Recording - April 2012 - 43

On acoustic guitar—center 100, freq 5, amp 6—it added body, a nice low-end woof, more natural and tucked in than with an eq, as if it was part of the track rather than being added on. On an electric guitar track recorded through a Mesa Boogie amp head into a Randall Isolation cabinet (a single 12" Celestion Vintage 30 speaker with mic mount in an enclosed soundproof cabinet), the i-VOG not only helped to overcome the Randall’s inherently boxy sound (center 100, freq 7), but also made the guitar tone sound bigger... almost like I was altering the cabinet size, like you can do on an amp-modeling plug-in. On a vintage 20" bass drum, with a Shure Beta 52 mic (in the sound hole) and the i-VOG, I was able to get both a tight poppy thwap (center 100, freq 5, amp 10) and a big open loose tone that made this little 20" kick sound like a loose 24" drum (40, 5, 10); both sounded equally believable. On bass guitar VOG’s uses are legion. Set to (200, 4, 7), you can pull out a fusion/funk “Barney Miller” tone, and (40, 2.5, 8–10) produces a rumbling tone more felt than heard. I found (100, 5, 7) to be great for a punchy forward DI’d Fender P-bass tone, and this is where the i-VOG’s instrument input shines—as a unique bass tracking tool it’s so much more than a simple DI. I also had great success with the i-VOG on female gospel vocals, snare drum, tenor sax and even a mono room mic and more. Other versions and final thoughts The original VOG 500 module, which I didn’t review, has no DI input but is functionally identical to the i-VOG. The plug-in version from UA sounds incredibly close to the hardware, with maybe a tad less “air” than the box, and a difference of maybe half a notch on the amplitude control. One thing that gives the plug-in an edge is that you can use as many in a mix as your card can hold, and since this is a very CPU-light plug-in, that’s a lot of VOG. Also, the plug-in is easy to use on stereo sources and the 2-mix. I found it handy for breathing oomph back into a kick drum in some live 2-track board mixes I made, all without messing up the tone and weight of the bass guitar. This would not have been nearly as easy with a standard eq. The name “Voice Of God” conjures an idea of boldness, but sometimes God whispers. This box excels in subtle nuance and you’re not aware of what it’s doing until you bypass it. It’s not a gimmick; it’s a craftsman’s tool that has been in all my mixes since it arrived, and will continue to be. Prices: i-VOG, $540; VOG 500 Series module, $440; VOG plug-in, $149 More from: Little Labs, www.littlelabs.com; Universal Audio, www.uaudio.com
RECORDING APRIL 2012

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http://www.isoacoustics.com http://www.isoacoustics.com http://www.SongCraftStation.com http://www.SongCraftStation.com http://www.littlelabs.com http://www.uaudio.com

Recording - April 2012

Table of Contents for the Digital Edition of Recording - April 2012

Recording - April 2012
Fade In
Table of Contents
Talkback
2012 Winter NAMM Show Report
Sonodyne SM100Ak and SM50Ak Active Monitors
Shure SRH1440 Headphones
Noises In—Noises Out
Recording Fundamentals. Chapter 4: Introduction To Microphones—Part One (History and Design)
Reviewed and Revisited: iZotope Ozone 5 Advanced
Pelonis Model 42 Stereo Monitors
The Science And Art Of Ambisonics
Little Labs i-VOG Analog Bass Resonance Tool
Readers’ Tapes
Plug-In Outlet
Cerwin-Vega! XD3 Powered Desktop Speakers
Once Over—Reviews In Brief
Do It Yourself: Make Your Own Check Mix Monitor
Rob Papen eXplorer
Advertiser Index
Fade Out
Recording - April 2012 - Recording - April 2012
Recording - April 2012 - Cover2
Recording - April 2012 - 1
Recording - April 2012 - 2
Recording - April 2012 - 3
Recording - April 2012 - Fade In
Recording - April 2012 - 5
Recording - April 2012 - Table of Contents
Recording - April 2012 - 7
Recording - April 2012 - Talkback
Recording - April 2012 - 9
Recording - April 2012 - 2012 Winter NAMM Show Report
Recording - April 2012 - 11
Recording - April 2012 - 12
Recording - April 2012 - 13
Recording - April 2012 - 14
Recording - April 2012 - 15
Recording - April 2012 - 16
Recording - April 2012 - 17
Recording - April 2012 - 18
Recording - April 2012 - 19
Recording - April 2012 - 20
Recording - April 2012 - 21
Recording - April 2012 - Sonodyne SM100Ak and SM50Ak Active Monitors
Recording - April 2012 - 23
Recording - April 2012 - Shure SRH1440 Headphones
Recording - April 2012 - 25
Recording - April 2012 - Noises In—Noises Out
Recording - April 2012 - 27
Recording - April 2012 - Recording Fundamentals. Chapter 4: Introduction To Microphones—Part One (History and Design)
Recording - April 2012 - 29
Recording - April 2012 - 30
Recording - April 2012 - 31
Recording - April 2012 - 32
Recording - April 2012 - 33
Recording - April 2012 - Reviewed and Revisited: iZotope Ozone 5 Advanced
Recording - April 2012 - 35
Recording - April 2012 - 36
Recording - April 2012 - 37
Recording - April 2012 - Pelonis Model 42 Stereo Monitors
Recording - April 2012 - 39
Recording - April 2012 - The Science And Art Of Ambisonics
Recording - April 2012 - 41
Recording - April 2012 - Little Labs i-VOG Analog Bass Resonance Tool
Recording - April 2012 - 43
Recording - April 2012 - Readers’ Tapes
Recording - April 2012 - 45
Recording - April 2012 - Plug-In Outlet
Recording - April 2012 - 47
Recording - April 2012 - 48
Recording - April 2012 - 49
Recording - April 2012 - 50
Recording - April 2012 - 51
Recording - April 2012 - 52
Recording - April 2012 - 53
Recording - April 2012 - Cerwin-Vega! XD3 Powered Desktop Speakers
Recording - April 2012 - 55
Recording - April 2012 - Once Over—Reviews In Brief
Recording - April 2012 - 57
Recording - April 2012 - 58
Recording - April 2012 - 59
Recording - April 2012 - Do It Yourself: Make Your Own Check Mix Monitor
Recording - April 2012 - 61
Recording - April 2012 - Rob Papen eXplorer
Recording - April 2012 - 63
Recording - April 2012 - 64
Recording - April 2012 - Advertiser Index
Recording - April 2012 - 66
Recording - April 2012 - 67
Recording - April 2012 - 68
Recording - April 2012 - 69
Recording - April 2012 - 70
Recording - April 2012 - 71
Recording - April 2012 - Fade Out
Recording - April 2012 - Cover3
Recording - April 2012 - Cover4
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