Recording - December 2015 - 14

Part 1: Hands-on With Hardware

unloaded H9 and upgrading it one algorithm at a time, but with every new program
that you get for free, your savings will increase.
Eventide was kind enough to send me an H9 Max so I could try out some of the newest
programs, and I was quickly reminded of why it hurt so much to return the original. There
are so many classic sounds from countless hit records packed into this little box! My personal taste runs to reverbs and delay effects, so the Space algorithms (like the infamous
Blackhole reverb) and the TimeFactor delays, plus the H9's own UltraTap, were a treat
many times over. But then I got into the new offerings, and fell in love all over again.
At the time of our H9 review (December 2013), the Resonator algorithm had been
announced as being in development, but I didn't get to try it. It's in there now, and it's
incredible-a set of four tuned resonators with feedback, echo, and rhythmic taps, which
adds huge dimension and movement to even the plainest sounds. Also new: an H9 algorithm called EQ Compressor that provides subtle and musical tone shaping, and the
TimeFactor's Looper algorithm, updated to run on the H9 (finally!).
The really big news right now is that the H9 Max now supports an algorithm
called CrushStation, which is a truly gorgeous overdrive/distortion program that
gives you everything from sweet bluesy tone to brutal slamming metal shred. This is
a prime example of how the H9 keeps giving back to its loyal owners... and how
the H9 Max keeps giving back for free.
With all of these new algorithms and more on the way, the H9 becomes a better and
better value every day. With the H9 Max, your initial investment pays more and more
dividends over time... and while you're racking up new presets, you get to bask in that
signature Eventide sound that's made so many hits. A bargain for sure!-MM

Radial Engineering Trim-Two
$149.95; www.radialeng.com

assignable HotKnob that provides singletouch control of multiple parameters, each
scaled in a musical way. The real power of
the H9, however, was in the H9 Control
app, which ran on Windows PCs, Macs,
and iOS devices, allowing software-based
preset selection and control of the H9 via
USB or Bluetooth connection.
The scalable nature of the H9 means
that you can start with the standard unit
and its nine algorithms from a variety of
pedals, or the less expensive H9 Core,
which just has the famous H910/H949
Harmonizer algorithm in it, and add algorithms from the Eventide library as you
desire them. At roughly $20 a pop, these
upgrades aren't cheap, but they let you
customize your H9 to taste and potentially save you money.
Why "potentially"? Because Eventide's
library started out big and has only gotten
bigger over the years. In addition to supporting almost all of the algorithms in the
TimeFactor, ModFactor, PitchFactor, and
Space pedals, the H9 has added exclusive
algorithms like UltraTap, Resonator, and
more. If you're the sort who loves experimenting with quality effects, you're going to
run up quite a tab on the Eventide website.
What's the solution? The H9 Max. For
$699, you get the H9 with every single
algorithm it supports... plus every algorithm it ever will support in the future. If
you do the math, that price is already a
considerable savings over starting with an
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Vancouver-based Radial Engineering makes a
variety of reamplification tools, 500 Series modules and enclosures, and other studio devices that
can handle any I/O scenario you can think of.
Radial is most famous, however, for building some
of the highest-quality and most durable direct
boxes on the market, with many different designs
optimized for a wide range of applications. The
Trim-Two is a passive stereo DI designed for laptops, DJ mixers or any other consumer-level device,
built from the ground up for easy use.
The Trim-Two is built with Radial's famous bookend case design in 14-gauge steel, basically indestructible. Its inputs include stereo 1/4" connectors,
left and right RCAs, and a 3.5mm minijack, all
wired in parallel (more on that later). The outputs
are on stereo XLR and feature ground lift via Pin 1
disconnect on both channels.
The two transformers inside the unit are made by
Eclipse, which is a sister company to Radial. The transformers provide impedance
matching, give electrical isolation between the input and output, and also help to
eliminate noise by blocking stray DC voltages. This DI is designed for use with
buffered or active electronics, so I would not recommend pairing it with an electric
guitar or passive bass.
The volume trim is a great feature of the Trim-Two. Full volume equals unity gain, so a
good place to start would be setting the control around 2 o'clock. Although this would
reduce the output, it is the approximate level produced by other passive direct boxes.
A mono sum button on the side of the unit mixes the stereo inputs and feeds both
XLR outputs the same mono signal. This can be useful to reduce the number of channels running to the PA if needed, or it can also be used as a distribution point between
two amplifiers.
The Trim-Two has a maximum input of greater than +20 dBu, a total harmonic distortion of 0.009%, and a noise floor below -115 dBu. The frequency response is listed as 20 Hz to 20 kHz (-1/+3 dB), dynamic range is over 126 dB, and phase deviation is under 10° at all frequencies. This box has an input impedance of roughly
10kΩ with a 100kΩ load and an output impedance of 2800 ohms.
I tested the Trim-Two in the common application of turning a laptop's headphone output into dual XLR, and it sounded great and had plenty of headroom. To my ears, it sounded best with the volume trim around 1 or 2 o'clock and my laptop volume full on (for maximum resolution, since laptop volume controls are digital and reduce bit depth). The resulting signal was clean and precise, transparent without noise or distortion.


http://www.radialeng.com

Table of Contents for the Digital Edition of Recording - December 2015

Contents
Recording - December 2015 - Intro
Recording - December 2015 - Cover1
Recording - December 2015 - Cover2
Recording - December 2015 - 1
Recording - December 2015 - 2
Recording - December 2015 - 3
Recording - December 2015 - 4
Recording - December 2015 - 5
Recording - December 2015 - Contents
Recording - December 2015 - 7
Recording - December 2015 - 8
Recording - December 2015 - 9
Recording - December 2015 - 10
Recording - December 2015 - 11
Recording - December 2015 - 12
Recording - December 2015 - 13
Recording - December 2015 - 14
Recording - December 2015 - 15
Recording - December 2015 - 16
Recording - December 2015 - 17
Recording - December 2015 - 18
Recording - December 2015 - 19
Recording - December 2015 - 20
Recording - December 2015 - 21
Recording - December 2015 - 22
Recording - December 2015 - 23
Recording - December 2015 - 24
Recording - December 2015 - 25
Recording - December 2015 - 26
Recording - December 2015 - 27
Recording - December 2015 - 28
Recording - December 2015 - 29
Recording - December 2015 - 30
Recording - December 2015 - 31
Recording - December 2015 - 32
Recording - December 2015 - 33
Recording - December 2015 - 34
Recording - December 2015 - 35
Recording - December 2015 - 36
Recording - December 2015 - 37
Recording - December 2015 - 38
Recording - December 2015 - 39
Recording - December 2015 - 40
Recording - December 2015 - 41
Recording - December 2015 - 42
Recording - December 2015 - 43
Recording - December 2015 - 44
Recording - December 2015 - 45
Recording - December 2015 - 46
Recording - December 2015 - 47
Recording - December 2015 - 48
Recording - December 2015 - 49
Recording - December 2015 - 50
Recording - December 2015 - 51
Recording - December 2015 - 52
Recording - December 2015 - 53
Recording - December 2015 - 54
Recording - December 2015 - 55
Recording - December 2015 - 56
Recording - December 2015 - 57
Recording - December 2015 - 58
Recording - December 2015 - 59
Recording - December 2015 - 60
Recording - December 2015 - 61
Recording - December 2015 - 62
Recording - December 2015 - 63
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Recording - December 2015 - 65
Recording - December 2015 - 66
Recording - December 2015 - 67
Recording - December 2015 - 68
Recording - December 2015 - 69
Recording - December 2015 - 70
Recording - December 2015 - 71
Recording - December 2015 - 72
Recording - December 2015 - Cover3
Recording - December 2015 - Cover4
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