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range from classic UA-inspired compressors and eq to licensed versions of classic processors from developers like Manley and EMT; many of them have been reviewed in our pages. You can use the plug-ins within your favorite DAW (AU, VST and RTAS versions are available), or you can directly activate them within the Apollo’s Console app. In this way, you can have as many of these killer processors in your system as the DSP can provide, and simultaneously use them within your monitoring environment. When you install the Apollo interface with its integrated DSP, you will get access to the “Analog Classics” bundle (with 1176, LA-2A and Pultec emulations) as well as 14-day demo versions of the entire range of UA plug-ins. These demos are full-use devices; they aren’t crippled in any way. It’s the perfect way to learn about the plug-ins, try them out in your music, and purchase only those that speak to you. In order to use the plug-ins, you will need to create an account on the Universal Audio site, register the device and activate the included plug-ins. From that point on, the process of purchasing you favorite plug-ins couldn’t be
Since I was adding a number of instruments, each with its own specific dynamic range and eq issues, my overdubs were also a challenge for any recording system. The analog synthesizer is often a big challenge, since it can easily bollix a mix with its ability to generate The Super Bass Monstrosity. This was a case where the warm fuzziness of the Manley Massive Passive equalizer rocked; I was able to tweak the sound of the synth while maintaining the analog warmth of the original. I frankly ended up using the Manley, along with the LA2A compressor, on every analog synth track, thanks to the quad-DSP core of the Apollo. This was also an opportunity to exercise the use of the Console application for live monitoring during overdub. There are a few important tools that will make this work without a mixing desk: you need flexible routing, and you need to be able to use effects in the monitoring chain without altering the incoming audio stream (that is being recorded). I found the Console app to be up to the task of some pretty odd monitoring options. By setting up several virtual input strips for different overdubbing “stations”, I was able to quickly shift among many instruments, always getting a good monitor mix while getting pristine audio
easier, although there’s a chance that it could stress out your credit card! Recording and overdubs I have been working in a mixer-free environment for some time now; using both MOTU and RME interfaces, along with their integrated console applications, has allowed me to save space and maintain a high-quality signal path for the work that I do. I had an important project on my plate when the Editors asked me to review the Apollo interface, and I was anxious to see how this system would work in my environment. The test project was an album overdub-and-mix job that provided me with a rather extreme sonic environment. In collaboration with this artist, I’ve been receiving disks of live performance work, editing those performances to create new work, then overdubbing guitars, analog synthesizers and percussion. We’ve collaborated on several releases, and I always look forward to these opportunities. In this case, the work I received was incredibly dense, making it difficult to turn into a workable mix. Luckily, in this case I got discrete (non-mixed) tracks, so I was able to work with the sonic elements in isolation. This was where I got to exercise some of the UAD-powered compression and eq plug-ins, selecting from among many options, looking for the perfect combination, and ending up with an appropriately tamed and tightened overlay of sound.
into my DAW. This mixing system is as good as any I’ve used, although a few “helper” tools—such as a tuner and more extensive metering— could have helped me achieve my desired results even faster. General mixing Once I got done with my overdubbing, I jumped right into mixing mode. At this point, I dismissed the Console application and started working directly in my DAW. While it would be easy to gloss over this, it is important to point out that the Apollo never got in the way of my mixing workflow; it produced great sound, the monitor management (via a single front-panel knob) worked adequately, and I never had to deal with configurations or other crud—I was able to work without distraction. I was again able to take advantage of all those UAD-powered plugins, this time within my DAW. I was using both Apple Logic and Ableton Live for this project, and could use the UAD plug-ins directly within those packages. In addition to using the provided plug-ins (as well as the RE-201 Space Echo plug-in I’d immediately purchased from Universal Audio), I was also able to demo other available plugins to see if they could make an impact on the end result. This proved to be a key function that I took advantage of in this instance. Some of the initial tracks I’d gotten sounded a little brittle to me, so I decided to try out some of the other analog-style plug-ins that are available with the UAD-powered system. I was pleased to see the Empirical Labs EL-7 Fatso plug-in, but was also intrigued by the tape-machine emulators that were available. So I started trying them out, taking full advantage of the demo period made available with the installation of the Apollo system. Some were too effect-y, some were too subtle, but my feelings were very source-specific. For
RECORDING January 2013
Table of Contents for the Digital Edition of Recording - January 2013
Recording - January 2013
Table of Contents
2012 AES Convention Report.
Universal Audio Apollo.
ADAM Audio F5 and F7 Monitors.
Earthworks ZDT 1022 Mic Preamp.
Trident HG3 Close Field Monitoring System.
AKG K702 65th Anniversary Edition Headphones.
Grace Design m903 Reference Headphone Amplifier.
Monitors & Monitoring.
Lauten Atlantis FC-387 Condenser Microphone.
Recording Fundamentals. Chapter 13: Monitors Part 2.
PreSonus BlueTube DP V2.
Getting Into Your Head.
Shure SE215 Sound Isolating Earphones.
iOS Music Tools: Last-Minute Audio Gifts!
Sennheiser HD800 Headphones.
2012 Annual Index.
Recording - January 2013 - Recording - January 2013
Recording - January 2013 - Cover2
Recording - January 2013 - 1
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Recording - January 2013 - 3
Recording - January 2013 - Fade In.
Recording - January 2013 - 5
Recording - January 2013 - Table of Contents
Recording - January 2013 - 7
Recording - January 2013 - Talkback.
Recording - January 2013 - 9
Recording - January 2013 - 2012 AES Convention Report.
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Recording - January 2013 - Universal Audio Apollo.
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Recording - January 2013 - ADAM Audio F5 and F7 Monitors.
Recording - January 2013 - 25
Recording - January 2013 - Earthworks ZDT 1022 Mic Preamp.
Recording - January 2013 - 27
Recording - January 2013 - Trident HG3 Close Field Monitoring System.
Recording - January 2013 - 29
Recording - January 2013 - AKG K702 65th Anniversary Edition Headphones.
Recording - January 2013 - 31
Recording - January 2013 - 32
Recording - January 2013 - 33
Recording - January 2013 - Grace Design m903 Reference Headphone Amplifier.
Recording - January 2013 - 35
Recording - January 2013 - Monitors & Monitoring.
Recording - January 2013 - 37
Recording - January 2013 - 38
Recording - January 2013 - 39
Recording - January 2013 - Lauten Atlantis FC-387 Condenser Microphone.
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Recording - January 2013 - Recording Fundamentals. Chapter 13: Monitors Part 2.
Recording - January 2013 - 43
Recording - January 2013 - PreSonus BlueTube DP V2.
Recording - January 2013 - 45
Recording - January 2013 - Getting Into Your Head.
Recording - January 2013 - 47
Recording - January 2013 - 48
Recording - January 2013 - 49
Recording - January 2013 - Shure SE215 Sound Isolating Earphones.
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Recording - January 2013 - 55
Recording - January 2013 - Readers’ Tapes.
Recording - January 2013 - 57
Recording - January 2013 - iOS Music Tools: Last-Minute Audio Gifts!
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Recording - January 2013 - 61
Recording - January 2013 - Sennheiser HD800 Headphones.
Recording - January 2013 - Advertiser Index.
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Recording - January 2013 - 2012 Annual Index.
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Recording - January 2013 - Fade Out.
Recording - January 2013 - Cover3
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