iZotope的每月通讯提供艺术家访谈，折扣，技术技巧和新闻更新。
Source : iZotope
English
Deutsch
Español
Français
Italiano
日本語
Polski
Português
Русский
العربية
Tiếng Việt
हिन्दी (भारत)
한국어
中文保存您对MINIAK或MPK88选择一包！
点击下载打印的PDF版本
|
Jul
29
|
老板的BR - 800数码录音现已发布 |
Joe is a seasoned bassist known for his innovative chord progressions and crushing riffage. It is safe to say that he takes full advatage of his instruments tonal capabilities and knows how to select the right rig for the job. So when he got a chance to play Ampeg's new SVT-8PRO along with the new PRO NEO Series PN-410HLF and PN-115HLF, we took his opinion seriously. Here's what he had to say:
"I'm loving the sound of this new SVT-8PRO; it's got the power that I need to play with Intronaut while still giving me the crystal clear sonics and accurate reproduction of tone I deman. I want my bass to sound like itself, not overly colored by electronics and it sings loud and clear through this rig. And the PRO NEO cabs are awesome! They're loud as hell and super rugged but shockingly light...my guitarists are green with envy"
While we were at the show (at the Hawthorne Theatre in Portland, OR) we recorded a couple of tracks on video. The first (Elegy) is an unreleased track from their upcoming album, "Valley of Smoke", due out in October of this year. The second tune (The Literal Black Cloud) features some really sweet chord progressions that any bass player should appreciate.
So, check out the videos below or click on the following links to learn more:
Intronaut on MySpace (tunes and tour dates)
FOR IMMEDIATE RELEASE
Santa Monica, CA, July 26, 2010- Apogee Electronics Corporation introduces Symphony I/O, the most advanced multi-channel professional audio interface available with next-generation sound quality, Logic and Pro Tools compatibility and total I/O flexibility. Perfecting the collaboration between Apogee audio hardware and the Mac, Symphony I/O is the culmination of 25 years of award-winning design experience featuring a unique modular based system which can function in StandAlone Mode or connect directly to a Mac via any Mac-based audio workstation. With Symphony I/O, the new Symphony System sets an unprecedented standard with ground-breaking digital audio conversion technology, new Maestro 2 software, multiple I/O options and ultra low latency performance.
With flexible and scalable I/O architecture, the upgraded Symphony System now allows end-users to define a system to their specific needs while benefitting from an incredible feature set. Symphony I/O’s base chassis can accommodate up to 2 I/O modules, creating any combination of analog and digital I/O with USB 2.0, Symphony and Avid’s Pro Tools connectivity. The new Maestro 2 offers integral control of Symphony I/O with clean and clear software interface that makes workflow easy by removing the guesswork from routing, mic pre adjustment, input and output calibration and hardware control. Lastly, connect Symphony I/O to the Symphony 64 PCI or Symphony Mobile Express/34 card for ultra low latency with Apple Logic, and all Apple Core Audio applications.
The new Symphony System offers an unparalleled option for professionals serious about the quality of their recordings, all at remarkably affordable pricing. “Symphony I/O takes Apogee’s high-end to the next level, and does so with an interface so adaptable, so efficient, so extraordinary, we are confident it will become the centerpiece of the modern audio recording studio,” says Apogee CEO and Founder Betty Bennett. “For professionals who depend on extremely low-latency, precise clocking technology and the highest conversion quality, Symphony I/O is the answer.”
For more information, Visit http://www.apogeedigital.com/.
At A Glance Features:
Symphony I/O
The latest in Apogee conversion and clocking technologies
Current I/O Modules include:
8 Analog I/O + 8 Optical I/O
8 Analog I/O + 8 AES I/O
8 Mic Preamp
16 Analog IN + 16 Optical OUT
16 Analog OUT + 16 Optical IN
Audio Interface Mode (AIM): Easily configure Symphony I/O from the front panel for these modes:
Symphony (connect to Symphony PCIe card or Symphony Mobile Express/34 card for ultra low latency use with Logic or any Core Audio application)
Pro Tools HD (connect directly to Pro Tools PCIe card)
USB (connect to high-speed USB 2.0 port)
StandAlone (I/O inputs routed directly to I/O outputs)
Front panel control including two encoder knobs for selectable input gain and output level adjustment and sixteen (16) high-resolution meters, audio system and clocking indication
Two (2) studio quality headphone outputs
Four (4) word clock connections
Future proof with Ethernet and USB computer connectivity to be available with a future firmware update.
Available with feet for desktop use or rack ears for rack mounting
Maestro 2
Allows control of all Apogee hardware inputs, outputs, low latency monitoring and routing paths for single or multiple devices.
Completely redesigned interface featuring a single window design
Essential controls such as audio system, clocking, sample rate, headphone output and output level are placed at the top toolbar for quick and easy access.
Symphony I/O Feature Release Schedule:
*NOTE: Features available via downloadable firmware updates and all dates are subject to change.
Release 1 - August 2010
Symphony I/O Chassis
8 Analog I/O + 8 Optical I/O Module
8 Analog I/O + 8 AES I/O Module
Connectivity for up to 2 I/O Modules per Symphony I/O Chassis
Symphony System Audio Interface Mode
One Symphony I/O connected to one Symphony 64 PCI card
Maestro 2
Release 2 - September 2010
Pro Tools HD Audio Interface Mode - One Symphony I/O, up to 32 channels
Connection to Symphony Mobile - One Symphony I/O, up to 32 channels
StandAlone Audio Interface Mode*
Maestro StandAlone Routing
Support for 64-bit kernel*
Release 3 - October 2010
Up to four Symphony I/Os connected to one Symphony 64 PCI card (32 channels per port) or Pro Tools HD 2*
Mic Preamp I/O Module
16 Analog In + 16 Optical Out I/O Module
16 Analog Out + 16 Optical In I/O Module
Legacy support for X-Symphony equipped X-Series and Rosetta Series converters connected to one Symphony 64 PCI card in addition to one Symphony I/O (32 channels per port)*
UV22HR
Release 4 - November 2010
USB Audio Interface Mode*
Low-latency Mixer enabled in Maestro 2
Release 5 - TBD
Mic Preamp control via Pro Tools HD or Pro Tools control surface such as ICON
All Maestro Routing enabled
SBus support
Eucon support
Ethernet functionality
MADI connectivity
About Apogee Electronics
For more than twenty five years, artists, producers, and engineers have trusted Apogee for their digital audio solutions. The simple secret: Apogee engineering carefully designs each converter based on a commitment to the integration of the best analog and digital technologies available. Please visit http://www.apogeedigital.com/ for more information about Apogee and its legendary product line.
###
FOR IMMEDIATE RELEASE
Santa Monica, CA, July 26, 2010- Apogee Electronics Corporation introduces Symphony I/O, the most advanced multi-channel professional audio interface available with next-generation sound quality, Logic and Pro Tools compatibility and total I/O flexibility. Perfecting the collaboration between Apogee audio hardware and the Mac, Symphony I/O is the culmination of 25 years of award-winning design experience featuring a unique modular based system which can function in StandAlone Mode or connect directly to a Mac via any Mac-based audio workstation. With Symphony I/O, the new Symphony System sets an unprecedented standard with ground-breaking digital audio conversion technology, new Maestro 2 software, multiple I/O options and ultra low latency performance.
With flexible and scalable I/O architecture, the upgraded Symphony System now allows end-users to define a system to their specific needs while benefitting from an incredible feature set. Symphony I/O’s base chassis can accommodate up to 2 I/O modules, creating any combination of analog and digital I/O with USB 2.0, Symphony and Avid’s Pro Tools connectivity. The new Maestro 2 offers integral control of Symphony I/O with clean and clear software interface that makes workflow easy by removing the guesswork from routing, mic pre adjustment, input and output calibration and hardware control. Lastly, connect Symphony I/O to the Symphony 64 PCI or Symphony Mobile Express/34 card for ultra low latency with Apple Logic, and all Apple Core Audio applications.
The new Symphony System offers an unparalleled option for professionals serious about the quality of their recordings, all at remarkably affordable pricing. “Symphony I/O takes Apogee’s high-end to the next level, and does so with an interface so adaptable, so efficient, so extraordinary, we are confident it will become the centerpiece of the modern audio recording studio,” says Apogee CEO and Founder Betty Bennett. “For professionals who depend on extremely low-latency, precise clocking technology and the highest conversion quality, Symphony I/O is the answer.”
For more information, Visit http://www.apogeedigital.com/.
At A Glance Features:
Symphony I/O
The latest in Apogee conversion and clocking technologies
Current I/O Modules include:
8 Analog I/O + 8 Optical I/O
8 Analog I/O + 8 AES I/O
8 Mic Preamp
16 Analog IN + 16 Optical OUT
16 Analog OUT + 16 Optical IN
Audio Interface Mode (AIM): Easily configure Symphony I/O from the front panel for these modes:
Symphony (connect to Symphony PCIe card or Symphony Mobile Express/34 card for ultra low latency use with Logic or any Core Audio application)
Pro Tools HD (connect directly to Pro Tools PCIe card)
USB (connect to high-speed USB 2.0 port)
StandAlone (I/O inputs routed directly to I/O outputs)
Front panel control including two encoder knobs for selectable input gain and output level adjustment and sixteen (16) high-resolution meters, audio system and clocking indication
Two (2) studio quality headphone outputs
Four (4) word clock connections
Future proof with Ethernet and USB computer connectivity to be available with a future firmware update.
Available with feet for desktop use or rack ears for rack mounting
Maestro 2
Allows control of all Apogee hardware inputs, outputs, low latency monitoring and routing paths for single or multiple devices.
Completely redesigned interface featuring a single window design
Essential controls such as audio system, clocking, sample rate, headphone output and output level are placed at the top toolbar for quick and easy access.
Symphony I/O Feature Release Schedule:
*NOTE: Features available via downloadable firmware updates and all dates are subject to change.
Release 1 - August 2010
Symphony I/O Chassis
8 Analog I/O + 8 Optical I/O Module
8 Analog I/O + 8 AES I/O Module
Connectivity for up to 2 I/O Modules per Symphony I/O Chassis
Symphony System Audio Interface Mode
One Symphony I/O connected to one Symphony 64 PCI card
Maestro 2
Release 2 - September 2010
Pro Tools HD Audio Interface Mode - One Symphony I/O, up to 32 channels
Connection to Symphony Mobile - One Symphony I/O, up to 32 channels
StandAlone Audio Interface Mode*
Maestro StandAlone Routing
Support for 64-bit kernel*
Release 3 - October 2010
Up to four Symphony I/Os connected to one Symphony 64 PCI card (32 channels per port) or Pro Tools HD 2*
Mic Preamp I/O Module
16 Analog In + 16 Optical Out I/O Module
16 Analog Out + 16 Optical In I/O Module
Legacy support for X-Symphony equipped X-Series and Rosetta Series converters connected to one Symphony 64 PCI card in addition to one Symphony I/O (32 channels per port)*
UV22HR
Release 4 - November 2010
USB Audio Interface Mode*
Low-latency Mixer enabled in Maestro 2
Release 5 - TBD
Mic Preamp control via Pro Tools HD or Pro Tools control surface such as ICON
All Maestro Routing enabled
SBus support
Eucon support
Ethernet functionality
MADI connectivity
About Apogee Electronics
For more than twenty five years, artists, producers, and engineers have trusted Apogee for their digital audio solutions. The simple secret: Apogee engineering carefully designs each converter based on a commitment to the integration of the best analog and digital technologies available. Please visit http://www.apogeedigital.com/ for more information about Apogee and its legendary product line.
###
Certainly, these are different beasts...one is ultra-lightweight, extremely portable and super powerful.
The other is an all-tube legend that more than delivers and is designed and assembled in the US.
It's a comprehensive review that really shows the bredth of what Ampeg delivers.
Check out the full review here.
Here's more info on the:
Glenn Rosenstein is one of those powerhouse engineer/producers who cut his teeth at NYC’s Sigma Sound in the ‘80s. Madonna, U2, Talking Heads, and Ziggy Marley are just some of the artists whose records received Rosenstein’s golden touch. These days, he is producing hits in his own Nashville studio. Rosenstein added the Universal Audio Powered Plug-ins to his tricked out Pro Tools System and Icon Console for the new Livingston Taylor album Last Alaska Moon, which features the singer’s older brother, James Taylor.
“I had heard the UAD plugs on a number of my friends' rigs and I was familiar with all of the great UA stuff — and was really lusting after one,” commented Rosenstein. “I wanted to get a lot of that tonality. I figured, who better than UA to emulate their existing hardware. My system works seamlessly, transparently, unbelievably well”
Rosenstein has spent years working with Universal Audio hardware, these days he is often ‘mixing in the box’ and turns to Universal Audio Powered Plug-ins to add classic analog effects. “Universal Audio is really doing some breakthrough stuff. The fact that they are the creators of many of these pieces of gear to begin with, and have the technology in place to emulate this hardware in a very thorough way.”
“We recently used the UAD-2 Powered Plug-ins on a record I produced for Livingston Taylor, and we had quite a few guest artists on it; James Taylor was involved, Carly Simon was involved. Members of Union Station played on it.
“George Massenburg’s approach to mixing that record was, of course, very organic. The tracks were well recorded in a very traditional sense. Compared to most current pop productions, it was quite an organic record. It wasn't like Livingston and I created a mandate that this was to be the approach. It just kind of created itself. But when we did go to mix, naturally there were discussions about how we were going to approach the mixes, and how true to the original tracks we wanted to be. Of course, we wanted to be very true to the original tracks. We didn't want a lot of flash, or a lot of effects. We wanted it to sound natural.
“So when we started getting involved in the mix, George has a lot of his own equipment that he likes to use; he invented all of these important audio tools. But when we started going outside of his box, the first thing he picked up was UA’s FATSO Jr. plug-in. And we were very pleased with the contribution that it made to our record.
“We used it on the background vocals, and also on the horn sections. And it did what a FATSO should. It beefed them up, warmed them up. It did all of the neat little things that the hardware would have done.”
Read the interview in its entirety as part of the June 2010 UA Webzine: http://www.uaudio.com/webzine/2010/june/Glenn-Rosenstein-UA-Interview.html
About Universal Audio Inc.
Founded in 1999 by Bill Putnam Jr. and based in Scotts Valley, California, Universal Audio is best known for its vintage analog reproductions and advanced Digital Signal Processing technology, including the award-winning UAD Powered Plug-Ins Platform. The company is focused on merging the best of classic analog and modern digital technology. UA is devoted to this endeavor, following its rich recording heritage and motto, “Analog Ears. Digital Minds.” http://www.uaudio.com
|
Jul
26
|
新的iPhone应用数字演员 |
Since its debut at the Summer NAMM show, the Taylor GS Mini has been widely heralded with descriptions like “small but mighty” and “full of sound.” The scaled-down guitar, which boasts a bold voice and amplifying accessories, has made its way into the hands of well-known rockers, actors and professional athletes, and in a new web feature on the Taylor Guitars website, videos from the studio and the road testify to the Mini’s appeal.
One artist who was immediately taken with the GS Mini is longtime Taylor player Tommy Shaw (610ce, 614ce, 615ce, 854ce, GS8, T5-C2) of Styx and Damn Yankees fame. “It’s fantastic,” he raves in his video. “It’s small enough to go with me wherever I go in hotels, cars, busses, planes, and it’s a real guitar. It intonates great all the way up and down the neck and has a nice tone. I would play this on stage. I would record with this guitar.”
The Bacon Brothers, the rockin’ duo of Michael and Kevin Bacon (614ce, 914ce, 815ce, K65ce), also demoed GS Minis in a self-directed video sketch. “We love these little guys,” Michael shares. “When you play this guitar, you don’t feel like you’re playing a small guitar. It’s really loud and the neck feels natural. It’s a really versatile guitar.” Fellow actor and musician Bruce Greenwood had similar praise to share in a video from his recording studio. “[The GS Mini] instantly became my favorite guitar,” he says. “It has a big, fat deep tone, and it’s really small. I just love this little guitar. And like every Taylor, the intonation is perfect. It’s led me to a couple new tunes, and you can’t really ask for more than that.”
Jonah Matranga (GC8e, GC5e, SolidBody Classic), an LA-based singer/songwriter and lead vocalist of the band Far, offers up an acoustic performance of his song “Every Mistake” using the GS Mini. At the conclusion, he shares, “I love this thing. It’s got incredible tone and stays in tune… it sounds gorgeous! With its strap peg and pickup, I’ll take this thing on the road anytime.”
The GS Mini web feature also includes video from pro surfer Rob Machado, who strums on the porch of a weathered beach hut; Tony St. Tone, who travels and performs with his Mini in the tropics of Costa Rica; and fingerstylist Doyle Dykes, who samples the Mini at the Summer NAMM show. Other Taylor artists are featured, along with Taylor co-founder Bob Taylor.
The GS Mini features a solid Sitka spruce top, a back and sides of sapele laminate, an ebony fretboard and bridge, and a tortoise shell pickguard. Each Mini comes pre-fitted for the ES-Go , a proprietary magnetic soundhole pickup inspired by Taylor’s award-winning Expression System .
Part of the ES-Go’s design simplicity is that it can easily be added to the guitar by anyone as an after-market accessory, thanks to a snap-in bracket located inside the guitar. Another accessory that makes it easy to plug in and play on the go is the Taylor V-Cable , a quarter-inch cable with a built-in master volume control. Because the Mini was designed without tone or volume knobs, The V-Cable gives players a volume control where it plugs into the guitar, putting volume control at every player’s fingertips any time they plug in.
Each GS Mini comes ready to go anywhere in a specially engineered Taylor GS Mini Hardbag and will be available at domestic Taylor dealers in late summer at a suggested U.S. MSRP of $678. The ES-Go and V-Cable will also be available in late summer through Taylor’s online store, TaylorWare. Players can also purchase the Taylor V-Cable through RapcoHorizon, the manufacturer of the V-Cable.
To view videos of the GS Mini in action, please visit http://www.taylorguitars.com/guitars/gs-mini/