ProAudio Review - January 2009 - (Page 26)

www.proaudioreview.com linked together. NF575 Noise Filter is a high-resolution filter set designed to remove a wide variety of noise types from audio. It provides HP and LP filtering and five bands of notch filtering with linkable frequency control. Selectable slopes of 6, 12, 18, 24, 30 and 36 dB/oct and frequency control range covering the entire audible spectrum make the plug-in extremely flexible. Revolver is a high-powered convolution reverb that provides total impulse response control, dedicated and routable EQ, two sync-able delay lines, a reverb decay crossover network, and specialized stereo imaging. It incorporates a diverse collection of impulse responses (IRs) from all over the world, including hundreds of sounds ranging from typical to classic acoustic spaces. It includes everything from the wonderful sound of several halls, plates, and churches to a locker room, the inside of a vacuum cleaner tube and even the McDSP office lobby. Additional acoustic spaces and outboard gear can easily be modeled with the Revolver impulse response tools. Synthesizer One is a soft-synth with a fat analog sound and endless programmability via its simple interface. It combines wave table and analog oscillators, a completely modular design, flexible filtering, and a dedicated effects section to produce inspiring leads, fat basses, and evolving synthetic textures. The Synthesizer One wavetable editor allows users to create unique waveforms for oscillators and LFOs. Waveforms may be drawn, generated from a suite of tools or imported from an audio track. In Use I love the design philosophy of McDSP. Instead of spending their time trying to create a digital model and a visual representation of an analog piece of equipment, the programmers at McDSP simulate the sound of analog processors by analyzing their output and writing algorithms to mimic what they’re hearing, rather than trying to create a digital model of the unit’s analog components. And I must say, they do this quite well. Additionally, in contrast to the PAR Contributor of the Month: Russ Long Engineer/Producer/ Studio Owner Nashville Russ Long has been producing and engineering a wide variety of music and film projects since the late 1980s. His credits include the hits “Kiss Me” and “There She Goes” by Sixpence None The Richer and albums by Wilco, Newsboys, Over the Rhine, Relient K, Dolly Parton, Tanya Tucker, and Jim Brickman. His film credits encompass the soundtracks to the Girl Interrupted, Here On Earth, Jonah, How To Lose A Guy In 10 Days, The Second Chance, The Pirates Who Don’t Do Anything: A VeggieTales Movie and She’s All That motion pictures. Russ has done 5.1 mixes for Allison Moorer, David Crowder, and Mercy Me and is in demand as an engineer for live sound recordings, having multitracked live performances for Switchfoot, Chris Tomlin, and Nichole Nordeman. Russ’ studio — Nashville-based The Carport — opened in 1994 and has played a key role in the majority of these projects. In addition to producing and engineering, Russ has also authored over 100 articles and equipment reviews here at Pro Audio Review, and elsewhere. He has also been involved in the development of a series of educational DVDs that currently includes Russ Long’s Guide to Nashville Recording and Shane Wilson’s Guide to Mixing. They are available at www.audioinstruction.com. Russ Long’s website: www.russlong.ws industry norm, McDSP never charges customers for plug-in upgrades. It’s always nice to use a product whose manufacturer thinks of its customers first. The Emerald Pack III installation was quick and easy, and I found the bundle to be diverse, complete, and very usable. Over the last several months, I’ve been able to use every one of these plug-ins in the real world, not just in my review testing, and they never cease to provide excellent results. I’ve found that Analog Channel works wonders on poorly recorded tracks or tracks that have been tracked through lowquality converters. It also excels on drums, percussion, or any sound source that natu- rally has sharp transients. I love being able to select from several playback head types, tape formulations, and even control the tape saturation recovery time. The plug-in includes a library of analog mixing system emulations and real-time display of saturation curves and calibrations. I was already a longtime fan of Filter Bank and Compressor Bank before I used Channel G, and they were initially my go-to plug-ins for EQ and compression. Now I find that I’m reaching more for Channel G; I love being able to do so much within a single plug-in. I have yet to encounter a guitar processing plug-in that can shake my addiction to real pedals and real amps, but Chrome Tone 26 ProAudioReview | January 2009 www.proaudioreview.com KONRAD SNYDER http://www.proaudioreview.com http://www.audioinstruction.com http://www.russlong.ws http://www.proaudioreview.com

Table of Contents Feed for the Digital Edition of ProAudio Review - January 2009

ProAudio Review - January 2009 Contnets Technically Speaking New At NAMM: Studio Opinion: Studio Sense Feature: PAR Session Trials: Large-Diaphragm Microphones Review and Second Opinion: McDSP TDM Emerald Pack III featuring FutzBox PAR Contributor Of The Month Review: Audio-Technica AT2050 Multi-pattern Condenser Microphone Review: LaChapell Model 583s Microphone Preamp & Model 583e Microphone Preamp/EQ Review: RNDigital D4 Plug-In Mini Review: MXL Microphones V88 Large-Diaphragm Microphone Mini Review: Solid State Logic Mynx New at NAMM: Live New Live Products Opinion: Worship Audio PAR Recommends: Portable PA Options for 2009 Mini Review: Fishman SoloAmp Review: AKG D 40 Instrument Microphone Installation Profile: 9:30 Club, Washington, DC Single Slice

ProAudio Review - January 2009

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