Recording - December 2013 - 14

When you purchase the H9, it comes
loaded with nine algorithms, two each for
the four legacy pedals plus the H9
UltraTap. Launching the H9 Control App
and registering your H9's serial number
online lets you choose one more algorithm to download for free, for a total of
ten. After that, things can get spendy; you
can try each one of the remaining algorithms for a limited time, but actually
keeping it will cost you $19.99 a pop.
That adds up to about $640 to completely load the H9, and I doubt most users will
bother; the whole point of the H9 is
breadth rather than depth, and users will
want to pick and choose their palettes.

I had the H9 up and running instantly,
with a perusal through the manual to
make sure I'd hooked everything up
properly, and I was jamming away in no
time (once I'd used the H9's built-in tuner
on my Schecter, of course). I was blown
away by the depth and richness of the
sounds; the Eventide name is famous for
a reason!
It didn't take long for me to abandon trying to program the pedal from the front
panel and download the H9 Control app
for iOS; it worked like a charm on my
iPad Retina and iPad mini, and made programming the H9 a treat. And from there
on, it was fun fun fun! Anyone who knows

me won't be surprised that the free algorithm I chose upon registering my H9 was
the über-spacious BlackHole reverb from
the Space pedal; my solo recording output
these days is mostly ambient electronica,
and to quote my friend Giles Reaves, my
motto is "When I die, bury me in reverb!"
The H9 is perfect for players like me,
who neither want nor need a complete set
of Eventide pedals; it lets me choose my
flavors and tweak them to create my own
special sound. If you want a broad taste of
the Eventide effects magic for your stage
guitar rig or strapped across the sends and
returns of your mixer, the H9 will blow you
away.-MM

GefenTV High Resolution USB To Analog
And Digital Audio Decoder
$129; www.gefen.com

One comment I hear a lot from my readers is
that they wish there was a portable, high-quality
way to listen to audio playback on their computer
systems, without necessarily having to hook up a
full-on audio interface with all the attendant extras.
The ideal, or so I hear, is a small, portable, simple,
bus-powered box that hooks up to USB and provides basic but very high-quality audio playback.
It should be light, easy to install and use, and
sound phenomenal, preferably with the ability to
handle even very high sample rates. That pretty
much sums up the new GefenTV High Resolution
USB To Analog And Digital Audio Decoder.
This little box is essentially just what the doctor
ordered! Packaged with a 2-meter USB A-to-miniB cable and a snap-on mini-to-1/4" adapter, it's a
vanishingly light plastic box, about 3.4 x. 3.4 x
1.3 inches and under 4 ounces, with a 1/4" TRS headphone jack, unbalanced
RCA outputs, and a Toslink optical output that lets you feed digital equipment
as well as speakers or headphones from your computer. It's a 24-bit D/A converter and can handle conventional sample rates from 44.1 to 192 kHz with
ease. The currently selected sample rate is indicated by a blue LED on the
case top, along with an LED to show bus power and an active audio linkup.
There are no controls, no moving parts; all level control is done inside your
computer.
Some specs: 110 dBA signal/noise ratio, 10 Hz-20 kHz frequency
response (±0.1 dB), under 0.02% total harmonic distortion plus noise at 1
kHz 2V rms, and 2.5W power consumption (any USB 2.0 port that can
provide 500 mA at 5 V will do the job of powering it).
Setting it up couldn't be simpler; it's class-compliant and instantly recognized
by Macs as an audio output device, and comes with a neat little driver for
Windows PCs. I used the one Gefen loaned me for a couple of months, on
everything from casual listening to gear reviews, including playback of highresolution audio files. Once I got used to having to control my output volume
from my computers, the unit was a joy to use. It was particularly cool hearing
my 24/96 and 24/192 FLAC files in their full glory, especially through some
of the really high-quality headphones I review elsewhere in this issue.
Complaints? Only one, really. If you have some sort of quickly accessible
digital volume control on your computer, you won't miss the lack of an attenuator on the box itself, and to be fair, leaving that sort of circuitry out of the
box gives you a simpler and cleaner audio path, but not having a volume
knob you can grab in a hurry can be annoying.
Oh, and Gefen is in the business of making gear that sounds phenomenal, with or without catchy names: "GefenTV High Resolution USB To
Analog And Digital Audio Decoder" doesn't come tripping off the tongue,
but if you want this sort of quality, you can deal with it long enough to ask
for it by name!-MM
14

RECORDING December 2013

Icon M3 Studio
Condenser Microphone
$219.99; www.icondigitalusa.com

Icon is a worldwide brand with a
product catalog that includes
everything from microphones to
studio monitors, MIDI and USB
controllers, audio interfaces, mixers, PA systems, and more. Icon
products are distributed in the US
by Icon Digital USA, which is
based in Middleton, WI, with a
focus on the beginner and music
student with a line of affordable,
entry-level tools made for learning
the craft of music making, recording and production. To keep
prices student-friendly, Icon Digital
USA is part of a growing trend of
selling direct from a company
website rather than in stores or
through distributors. Our first Icon
product for review is the M3 Studio
Condenser microphone, which
turns out to be a great addition to
our Gift Guide!
The M3 is a solid-state, largediaphragm condenser microphone
featuring three selectable polar patterns


http://www.gefen.com http://www.icondigitalusa.com

Recording - December 2013

Table of Contents for the Digital Edition of Recording - December 2013

Contents
Recording - December 2013 - Cover1
Recording - December 2013 - Cover2
Recording - December 2013 - 1
Recording - December 2013 - 2
Recording - December 2013 - 3
Recording - December 2013 - 4
Recording - December 2013 - 5
Recording - December 2013 - Contents
Recording - December 2013 - 7
Recording - December 2013 - 8
Recording - December 2013 - 9
Recording - December 2013 - 10
Recording - December 2013 - 11
Recording - December 2013 - 12
Recording - December 2013 - 13
Recording - December 2013 - 14
Recording - December 2013 - 15
Recording - December 2013 - 16
Recording - December 2013 - 17
Recording - December 2013 - 18
Recording - December 2013 - 19
Recording - December 2013 - 20
Recording - December 2013 - 21
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Recording - December 2013 - 28
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Recording - December 2013 - Cover3
Recording - December 2013 - Cover4
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