EQ Magazine - October 2008 - (Page 62)

RECEPTOR (CONTINUED) because of the Uniwire networking protocol that allows networking up to 10 Receptors via Ethernet. Think about it: You can load each one up with dozens of GigaBytes of sounds, all hooked into your DAW of choice, but requiring virtually no CPU power or track freezing. The days of Hollywood composers having 30 Akai S3000s loaded with sounds are over. One fine point: Receptor doesn’t need a computer to do its thing in live performance (it even has rear panel keyboard, mouse, and video monitor connectors if you want to FOH Engineer access plug-in parameters graphically). However, you’ll need a computer to get the most out of Receptor; it’s the only way you can load new plug-ins, purchase the full versions of demo plug-ins, and update the system or software. Receptor enjoys excellent support. Check out their website for more information, as it explains the intricacies of how you install plugins, the various model options, how various people use it, and manual downloads. As a Receptor user, I can attest that it works as advertised—and more. ® Jim Ebdon Kyle Cook Guitars Guitars ACCESSORIES This falls under the “too many to mention” category, but one item of particular interest to guitarists is Radial Engineering’s JDX Amplifier Direct Box. Unlike a standard direct box, this inserts between an amp head and speaker cabinet. By tapping the amp head, it preserves the amp sound; this signal then feeds a reactive transformer load. This is not a standard loading device that dissipates energy (in fact, you must patch a speaker to the JDX), but actually “monitors” the reactive effects that occur between the amp and loudspeaker, and passes this along to a speaker emulator circuit that to my ears, sounds like sort of an open-back 4x12, but a little tighter. This then goes to an active balanced driver to provide a balanced XLR output. In the studio, this can give you a direct sound that faithfully reproduces the amp head’s characteristics, which you can use instead of or in addition to a miked sound. Live, you can forego miking and just feed the JDX out into a PA, giving a consistent sound from gig to gig. READY TO MAKE THE TRANSITION? Going from studio to stage is neither as complex or expensive as it once was, and is worth the effort: Your studio chops will increase dramatically if you also play in front of a live audience, and your recordings will sound more vital when informed with the performance ethic. Go for it! Manufacturer Links Ableton, www.ableton.com Akai, www.akaipro.com Alesis, www.alesis.com Boss, www.bossus.com Cakewalk, www.cakewalk.com CME, www.cme-pro.com Digidesign, www.digidesign.com DigiTech, www.digitech.com Electro-Harmonix, www.electroharmonix.com Eventide, www.eventide.com Fxpansion, www.fxpansion.com IK Multimedia, www.ikmultimedia.com Korg, www.korg.com Line 6, www.line6.com Mackie, www.mackie.com M-Audio, www.m-audio.com Muse Research, www.muserearch.com Native Instruments, www.nativeinstruments.com Novation, www.novationmusic.com Open Labs, www.openlabs.com Peavey, www.peavey.com Phonic, www.phonic.com Propellerhead Software, www.propellerheads.se Radial Engineering, www.radialengineering.com Roger Linn Design, www.rogerlinndesign.com Sony, www.sonycreativesoftware.com Steinberg, www.steinberg.net TC Electronic, www.tcelectronic.com TC-Helicon, www.tc-helicon.com Tenori-On, www.tenorionusa.com Waves, www.waves.com Yamaha, www.yamaha.com/proaudio Royers On The Road With MATCHBOX TWENTY “Live guitars sound amazing with R-121 Live mics on the cabinets, and they stand out well in the mix. Royers are warm, natural, present and uncolored - not at all harsh like several of the other mics we auditioned, and the band loves the natural sound they get in their in-ear monitors. “I've used Royers on Aerosmith for a few years and currently on Matchbox Twenty and they've been among my most reliable microphones. These are amazing ribbons.” FOH Engineer - Matchbox Twenty, Aerosmith, Annie Lennox Jim Ebdon Royer Ribbons Ribbons bn 818.847.0121 s Burbank, CA.. Burbank, CA a A www.royerlabs.com www.royerlabs.com c 62 EQ OCTOBER 2008 www.eqmag.com http://www.royerlabs.com http://www.ableton.com http://www.akaipro.com http://www.alesis.com http://www.bossus.com http://www.cakewalk.com http://www.cme-pro.com http://www.digidesign.com http://www.digitech.com http://www.electro http://harmonix.com http://www.eventide.com http://www.fxpansion.com http://www.ikmultimedia.com http://www.korg.com http://www.line6.com http://www.mackie.com http://www.m-audio.com http://www.muserearch.com http://www.native http://instruments.com http://www.novationmusic.com http://www.openlabs.com http://www.peavey.com http://www.phonic.com http://www.propellerheads.se http://www.radialeng.com http://www.rogerlinndesign.com http://www.sonycreativesoftware.com http://www.steinberg.net http://www.tcelectronic.com http://www.tc-helicon.com http://www.tenorionusa.com http://www.waves.com http://www.yamaha.com/proaudio http://www.royerlabs.com http://www.royerlabs.com http://www.eqmag.com

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

EQ Magazine - October 2008 Contents Talk Box Sounding Board Punch In Smashing Pumpkins Guitar Trax Bass Management Key Issues Drum Heads Vocal Cords Mix Bus Cheat Sheet Cakewalk Sonar 7 Steinberg Cubase 4 Studio Meets Stage Gear for the Studio and Stage Sounds Room with a Vu

EQ Magazine - October 2008

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