Recording - June 2016 - 60

...where we bring you follow-up articles
with application hints and upgrade news
about gear already reviewed in Recording

&

WaveMachine Labs Auria Pro
Auria was impressive when it launched
-now it's all grown up
by Tony Gerber

Since its release, I have been excited by
the amazing quality of the Auria mobile
music production app from WaveMachine
Labs (reviewed by my friend John Rossi III
in our September 2012 issue). To reinvigorate my excitement, we now have a major
update to Auria. There's also a new version called Auria Pro, that comes with an
updated version of Auria so you can open
your existing non-Pro project files.
The past as prologue
The advent of the Auria recording environment for the iPad was the whole reason I got my first iPad at the beginning of
2013. I am still using that first iPad (a
fourth-generation Retina model with an
A6X processor and 64 GB of storage) for
this Auria Pro review, and it runs flawlessly even on this relatively old hardware.
In my eyes, Auria was the first truly
professional iPad app for recording.
Auria, dedicated to one iPad in my studio setup, became my new modus
operandi alongside my live performing
rig. The price tag of $49.95 was steep
for an app, but really inexpensive considering what it does at such high quality.
Then there's Auria's "sound." As someone
who has been recording through all the variations of hardware and software since the late
60

RECORDING JUNE 2016

1960s, from reel-to-reel all the way to hard
drives, my conclusion is that the combination
of the iPad, the Auria app, and my PreSonus
input hardware (see below) is one of the bestquality recording setups I have used up to this
point. An album that I recorded with Auria in
2013, Soulshining by the Cotton Blossom
Band, was a highly-regarded record in the
southeastern US in 2014 (including the
Nashville Bridge Top 10 for that year). It is
not just an occasional recording that gives me
this impression-everything I record with
Auria ends up sounding as good or better
playing back then it did playing it live, every
time.
Auria in use-one engineer's
perspective
I primarily use Auria for live recording
situations on stage, and in the studio for
live internet radio broadcasts. I've spent
many years doing live internet radio
broadcasts from my home studio. When I
started using Auria as my main DAW, I
was now able to have multitrack documents of all my live musical explorations
with relative ease. Using two PreSonus 8input preamps on the front end-an
Audiobox 1818 VSL USB interface connected to a Digimax FS-I can accommodate my 4-member band projects on stage.

A typical setup for me with Auria, live on
stage, might include myself on stereo synthesizer, stereo electric guitar with effects, mono
EWI (Electronic Wind Instrument), and
vocal/harmonica microphone; acoustic bass
player with an electric pickup and external
microphone; a double neck diddlybo (cigarbox guitar) player with stereo send and a
single microphone for acoustic guitar; and a
drummer/percussionist with a stereo feed
from a Korg Wavedrum electronic drum,
plus a microphone for real cymbals or other
percussion sound. That's 14 channel inputs
recorded onstage by yours truly, fronting the
band, playing, singing, mixing and recording... a one-Auria band, so to speak. I generally send the soundman at the gig a
stereo feed, so he is basically controlling the
volume in the room; all the magic comes
from the Auria setup and players onstage.
To set up a new session, I actually start
from the New Project selection in the menu
pulldown, type in my number of mixer
channels needed, and then proceed to set
and name each of my 14 channels. I have
so many different collections of instruments
and configurations of people who play and
record with me for the live sessions that
starting from zero each time works best for
me. This is laziness on my part-Auria
does let the user create and save templates
for recall, making the process quicker.
Next, I usually set the built-in effects to my
two available Aux buses-reverb for Aux 1
and delay for Aux 2. I also choose to set
the effects post-record, so we monitor with
effects but my recorded tracks are dry for
mixing later. (Holding down the Record button reveals a popup with three options:
Record Effects, Set Record Level, and Input
Matrix.) I also set my counter option to display in SMPTE time by holding my finger
on the screen display to pop up transport
options. Next I arm all my 14 tracks by
pushing the red Record button for each
channel. I then do my soundcheck to set the
screen sliders, Aux effects, panning, and
such for each player. The simplicity and vintage design of the Auria mixer layout is
very user-friendly and the transport works
just like a tape machine of old.
The iPad's multitouch screen is of course a
much more realistic approach than a mouse
when using the mixing surface. I do find that
working in the Edit mode of Auria takes a little more finesse with the fingers than I seem
to have, so I got a stylus to solve that issue.
(My friend Giles Reaves, a well-known session musician and engineer who writes for
Recording-see page 24-just got Auria
Pro for his iPad Pro and is enjoying using it
by hand and with the Apple Pencil.)



Table of Contents for the Digital Edition of Recording - June 2016

Contents
Recording - June 2016 - Cover1
Recording - June 2016 - Cover2
Recording - June 2016 - 1
Recording - June 2016 - 2
Recording - June 2016 - 3
Recording - June 2016 - 4
Recording - June 2016 - 5
Recording - June 2016 - Contents
Recording - June 2016 - 7
Recording - June 2016 - 8
Recording - June 2016 - 9
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Recording - June 2016 - Cover3
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