ProAudio Review - September 2008 - (Page 53)

STUDIO | and balance that now serves all tracking purposes from live drum kit to vocals to loud guitar amps. I have no criticisms of the Broadway system. However, I do have one small complaint regarding the system’s packaging. In shipping, a MaxTrap package corner was ripped; apparently, the bag containing all its assembly components fell out, so I had to call the company and wait for its replacement before putting together the last trap. Thus, I would recommend that Primacoustic securely tape the plastic component bag to a larger component rather than have it bounce freely around in the box. Considering how shipping companies regularly treat cargo in cardboard boxes, I can’t imagine that this is the first time such a small hardware bag has fallen out of a MaxTrap box. SUMMARY Audio production is based on art; acoustics is based on science. With correct formulas and measurements and testable, provable acoustic theories, Primacoustic has made the application of proven audio science easy for audio folks who choose a Broadway-based acoustics solution … easy, that is, beyond the simple physicality of a Broadway system installation. However, Primacoustic’s thoughtful help via phone and website make the Broadway installation process a breeze, and each installation manual per component is incredibly well explained and detailed. Broadway is proof-positive that a significant acoustics improvement can be fun and easy — even with only novice-level construction skills and a little help from your friends. Finally, Broadway is a bargain for what it is and does; it feels, looks and performs “professionally.” In other words, your peers may take one look at your studio and think that you spent a small fortune on your acoustics overhaul, yet — if you did your own labor — you didn’t. With Broadway, my audio workspace sounds like I never imagined it could. As a result, my work has never been better or more satisfying. Without a doubt, the Primacoustic Broadway system is the most significant pro audio investment I have ever made. Strother Bullins is a Contributing Editor for Pro Audio Review. REVIEW ONKYO Continued From Page 20 tinely compared, this can become annoying rather quickly. For my testing purposes, I used the built-in Audyssey sound equalization but if I were going to make the box a permanent part of my studio, I would take the time to calculate the exact position of proper speaker placement. For my testing purposes, I was anxious to see how well the Audyssey process worked and needless to say, I was quite impressed. SUMMARY Between its video and audio options, its reasonable price and the fact that it offers eight channels of balanced output, any surround-equipped studio needing to have the ability to switch between a wide variety of surround formats (Dolby, DTS, SACD, etc.) should give the Onkyo PR-SC885 a serious look. Russ Long, a Nashville-based producer/engineer, owns The Carport recording studio. He is a regular contributer to Pro Audio Review. www.proaudioreview.com September 2008 | ProAudio Review | 53 http://www.auralex.com http://www.auralex.com http://www.proaudioreview.com

Table of Contents Feed for the Digital Edition of ProAudio Review - September 2008

ProAudio Review - September 2008 Contents Publisher’s Page: It's A Hard Drive World Broadcast News and New Products Lawo mc256 Digital Production Console Studio News and New Products Earthworks PM40 Piano Mic System Onkyo Professional PR-SC885 HDMI 1.3a Surround Sound Processor Developments and Trends: Instrument Microphones Benchmark Media DAC1 Pre Focal Twin6 Be Studio Reference Monitors Cascade FAT HEAD II Blumlein Package Studio Projects CS5 Microphone M-Audio Pulsar II Small-Diaphragm Condenser Live News and New Products JBL MRX512M Live Monitor QSC: Behind The Scenes Contracting News and New Products Primacoustic Broadway Professional Acoustic Solutions Buyer's Guide: Contracting Amplifiers/Mixers Buyer's Guide: Contracting Speakers Single Slice: pc muñoz "Chatter & Buzz"

ProAudio Review - September 2008

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