Recording - February 2016 - 49
meter that we thought had a vintage look. It
is slightly different, but I really like it.
A few years ago I reviewed the now
discontinued RS124 plug-in, and I find it
interesting that you implemented a few
of the plug-in-only features into the
real thing, like having the option of all
three units and the "super-fuse". This
may be the first time a plug-in has
inspired hardware...
Yeah, that kind of worked in reverse a little bit. I thought that was kind of funny
[laughs]. I had done several prototypes just
like the original Abbey Road units and I sent
one of those over, along with a modified
version with a variable attack. They said,
"Wow, we really like the modified one and
we think that customers would like that too."
Then they came back to me and said,
"The variable attack settings you have
doesn't cover one of the units." I had made
it too variable, I guess, so that it skipped
right over one! [laughs]. In the end, I suggested that we should label the attack settings with the different serial numbers so
you can recall each of the historic units.
What about the Super Fuse mode?
Once we'd progressed pretty far, Abbey
Road said to me, "Can we do the Super
Fuse from the plug-in, 'cos we really liked
what it did?" Doing it in the real world vs.
a plug-in took a little tweaking, but I made
it work.
So what is it doing under the hood?
Well, there are a couple of things that
Abbey Road wanted me not to go into
excruciating detail about, and one is what
exactly the super fuse does. It changes the
time constants and a number of things about
the unit... it makes it more hairy, it digs in a
lot more, it's a little more rude and... yeah.
One last question: what was your personal biggest Wow Moment?
The sound definitely surprised me once
I started getting into it. They are really far
from what an old Altec is. A lot of people
say, "It's just an Altec that's modified!"
and it's not, really. It has its own thing. It
sounds way different and it's way more
functional. The old Altec had an interesting sound, but they are just not very
usable. It happens to use some of the
parts of an Altec, but it's not an Altec.
Anything else you want readers to know?
This may sound weird, but one of the
biggest pleasant surprises for me is underusing the RS124. I found that I really, really
like it just making the meter move a little bit,
like 3 dB. Most of the Abbey Road guys,
from what they told me, peg it pretty
hard-around 10 dB or more. When I was
saying, "Well, I'm setting it this way and
I'm getting about 2 dB of compression,"
they were like, "Whaaat?" [laughs].
RECORDING February 2016
49
http://www.gikacoustics.com
http://www.pearlmanmicrophones.com
Table of Contents for the Digital Edition of Recording - February 2016
Contents
Recording - February 2016 - Cover1
Recording - February 2016 - Cover2
Recording - February 2016 - 1
Recording - February 2016 - 2
Recording - February 2016 - 3
Recording - February 2016 - 4
Recording - February 2016 - 5
Recording - February 2016 - 6
Recording - February 2016 - 7
Recording - February 2016 - 8
Recording - February 2016 - 9
Recording - February 2016 - Contents
Recording - February 2016 - 11
Recording - February 2016 - 12
Recording - February 2016 - 13
Recording - February 2016 - 14
Recording - February 2016 - 15
Recording - February 2016 - 16
Recording - February 2016 - 17
Recording - February 2016 - 18
Recording - February 2016 - 19
Recording - February 2016 - 20
Recording - February 2016 - 21
Recording - February 2016 - 22
Recording - February 2016 - 23
Recording - February 2016 - 24
Recording - February 2016 - 25
Recording - February 2016 - 26
Recording - February 2016 - 27
Recording - February 2016 - 28
Recording - February 2016 - 29
Recording - February 2016 - 30
Recording - February 2016 - 31
Recording - February 2016 - 32
Recording - February 2016 - 33
Recording - February 2016 - 34
Recording - February 2016 - 35
Recording - February 2016 - 36
Recording - February 2016 - 37
Recording - February 2016 - 38
Recording - February 2016 - 39
Recording - February 2016 - 40
Recording - February 2016 - 41
Recording - February 2016 - 42
Recording - February 2016 - 43
Recording - February 2016 - 44
Recording - February 2016 - 45
Recording - February 2016 - 46
Recording - February 2016 - 47
Recording - February 2016 - 48
Recording - February 2016 - 49
Recording - February 2016 - 50
Recording - February 2016 - 51
Recording - February 2016 - 52
Recording - February 2016 - 53
Recording - February 2016 - 54
Recording - February 2016 - 55
Recording - February 2016 - 56
Recording - February 2016 - 57
Recording - February 2016 - 58
Recording - February 2016 - 59
Recording - February 2016 - 60
Recording - February 2016 - 61
Recording - February 2016 - 62
Recording - February 2016 - 63
Recording - February 2016 - 64
Recording - February 2016 - 65
Recording - February 2016 - 66
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Recording - February 2016 - 68
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Recording - February 2016 - 70
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Recording - February 2016 - 78
Recording - February 2016 - 79
Recording - February 2016 - 80
Recording - February 2016 - Cover3
Recording - February 2016 - Cover4
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