Recording - December 2010 - 47

Rhodes and Wurlitzer electric pianos); within a couple of weeks, they were used for live acoustic guitars (in this particular application, the artist uses two different guitars, and finds it best to have a different signal path for each instrument rather than simply swapping a cable between guitars). In both applications, the IsoDI worked quite well—as you would expect. But the IsoDI really comes into its own when connections get a bit more complex. The IsoDI is designed so that the quarterinch parallel output can be used either as a parallel output or, at the flip of a switch, as a transformer-isolated output. It may be that neither an XLR ground lift nor the isolated output are necessary in a given application, but when they are—for example, when there are grounding issues, when light dimmers are on the same circuit as the stage power and causing noise problems—one (or both) can be lifesavers. As a bassist, I’ve played in many clubs where plugging my bass into a DI and then into my amp (through the parallel output) caused a buzz that lifting the ground on the DI didn’t fix; in situations like this, the IsoDI’s ability to isolate the unbalanced output works great. There are even some instances where summing the inputs works well—the acoustic guitarist I mentioned earlier was performing at a venue with minimal PA; there was not room on the console for two acoustic guitar channels. We plugged both guitars into the two 1/4" inputs and made everything work that way—which was much easier than using one guitar cord and switching it between the instruments. Summation The IsoDI sounded very good in every application I came up with, from electric bass (plugged into an A Designs Pacifica) to acoustic guitars plugged into a console (through a 100’ snake) to the unbalanced line level signal from one keyboardist’s mixer. The small size is an advantage on live gigs (the smaller the better), and so is the unit’s ability to help fix problems as they arise. Although there are less expensive DIs than this, there are also a lot more expensive DIs, and the IsoDI has proved itself as a cool little problem solver that does precisely what it’s supposed to do and sounds great doing it. I like it. Price: $160 street More from: Avenson Audio, www.avensonaudio.com. Dave Martin (martin@recordingmag.com) owns and operates Java Jive Studio in Nashville, and runs the studio’s label Cuppa Joe Records. He’s also a producer, engineer, and session bassist who appreciates a good DI when he finds it. Learn more at www.javajivestudio.com.
RECORDING DECEMBER 2010

47


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Table of Contents for the Digital Edition of Recording - December 2010

Recording - December 2010
Fade In
Contents
Talkback
Recording’s 2010 Holiday Gift Guide
Theme Music for TV—A Production Report
Royer Labs R-101 Ribbon Microphone
Recording SFX—A Career Option?
Primacoustic IsoTools
Avenson Audio IsoDI
Getting Your Music Heard In Today’sCommercial Culture
Preview: Yamaha AvantGrand
It’s Your Music—Know Your Rights.Chapter 9: Trademark Basics
Sonoma Wire Works GuitarJack Model 1and FourTrack 4.0.1
Readers' Tapes
Advertiser Index
Fade Out
Recording - December 2010 - Recording - December 2010
Recording - December 2010 - Cover2
Recording - December 2010 - 1
Recording - December 2010 - Fade In
Recording - December 2010 - 3
Recording - December 2010 - Contents
Recording - December 2010 - 5
Recording - December 2010 - Talkback
Recording - December 2010 - 7
Recording - December 2010 - Recording’s 2010 Holiday Gift Guide
Recording - December 2010 - 9
Recording - December 2010 - 10
Recording - December 2010 - 11
Recording - December 2010 - 12
Recording - December 2010 - 13
Recording - December 2010 - 14
Recording - December 2010 - 15
Recording - December 2010 - 16
Recording - December 2010 - 17
Recording - December 2010 - 18
Recording - December 2010 - 19
Recording - December 2010 - 20
Recording - December 2010 - 21
Recording - December 2010 - 22
Recording - December 2010 - 23
Recording - December 2010 - 24
Recording - December 2010 - 25
Recording - December 2010 - 26
Recording - December 2010 - 27
Recording - December 2010 - 28
Recording - December 2010 - 29
Recording - December 2010 - 30
Recording - December 2010 - 31
Recording - December 2010 - 32
Recording - December 2010 - 33
Recording - December 2010 - Theme Music for TV—A Production Report
Recording - December 2010 - 35
Recording - December 2010 - 36
Recording - December 2010 - 37
Recording - December 2010 - 38
Recording - December 2010 - 39
Recording - December 2010 - Royer Labs R-101 Ribbon Microphone
Recording - December 2010 - 41
Recording - December 2010 - Recording SFX—A Career Option?
Recording - December 2010 - 43
Recording - December 2010 - Primacoustic IsoTools
Recording - December 2010 - 45
Recording - December 2010 - Avenson Audio IsoDI
Recording - December 2010 - 47
Recording - December 2010 - Getting Your Music Heard In Today’sCommercial Culture
Recording - December 2010 - 49
Recording - December 2010 - 50
Recording - December 2010 - 51
Recording - December 2010 - 52
Recording - December 2010 - 53
Recording - December 2010 - 54
Recording - December 2010 - 55
Recording - December 2010 - Preview: Yamaha AvantGrand
Recording - December 2010 - 57
Recording - December 2010 - It’s Your Music—Know Your Rights.Chapter 9: Trademark Basics
Recording - December 2010 - 59
Recording - December 2010 - 60
Recording - December 2010 - 61
Recording - December 2010 - Sonoma Wire Works GuitarJack Model 1and FourTrack 4.0.1
Recording - December 2010 - 63
Recording - December 2010 - Readers' Tapes
Recording - December 2010 - Advertiser Index
Recording - December 2010 - 66
Recording - December 2010 - 67
Recording - December 2010 - 68
Recording - December 2010 - 69
Recording - December 2010 - 70
Recording - December 2010 - 71
Recording - December 2010 - Fade Out
Recording - December 2010 - Cover3
Recording - December 2010 - Cover4
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