Recording - November 2009 - 10

PreSonus Bundles Portable FireWire Interface With New DAW Software The FireStudio Mobile is the latest FireWire audio/MIDI interface from PreSonus. It’s a compact desktop or 1/3rack enclosure with 10 inputs and 6 outputs and built-in software routing/mixing for low-latency cue mix monitoring, that can be powered from an external AC supply or the FireWire bus. The two front-panel inputs feature XMAX mic preamps on the XLRs and 1/4" Hi-Z TS jacks for guitar or bass recording, and a 1/4" TRS front-panel headphone jack is provided with its own level control in addition to a Main level knob. The rear panel adds six more line-level inputs on balanced 1/4" TRS, a pair of impedance-balanced 1/4" TRS main outputs, and a DB9 breakout connector for MIDI I/O and coaxial S/PDIF. Other features include 3-step LED level/clip meters, switchable 48V phantom power, blue power/FireWire connect indicator, and 24-bit/96 kHz audio conversion support. The interface is compatible with any ASIO (Windows XP/Vista) or Core Audio (Mac OS X) application, and comes with PreSonus’ Studio One Artist recording software and a wide variety of bundled soundware, presets, and applications for a complete crossplatform recording solution. Price: $299 More from: PreSonus, www.presonus.com. Audio-Technica Adds Ribbon Mics to its Line Audio-Technica has released its first-ever ribbon mics, the AT4080 and AT4081. These mics were entirely designed and built by Audio-Technica in Japan, and offer durability and high SPL handling with a warm and smooth yet precisely detailed character. The AT4080 is designed for mounting like a conventional condenser mic and features an acoustic baffle system and large output transformer for extended low frequency response and dynamic range, while the AT4081 offers a smaller design for more placement options. Both are phantom-powered active side-address bidirectional mics that work well with strings, sax, horns, drum overheads, acoustic instruments, orchestras, and guitar cabinets, and the AT4080 is also suitable for vocals. Also new from Audio-Technica: the AT4050ST, a stereo transformerless condenser mic with switchable 10 dB pad and 80 Hz highpass filter that offers MidSide placement with internal stereo matrixing, with switchable 127º or 90º L/R stereo output or separate Mid (cardioid) and Side (figure-8) capsule outputs for later processing. Prices: AT4080, $1245; AT4081, $895; AT4050ST, $1625 More from: Audio-Technica, www.audiotechnica.com. RECORDING NOVEMBER 2009
http://www.presonus.com http://www.audio-technica.com http://www.audio-technica.com

Recording - November 2009

Table of Contents for the Digital Edition of Recording - November 2009

Recording - November 2009
Fade In
Contents
Talkback
Fast Forward
Les Paul Speaks
Cakewalk SONAR V-Studio 700
The Hybrid Guitar Recording Method—A Modern Way of Tracking Serious Tones, Part 1
Radial JDX and Phazer
Shure SM27 and SM137 Microphones
Eventide PitchFactor
Recording’s Guitar Column
Lexicon I•ONIX U42S RecordingInterface
Recording’s Showcase of Sounds
Readers’ Tapes
Vibesware GR-1 Guitar Resonator
BOSS ME-70 Guitar Multiple Effects
Line 6 BackTrack and BackTrack + Mic
Advertiser Index
Fade Out
Recording - November 2009 - Recording - November 2009
Recording - November 2009 - Cover2
Recording - November 2009 - 1
Recording - November 2009 - Fade In
Recording - November 2009 - 3
Recording - November 2009 - Contents
Recording - November 2009 - 5
Recording - November 2009 - Talkback
Recording - November 2009 - 7
Recording - November 2009 - Fast Forward
Recording - November 2009 - 9
Recording - November 2009 - 10
Recording - November 2009 - 11
Recording - November 2009 - Les Paul Speaks
Recording - November 2009 - 13
Recording - November 2009 - 14
Recording - November 2009 - 15
Recording - November 2009 - Cakewalk SONAR V-Studio 700
Recording - November 2009 - 17
Recording - November 2009 - 18
Recording - November 2009 - 19
Recording - November 2009 - 20
Recording - November 2009 - 21
Recording - November 2009 - 22
Recording - November 2009 - 23
Recording - November 2009 - The Hybrid Guitar Recording Method—A Modern Way of Tracking Serious Tones, Part 1
Recording - November 2009 - 25
Recording - November 2009 - 26
Recording - November 2009 - 27
Recording - November 2009 - 28
Recording - November 2009 - 29
Recording - November 2009 - 30
Recording - November 2009 - 31
Recording - November 2009 - Radial JDX and Phazer
Recording - November 2009 - 33
Recording - November 2009 - Shure SM27 and SM137 Microphones
Recording - November 2009 - 35
Recording - November 2009 - Eventide PitchFactor
Recording - November 2009 - 37
Recording - November 2009 - Recording’s Guitar Column
Recording - November 2009 - 39
Recording - November 2009 - Lexicon I•ONIX U42S RecordingInterface
Recording - November 2009 - 41
Recording - November 2009 - Recording’s Showcase of Sounds
Recording - November 2009 - 43
Recording - November 2009 - 44
Recording - November 2009 - 45
Recording - November 2009 - 46
Recording - November 2009 - 47
Recording - November 2009 - 48
Recording - November 2009 - 49
Recording - November 2009 - Readers’ Tapes
Recording - November 2009 - 51
Recording - November 2009 - Vibesware GR-1 Guitar Resonator
Recording - November 2009 - 53
Recording - November 2009 - BOSS ME-70 Guitar Multiple Effects
Recording - November 2009 - 55
Recording - November 2009 - Line 6 BackTrack and BackTrack + Mic
Recording - November 2009 - Advertiser Index
Recording - November 2009 - 58
Recording - November 2009 - 59
Recording - November 2009 - 60
Recording - November 2009 - 61
Recording - November 2009 - 62
Recording - November 2009 - 63
Recording - November 2009 - Fade Out
Recording - November 2009 - Cover3
Recording - November 2009 - Cover4
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