Recording - February 2010 - 28

Avid’s Digidesign Eleven Rack level (Rack FX) or guitar level (stompbox FX processors). Then the Main Outputs, a stereo XLR line-level analog output pair (with a Ground Lift switch) for connecting to studio monitors or power amp or mixer or PA system. Below the Main Outs you’ll find the 1/4" Line Input Left and Right jacks, with a +4 or –10 dBV switch. Output To Amp 2(R) is one of the two outs designed for connecting to the input of a guitar amp or effect. Below it you’ll see the MIDI In and Out (standard 5-pin) ports. To their right is the Exp Pedal/Ext Footswitch Input, where you can plug in an external expression pedal or momentary footswitch. The digital I/O includes AES/EBU and S/PDIF, both can support 24-bit/96 kHz resolution (you can use one or the other, but not both digital I/O connectors at once). And lastly, the AC Power Input for a standard IEC power cable (included). I told you there was going to be a lot In use I used a variety of guitars, from singlecoil Fender Telecasters to a variety of cool PRS and even high-output ESP guitars with active pickups, and there were rigs that suited different guitars better, but they all sounded really good in general. I found that it’s worth investing time into creating custom patches. I tried a few of the scenarios suggested in the manual such as connecting the Eleven Rack to a PA Mixer (M-Audio NRV10 and EON500 JBL PA) and to an amp simultaneously, and the sounds were great. Although, if you use a setup like this, where you send a direct signal and decide to mike a real amp simultaneously, you might want to adjust or delay the direct signal by a few incremental samples to adjust the phase correlation between the two, as the physical distance from amp-to-mic will likely arrive later than that from the direct being sent to the PA. Maybe Avid might be inclined to offer a software update or option to gradually delay the signal from different outputs by samples to adjust the phase issues that might arise from some of the possible setups; otherwise, you could use a phase alignment tool such as Radial Engineering’s Phazer (reviewed November 2009) or the Little Labs IBP (reviewed October 2003). New kinds of fun features Eleven Rack not only includes Pro Tools LE, it also allows you to do unprecedented things with it. You are now able to conveniently record both dry and processed guitar signals (or other instruments if you get really creative with it) and have fun with internal or external re-amping. I had a lot of fun with this feature. Another unique feature is that which allows you to embed the rig settings into the recorded Eleven Rack audio files! I sure could have used this recall feature a couple of years ago. It is easy to implement and extremely convenient for workflow and time-proof some sessions. The 1/4" Guitar Input is a unique standout feature as it offers an analog circuit that automatically adapts the input impedance (the electronic resistance found in the circuit) to that of the amplifier or effect that it simulates at any given time. Every guitar reacts differently with every amp and effect, and this function adds an unprecedented degree of realism to the resulting sound. You can even change the automatic settings and scroll through the different input impedances to hear just how much this influences the sound, and it is a brilliant idea executed in a breathtaking manner. I loved interfacing my analog stompboxes on the front end with the True-Z input as it provides a very realistic and authentic relationship. This seems to be mostly due to how the actual input impedance will change depending on which amps or effects are being applied in Eleven Rack. I might also point out that if you’re using pedals that are sensitive to input impedance and want them to perform more consistently—but less authentically—you can override the automatic setting of the True-Z circuit and manually set it to a 1 MOhm or 1 MOhm + Cap setting. Roll your own The presets are a good starting point to familiarize yourself with the unit, but the magic happens when you customize the rigs. The preset patch names wittily reference particular songs or artists, such as Irish Echo, which sounds much like U2’s The Edge; or Outfoxed, which sounds similar to Hendrix’s tone for “Foxy Lady”. I did notice that the patches with higher gain came with pretty heavy noise gate settings, which at first had me browsing through the manual to find a way to adjust. I found it on the second page of the menu that lets you fine-tune the amplifier settings; it wasn’t placed as an external effect, which is more likely where you’ll find a noise gate in a real rig. RECORDING FEBRUARY 2010

Recording - February 2010

Table of Contents for the Digital Edition of Recording - February 2010

Recording - February 2010
Fade In
Contents
Talkback
Fast Forward
Recording Lead Vocals—All About Isolation and Rejection
Euphonix MC Control
Avant Electronics BV-1
Avid Digidesign Eleven Rack
Recording’s Vocal Column
PreSonus Studio Channel
KRK ERGO System
Readers’ Tapes
Recording’s Keyboard Column
TASCAM DR-100
Camel Audio Alchemy
Advertiser Index
Fade Out
Recording - February 2010 - Recording - February 2010
Recording - February 2010 - Cover2
Recording - February 2010 - 1
Recording - February 2010 - Fade In
Recording - February 2010 - 3
Recording - February 2010 - Contents
Recording - February 2010 - 5
Recording - February 2010 - Talkback
Recording - February 2010 - 7
Recording - February 2010 - Fast Forward
Recording - February 2010 - 9
Recording - February 2010 - Recording Lead Vocals—All About Isolation and Rejection
Recording - February 2010 - 11
Recording - February 2010 - 12
Recording - February 2010 - 13
Recording - February 2010 - 14
Recording - February 2010 - 15
Recording - February 2010 - 16
Recording - February 2010 - 17
Recording - February 2010 - 18
Recording - February 2010 - 19
Recording - February 2010 - Euphonix MC Control
Recording - February 2010 - 21
Recording - February 2010 - 22
Recording - February 2010 - 23
Recording - February 2010 - Avant Electronics BV-1
Recording - February 2010 - 25
Recording - February 2010 - Avid Digidesign Eleven Rack
Recording - February 2010 - 27
Recording - February 2010 - 28
Recording - February 2010 - 29
Recording - February 2010 - 30
Recording - February 2010 - 31
Recording - February 2010 - Recording’s Vocal Column
Recording - February 2010 - 33
Recording - February 2010 - PreSonus Studio Channel
Recording - February 2010 - 35
Recording - February 2010 - KRK ERGO System
Recording - February 2010 - 37
Recording - February 2010 - 38
Recording - February 2010 - 39
Recording - February 2010 - Readers’ Tapes
Recording - February 2010 - 41
Recording - February 2010 - 42
Recording - February 2010 - 43
Recording - February 2010 - 44
Recording - February 2010 - 45
Recording - February 2010 - Recording’s Keyboard Column
Recording - February 2010 - 47
Recording - February 2010 - 48
Recording - February 2010 - 49
Recording - February 2010 - 50
Recording - February 2010 - 51
Recording - February 2010 - TASCAM DR-100
Recording - February 2010 - 53
Recording - February 2010 - Camel Audio Alchemy
Recording - February 2010 - 55
Recording - February 2010 - 56
Recording - February 2010 - Advertiser Index
Recording - February 2010 - 58
Recording - February 2010 - 59
Recording - February 2010 - 60
Recording - February 2010 - 61
Recording - February 2010 - 62
Recording - February 2010 - 63
Recording - February 2010 - Fade Out
Recording - February 2010 - Cover3
Recording - February 2010 - Cover4
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