Avalon VT737SP Class A Tube Channel Strip Review

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(More customer reviews)I use this channel strip during nearly every recording session I run. The sound is amazing for vocals (in combination with a good mic), producing a warm and yet extremely clean sound.
I have used the unit on acoustic guitar, kick drum, electric guitar and even bass. I was able to get stunning sound from all sources, with a little tweaking of the settings and mic placement.
This unit is capable of immaculate results. Well worth the money.

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The Avalon VT737SP features a combination of TUBE preamplifiers, opto-compressor, sweep EQ, output level and VU metering. VT737SP's preamp provides a 48V phantom powered input, an Instrument DI and a balanced line input. The Opto-compressor features twin Class A tube triodes for gain matching. Full dynamic control from soft compression to hard-knee limiting can be achieved with threshold, ratio-compression, attack and release controls plus gain reduction selection on the large VU meter. Special spectral control including de-ess is available with the dual sweep mid EQ to side-chain switch. The EQ section can be flipped pre or post-compressor. The high and low EQ bands provide the smooth characteristics of an all passive design, while the dual mid bands include variable frequency and switched Q-width selection. Whether you're recording a solo vocalist or an acoustic instrument, mastering, or recording symphonies, let Avalon take you to the leading edge in analog and experience sonic reality like never before! Avalon VT737SP Features Vacuum tube triode signal path Soft-start tube life extender Stereo link for compressors Sealed silver relays for signal routing Transformer balanced microphone input High-voltage circuits for max headroom and low noise Discrete Class A equalizer with musical passive filter Internal discrete power supply with toroidal transformer Large control knobs with professional conductive plastic potentiometers VU meter for output level monitoring and compressor gain reduction Great Unit. Allows the user to slam into the red! The Avalon VT737SP is a great unit. It has so many strengths that basically you could say that as a MIC Pre/Channel Strip goes, thi

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FMR RNC 1773 Compressor Unit Review

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(More customer reviews)This thing is top quality. If you check out reviews on the internet, the RNC is compared to compressors in the $1000-2000 range for a good reason. It's marvelous.
If I had to dig deep for a complaint, it would be that it doesn't power up in the "super nice" mode. I have to actually push the button. Boo hoo.
I use it strictly between my bass guitar and my preamp. The "super nice" mode is probably required if you're going to use it for bass guitar, but once that's engaged, it sounds great and does precisely what it's supposed to do. The case is solid, the power supply is included, and the knobs perform as labeled.
Of all my equipment, a lowly compressor isn't the most loved, but the RNC is definitely the most trouble-free, performs-as-advertised, trustworthy component I own.

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The Really Nice Compressor (RNC) is a compact, affordable stereo compressor with a high-fidelity audio path and compression scheme. Don't be deceived by the sub-$200 price tag; the RNC is a serious studio tool that easily competes with compressors five times its price. HOW IT'S DONEThe RNC achieves such high performance at a low cost by using evolutionary advances in digital technology, coupled with the best analog has to offer. Using digital controls and an all-analog signal path, the RNC offers accurate, precise controls and a clean tonal character. The RNC provides two modes of operation: normal and SuperNiceTM. Normal mode allows the RNC to be used for everyday compression tasks, like punchy snare drums or bass guitars, and is great for everything from gentle compression to serious squashing. SuperNice mode provides near-invisible signal compression for sensitive material where compression artifacts are less desirable (like vocals, acoustic guitar or the program bus). HOW IT SOUNDSIn a word: transparent. The RNC yields clean, airy compression with few artifacts and little high end loss, even at massive gain reduction.

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M-Audio Torq Xponent Advanced DJ Performance/Production System Review

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(More customer reviews)So after scouring the internet for reviews of the xponent, and having used its cousin the Torq Mixlab and getting down the basics of CPU based DJing, I am proud to say that I couldn't be happier with the Xponent. I got it a few weeks ago, have a Macbook that runs great with it, and have so far had no problems whatsoever. The software is fast and loads my itunes library (over 16k songs) in about 30 seconds. One of the best features of the Torq software is how it figures out (or you can override) the beat of each song and SAVES it. This means that when you're spinning, you can sort by BPM and see the 20 songs that are close in BPM that you have used before. This makes song selection a pleasure!
All the switches and knobs are very responsive, and as a person who basically started DJing (beatmatching, mixing, cueing) a month ago, I feel right at home here. The loop features are easy to use and drop in, and the sampler is very powerful and easy to use. I just spun a big house party with this thing a week ago and it went great! The effects are fun, and using the mouse pad like a Chaos Pad allows for some cool remixing on the fly. I find that scratching is easy to do and there are various settings to determine how sensitive the wheels are.
All in all, this is a great product for a novice or someone who likes to pick music and wants to get into real mixing. If you're the person always holding the iPod at the party but want more control, this is definitely a great place to start (and as far as I'm concerned, finish). As for all the haters of digital DJing, I don't really care, its much easier than bringing vinyl and remembering BPMs and you can plug in someone at the party's ipod and use their music in real time. I find that the Xponent is extremely versatile, perfect for a beginner or seasoned DJ alike, and it and its grandchildren will be leading us into the future of DJing. Hope this helps, there is a lack of people talking about the Xponent and its a truly great device that has allowed me to finally do something I've wanted to do for years, but I've never had the resources to get set up with vinyl and dj lessons.
Cheers!
-DP


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The professional-grade Torq Xponent system seamlessly integrates high-performance DJ software with a fully functional hands-on controller, representing a new era in digital DJ performance and production. The Xponent hardware combines the features of a two-channel DJ mixer with CDJ-style tactile controls, letting you cue, mix and manipulate digital files without touching the host computer. In addition to the essentials, M-Audio Torq 1.5 software delivers a variety of real-time creative tools to take your sets beyond the ordinary--and the Xponent hardware control surface puts all that power right at your fingertips. This integrated solution opens the door to new techniques that are simply impossible with traditional DJ setups.

Rock-Solid Professional DJ Hardware The Torq Xponent hardware/software system delivers everything a professional DJ needs to perform with a computer. Xponent is both an advanced MIDI control surface for Torq software and a four-output USB audio interface that includes two stereo RCA outputs and a standard 1/4-inch headphone output for cueing. Every control on Xponent boasts the same rock-solid construction and rugged feel as traditional DJ hardware. So if you're ready to make the leap to the world of software-based DJing, you'll feel right at home with Xponent.
Get Inside the Mix Torq 1.5 DJ software makes it easy to go beyond basic beat matching and crossfading between tracks. With a 16-cell, tempo-synced sampler, easy looping capabilities and multiple cue points, you can chop up a song--on the fly--and reorder, remix and extend any section you want, all while staying perfectly in time. The QuickScratch feature lets you instantly scratch with any two loaded samples. Tempo Anchors remove tempo variations from your tracks--or cause other songs to adopt the tempo changes--making mash-ups and live remixes a breeze. Tempo Master synchronizes all tracks, samples and effects within Torq, while MIDI clock transmits tempo information to outboard hardware and other computers so you can collaborate with friends. And if you also want to produce, Torq is ReWire-compatible with Pro Tools M-Powered software and other popular applications.
Advanced Effects Processing Torq 1.5 gives you 10 essential effects right out of the box for dynamic manipulation of your tracks. Imagine the possibilities of stacking multiple distortion, filter, repeat, chorus or bit-reduction effects while mixing between songs. You can turn any track into your own original creation--and even record it on the spot with the integrated performance recorder. Torq also allows you to create recallable snapshots of your favorite EQ, effect and mixer settings, and even supports the vast world of third-party VST effects plug-ins.
Dynamic Control Over Torq 1.5 Software The best DJ tools allow you to get your hands on your music--from cueing to beat matching to scratching. M-Audio designed the Xponent control surface with full-size, DJ CD-player-style controls so you can get into the music and engage the crowd during each moment of your set. Xponent features 64 assignable backlit buttons (including Play, Cue, Seek, Loop, Key and Sync controls), two volume sliders, eight assignable knobs for effect control and two 100mm pitch sliders. The built-in touchpad/assignable X/Y controller allows you to control your mouse or the effects in Torq, so you never have to take your hands off the unit in the middle of a performance.
Made to Work Together Torq 1.5 DJ software for Mac and PC automatically configures itself to work with Xponent--every hardware control is pre-mapped to its corresponding function in Torq. It's easy to get up and running with Xponent because all of the hardware controls are located exactly where you'd expect them to be. The transition into digital DJing couldn't be simpler.
Plays Well with Others In addition to VST compatibility, Torq 1.5 software can interface with any ReWire-compatible host application. You can easily route the output of Torq to a program like Pro Tools M-Powered and explore even more performance, production and sound design possibilities. When ReWired to a host application, the tempo of Torq automatically locks to the current session tempo, so you never have to worry about syncing playback between Torq and your preferred DAW. In addition, the Xponent control surface can be MIDI-mapped to other digital audio workstation software including Ableton Live.
What's in the Box Xponent USB DJ Controller and Audio Interface, Torq CD-ROM (Torq Software, Xponent Drivers, and Documentation), USB Cable, 12VDC 1000mA Power Supply, Quick Start Guide

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Focusrite ISA One Classic Single-channel Mic Pre-Amplifier with Independent D.I. Review

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(More customer reviews)This preamp is cleanish warm and can be nice and warm when stacked on tracks...Its a pro preamp and never think its not, The DI is very handy and can actualy be used for stereo recording with the preamp and di input.(input another preamp out to DI input to the optional a-d out)outs are now stereo...
Two recordings at the same time is a big deal if you have the a-d card, it has 2 xlr outs or the a/d card stereo outs with preamp and another input....again these preamps are used on professional recordings the isa 110's which this is a single version....
This unit does not include the a-d digital card, they run around $399 but are pro quality as well, not at all like Focusrite's cheaper pres a/d or the Behringer's a-d mess....

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Focusrite is dedicated to bringing you the tools you need to enhance the way you work. Our products are made with pride and principle by engineers who themselves are musicians and understand the part our products play in your process. The ‘ISA One\' microphone pre-amplifier delivers Focusrite's prestigious ISA transformer-based pre-amp in a rugged and portable chassis, at a groundbreaking price. ISA One features the classic vintage microphone pre-amplifier topology from the original ISA110 module, including the Lundahl L1538 transformer and bespoke zobel network. The pre-amp is complemented by a line input and an independent D.I. channel, complete with dedicated gain control, active or passive impedance switch, a TRS Jack output for routing to an amp and an independent XLR output on the rear. This flexible independent D.I. makes the ISA One ideal both for engineers wishing to blend a D.I.\'d guitar signal with a mic\'d guitar cabinet, and for demanding performers who require a single classic solution for both guitar and vocals.ISA One also features an insert point, for extra processing between the pre amp or D.I. and the optional converter. Phantom power, phase reverse and a 75Hz, 18dB/octave high-pass filter are also available from the angled front fascia. Independent input metering for both channels is provided by a moving coil VU meter with variable calibration to suit analogue and digital recording media, alongside two six-LED peak meters; inputs can be metered either pre- or post-insert. The meter calibrations utilize all the same reference points as Digidesign's Pro Tools HD system, allowing effortless line-up. ISA One\'s headphone output features a dedicated volume control to deliver an external stereo cue mix fed to the headphones via two TRS jack inputs on the rear of the unit. At Focusrite our focus on quality is all-consuming. All of our products are easy to use, logically designed, and give years of class-leading, top-notch performance.

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On Stage MIX400 Mixer Stand Review

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(More customer reviews)I'll second the other reviewer, wishing that there was some side access. It was also a bit too big to hold my 13" macbook. Not so good for laptop use, then.
But it is a solid stand to hold my AKAI APC40 Midi Controller. Fitting it to the mixer is easy, and it holds the device solidly. Being able to position my mixing and control surface to ergonomically complement the rest of my studio equipment (no longer fighting with the computer keyboard/mouse for desk space) is the reason to get this stand.

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The On Stage MIX400 Mixer Stand is ideally suited for home, project, multimedia and professional recording studios.The MIX400 is actually much more than a mixer stand; it\'s the ideal place for the most sophisticated equipment! Its amazing strength, portability and versatility make it the perfect choice for pro-audio users. The rubberized support arm protects and grips gear, while the heavy-duty base with casters is completely adjustable! The entire unit breaks down into 3 pieces for storage and transportation.This is the perfect rolling companion to your mixer, control surface, MPC, recorder, DAW, etc. The MIX400 is completely adjustable - platform width, height, tilt angle - making it one of the most flexible tools in your studio. Holds a wide variety of recorders, control surfaces, mixers, remote controllers, and more.

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Mackie MC Extender Pro 8-Ch. Control Surface Extension Review

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(More customer reviews)Of course we all know what this unit does! Like its mother the MCU Pro its solidly built and now equipped with really cool Alpine motorized faders! Worked straight out of the box! I use it with Sonar and Reaper and its simply perfect! However!
This unit requires two short midi cables to connect with the main MCU Pro so why, why, why do Mackie ship this with a USB cable??? I mean it doesn't even have a USB port! Maybe someone at the LOUD factory was a little hung over when they packed my unit! Anyhow, that aside! I recommend this product to anyone!

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The Mackie Control Extender Pro control surface extension lets you expand your Mackie Control Universal Pro control surface, eight motorized, touch-sensitive faders at a time.

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Apogee Duet - Audio input adapter - IEEE 1394 (FireWire) Review

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(More customer reviews)I bought the Duet to use with my Aluminum iMac and Logic Studio 8 and have had zero problems with the unit. The interface is very streamlined so you have to get used to using a single, multi-function knob for everything. The quality of conversion between analog and digital is head and shoulders above anything else near this price level. It sounds as good as units costing 3 times as much due to the designers' emphasis on quality sound. To get the high quality conversion at this price you are limited to the line outputs and headphone output levels being permanently linked. Some people find this a drawback, so be aware before you buy if this feature is something that is a deal breaker for you.
The small form factor is nice because as anyone with a home studio can attest to, space is not a luxury we have. I didn't pick this for its portability but as it is the size of a paperback book I can imagine it being very easy to tote around with a macbook/pro.
The included Maestro management software is straightforward and lets you set the unit up in seconds with a very easy to understand user interface. Configuring my iMac to use this as the audio input and output took less than a minute from reading the instructions. Making Logic label its mixer to match is equally simple. One thing I found convenient is how OSX lets you still use the iMac's built in speakers for the system alerts so that an error message gong sound isn't sent out through your 100watt studio monitors. You can set the output level of the system alerts separate from the duet's outputs.
The breakout cable is securely attached and the plugs are labeled with big, clear markings so changing hook-ups is easy. It has phantom power if your mics require it, which is set using Maestro.
Most audio interfaces in this price range try to win you over with more I/O channels or other add-ons instead of making the best sound conversion. They trade quality for quantity with predictable results. Apogee decided on doing a simple 2 channel interface, a single physical control and top shelf A/D/A converters so the result is the best 2 channels you can get. When you want more channels without sacrificing quality then you can step up to their Ensemble line.

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The Duet is a two-channel FireWire audio interface that features the amazing sound quality that made Apogee Electronics famous. With control functions built directly into Apple's Logic Pro, Soundtrack Pro and GarageBand software, Duet empowers you to create professional recordings effortlessly on your Mac.With Duet, you can plug in guitars, keyboards, and microphones to record your music, or simply experience how much better your favorite tracks in iTunes sound. Duet is compact and powered by FireWire, so you can pack up your studio and go anywhere your music takes you.Its dual, 1/4" high impedance inputs allow you to combine and record your two favorite instruments, whether it be two guitars, one bass, one guitar, etc., simultaneously using your favorite Core Audio-compatible application. You can also capture vocals with two microphone inputs that have phantom power and 75dB of gain. Whether you're noodling out new ideas, completing a personal tune, documenting a podcast, or recording a live performance, your new little buddy can handle it. The flexible breakout cables come with icons to make it easy to know what goes where, keeping everything in order, out of the way, and properly connected for maximum input and output, with minimal mess. Duet's bus-powered FireWire interface frees you from the traditional four-wall studio setting. So grab your laptop, find a spot where inspiration takes you, whether it's in the solace of a park or in the echoey confines of a subway tunnel, turn it on, and start doing your thing.If you don't have Logic Pro, Soundtrack Pro, Garageband, don't panic. Apogee's includes it's own Downloadable Maestro software, so you'll still be able to work with any Core Audio-compatible application. Maestro allows you to turn the Duet's multifunction control knob into a one-click manager.

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Propellerhead Record (for Reason Owners) Software Recording Studio for Musicians Review

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(More customer reviews)This is perhaps the easiest decision for someone to make - would a Reason users like to be able to record audio in conjunction with Reason? Look no further.
As a stand-alone audio recording application, Record is at the top of the line for functionality, ease of use and sound. Using the same beautiful, intuitive old-school interface structure as Reason, Record is ready to use immediately after installation. Anyone who is familiar with recording on any multi-track device will find this application a pleasure to use and immensely productive. Along with multi-track recording, limited only by your computer's processing power, Record has a standard complement of audio editing tools for splicing multiple takes of any track into an ideal master. It's also excellent for mixing and remixing, with an exceptional mixer interface model after classic SSL boards, complete with built in EQ and compression and elegant effects in-out connections. Although Record has no sound modules other than an extremely basic sketch unit, it does offer the full set of effects devices.
But the details don't matter so much as whether Reason users would like to record in their application. If you have Reason, and install Record, they are immediately and completely integrated. You cannot run both simultaneously - Reason prevents Record from launching. This is not a problem of any kind, however, as launching Record makes the full set of Reason devices available to be put into a rack, just like in Reason. In fact, using Record is identical to using Reason, with the addition that you now have full audio capability. The beta-test version of this application was 99% stable and bug-free, so buy, load and launch with confidence. Absolutely beautiful, a stunning example of good design and functionality. Highest recommendation

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Record for Reason Owners gives registered Reason users a direct path to add Record to their setup. Record for Reason Owners contains a complete version of Record, Propellerhead Software\'s brand new recording software, and upgrades Reason for complete integration.Record gives you unlimited audio tracks, world class effects and mixing gear, and a whole new take on music recording. Couple it with Reason and your favorite Reason devices appear inside the Record rack. With an intuitive, straightforward interface and a hands-on approach to capturing performances, Record was designed for musicians–not audio engineers. This is recording done right.Highlights in RecordPropellerhead Record combines recording and an ultra high-class mixer console with the limitless flexibility of the Reason rack.Record fully integrates with Reason—all your favorite devices are available directly in Record\'s ever-expandable, multiple racks. For Reason users, Record has zero learning curve; work in the comfort of an environment you know and love.To help you arrange your tracks in a smooth, effortless way, Record comes with a fast and flexible sequencer. Immediate and intuitive, Record's sequencer puts you in control of your arrangements, letting you move and edit parts as you go along, while Record\'s comping editor lets you effortlessly edit your takes into the single best performance.Record\'s software mixer\'s sound is faithfully modeled after* the legendary SSL 9000K hardware. Flexible routing, full dynamics, EQ, advanced effects handling, full automation and a 64-bit mix bus gives you that big studio sound.For guitarists and bassists, the built-in virtual POD from Line 6, Inc. brings a wide range of top-quality guitar amps, bass amps and a great collection of cabinets.With its state-of-the-art dynamic multicore audio handling, Record will use your computer's processing power to its fullest, so you\'ll never have worry about track counts or adding that extra reverb or delay.

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Digidesign Command 8 Control Surface for Pro Tools Review

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(More customer reviews)My son is a sound recording technology student at college. I'm a computer expert. To help my son in his studies, I upgraded his Apple/Sonar DAW to a ProTools environment. We spent many thousands of dollars doing so, and it was a painful experience.
The Command|8 proved to be the most frustrating element in the entire digital sound chain, and a lack of good documentation and support from Avid (or whatever it is called today - the company appears to merge and change its name weekly) does not help.
It took weeks to get the device configured and working reliably with ProTools 8. Even after that it would constantly require recalibration or would go offline arbitrarily, requiring reinstallation of protools to bring it back. I have no idea how pro-am studios manage to survive using ProTools.
A few weeks out of warranty, the display failed and the unit refused to come online. The faders go crazy for a few minutes then park at the bottom although you can hear the fader motors still clicking wildly. This problem is posted several times on the Avid user forums, and appears to be a common defect. Repair costs might run to several hundred dollars.
Unlike most users, we read the user manuals "avidly" and followerd all user directions. As a former sound engineer myself, I insisted that all equipment in the sound chain was covered with dustcloths when not in use. This device was probably used less than 100 hours in its lifetime.
Do not buy this product.

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The Digidesign Command 8 control surface puts full control of Pro Tools TDM or LE at your fingertips more affordably than ever before - for both Windows XP and Mac OS X. Through a simple USB connection, Command 8's eight bankable channels of touch-sensitive motorized faders, rotary encoders, and LCD displays enable you to control your Pro Tools system with a fully featured, intelligent control surface. As with other Digidesign control surfaces, Command 8 gives you channel strip mixing functionality along with the ability to view and edit plug-in parameters and to automate sends, pans, track volume, and mutes. Transport controls (Play, Record, etc.) are also included, complete with a footswitch jack for QuickPunch and TrackPunch in, further increasing your independence from mouse-and-keyboard-only interaction with your sessions. Command 8 features a 1-IN/2-OUT (16 channels in/32 channels out) MIDI interface for integrating your MIDI-compatible gear into Pro Tools. Its Standalone MIDI controller mode enables you to use Command 8 with your favorite third-party MIDI applications and devices - any device or application that accepts MIDI control change messages for level, panning, solo, mute, MIDI Machine Control, and other mappable parameters. For keeping an ear or two on your mixes, Command 8 includes an onboard monitor system featuring acclaimed Focusrite audio performance and quality. It supports a Main Pro Tools Input, External source (a turntable mixer or CD player, for example) and separate speaker and headphone outputs. Along with Pro Tools TDM and LE systems, Command 8 also supports Avid products natively, including Avid Media Composer. When used with Avid products, Command 8's controls are mapped to the Automation Gain Tool for recording dynamic volume automation as well as Solo, Mute, and Snap Mode on and off. Since it connects via USB, no additional MIDI interface is required. Better yet, when utilized in su

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Carl Martin PlexiTone Pedal Review

Average Reviews:

(More customer reviews)There are several good analog pedals that replicate ( not model) the sound of a high-gain Marshall tube amp:
The Sansamp GT-2, and Sansamp "British" pedals, as well as the Sansamp PSA 1.1 all do a great job of that.
The Sansamp PSA 1.1 is best for rack-rigs where midi control and signal-routing flexibility are necessary.
The other two pedals are ideal if you must run with batteries.
If you want PURE ROCKIN MARSHALL TONE, PLUS a great boost feature ( up to 20 dB) then this Carl Martin Plexitone pedal is the best I've have ever heard in 40 years of professional playing. It has the TONE and FEEL of my Customized Marshall 100 watt head (circa 1969) that was modified by Jose Arrendondo in the late 70's.
The CM Plexitone has its own internal power supply, which is absolutely necessary for the massive headroom you need for authentic Marshal tone. That also means you do NOT need a "wall-wart" to run it, but it means you must find an outlet for it.
The three footswitches are robust and spaced so my size 12 boots hit the mark without problems. Bright blue LED lights give instant indication of what's ON. The high-impedance input helps reduce signal loss from cables. In effect, this acts as a buffered "front-end" for the rest of your chain... and it's a damn good buffer too.
If you like your basic amp sound, but need a better preamp for the front-end and could use a boost for solos, this is the pedal to get.
Over the last couple of decades, my friends and I have used various CM products. All of them are great. They build everything like they care. They are good at what they do and it shows. CM pedals are worth the extra dough.
Other than lucky auctions, I got the best price on a new one from Prymaxe, a dealer in New Jersey. The shipping was fast with no problems. Highly recommended.

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The Carl Martin PlexiTone, is as the name might indicate an unusual high gain three step rocket of an overdrive.The PlexiTone offers two step overdrive, the crunch channel and the high gain channel, on top of that it gives you an up to 20dB clean boost channel.The crunch channel goes from subtle overdrive to hard rock gain stage, the high gain channel goes from rock gain stages to absolutely meltdown, with loads of gain and low end, and all in a tone that brings the memory back to the early 80's high gain guitar hero's. The PlexiTone has as most Carl Martin pedals a built in regulated (+-12V) power supply, to secure the necessary headroom that gives you the great tone.

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Focusrite Saffire Pro 24 Firewire Audio Interface, (SAFFIRE PRO 24) Review

Average Reviews:

(More customer reviews)Correction to the January 2010 review that noted problems with Windows 7, 64 bit -- As of March 2010 Windows 64bit and OS X Snow Leopard are fully supported by the focusrite drivers (Saffire Mixcontrol 2.0).
I own both the Saffire Pro 24 and the Saffire Pro 24 DSP. Both have been rock solid on both my Windows and Mac boxes. Plenty of I/O options. If I only was going to get one interface I'd get the Pro 24 DSP as the Virtual Reference Monitoring (VRM) is quite impressive.
Another advantage of these interfaces is that they can be used in standalone mode (i.e. without a computer attached). I use this for one of my setups where I have a couple of synths attached to the Saffire Pro 24. If I want to track something out to my DAW it's as simple as hooking up the firewire cable to my laptop and I'm good to go.

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The Focusrite Saffire PRO 24 is the latest in Focusrite\'s new generation of FireWire audio interfaces.As with all Focusrite interfaces, Saffire PRO 24 is the best sounding interface in its class, attentively designed with recording musicians and the modern home studio in mind. With Saffire PRO 24, sonic integrity reigns supreme. The two Focusrite pre-amps ensure low noise and distortion, while quality digital conversion and JetPLL jitter elimination technology ensure pristine audio quality as your audio flows between analog and digital domains. Alongside the two Focusrite pre-amps are a host of I/O options; two additional analog inputs, six analog outputs, ADAT inputs, stereo SPDIF I/O and 2 virtual ‘loopback\' inputs for routing digital audio between software applications - ideal for capturing online audio. Front panel 5-LED metering for each analog input offers detailed viewing of levels. Saffire Mix Control, the zero-latency 18 x 8 DSP Mixer/Router software provided with Saffire PRO 24, sets a new standard at this price point for audio interface control. It features flexible output routing and monitoring, as well as intuitive one-click set-up solutions designed to help you track, monitor and mix as quickly as possible. Saffire PRO 24 also comes with all the additional tools needed to start making music straight away. These include the latest version of the Focusrite Plug-in Suite, providing a significant upgrade from your standard sequencer effects. The suite includes Compression, Reverb, Gating and EQ VST/AU plug-ins.Focusrite\'s established Xcite+ bundle is also included. Focusrite\'s Saffire PRO 24 is designed to capture every subtle nuance of your recordings, dropped seamlessly and effortlessly into the digital domain, leaving you free to enjoy the freedom of a creative modern music making experience.

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Apple Logic Studio Review

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(More customer reviews)So you want a whole music studio for under $500? What are you, some kind of crazy Mac user?
Apple's generous price drop for this version of what many consider to be the ultimate music tool (and I'm one of those) has removed any excuse one may have for putting off this purchase any longer. Meaning they cut the price in half and added twice the features of the original: Not only do you get a leaner, meaner and much easier to use version of Logic Pro, but they've thrown in updated versions of Soundtrack Pro and Compressor (previously only available with Final Cut), a live performance module called MainStage, all five Garageband Jam Pack titles, WaveBurner 1.5 for CD mastering, new effects such as Delay Designer .... all you need supply is lots of time and about 45 gigs of hard drive space.
As a happy user of Logic since version 6, I found the upgrade (available for just under $200) easy to grow into, especially being used to Apple's other pro apps, and really appreciated the addition of Soundtrack Pro 2, whose predecessor I'd used more for track mastering. The newer interface for Logic is more self contained now, with sliding panels replacing all those open windows you used to have to deal with ... although that is still an option if you're a person who thrives on complexity. Now you can look at both the Arrange Window and Matrix Edit (now called "Piano Roll", how quaint) in the same window, just roll it in and out as needed. Same with Audio Mixer, Score View, Hyper Edit, etc. In keeping with this more streamlined method, some of the tools are more hidden away which, along with other changes, I'm quickly getting used to. Another rollaway panel gives you access to instrument settings (and other audio resources) by way of a Soundtrack-like browser -- don't like that piano sound and don't feel like scrolling through all of them? Just pick one off the list, and it's there!
Another nice feature you'll see right away is some handy standard templates: Now, instead of trying to figure out how many blank tracks, and what kind, you may need for a certain project, just click one of the template buttons and you're on your way. You can easily customize them if you're a seasoned user. The one that has this user the most excited is the orchestral template ..... a whole symphony orchestra, ordered the same as it would be in a classical score, with instruments already loaded and regions just waiting for note entry. Now that's power. You can transcribe classical works using Logic's score editor, which by the way will also print out scores should you ever hire live musicians for your compositions.
One thing that will make Logic veterans happy is, now you don't need the USB XS-Key to be plugged in to run the software. Upgraders only need it to install, then just unplug it and drop it in the box. New users won't even have to deal with it. They don't know what they've missed, and they're better off.
In summary, Logic is the solution for the Mac-based musician, as far as composing, arranging, recording, looping, producing, scoring, sound designing, whatever-ing in an audio capacity. No messy cables and reels of tape all over the place like in the old days, just launch and bring musical dreams to life. I can't emphasize enough what a good deal this is (without sounding like a salesman), and once you get over a slight learning curve you realize the possibilities are virtually boundless for what you'll come up with. Just be aware: this ain't no Garageband. Logic is for the serious musician or music producer for whom music matters above most other things. This is what obsessed people do with their time. If this sounds like you, well, you owe it to yourself to make the most logical investment.

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Logic Studio, Apple's comprehensive suite of professional music and audio tools, provides musicians with everything they need to create in the studio, on the stage, and for the screen. Logic Studio includes Logic Pro 8, Apple's legendary professional music production application featuring a new, intuitive interface; MainStage, an innovative new application for music performance; and Soundtrack Pro 2 for audio post-production and sound design. It also includes Studio Instruments and Studio Effects, with 40 acclaimed instruments and 80 professional effect plug-ins; an expanded Studio Sound Library; and new production utilities--all in a single box at an incredible price.

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Line 6 POD Studio KB37 Review

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(More customer reviews)I'm new to creating music on a computer, and my research, along with tons of positive reviews from others, led me to the POD Studio KB37 as a good all-purpose starting point. In terms of flexibility, this package is very hard to beat. The built-in inputs and mic preamps let you record just about anything, from guitar/bass and other electric instruments to vocals and acoustic instruments (using your own mic, of course). For these uses alone, the KB37 is a great way to get sound into your computer with minimum headaches. Simply connect the KB37 to your computer with a single USB cable. It's USB-powered, so you don't even have to plug it into a power outlet.
The hardware's MIDI keyboard and control surface open up a whole new dimension. They allow you to add keyboard parts and adjust some software parameters via real-world knobs and buttons; this is much faster than clicking and dragging onscreen "virtual" controls.
The included software package reveals the KB37's full potential, transforming an otherwise great product into an incredible bargain. Sure, the Reason Adapted (synth, sampler, sequencer, and effects) and Ableton Live (multitrack recording) software are the "lite" versions of these programs, but even so, they're very versatile and powerful. If you're fairly new to DAW software, trust me, even the lite version of Reason is pretty incredible -- you'll get a lot of use out of it. It includes tons of sampled real-world instruments, fully functional and tweakable soft synths, drum machine, sequencer, effects, and a lot more. It takes quite a while to explore its impressive capabilities. Once you do, you'll know whether you want to upgrade to the full version, which is available at a discounted price. But again, the lite verion will be plenty for many users.
Finally, you get Line 6's POD Farm software, which gives you an arsenal of stompbox and rack effects for guitar, bass, vocals, and just about anything else. On top of that, it includes amp, cab, and mic preamp modeling. You get everything that most guitar multi-effects units provide and then some. Because it runs on your computer, naming and saving patches is quicker and easier than stand-alone multi-effects units, and you can save as many custom patches as you like. And, unlike stand-alone units, POD Farm is expandable. Line 6 claims that the KB37 allows you to monitor your tone, complete with effects, without a latency problem (a lag between playing a note and hearing the output). This is not an empty promise. On my modest laptop, which runs Windows Vista on an Intel Core 2 Duo T5550 (1.83GHz) with 3GB of RAM, I experience zero latency problems.
All told, for the price of one guitar multi-effects unit, you get everything you need to start a home studio. If you're a full-time keyboard player, this package probably isn't aimed at you. As its name suggests, the KB37's keyboard has only 37 keys. So, there are probably better MIDI keyboard controllers out there for you. Plus, as a keyboard specialist, you'd most likely want a full version of whatever synth software you prefer. On the other hand, if you play guitar or bass and you want all the building blocks for tweaking your tone, adding vocals, effects, *and* getting your feet wet with powerful synths, sampling, and multitrack recording, here it is for a laughably low price.


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POD Studio KB37 combines the stunning sound of POD Farm\' plug-in with a powerful and versatile USB interface and 37-key MIDI controller. Essential to the success of countless platinum-selling albums, these immortal Line 6 guitar, bass and effects tones are now available for recording guitarists. POD Farm, The Premium Tone Plug-inPOD Farm plug-in features the sounds of the sought-after vintage essentials and must-have modern monsters necessary for a pro-sounding recording. It includes 18 immortal guitar amps Models,24 guitar cabs, 5 bass amps and 5 bass cabs, 29 essential stompbox and studio effects. Drag and drop models into the signal flow, pre or post amplifier. The carousel-style gear browser, displaying each and every coveted model Plus, get your free FX Junkie model pack and add 35 more effect models including synths, filters, delays, and more to POD Farm!KB37, the Lowest Noise for the Clearest RecordingsKB37 boasts the lowest noise for recording guitar, 12dB more dynamic range than similar interfaces, for clear and dynamic recordings. Plus, exclusive Line 6 ToneDirect\' monitoring virtually eliminates latency allowing you to record with amp and effect modeling and without sacrificing tone or feel.Half rock-solid guitar interface, half feature-packed MIDI controller, KB37 is as versatile as it is powerful. It features 37 full-sized velocity-sensitive keys, a pitch bend wheel, octave up/down buttons and a set of software-assignable controls.Start Recording Right Out of the BoxPOD Studio KB37 includes POD Farm plug-in, Ableton Live Lite Line 6 Studio Edition 16-track recording software ideal for guitarists, and award-winning Reason Adapted production software featuring a sought-after sequencer and tons of stunningly lifelike instruments. This collection of studio-standard hardware and software provides instant pro recording, right out of the box.

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Logic Studio Retail Review

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(More customer reviews)I use to use Logic Pro back in the day of Atari Falcon and STE1080. then i went to PC and used Logic 4.7. Though i never used the audio with it back then due to the instability of the product. It was easier to use a Mackie HDR 24/96 with midi clock to sync.
Before obtaining Logic Studio i was using Ableton Live versions 5,6,7 and now 8. The reason i bring this up is that i am now back to Logic Studio Pro on a MacPro 8 Core. The major reason for this change back to Logic was for 3 main reasons that blow away Ableton 8:
* Midi control for external and internal instruments
* Clean, Tight, Dynamic Headroom, clarity of sound. Audio Engine is far better then Ableton even at 44.1 (though i use 96k)
* for the price and what you get, this software is incredible!
The new features of Logic Studio 9 is the Flex and Guitar suite. Though i have not been impressed with the flex (perhaps because i am not sure how to use it correctly yet) the Guitar suite is AMAZING. I have owned a Line 6 pro and a Line 6 bass pro and this Guitar Suite is amazing if you run it under 96k.
The Logic Pedal board has a great slew of guitar stomp pedals that sound amazing and better then most other emulations i have heard. the distortions are warm and tube like, unlike more software emulations i have heard. it rips just right even with a guitar straight into the A/D and processed by Logic. They have a Tape Delay that emulates the Roland 201 tape echo or EHX Memory Man Deluxe and it sounds sweet and mixes very well.
The automation features are tight and crisp as well. Though it takes a bit more time to get setup on Logic for controller setup then Ableton, it is tight once you get it there.
User friendliness is not as good as Ableton but then you are getting a more PRO engine then Ableton has thus been able to deliver. In Ableton it seems the 'warp marker' technology seems to 'fuzzy' then audio in such a degree that the clarity is not tight. the dynamic headroom and stereo separation is not there. I was wondering if i was loosing my mind, but it is not the A/D Presonus firepod it was the engine of the Ableton 8. Once on Logic Studio 9, the clarity and tightness of the mix returned. This proving this engine is far superior to Ableton for a studio mix.
NOTE: if you can handle the disk space and processing power required to run 96k, do it. It will tighten your mixes amazingly.
Should you buy this? here is my suggestion:
If you run a Mac it is worth the cost. for what you get for such a pro engine and features and plug-ins this blows away the competition. At now version 9.0.2, the system on Snow Leopard is stable. very stable. It runs cleaner and crisp on snow leopard with the 64bit processing. It utilizes all the cores effectively as well. With the new imac @ 4 cores, it really could be a mini pro monster for recording.
If you own a PC, you can't use Logic, so you have to consider Sonar, Cubase, Ableton, ProTools.
I have not tried protools due to the cost of upgrades and truly to use it as tight as the industry standard, it takes a year for upgrades to happen after a new OS and the cost is outrageous compared to Logic.
I have not tried Sonar. I have used Cubase. the engine is clean though cumbersome to use.
Hope this is helpful.

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With over 200 new features and enhancements, the new Logic Studio delivers everything musicians need to write, record, produce, and perform on a Mac. The center of Logic Studio is Logic Pro 9, which makes it easier than ever to create your own compositions. Produce and play nearly any sound imaginable with a huge collection of effects, instruments, and loops, including the new Amp Designer and Pedalboard plug-ins. Use MainStage 2 to perform live with the instruments, amps, effects, and sounds you used to make your tracks. Logic Studio also comes with applications and utilities that expand your creative options into audio post-production and mastering, including Soundtrack Pro 3, WaveBurner 1.6, and more.

Logic Studio. A studio on your Mac as big as your ambitions.

Top Features New Pedalboard with an assortment of 30 virtual stompbox pedals inspired by the classics.

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PreSonus Tubepre Single-Channel Vacuum Tube Mic Pre Review

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(More customer reviews)This is a great starter preamp.
When i first started recording i was using an akg perception 200 and tascam 122L. the 122 is a decent interface but is almost too transparent for its own good. All of my vocal recordings sounded lifeless and detached.
I purchased this inexpensive preamp and found that it certainly did add the subtle harmonics needed to liven up the tone.
I read online that many people thought that while this preamp is decent for the price, merely switching out the stock chinese vacuum tube can really enhance its tone. So I went to G***** C***** and purchased a replacement russian made groove tubes preamp tube and WOW, It really did make a huge difference!(the entire tube switching process took me about 4 minutes, i had never done such a thing before but it was very easy)
So while this is a nice little preamp, a simple $20 upgrade took the quality way above and beyond what you get out of the box.

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The TubePRE is the highest quality vacuum tube preamp in its class. Loaded with PreSonus award winning dual servo preamplifier, the TubePre affordably delivers low noise tube warmth for vocals, guitars, bass guitars, synths and sound modules. The TubePre noticeably outperforms preamps in low cost mixers and recording interfaces making it an easy choice for anyone desiring to enhance their recordings with the magic of tubes.

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Carl Martin Rock Bug Pedal Review

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(More customer reviews)For anyone who requires to play guitar silently, or requires an amp backup when your amp fizzles out on stage, the Carl Martin "Rock Bug" Amp Simulator does the job well.
There are three inputs for the Rock Bug, two RCA L/R line level jack inputs for using with an external mp3 or CD device, and one unbalanced 1/4" jack input for guitar. The outputs of the Rock Bug are a 1/4" unbalanced jack output, and a balanced female XLR output for sending signal to a mixer or other recording device.
The two control knobs, 'Master' and 'Guitar' are used for balancing RCA input and guitar signal, as well as providing overall headroom for sending signal to a mixer or external recording device.
The Rock Bug is best used with a pre-amped monaural guitar signal, such as placed through an effects pedalboard, for best operation and sound quality. Carl Martin has indicated on its website that the Rock Bug will sound good without the guitar signal being pre-amped, but this is debatable. An effects board which was tested included a guitar boost and overdrive provided very good sound quality with the Rock Bug, much like a good tube amp would. The circuitry of the Rock Bug simulates the tone of a good tube amp.
The RCA inputs of the Rock Bug cannot be used to receive a pre-amped amp signal, into the Rock Bug. (This was tried with a Fender Blues Deluxe preamp-out into the RCA inputs; all that was heard through the mixer was loud hiss). The guitar input of the Rock Bug was not tested to receive the preamp-out of the Blues Deluxe.
It is possible to send an external music player through the RCA inputs of the Rock Bug, but if the output of the Rock Bug is intended to play through a mixer, it is also possible to send the music player signal directly into the mixer inputs with a greater degree of flexibility, instead of playing through the Rock Bug inputs.
The purpose of this pedal, the "Swiss Army Knife" of a musician's toolkit, is that if your amp fizzles out on stage, and you don't have spare tubes, fuzes, or needed circuits so that you can repair your amp in a hurry, the Rock Bug can save the gig. Just plug your pedalboard into the Rock Bug, and the output of the Rock Bug into the PA mixer. Set the level on the Rock Bug, and you are back in business.
Another application of the Rock Bug is if you want to play silently through headphones. This can be done by plugging your guitar into your effects board, through the Rock Bug and directly into your headphones (check your headphone impedance before buying the Rock Bug; some headphones will not work with the output of the Rock Bug), or by sending the output of the Rock bug into a mixer, and listening to your headphones from the mixer. If necessary, both the XLR and 1/4" outputs of the Rock Bug can be utilized at the same time, one for headphones at the Rock Bug, the other for recording or PA at a distance.
All said and done, the Rock Bug is a useful tool for a musician who would need a backup amp if his amp failed on stage. The Rock Bug is excellent insurance against such problems, and is recommended for any gigging musician who doesn't carry two stage amplifiers with him at all times.

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The Carl Martin Rock Bug is an Amp/Speaker Simulator and Headphone rehearsal unit that operates on a single 9v battery. Although this type of accessory is not new, we believe there is nothing on the market that feels as real or sounds as realistic as the Rock Bug! You simply get the feeling that you are playing through a good tube amp. Just plug your guitar (with or without pedals) into the unbalanced ¼" input, plug your favourite headphones into the unbalanced ¼" output and off you go! Adjust your instruments\' volume with the Guitar knob, select an open cabinet or closed cabinet simulation with the mini-toggle switch, and wail away through the privacy of your headphones. If you like, use the AUX stereo inputs and add an MP3, CD or DAT player to the mix; adjust the Master volume for your music, blend in your guitar sounds with the Guitar volume, and either play along with your favourite cd\'s or add a personal touch to your pre-recorded backing tracks. Utilizing the balanced XLR output, you can connect your Rock Bug to a mixing console for recording, solo gigs accompanying the pre-recorded music with your live guitar, or as a DI for live performance when you are packing light, or your amp goes down. You might not think an Amp-Speaker Simulator is new, but with all these features, the Rock Bug is the little Danish-Swiss Army Knife that belongs in the pocket of every guitar-players gig-bag!

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Mackie Onyx Blackbird Premium 16x16 FireWire Recording Interface with Tracktion 3 Music Production Software Review

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(More customer reviews)I don't have this unit, although I'm strongly considering purchasing it. In Googling and talking to people who have spoken to Mackie customer support, the Mackie Onyx Blackbird runs well if it uses a SIIG FireWire 2-Port PCIe (NN-E20012-S2) and can run poorly or not at all with firewire cards that are not supported. Check with the recommended hardware and other specifications before you purchase this.
The Onyx preamps are the same as in the Satellite, and although I have not used them, several of my recording engineering friends, including some who write for EQ Magazine (which is going to be bundled in with EM Magazine next month) find the preamps to be open sounding and transparent with a lot of headroom. And the rest of the feature set, including ADAT lightpipe I/O (you can connect an Apogee Rosetta 800 or other A/D & D/A converter to it and dramatically increase your I/O), RCA coaxial S/PDIF, and the rest is quite strong for $499. So like I say, I'm strongly considering purchasing this to run with a Mac Pro and Pro Tools 9.
Anyway, I hope this helps people sort this all out.


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Mackie's Onyx Blackbird Premium 16x16 FireWire Recording Interface delivers industry-leading recording quality via eight boutique-quality Onyx preamps and high-end 24-bit/96kHz conversion in a sleek rackmount design. True analog hardware monitoring, in both mono and stereo, provide simple zero-latency recording, while onboard word clock and 8x8 ADAT I/O allow for ultimate expandability. Two front panel Super Channels provide quick access to crucial recording tools and the powerful Blackbird Control DSP Matrix Mixer allows for quick mix creation and routing of any input to any output. Plus, since it works as a standalone 8-channel preamp rack, Blackbird offers a single box solution ready for integration into your studio or digital live setup. Mackie Onyx Blackbird Firewire Audio Interface Features Eight boutique-quality Onyx mic preamps with class-leading fidelity and dynamic range High-headroom design with ultra-low noise and distortion Professional 16x16 24-bit/96kHz recording/playback Flexible FireWire routing 8x8 ADAT I/O for ultimate expandability Onboard word clock I/O for studio and live integration Acclaimed JetPLL jitter elimination technology High-end Cirrus Logic AD/DA converters with 114dB dynamic range (A-weighted) Compatible with most major DAWs Logic SONAR Cubase Ableton Live Final Cut Pro and more Powerful and flexible Super Channels Front panel connectivity for easy access True analog hardware monitoring of inputs, in mono or stereo, for easy zero-latency recording 80Hz low-cut switches

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