ProAudio Review - March 2009 - (Page 48)

sE (continued from page 26) RNR1 and has a good range of movement with a nice strong screw angle clamp. I started with a few basic tests for noise levels and pickup pattern. Inherent noise levels were exceptionally low and, as with many ribbons, there was an extremely tight figure-of-eight polar pattern. Side rejection proved virtually complete. In Use I have a fondness for the natural clarity that a ribbon gives in the midrange, so had high hopes for the RNR1. I took the mic on a mini application tour to get a taste of performance in a variety of different spaces. Starting with a choir in a large church, the results were truly stunning. Results were as close to being “in the space” as I have heard. That wasn’t simply due to the usual ribbon characteristics of warm lows and spacious mids, but also an added level of detail that extends right through the high frequencies. This high frequency detailing is an area that ribbons often seem to struggle with; in the case of the RNR1, there were no problems at all. I then took the RNR1 into the studio and placed it in various locations around two drum rooms, using the same kit and performer for reference. Once again, the RNR1 delivered an “as if in the space” feel. Getting tight into to the kit to see how the RNR1 handled high SPL signals (with axis placement carefully chosen), the RNR1 coped happily with very close proximity, indeed. This was also the case when I used the RNR1 with a variety of lead and bass guitar amplifiers in the same studio rooms. Finally, I headed back into the main studio for a series of stringed acoustic and percussive instruments. I spent several hours working with numerous setups here. Various positions, preamps, and gain levels all kept delivering wonderfully natural results. During my audio training, I was always taught about the importance of spaces and the contribution to the sonic and dynamic characteristics of sound, something that has proved to be very important with my work in general. Using the RNR1 has both reinforced and, in some ways, rejuvenated, the way I think about this. I put the RNR1 up alongside a number of well-known, largediaphragm condenser and ribbon microphones from a range of manufacturers, and then invited colleagues to assess in a blind test. I felt confident from my own experience that the RNR1 would stand up against this very stiff competition. When it came to which best represented the natural sound in the room, the RNR1 was universally identified as the preferred choice by all. The surprising thing was how quickly all settled on this choice, commenting on the sense of space and high-end clarity. Summary The word that constantly comes up when you listen and talk about the sE RNR1 is “natural.” The fact that the RNR1 has excited me about recording spaces to such a degree is real testament to the quality of this microphone — the high frequency clarity and presence is stunning. This is not a cheap mic, although it is good value. I would have no qualms about spending the asking price, as units that might be considered comparable (depending on your criteria) still cost a lot more; many of the mics I used during the comparative evaluations above would fall into this category. More than just this, Rupert Neve and Siwei Zou are collaborating on several other microphones to fill out this Rupert Neve Signature range and, if the RNR1 is an example of what to expect, there is every reason to get excited about what’s in store. Focusrite (continued from page 23) whether it makes my mixes sounds good and is easy enough to use that I’ll return to it when needed. That is certainly the case here with LMHD. It got a good workout on my sessions because it’s flexible and easy on the processor. Using it over time, I’ve developed my favorite “go to” models and settings, but sometimes I’ll try something new and see where it takes me. It’s nice to have that option available. If I did have a complaint, it’s not about the sound. It would only be in the mouse operation of the knobs. I found them to be a little “loose,” and using the command key reset them to default instead of offering fine control, as is standard on many plug-ins. Sure, you can enter in the values, but it would be great to “tighten” them up a little in future versions. Overall, LMHD is a good-sounding, well-engineered piece of software that I highly recommend. With a street price around $500, it’s an excellent value for all the power that it provides. Listen for yourself: Focusrite provides a free 14-day trial of LMHD on its website at www.focusrite.com. 48 ProAudioReview | March 2009 www.proaudioreview.com http://www.focusrite.com http://www.proaudioreview.com

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

ProAudio Review - March 2009 Contents Technically Speaking New Studio Products Opinion: Studio Sense Gear Trends In Nashville Focusrite Liquid Mix HD TDM Plug-in Daking Mic-Pre One sE Electronics RNR1 Active Ribbon Microphone WAVES Tony Maserati Plug-in Collection KRK Systems Rokit 8 G2 Monitors and 10s Subwoofer JBL Control 2P Powered Desktop Monitors Neumann TLM 103D Digital Microphone System Violet Design “The Wedge” Condenser Microphone New Live Products Opinion: Worship Audio Fender Passport Deluxe PD-500 Portable PA PAR Contributor Of The Month Behringer 2442FX 10x4x2 Analog Mixer Single Slice

ProAudio Review - March 2009

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