EQ Magazine - March 2008 - (Page 57)

source and target comparisons, stop immediately and resolve this issue. Otherwise you run the chance of simply making the mix louder, not better.] • The old unit was pretty pricey. After purchasing matching converters, I had spent much more than I would have on the Avocet, but still didn’t have as many features at my disposal. The converters in the Avocet are impressive: clear, wide-ranged, and invisible—and much preferable when compared to some of those hyped-sounding converters that I wouldn’t let within 50 feet of my monitoring path. An added bonus comes in the form of the extra digital inputs, which make it easy to attach a CD player’s digital out and use the unit’s D/As to listen to commerciallymastered discs. Talk about comparing to the other bands on the market! Offsets for a variety of levels are userprogrammable. This allows you to match the loudness of the inputs on the fly. For example, to make the proposed master quieter, simply hit the selector button for your output (it will blink, indicating it’s in offset mode), turn the main volume knob to taste, and hit the selector a second time to lock in the amount of boost/cut. That’s it. There is no need to go to a control menu, tweak the back of the unit, or burn incense. You can also choose to lock all of the offsets to prevent accidental changes. Hallelujah! Furthermore, as a surround controller, the Avocet couldn’t be easier to use. Soloing, muting, adding, and subtracting speakers form the presentation field are as simple as hitting a button. The individual monitor buttons span the top of the remote in a logical manner, with the center channel in the middle and the left and right channels spreading outward from there. Low Frequency management is a breeze in this setup (as well as for stereo setups where a sub gets involved via the channel 3 override). Seriously, it’s idiot-proof in this regard. CONCLUSIONS If I’ve said it once, I’ve said it a thousand times: After your ears and talent, the most important thing in any studio chain is the monitoring system. But with people in a seemingly constant state of fascination with monitor speakers, it’s easy to forget they are only as good as the source they receive. To that end, the Avocet is, in my humble opinion, at the top of the class of monitor control systems. The converters are pristine, the layout is logical, and it’s feature-rich and easy to use. Sure, it’s an expensive acquisition (especially with the remote), but as far as I’m concerned, it’s worth it. PRODUCT TYPE: Discrete Class A studio controller (with surround upgrade). TARGET MARKET: Higher-level studios needing a high-grade studio monitor controller for recording, mixing, and mastering. STRENGTHS: Top quality converters in every channel. Easily programmable level offsets. Stereo units can be fieldupgraded to surround capabilities. LIMITATIONS: No headphone jack built into the remote box. LIST PRICE: Stereo Avocet with remote $2,800; Surround Avocet with remote $6,400. CONTACT: www.cranesong.com serious studio infrastructure The Introducing Model 1608 Console. Now Accepting Orders www.soniccircus.com/1608 1-888-SC4-GEAR www.eqmag.com MARCH 2008 EQ 57 http://www.cranesong.com http://www.soniccircus.com/1608 http://www.soniccircus.com/1608 http://www.eqmag.com

Table of Contents Feed for the Digital Edition of EQ Magazine - March 2008

EQ Magazine - March 2008 Contents Talk Box Sounding Board Punch In Tool Box Dream Theater Nick Drake LO-FI Recording Tricks Guitar Trax Bass Managment Key Issues Drum Heads Vocal Cords Mix Bus Cheat Sheet Tascam Gigastudio 4 Cakewalk Sonar 7 Crane Song Avocet Cad Signature Series Mic Packs Waves GTR3 Kjaerhus MPL-1 Pro SE Ableton Live 7 Centrance Micport Pro, Tapco LINK.midi 4x4, Multi-Gigabyte USB 2.0 Memory Sticks Digital Redux Electrotech, Nine Volt Audio Action Drums, Big Fish Audio Hadeeth 2 Room with a VU

EQ Magazine - March 2008

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