of what was in a formidable collection of high-end sound that is captured, such as spill, can
front of the microphone. mics like this has, not surprisingly, an actually sound quite nice! I found this
Lastly, there is also a pair of DPA’s 4041 equally formidable price tag that is going pleasantly challenging as an engineer, and
larger-diaphragm mics, which are I think to put it out of reach for most small-scale it made me work a bit harder, listening and
unique for the brand. The 24mm omni studios, theatres or production facilities. then fine-tuning placement to get the spill
capsule is the largest in the DPA range and However, for organisations that have larger sounding right, rather than always feeling
thus offers very low self-noise. These are budgets and want an instant high-end mic I had to work to get rid of it when mixing.
extremely high-end mics with an individual collection, this would be a great option. I think that every good studio should
price the other side of £3000, and whilst Aside from explaining what is included offer some options microphone-wise. That
I got to try them against the other mics and in this bundle, I hope I’ve provided an means that as well as more coloured,
was suitably impressed, I didn’t feel I used introduction to DPA’s mics to those who characterful choices — such as the classic
them enough to offer a helpful opinion on are new to them, and a taste of how dynamic, ribbon and tube mics — you
the subjective differences. they fared in a varied recording studio want some more honest, pristine mics that
environment. A smaller studio like mine can capture exactly what is happening in
Bottom Line wouldn’t be able to buy this whole the room. This is what the range of DPA
After the dizzying selection of high-quality collection, but I quickly appreciated how pencil mics did so well in my studio during
mics found in the middle layer, the several of the included mics are better the review period. Thanks to the pure
bottom section is, for the most part, about alternatives to the more ‘workhorse’ models sound and the problem-solving options
offering more accessory options. There’s that get used on most recording sessions. for attaching small high-quality mics to
a high-quality stereo bar alongside different Many widely used studio mics are not what instruments or hanging into a piano, it’s
mounting and windshield options for various you would call transparent, especially when been a real pleasure to have them at
mics throughout the collection. Nestled in used for close-miking. Indeed, I often found my studio.  
between, however, we have two of DPAs it a bit disorientating when I substituted
d:facto live vocal mics, offering a high-end one of the DPA mics for my usual choice on
£ £36,700 including VAT.
live vocal option with swappable capsules: a familiar source — a 4099 or 2011c instead
T Sound Network +44 (0)20 3008 7530
see our review at www.soundonsound.com/ of an SM57 on a snare drum, for example. E [email protected]
reviews/dpa-dfacto-ii. Lastly there’s DPAs What you get is the sound of the source, W www.soundnetwork.co.uk
non-modular 2028, another premium live rather than the combination of the source W www.dpamicrophones.com

90 April 2023 / www.soundonsound.com

XS Wireless IEM

About time to level up

Make the move to personal monitoring with Sennheiser’s
new XS WIRELESS IEM. Defining new standards for
simple, flexible, and reliable wireless in-ear monitoring,
this system is designed to help you level up your sound –
regardless of your experience level. Whether a rehearsal
or live performance, on a club stage or for a worship
service, benefit from renowned Sennheiser sound and
solid wireless reliability packaged into a convenient
system – letting you focus on playing your best.

www.sennheiser.com/XSW-IEM
 ON TE ST

OM System LS-P5
Stereo Digital
Recorder

M AT T H O U G H TO N This diminutive device might look familiar, but it’s not just the
M System is the new moniker
brand name that has changed!

O for Olympus, who became

famous for their cameras back
in the 1930s and have also long made
features here and there, but essentially
they’re variations on the same theme.

Overview
a near-coincident left-right pair and
a central mic. There’s a similar size screen
and control layout on the top panel, a USB
audio recorders — they began with port at the bottom, and a tiny auditioning
micro-cassette devices, and released The new LS-P5 is an updated version speaker on the rear. Indeed, most of the
a digital voice recorder as early as 2001. of the Olympus LS-P4, which Paul LS-P4’s features, including Bluetooth
Under the old brand name, several White reviewed in SOS May 2018 connectivity for playback and use with
compact LS-series PCM recorders (www.soundonsound.com/reviews/ a free remote-control app for iOS and
impressed us with their winning olympus-lsp4). On first glance not a huge Android devices, remain. And, as with the
combination of portability, ease of amount appears to have changed: it LS-P4, this device can capture mono or
operation and sound quality. Different still uses what the company describe stereo audio, and record to linear PCM
models have added and improved as a Tresmic mic array, comprising or lossless compressed FLAC files at

92 April 2023 / www.soundonsound.com

16- or 24-bit word lengths and sample
rates of 44.1, 48, 88.2 or 96 kHz. It can The Tresmic II
also record (up to 320kbps) MP3 files. three-mic array differs
The onboard editing and playback tools from previous
also remain intact: useful if basic facilities versions, in that the
centre capsule is now
like playback speed, EQ, file splitting and
a directional one,
trimming, normalisation, and the ability to rather than an omni.
apply fades.
On closer inspection, though, you’ll
notice plenty of changes. A cursory
look around the device reveals that the
mini-jack input and headphone output now
appear on the opposite side to the LS-P4
(to make camera connections easier),
alongside the on/hold slide switch, and the
input can now accept stereo line-level as
well as mic-level signals, the setting being
switchable using the on-screen menu. (The
LS-P4’s input could only handle mics). The
micro-SDXC card slot is better positioned,
being on the opposite side panel rather from ‘full stereo’ (position zero) to ‘mono now monitor remotely over Bluetooth
than the rear, and there’s now a camera cardioid’ (position 20). The previous headphones, while using the considerably
tripod mounting thread there too (the model had only 10 settings, and since it beefed-up smartphone control app.
previous model required an adaptor). had an omni mic in the centre it obviously
A more significant change is to the couldn’t be set with quite such a narrow
In Use
onboard mics. Now named Tresmic II, pickup pattern even at its maximum In the box with the review unit were
the new array employs a directional setting. In practical terms, this means two rechargeable Ni-MH AAA batteries,
centre mic in place of the omni used in you’re able to reject more ambience or a multilingual Basic Manual and a micro
the original Tresmic array of the LS-P4 ‘room sound’ than before. USB to USB-A 2.0 adaptor. The LS-P4
and earlier models. The capsules sit in Most SOS readers will probably used only one battery, and the idea here
a redesigned housing and, according be more interested in this device’s is to allow longer running time when using
to the specs, they can stand a slightly capabilities as a music recorder or for Bluetooth (and longer still when not). The
higher maximum sound pressure level too capturing samples, but they might still find batteries are rechargeable and came
(125dB SPL compared with the LS-P4’s the new Bright Sound mode handy; this fully charged — the device itself acts as
120dB). A benefit of the central omni applies a boost in mid to high frequencies, a USB-powered battery charger, which
capsule in the previous arrangement was designed to give dialogue a little more is a nice touch — and I like that spare
that it allowed greater bass extension presence — useful for recording lectures batteries are cheap and readily available.
than directional mics alone, but the use or interviews, but potentially also for OM System kindly sent their WJ2 wind
of a directional centre mic offers different podcasting, streaming and so on. The jammer and a foam carry/storage pouch
benefits. The Zoom tool in the menu LS-P4’s Auto and Manual recording to help with testing, though these are not
allows the user to set the ‘width’ of the modes are joined by a new Smart mode, included in the price. There’s support for up
array, as before, by adjusting the balance which is an automatic preamp gain to 2TB micro-SD XC Type 1 cards, and while
between the centre mic and the stereo system similar to that found on Roland’s no card is supplied, there is 16GB of storage
pair. But there are now 21 settings, ranging Studio Capture and Audient’s EVO audio built in so you have everything you need to
interfaces. You just press and hold the get up and running.
OM System LS-P5 Record button, point the recorder at As with previous-generation devices,
whatever you’ll be recording, and the this recorder can genuinely be ‘handheld’
£199
device will set appropriate gain to ensure since it’s incredibly lightweight and tiny;
PROS a clean recording without clipping. Let go it definitely passed the portability test.
• Can genuinely be handheld. and press Record again and recording will Although thicker than my Samsung Galaxy
• Clean, detailed sound.
commence. It’s great for inexperienced S9, the LS-P5’s footprint is roughly 40% of
• New Tresmic II array’s stereo width
much more configurable. users and for those in a hurry. And that of the phone, and I was just about able
• Improved control app. speaking of being in a hurry, there’s a new to enclose the whole thing in one hand; it
• New Bluetooth functions added. two-second pre-record feature too. will fit easily into most pockets. Likewise it
CONS Bluetooth connectivity isn’t new per ticks all the boxes when it comes to ease
• Nothing of note. se, but it’s improved: the LS-P5 has of use. Just pop in the supplied batteries,
Version 5.0 support, which in lay terms slide the on switch and, after confirming
SUMMARY means it now allows both headphone the date/time, you are ready to record. The
A clever and capable stereo recorder, home screen provides useful at-a-glance
and app connection at the same time,
the LS-P5 boasts a revised Tresmic
array, a better remote control app, and which previously was not possible. So, information, such as how much storage
other improvements to boot. when recording to 16-bit files, you can remains available, in terms of data capacity

www.soundonsound.com / April 2023 93

 ON TE ST
OM SYSTEM LS-P5

and recording time. After I’d performed so it can be used as a bidirectional audio
a five-second test of the Smart mode’s interface. I tested the recorder as an
auto-gain, the levels were set and I was audio interface with Reaper running on
happily capturing a recording of me singing my M1 MacBook Pro running Mac OS 12.4
and playing the acoustic guitar. and it functioned perfectly well in this
After hitting Stop and then Play, I was role, with only a couple of tiny caveats.
able to confirm using the in-built speaker First, whenever you connect using USB,
that I’d successfully recorded something, you can’t access any of the recorder’s
and plugging in my Beyerdynamic DT250 settings, either using the hardware or the
headphones revealed the capture to be app. You won’t need to access most of
of a clean and pleasing quality (very much them, but sadly this means you lose the
like on previous LS-series recorders) and ability to configure the mic array’s width.
that there was plenty of level available That’s a missed opportunity: that could
from the headphone output. A quick dive be really useful if you wanted to record
into the mercifully shallow menu structure and overdub different instruments to a
told me I’d recorded this performance DAW. (Another candidate for a firmware
as a 16-bit/44.1kHz stereo WAV file, that update?) Second, connecting over USB
being the default (presumably to make all breaks your Bluetooth connection to the
Bluetooth functionality available without control app. That can be a tad frustrating
A long press of the red Record button enters
having to tweak). That was adequate for if you need to switch between the two
Smart mode, in which the LS-P5 will automatically
what I’d been capturing, since the Smart set the preamp gain for you. configurations fairly frequently — though
mode had done a cracking job of setting to be fair that’s perhaps a scenario which
the levels to keep the noise floor sensibly menu on the device; only once you’ve done is more frequently encountered when
low and avoiding clipping, though you can that can you start using the app. testing/reviewing a recorder like this than
set it at up to 24-bit/96kHz should you wish. Putting all that aside, the app seems using it out in the real world!
Operation of the hardware is about as to me to be very well thought out — it
simple as you could imagine. Even more is incredibly convenient once you’re up
Verdict
so, in fact, than on previous-generation and running. I started by auditioning the Most prospective customers will be
recorders because the Smart mode makes handful of recordings I’d already made. interested in the LS-P5’s capability as
setting levels effortless. You just have to They played back through the recorder a stand-alone portable recorder, and in
make sure, of course, that you make an (not the phone, but Bluetooth headphone that role it works very well indeed. Clever
effort to include in your ‘soundcheck’ the playback is supported) while the phone’s as the original Tresmic array was, the
loudest sounds you’ll be capturing. screen displayed good, clear metering, new version with the directional centre
Handling noise is, as on older models, including a handy peak-level history for mic is a big improvement: for the main
kept pleasingly low, as long as you take the left and right channels and remaining applications for which this recorder is
reasonable care. In normal use there wasn’t battery life and storage/recording time. intended, what’s captured and rejected in
any, so I tried deliberately being careless: The app also provides transport controls, spatial terms will be more important than
adjusting my grip and letting the recorder including a dedicated button to engage the being able to reach a shade lower down
slide in my hand, tapping the body etc. Smart mode — sensible, as it’s less easy the frequency spectrum. There are just
While these noises were picked up, they to press/hold a touchscreen record button enough editing facilities and other options
were helpfully attenuated, and the wanted than the physical one on the device. You on board to please those who demand a bit
audio could be clearly heard. Naturally, the also have playback volume controls, and more than just recording and playback,
windsock, which is a good snug fit, was lots of options in a separate Settings page, and some useful tools for those recording
useful when recording outdoors too. covering pretty much all the configurable voice (eg. skip silence). The remote control
Setting up for Bluetooth remote control options on the hardware. At the top of the app is a big improvement, to the extent
turned out to be a shade more fiddly than main page you can edit the filename and that I’d use it by preference over the
I’d hoped. The first thing to note is that you navigate to other files. You can also insert built-in menus, even when right next to
don’t simply search for the device from markers during recording or playback, the recorder. It’s great that it doubles up
your phone’s Bluetooth menu, as with most though note that these are proprietary; you as a USB mic/interface, though there’s
Bluetooth devices. Instead, you surf the can’t export them to your DAW or a CSV potential for improvement in that area in
LS-P5’s menu to find and select Device file, which I’d suggest might be a candidate firmware updates, not least in allowing
Menu / Bluetooth / Smartphone App / feature for a future firmware revision. All in the Tresmic II array to be tweaked while
Pairing, after which the device displays its all, it’s a lot easier than using the hardware’s connected to your computer.
name and a code. Then fire up the app on buttons, menu and smaller screen. But The bottom line is that if you’re looking
your phone, and search for the recorder. the best thing about it, in my view, is that for a capable compact recorder with
It took about 10 seconds to find it, and having a remote control to hand makes onboard mics (and don’t need XLR inputs),
upon me entering the code, the app paired self-recording sessions a breeze. this has to be worth contemplating.
with the device, which took another 10 or You have a choice of two modes when
so seconds. Then the app tells you “The connecting the LS-P5 to your computer £ £199 including VAT.
recorder is busy...” That, it turns out, is via USB: simply as a mass storage device W https://explore.omsystem.com
a prompt for you to exit the Bluetooth setup for file transfers, or as a Composite device, W www.om-digitalsolutions.com

94 April 2023 / www.soundonsound.com

 Blue is the
new gold.
Happy accidents can’t be planned; they happen on their own.
And sometimes those magical moments hit the gear itself.

Legendary recording engineer, Chris Lord-Alge, depends on a rack

of original Blue Stripe limiters, but there’s been one little issue: one
of them has a certain magic that the others don’t. That’s why Black
Lion sent our team to study his #1 unit, Bluey, and learn what made
this unit so special, with an unreal grit for lead vocal. The diagnosis:
řЭīĮďåȿì­ĨĨř­ÆÆðÌÐĊĴĮɀ­ĊÌďÌÌȷũŘÐĮœÐīÐĉ­ÌÐþķĮĴĴďāÐÐĨðĴ
working — but had accidentely created a monster 1176. Black Lion
­Ċ­ăřšÐÌăķÐřðĊÐŘ­ÆĴðĊæÌÐĴ­ðăĴďīÐÆīЭĴÐĴì­ĴÅЭĮĴďå­Æďĉ-
pressor.

ĊÌ Ċďœȣ řďķɂăă æÐĴ ­ăă Ĵì­Ĵ Į­ĉÐ ÅăķÐȷĮĴīðĨÐÌ ĉďþď ðĊ ­ ÌðĉðĊķĴðŒÐ
500-series rack unit - we shoehorned in everything that makes our
original Bluey great - all the same controls, features, and I/O are intact,
ðĊÆăķÌðĊæ­ÆďĊŒÐĊðÐĊĴåīďĊĴȷĉďķĊĴÐÌtþ­ÆāåďīĮĴÐīÐďăðĊāðĊæȢ

}ď æÐĴ ĴìÐ ÐŘ­ÆĴðĊæ ÌÐĴ­ðă Ĵì­Ĵ ìīðĮ OďīÌȷăæÐ ì­Į ÐĊþďřÐÌ åīďĉ
the original Bluey, we not only used custom Cinemag transformers,
we actually recreated his console’s insert path and built it right into
Bluey 500 — giving everyone the same console feel! But we didn’t
ĮĴďĨĴìÐīÐȤ”ЭăĮď­ÌÌÐÌ­Ċ­ÆĴðŒÐœÐĴȯÌīřĉðŘåďīЭĮřĨ­ī­ăăÐă
compression, as well as a stereo link!

Bluey 500: pure sonic gold.

Learn more at www.blacklionaudio.com.

©2023 Black Lion Audio. All rights reserved.

 ON TE ST

Universal Audio
Sphere DLX & Sphere LX
Modelling
Microphone
Systems
Universal Audio are
bringing their cutting-edge
mic modelling technology
to new markets with the
more affordable Sphere LX.
SAM INGLIS

he price of vintage gear continues

T its upward trajectory, even in these

uncertain times. Luckily, so does
our ability to recreate that gear digitally.
If you want the sound of legendary
studio mics without the price tag, there
are now three very tempting options.
Slate Digital were first to market, and
their Virtual Microphone System has been
continuously developed since its launch.
It now offers several expansion packs,
as well as modelling the sound of two
classic mic preamps. Antelope Audio’s
range, meanwhile, is notable for offering
a number of different source microphones
to choose from, including the only stereo

UA Sphere DLX
& Sphere LX
£1420/£995
PROS
• The Sphere LX offers 95 percent of
the performance of the full-fat DLX
for about two thirds of the price.
• Optional UAD expansion packs sound
great in their own right, and unlock
the full core library for LX users.

CONS
• No shockmount supplied with the LX.

SUMMARY
UA’s relaunch of the excellent Sphere
modelling mic system integrates it
more closely into their existing product
range and introduces a welcome, more
affordable second model.

96 April 2023 / www.soundonsound.com

and USB modelling mics I know of. The
algorithms can also be run on Antelope’s
Synergy Core interfaces, allowing the
modelled sound to be monitored in real
time at very low latency.
Finally, there’s the Sphere system
developed by Townsend Labs, which
I reviewed in SOS November 2017
(www.soundonsound.com/reviews/
townsend-labs-sphere-l22). From
launch, this also offered the option of
real-time low-latency monitoring, thanks
to a tie-up with Universal Audio. UA
went on to buy Townsend Labs, and
we’re now seeing the first UA-branded
Sphere microphones.

White Light
The plural there is important, because
unlike Antelope, Townsend Labs only
offered a single source microphone. This
was called the L22, and like some of the
Antelope Edge mics, it used a Y cable
to deliver the outputs from the front and
UAD owners can access expansion packs such as the Bill Putnam Microphone Collection.
back of the capsule to separate inputs
on your audio interface. Recording with of the DLX is much larger than that low-latency monitoring when used with
it required precisely matching the gain of the LX, which is less to do with the an Apollo. In this role they can even be
across two preamp channels, but once relative size of the two mics, and more used in conjunction with UA’s Unison
you’d done this, you were rewarded to the fact that the DLX comes with modelled preamps, though of course the
with features that went way beyond both a shockmount and a standmount, mic modelling should really be applied
simply mimicking the on-axis frequency whereas the LX includes only the latter. before rather than after the preamp
response of a target microphone. The Whilst I understand the need to preserve modelling. The AAX DSP version of the
Sphere L22 system could also model the a differential between the two products, Sphere plug-in offers similar low-latency
off-axis response, polar pattern, proximity this does seem a tiny bit stingy, given that functionality in Pro Tools HDX.
effect behaviour and much more. much more affordable mics like the Rode Apollo and Satellite owners (but not
The down side of this was that the NT1 and Lauten Audio LA-220 come with HDX users) also get the option to buy two
Sphere L22 was more expensive than good shockmounts. additional bundles of virtual mics. The
its competitors, and that’s something UA The Sphere DLX comes with a 25-foot Ocean Way Collection models a number
have sought to address in their refreshed Y cable, but LX buyers get only a 10-foot of individual mics from the world-famous
Sphere offering. Consequently, there are cable, so may need to have a couple LA recording studio owned by Allen
now two Sphere mics. of extra standard mic cables on hand. Sides, including two separate AKG C12s,
Cosmetics aside, the Sphere DLX is In terms of the build quality of the mics a prototype Sony C800G, Neumann M49,
identical to the original L22, meaning themselves, there’s nothing to mark the M269, M50, KM53 and KM54, a vintage
that it offers state-of-the-art noise LX out as the poor relation, and both Shure SM57, and the less well-known
performance and front-to-back matching. mics feature the distinctive white LED Sony C55p and RCA KU-3A. The C55p
Its new baby brother, the Sphere LX, is illumination that was a feature of the is particularly interesting because its
both more affordable and smaller, though original L22. capsule has a pivot mount that allows it
very similar in overall appearance. It lacks to be rotated through 90 degrees. The
the DLX’s pad switch, but still presents
In The Locker sonic effects of this have been faithfully
the front and back outputs separately, Perhaps the biggest differentiator recreated and assigned to the Sphere
allowing the multi-pattern characteristics between the two products is that whereas plug-in’s Axis control.
of target mics to be modelled. However, the LX comes with 20 virtual mics, the The second additional mic bundle
it has a marginally less impressive DLX collection has now grown to 38, is the Bill Putnam Collection, based
self-noise figure of 10dBA to the DLX’s including four all-new models. As before, on the favourite mics of Bill Putnam Sr,
7dBA, and front-to-back matching is less these models can all be accessed either legendary studio owner and father of UA
tight, meaning that the stereo mode in the Sphere Mic Collection plug-in, boss Bill Putnam Jr. This is an equally
of the L22 and DLX is not officially which runs natively on your Mac or mouth-watering selection that includes
supported (but still works). PC, or in its UAD equivalent, which is not one but two Telefunken ELA M251s,
As usual with UA, the packaging hosted on the DSP chips in an Apollo or a Neumann U47 and U67, an AKG
is extremely smart, and both mics are Satellite. This UAD version can also run C12A, an RCA 44 and a Shure 545, the
supplied in tough padded cases. That within the UA Console application for precursor to the SM57 — someone at UA

www.soundonsound.com / April 2023 97

 ON TE ST
UNIVERSAL AUDIO SPHERE DLX & SPHERE LX

Isolation Stations
The Sphere plug-in is largely unchanged since
Townsend Labs days, with the exception of one
major new feature called Isosphere. Clicking the
In button introduces your choice of virtual devices
such as the sE Reflexion Filter, Aston Halo, Kaotica
Eyeball and IsoVox Portable Vocal Booth. These
models can’t be active at the same time as Off-Axis
Correction, and in many cases they fulfil the same
goal, which is to retain the best on-axis sound
whilst minimising objectionable spill, ambient
noise and room ambience. Not being a massive
fan of the real things, I was pleasantly surprised to
discover that I sometimes got more natural results
using Isosphere than I did by messing around
with Off-Axis Correction. Perhaps this is one case
where a digital model is actually better than the
real thing?

must really love SM57s — plus two further

highlights in the shape of a stunning Sony
C37a emulation and an intriguing take
on the old Sennheiser MKH105/405 RF

capacitor mics, distant ancestors of the

current MKH range that are possessed of
a distinctive charm.
UAD-enabled LX owners get an
additional benefit from buying either
of these expansions: doing so unlocks
the full range of 38 mics in the core
collection, essentially bringing the LX up
to parity with the DLX in that respect. The
four new models, incidentally, are based
on the Neumann TLM103, Brauner VM1,
Royer 121 and Beyer M160. All of these
sound like you’d expect, although I’m
slightly surprised UA didn’t adopt their
usual policy by also modelling the M130
and having that as the figure-8 option for
the M160 pattern control.

Onboarding
Much of the development work that UA
have done to bring us the DLX and LX
seems to have been focused on closer
integration with the rest of UA’s software
ecosystem. Registration and installation
of the native Sphere software is thus
accessed through the UA Connect
front end, which provides a friendly
and intuitive introduction to the system.
UAD owners, meanwhile, can install and
access the DSP versions of the plug-ins in
the usual way. It’s all very slick.
There do remain one or two quirks.
The additional collections can only be

The Sphere DLX is essentially identical to the

Townsend Labs Sphere L22 that preceded it.

98 April 2023 / www.soundonsound.com

accessed through their own dedicated I’d ever buy a Sphere mic for the stereo sometimes feel unsatisfying, or mean
plug-ins, not through the basic Sphere feature, but it’s a nice bonus. forgoing the one feature you really wanted,
Microphone Collection plug-in (although but I really didn’t find that to be the case
both optional plug-ins include all the
Full Circle with the Sphere LX. In the overwhelming
standard Sphere mics too). And as The Sphere microphone has been majority of recording situations it performs
the UAD platform doesn’t support part of the UA family for a couple of just as well as its big brother — very well
stereo-to-mono plug-ins, the UAD Sphere years now, and this relaunch is clearly indeed, in other words — and UAD owners
plug-ins are all stereo-to-stereo, whereas about refreshment rather than major can effectively upgrade it almost to parity
the native Sphere Microphone Collection development. The DLX is functionally by buying one of the expansion packs.
is stereo-to mono. None of this is really identical to the original L22, so there’s When modelling is this good, it gets harder
a problem in practice, though, except in no reason for existing owners either to and harder to justify spending top dollar
those cases where you want to audition upgrade or to feel left behind. The LX, on vintage.
every single virtual mic in your collection though, should attract plenty of attention
in turn. from people who might otherwise have £ Sphere DLX £1420; Sphere LX £995.
Apart from the introduction of gone for a cheaper rival. Cut-down or more Prices include VAT.
Isosphere (see box), the Sphere plug-ins affordable versions of established products W www.uaudio.com
are mostly unchanged since I reviewed
the original L22. This is not a criticism,
because the software was already very
fully realised then. Having not used
the system in the meantime, I was
reminded afresh just how impressive
some of its non-modelling-related
features are. In particular, the ability
to retain the on-axis sound of a mic
you like in one polar pattern, whilst
switching the actual polar pattern to
figure-8 and cleaning up the spill with
Off-Axis Correction is close to magical.
Does it work quite as well in the LX,
with its slightly less well matched
front-to-back response? It’s hard to be
certain, but it’s still mighty effective.
Like most of the more advanced
Sphere features, Off-Axis Correction
is accessible only in Dual mode, which
also lets you blend the sound of any
two mics in any proportion you like.
This too offers a very deep rabbit hole
for the tonequester, though I still wish
there was some way of panning the
outputs of the two mics independently.
The only major Sphere DLX feature
that’s not officially supported on the
LX is stereo recording, whereby you
use the front and back of the mic
as left and right sources in a stereo
capture. Unsurprisingly, this requires
extremely close matching between the
two sides of the capsule to maintain
a stable stereo image. It’s also a rather
unusual stereo technique at the best
of times: most classic coincident stereo
techniques use a pair of directional
mics at a mutual angle of between 90
and 120 degrees, whereas the front and
back of the Sphere mics naturally have
a 180-degree mutual angle. There’s
nothing to stop you trying it with the
DX, and with the review mic it gave
plausible enough results. I don’t think

www.soundonsound.com / April 2023 99

 ON TE ST

The Main screen provides options

Chris Hein OCTA

for configuring the performance
features, like defining the Keyrange
for each channel and the neat fade-in/
fade-out feature.

Sample Library OCTA ought to be suitable for the type of

hybrid ‘organic/orchestral-meets-electronic/
instruments that fall under the ‘orchestral’
banner here (and Chris Hein is perhaps best
Chris Hein’s OCTA synthetic’ scoring styles that are so known for his orchestral and guitar libraries),
instrument is truly greater prevalent in modern film and TV music. this selection is dominated by some of the
In addition, while running as a Kontakt less mainstream options.
than the sum of its parts. (full or Player version) instrument, OCTA For example, the acoustic instruments
is Chris’ first release that utilises a new provide a selection of different vibraphone,
JOHN WALDEN
bespoke engine known as Mega Structure. marimba, xylophone and glockenspiel
aking a living in the highly Further titles based upon this engine are instruments. You also get hang drum and

M competitive world of film and TV

scoring is undeniably challenging
but, when it comes to the tools available to
already planned but, on paper at least, it
would appear to offer some impressively
deep possibilities.
tongue drum options, harp, vibes, acoustic
and electric piano and guitar/bass. There
are some string options (including sustained
actually create the music, media composers and pizzicato styles) but it’s clear that the
have never had it so good. Chris Hein is
Pieces Of Eight design intention was not to compete in this
a well-established developer in this field and OCTA’s 25GB of sample data delivers area with more conventional orchestral
his latest product, OCTA, is aimed firmly at 100 individual instruments in three broad libraries. The synth sounds span various pad
that audience. categories; organic ‘real’ instruments, types, a selection of plucked sounds, some
Combining sample-based organic synths, and drums/percussion. The 64 basses, and a number of synth leads. The
instruments, various types of drums and acoustic instruments span quite a range drum/percussion group provides a selection
percussion, and a range of synth sounds, of sources and, while there are certainly of conventional drum kit sounds, wooden

100 April 2023 / www.soundonsound.com

and metallic percussion and hang drum
percussion. Each of the presets includes
a wide range of individual sounds mapped
across the keyboard. As we will see in
a minute, OCTA’s engine provides plenty of
ways to modify the supplied sounds.
OCTA’s front end allows you to create
a preset using up to eight of the individual
sounds at once. The supplied presets offer
both individual instrument options and (of
course) plenty of combinations. When using
multiple sounds within the same instance,
you get a range of different options to
either select specific combinations from
those currently loaded (via keyswitches)
and to adjust the blend between any active
sounds. The key element in the latter is the
X/Y pad located top right, which features
eight ‘nodes’ and, via the UI’s Main page,
you can allocate any of the eight sound
slots to a specific node and then use (or
automate) the cursor within the pad to
adjust the blend in real time.
Alongside some impressive effects
The Main page is also where you can configure if/how each channel responds to the X/Y pad.
processing options that are available for
both individual instrument channels and and multi-instrument combinations. The or Piano KS presets. However, when you
globally, the engine also offers some neat individual solo instruments are very usable load these, you often find OCTA becomes
MIDI performance features (including key/ and many offer plenty of velocity layers populated with something more than
scale note correction and key/scale-aware so you can play expressively. However, the named instrument. The keyswitching
one-fingered chord generation). However, the instrument selection is perhaps system within OCTA — and which provides
perhaps the highlight of these additional a somewhat niche one and, while some of very flexible configuration options for
features is the sequencing engine. This the instruments have multiple performance the user — essentially allows you to
gets pretty deep, but it’s very impressive. I’ll styles available, these are designed more switch between different combinations
describe this in more detail below. with changing timbral options in mind rather of the eight channels (by toggling their
than the more usual sustain, staccato, and respective mute states). So, while the
Sound Basis pizzicato performance options you might Vibraphone KS preset, for example, has
As mentioned earlier, OCTA’s presets find in an orchestral library, for example. You four different vibraphone instruments
include both solo instruments (loaded on do, though, get multiple preset versions loaded (each featuring a different playing
a single channel within the eight available) for each individual source instrument, with dynamic), and is predominantly a set of
each featuring unique effects options, and playable vibraphone-style sounds, it also
Chris Hein OCTA these can dramatically alter the resulting includes piano, harp and string layers.
sound. Used for melodic lines over The keyswitching provides different
€299
a broader instrumental bed, the individual combinations of all these layers, resulting in
PROS instruments work well and have plenty of different tonalities.
• Powerful eight-part sound-blending character, even if they don’t offer quite the However, the majority of the
options.
same obsessive level of sampling detail you multi-instrument presets feature blends
• Impressive UI/engine combination
with powerful internal sequencing might find in some orchestral and/or world drawn from across OCTA’s full palette, and
feature. instrument libraries. it’s within these combinations that more
• Great for dramedy and related film/ The multi-instrument presets offer hybrid ‘organic meets synthetic’ sounds
TV scoring styles. numerous combinations of the various come through. It’s also where OCTA
CONS individual sounds. I’m pretty sure the demonstrates just how diverse and varied
• Deep feature set so be prepared to potential of these combo options were the resulting sound can be when you blend
dig in. the focus of OCTA’s overall design, so it’s what is a relatively modest selection of 100
• Intentionally niche selection of core perhaps not surprising that, sonically, it’s underlying instruments. A good example of
sounds won’t suit all musical styles.
here that things get particularly interesting. this is the various synth-based pad presets.
• You need a budget.
The browser offers a straightforward means By blending these in various combinations,
SUMMARY of accessing all of the presets based shifting the blends via the X/Y pad, and
OCTA makes something special out upon tag-based filters, but they fall into controlling the note range in which each
of a fairly niche core sound set. The
a number of broad styles. For example, sound is active via the Keyrange feature,
powerful sound blending and the
sequencing features will undoubtedly a number of presets provide keyswitchable you can create a huge range of sounds.
appeal to film and TV composers. instruments, such as the Vibraphone KS It’s worth noting that the Keyrange option

www.soundonsound.com / April 2023 101

 ON TE ST
C H RIS H E IN O CTA

includes the ability to define a fade-in and

fade-out note range for each of the eight
sound slots so, as you play up/down the
key range, sounds are gradually blended
in/out rather than simply being in or out as
you move between notes in which they
are either active or not; it’s a very clever bit
of design.
In terms of sound design, therefore,
OCTA is very much a case where the sum
is considerably greater than the individual
parts. There are some beautiful and
inspirational sound combinations available
and, while you can’t defy the sonic laws of
physics to move beyond the 100 instrument
sound-source building blocks, there is an
almost endless series of ways they can be
combined to create something new.

Going Mega
While the core 100 sound sources define
OCTA’s overall sonic character, the Mega interesting rhythmic or evolving effects to OCTA’s SEQ page is a pretty deep experience,
but the results can be both inspirational and
Structure engine and UI play a big part in the sound blend.
creative.
letting you get the most from the underlying For me, though, the special fun is
sample base. I’ve already mentioned some contained within the SEQ page. This contribute, its more obvious role is in film or
elements in passing but the options are provides access to an individual — and TV scoring. Perhaps not for action or hi-tech
deep and, while I can’t possibly cover all fully featured — sequencer/arpeggiator sci-fi, given the core sound set, but there are
the details in a review of this length, a few for each of the eight sound slots. In each lots of other genres of score that it would
features are well worth highlighting to give case, you get lanes for Velocity, Volume, be ideal for. For example, the ‘dramedy’
a sense of what’s possible. Pan, Transpose, Tune, Length, Notes, style (think Danny Elfman’s theme to the
The various options are spread across Filter (both cutoff and resonance), Pad Desperate Housewives TV series) would be
six sub-pages; Mixer, Main, Effects, Presets, (X/Y pad automation) and Send (effect right up OCTA’s street. Equally, you could
SEQ and Settings. The features on the Mixer levels). The Notes lane is particularly imagine the sounds working for cartoons,
and Presets pages are straightforward and powerful, providing options for arpeggios, mystery, lighter horror/tension, romance,
self explanatory. Equally, the Effects page chords, chord inversions and note voicing, and magical or ethereal moods. Indeed,
does exactly what you might think, but is essentially allowing you to orchestrate anything that requires a somewhat lighter
notable in that you get plenty of per-channel your individual sounds so they take touch than the bombast of a full-blown
and global effects slots. All the effects are different roles in chord construction (much ‘orchestral meets mega drums meets sound
courtesy of Kontakt itself, but it is worth as you might with a string section, for effects’ sort of thing.
noting that this includes a per-channel example). What’s more, the sequencer Anyway, film/TV composers working in
filter that provides some very flexible for each sound can be configured with suitable genres will find plenty to enjoy, both
sound-shaping options on its own. different step counts, allowing you to in terms of the sounds and the UI/engine.
The Main page contains plenty of create sequences where the note patterns At full price, while you might not need
possibilities. This includes the key/scale evolve over repeated cycles. Oh, and you a Hollywood budget to add OCTA to your
options mentioned earlier and, via the can also create 12 sequence variations virtual instrument collection, it is still going to
Chord lane, you can individually configure for each channel and keyswitch between represent a significant investment to many.
each of the eight sound slots to generate them in real time. It takes some time to However, there is a discount available if
chords (in key/scale) based upon a single get your head around it all, but it’s deep, you own other Chris Hein libraries. Either
note trigger. The Type lane is where you can powerful and very creative. Thankfully, way, providing you are prepared to dig in
link a sound slot to the X/Y pad for real-time there is a good crop of SEQ presets to get and access the full potential offered by the
blending, while clicking on the Envelope you started, and these demonstrate what engine and UI, it’s difficult to argue that
lane pops open an amplitude envelope can be achieved. These are particularly it doesn’t justify its asking price. OCTA is
editor for each individual sound slot at the inspiring to play and, with a few well-chosen a joy to use and instantly inspiring. And
base of the screen. chords and some tweaking of the sound I’m already intrigued to know what other
The Settings page lets you define CC blend, you could easily imagine creating combinations of instrument sounds Chris
numbers for volume, pan and filter cutoff/ a complete musical cue with just one Hein might bring to the Mega Structure
resonance on a per-channel basis, and this instance of OCTA. format. For busy film/TV composers, OCTA
is also where you can create an automation is well worth exploring.  
curve for the X and Y axis of the X/Y pad.
Does OCTA Score?
Again, it’s well featured and easy to use, While I’m sure there would be song-based £ €299 including VAT.
allowing you to sequence all sorts of contexts in which OCTA could undoubtedly W www.bestservice.com

102 April 2023 / www.soundonsound.com

 ON TE ST

Strymon
Cloudburst
Digital Reverb Pedal
There are many reverb
pedals around, but this
box has a few tricks up
its sleeve.
PAUL WHITE

hile the Cloudburst may be

W one of Strymon’s smallest

pedals, it delivers one of
the biggest sounds around! As you
might imagine, given that it has been
designed to produce ambient reverbs,
it’s capable of some impressively
long reverb times, yet it still somehow
manages to prevent the sound from
becoming ‘messy’. It has fewer hidden
functions than most Strymon pedals,
and it only employs one reverb
algorithm — it’s based on a modified
version of the Big Sky’s Clouds reverb
effect — but don’t let that fool you into
thinking that this is a one-trick pedal,
as it does have an extra superpower,
which I’ll get around to shortly.

Overview
By way of connectivity, there are only over which you can then play without Strymon Cloudburst
three jacks on the back of the case, adding to the reverb.
but both the in and out jacks are in The PSU jack is also on the rear, and
£279
fact TRS types that can be used for a 9V PSU capable of at least 250mA PROS
mono or stereo signals. The input can is required (though not included in the • Excellent range of reverbs, from small
handle signals up to +10dBu in level price). A Spillover mode, which provides room ambiences right up to full-on
ambient reverb backdrops.
so, with care, line-level signals can a buffered output, allows the reverb tail of
• Pristine sound quality.
be accommodated, not just guitars. the current preset to fade naturally when • Very manageable set of controls.
A recessed toggle switch selects bypassing the pedal or when switching to
mono, mono-to-stereo or stereo the next preset using a MultiSwitch Plus CONS
• Extra switches or adaptors needed to
modes. The third jack is for connecting or MIDI for preset switching (using MIDI
switch patches while performing.
an optional TRS expression pedal, there’s access to 300 presets, which are • PSU not included.
a Strymon MiniSwitch or MultiSwitch arranged in three banks). With Spillover
Plus, or a TRS MIDI connection. The switched off the pedal has a hard-wired SUMMARY
A reverb and delay like no other, and
available switch modes are Favourite, bypass. A Strymon MultiSwitch Plus can
not just for guitarists, the Cloudburst
Infinite or Freeze; the last of those be used to access three presets. conjures up some original and
sustains the current reverb tail If the control jack is configured for engaging effects, as well as catering
indefinitely to create a sort of ‘pad’, MIDI, using either a Strymon Conduit or for more conventional ambiences.

104 April 2023 / www.soundonsound.com

MIDI Exp cable, MIDI Program Change of my long-gone Roland GR-300 guitar
messages are supported, while MIDI synth, although with the GR-300 you
CC messages can be used to adjust the had to add your own reverb. Extend the
effect parameters. There’s also a USB-C reverb length slightly, and the synth-like
port, which can be used for MIDI, but sound takes on a natural decay. Add
is also used for firmware updates and some volume swells from a volume
communication with Strymon’s free pedal, your guitar’s volume control
Nixie editing software. In expression or a ‘slow attack’ pedal, such as the
pedal mode, the pedal can be used to Electro-Harmonix Attack Decay, and you
morph between two sets of control knob could easily believe you were listening to
settings. The setup routine for the pedal a synth rather than a guitar. As the newly
involves holding down the footswitch generated sounds are based on the
when powering up and then using the input signal, the effect is very responsive
various knobs to change modes as to playing dynamics, style and pickup
described in the manual. selection. At longer reverb times, the
The jacks for the audio input and output are
Other user settings include the way effect is like a more complex version of
TRS types, and can be configured to receive and
the dry signal is treated, which can go via send mono or stereo signals. a shimmer reverb, adding a strings-like
the digital converters or be kept in the backdrop to the input.
analogue domain. There’s also a dry kill The pre-delay can also be set much
mode allowing the Mix knob to be used longer than on a normal reverb. It’s almost
Summary
as an effect level control. The status LED as if you have a separate delay pedal The Cloudburst is billed as an ‘ambient
changes colour when setting up to act as in series with the Cloudburst. Pre-delay reverb pedal’ so definitely targets (and
a mode indicator. also works well with short reverb decay should definitely appeal to) those who
As with the v2 revisions of the existing times to create a classic slap-back, make ambient-style music, though I do
Strymon pedal range, the Cloudburst is rockabilly delay effect. Short reverb want to stress that it’s not limited to that;
based on a new ARM processor platform settings also produce a really believable its shorter reverbs and ambiences are
with 32-bit floating-point processing (as room ambience that works a treat on also seriously impressive. The pedal can
opposed to the SHARC processors used electric guitar. Tone seems to act like a tilt of course be used to process any sound
in the earlier pedals), and it also runs at control, trimming away the highs when source, though I’m guessing that guitar
a higher clock rate. This more powerful moved anticlockwise, to create a warm, players are still the prime market. If you
CPU allows the pedal to run an enhanced dark reverb; or boosting the highs when love long, dense reverb tails that seem
reverb algorithm at the same time as turned clockwise. Mod brings in pitch to hang in the air like smoke, then you
generating the Ensemble effect, of which modulation and controls rate and depth are going to find it difficult to resist. I tried
more shortly. Its JFET front end is taken up to its mid position, after which the to replicate its ‘reverb as a background
from that used in the v2 pedals, the aim depth stays the same but the modulation sound’ effect using other reverb pedals
being to present the guitar with a more gets faster. Around half way or just below, I already own, but none of them came
amp-like impedance and to improve it adds an attractive fluidity to the reverb. close. Adding the Ensemble effect opens
playing feel. Audio conversion is at Mix does just as you’d expect, going up a whole new sonic landscape and
24-bit/96kHz. from 100% dry to 100% wet, unless set works so well that I’m hoping Strymon
up in Dry Kill mode, but the real secret might have plans to build something
Head In The Clouds weapon is the three-way Ensemble switch more guitar-synth-like, by combining their
Most of the rotary controls are self at the top of the panel, which can be take on harmonic resynthesis with attack
explanatory, but what isn’t immediately off or set to one of two intensities. This shaping and envelope filtering.
obvious is their huge range. Decay goes isn’t based on conventional ensemble Though a little less costly than most
from a really convincing, tight room-like effects that use multi-layered chorus of Strymon’s pedals, the Cloudburst is
ambience up to a lush-sounding decay and so on, but rather it brings in some still outside of the impulse buy range
that doesn’t quite go to infinity but does additional harmonics that sound almost for most people, but I feel that it is well
get within a couple of metres of it! To synth-like. There are hints of octave-up worth the investment, especially if your
my ears, the character of the algorithm and an increase in harmonic density music has ambient or cinematic leanings.
changes once the Decay control goes and richness, but this is no conventional The review unit had to go elsewhere
past half way. In the first half it creates shimmer reverb either. Apparently the very quickly, and I had to nail my credit
a range of conventional but very effect is achieved by splitting the signal card to the table in an attempt to prevent
high-quality ambiences and reverbs that into 48 frequency bands and then new me ordering one. Unfortunately, my
get progressively larger. Past half way, harmonics and partials are generated hammering was inadequate: the nail fell
you get lovely ambient reverbs that get based on these frequencies. (The closest out, and a new one is on its way!
progressively longer and seem somehow technology I can think of is Roland’s
to hang in the air, decaying quite slowly, HRM harmonic modelling, used in the
£ £279 including VAT.
and providing background support without Boss SY-series guitar synths and VG
T MusicPsych +44 (0)207 607 6005
getting in the way. You have to be fairly guitar pedals.) E [email protected]
precise in making adjustments here, as With the reverb decay set to be fairly W www.musicpsych.com
a little movement goes a long way. short, the ensemble sound reminds me W www.strymon.net

www.soundonsound.com / April 2023 105

 ON TE ST

to the Instruō standard? First up and forth beautifully. It can also

is Cnōc, a compact two-stage act as a slew limiter, of course, or
function generator that promises a delayed gate — certainly more is
utility and creativity in equal possible than I have column space
measure. Cnōc, if you’re interested, for. All things considered, the Cnōc
means ‘a natural elevation or is simply a lovely little module.
raised landscape,’ apparently: Next, Cruïnn. Translation:
poetic, as well as presumably the ‘well developed in all aspects,
closest Scottish Gaelic can get to complete and balanced’. It sure is.
describing a function generator A ‘super-super-super-super-super’
Eurorack module. saw-wave oscillator (that’s five
The panel presents two supers), it’s based around a single
LED-tipped sliders for the envelope sawtooth oscillator core that
attack and release, alongside CV makes use of through-zero phase
inputs for each and a trigger input modulation to create anything
alongside a manual trigger button. from buzzing, abrasive drones
Instruō Cnōc & Cruïnn Switches enable editing of the
envelope shape and response, as
to lush saw choruses in glorious
stereo. Or beyond stereo, if you
Eurorack Modules well as cycling, while CV outputs wish, courtesy of an included

W
hat is there not to like about Glaswegian are present for unipolar or bipolar 4HP expansion module offering
developer Instruō? The company all but voltage (brilliantly handy) alongside individual outputs for all six of its
encapsulate everything I love about Eurorack. a gate and end-of-cycle output. bipolar, phase-shiftable sawtooth
Their hand-built modules are visually beautiful, with It’s an impressive amount of waves. On the module proper,
signature gold lettering on a black faceplate and functionality packed into a very the Cruïnn’s right output presents
generously sized black and white knobs; their modules’ small space, but never quite strays waves 1, 2 and 3, while 4, 5 and 6
names are replete with cultural heritage, each a Scottish into feeling cramped. This is partly come out of the left output. A third
Gaelic word pertaining to their function (indeed the name because a good half of the Cnōc’s ‘Sigma’ (Σ) output sums everything
‘Instruō’ loosely means ‘to teach’); they have a keen overall real estate is devoted to its to mono. All conventionally useful
preoccupation with education and support, producing two LED sliders, meaning that even functions are present, correct
extensive video content and patch notes; and on top of when zooming out to view a patch and very nicely laid out: there’s
all of this they’ve gone and made pretty much all their it’s immediately visible what the a volt-per-octave input with tuning
modules available in VCV for free. And did I mention the Cnōc is doing; a welcome design control (coarse and fine), FM input
modules themselves tend to perform rather brilliantly, too? decision, since I often find myself with attenuator (exponential or
Enough eulogising; let’s look at two of the company’s having to lean in and peer behind linear) and also a nifty LFO toggle
newest offerings: Cnōc and Cruïnn. Will they live up patch cables with modules of its switch, which essentially lowers
ilk. On the subject of the LEDs, the frequency range of all the
they’re impeccably responsive, Cruïnn’s waveforms to transform it
and while they don’t fade in or into the most functionally equipped
out to represent slower attack or sawtooth LFO you could ever
release times (instead they just ask for. With all the expander’s
flash on or off), this is clearly the individual outputs working together,
result of an engineering limitation it’s a modulation powerhouse!
that I’m sure Jason Lim would be The top half of the panel is
able to eloquently explain, and is where things become a little more
compensated for by a third, more unique. There’s an included VCA
dynamic LED at the top of the panel. circuit with level and attenuator
In any case, the function knobs, which at its highest settings
and ultimately the sound is also implements a soft-clipping
the important thing; in these circuit for some subtle saturation,
departments the Cnōc is hard to but it’s the phase modulation
fault. Using it as a cycling envelope section that really constitutes the
generator with an oscillator via essence of the Cruïnn. Orbiting
a VCA, for example, It can be the stationary sawtooth wave 1 are
super smooth or tight and snappy. five triangle-wave LFOs; working
It’s a joy to push it into audio-rate symmetrically across three different
territory and back again; applying frequency bands to phase-shift the
CV to modulate the envelope other five sawtooth waveforms —
attack or release time across this represented by some very pretty
range it responded in a way I can pulsating LEDs. There are knobs
only describe as razor sharp, and CV inputs with attenuators
ratcheting and stuttering back for both rate and depth, ranging

106 April 2023 / www.soundonsound.com

from subtle, lush chorus-like movement to a swarm of of that fact. Well designed and must be said, but considering the
angry synthesized bees. At the highest rate settings sensible on the one hand and scope of what’s on offer here (in
some of the modulation would touch audio rate, almost forward-thinking on the other, both the Cruïnn’s case, it’s something
taking one into chord territory. At the bassier end of Cnōc and Cruïnn promise to bring like three modules in one) I think
the spectrum things lose their definition a bit (these are something new to your system they’re priced highly reasonably.
sawtooth waves after all) but from the low-midrange with their own distinct brands of Sàr-mhath!
upwards it’s sonically glorious. Lovely stuff. Instruō ingenuity. At £239 and William Stokes
Like I asked: what is there not to like about Instruō? £399 respectively they’re definitely £ Cnōc £239, Cruïnn £399.
Not much. And these two are both excellent examples on the pricey side of things, it W www.instruomodular.com

RYK Modular Vector Wave  we’re in Q mode where four Quick

Performance Controls bring lots
So now, under your joystick,
you may have a combination of FM
Eurorack Module of satisfying change. One knob tones, organ harmonics, warped

T
he Vector Wave from RYK Modular is probably not detunes the four oscillators and waveforms and wave-folded
what you think it is. As you dig into the module, spreads them apart; another warps timbres. But that’s only one way
you find levels and facets that come as a complete the sine wave into triangle, sawtooth to play. Add a MIDI keyboard
surprise. The design, both inside and out, is mysterious and pulse shapes; and a third and Vector Wave can be played
and beautiful. It somehow manages to both stand out folds the waves into more complex polyphonically. The four banks get
and absorb itself subtly into your rack like it was always forms. We’ll come back to the fourth turned into four voice copies of the
meant to be there. The layout is ordered and nicely in a minute. These changes are first, and with a little dash of reverb,
understated. And even when the fascinating 8x32 delivered to all the oscillators in all it sounds absolutely delicious.
large-pixel display bursts into animation, it feels like that’s the banks, taking the whole sound Alternatively, with the optional
exactly how it should be. It’s a wonderfully odd module. in a focused direction on the turn of expander, you can add a further
Let’s see if I can unpack it a little. a knob. three CV/gate inputs to address
The name Vector Wave alludes to the surface function There’s more. With a push of each oscillator bank individually for
as a four-waveform crossfading synthesizer that’s mixed a knob, we can access the routing four-part multitimbral operation. So,
with a joystick. Waveforms A to D are placed at compass configuration of each oscillator it’s four independent four-oscillator
points, and via a cute little joystick, you can visit each within a bank. Oscillators can be FM or additive, harmonic, folded,
one and mix between them like it’s a Prophet VS. flipped between being modulators detuned or warped banks of sound.
As you prod the red button to switch between the and carriers, in serial or parallel, as It just keeps getting better. However,
waveforms, you discover that each one is a bank of four you build 4-operator algorithms of once in multi mode, you do feel
sine-wave oscillators arranged in a harmonic cluster. The FM synthesis. This results in metallic the lack of individual bank outputs.
display offers up single-digit harmonics of your starting drags, clangs, glassy pings and The stereo outputs are perfectly
sine wave. The top four knobs dial up towards higher digital noise that can be shaped adequate for every other mode, but
harmonic numbers, while the bottom four set the level through a combination of oscillator it would be really good to be able
of each. As you play or sequence, it has an organ-like level, harmonic ratio and that fourth to route one bank through a filter,
quality of tones and pitches, drawing in harmonics Quick Performance Control knob another to a different effect and
that play and push against one another. You can set that deepens the effect through so on. There’s also no way to mix
harmonic combinations in each bank and explore the cross-modulation. It’s impolite, the levels between the banks, as
ever-changing timbres through the joystick. versatile, brilliant or mysterious the vector mixing is turned off in
That would be plenty for an interesting oscillator, but depending on how you are with multi mode. You’d have to get into
that’s not the half of it. With a tap of the grey button, managing FM collisions. the individual harmonic levels, which
is not very efficient.
There’s an internal modulation
engine of two ADSR envelopes
and two LFOs. This is in addition
to the four CV inputs on the front
panel for patching in external
modulations. Env 1 is hard-wired to
the VCA to control the level of the
voices. Env 2 is mapped to the FM
cross-modulation, which pushes and
pulls on the FM timbres. The shape
of the envelopes is beautifully
visualised in the display. The LFOs
have multiple shapes with control
over rate, depth and offset, and
can be directed wherever you like.
Modulations can be assigned in one
of six slots. You can pull sources
from the CV inputs, the joystick,

www.soundonsound.com / April 2023 107

 ON TE ST

envelopes, LFOs and all the usual MIDI suspects. Vector Wave is an very cool animated scope mode.
Destinations include amplitude, oscillator frequency, the extraordinarily playful multi-levelled It’s not always easy to find your
Quick Performance Controls, harmonic shifting, panning cluster oscillator with multiple way around, and it does require
and also a hidden internal harmonic band-pass and modes, nuances, vector synthesis a manual. Sometimes the interface
low-pass filter. and FM algorithms. It can evolve will spill you out of your workflow as
The final point of interest is the Vector Animation. This from the purest organ pipes to the it tries to do too much with a small
is where you can automate the movement of the joystick deepest hole of FM cross-mod combination of knobs and buttons,
to mix through the oscillator banks via modulation. You while in constant motion. The pixel but some things just need to be
can do this by either recording the movement of the display is a lot of fun and manages learned. Robin Vincent
joystick beneath your thumb, or by setting four points to convey all the information £ £395
through which the vector moves. you need before falling into the W www.rykmodular.bigcartel.com

Modular Profile: On her go-to modules

Oh dear, there are so many! The Moog
Lisa Bella Donna Mother-32 is a complete electronic music

M
usician, sound designer, educator studio in one module. There are so many
and all-round electronic sound features under its hood. It never ceases
sorceress Lisa Bella Donna has to amaze or inspire me. The oscillator
built a reputation for herself as one of and filters sound so classic and fat. It’s my
the most eminent synthesists anywhere. favourite live synth, but it’s an immediate
With upwards of 40 explorative releases songwriting or composing tool too. The
to her name, she has run workshops at sequencer is totally unique and dials up
venues ranging from Superbooth in Berlin magic fast. For its size and price, there
to the vaunted Berklee School Of Music are so many ways to route and modulate

Photo: Tristan Whitney Weary

in Boston, USA. She has also in recent and create multitimbral synthesis. I love
years been welcomed into the inner working with a collection of them in
fold of Moog Music Inc, with whom she my system.
has produced myriad demonstrations,
recordings and detailed patchbooks, also On working in partnership with Moog
crafting a range of rich presets for the Music each of them in areas where they may feel
company’s flagship Moog One. Working with the many teams at Moog unclear in the many different destinations
Music on a wide variety of different of working with synthesizers and recording
On her entry into modular projects is such a wonderful and fulfilling techniques. It’s an everlasting stream
I started in modular synthesis in the confluence. They’re such an immensely of curiosity and creative continuum. It’s
mid-to-late 1980s. I was a teenager clear, articulate and talented collection a great infinity. I am forever humbled by the
and working at a commercial jingle of humans. It takes a vastly talented and process and discoveries found in electronic
studio. It was at that studio I had my first dynamic team to create such timeless music composition and sound design. I am
opportunity playing & patching an ARP instruments and to elevate the spirit they forever the student of the craft.
and Moog synthesizer, which was truly work tirelessly to create. An environment
an epiphany for me. I scraped and saved of creativity and inclusion. Getting to know On the culture of modular
every penny and eventually bought and work closely with all at Moog Music is It’s been amazing to witness how, in
a pair of ARP 2600s from a vintage synth something I am equally grateful and proud my lifetime, modular went from almost
dealer named SYNTHLOCATER in the to be a part of. I am also always happy to completely non-existent to having
back of Keyboard magazine. During this hear from the thousands of Moog owners a full-blown resurgence. When I began,
time, I purchased quite a few synths and who reach out to me with questions and it was just something that made perfect
modulars from him. I soon added an advice. Always feel welcome to reach out sense to me and for where I wanted my
ARP 1601, an Oberheim DS-2 sequencer, to me. I answer every single message. music to go. It’s always been my sanctuary.
a Roland CR-78, an ARP Odyssey, ARP Community is as community does. No rules or laws posted anywhere, as far
Omni and Moog Prodigy. as the mind could see. What a wonderful
A few years later I added a Prophet-5, On running electronic music workshops chapter to begin in! Just turn on the
Roland System 100M, Roland CSQ-600 around the world studio, warm it up, roll up the sleeves, and
sequencer, ARP String Ensemble and It’s always a privilege and pleasure to then see what inspires. Musical, sonic,
a borrowed, beat-up Moog Model 15. work with those passionate about music and compositional freedom. I’d love to
I stuck with that setup for many years. and synthesis. All the many demographics see the modular culture stay away from
Just composing and developing. Until, offer their own spirit and unique energy stylistic conformity, ego-focus and closed
eventually, Eurorack came around. surrounding their intentions with the mindedness. I am still of the spirit that it’s
I started with the brilliantly designed electronic arts. I feel education is vital to such a wild, wonderful and wide-open
Wiard System, then Doepfer Modular, and the welfare and evolution of this craft. I love territory, where every kind of creative
finally the revolutionary Moog Mother-32 learning about what inspires students and individual can be included, highlighted, and
and Grandmother. participants. I also try to aid and assist with heard. Art first, style last. William Stokes

108 April 2023 / www.soundonsound.com

 Three rooms, seven kits and more than 2,500 drum grooves/fills. If you’re
a songwriter looking for maximum versatility, EZdrummer 3 is for you.
Have a look and a listen on our site today.

WWW.TOONTRACK.COM
 ON TE ST

Hit’n’Mix RipX DeepCreate

Source Separation & Audio Processing Software

Hit’n’Mix add recording features to RipX with the new DeepCreate module.
JOHN WALDEN
With stem unmixing and audio repair/ a conventional DAW. There is one significant
editing/restoration, DeepRemix and difference, however: RipX’s layers do not
it’n’Mix made quite a stir when DeepAudio are undoubtedly of interest to contain conventional audio clips or MIDI

H they rebranded their Infinity

software as RipX. Sam Inglis
reviewed the initial two RipX modules
musicians, music producers or audio editors,
but they could perhaps be considered niche
tools for niche tasks. However, Hit’n’Mix
sequences but use a proprietary format
to capture the nature of a sound. Import
and export of a range of familiar audio and
— DeepRemix and DeepCreate — in have a somewhat broader target in their MIDI formats is fully supported, though; this
the September 2021 issue of SOS and sights with DeepCreate as the module propriety format is for internal use only.
was very impressed by the quality of enables the recording of both audio and It’s the visual representation of this
DeepRemix’s stem separation process, MIDI sources. So, is DeepCreate taking RipX proprietary format that dominates the
while DeepAudio provided audio repair/ in the direction of a DAW? Well, yes... but central portion of RipX’s UI, where the
editing tools and an intriguing harmonic also no... Let’s explore. changing pitch/frequency content of each
editing environment. RipX is sold as layer is displayed using something akin to
a tiered product; at the lowest price point
Rip It Up Melodyne’s ‘note blobs’, while unpitched
is DeepRemix, while the more expensive In RipX terminology, a Rip acts as elements (formants within vocals, for
DeepAudio tier includes the DeepRemix a project-level container. Within a Rip, as example) are shown at the base of the
module. However, the subject of this well as a ‘master’ layer encompassing all the of the panel. Usefully, the content for
review is a third module Hit’n’Mix have content, each individual sound element — each layer — pitched and unpitched — is
now added to the RipX ecosystem; whether a stem from the unmixing process colour-coded, making it easy to identify
DeepCreate. In terms of pricing, this or new content recorded directly into specific sounds within your project. In
provides an additional tier sitting between RipX — is held as an individual layer, RipX’s addition, if you select a specific layer, its
the two earlier options. equivalent of an audio or MIDI track in note blobs become highlighted within the

110 April 2023 / www.soundonsound.com

display. Content based upon audio or MIDI the stock sample-based sounds of various
sources is represented in a similar visual common instrument types that are supplied
fashion and, interestingly, there is little or with RipX, but there are some interesting
no separation of the tool sets used for options when it comes to adding sounds to
their editing. this list that I’ll get to in a minute. If you hover
Organised around this central display — over a sound, a slider appears allowing you
and with a layout customisable by the user to adjust the percentage contribution of
— are a series of panels, each dedicated that sound to be used. As you can select
to specific functionality. These include more than one sound, in essence, you have
both a Rip and a Layer panel. The former the ability to blend multiple sound types
provides a list of Rips available (you can in whatever proportions you might wish.
group a series of Rips into a list), while the With your sound(s) selected, engaging the
latter shows the layers contained within Record button on the chosen layer then
the currently selected/opened Rip. You can activates the recording process.
have up to three Rips open at any one time, In use, both recording types get the job
making it easy to copy content from one Rip done, but there is undoubtedly something
to another. a little quirky (or perhaps I mean ‘not
The other panels include an Interactive DAW-like’?) about the process. Compared
Help panel (very useful for new users) and to a modern DAW, there are also some
existing DeepRemix or DeepAudio panels limitations. For example, in the v6.0.3
whose functionality now also has a role and v6.1.0 releases I used during the
in DeepCreate. For example, the Pitch review process, there is no support for
panel and Presets panel already allowed multi-channel audio recording; you can
you to apply pitch and effects processing only record a single audio track at a time,
respectively to layers within a ‘ripped’ although you can record both a MIDI source
When recording, the Inputs panel lets you
(unmixed) audio file. These are processing configure your input type for any selected layer. and an audio source simultaneously if
options that can now also be applied to required. For a solo musician recording their
layers you have recorded yourself via scratch. The key functionality added by own projects, this might not be a significant
DeepCreate. the module is contained within two panels; issue, but it obviously means you could
Inputs and Sounds. As with all the other not currently see RipX/DeepCreate as
Get Creative panels, the display of these panels can be a platform for tasks such as a full band or
The primary purpose to the new toggled on/off via the Panels entry in the multi-miked drum kit recording.
DeepCreate module is to allow you to main menu.
record your own sonic elements into RipX, The Inputs panel shows the available
Sound Expansion
whether to add to a previously ripped audio or MIDI devices (including any that As Sam mentioned in his earlier RipX review,
recording or by creating a project from support MPE) for recording directly into the Sounds panel offers the rather intriguing
a Rip project. After selecting a layer within ability to both drag sounds from a layer to
the Layers panel, you can then pick the add them to the Sound panel catalogue
Hit’n’Mix required input for that layer — audio or or to use sounds from within the panel to
RipX DeepCreate MIDI — from the Inputs panel. Incidentally, replace sounds within existing layers. The
£158 RipX’s MIDI recording operates in an ‘always actual results can vary considerably in
PROS on’ fashion; if you noodle on your MIDI quality depending upon both the original
• For remix projects and stem keyboard, anything you play is automatically and replacement sounds involved, but
unmixing, the best is now even better. recorded within a special Practice Clip. it’s a process that generates some very
• DeepCreate adds audio and You can dip into this to retrieve something interesting sound-design possibilities.
MIDI-based recording to the RipX
interesting and copy it to a suitable layer However, DeepCreate sees a further
workflow.
• Plenty of creative sound-design should you wish to use it. development in the Sounds panel: the
possibilities. In the Layers panel, the entry for each ability to import sounds from a VST
selected layer now includes a Record instrument plug-in. This process is triggered
CONS
button (as does the main transport panel via a new button on the Sounds panel’s
• DeepCreate doesn’t (yet) transform
RipX into a fully fledged DAW at the top of the UI). For audio recording, label strip, which opens up a dialogue
replacement. you can simply click on this to initiate box containing four steps. First, you select
• The novel workflow may be a one-bar count-in and recording will then the required VST plug-in. This opens the
a challenge for those familiar with start via your selected input. When you plug-in’s own UI so you can browse for
conventional DAW software.
stop recording, RipX analyses the recorded the required sound preset. Next, you enter
SUMMARY audio and then displays the resulting ‘note a name for RipX to use for the sound once
DeepCreate brings audio and blob’ representation. imported. Finally, you specify the import
MIDI-based recording to RipX in an After you have selected both the input settings in terms of note range and the
interesting and novel fashion. It will not
and layer, MIDI recording requires the spacing between sampled notes (which
be for everyone but may well appeal to
those with a more experimental streak additional step of selecting a sound from influences how large the imported sound
within their music-making DNA. within the Sounds panel. This panel shows will be).

www.soundonsound.com / April 2023 111

 ON TE ST
HIT ‘ N’ MIX RIPX DE E P C R E AT E

This is a cool new option, but it is also

not without its quirks. For example, you can’t
audition sounds within the VST instrument
as you browse; you need to have done your
preparation in advance to identify the target
sounds for import. In addition, while you can
influence the quality of the imported sound
by opting to sample every note, that still
doesn’t deliver the full finesse of the original
sound as there are no options for importing
velocity-based dynamics or for adjusting
the length of the imported samples (for
example, for a sustained pad sound versus
a pluck sound). I also experienced a couple
of VST instruments that didn’t seem to want
to play nicely within RipX. The potential of
the process is obvious but, as this stage,
it feels like something best suited to sonic
experimentation; grab the essence of
a virtual sound preset that you like, import it
into the RipX ecosystem, and then explore
the possibilities. It does not — currently at
Importing a sound from a VST instrument uses a straightforward resampling approach; it works well but
least — provide RipX with the same degree doesn’t currently capture all the dynamic details of the original sound.
of functionality as a VST host.
earliest incarnations, RipX doesn’t contain their own stamp on a remix project. Second,
Repurposed, New & Not Yet a dedicated mixer emulation. Yes, you those coming new to the wonderful world
The arrival of DeepCreate sees some can control and automate layer levels, EQ of multitrack (multi-layer) recording, and
existing RipX features get a new purpose, and pan, and there is a capable effects without a history with conventional DAWs,
some other new features arrive, and also processing system, but there isn’t a unified will not experience any sort of workflow
highlights some things that, currently representation of a virtual mixer that dislocation; RipX could become their ‘norm’.
at least, RipX doesn’t do (or does in an coordinates all those activities. Equally, Third, I can easily see sound designers
unconventional fashion). For example, while you can import sounds from VST with an experimental streak having a lot of
RipX’s effects processing options, including instruments, RipX is not configured as fun exploring the DeepRemix/DeepCreate
the effects preset system, options for an actual host for the VST instruments combination. Here, the somewhat
effect combos, and the automation lanes, themselves or for VST effects. unconventional workflow — and consequent
now take on a refresh role in processing unconventional sonic results — can easily
your own recordings. All of these types
Alt-DAW? be seen as a distinct positive.
of features are essential elements in Having chatted at length with developer DeepRemix remains the most impressive
a traditional DAW music production Martin Dawe during the course of this stem separation tool currently on the
workflow and, while they might operate review, it’s obvious that Hit’n’Mix want to market and Hit’n’Mix have pushed that
in a less conventional way here, they are offer a fresh approach to music creation. module further with the additional guitar/
perfectly capable of getting the job done. RipX undoubtedly does that in some piano option now offered. However, from
While also useful with DeepCreate, very interesting ways, but it does mean a recording perspective, DeepCreate is
DeepRemix users will also like the new that those coming to RipX from a more fundamentally different from any other
unmix option that generates separate layers traditional DAW (or a hardware-based software-based recording environment I’ve
for guitars and pianos when ripping. If the recording system) will find some significant ever encountered. That’s not necessarily
option is selected, it does add to the time workflow adjustment is required. Right a bad thing — it’s good to have your sense
required for the ripping process. I tried this now, could I imagine significant numbers of of ‘normal’ challenged — but it is likely
on a few commercial tracks and, while this long-established users of Logic, Cubase, Pro to make buying into the RipX ecosystem
must entail quite a technical challenge, the Tools or other mainstream DAWs currently a more complex decision for some potential
results were generally impressive. Amongst putting RipX at the heart of their recording users. Sensibly, therefore, Hit’n’Mix offer
other things, the current version also brings system? Well, probably not... a free trial of RipX. It may be for you, or
useful improvements within RipX’s selection I can, however, see a number of potential it may not, but the trial, which includes
tools, zoom options and ability to detect the (and perhaps overlapping?) user groups the new DeepCreate module, will offer
tempo of imported audio. who could readily embrace the somewhat 21 days of very interesting, intriguing and
However, the addition of DeepCreate alternative functionality and workflow RipX convention-defying exploration.
doesn’t suddenly transform RipX into offers with the addition of DeepCreate. First,
a conventional DAW-like recording and the remixer community, who received the
£ RipX DeepCreate (includes DeepRemix)
mixing environment; the workflow is RipX/DeepRemix combination with plenty £158. DeepCreate add-on to DeepRemix
markedly different. For example, rather of enthusiasm, will welcome the additional £79. Prices include VAT.
like the Tracktion Waveform DAW in its options that DeepCreate offers for putting W www.hitnmix.com

112 April 2023 / www.soundonsound.com

 ON TE ST

phase transforms but, once you’ve done

Arturia Pigments 4 so, you’ll find that it offers a huge range of

sound design capabilities.
I then selected the virtual analogue

Software Synthesizer engine, which is based loosely upon

the Minimoog’s oscillator architecture.
Arturia’s colourful soft synth goes from strength to strength. Unfortunately, Pigments still uses the
method of assigning a pitch offset to
GORDON REID
new sounds for the sample/granular an oscillator when you first play it and
engine, more noise types in the utility then holding it at a consistent value until
igments is Arturia’s entry into engine, yet more filter types, more effects, you release the note. This system can

P the imaginary category of sound

designers’ soft synths. When
launched in 2018 it comprised two
and numerous other enhancements
to existing features. There are also
improvements to the GUI plus a host of
make each multi-oscillator note (or each
chord constructed from single-oscillator
notes) sound different from the previous,
underlying sound engines — wavetable new factory patches and three new sound but it can also generate the dreaded
and virtual analogue — but these were libraries that are free to new owners. doo-doo-dee-daa-doo-dee artefact as
later joined by a sample/granular synthesis a quasi-random but fixed amount of phase
engine in version 2 and then harmonic
Living Colour cancellation occurs. Furthermore, with
synthesis and a utility (sub-oscillator and My first tests of Pigments 4 were confined larger offsets, Pigments starts to sound
noise) engine in version 3. Each release to the initial sound generators because like a GX-1 that hasn’t been allowed to
also added facilities such as additional this is where many of the changes have warm up for 30 minutes, which, despite
filter models and effects, and expanded taken place. I began with the wavetable what you might think, is not a good thing.
the factory sound library. With five types engine, which has a wealth of tables Arturia’s engineers have done some great
of sound generation and a large choice from which to sculpt your sounds, and work on oscillator emulations in recent
of filters, modulators and other facilities, numerous transforms, modulators and years so I hope that they will incorporate
you might have thought that Pigments wave folders that let you create everything these within Pigments as soon as
had gone as far as it could, but Arturia from crystalline tones to (more often possible because the rest of the synth
then released Pigments 3.5 which, in my than not) aggressive noises and glitches. deserves them.
view, deserved to be called Pigments 4, It takes a while to get to grips with this The next engine uses samples as the
and now the latest version, which IS called engine, especially with the addition of underlying sound generators and adds
Pigments 4. This adds new wavetables, its new ring modulation and pulse-width granular synthesis tools to slice and dice

114 April 2023 / www.soundonsound.com

 The effects section offers
a wealth of slots and effects
with which to fill them.

name suggests, splitting

the input signal into
multiple partials, then
detuning and modulating
them in numerous ways
to create a range of rich,
stereo unison effects. The
second is a stereo reverb
that shifts the pitch of the
reverberated signal by
up to 24 semitones per
pass through its feedback
loop. You can’t modulate
the pitch-shift, but that
doesn’t detract from it
as a novel and rather
appealing effect.
The last major
element in Pigments is its
arpeggiator/sequencer
them in many complex ways. A sample high-pass and low-pass modes.) The audio section. The arpeggiator is great, with
library is provided, but it’s easy to load then passes to an audio signal amplifier. some neat extensions over common
your own samples and build new sounds All of these sections offer more modulation arpeggio models including probabilistic
from them. It isn’t designed to replace possibilities than can be listed here let control (or, rather, lack of control) over the
a conventional sampler because only six alone discussed in depth.
samples can be loaded at a time, and Ah yes... modulation. Residing in
key mapping can only be carried out in a band across the centre of the GUI,
Arturia Pigments 4
octaves. Furthermore, editing isn’t up you’ll find 17 primary modulation sources, €199
to the standard of dedicated samplers, three maths generators that allow you PROS
not least because there’s no zooming. to combine these and other sources into • It was already a phenomenally
Nevertheless, the engine works and adds even more complex modulators, and flexible soft synth.
another flavour to Pigments. four Macro controls. When assigned, • The additions to the synth engines
extend it even further.
Finally, there’s the harmonic engine, each modulator lozenge displays the
• The new filter models and effects are
which is a form of additive synthesizer. modulation level or waveform in real time, welcome.
Updated for Pigments 4, this offers 12 which is an excellent programming aid. • The light GUI is clean and fresh.
initial spectra and a sophisticated range of The flexibility of the system is ridiculous, • If you’ve never experienced it before,
controls to configure, warp and modulate but I nonetheless have a complaint: sucky drag-and-drop modulation routing will
be a revelation.
the spectral content of the initial sound. contours. When you retrigger a given
The range of tones it can generate is vast, voice, its contours are reset to zero CONS
and these often extend far beyond what rather than picking up from their existing • The VA oscillator algorithms are not
you’ll obtain from other forms of synthesis. positions. To be fair, numerous string state-of-the-art.
• The contour reset behaviour needs
I would love to have the space to review machines and some vintage hardware addressing.
this in isolation because it’s fascinating and synths act in this way, but it can lead • Despite adding granular synthesis,
can be very musical. Were I allowed to use to a disjointed sound, especially when the sample engine is less flexible than
only one of the engines within Pigments, playing monophonically. I described this in you might imagine.
• The sequencer provides just 16 steps.
this would be it. Synth Secrets as “sounding like the sound
The two primary sound generation is swallowing its tongue”, and I think that SUMMARY
slots in Pigments can host any two of Arturia should address it. Pigments was created for the sound
these engines, while a third contains the Finally, the signal reaches three effect designer who wants to delve more
utility engine, which comprises a simple deeply than is possible on the majority
sections, each of which can host three
of soft synths. As such, it rewards
waveform generator and two sophisticated effect units. Like so much else here, those who are prepared to spend
noise generators. The outputs from these one could write a book about all of the some time learning its capabilities and
three slots can then be passed — or algorithms provided and the uses to quirks rather than relying upon random
not, as you choose — through two filter which they can be put but, since that’s knob twiddling. But anyone can play
the excellent sounds that it can create
sections that offer 11 major filter types and not today’s endeavour, I’ll simply note
so, given its large and still growing
numerous sub-types. (For example, the the two new effects in Pigments 4: Super sound library, there’s something here
new MS20 filter option offers the original’s Unison and Shimmer. The first does as its for everyone.

www.soundonsound.com / April 2023 115

 ON TE ST
ARTURIA PIGMENTS 4

The Play Mode screen

offers a much simpler
representation that
concentrates on performance.
octave played, triggering,
gate length and slide. In
contrast, the sequencer is
probably the least powerful
part of Pigments because
it offers only 16 steps,
and any greater detail
has to come from clever
programming of things
such as pitch and amplitude
modulation. Nonetheless,
some interesting results
can be achieved if you
use this as a sound-design
tool rather than as
a composition tool.

In Use
When I received Pigments
4, I tested numerous
factory patches and found that — perhaps which is an important but surprisingly rare a simplified GUI designed for basic
to the surprise (or even the shock) of capability. In one patch, I connected 20 editing and performance. I have no doubt
existing owners — I didn’t much like its modulators to the filter cutoff frequency that this will prove to be very popular.
underlying sound. But when I analysed just to see whether it was possible... and Oh yes, and when you start performing,
what was disturbing me, I concluded that it was. you’ll find that Pigments offers a degree
this was because many of the patches I also experimented with both the of MPE compatibility as well as NKS
sounded a bit ‘scooped’, with lots of original GUI (dark mode) and the new light controller compatibility. In many of my
bottom-end whoompf and top-end sizzle, mode, and found that I much preferred patches, I directed aftertouch to multiple
but insufficient body and warmth in the the latter because it makes everything destinations, which was fab. Thinking
middle. So I programmed a range of clearer than it might otherwise be. In about how much more I could have
my own patches, and liked the results addition, the detail within the GUI itself achieved with an MPE controller to hand
very much. I then took one of the has improved since the original version, makes my head spin!
factory pads that I had auditioned and, with new facilities such as on/off buttons
adding a parametric EQ to its signal for the synth slots, effects and sequencer
Conclusions
path, dropped the top and low ends sections that make it much easier to work No single synth, whether in hardware
by a few dB and added a bump in the out what’s what when programming. or software, offers every facility that you
midrange. Wow, that was better! I’m not What’s more, and despite the complexity might want nor creates every sound
for a moment saying that all of Pigments’ on offer, you can access everything that that you might want, but Pigments 4 is
factory patches should be subjected to Pigments offers without having to navigate a remarkable achievement that comes
such heavy-handed re-coloration; I was through myriad screens and interminable much closer than most. I hope that Arturia
possibly unlucky in the sounds that I had menus. This is just as well; learning how continue to develop it, eliminating the
selected and, even if not, there’s a place modulating the phase of a hard-sync’ed shortcomings that I’ve identified and
for bright patches and exaggerated Polygon Inharmonic (sic) wavetable extending it further in new and fascinating
basses. But this exercise taught me while simultaneously modulating its ways. Despite its complexity, it took me
something important. If you want brash, fractal phase transform using a pair of just minutes to start using it, just hours to
Pigments does brash. If you want deep, asymmetrical unipolar LFOs triggered by start programming useful patches with it,
it does deep. And if you want something a pair of complex asynchronous function and just days to feel that I had mastered
that sits more traditionally within a mix, it generators (phew!) is going to affect just it sufficiently to create the sounds that
can do that too. one element of a complex sound would I could hear in my head. If you’re an
While programming my sounds, otherwise be beyond mere mortals. existing owner, you would be crazy not to
I made frequent use of the drag-and-drop The benefit of this complexity is upgrade because doing so is free and it
modulation routing, which is so intuitive that no-one should ever run out of new adds much to previous versions. If you’re
that I soon wondered why it isn’t the sounds and possibilities when using not an existing owner, you really should try
norm for all soft synths. It was trivial to Pigments, especially if Arturia continue it. Nice one, Arturia!  
connect each modulator to one or more to develop it. But if you just want to use
destinations, and to affect any given it as a performance instrument, a new £ €199 including VAT.
destination using multiple modulators, Play Mode tucks most of it behind W www.arturia.com

116 April 2023 / www.soundonsound.com

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 TALKBACK

Mikado Koko
with an idea for remixing the whole album. but I was young and I wanted to do what
WILLIAM STOKES
Penny searched for the master reel for nobody had done, so I chose more of

M
ikado Koko is an off-the-wall me but could not find it. So I tried a cut-up a roundabout route to learn my craft. Being
thinker, with music to match. method, having also been inspired by Gee self-taught, my primary mentors became
The Japanese experimental Vaucher’s artwork, making some loops from Richard D James [Aphex Twin] and Peter
producer’s latest work, Songs To Our the final WAV file at random and editing Kember [Spacemen 3 member and recent
Other Selves, is a wild and disorienting each piece with the iOS app SECTOR: Panda Bear collaborator Sonic Boom]. They
rollercoaster ride, reworking Penny a slicer and sequencer with a matrix of must be the icons of bedroom production,
Rimbaud’s 1984 solo album Acts Of Love: Markov Chain connections. Then I edited for musicians like me. Aphex Twin’s
Fifty Songs To My Other Self into cascading the resulting pieces again. I selected 20 Richard D. James Album was released
arrhythmic loops, elastic vocal samples songs out of 50, and repeated this process in 1996 and it featured a lot of software
and glitching textures. Suffice to say, the around 20 times. The tracks had elements synthesizers. Listening to that album made
album is quite the sonic departure from its of a lot of different cut-up technologies, me no longer want to use real hardware!
source material, which constitutes 50 short such as musique concrète, hip-hop cut E.A.R. [Experimental Audio Research] is
poems set to contemporary classical music, & mix and generative glitch. To achieve my favourite project of Peter Kember’s.
accompanied by a book of 50 collages by the final result, Penny coordinated the I learned the magical power of frequency
prominent British artist Gee Vaucher. overall flow and mastered the album with from his work. And now I can even use the
Koko is said to have come up with the Alex Gordon. We also took advantage of [EMS VCS3 emulator] iVCS3 on my iPad!
idea to rework the whole album “while Eve Libertine’s iconic voice and Paul Ellis’ Times are always changing!
making generative art NFTs”, which comes brilliant [Yamaha] DX7 and [ ]
as no surprise since she openly posits her Prophet-5 at Abbey Road Studios. I’m so My go-to reference track or album
iPad as by far the most important production proud of this surrealistic album! Kate Bush’s most experimental album,
tool in her arsenal; more important, even, The Dreaming. It always makes me feel
than the recording studio. The first thing I look for in a studio better! It’s a real “she’s gone mad” album,
I am a bedroom producer; past, present and was produced entirely by herself.
At the moment I can’t stop listening to and future, so my answer is an iPad. When Intricately intertwined voices, samples,
‘Running Up That Hill’ by Kate Bush will I got an iPad, I changed platform from Mac textures, folk instruments, polyrhythmic
always be my all-time favourite song. Its to iOS immediately. I love recording via the percussion... There are many discoveries
original title is ‘A Deal With God’; Kate Bush built-in microphone of the iPad Pro, just every time I listen to it. I especially refer to
says, “A man and a woman can’t understand in my room. AUM [an audio mixer, plug-in the balance of each vocal part, recorded
each other because we are a man and host and connection hub] and AudioShare on a 36-track recorder. It’s quite different
a woman. And if we could actually swap [a recorder and file manager] by Kymatica from the harmonies of somebody like Brian
each other’s roles, if we could actually be in are the most important apps for me. Before Wilson. Another big reason that I use it
each other’s place for a while, I think we’d I start recording, I always have to look for as a reference for my own music is the
both be very surprised!” It’s a song about my cat and make sure she is sleeping. balance it strikes between ‘commercial’
gender equality, and I think it’s a strong Quite often she loves to contribute to the and ‘uncommercial’. It is a pop album but
feminist anthem. Thanks to Netflix, everyone the recording with a “meow”! You can I think it’s more post-punk than Public
can hear the legendary Linn Drum patterns actually hear her voice on my album Maza Image Ltd’s Flowers Of Romance, which
by her and the engineer Del Palmer in Gusu, which is Japanese for Mother Goose. the engineer Nick Launay also made!
Stranger Things! If, though, I do get the chance to record in
a professional studio, I think I’ll be looking My top tip for a successful session
The project I’m most proud of for a powder room, just because I’m sure I’ll Synchronicity, and also allowing things to
My most recent release, Songs To Our be extremely nervous! happen by chance. I like how some apps
Other Selves. It’s an album that had have a dice-shaped randomise button. Tap,
a strange process. I was listening to Penny The person I would consider my mentor tap, tap! One of my heroes John Cage once
Rimbaud’s Acts Of Love: Fifty Songs To Well, I did once meet a highly skilled said “I am trying to be unfamiliar with what
My Other Self — a classic — and I came up producer who was very interested in me, I’m doing.” It’s amazing what can happen

118 April 2023 / www.soundonsound.com

by chance if you let it. Once I was asked Also I love that Delia gave Peter her VCS3 33 seconds of silence, if you know what
to make a remix for a French artist called synthesiser, a beautiful early model. If she I mean!
My Jazzy Child on the exact same day that was still alive in 2022 to try the iVCS3 app,
I was listening to his album Innéisme! The I wonder what she’d think of it? The part of music creation I enjoy the most
result was very successful for the both of Making sequences unreliable and
us. The track — which I selected out of pure The producer I’d most like to work with unpredictable. It’s a type of virtual
intuition — is inspired by Noam Chomsky’s I want to make a generative pop music improvisation. Sometimes I feel like La Monte
Universal Grammar. I remixed the title album with Björk. She is known as one Young and Terry Riley are sitting there in
track and added a famous sentence from of the greatest artists around, but she is my iPad, playing their instruments! I want to
Chomsky, whose grammar is correct but one of the most underrated producers. believe that AI can have a soul. My favourite
whose meaning is nonsensical: “Colourless I love her album Vespertine. For the most generative iOS apps are Xynthesizr by
green ideas sleep furiously.” part, she composed and programmed Yuri Turov, ZOA by Ryan Robinson, Autony
the album on her laptop, but people still by Pagefall and SECTOR by Kymatica. My
The studio session I wish I’d witnessed think of her as just a pop star and a great albums The Japanese Rimbaud and Alice
Definitely the recording of the Doctor vocalist. She’s also a great songwriter In Cryptoland were created with these
Who theme by Delia Derbyshire and Dick and producer! The words she sings in the sequencers, as well as several killer granular
Mills at the BBC Radiophonic Workshop. song ‘Hidden Place’: “Now I have been synthesis apps and some recorded voices
There’s a video I’m really into in which slightly shy / But I can smile a pinch of and loops. It was also mixed via AUM, all on
she describes her method of matching hope...” For me, it’s a lullaby within this my iPad Pro. I always aim for an unexpected
reel-to-reel tape. She layers sounds played unfair reality. It’s so exciting to imagine sound. That’s what I enjoy the most.
at different speeds and pitches on different what unexpected melodies or harmonies
tape machines, just like a DJ! She’s the would be generated from her composition. The advice I’d give myself of 10 years ago
godmother of electronic music. She actually I want to make a new form of pop music. Don’t be so disappointed if you can’t write
collaborated with Peter Kember in her I couldn’t draw you its shape yet... but I’m Python language well. You’ll soon be able to
later years. Those tracks are also amazing. sure we could find it after four minutes and make generative music with no code!  

www.soundonsound.com / April 2023 119

 FE ATURE

Photo: Mike Banks

On Loudness & Dynamics
It’s nearly a decade since the LUFS standard for loudness measurement was defined,
yet many still seem confused about what it means for music production.
M AT T H O U G H TO N good, practical use of LUFS meters. always to aim for musicality first. If you’re
Furthermore, there remain plenty of sceptical about these ideas, I’d urge

B
ack in SOS February 2014, we sceptical engineers and some, for various you to hold your fire and approach Ian’s
devoted 12 pages to explaining reasons, who continue to use clipping words with an open mind. it soon became
the then-new ITU-R BS.1770 audio and heavy limiting to master loud. abundantly clear to me that he’s not
loudness measurement/normalisation With these thoughts in mind, I figured opposed to creating loud masters per se;
standards. At the time, it was clear they’d it was time SOS revisited the topic. We’ve his message is more nuanced. And
have a huge impact on broadcast audio, written about the theory a number of whatever your view on the question of
yet questions remained about what they times, but I wanted to find out how things ‘how loud is too loud’, one thing’s certain:
would mean for music production. Since have been evolving in practice, and Ian knows a hell of a lot about how best
then, YouTube and most music streaming to tease out some good, practical tips to use those loudness meters, and how
services have implemented loudness and advice for our readers. To that end, your mixes will fare when played over the
normalisation, and software tools to I enjoyed a long, detailed chat over Zoom various streaming services!
measure loudness have become readily with UK-based professional mastering
available, even been built into our DAWs. engineer Ian Shepherd. Ian has long
Hearts, Minds & Language
Plenty of confusion remains, though, been a fierce and (since his critique of I wanted to know, with loudness
about what loudness normalisation Metallica’s Death Magnetic back in 2008) normalisation now enabled on YouTube
algorithms do, how loud is loud enough prominent critic of over-limiting in pursuit and so many streaming services, whether
for music, and how and when to make of loudness, campaigning for people Ian believes that the ‘loudness war’ has

120 April 2023 / www.soundonsound.com

 Do you know what to make percent said they turned
of the different readings on normalisation off because Dynamic Range Day: 21st April 2023
a loudness meter? Ian suggests they want to hear the
that Short Term LUFS might be Dynamic Range Day, which Ian started
music exactly as it was
the most useful when mixing in 2010, is a day of online activity that’s
mastered. So there’s this intended to raise awareness of the loudness
and mastering.
really cruel irony that wars and encourage people to focus instead
genuinely been ‘won’, as the people who care on what he calls the ‘dynamics’ of music.
we suggested it might have most about the audio are “We give an award to a fantastic dynamic
been back in 2014. “The listening in a way that popular mainstream album, and we have
a shortlist as a way of celebrating people
funny answer,” he joked, “is almost nobody else hears
who are using dynamics successfully. I do
to say yes, I think the war it, and because of that they live streams, usually get guests on to talk
has been won but someone feel they need to match about their experiences with loudness and
needs to tell the generals!” [ ] all the dynamics, and sometimes present some
Setting humour aside, other stuff that’s out there quick tutorials to help people get their
though, he struck a less — but nobody else cares!” head around this stuff. It’s a fun event: we
usually post a lot of cheesy memes which
triumphant tone: “The
Meter M’aide! people seem to enjoy! But it’s all about
reality is that no, it hasn’t spreading the word that it’s safe to do what
been won. It’s basically While we were on the feels creatively right with loudness, and
a done deal as far as the subject of tools and everything will be fine.” This year’s event
technology, the standards communication, we is on 21st April, and you can find out more
and the best practice are discussed loudness about it at https://dynamicrangeday.co.uk.
concerned — but it’s now meters. I’ve long thought
a battle for the hearts that with so many
and minds of artists and readings, loudness meters
engineers. That’s definitely can seem a bit confusing.
not been won. The True Peak function
“With hindsight, I used might seem obvious, and
lots of language in the early most of us appreciate that
days of the loudness wars Integrated LUFS indicates
debate and Dynamic Range a track’s loudness and is
Day [see box] that I’ve now used by streaming services
come to regret. People felt to normalise playback
I was blaming them, and loudness; but what of
they felt criticised, which Momentary and Short Term
was never my intention. LUFS? I asked Ian how he
While it achieved what uses these, and whether
I wanted in terms of raising the profile either could be seen as a substitute for I think is helpful to know. I still use a VU
of the issue, there are more positive VU or RMS meters. meter, too, because there are important
ways that I could have presented “LUFS is a remarkably effective things about them that aren’t replicated
the information.” measurement. It agrees with my ears in most loudness meters. The scale goes
It’s perhaps no surprise, then, that a lot of the time and works well with from, what, -30 to +3 dB and it’s vastly
he takes a different tack today. “What something like 90 percent of material. more sensitive around the zero point. So
I’ve found most effective is the plug-ins But yes, it can also seem very confusing. if you push even slightly too high it pegs,
and the Loudness Penalty site [see They’re not intuitive names. I think lots and if you go 3-4 dB lower than zero
box]: rather than just present people of people understand RMS, though, and the needle really drops. It’s not a target
with facts, or even try to win over their LUFS is basically a more sophisticated (I don’t want people to aim for targets!)
hearts and minds, I’m just giving them version of RMS. Short Term LUFS and but in terms of using it as a reference
the tools. It’s much, much more impactful RMS are often virtually identical, which you can see really easily where you are,
if people can hear for themselves the whereas a lot of loudness meters aren’t
difference between their master at -4 so easy to read. If you’re happy with RMS
and -10 LUFS when they preview it at -14 and happy with VU, keep them, and just
in Loudness Penalty. That’s the ‘Aha!’ look at the Integrated loudness when
lightbulb moment.” you’re done. The biggest problem with
Ian also offered an insight as to VU meters is that they’re overly sensitive
why people might feel the need to to bass, so if you’re working on anything
compete on loudness. “By my estimation, that’s got huge bass in it... the meter will
somewhere between 80 and 90 percent peg whenever you get to the drop. That’s
of people who are listening online or a situation where you might find it more
on devices are listening to normalised Compared with LUFS, VU meters are overly helpful to use LUFS Short Term.”
music. But when I surveyed engineers sensitive to bass, but their greater resolution Having said all that, Ian was keen to
and musicians on social media, 75 around the zero point means they remain useful. clarify that: “I don’t watch the loudness

www.soundonsound.com / April 2023 121

 FE ATURE
IAN SHEPHERD ON LOUDNESS & DYNAMICS

Ian’s Plug-ins

Give them the tools! Ian has developed some very useful software in
Ian has developed, in partnership with MeterPlugs, the free Loudness partnership with MeterPlugs.
Penalty website (www.loudnesspenalty.com) and a range of software to
help engineers better understand and assess the effect of compression,
limiting and other processing, and how streaming services will react to
your masters. Perception AB allows you to compare a signal before and
after a processing chain, with both signals the same loudness so that the
levels don’t skew your perception of which sounds better. Dynameter
is a plug-in that measures dynamics — it’s a very easy, intuitive way to
visualise the peak-to-loudness ratio of a signal. Finally, Loudness Penalty
will tell you by how much the various streaming services’ loudness
normalisation will turn your music up or down. You can find out more about
these plug-ins at www.meterplugs.com.

meter when I work; I just check it leaping out. If

afterwards. My simple advice to everyone you have a voice
when mastering is to make the loudest and things seem
sections of your music consistent in terms fine but suddenly
of Short Term LUFS. Decide how loud the Momentary loudness spikes, that’s variations make everything just fall into
you want the loudest bits to be, and get when you start thinking ‘Maybe I need to line. So for example, EDM and thrash
those to a consistent loudness. I would automate that,’ or ‘Maybe I need to lower metal might be at -10 LUFS Short Term
recommend no higher than -10 LUFS the threshold on my compressor.” all the way through, resulting in an
Short Term, and then simply balance integrated loudness of -10 or -11. With
everything else musically by ear. I’m
Targets Versus Musicality a big folk ensemble, for the loudest
talking about mastering, but it’s just “I don’t have a problem with people section when everybody’s going for it the
a reference point — you can do the same turning things up loud.” That’s a statement maximum Short Term LUFS could also
thing when you’re mixing, making the some might be surprised by! Yet it’s be -10, but other sections of the song
loudest sections, say, -16 or -18, so you entirely consistent with Ian’s message. would be much less loud and you’ll get
have plenty of peak headroom.” “Integrated LUFS is not a target loudness a lower Integrated loudness as a result.”
But what of Momentary loudness? for mixing or mastering. Integrated is So what does Ian hear that sounds
“I don’t use Momentary loudness at all: about distribution levels. Nothing else. unappealing after that point — just the
it’s very fast, and for music I find that It should be the result, not the goal... lack of dynamics, or does he starts to
it changes too quickly. But Jon Tidey, Some people recommend aiming for -14 hear artefacts? “There’s a nice analogy:
who mixes my podcast, uses it for LUFS, but it makes no sense to master if you take all the vowels out of written
dialogue and I think that’s interesting. a folk tune at -14 and a metal track at -14, English, it’s still legible. If you jumble the
Voices are very dynamic, and changes because the folk tune will sound way too letters, but keep the first and last letters
happen in the very short term. I think loud in comparison. I do have guidelines, of words in place, it’s still legible — most
the intention with Momentary was that though, like the idea of keeping the readers can figure out waht the wdros
all bases would be covered. You’d have loudest moments consistent, and that the sohlud be! But the experience of reading
Integrated as an overall value, Short Term point where I tend to stop enjoying things that version is wildly more stressful and
as a VU-like meter — I don’t know if that is roughly -10 LUFS — I’ve talked to a lot unpleasant than just reading the original
was the intention, but it’s the way I see of pro engineers who agree. text. That’s how I tend to think of all these
it — and Momentary if you need detailed “For most genres I use the same mastering processes. You can do all this
information when things are suddenly maximum loudness, and the musical heavy processing and even add lossy

122 April 2023 / www.soundonsound.com

LANG
 FE ATURE
IAN SHEPHERD ON LOUDNESS & DYNAMICS

are coming in super-hot already, and

it’s very hard to get a master approved
if it’s quieter than the mix! Also, if it’s
already that loud, there’s not much point
in turning it down, because any negative
consequences of achieving that loudness
are already baked into the sound...
The loudest thing I’ve mastered had an
Integrated loudness of -7 LUFS for the
whole album. But I didn’t make it any
louder: I took the loudest song, applied
some EQ so that it sounded artistically
appropriate, and that became my
reference. I adjusted my monitoring gain
so that it felt comfortable, and balanced
everything else in relation to that. But
if a client comes to me with something
Loud can sound good: at around -5 LUFS, Skrillex’s ‘Bangarang’ is Ian’s “guilty loudness pleasure”! that’s not already smashed and tells me
to make it sound like one of the recent
compression on top of that, and it will still the levels. It all comes back to what’s Miley Cyrus albums which had stuff up
sound like music and still be a tune. It’s musically right. I could have done that at -4 LUFS, I’ll say something like: ‘Sorry,
just harder to listen to!” by ramming the levels up, but you don’t I don’t think that works. I’m not going to
Some people tell me that there’s have to, and from a mixing perspective, enjoy doing that, and I’m not going to be
a certain ‘sound’ to such processing that working this way means you can be a good fit for the project.’”
they can find appealing, so I asked if Ian selective about which elements you treat In fact, Ian seemed concerned that
agreed. “There can be. But for me there’s and which you don’t.” people’s misunderstanding of loudness
a big difference between measuring loud, So has Ian ever mastered ‘hot’? Might normalisation could lead them to master
and sounding loud... Lots of people say ‘It he even enjoy any very loud tracks? “My some material too quiet. “If a song is
has to be this loud to get the sound,’ and guilty loudness pleasure is ‘Bangarang’ by intended to be loud and someone asked
I quite strongly disagree. It’s completely Skrillex. It’s like -5 LUFS or something, but me to master it at -16, I’d be very clear
possible to achieve those with them, and say: ‘Look,
sounds at lower levels. right now this is going
For example, EDM usually
has super slammed,
Ian Shepherd: “My theory is that one to sound a couple of dB
quieter than this other
heavily limited drums, so reason people love Atmos so much, thing that’s intended to
people assume it has to sound really loud.’ I don’t
be loud. But you can do even on a proper Atmos rig, is that it’s have a problem with
that at lower levels: you keeping quieter songs
can still have something not compressed into the top 7-8 dB.” quieter, but I’d be very
measuring -14 with that clear with a client about
sound; you just set the limiter’s output it sounds amazing and hilarious. It’s just so the implications of mastering a loud
ceiling lower. extreme and so loud… but it works. I think song quieter.”
“For example, somebody gave me people often use ‘oh it’s artistic intent’ Despite all this talk of numbers, Ian is
a ’90s techno-style thing to master and and ‘it’s supposed to sound like that’ as firmly of the opinion that most listeners
I used WavesFactory Spectre — a really a justification for very loud masters, and just don’t care about the loudness of one
nice saturation plug-in that lets you dial very often I disagree. But that song is track relative to others. He reminded
in saturation like an EQ boost without a case where everything that’s been done me of an article we published back in
changing the level — to get more sizzle contributes to the end result. March 2011 (www.soundonsound.com/
and more of the dense, saturated sound “Mastering engineers get a lot of flak techniques/loud-music-better), then
that fits the genre, without pushing over loudness, but a lot of the mixes explained that “recently, as an experiment,
I listened to an hour of a UK Top 50
playlist on SoundCloud [which doesn’t
Dialogue yet employ loudness normalisation]
We talked mostly about music, but as Ian had recommendation for speech is -18. That’s where and measured it at the same time. The
mentioned that Momentary LUFS could be my podcast ended up — but if yours sounds first song I heard was 6 or 8 dB louder
useful for dialogue, I asked if he could offer right at -16 or somewhere in that ballpark it than the second, and there was similar
more advice on about non-musical content. will be fine. If people are working on material
variation right across the playlist. The
“-18 LUFS seems right for dialogue. That’s with both dialogue and music, they should
actually specified in the latest version of probably be looking at the music being 2-3 dB song at number two was mastered much
the AES streaming recommendations: the louder than the voices, to prevent the music quieter than that at number one, but that
overall Distribution Loudness is -16 and the sounding underwhelming.” hadn’t had any effect on its success in
terms of being listened to on SoundCloud,

124 April 2023 / www.soundonsound.com

 Loudness Normalisation & Streaming Services
Ian kindly agreed to take me through “You used to have completely different
which streaming services employ results for YouTube, Spotify, Apple Music...
normalisation and which don’t, and all of them. But these days all the big
how the different services approach players are normalising to -14 LUFS
normalisation.“SoundCloud, Beatport and Integrated. Spotify has a preference you
Bandcamp are platforms that I’m sure are can change, but the default setting uses -14
important for lots of SOS readers, and these and not many people change it. The devil
don’t use normalisation, though I know is in the detail. For example, YouTube has
SoundCloud have been experimenting and no album mode [whereby the relative
I anticipate they’ll add it at some future ]
point. Apple recently made it the default for but also doesn’t turn things up, so if you
normalisation to be enabled, though they’re master your loudest track to -14 and judge
not changing it for existing users who didn’t the other tracks relative to that an album
already have it switched on. So there are will sound fine. TIDAL always uses album
a lot of people on Apple Music still listening normalisation. Spotify uses it if you’re
without normalisation. listening to an album but not if you’re
“But for me it’s about user numbers. listening to a playlist or on shuffle — unless
The best I can figure out is that YouTube it’s a playlist with two or three songs from
video has about four times as many people the same album played in sequence,
listening to music on it as all the other at which point it will retain the relative
music streaming services combined. Half album levels for those songs! That’s from
the remaining 20 percent have loudness memory; I’ve not checked recently, but
normalisation enabled by default, so it’s not really worth trying to document
something like 90 percent of tracks all of this because it’s too nitty-gritty and
streamed are being normalised — and keeps changing.
YouTube just dominates the space. Whilst Like most other streaming services, Spotify normalises “I participated in some research by
the people who disable it or listen on tracks and albums to -14 LUFS by default. There are different Eelco Grimm, who’d analysed 4.2 million
Bandcamp, Beatport and SoundCloud are options, but few people seem to change them. With the Loud albums and set up two playlists with songs
still important, what most people in the setting, a limiter is used to raise the level of quieter tracks whose of wildly different levels, and we did blind
world hear is being normalised. I wouldn’t peaks inhibit the amount of gain that can be applied. tests for track and album normalisation. My
master anything louder for a specific experience was that some quieter songs
platform, provided my client was happy, because my opinion is that they will just sounded too loud with track normalisation, whereas loud songs could feel
all add loudness normalisation eventually, meaning the loud track you upload underwhelming. That happened much less with album normalisation. In fact,
now might well be turned down in the future. But even currently the evidence 80 percent of those taking part preferred listening with album normalisation
is that most people just don’t care about loudness. on, even for shuffle and playlists.”

and SoundCloud users presumably don’t I’m concerned the loudness wars will nothing like what’s on the original album.
care much or they’d be complaining.” kick in here too, but right now people are But if you find tracks where they’ve kept
sticking to -18 and everybody’s happy. it close to the stereo version, it’s worth
Immersive Audio & Loudness “What’s really interesting is that Atmos choosing to listen to the Atmos version...
A significant development since our 2014 is giving people the chance to hear more I’m excited about people hearing that,
article is the emergence of immersive dynamic versions of current hits on an liking it and starting to ask questions, and
audio as a viable listening format. I asked iPhone. I heard someone say that Apple about engineers working in that format,
Ian to comment on its relevance to the Music streaming in immersive has leapt and the industry in general thinking, ‘OK,
loudness debate. “Actually, there are up to 30 percent, so I think lots more we can get that sound at the lower level
lots of interesting things to say. Dolby people are listening to it. My theory is and it still sounds musically satisfying
specify that the loudest you go should that one reason people love Atmos so and it still works, and people really like it.
be -18 LUFS Integrated, and I’ve been much, even on a proper Atmos rig, is that And maybe they even like it a bit better!’
told by several UK mastering engineers it’s not compressed into the top 7-8 dB. Whether the labels notice that or not is
that if they go even 0.1dB over that spec Engineers tell me it’s nice because they the question. I’ve been optimistic before
it will be rejected. That’s because it’s can do everything they want creatively that normalisation would solve this issue
an object-based file: that single file has and don’t have to worry about loudness. and it hasn’t; it’s got more polarised.
to play back on multiple speakers and “Take Taylor Swift. The previous two There are people putting stuff out that’s
on binaural earbuds, and they need albums, the ones she did in lockdown louder than ever, there are people
a ton of headroom to do the processing in particular, I choose to listen to those mastering stuff at -14 and everything in
necessary for each possible system. in Atmos because the binaural mixes between. But I choose to look on the
“People often ask me why there isn’t sound similar to the stereo mixes (there’s bright side.”
a standard and I used to say you can’t just a little ear candy here and there) but If you’d like to learn more
have one: people have to have artistic they were mastered at -18 instead of -7, about loudness and dynamics, it’s
freedom or they’ll rebel. But there is and that’s the case for a huge range of well worth visiting Ian’s websites:
a standard in Atmos and people are other material. It’s still early days and www.productionadvice.co.uk and
getting on with it, and everybody’s happy! some Atmos mixes don’t sound great; www.themasteringshow.com.  

www.soundonsound.com / April 2023 125

 ON TE ST

Sonarworks SoundID
Reference For Multichannel
Monitor Correction System
Sonarworks’ SoundID has improved stereo monitoring in Sonarworks
countless studios worldwide. The new multi-channel version SoundID Reference
is designed to do the same for immersive audio. For Multichannel
music production. And while there
€499
PHIL WARD
appears to me to be a significant degree PROS
y colleague John Walden of bandwagon-jumping going on, with

M
• Great Sonarworks user interface.
reviewed the SoundID record labels releasing Atmos/Apple • Impressive optimisation results.
Reference version of the well Spatial remixes faster, almost, than it CONS
established Sonarworks room, monitor is possible to utter the phrase ‘artistic • Systemwide app stereo-only.
and headphone optimisation app in the integrity’, there’s no doubt that the format • Atmos routing and external
July 2021 issue of Sound On Sound. (and immersive audio generally) has compatibility at the mercy of third
parties.
But since that review, Sonarworks have fabulous creative potential. I am aware,
launched a multi-channel add-on to however, of one major-league UK band SUMMARY
SoundID Reference that enables it to whose record label suggested that one With SoundID Reference For
measure and optimise the response day of studio time would be enough to do Multichannel, Sonarworks are first
to launch with a relatively affordable
of multi-channel immersive monitoring an Atmos remix of an entire album. They
multi-channel room and monitor
systems such as those found in Dolby politely declined. optimisation package that isn’t tied
Atmos mix rooms. Along with the fabulous creative to specific monitors. But being first
There, I’ve said it: Dolby Atmos. You’d potential of immersive audio comes sometimes means that you have to
have to be living in a windowless shed in significant monitoring complexity. The wait for others to catch up. When
they do, I’d wager you’ll be really
the middle of nowhere-town not to have minimum number of monitors required pleased with it — and given the pace
picked up that Dolby Atmos has rapidly for an Atmos mix studio (one that’s not of developments in the Atmos world,
become a big deal in contemporary entirely headphone-based) is nine plus I suspect you won’t have to wait long.

126 April 2023 / www.soundonsound.com

one subwoofer (7.1.2 or 5.1.4), and, in paraphernalia won’t be too concerned
exactly the same way as is the case with about the upgrade price.
a simple stereo pair, their performance
will be fundamentally influenced by the
Scaling Up
room and their location within it. So the So what do you get for the outlay?
need for a room optimisation app such As with the stereo version, there are
as SoundID Reference to help ensure effectively two elements to SoundID
that such a complex monitoring system Reference. Firstly, there’s the standalone
is behaving itself and is trustworthy isn’t measurement app, which takes you
easy to dispute. Towards the top end of through the process of characterising the
the monitoring market, Genelec, with their acoustic behaviour of the monitors and
proprietary GLM system, and Trinnov, room. The first step of this is to define
with their more broadly applicable but the monitoring channel arrangement.
expensive MC.PRO and D.MON hardware, SoundID Reference For Multichannel
can already offer multi-channel immersive supports systems from 2.0 up to 9.1.6
monitoring optimisation, but Sonarworks (left, right, centre, six surround, one
is the first of the more affordable systems subwoofer and six overhead) with all the
to extend beyond stereo monitoring. intermediate steps. The measurement
When I say “more affordable”, routine also requires the use of
however, there’s no avoiding the fact a calibrated omnidirectional measurement
that SoundID Reference For Multichannel microphone, and although it is possible to
is not far off twice as expensive as use alternative models, the Sonarworks
the standard stereo version. If you’re SoundID Reference Measuring
an existing user of the stereo version Microphone is probably the one best
there is, of course, an upgrade deal suited to the job. SoundID bundles
available, but even the upgrade is almost including the microphone are available.
as expensive as the initial entry price. The SoundID Reference measurement
Perhaps Sonarworks are wise to the fact app is intuitive in use and genuinely
that a user who’s just invested significant
Screen 1: The interface and measurement
sums in seven or more extra monitors
process will look familiar to anyone who’s used the
and all the extra cabling and mounting stereo version of SoundID.

www.soundonsound.com / April 2023 127

 ON TE ST
S O N A R W O R K S S O U N D I D R E F E R E N C E F O R M U LT I C H A N N E L

very slick in the way it manages and interface. Both options enable the
prompts you to make the sine-wave selection of previously created monitor
sweep measurements, but the routine correction profiles, and allow different
Try Before You Buy
requires 37 different microphone target responses to be applied to the The basic functionality of SoundID Reference
positions, so requires significantly more corrected audio: anything from Dolby For Multichannel works impressively,
but quirks of routing integration with the
than a few moments’ work. This is even Atmos response targets to selections
wider Atmos landscape and the lack of
more the case with a multi-channel from the comprehensive SoundID multi-channel Systemwide capability mean
monitoring system because, rather Reference library of ‘Translation Check’ it probably ought to be a considered rather
than measuring just a stereo pair (and profiles. Mobiles phones, TVs, in-car than an impulse purchase. Sonarworks
possibly a subwoofer), there’s a minimum systems, classic monitors... you name it, offer a 21-day trial period and I’d strongly
of nine monitors and a subwoofer to SoundID Reference has it covered. recommend taking advantage of that to see
measure at each mic position. Once the However, and this is quite a significant if SoundID Reference For Multichannel works
with your particular Atmos workflow.
measurement routine is complete (it took ‘however’, Sonarworks are yet to
around 45 mins for my 5.1.4 system), introduce a multi-channel version
the SoundID Reference measurement of the Systemwide app. When the will come to multi-channel SoundID
app analyses the results and creates SoundID Reference app is launched and Reference, “later in 2023”. Further
equalisation curves for each monitor in a multi-channel correction profile loaded, enquiries with the Sonarworks product
the system. It then bundles these together only the front left and right monitor management team resulted in no definite
in a SoundID Reference profile. Screens 1 channels will be available and have date, but I believe the intention to make
and 2 illustrate elements of the setup and correction applied. You’ll perhaps notice the Systemwide element of SoundID
measuring routine. that my Screen 3, illustrating the left Reference truly multi-channel is genuine.
The second element to SoundID and right response correction, includes
Reference is the equalisation that applies a note saying: “Calibrating left and right
Atmos Renderer
this profile to audio leaving your DAW speakers only. Learn more.” Clicking Fortunately, there is a multi-channel
on its way to the monitors. Users of the on “Learn more” opens a Sonarworks plug-in version of SoundID that can be
stereo version have two options: a plug-in support page that explains: “At launch inserted in whichever DAW output bus is
that loads in your DAW’s monitor outputs, the SoundID Reference standalone routed to the Dolby Atmos Renderer —
or a Systemwide app that intercepts app will not have full support for the be that an external app or hardware, as
and processes the audio between your multi-channel profiles. Meaning that the is the case in Pro Tools, or an integrated
DAW (or other software) and your audio multi-channel profile cannot be used for element, as in Logic Pro. A potential snag,
systemwide calibration.” though, is that if an Atmos mix session
Screen 2: Analysing a room and monitor The Sonarworks website goes on includes object channels that are bussed
setup requires you to measure the response at
to say that Systemwide functionality independently to the Atmos Renderer,
37 different locations in the room.

128 April 2023 / www.soundonsound.com

 Screen 3: The Systemwide app currently only
supports stereo monitor setups. potentially be available. Furthermore, Reference directly into compatible
the entire field of Atmos routing in and monitors or recording interfaces, or to
the object audio may not be processed out of DAW apps seems to me to be the Dolby Atmos Renderer app itself. As
by the SoundID Reference plug-in. a fast-developing one, so I’d put money I write, SoundID Reference-compatible
The standard Pro Tools Atmos session on things being different in a few months. monitors are available from ADAM Audio,
templates provided with the Dolby Atmos The second alternative strategy for Fluid Audio and Wayne Jones Audio, and
Renderer are a case in point. Having said overcoming the lack of a multi-channel some high-end interface models from
that, there are numerous Atmos session Systemwide app, and one that Avid, DAD and Merging Technologies
routing options and strategies available, Sonarworks appear to be trying to steer are similarly suitable. One wonders
particularly in Pro Tools, so a number users towards, involves the equalisation how long it will be before those lists are
of workarounds to fix this issue may data being exported from SoundID significantly longer. Who’s going to be
 ON TE ST
S O N A R W O R K S S O U N D I D R E F E R E N C E F O R M U LT I C H A N N E L

Screen 4: Certain audio hard to convince Dolby

interfaces, including models from that Speaker EQ functions
Avid, DAD and Merging, can import should be included in the
SoundID profiles directly, as can Production Suite Renderer.
ADAM Audio’s A Series, Fluid Audio’s So, for my Atmos
Image 2, and all Wayne Jones
system, comprising Pro
Audio monitors.
Tools with session routing
the first, I wonder, to launch that has object channels
a relatively affordable USB routed directly to the
interface with a minimum Dolby Atmos Production
of 10 monitor outputs and Suite, and monitors
native SoundID Reference that aren’t SoundID
compatibility? Reference-compatible,
Screen 4 illustrates the the multi-channel add-on
SoundID export screen doesn’t entirely work.
showing some of the All is not lost, however,
current export options, because Logic Pro, with its
including Fluid Audio, integrated version of the
and in my review of their Atmos Renderer, appears
Image 2 monitor back in not to suffer this problem.
the February 2023 issue Object channels in Logic
of the magazine, I carried Pro are routed through the
out the SoundID Reference main multi-channel output,
data export/import routine. so the SoundID Reference
While the export element plug-in applies correction
worked well, the import to everything.
routine seemed a little I should say that
undercooked in terms of neither of these issues
the Fluid Audio user interface design. In response to this issue, Sonarworks — the need for manual input of EQ
That said, the end result was perfectly acknowledge that the situation is not parameters and the lack of speaker
satisfactory: the SoundID Reference data ideal, but also make the perfectly EQ functionality in the most commonly
was imported into the monitor and did valid point that manually inputting EQ found version of the Dolby Renderer
its response optimisation thing. I didn’t parameters is still far more cost- and — is entirely Sonarworks’ fault. Fixing
have any ADAM Audio A Series or Wayne time-effective than having Dolby come them requires the cooperation of
Jones Audio monitors available to see and align and certify your monitoring third parties, and who knows what
how they handle SoundID Reference data system. Sonarworks also say they are commercial and technical hurdles need
import, but I’ve no reason to suspect there working with their commercial partners to to be leapt for that to happen. However,
would be any issues. develop an easier and more satisfactory the issues do emphasise that SoundID
export routine. Reference Systemwide For Multichannel,
Manual Export However, just as I was about to start and a much longer list of SoundID
When it comes to exporting SoundID entering the text file of exported EQ Reference-compatible monitors or
Reference profile data for the Dolby parameters from my system into the interfaces, can’t come soon enough.
Atmos Renderer or the Avid or DAD Dolby Atmos Renderer app (my studio Ultimately, judged on the simple
interfaces, things are a little trickier assistant, Shelby, has four legs and parameter of basic functionality, even
and, again, to my mind not yet entirely doesn’t type accurately, even when as it stands, SoundID Reference For
sorted. Firstly, these export options only she’s not chasing squirrels, so I had to Multichannel does what it says on the tin.
result in SoundID Reference generating do it myself) I realised there is another And in employing Sonarworks’ existing
text files listing 27 frequency and level potential stumbling block. The Atmos and much admired user interface and
EQ parameters for each monitor (or Renderer app comes in two flavours: optimisation algorithms, it is for the most
subwoofer). These then need to be input Production Suite and Mastering Suite. part a delight to use. Best of all, once I’d
manually into the interface control apps, The former is Dolby’s entry-level version applied SoundID Reference optimisation
or in the case of the the Dolby Atmos and it’s around a quarter of the price to nine Dynaudio BM5 MkIIIs and a
Renderer, into its Speaker EQ setup of the latter, and one of the functions Dynaudio 18S subwoofer, the results were
window. So, for my 5.1.4 system, that’s it doesn’t have is Speaker EQ. So the subjectively extremely impressive, which
potentially 540 individual parameters SoundID Reference export to the Dolby is perhaps all you need to know.
to input — although, given that some Atmos Renderer is useless unless you Thanks to Dynaudio for the loan of the
will require 0dB adjustment, and that have the Mastering Suite (in which loudspeakers used in this review.  
the subwoofer will demand nothing case maybe you’re more likely to have
above, say, 150Hz, the actual number a studio assistant available to enter all £ Download only €499; with measurement
will be fewer. Even so, the job has ‘studio the EQ parameters). I can’t help feeling mic €549. Prices include VAT.
assistant’ written all over it. that Sonarworks ought to be working W www.sonarworks.com

130 April 2023 / www.soundonsound.com

 INSIDE TRACK

PAUL TINGEN

“I
do a lot of my mixing on our
80-channel J-series SSL desk.
I work on the SSL for the
excitement and the pure joy that I get from
it. I came up in Paramount Studios, where
every room has an SSL, so it’s like a comfort
zone. And it’s both about the process and
the sound of working with analogue.
“I think the computer gets too
mathematical at some point. You get to
a place where you’re working with an
EQ and just typing in values. But on an
SSL, I only know roughly where I am,
perhaps at 5kHz or 7kHz or somewhere
in between, but I don’t know the exact
frequency I’m cutting or boosting. I go on
feel, and get better and faster results than Ethan Stevens
when I’m working in the box.”
Speaking is 29-year-old Ethan Stevens, Metro Boomin’s right-hand man is championing
who very much grew up in the age of the old-school mixing techniques in the 21st Century.

132 April 2023 / www.soundonsound.com

 ‘Creepin’
Written by Le Wayne, Abel Tesfaye,
Abraham-Joseph, Jason Quenneville,
Johnson, Lenox, Mario Winans,
Eithne Ní Bhraonáin, Erick Sermon,
Parrish Smith, Chauncey Hawkins,
Michael Jones, Nicky Ryan
& Roma Ryan
Produced by Metro Boomin,
DaHeala, Johnson, Lenox.

DAW. Despite his old-school preferences,

Stevens works at the cutting edge of
today’s pop/R&B/rap music, as the full-time
engineer and mixer of Leland Tyler Wayne,
aka Atlanta star producer Metro Boomin.
Metro Boomin’s two solo albums, Not All
Heroes Wear Capes (2018) and Heroes
& Villains (2022), went to number one, and
he’s enjoyed eight platinum singles under
his own name in the US.
Stevens was the main engineer and
mixer on all these releases, as well as on
a whole range of collaborative mixtapes,
albums and productions by Metro.
Stevens also mixed most of Gunna’s
DS4Ever, and the whole of Future’s
I Never Liked You, meaning that he was
involved in the making of three Billboard
number one albums in 2022 alone.
Large-format consoles played a key role
in all of them.
“Metro and I have used multiple rooms
at Paramount, including Encore and
Ameraycan, to mix, all of which have SSL
4000+ consoles. I mixed the entire Savage
Mode 2 [Metro’s 2020 joint album with 21
Savage] as well as two songs from Heroes
& Villains, ‘Niagara Falls’ and ‘Umbrella’,
at Conway Recording Studios in LA. For
Savage Mode 2, I used their Neve 88R,
and for the two songs off Metro’s new
album, I used their SSL XL 9000K.”
Ethan Stevens behind Boom Times
the SSL J-series console
at Metro Boomin’s private According to Stevens, Metro Boomin
Boominati Studio. makes all his music in FL Studio and more

www.soundonsound.com / April 2023 133

 INSIDE TRACK
ETHAN STEVENS • METRO BOOMIN

Ethan Stevens’ production room features Kii

Three, ATC SCM25A and Yamaha NS10 monitors. The live room,” says Stevens, “and four the Dave Smith Prophet-6, Mellotron and
NS10s are also his main mixing speakers. production rooms. The main room has Ensoniq ASR-10.”
an 80-channel SSL J-series. I usually
recently Pro Tools, with an Akai MPC prefer the K or the G or the G+, but the
Non Stop
2000XL at the heart of his setup. “When J does what I need it to do. I mix purely Heroes & Villains took up a lot of Stevens’
he’s not using the MPC, Metro uses FL on the Yamaha NS10s in the studio. time in 2021 and 2022. “Metro makes
Studio as his primary program. I had the If I want a different perspective, I will beats all day, every second. I’m not with
MPC modified by Bruce Forat, so it now bring down my ATC SCM25A monitors him all day, of course, but when I’m in
has eight outputs at the back, so when from my production room. Atlanta and we’re in the studio, his MPC
he’s using the MPC, it’s easier to record “My production room is upstairs, will be hooked up into my Pro Tools
it and his keyboards straight to Pro and also has NS10s, paired with rig, and we’ll work on a beat together
Tools, and he just keeps working in that a Bryston 4B, the ATC SCM25A, and like that. We did Heroes & Villains
DAW from there.” a set of Kii Threes, which I use as my mostly in LA. He had done a lot of the
Metro Boomin is also a fan of mains. My monitor controller is a Grace pre-production in Atlanta, like starting
analogue gear, explains Stevens. Design m905. My main computer rig beats and sample chops. Here in LA, I like
“He loves it. It’s something unique is a Mac Studio. I run Pro Tools, using to bring stuff to the studio we can start
and something that we can make our an HDX card that goes to my Avid HD a vibe from. There’s a guy living down
own. It’s not like he’s using the same I/O 16x16, and an Apogee Symphony the street from me who has a garage
synth patches that everyone has on MkII that has two 16x16 cards. I use sale every Sunday, with thousands of
Spectrasonics Omnisphere. We have the Avid I/O for mic inputs, mix print records for sale. Sometimes I’ll buy some
some outboard gear and we like to input and for hardware inserts. My and bring them to the studio for Metro to
use different types of hardware like the Apogee Symphony feeds my [Rupert] listen to and sample.
[E-mu] SP-1200, [ ] TR-808 and Neve [Designs] 5059 summing unit. “My role is to bring inspiration to the
various guitar pedals. We just create our The Neve main outputs then go into table. I’ll also bring some of my keyboards
own sound. It’s a lot harder to do that my Lavry Savitr, which I also clock when I work with him. Making beats is
with just software synths and plug-ins.” from, and then back into Pro Tools a constant with him, and I try to get him
Metro Boomin now has his own through that AES input on the Avid HD to play them for me, to see where they
Boominati Studio, and it was here that I/O. I also have some outboard in my could go or to just hear what he’s been
Stevens conducted the mixes for 13 room, including the Dramastic Audio up to. I might suggest some strings, he
of the 15 songs on Heroes & Villains. Obsidian Compressor and the Bricasti might want to add a choir... we’re just
“We have a control room with a big M7, and several keyboards, including bouncing ideas off each other.”

134 April 2023 / www.soundonsound.com

 Any beats that are
deemed interesting Ethan Stevens’ keyboards
include a Sequential Prophet-6
enough may be further
and a digital Mellotron.
developed by other
beatmakers, or Metro
Boomin may develop
a beat by someone else.
Additional parts, like
horns, strings, guitar and
bass, tend to be recorded
by Stevens, or sent in.
Rappers and singers will
also co-write and add their
parts, again sometimes
recorded by Stevens, and
sometimes sent in. On
Heroes & Villains these
rappers and singers
include John Legend,
Future, Chris Brown,
Travis Scott, 21 Savage,
the Weeknd, Young Thug,
Gunna and many more.
The first single from the
album, ‘Creepin’, which
was a top 10 hit early this year in more beat, and Abel did a rough on it, and then was the Neve 1073 pre into a Tube-Tech
than 30 countries, is a case in point. The it was sent back and forth, with Metro CL1B [compressor].”
song is in part a remake of the 2004 hit adding things, as well as Mario.
‘I Don’t Want To Know’, by Mario Winans, “The live strings were done by our
Merging Sessions
featuring Enya and P Diddy. “I wasn’t buddy Peter Lee Johnson, who came to At the mix, the SSL console was used
there for the actual writing of ‘Creepin’,” our studio to lay down a stack of 10 to 20 to bring everything together. “I have
says Stevens, “but I know that song had parts as well as piano. I used the Royer a separate Pro Tools session for pretty
been talked about before because Metro R-121 on the strings and the Coles 4038 much everything. So in the case of
is a fan, and Mario is a good friend of on piano that was played by Mario. I used ‘Creepin’ there was a beat session,
ours. Abel [ ] the Sony C-800G on Travis’ background an Abel session, a 21 Savage session,
also loves that record and has often harmonies. It’s his favorite mic, that he a string session, a Mario session and
talked about doing a remake. One of his feels comfortable using, so I stick with a Travis Scott session. I then mixed the
producers, DaHeala, started the original that. The signal chain for Travis’ vocals above sessions through the SSL to stems,
that I then imported into my main song
session, keeping Abel and 21’s vocals
Ethan Stevens raw, with my plug-in processing active, for
Ethan Stevens grew up in Los Angeles to parents a lot of the big producers [Afrojack, Skrillex, Kanye]. further tweaking.”
who were into Motown and rock & roll music. He They both gave me a lot of insight as to how to Stevens’ final mix session starts
started off playing a guitar that his dad bought handle clients/artists, microphone and signal chain with a bass stem, then six drum stems,
him, wanting to be like Jimi Hendrix and Eric techniques, and how to use the SSL.”
Clapton. But at high school he shifted direction. In 2015, Stevens went independent, receiving
a Metro Drums aux, and a drum loop,
“Some of my friends rapped, and I went more into a lot of work from Paramount. “A frequent client all in red. Next are the music stems, all
production and started making beats in Logic. was DJ Mustard, so I was used to working with in beige-green, consisting of the main
That’s how I got into engineering and mixing, a producer, and as I was doing beats myself, sample, and tracks with keys, synths,
because someone had to record my friends, mix I knew how a producer likes to work. In 2016, pads, a choir, Peter Strings, and Johan
everything and put it all together. I then went to Paramount asked if I was interested in working Strings. Below the 21 Savage and the
the Los Angeles Recording School, which gives with Metro, which was our first link-up. From day
Weeknd vocal tracks are vocal stems from
you a Pro Tools licence and an MBox, and I started one it was easy working together, and we just got
taking engineering seriously. straight to work.” Mario Winans and Travis Scott. You can
“While studying at the LARS, I got an internship In September 2017, Metro Boomin offered see a screenshot of the entire session at
at Paramount Recording Studios, but I could not Stevens a job as his regular engineer and mixer, https://sosm.ag/ethan-stevens.
go on to be hired at Paramount because I wasn’t and he’s been there ever since. While the “There are very few plug-ins on the
21 yet. I ended up interning for a production team producer regularly travels between Atlanta and drums and music stems, because they
called the Stereotypes, and worked at a BBQ Los Angeles, Stevens only travels with him when
had already been treated on the SSL,
restaurant, until I got a call from Paramount in 2014 they’re working on a project. If not, Stevens
and was hired as a runner. My biggest mentors remains in Los Angeles, and in down time he mostly using desk EQ. In our main studio
there were Victor Luevanos, who is now Dr Dre’s engineers and mixes for other artists, like Gunna, we don’t have the biggest selection
engineer, and Randy Urbanski, who works with Future, 21 Savage and Offset. of outboard, so I don’t use too much
of that. In any case, I’m not really into

www.soundonsound.com / April 2023 135

 INSIDE TRACK
ETHAN STEVENS • METRO BOOMIN

To maintain a long reverb

on the Weeknd’s vocal without
clouding the mix, Ethan
Stevens first filtered out the
low and high end, then used
FabFilter’s Saturn 2 to add grit,
before using a compressor
keyed from the dry vocal to
duck the reverb behind it.

much. If so, we go to the

source session and work
on the instrumental. But
most of the time, Metro
simply wants to get
the beat knocking and
hitting right, and then we
fit the vocals with that,
and I may only make
some adjustments in
the session to the stems
I have. Like in ‘Creepin’,
there’s a Kirchoff EQ
on the bass, and the
Oeksound Soothe 2,
which is side-chained to
the kick. That’s so the
kick could really come
through, without the bass
overpowering it. The
the mix session in question containing drums are then sent to an aux, on which
a large amount of stems that had I have my Dramastic Audio Obsidian as
passed through an SSL. “The final a hardware insert.”
mixing process is very important
for Metro and I, because it’s our
Savage & The Weeknd
compression for rap and hip-hop. I might experimental time.” Stevens explains. “Savage’s vocals were recorded by his
use it lightly on the drums, but really, the “I will try many different things. I might engineer, Isaiah ‘ibmixing’ Brown. You
drums just need to knock, so I’ll use the ask, ‘Hey, I think heavy distortion on this could see the punch-ins and so on.
outboard API EQs on them. When I mix bass would be great.’ And Metro might Something like that I’ll keep in the main
in Conway, I’ll dive a bit deeper into the suggest a delay throw or some creative session. His verse vocals are all sent to
outboard: for example, on ‘Niagara Falls’ vocal effects. I like to give Metro an aux, on which I do the most important
I used their Pultec EQP-1S, and I’m a big options: ‘How does this sound? Do you treatments. I’m getting most of my gain
fan of their Lang PEQ-2. I also really like like it? Am I going in the right direction? from the UAD 1176, their new Spark
their Fairman compressor, and ELI Fatso Or should I leave it the way you had Native version. Then there’s a FabFilter
and Distressor. it?’ He’ll give me his honest opinion. If Pro-Q 3, rolling off some low end to get
“There are several reasons why required I may go back and recall an out some mud, followed by the FabFilter
I work with stems. The bottom line is earlier session, but the lead vocals are Pro-MB to balance the lows and the
I/O. Our SSL has 80 channels, but we the one thing I prefer to keep in the box. highs. Multiband compressors dip only
only have 48 outputs from Pro Tools. There are things you can do in digital when needed, and not the whole time,
So I can’t have 20 tracks of strings and that you cannot do in analogue. For which is great.
20 tracks of synths and 20 tracks of example, Metro has a big thing about “After that there’s another Pro-Q 3,
vocals all in one session. I have to mix in nudging. We’ll go line by line and will removing some more mids, because
sections. Also, especially with DSP and nudge each phrase so it feels perfectly Savage has a lot of midrange in his
HDX cards, your processing is eaten up in the pocket. vocals. The FabFilter Pro-DS is my
fast. And finally, though Pro Tools Hybrid “My process is that I get the mix of favourite de-esser, and the Oeksound
mode now gives you a lot more tracks, the instrumental right first, and I then Soothe 2 does more of the same thing.
personally, when I get too many tracks in mix the vocals in with that. In a lot of They’re both very transparent. The DMG
one mix session, it gets overwhelming.” situations in rap, you record a vocal Audio Limitless is there to bring the
over a two-track. So I’m used to that. level up further, because I wanted to
Options But there’ll be some times when we go make sure he could compete with the
On Heroes & Villains the final mix back, because the snare or the kick or track. These are all on the inserts. The
process was mostly in the box, with the hats might be affecting the vocal too sends go to aux tracks with reverbs from

136 April 2023 / www.soundonsound.com

 Second from top in
Recall & Response this rack is the RND 5059
summing mixer, which
The main problem with mixing on a console in is important to Stevens’
2023 can be summed up in one word: recall. mixing process.
Strikingly, though, this does not seem to
Waves RComp. I’m
bother Ethan Stevens at all, even though he
does not have an assistant to do the donkey sending the lead
work. “I never had a full-time assistant, so vocal to Bus 127,
recall can be a little bit time-consuming which is triggering
for me. If I need to go back to a session, the RComp, so while
I recall it on the console computer, set all the he’s singing it’s
channels and the outboard gear, and then
ducking some of the
put my console [scribble strip] tape back on
the board. I keep all my console tape and
reverb, and when
recall sheets in envelopes and a binder — he’s not singing,
I’m a very organised person! It takes some the decay rings
time, but I may still be working on two or out longer.”
three songs a day. On Savage Mode, I kept
everything on the console until the album The Way Out
came out, so I asked Metro before he arrived
In between the
what song he’d like to work on that day, and
I’d do the recall while he was driving to the music and the
studio. By the time he’d arrive, I’d have the vocal tracks in the
mix ready to go.” ‘Creepin’ session,
there’s a master
section, which
the Lexicon 224, LiquidSonics Seventh consists of All
Heaven, Eventide H9 Blackhole, delays Vocals, All Music, All
from Waves H-Delay and Soundtoys Drums and All Bass
EchoBoy, and the Waves Doubler. group aux tracks,
“Abel’s vocals were recorded and a Mix Thru track
already tuned and treated by his and a Master track.
engineer, Shin Kamiyama. They came Stevens explains
with plug-ins, including the Pro-MB and why they are there
Waves Maserati GRP. I don’t normally and what they do.
use the Maserati GRP, so I bypassed “The ‘All’ tracks are
it and put it back in to see what it was first of all for Metro. If he wants to tweak and iZotope’s Ozone 9. Normally there’s
doing, and I liked it, so left it. After that something he can mute certain sections a FabFilter Pro-L 2 here as well. I have
there’s a McDSP MC404 multiband in a fast and easy way. But what happens a Pro-L 2 preset that’s for my loudness,
compressor, which does a similar thing as there is that these four aux tracks go to doing a 4dB boost. But I take it off
the Pro-MB on Savage’s vocals. It’s about my outputs 9 to 16, which go to my Neve before I send to mastering.
creating balance within the vocals. The 5059 summing mixer, from where they “The Soma is adding a bit of low
Wavesfactory Spectre adds some more go to my Lavry Savitr, and then via AES end and top end. It looks like I’m
body, boosting lows and mid, and then back into Pro Tools, where they come up boosting a lot with the Pro-MB, but the
the Eiosis Air EQ adds air in the top end. on the Mix Thru track, which allows me mix knob is actually set to 50 percent.
The Soothe 2 is doing some de-essing. to monitor my mix, and from there it goes It’s because I don’t really like to put
“There are fewer sends in Abel’s track, to the Master track, from which I print the a compressor across my whole mix. If
because they had sent me an effects mix, in the session. I take the wetness down, I make sure
print track, which I used. It sounded “The Neve adds a little bit of analogue that I keep the integrity of my actual
great, and if it’s not broken, don’t fix it. colour. In comparison to the SSL, it mix without it being over-compressed.
I wanted him in a similar space as Savage sounds a bit rounder and mid-forward, Finally, there’s the classic Ozone 9
so I sent his vocals to two of the same while sending things through the SSL Exciter and Imager, exciting some of the
auxes, with the same Lexicon 224 and makes them sound punchier. The Neve midrange and low end.
Eventide H9 Blackhole. The Weeknd’s is just a summing unit, adding a bit of “I don’t rely on my master track.
older stuff has a reverb with a long colour from the transformers, and mostly Usually the source of any problems is
decay time, and I tried to recreate that this final chain is about the Lavry. My within the mix, so I prefer to address it
with some plug-ins, like the Valhalla, but mixes are so loud that they clip the Lavry, there, rather than trying to fix it in the
the Blackhole fit really well. Since the and I really like the way it does this, master track. In this track we had no
decay time is so long, I side-chained it particularly with the Savitr’s MX function, problems. Usually, Metro and I go back
to Abel’s lead. So after the Blackhole which is great. and forth a bit during the mix stage,
there’s a Pro-Q 3 allowing only midrange “My master bus in this session has only but with this song we got lucky and we
through, then a FabFilter Saturn 2 for three plug-ins: the Brainworx Knif Soma hit the nail on the head at the first or
more of an analogue feel, and then the passive mastering tube EQ, the Pro-MB second try, which was great.”  

www.soundonsound.com / April 2023 137

 ON TE ST

Tokyo Dawn Records

SimuLathe
Vinyl Mastering Preparation Plug-in
But Tokyo Dawn may have found a way
of making that process somewhat easier
for professional mastering engineers —
while also allowing the curious amongst
us to explore the weird and wacky world
of vinyl mastering for ourselves, at least
This clever new plug-in can be used by vinyl cutting engineers in a virtual sense, without having to
install an eye-wateringly expensive (and
to help get the best results from their tools and medium — or increasingly rare) mastering lathe and all
simply as a way to learn more about vinyl mastering. the associated hardware.

and sometimes exclusively on vinyl, and the

Overview
HUGH ROBJOHNS
demand for mastering houses able to cut TDR’s SimuLathe is a DAW plug-in available
find it remarkable to be writing this, but vinyl masters is on the rise. for Mac OS 10.9 and above or Windows 7

I vinyl sales have grown consistently over

the last 15 years from their lowest point
in history in 2006, and are currently at
However, mastering for vinyl is
a fiendishly complicated business, with
a large number of interacting parameters
and above (both for 64-bit platforms only),
and available in VST2, VST3, AAX and (for
the Mac OS) AU plug-in formats. In addition
their highest levels since 1990! Vinyl sales that all have to be carefully juggled and to the demo, there are two different
have even surpassed CDs after a 35-year optimised to squeeze the music onto the versions, called Ref and Cut. The less
reign, partly as casual music listeners disc’s surface in the most sympathetic expensive Ref version is intended primarily
have switched from CDs to streaming and reliably playable way. In the past, for educational and referencing purposes
services and partly because keener music the mysterious black arts involved in and provides a complete simulation of the
lovers are (re)embracing the physicality skilful vinyl mastering took many years entire disc mastering process, based on
and involvement of playing vinyl discs. As of apprenticeship and bitter experience one of four representative lathe emulations,
a result artists, both famous and hobbyist, to acquire, with many unusable lacquers with all of the real-world parameter options.
are releasing more of their music on vinyl, and damaged cutter heads along the way. It even goes as far as replicating how a cut

138 April 2023 / www.soundonsound.com

 A virtual microscope allows
you to check the 3D cut groove
in very fine detail!

The first thing to know is

that vinyl lathes operate in
a kind of Mid-Sides format.
Mid information moves the
cutter from side to side,
so affects the width and
excursion of the groove. Sides
information alters the depth
of the cut in the vertical axis.
The combination effectively
deposits the left channel audio
on the inner side of the groove
wall (closest to the centre
spindle) and the right channel
audio on the outer side of the
groove wall (closest to the
edge of the disc).
Needless to say, the vertical
excursion has to be managed
disc sound will sound when replayed, cutting the lacquer, thereby avoiding any to ensure it never reduces to zero, leaving
using one of three carefully modelled nasty surprises. Even the specific pitch the replay stylus with nowhere to go, and
pickup cartridges (complete with dust and computers used in popular hardware lathes the lateral excursion has to be managed to
damage artefacts!). are emulated precisely, including those make sure that one groove doesn’t impinge
For anyone interested in finding out how employed on Neumann’s VMS66 and on the adjacent grooves in the previous
their track(s) could sit (and sound) on a vinyl VMS80 lathes, amongst several others. or following revolutions. Both errors would
record — be it a single, EP or a full album As a result, disc surface space utilisation, lead to skipping and unplayable discs!
— SimuLathe Ref affords the opportunity groove excursion, groove widths and
to explore a wide range of options and to land areas, velocity hotspots, and audio
make decisions in advance over settings quality can all be thoroughly analysed and Tokyo Dawn Records
for the classic elliptical filtering, recorded optimised long before the cutter head is SimuLathe
level on disc, groove excursion, widths and even warmed up! From €150
velocities, overall playing time, and much
Disc Basics PROS
more besides. Incredibly, the virtual cut
• Precise emulation of every aspect of
groove can also be explored in remarkable The world of vinyl disc mastering is very vinyl cutting.
3D detail through a virtual microscope, technical and highly specialised, of course, • Cutting singles, EPs, and albums
and any problematic or risky areas are and so has a terminology all of its own. can all be simulated with remarkable
automatically highlighted by the software. So for anyone without experience of the accuracy.
• Full technical data is presented,
The more expensive Cut version is field some background reading and/or complete with a 3D view of the virtual
aimed at professional mastering studios watching of videos is going to be essential groove.
with one or more real vinyl cutting before understanding and operating • Setup data can be exported to aid
lathes. The SimuLathe software allows SimuLathe. The Tokyo Dawn user manuals mastering houses.
• Includes ability to replicate and
professionals to check and adjust the audio are extremely good at explaining the
assess the end listeners’ experience.
material, and assess the optimal cutter concepts, terminologies and technologies, • Cut supports full calibration to match
settings in advance of lowering a real cutter though, and the company have produced a specific lathe’s characteristics.
head onto the lacquer. The user interface several excellent videos explaining what • Integrates with the timeline of most
looks much the same as the Ref edition at the SimuLathe software can do and how it DAWs.
first glance, but it actually includes many does it, too. There are also many third-party CONS
more advanced features, including special books and videos explaining the intricacies • Currently no means of exporting the
limiter functions to control directly the of vinyl mastering, of course, for those with synthesized pickup audio output.
groove excursion, width and velocity. a serious passion for the topic. SUMMARY
Audio filtering parameters are I don’t have the space here (or the A comprehensive and superbly
considerably more comprehensive than the detailed knowledge, really) to write faithful software emulation of
Ref version, too, and there are calibration a treatise on vinyl mastering sufficient standard disc cutting lathes, allowing
options to ensure specific real-world to explain all the details, functions and professionals to ‘sandbox’ the
mastering process without the expense
disc lathes can be replicated precisely parameters of the SimuLathe software,
of test cuts, and interested devotees
with the benefit that disc authoring can but I can give an overview of the main to explore the complex trade-offs
be fine-tuned in the virtual world before processes and facilities. involved in mastering for vinyl.

www.soundonsound.com / April 2023 139

 ON TE ST
TOK YO DAW N R ECOR DS SIM U L AT H E

The default cut configuration and lathe

longer and/or louder tracks can be cut, and spindle hole is off-centre. So, the SimuLathe
calibration options in the Cut version.
it does it by anticipating when loud sections software therefore has two signal paths
Related to the latter point is that the are coming so it can increase the groove called Mod and Pre. Mod is the (delayed)
cutter head not only wobbles according to pitch to create sufficient space. Quieter audio path to the virtual cutter head, while
the audio signal, but is moved progressively sections allow the pitch to be condensed, Pre is the preview signal used to drive the
across the disc surface by the pitch system allowing more audio to be crammed onto pitch system.
to create a spiral track working from the the disc. Another important aspect to consider
outside edge to the inside of the disc. Anticipating the audio dynamics is the recorded wavelength on the disc.
Early vinyl records (before the mid-1960s) obviously requires a look-ahead facility, Since vinyl discs rotate at a constant, fixed
generally used a fixed spiral pitch, designed created by introducing a delay into the speed (33 1/3 or 45 rpm), the start of the
to be wide enough that successive grooves audio path to the cutter head, and that disc at the outer edge has the vinyl material
could never impinge on each other. This delay is typically about a half revolution, travelling quickly beneath the cutter head,
guarantees a playable disc, but is relatively or 900ms for a 33 1/3 LP. Traditionally, that so the recorded wavelengths are relatively
wasteful of surface area and so modern delay was achieved by fitting the mastering long even at high frequencies, and the
discs use a variable pitch system which reel-to-reel tape player with an extra rates of change along the groove walls
varies the spiral pitch according to the ‘preview’ head near the supply reel early in relatively gentle. As the track nears the
audio signal. the transport path before the proper replay inner edge the recorded wavelengths
This arrangement allows much more head. However, from about the mid-’80s are necessarily much smaller and the
efficient use of the surface area, meaning many disc-cutting systems starting using rates of change on the groove wall much
a digital delay line in the audio path instead, faster. These changes, called the diameter
particularly if the mastering source was effect, restrict the audio bandwidth and
Professional Calibration already a digital file from an early DAW dynamic range, which must also be taken
For the full Cut edition, SimuLathe can be system. When this solution was employed, into account in preparing the audio tracks.
calibrated to match a real physical lathe, for analogue records were actually cutting (Incidentally, it might be worth contrasting
the most accurate compatibility between a digital signal... but that’s a discussion for this variable pitch, variable linear speed,
simulated and real disc masters. Options
another article! outside-to-inside format with that of the CD,
include setting the nominal velocity (typically
7cm/s), reference level (+4dBu), minimum Regardless of how the preview signal is which has a fixed pitch and constant linear
depth (50µm) and look-ahead duration (half obtained, it is used to adjust the pitch rate speed, with the laser tracking from inside
a revolution, more or less), with parameter of the groove in a dynamic way. However, to outside.)
ranges that encompass all the major lathe since any movement of the replay stylus
models. Cutter drive level, minimum and generates a sound output, the rate of
In Use
maximum disc diameters, pitch gain, lateral change of the groove pitch has to be slow The first thing to specify in the plug-in is
and vertical gain and lateral gain as a result
and gentle enough that it is effectively the type of disc you wish to cut: there are
of vertical gain can all be matched to the
real lathe. Indeed, SimuLathe can also be sub-sonic and thus not audible — if pitch options for a 7-, 10- or 12-inch disc, and
used to help check the calibration of the real changes happened too fast they would 16 2/3, 22.5, 33 1/3, 45 or 78 rpm speeds.
lathe’s settings! result in an audible wow or musical pitch Given the disc size and the default track
variation, which is what happens if the pitch setting, the software estimates the

140 April 2023 / www.soundonsound.com

V IDEO DOCUMEN TARY ORIGINAL S

IN ASSOCIATION WITH

Thirty years ago, visionary producer Sir George Martin saw the need for a London studio that could record
cinematic film scores. AIR Lyndhurst remains a favourite destination for Hollywood composers, rock bands
and pop stars, and it’s just emerged from a stunning renovation. We visited the converted mission school
in Hampstead to tour the facilities and meet the staff who keep AIR at the top of its game.

www.youtube.com/soundonsoundvideo
 ON TE ST
TOK YO DAW N R ECOR DS SIM U L AT H E

The Ref version simplifies

some aspects that might
confuse those who haven’t
operated real lathes — but it
still offers plenty of control.

groove width and velocity,

and all have adjustable
thresholds, attack and
release parameters as well
as individual gain-reduction
meters.
The right-hand side of
the GUI mostly comprises
meters showing the lathe
activity. There are indicators
here for the track pitch,
groove width and velocity,
with separate readouts
showing peak values.
Under a spanner symbol,
options are presented for
configuring the lathe with
available time and disc usage, but these display. All three filters have adjustable variable or constant pitch, and standard or
numbers will be updated once the audio is turnovers and slopes. If the elliptical deep grooves, and all measurements can
properly analysed, with the dynamic pitch filter sounds mysterious, it’s really just be displayed in metric or imperial values.
variations and other parameters. a high-pass filter which only affects the So pitch is expressed in Rillen per millimetre
When used as a plug-in in most DAWs, Sides signal derived from a stereo input. It is (R/mm) or lines per inch (LPI), for example,
SimuLathe will integrate with the DAW used to force bass content into mono, which and groove width in µm or mil. Velocity is
timeline play position marker, so once the helps to control the groove width and depth. always shown as cm/s. An interesting fact
start and end time of the track is logged in The effect of all of these audio signal to ponder here is that the groove width
the data boxes at the top left of the main processing parameters on the nominal cut indicator also infers the groove depth —
window, the plug-in can relate the groove groove is displayed on a Geometry graph since the cutter has a 90-degree profile, the
cutting parameters (and, more importantly, at the bottom of the window, which also width is always twice the depth!
any infringements) to identifiable points gives estimates for the peak velocity and High groove velocities are a serious
within the track itself. Some DAWs aren’t excursion, as well as the groove width range. problem for both the cutter head and the
able to integrate fully, but there are various In the full-fat Cut edition, the Geometry replay stylus, and thus need to be carefully
manual and automated workarounds, all graph is replaced with three parameters. controlled but, historically, these have been
clearly explained in the manual. These are three intelligent limiter functions, impossible to measure during cutting. The
With the basics set up, next comes acting to control the maximum excursion, SimuLathe emulation offers the unique
the fun of juggling audio parameters to
optimise the final record cut, starting
with Input Gain and Stereo Width. These
controls run down the centre of the GUI,
and can be operated like knobs or specific
numeric values can be entered directly.
The gain needs to be as high as possible to
give the best signal-to-noise ratio, but high
levels will create wide grooves that can
be difficult for a replay stylus to track, and
use more disc surface area, thus reducing
overall playing time capacity. Greater stereo
widths also affect groove geometry, of
course, so that may need to be fine-tuned.
To help with both of these aspects, there
is a stereo average/peak level meter and
a phase correlation meter.
Further audio processing in the Ref
edition includes high- and low-pass filters
as well as the so-called ‘elliptical’ filter,
all arranged on the left-hand side of the The disc statistics and groove view, shown here for the Ref version.

142 April 2023 / www.soundonsound.com

 ability to accurately assess peak velocity for no built-in facility to output an audio file of with all the tools and parameters of
the first time, which will be a great asset to the simulated vinyl sound — I can anticipate a mechanical cutter. Whether your
professional mastering engineers. Related many potential users being interested in that interest is simply to learn something
to this issue, the software also estimates — but you could re-record the monitoring about the process and challenges of
the cutter head temperature and the head output in real time if you wanted. cutting a record, or as a professional
currents in each audio channel. Typically, A separate Disc Stats window provides mastering engineer wanting to trial
temperatures over 200C and currents over three information areas to assess whether and optimise alternative cutter settings
1.5A will cause circuit breakers to activate the track can be cut efficiently and what without risk or expense, SimuLathe
in most systems to automatically protect the optimum lathe settings and audio is the solution in either the Ref or Cut
the (expensive) cutter head, so these pre-processing parameters should be. editions. And for those not sure if the
parameters give an idea of how much risk Dominating the stats window is a 3D view cost is justifiable, the demo version
is being taken! of the virtually cut grooves across the disc, will answer that question. I am very
Further numerical readouts indicate with the ability to zoom in and rotate the impressed by the depth and precision
the amount of likely harmonic distortion disc to examine any particular groove at any of the emulations, and I learned a great
for the selected replay pickup type, the particular position. Any areas of concern can deal about the technical and aesthetic
signal-to-noise ratio, and the cutting be highlighted to aid navigation, too. There’s trade-offs that must be made in order to
level expressed as both peak and VU also a graphical waveform view (with realise a workable, playable vinyl disc.
meter values. The emulation of replay timeline zooming) which, again, indicates Perhaps not all of the black magic arts
characteristics is impressive, with three groove excursion, groove width, velocity of vinyl cutting have been revealed to
generic pickup types. The hi-fi option is and land (the area between grooves) me, but I certainly have a much better
based on a MicroRidge stylus, the mid-fi ranges, with highlighted areas of concern. overall understanding and appreciate
uses an elliptical stylus, and the club option And finally, there’s a numerical table the work of experienced lathe engineers
replicates a heavy-duty elliptical stylus. showing absolute min and max values. so much more.  
Typical record and arm/cartridge defects
can also be introduced including erroneous
Impressions
£ SimuLathe Ref €150.
tracking angle, disc wear, clicks and SimuLathe is a fabulously detailed SimuLathe Cut €240.
crackles, and system noise. Sadly, there’s emulation of a real disc cutting lathe, W www.tokyodawn.net/tokyo-dawn-labs

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SOS MusicTools is a division of Sound On Sound Ltd.
Q How do I wire star-quad cable
to carry two mic signals?
I want to run a stereo pair of mics down
It’s also worth remembering that the
inter-channel level difference needed to
move a sound fully across to one side
of the stereo image is only 16dB, so
to test each core as you wire the XLR,
to make sure you get them the right way
around at both ends! That’s why I prefer
Canford’s SQ: the four colours mean you
a single cable to minimise the visual crosstalk around -100dB really isn’t an can’t go wrong, making it quicker and
clutter on a tall mic stand, and to speed issue at all! I haven’t had any problems easier to use.
up rigging/de-rigging time. I usually with external interference either, Canford’s SQ6.5 cable has the same
make my own cables but, although partly because star-quad cables often diameter and robustness as a standard
I know I can use a two-pair multicore have superior shielding than standard mic cable, while Van Damme’s Blue
cable, I’ve seen commercial versions mic cables. Series two-pair is a little thicker but
using ‘star-quad’ cable. A quick survey As for wiring star-quad for stereo, the remains wonderfully flexible. The latter
suggests star-quad cable is roughly half science works best if you use opposite also has a notable advantage when
the cost of two-pair multicore, so is this wires for each channel. Canford Audio’s making the 5-pin to dual 3-pin XLR
a valid solution? And if so, how should
I wire the star-quad to the 5-pin XLRs?
Rob McCarthy “Star-quad cables often have superior shielding
Hugh Robjohns to standard mic cables.”
Yes, it is a valid solution, and I use
star-quad cables for carrying stereo star-quad internal cores are coloured red, splitter cables needed to connect mics or
signals from main mic arrays with no blue, green and white (a BBC standard). a mixer/interface, since the individually
problems at all. The main concern most For a standard mono mic cable you’d jacketed pairs can be wired straight
people have is that of crosstalk between wire opposite pairs together at each end, into the XLRs (making splitter tails from
channels, given that the core wires so red and blue carry the ‘hot’ signal on star-quad takes a lot more work). For
carrying the two channels are twisted pin 2 and green and white the ‘cold’ on that reason, my own implementation
around each other without individual pin 3. It therefore follows that for stereo uses Blue cable for all the splitter tails,
screens. Have a look at the Audio applications red and blue would carry the and a mixture of Blue multi-pair and
Precision test measurements I’ve included left stereo channel, and green and white star-quad terminated in 5-pin XLRs for
here, which show the crosstalk between the right (see table below). the long runs.
channels for two 25m cables: the lower Unfortunately, most other The standard 5-pin XLR wiring is as
trace is a Van Damme Blue Series two-pair manufacturers’ star-quad cables use two shown in the table below:
multicore, while the parallel upper blue and two white cores. This colour
trace is Canford Audio’s SQ star-quad. scheme does make it very easy to wire Pin Function Canford SQ Standard
As you can see, there’s barely 2dB up a standard mono mic cable (wire two 1 Screen Shield Shield
difference between them: the crosstalk whites together for the hot signal on 2 Left + Red *White +
is around -100dB at 10kHz and close pin 2, and two blues together for the 3 Left - Blue *White -
to -120dB at 1kHz in both cases. So, while cold on pin 3), but wiring for stereo is 4 Right + Green *Blue +
star-quad is marginally less good, it’s more challenging. The two whites should 5 Right - White *Blue -
really not noticeable in practice. The cost carry the left channel and the two blues
savings are considerable, and it’s also the right channel — but as there’s no *The same colour wires are rarely marked
a little quicker and easier to wire star-quad indication as to which wire in each colour so need to be tested and identified
into a 5-pin XLR than the multi-pair cable. pair is which, you’ll need a multi-meter individually during construction.

Q Should I use different tracks

or a compressor’s wet/dry
control for parallel compression?
When doing parallel compression,
I know can I just use the mix knob on
a compressor plug-in. But are there
advantages to using the compressor fully
wet on another channel, and feeding it
with an aux send from the first track?
Bradley Cox

Matt Houghton
There’s nothing inherently wrong with
using a compressor’s wet/dry blend
While there is a difference in crosstalk between star-quad and regular mic cables, it’s a negligible one. control for parallel compression if you’re

144 April 2023 / www.soundonsound.com

 1. You can chain multiple plug-ins on the 4. You can control the sound from your
wet channel, for example to filter or DAW’s mixer or arrange page, with no
EQ the compressed channel, or add need to open any plug-in GUIs once the
saturation as well as compression compressor is set up as you want it.
(and if you haven’t tried that you
really should!). It’s probably worth mentioning that some
2. You can use more than one plug-ins do offer separate knobs/faders
compressor (or more complex signal for the wet and dry signal path (Reaper’s
chains) in parallel, each on a different ReaComp, for example), and this allows
track. That could be useful if you you to automate the wet level without
wished, for example, to recreate affecting the dry. But all the other points
a Michael Brauer-style multi-bus or I’ve listed still apply, so I’ll generally set
vocal compression setup, or to put parallel compression up on separate
different aspects of the source sound channels. There are exceptions, though,
on different faders (eg. one channel and that’s usually a case of looking for the
There’s nothing inherently wrong with using
a compressor’s wet/dry ‘mix’ or ‘blend’ knob. might give you control over a kick path of least resistance. For example, if
But it won’t be the best option for every parallel drum’s sustain, another might provide I want to use two-stage compression (ie.
compression technique. more click) and so on. parallel compression followed be regular
3. It’s possible to automate the wet signal downward compression) and I know I’m
sure that it does what you need. But it’s up/down in level, but without bringing not going to want to automate the parallel
much less versatile than putting your down the dry at the same time, which compressor as described above, I might
compressor on a second, dedicated would happen if automating a single be happy using a wet/dry control. But the
channel and I almost always choose the wet/dry blend control. For instance, only advantage is that the routing is less
latter approach. Why? Well, with separate the dual-channel setup could offer complex than for separate channels, since
signals on two channels/faders, there a way to ride up the energy/density I’d need to route the source and parallel
are several potential advantages, which in a chorus without also pulling down channel to a subgroup and perform the
include the following: the transients. second stage of compression there.

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 ON TE ST

Noon Instruments
Toska
Kontakt Instrument
+++++
Toska is a Russian
word that essentially
translates as fabulous. The quality and depth to the sounds is the Noise waveform display.
a feeling of sadness, really impressive, and they blend a convincing Filtered noise could end up
melancholy, despair analogue synth vibe with a warm, organic, sounding rather limited so there’s
or anguish that nature; it’s a very attractive combination. If your a second layer, Main, into which
occurs without a specific cause. If you can film score requires sparse underscore to evoke can be imported conventional
imagine capturing that sentiment in sonic sadness, melancholy, despair, bleakness, or samples, providing they are pitched
form, then Noon Instruments have named their a sense of the unsettled, a single Toska preset to the note C before being loaded.
first sample-based Kontakt instrument very might well be all you need. There are sounds Again there’s a library of sounds
appropriately; Toska is a collection of carefully here that would easily slot into the score for on board, many based on guitars or
crafted evolving atmosphere and textural sounds Blade Runner 2049 or Stranger Things but, synths, to get you started.
that will let music producers or film composers equally, textures that might suit a psychological The Main part of the instrument
evoke exactly that kind of mood. drama where dark, disturbed or fragile are the is essentially a straightforward
The library will run within Kontakt (free or moods required. sample player with basic envelope
paid) v6.4.2 or later and is built from 6.5GB of Toska is an impressive debut from Noon and filter controls, so most of the
sample data derived from a variety of original Instruments. Yes, it’s a niche sound set, but added interest comes from the
sound sources including analogue synths, it’s full of character and busy film composers Noise section. As you move the
brass, strings, woodwinds, vocal and various will undoubtedly love it. What’s more, given fader towards Pitch, the harmonic
field recordings. These source sounds have the modest price and the fact that it’s even notes start to make themselves
been blended and carefully processed to create free to anyone in the UK on Universal Credit, heard, which is where some
three banks of presets: Instruments (the core of it’s also very accessible even to those not on interesting crossover sounds can
the sounds), Curated Presets (featuring more a Hollywood budget. John Walden be created before you reach the
advanced use of Toska’s processing options) £89 fully pitched end of the scale.
and Relics (sounds with additional, and very www.nooninstruments.com Adding a pitched element to
obvious, tape-based processing). things like surf and rain without
Access to the engine itself is through a UI Sonora Cinematic completely obscuring the source
that’s an interesting combination of minimal and sound can be interesting. Push the
quirky. The PDF manual explains the control
Harmonic Bloom fader fully toward Pitch and the
set well enough and is well worth consulting Kontakt Instrument filters become so narrow that you
because the purpose of some of the controls — +++++ essentially hear only the harmonics,
Wash, Fog, Mist, Gloom and Haze, for example Sonora Cinematic’s albeit still subtly modulated by the
— are not always obvious. However, despite an Harmonic Bloom is source material, so at this end of
uncluttered look, the options for sculpting the a virtual instrument the scale the Noise section works
core sounds are considerable. For example, that can be hosted almost like an additive synth where
the main Warmth, Strength, Width and Wash by the full version you combine harmonically related
controls provide analogue saturation, harmonic of Kontakt or by pitches in different amounts to
distortion, stereo manipulation and a dense the free Kontakt Player. Unusually, Harmonic create different timbres.
reverb, respectively. The four sub-pages Bloom uses a series of eight keyboard tracking While my description of
(in the lower half of the UI) provide options filters based on the harmonic series in order to Harmonic Bloom might sound
including an ADSR envelope, EQ, filter (with extract musical sounds from harmonically rich simplistic, the combination of the
its own envelope), an intriguing micro-delay or noise-like sound sources. A slider transitions Main samples and the harmonics
effect with multiple stages (that’s where Fog, from Noise to Pitch and appears to control the coaxed from the Noise section can
Mist, Gloom and Haze come in), a further Q of the harmonic filters, so that at the Noise make for some hauntingly beautiful
multi-stage reverb and twin LFOs to modulate end of the scale you hear the sound passing sounds, from ethereal pianos and
level, pitch, filter properties and a number of through fairly wide filters that work much like plucks to warm and washy pads.
other key parameters. Parameters can also be a graphic EQ, while fully at the pitched end the I wasn’t sure what to expect when
mapped to MIDI controllers for hands-on control filters become very narrow and resonant to I first encountered Harmonic Bloom
as required. allow through only the desired frequencies. Each but I’ve quickly grown to like it very
Of course, we are not short of ‘evolving filter has its own volume slider so the harmonic much and I suspect that musicians
pad’ virtual instruments so, the slightly quirky structure of the filtered sound can be adjusted into ambient styles of composition
nature of the UI aside, you might be thinking in a manner similar to an organ’s drawbars. The will find it especially attractive.
‘so what?’ To which the answer, as soon as you instrument comes with a library of 30 noise-like Paul White
step through a few of the presets, will be ‘ah, sources, such as running water, rain and surf, but £119
that’s what...’ because Toska sounds absolutely you can drag your own samples directly on to www.sonoracinematic.com

146 April 2023 / www.soundonsound.com

 attack and creates a sumptuous breathy pad potential starting points, and the
Heavyocity sound with slithery echoing undertones. Other excellent tag-based browser lets
Avant Modern Keys personal favourites include the quiet, hypnotic you find what you need with ease
pulsing rhythm of ‘Plotting Course’ (I’ve a feeling for either individual sound sources
Kontakt Instrument
Brian Eno would like that one), and in case we’re or full presets.
+++++ getting too relaxed, the atonal madness of ‘Road While the samples themselves
Of Terror’, which lives up to the product’s name. are top quality, it’s the UI/engine
It’s interesting to listen to the raw sound that then lets you generate an
sources: in addition to pure long notes, there almost limitless range of sounds
are tone bar and damped hits, plectrum strokes, from them. Indeed, while this is
bowed sustains, electronic-sounding looped undoubtedly a musical instrument,
Ebow notes and processed granular treatments. it’s also very much a sound-design
Add to this an arpeggiator, the ‘Echoes’ MIDI tool. You can create some fabulous
delay effect, 12 master effects and transformative playable sounds but also design
convolution effects, and you have a top-to-bottom equally impressive textural sounds
reinvention of a classic vintage instrument — if what you need is something
a far cry from what its inventor had in mind, but more minimalist as a sonic
that’s progress! All in all, a superbly imaginative atmosphere. The UI’s Main, Edit, FX
Heavyocity’s Avant Modern Keys completes presentation which brings a historic instrument and Master pages provide plenty
a trilogy which started in 2019 with Ascend bang up to date. Five stars, no question. of sound-shaping options. For
Modern Grand (based on a nine-foot Concert D Dave Stewart example, in the Edit page, you can
grand piano recorded with 18 different dynamic $119 retune, apply an ADSR envelope,
layers) and continued with Aspire Modern Mallets www.heavyocity.com add compression/saturation and
(deep-sampled, heavily effected marimba and powerful low/high-cut filters that
vibraphone, reviewed in SOS in December 2022). Sample Logic include LFO-based modulation.
Avant applies the same treatment to a classic There are numerous parameters
Mark II electric piano, which I believe dates from
Genesis - Pads In Motion throughout the engine that can
the late ’70s or early ’80s — either way, it’s a good Kontakt Instrument be modulated and, via a neat
half-century old. +++++ step-sequencer, this includes the
If you can find one of these beasts in good Sample Logic have a product catalogue packed volume of each layer and their blend;
working order, it makes sense to sample every with impressive sonic options to tempt even the with suitable settings here, you can
aspect of it before it falls to bits. Heavyocity most demanding of film or TV composers. And, easily introduce all sorts of pulse or
have done just that, exhaustively sampling while there are plenty of purely music-based rhythmic elements into your sound.
the instrument’s unadulterated sound before applications I can imagine for their latest release, However, the design of the control
plunging into its interior and attacking it with I suspect Genesis - Pads In Motion is most likely set also strikes an excellent balance
hammers, Ebows, twine and picks (as far as we to appeal to that audience. Can you ever have between ease of use and depth;
know, they didn’t break anything). As with Aspire, enough sources of pad and/or soundscape there is little by way of learning curve
the results are fascinating and go well beyond the textures? Well, let’s find out. when creating your own sounds.
confines of a conventional sampling job. Supplied as a Kontakt-based instrument (it OK, the underlying concept of
Avant Modern Keys is 4.73GB installed and requires the full version 6.7.1 or later), and built layering varying combinations of two
runs exclusively on Kontakt or Kontakt Player, from some 13GB of sample data, Pads In Motion pad-style source sounds to create
version 6.7.1 or later. Its 4026 samples are derived lets the user combine two of the underlying a new pad sound is not itself new
from 16 sound sources, which are presented in 200+ source sounds within a preset. The original (indeed, Sample Logic themselves
four themed categories, each of which holds four sample sources include a variety of organic/ have several other titles built on the
sources. Avant’s triangular mixer allows three acoustic sounds such as vocals, strings, brass sample principle), but it is beautifully
sources to be layered, crossfaded, modulated and woodwinds, as well as various keyboards executed here. And, while this is
and processed at the same time, or you can load and synths. Auditioned individually, there are not an inexpensive product, the
just one sound source and tweak it to your heart’s some beautiful sounds available spanning a huge sounds are of the highest quality
content. I found it helpful to start with a simple range of different textures. Whether you need and undoubtedly blockbuster-ready.
unprocessed preset (or ‘snapshot’ as Kontakt something light and airy, deep and menacing, You may already consider your
calls them), add some high-end EQ, auto-panning subtle, or endlessly shifting, there are plenty of pad sound collection to be (cough!)
and modulated ambience, after which I had my well-padded, but Genesis - Pads In
perfect electric piano sound — bright, sparkling Motion is excellent and well worth
and dynamic with built-in stereo effects and auditioning for some additional
a beautiful ethereal reverb. From that point on, sonic inspiration. John Walden
I was sold. $249.99
Heavyocity have a penchant for exploratory www.samplelogic.com
treatments, and they haven’t held back here.
‘Gently Into The Night’ transforms a humble Audio examples of this month’s
chord into a heavenly wash of celestial twinkling libraries are available at
repeats, while ‘LoFi Dreams’ removes the piano’s www.soundonsound.com.

www.soundonsound.com / April 2023 147

 TECHNIQUE
Studio One
We talk you through the basics of editing audio.
There are two places where you can edit
your audio. You can do it on the track, or
double-click it to open up the audio editor
for a slightly more focused view. Let’s stick
with the track.
Once recorded, your audio will appear
as a single ‘event’, which is like a container
for the audio. Many other DAWs call them
‘clips’, and Studio One also calls them clips
in certain circumstances, which is a little
confusing. As you edit, you might end up
with all sorts of events containing different
parts of that audio. None of the editing
is destructive to your recorded audio.
You could see editing as something that
happens to the events, the containers of the
audio, rather than the audio itself.
At the top of the arrange window is
a toolbar, and from left to right, we have
Arrow, Range, Split, Eraser, Paint, Mute,
Bend and Listen tools, with appropriate
When you record audio, Studio One will create icons. These are all actions you can do
ROBIN VINCENT
an ‘event’ for it to live in, which you can then edit. to events on the timeline. You can select
n last month’s workshop, we got started The audio is now on our computer them individually, or there are some extra

I with recording audio in Studio One.

I failed to mention last month where
the audio gets recorded and how much
and displayed by Studio One ready for
whatever you want to do next.

In Time
shenanigans with alternative and combined
tools you can use to speed up the workflow.
The Arrow tool gives you the standard
recording time you have, so let’s continue mouse cursor to move and trim events or
from there. Studio One works on a timeline. The change the gain. To move an event, simply
Press the ‘G’ key on your keyboard to timeline can be free-flowing in seconds and click and drag. To trim the beginning or
bring up the Options window. Click on the minutes, it can be in frames per second, or the end, move the cursor to the edge of
Locations tab at the top, and it gives you it can be in bars and beats. If you want to the clip, and it will turn into the trim tool.
your User Data Location. This is where all record as if to tape, then it’s not important, Click and drag the edges to pull either
your Studio One projects, songs, shows but if you want to edit, produce and end in or extend out a trimmed event. At
and presets are stored. And you’ll also rearrange your song, then recording to the top of the event you have a square
find that this is where your audio goes as a tempo within Studio One will make your tag, which is the gain control. Pull down
recorded WAV files. You can choose any life much easier. on it to reduce the gain of the clip. This
folder on your computer as your User Data You can set a tempo and then play along has nothing to do with changing levels
Location. I’d recommend using a dedicated to a metronome to stay on time. It doesn’t or mixing in the console; it applies purely
drive so that you don’t accidentally fill up have to be a metronome; you could set to the event you’re working on. The gain
your system drive with your recordings, but up a drum beat, use a drum loop or even control also has corresponding handles in
if you only have one drive, then use that. write in a variable tempo if you wish. But the top left and right corners. These are
When we hit Record, Studio One will ultimately, when it comes to audio editing, if fade controls, allowing you to fade the
begin to capture any audio coming to you have recorded to a tempo, you will be event in or out during playback. Another
a record-enabled track from instruments able to snap your edits to a grid based on handle in the middle of the fade lets you
and microphones via your audio interface. bars and beats, which is extremely helpful. bend in a curve to change how the fade
As the recording progresses, the timeline behaves. If you’re unhappy with your gain
pointer sweeps across the screen,
Editing Tools and fade changes, you can hold Ctrl (Cmd)
and Studio One paints the track with You can treat Studio One as a linear and click the handles to return them to their
a graphical representation of the audio recording device where your captured original positions.
signal’s varying amplitude. In case you’re performance is the perfect, in-the-moment The Arrow tool is also good for copying
wondering where the track background work of art that just requires mixing and an event. Hold the Ctrl (Cmd) key and click
colour comes from, there’s a coloured exporting to vinyl. For the rest of us, Studio and drag an event and you’ll drag off a copy.
strip to the left of the Track header. Click One offers the opportunity to edit, process This is super useful when combined with
on the strip, and you can choose from and rearrange our recorded audio. You the Split tool.
a range of colours. This also flows through can use these features to edit out the bad
to the channel strip in the console to make bits, copy and paste good bits, or creatively
Doing The Splits
a useful visual connection between track move and blend your audio as your project The Split tool breaks the event into two
and channel. or song takes shape. events at the point where you click. This is

148 April 2023 / www.soundonsound.com

 The toolbar events and multiple tracks and allows
shows you all you to move and edit them as if they are
the editing tools a single event. The Range tool is often
available. With combined with the Arrow tool by clicking
the Arrow tool
on the square-bracket icon on the left
selected, you can
temporarily switch of the toolbar. With both tools selected,
to an alternative tool you’ll find that if you float your cursor in
of your choice by the top half of the event, the Range tool is
holding Ctrl (Cmd). selected, whereas in the bottom half, the
Arrow tool is selected.
a good place The Eraser tool is one of the simplest.
to mention Click on the event you want to delete, and
‘snapping’. If it’s gone. The Mute tool is similar. Click on
you’ve recorded to a tempo, you can tell select the Arrow tool, but there’s a handy the event to mute it.
Studio One to snap all movements and edits shortcut. If you hold the Ctrl (Cmd) button, The Paint tool is the most complicated
to a grid associated with the timeline. The the mouse cursor turns into an arrow, and primarily involves automation
default setting is Adaptive, meaning that and you can now move and trim events and applying mixing changes to the
the snap will happen to the nearest logical provided you hold that key. Release it,
subdivision of the current zoom level, so and you’re back to the Split tool again.
you’ve just got to trust that it gets it right, This works for all the tools. It also works in
which it most often does. Otherwise, you reverse when you select the Arrow tool, and
can set it to bars, frames or to the Quantise you can choose which tool you want to be
setting. The ‘N’ key on your keyboard available as the alternative; just click again
toggles snap on and off, so it’s easy to get on the Arrow tool to see the options.
down to some precise editing. When you carve out a riff or a chorus
There are all sorts of reasons why you with the Split tool, it’s easy to assume that
might want to cut up your audio. You might the resulting event only contains your
be rearranging your song, or wanting to chosen section. It actually contains the
copy a riff or remove a bum note, among entire recorded part: the event is like a
Studio One offers a number of modes for
many other things. To split the event, window on the section that you cut out. If ‘snapping’ your edits to the grid. The default is the
position your mouse and click. You’ll see you use the Arrow tool to extend the front intelligent Adaptive snap.
that new events have been created, and or back edge of the event, you can drag
the ones not currently selected are slightly it out for the full length of the audio. Also, audio track, which I’ve talked about in
greyed out. This is where that nice toolbar if you hold Ctrl (Cmd) and Alt (Option) with a previous workshop. But in version 5,
comes in, because now that you’ve carved the Arrow tool, the cursor turns into the the Paint tool was given the ability to
up your events into smaller events, you’re Trim tool. Keep holding and click and drag create custom clip gain envelopes on
going to want to move them or edit them somewhere inside the event, and you’ll see audio events. To do this, you right-click
in some way. However, you currently have that you can move the audio within it. That’s on the event and tick the box next to
the Split tool selected, which does splitting perfect for lining up audio that was just off Gain Envelope. A flat line appears, and
rather than moving. You could move your the beat. Put the cursor towards the edges you can now use the Paint tool and
mouse all the way over to the toolbar to and you can time-stretch the audio, which is its shape-based variations to create
a little out of the scope of this workshop. a completely custom gain envelope.
The Arrow tool can do different things,
depending on where you click the event. Clicking on This is independent from the gain/fade
Home On The Range controls and any mixing or automation
the left and right edges lets you trim or extend the
event; clicking on the top-middle square lets you The Range tool lets you select an area you apply to the track. You can also
adjust its gain. Here, a fade-out has been created by to edit all at once. It can contain multiple remove it entirely by disabling the
click-dragging on the top-right square. envelope from the right-click menu.
The Bend tool is a bit of a complex one.
It’s all about manipulating Bend markers,
which allow you to stretch audio inside an
event. Bend markers are typically placed
on detected transients and help with
quantising and regrooving audio. We will
cover this in another workshop.
Finally, the Listen tool lets you solo any
track from the point you click.
All of the tools are simple yet very
powerful. They enable you to enact huge
changes on the playback of the audio you
recorded without changing the audio file.
Use them well.

www.soundonsound.com / April 2023 149

 TECHNIQUE
Cubase
Channels: Bass Bus Clean and Bass Bus Blend. The
Cubase doesn’t include output of Bass Org is routed to Bass Bus Clean, but
an envelope follower — also has a Send routed to Bass Overdrive FX. The
outputs of both Bass Bus Clean and Bass Overdrive
but with a little creative FX are then routed to Bass Bus Blend, where

routing you can achieve the clean and overdriven parts of the sound are
recombined before being passed on to the project’s
much the same thing. stereo master bus.

Expand On That
JOHN WALDEN
So how does this routing configuration then let
f you like to get creative with your us perform our overdrive trick? Well, if we insert

I effects, an ‘envelope follower’ opens

up some interesting possibilities.
This allows you to use the volume of an
a dynamics plug-in prior to DaTube on the Bass
Overdrive FX channel, we can modify the level of the
input signal that reaches DaTube based on the level/
incoming audio signal to modulate one dynamics of that input signal. For example, if we set
or more parameters of an effect. One up a standard Compressor instance here to bring
fairly straightforward (but potentially very down the louder sections (and don’t apply makeup
useful) application might be to add more gain!), less of the bass signal will reach DaTube at
overdrive/distortion to louder sections of those times, so there’ll be less overdrive in our final
a bass guitar part than to quieter ones, blend. This would be the opposite of what we’re
an effect which can add that extra bit of trying to achieve, though! So instead we’ll use the
excitement to a bass without overcooking Expander plug-in (shown in the screenshot).
the levels. The same approach could be With a downward expander such as this, when
used to add an aggressive edge to a lead the signal is below the threshold it’s turned down
vocal at certain times. by an amount determined by the ratio, while signals
I’d love to see Steinberg add just above the threshold are left untouched. The result
such an envelope follower function to is that the dynamic range of the signal is increased,
the FX Modulator plug-in. But while we or ‘expanded’ — hence the name of this processor.
don’t have that yet, a little creative audio Placing Expander before our parallel overdrive, then,
Although the approach described
routing can help you achieve a similar allows us to exaggerate the dynamics within the here uses four channels in the
result — and that’s what I’ll be exploring bass performance, so that when the bass is played MixConsole, the routing involved
in this month’s workshop. On the SOS more softly less of the signal reaches DaTube. This really isn’t complicated.
website (https:sosm.ag/cubase-0423) results is less distortion during the quieter parts and,
you can find a few audio examples of the relatively, more distortion in the louder passages. DaTube), so there will be no
effects described below. It’s worth noting that this is not exactly what you overdrive effect.
might achieve with a volume-based envelope shaper, You can add further
Route Planner because in that case, the resulting envelope could be flexibility by placing an EQ
Let’s start with the electric bass ‘more used to modulate a specific parameter (for example, plug-in after your overdrive/
overdrive when the bass is louder’ the Drive control) of the target plug-in, rather than distortion effect. In this case,
example. There are actually a number just modulating the send level. But in the absence I’ve used an instance of
of ways this might be implemented, of an actual envelope shaper tool, it’s a very useful Cubase’s stock StudioEQ.
including simply configuring the alternative — and, in this case at least, can produce Three bands are active, with
required overdrive/distortion effect as a very similar sort of result. The screenshot shows low-end and high-end cuts
an FX Channel, routing a send from your the Expander settings I used for this example, applied and a peaking filter
bass source track, and then manually but you can experiment with different threshold (band 2), centred around
automating the blend between the clean and ratio settings to finesse the dynamics of the 2000Hz, used to add gain.
and overdriven signals to add more overdriven signal. This means that the output
overdrive at the required spots along the from this track (the overdriven
timeline. But if a more automatic solution
More Options version of our bass) is
in the style of an envelope follower is If you would like to ensure that no overdrive at all is focused on the mid/upper-mid
wanted, the audio routing setup you applied to the lowest-level parts of your bass guitar frequencies. The idea here
can see in the first screenshot provides signal, you can simply place a Gate plug-in before is to add a little high-end
another option. I’ve used four channels to Expander. In the screenshot example, I’ve set fast definition to the overall bass
do this, but hopefully the routing involved attack, hold and release settings, but you should feel sound, but leave the bass’
is still pretty easy to follow. On the left, free to experiment. The most important parameter low end sounding clean, clear
the Bass Org audio track contains the is Gate’s threshold. When the signal exceeds the and free from distortion. This
original clean bass guitar recording. Next threshold level, signal passes to Expander to give is, of course, a matter of taste
to this is an FX Channel named Bass us the same effect as described above. But when and musical context, and you
Overdrive FX, with an instance of DaTube the signal falls below the threshold, no signal could try different settings,
inserted. We then have two Group will be passed to the Expander (or onwards to but it can certainly be a useful

150 April 2023 / www.soundonsound.com

option to further tailor/control to the Bass Bus Blend channel,
the final effect. offers a way to tame those
potential jumps in overall level.
Level Headed In this case, I’ve achieved that
In all the examples I’ve by placing a compressor on
outlined so far, both the clean the Bass Bus Clean channel.
(Bass Org) and overdriven It is responding to an external
(Bass Overdrive FX) side-chain signal, taken from
components are combined at the Bass Overdrive FX channel.
the Bass Bus Blend channel This way, when the overdriven
to create our ‘composite’ bass signal increases in level, this
sound. Electric bass is usually compressor reduces the level
compressed (in most genres, of the clean signal but only
anyway), and a final dash of after the clean signal has itself
compression can be added triggered the overdrive. The
here to even things out a little. result is a more even level
In the screenshot, you can see when the clean-plus-overdriven
an instance of Compressor blend arrives at the Bass
inserted on this Bass Bus Bus Blend channel — the
Blend channel, and this might compression settings allow you
be all that’s required. But do to finesse this to achieve the
keep in mind that more of the desired result. With the routing described in the main text, you can also choose to ‘duck’ a
clean bass signal when the overdriven component is at its loudest.
overdrive element is added One extra detail is worth
as the clean bass signal itself consideration. Having used Clean channel applies compression across the full frequency
gets louder. When active, our StudioEQ to frequency-limit range of the clean bass signal. As a consequence, louder
‘dynamic’ overdrive might, the overdrive (in this case, sections of overdrive centred at 2000Hz may well trigger gain
therefore, deliver a noticeable within the 500-5000 Hz reductions above and below this, and this risks robbing the
jump in overall level for our range), the additional level composite sound of its low-end solidity. You can replace the
Bass Bus Blend compressor to this overdrive component Compressor instance on the Bass Buss Clean channel with
deal with. adds is only within the Cubase Pro’s Frequency 2 (users of other versions can use
Our Bass Bus Clean track, frequency range. However, another dynamic EQ plug-in) and trigger a dynamic band to
in which the clean bass signal the side-chain-driven ‘compress’ just the required frequencies in the clean signal,
is passed through on its way compressor on the Bass Bus to match those frequencies that are added in the overdriven
channel. Hey presto! Your low end will
remain intact.

And There’s More...

Of course, you don’t have to restrict this
kind of experimentation to just bass. For
example, the same trick can also be quite
effective on a lead vocal, adding some grit
and a good dollop of attitude to the louder
sections of a performance; I included an
example of this in the online audio clips.
Equally, the same approach can be used
with different effects types. For example,
you could have more flanger on your
guitar as it gets louder. If you swap out the
Expander for an instance of Compressor,
you can also reverse the process and get
more of an effect in the quieter parts of
a performance (more reverb on the quieter
sections of a piano part, perhaps?). And,
finally, don’t be scared to try these effects
on the input signal as you play — you
can have great fun adjusting your playing
dynamics to hit the effect ‘sweet spot’.
While I’d love Steinberg to add an envelope
follower into the Cubase feature list, there’s
Expander determines how much signal reaches DaTube, while adding Gate and StudioEQ into the already plenty of fun to be had with this
side-chain gives you further ways to shape the effect. kind of creative audio routing. Enjoy!  

www.soundonsound.com / April 2023 151

 TECHNIQUE
Digital Performer

Screen 1: When you open Melodyne on a track or Soundbite, the

ARA makes using Melodyne in DP a cinch! audio will come pre-loaded in the Consolidated Window at the bottom.

timeline. You can edit pitch, modulation, go to Digital Performer / Preferences /

MIKE LEVINE
timing and more from there. If you already Display / Consolidated Window / Open in
n version 11.2, MOTU added several own a version of Melodyne 5, you don’t Consolidated Window, and de-select ‘ARA

I useful new features to DP. Perhaps the

most impactful was support for the ARA
(Audio Random Access) protocol extension
need to install Melodyne 5 Essential.
DP will automatically recognise your
existing version.
Effect’, which is at the very bottom.
Another way to enable Melodyne with
ARA on a track or Soundbite is to open the
developed by Celemony. More specifically, ARA plug-ins open differently from pop-up menu labeled ARA at the bottom
DP supports the latest version, ARA2, standard AU or VST plug-ins. In DP, the right of each track header and choose
which dramatically speeds up workflow process is easy, and you even have several Melodyne. The same pop-up is available
when using ARA-compatible plug-ins such options for opening them. If you’re in the from the Track Settings menu.
as Melodyne. Tracks Window or Sequence Editor, select You can also open ARA on a track from
As part of the update, DP users get a track or Soundbite and go to Audio / the Track Settings menu. Alternatively, you
a licence for Melodyne 5 Essential, which ARA. From the sub-menu, select either can right-click on a Soundbite, scroll down
provides another option for pitch and time Set Melodyne on Tracks or Set Melodyne to ARA and open the pop-up. If you enable
correction, supplementing DP’s existing on Soundbites, depending on what you’re an individual Soundbite, that will override
features in those areas. MOTU also added doing. When you release the mouse, the track ARA setting.
a Copy Audio to MIDI feature, which Melodyne will open across the bottom of
integrates Melodyne’s algorithms. In this the Consolidated Window with the audio
Working With ARA
column, we’ll start with an overview of from the track already loaded. When working with Melodyne or other ARA
ARA in DP and then offer tips for using the Opening an ARA plug-in through the plug-ins, it’s important to remember that any
various audio-to-MIDI options. Audio menu gives you the most options for edits you make to the notes within it will not
enabling and disabling ARA on a track or be reflected in DP’s waveform displays until
How ARA Works Soundbite. You can even enable Melodyne you effectively make those edits permanent
The ARA protocol allows compatible plug-ins on non-contiguous Soundbites by selecting by applying the Merge Soundbites
such as Melodyne to instantly access audio them and then opening Audio / ARA / Set command from the Audio menu, or using
data. Users no longer need to transfer audio Melodyne on Soundbites. You get the most the key command Option+Shift+M on Mac
into the plug-in in real time, as had been the options if you open an ARA plug-in from the (Alt+Shift+M on Windows).
case before the addition of ARA2 support. Audio menu. Until you do, only the Melodyne display
For example, if you open Melodyne You can also enable ARA on multiple will accurately reflect your edits, but they
on a track in DP as an ARA plug-in, you’ll tracks by selecting them first, then choosing won’t yet show in the waveform display
immediately see the notes of the track’s ARA from the Audio menu. If you’d prefer to of the Sequence editor for that track. The
audio represented in the Melodyne open the ARA plug-in in a separate window, Screen 2 cluster shows how this works.

152 April 2023 / www.soundonsound.com

 Screen 3: The Copy Audio to MIDI command is located in the Edit menu.
You can access the new Copy Audio to MIDI command
from Edit / Copy Audio to MIDI, or with the shortcut
Command+Option+Shift+C (Control+Alt+Shift+C on
Windows). That opens the Audio to MIDI dialogue, a small
window with several pop-ups that allows you to select the
Conversion Type, Algorithm and Target for your converted
MIDI data (Screen 3).
Your success with it will depend on finding the best
settings for your source material. Also, remember that
audio-to-MIDI algorithms work best on notes that don’t slide
from one pitch to another. When that does happen, two MIDI
notes will get created — one for each pitch. You’ll have to
edit the release of one and the attack of the next to make
the pitch change sound similar to the audio.

Conversion Types
MOTU recommend choosing Melodyne as your Conversion
Type for pitched polyphonic sources. For example, use
it on a chordal guitar part or piano part, horn section, or
any source where more than one note plays at a time.
Once you’ve selected Melodyne, you’ll need to also pick
an algorithm. Use Polyphonic Sustain for sources with
consistent attacks, such as organs, legato strings, and so
on. Use Polyphonic Decay for sources with varied or sharp
attacks, like guitar and piano.
An example of where the polyphonic Melodyne would
come in handy is if you have an audio keyboard part with
a good performance but want to change the sound. But
what if you’re a guitar player and want to create a chordal
keyboard part but can’t play it well enough on a keyboard?
You could record the chords on guitar, keeping the rhythm
relatively simple, convert it to MIDI and then use it with
a piano, organ or synth virtual instrument.
In the DP manual, MOTU advise using pureDSP as the
Screen 2: The top screen shows several vocal phrases before any edits have been
Conversion Type for monophonic sources such as vocals.
made. In the middle screen, the final phrase was cut in Melodyne, and while you can still
see it in the waveform in the Sequence Editor, you won’t hear it on playback. In the bottom However, Melodyne also does an excellent job on vocals, so
screen, the Merge Soundbites command has been applied. This clears the audio data from it’s worth trying both. Use Melodyne’s Melodic algorithm on
Melodyne and updates the DP waveform display to reflect the cut. (solo) vocal material.

www.soundonsound.com / April 2023 153

 TECHNIQUE
ARA Digital Performer
track with all the hits on a single pitch. The the appropriate track in your sequence,
Beats option thus works well on percussion populate it with the converted MIDI data
instruments that create a single pitch, such and place it at the top of your Sequence
as shaker, tambourine, cabasa, and the like. or Tracks window. (DP 11.2 also introduced
You could also use it to convert individual standalone Instrument tracks, which
drums from a multitrack drum recording to contain MIDI and don’t require a separate
MIDI, such as kick or snare, as long as there MIDI track.) Another choice is Copy to
Screen 4: The Melodyne algorithms for Audio isn’t too much bleed from other drums in Clipping Window, which will only be
to MIDI.
the audio. available if you have an active Clipping
The third conversion type is Beats. Window created, either project-specific or
MOTU recommend it for percussive
Targets global. Additionally, you can choose Copy to
material. However, it doesn’t detect pitch, The target you choose sets the destination Clipboard and then paste the MIDI data into
only rhythm, and you end up with a MIDI where DP will send the converted MIDI a track at the time location of your choice.
data. If you select New MIDI Tracks or As when opening ARA data, Copy Audio
Screen 5: Here, a tambourine recording has
been converted to MIDI notes. New Instrument Tracks, it will create to MIDI lets you convert a whole track or just

a Soundbite. For the former, select the track

in the Sequence Editor or Tracks Window
and then choose Copy Audio to MIDI. For
individual Soundbites, select the one you
want to convert first and then use the Copy
Audio to MIDI command.
For any of the three conversion types,
you’ll see an option in the Audio to MIDI
dialogue that says Package in Clips. If you
check it, your data will appear in the new
track in Clip format, which means it will be
in a container ready to trigger from the Clips
window (Screen 6).
If you haven’t yet upgraded to Digital
Performer 11.2, it’s highly recommended.
Although the version number makes it
sound like a relatively unimportant update,
the new features you get, including ARA,
Screen 6: The difference between packaging the MIDI data in Clips (centre track) and Notes (top track). are very much worth having.

154 April 2023 / www.soundonsound.com

 RECORDING ELECTRONIC
& MIXING MUSIC

Amp Modelling Graham Massey 808 State

Getting the best out of Amp Simulation Electronic Improvisation
Paul White explains how to get the best out of Graham Massey is best known for the pioneering
Amp Simulation software, from achieving a good work of 808 State who took the energy of the
guitar input signal, setting up effective monitoring early UK rave scene into the pop charts with
for encouraging the best performance, and tips on several uncompromising top 10 singles and
obtaining the desired end-effect. albums in the 1990s.

ELECTRONIC ELECTRONIC
MUSIC MUSIC

Mike Lindup Don Lewis - Programming The DX7

Talks about his new solo album Creating The DX7 Factory Presets
Best known as the keyboardist and co-vocalist Back in November 2020 we interviewed Don
for Brit-Funk legends, Level 42. Mike has blended Lewis where he discussed his time programming
traditional keyboard instruments, such as the piano the Yamaha DX7’s factory sounds. In the wake of
and Fender Rhodes, with a myriad pieces of cutting Don’s passing, we decided to publish this excerpt
edge music tech over the years. We caught up with and put on record his important contribution to this
him ahead of his new solo release, Changes 2. iconic synth.

Follow our channels by subscribing to the shows on Apple Podcasts,

Google Podcasts, Spotify, Amazon Music or wherever you get your podcasts.

All shows are mastered to the highest quality the podcast channel will support and are in stereo.

Check out our website page for further details

www.soundonsound.com/podcasts
 TECHNIQUE
Pro Tools
Strip Silence in
action. With the Pads
set to 0, the clips are
cut off as soon as the
signal drops below the
threshold.

However there
is more to Strip
Silence. The other
three sliders give
useful control over
the placement of clip
boundaries. Minimum
Strip Duration does
exactly what the
names suggests,
preventing the
unwanted creation of
multiple short clips.
The Strip Silence invaluable. It’s one of those examples of
a tool which is just clever enough to be
For example, a flam on a tom-tom might
otherwise be detected as two separate
function can speed up helpful without taking away control. clips, and with deep bass, it is possible
for clips to be created at the peaks of the
your mix preparation. Using Strip Silence waveform in the same way that ‘chattering’
Strip Silence can isolate all your clips in can happen with a gate.
JULIAN RODGERS
one operation. Open Strip Silence from Clip Start Pad and Clip End Pad can
he most useful tools are the ones the Edit menu, or using Command+U be used to extend the head or tail of

T that save you time. I’m sure we’d all

agree with that. More specifically,
what we all want is tools that save us time
(Control+U on a PC). It’s a simple window
and the principal control is the Threshold
slider, with other controls available to
automatically created clips. Clip Start Pad
can be used to include breaths in vocals,
string squeak and pick noise on guitars, or
by speeding up the tedious stuff, allowing fine-tune the results. In the example of the slow attack of pads. Clip End Pad can
us to focus on the creative elements of toms in a drum part, the procedure would similarly be used to extend clips to include
a project. And with the current focus on AI be as follows: display the entire section natural decay and reverb. These controls
and machine learning, it’s easy to forget of audio you wish to edit. To make sure can also be used to reduce the amount of
that there are some venerable tools in that you’re not getting any false triggers, manual tweaking necessary when working
Pro Tools that can radically speed up make sure you can see the whole song with awkward audio.
session preparation, allowing us to get to (I use Option+A to zoom out horizontally While clean audio is easy to separate
the fun bit more quickly. One such tool is to show the entire session, or if I need using just the Threshold parameter,
Strip Silence. a particular section zoomed in, I’ll use these additional sliders bring the control
Strip Silence has been around forever; Option+F to zoom horizontally to fill the necessary to get the results you want
it’s a semi-automatic way of dividing audio screen with my selection). in more difficult cases where there are
clips into smaller ones based on the With Strip Silence open, raise the obtrusive levels of noise or bleed. On
amplitude of the audio within those clips. Threshold control: black rectangles offer material such as drums, these controls
It’s most commonly used to clean up audio a preview of the clip boundaries that mean you don’t have to use the Threshold
on import, removing background noise in would be created by a Strip operation at to determine the size of the clips that are
a way similar to a noise gate. It achieves that threshold. By adjusting this control, it created. Instead, you can choose a much
similar results, but non-destructively and is possible to quickly lasso the audio you higher Threshold setting to detect just
with complete control. need. Still images don’t quite convey just
In pre-DAW days, considerable effort how intuitive this is in use!
went in to rooting out the cumulative noise Peaky Finders
from tape, outboard and instruments.
Is That All?
The Strip Silence Threshold control can be
Noise gates were de rigeur, but although I think of Strip Silence as being halfway useful for analysis. If you need to identify
they were effective, they could be between manually editing to remove the loudest peak value in a piece of audio
unforgiving, particularly when printed to unwanted noise between sections you can use the Gain AudioSuite plug-in
tape. So it’s little surprise that the ability of wanted audio, and the automated to give an offline measurement — but this
won’t show you where in the track the
to manually edit out unwanted noise in processing of a noise gate. This is its real
peak occurs. To find the highest peak in
a non-destructive way was greeted with strength, as it allows the user to automate a clip, open the Strip Silence window, view
open arms by engineers. Manually editing the process but still have full control the entire clip, and raise the Threshold
around the odd tom hit is a few moments’ when needed: no more endless tweaking slider. The last clip you see disappear is the
work, but if you’re dealing with more than of side-chain filters or automating the loudest peak in that clip.
a handful of hits, Strip Silence becomes threshold to chase down false triggers.

156 April 2023 / www.soundonsound.com

 Using the Pad controls, you can
precisely extend the clip boundaries.

the peaks of the wanted hits,

and the Pad controls to extend
the clip boundaries. This is
useful because loud spill can be
excluded through use of a higher
Threshold, and the Pad controls
can the then be used to ‘grow’
the resulting narrow clips.

Creating Fades
Strip Silence does, of course,
produce complete silence
between the clips it creates, and
the transition to and from this
silence can be distracting if it
is exposed in a mix. It is usually
desirable to create short fades at
the beginning and end of clips,
and this is made considerably
easier by the Pro Tools Batch
Fades command. Select all of
the created clips (if they are
the entire contents of a track,
a triple-click with the selector
tool will do this). Next, open the
Batch Fades window from the
Edit menu, or hit Command+F/
Control+F. This window can look
intimidating, but most of the
controls affect crossfades, which
aren’t being created in this case,
and what to do with existing Use the Batch Fades tool to soften the
fades. In this case the only control that might hits and phrases. Separate divides the transitions to and from silence after you’ve used
need adjusting is Fade Length. material at the clip boundaries but doesn’t the Strip Silence tool.
remove any material, while the last option,
Vocals Extract, can be useful if you need to keep clips using the selector tool and hitting
Strip Silence isn’t only useful as an the quiet material but apply different Command+Option+G (Control+Alt+G on
alternative to a gate when tidying up drums. processing to the wanted audio. Duplicate PC) you create a Clip Group, which can
Vocals present a different set of priorities, the track, dial in the required parameters be ungrouped at any time using the same
and frequently benefit from judicious use of and hit Strip; then select the duplicate modifiers but using ‘U’ instead of ‘G’. Clip
Strip Silence. The softer attack and inherent track and, using the same parameters Groups can occupy more than one track
variability of vocals make Strip Silence’s in Strip Silence to get the same clip and can even be nested (ie. Clip Group
various options invaluable, and allow you boundaries, hit Extract. You’ll end up with within Clip Group), so if your timeline is
to achieve results that would be impossible the bleed-only sections on a separate track looking too busy, take advantage of these
using a gate and laborious automation. from the vocals, allowing you freedom to useful containers to keep things organised.
Removing breaths and bleed from between process the vocals a little harder than you Lastly, if session organisation is
phrases is particularly important when otherwise might, while reintroducing some important to you, the Rename button offers
heavy compression is in use, as it often of the bleed to make the results more the ability to automatically rename your
is with vocals. Vocals that are tracked as natural. If necessary, appropriate fades clips, with options to add a suffix and clip
overdubs or in a good vocal booth should can be applied on both tracks to crossfade numbering. Be aware that if your Clips List
be very clean, but in cases where bleed is smoothly between them. is set up not to display auto-created clips,
significant, the coming and going of spill you won’t be able to use this feature until
from other instruments can limit what is
Group Think that is enabled.
possible. A useful trick is to use one of When you use Strip Silence your timeline Strip Silence is simple, effective and
the other modes of the three available in can start to look rather fragmented. If you surprisingly powerful, but most of all
Strip Silence. want to ensure the relative positions of all it’s a tool that helps with a task all of us
Strip is the most commonly used function, of your clips are preserved, don’t overlook face during our productions. As such, it’s
removing the material in the gaps between Clip Groups. By selecting a collection of definitely worth getting to know.

www.soundonsound.com / April 2023 157

 TECHNIQUE
Logic
PAUL WHITE Behind their basic UIs, Logic’s legacy plug-ins offer
very day we’re faced with

E a bewildering choice of third-party

plug-ins, some costing more than
the entire Logic Pro X package. Yet, in
many cases, there’s something in Logic Pro
that will do the job perfectly well. Typical
examples include the compressors, EQs,
reverbs and delays, but in this column,
I want to shine the spotlight on some of
the other included plug-ins that easily get
overlooked, either due to their age or their
uninspiring user interfaces.
SilverVerb offers a pleasingly retro alternative to Logic’s more obvious reverbs.
Silver Surfer
One of my personal favourites in this
regard is the humble SilverVerb, a low-CPU
algorithmic reverb that has been part of the
Logic plug-in arsenal for as long as I can
remember. It was designed at a time when
computers were far less powerful than they
are today, and it also has a fairly limited
control set. However, its retro and slightly
grainy algorithmic texture can sound
wonderful on vocals, guitars, synths and so processed using the Low Level and High Spectral Gate can create some interesting
modulation effects that you can’t easily achieve
on, and for many of my projects I actually Level parameter controls, as well as the
otherwise.
use it in preference to the far more Super Energy and Sub Energy parameters.
elaborate Chromaverb or Space Designer. Modulation can be applied to the centre so means you miss out on some great
You don’t get a choice of rooms, halls, band, and if all of this sounds as though the tone-shaping options. Putting a lead
plates and so on: there’s just one algorithm, results might be unpredictable, you’d be or bass synth through a slightly dirty
called Room. This has a conventional right. The best bet is just to dive in and see guitar amp can really transform it. The
Pre-delay parameter, but what you won’t what happens. Adjust the Threshold and pedalboard is particularly interesting, as
find is a traditional reverb Decay control. at the sweet spot the sound takes on an it provides alternative takes on some of
Instead you have to juggle the Reflectivity, obviously spectrally filtered, watery quality, the standard Logic plug-ins. For example,
Room Size and Density/Time controls to with modulation adding an interesting the Phaser and Flanger pedals have a few
achieve the length and texture of reverb rhythmic element to the effect. The only additional controls that allow you to get
that you need. There are also basic low- serious omission I can see is lack of more creative, and there’s also a passable
and high-cut filters for shaping the reverb a tempo-sync option for the modulation, so Uni-Vibe emulation that you don’t find in
sound. Increasing Reflectivity and Size you have to set the speed by ear. A useful the main plug-in menu. You’ll also find
change the reverb length as well as the treatment for boring pad parts. a wide range of overdrive, distortion and
apparent size of the space, while turning fuzz pedals that can work really well with
the Density/Time control anticlockwise
Pedalboard synths, so don’t dismiss this section as
reduces the reverb density to the point Those who play keyboards rather than being relevant only to guitar players. Note
where it sounds almost like a multi-tap guitar tend to overlook Logic’s guitar
delay. To the right there’s a useful amp and pedalboard plug-ins, but to do ES Ensemble: a simple but effective virtual
analogue synth.
modulation section; modulation in the left
and right channels can be offset using the
Phase control. SilverVerb also works very
nicely when used together with the Tape
Delay plug-in.
Another charmingly quirky plug-in is
Spectral Gate, which works by dividing
the incoming signal into upper and lower
frequency ranges that sit either side of
a central band. The Center Frequency
and Bandwidth parameters control this
division. A Threshold control determines
at what level the frequency division takes
place. The frequencies above and below
the defined band can be individually

158 April 2023 / www.soundonsound.com

that if you only need a single pedal effect,
you can load these individually from the
Stompboxes menu rather than having to
load the whole virtual pedalboard.

Analogue Action
Logic includes some powerful synths
such as Alchemy, the Sculpture modelling
synth and the ES2 analogue-style synth.
However, just as was the case with
SilverVerb, it is worth looking back at
some of the low-horsepower inclusions for
those occasions where they can dish up
the sound you need using a small set of
intuitive controls. One such is ES Ensemble,
a very simple virtual analogue-style
synthesizer with a single oscillator that
offers multiple wave shapes. It has basic
filter and envelope controls, but at the end
The EVOC 20 Filter Bank plug-in.
of the signal path, it gives you a choice of a useful indication of what to expect and
two chorus types or one ensemble effect. obvious effects. Essentially this is a dual for the creation of rhythmic effects, the
These can be used, usually in conjunction filter bank where you can adjust the LFO can be sync’ed to multiples of tempo.
with a sawtooth source waveform, level of each band fader-style, change There’s also a control for shifting the
to recreate the sound of old-school the high and low frequency limits of the overall formants of the sound for both filter
string machines. filter banks and apply multi-waveform banks, another for adjusting all the filter
If you haven’t yet tried it, the EVOC LFO modulation to the formants to create resonances, plus an overdrive control to
20 Filter Bank is capable of some less moving filter effects. The presets give add harmonics. Try the Deep Space preset

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 TECHNIQUE
LEGACY PLUG-INS Logic
on a cello part to hear how dramatic the early Logic effects such as the Silver Gate,
timbral change can be. which has only Threshold, Attack, Hold and
Release controls plus variable lookahead.
Legacy You can’t set the amount of attenuation, but
Going even further back in time we need for straightforward hard gating tasks it gets
to visit the Legacy plug-ins section, which the job done.
only becomes visible if you hold down the You’ll also find the old PlatinumVerb
Option key before opening the plug-in relegated to this section, along with the
selection menu. In the Instruments section often criticised spectral Denoiser plug-in.
you’ll find a list of instruments that have no Now, I’ve never found this noise-reduction
fancy GUI, just a plain black panel hosting plug-in to be very effective for actually
a manageable number of horizontal sliders. reducing noise, as it is all too easy to
Most of these are simplified versions of the Analog Swirl works a charm on pad and retro end up with ‘chirpy’ artefacts, but I have
string-synth sounds.
main plug-in instruments, a good example discovered that it can sometimes be useful
being the Tonewheel organ. If you find as an effect to add some kind of intentional
setting up the full-fat organ plug-in a bit spectral activity to a boring pad part. Taking
daunting, you’ll love this version: a single the Noise Type fader up above half way
fader labelled Drawbars takes you through produces the most interesting artefacts on
a wide range of drawbar combinations, so typical sound sources.
you just keep moving the slider until you Finally, not so much a neglected plug-in
hear a drawbar setting that you like the as a neglected feature is the choice
sound of. The rotary speaker has just two of Mono, Stereo or Dual Mono plug-in
speeds or brake, which you can automate, routings. Dual Mono mode means that
and there are similarly minimalist controls you can process a track to add a stereo
for distortion and the note percussion level effect, but with the ability to set its left and
and duration. Super-simple, but it sounds right channel parameters differently. For
just as big as its fancy sibling.
Digital Stepper’s random nature gives it The Denoiser plug-in: not very good at removing
Other oldies worth visiting in this section a distinct sample & hold quality. noise, but an interesting effect in its own right!
are Analog Swirl, which is great for pads
and string-synth emulations, and Analog sounds, or simple analogue leads,
Sync, which makes it easy to create those and its Mix control can usefully
searing phase-sync lead sounds. Analog crossfade between octaves.
Mono delivers passable TB-303 bass There’s also an instrument
called the Digital Stepper, which
is dedicated to producing
sample & hold-style filter steps
and steps in harmonic content.
A Harmonics fader controls the
harmonic makeup of the sound,
while Balance morphs between
an analogue and digital sound
character. There is no apparent
way to change the stepping rate,
and the steps also appear to have
a random depth element, which is what example, you could have a reverb with
creates the sample & hold-type character. different left and right pre-delays, or one
This instrument can go from pad sounds side with a long decay time and the other
with gentle movement up to full-on Brain with a short decay time. Or how about
Salad Surgery, and I find myself using a rotary speaker that runs fast in one
it often. channel and slow in the other? There’s
also a Mono option for most effects. This
A Verb can be useful when using a reverb as an
Should you visit the Legacy section for insert effect, as the panned location of
insert effects, again accessed by holding the reverb will always match that of the
down Option before you open the plug-in dry signal, rather than being spread over
menu, you’ll find a reverb called A Verb that both channels as is the case when adding
is even more minimalist than SilverVerb. a stereo reverb. Many producers use
This has no modulation, but can still work mono reverbs in this way, adding them
To access Logic’s Legacy instruments and well on non-percussive sounds. Personally, to individual sources to avoid diluting the
effects, hold down the Option key while opening the I’ve found no reason to delve deeper in thie stereo image, so it is definitely worth trying
instrument and plug-in selection menus. menu than SilverVerb, but there are other next time you come to do a mix.  

160 April 2023 / www.soundonsound.com


 
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THE ELECTRIX REPEATER seconds earlier. He named become independent of each aimed at the DJ/tabletop
TED MORCALDI
this system the Time Lag other: track 1 can be playing musician, or a looper geared
ot all hardware loopers Accumulator. A diagram of this forwards as track 2 is in towards instrumentalists. The

N are created equal. This

is quickly discovered
when you dive deeper into
type of routing can be found
on the back cover of Brian
Eno’s album Discreet Music.
reverse and pitched down a
fouth, while track 3’s playback
is re-triggered to create a
Repeater, which was made
with both DJs and musicians in
mind, really captures the best
creating sonic architectures The late ’70s saw the stuttering effect, and so on… of both worlds.
with time-based effects. Some release of the Fairlight CMI. Like the Fairlight, the A beautiful example of
looping devices can be very This allowed you to record Repeater’s loops can be the Repeater being played in
basic, some geared towards samples into its computer which re-pitched by playing them real time is on David Bowie’s
a self-accompanying singer- then allowed the sample to be on a keyboard or sequencer opening track to the album
songwriter, and others capable played back at any pitch along connected via MIDI. The Heathen, ‘Sunday’. Here,
of entering another dimension. the keyboard, but the sample’s Repeater is able to re-pitch long-time Repeater user,
Looping has been around length would be stretched when the samples without stretching brilliant guitarist and sonic
for a while — long before pitched lower and compressed or compressing their length. pioneer David Torn (who kindly
musicians were looping using when playing higher. The tempo button on the front sent me that 20-year-old
the ubiquitous big green box Now, tying these concepts panel allows for time-stretching software update) is playing
from 1999. Back in its earliest (and many more) into a without changing the pitch both guitar and Repeater. He’s
days, looping was achieved single looping device brings of the recorded samples. seamlessly changing the pitch
by creating a long delay-line me to the Electrix Repeater. Amazing glitch effects can be of his recorded loops to the
system with tape machines. Released in 2001, the achieved with some simple chord changes and stuttering
‘A Rainbow In Curved Air’ Repeater still holds up as a MIDI mapping to trigger the playback to create
by Terry Riley from 1969 is unique, creative tool in 2023. the play button or reverse haunting glitch effects.
a classic example: it was Once I acquired mine in 2020, playback. Loops can also be As an improvising musician,
achieved by stringing the I was on the hunt for the stored onto a CF card to recall this device has allowed me
tape across two separated 20-year-old software update in a later session. One area endless expression and
tape decks to achieve a time for it that really expands modern-day loopers fall short, exploration in my own music.
delay, which enabled him to the looper’s capabilities. An I believe, is in their sample/ Even after 22 years, the
continuously layer on top of updated Repeater allows recall capabilities. Generally, Repeater remains at the top of
what he had played a few its four available tracks to you either have a sampler its game.  

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