Shootouts

At the tail-end of what would traditionally be AES season, Warm Audio is putting an exclamation point on the current crop of new releases with the WA-67. That's right, the pro audio brand that has given us wallet-friendly versions of the 47, 87, and 251 is now back with its own take on the classic workhorse microphone. For the uninitiated, the U67 came about when Telefunken would no longer produce the VF14 steel tube used for the U47. Neumann began working on the microphone's successor and introduced the U60 in 1960. This mic would eventually become known as the U67. Since its launch, the microphone has achieved Mt. Rushmore-level status, a must-have for any session. Continue reading →

Whether you’re looking to glue your mix together, fine-tune the dynamics of a performance, or just add some color and character to your sound, a quality bus compressor is a must-have for any mix engineer. Since Warm Audio recently released its new BUS-COMP, we decided to take it into the studio and shoot it out with several fan favorites. In this video, we put the Bus-Comp up against the TK Audio BC1-THD, Overstayer Stereo Voltage Control, Dangerous Music COMPRESSOR, and SSL Stereo Bus Compressor, so you can hear how each of them perform in different scenarios. We tested each compressor on the drum bus, both in solo and with the mix, as well as on the mix bus. Although each compressor has its own unique sound and features, we used the same settings on each one to help you hear the differences. Continue reading →

By now you've heard the fantastic news that AMS Neve has revived the beloved RMX16 for the 500 Series rack. The new module was the talk of the NAMM Show in January and had pro audio lovers speculating just how close AMS Neve would get to the original unit. Newsflash! They don't disappoint. The 500 Series version of the RMX16 follows suit with the classic nine reverb programs (plus nine rare aftermarket programs) and allows users to control all parameters in three distinct ways. Dialing in the perfect reverb for your source is possible by way of the pot control section (a rotary dial), the nudge section (Down/Up buttons), and Alphanumeric keypad entry. How does it sound though? Continue reading →

Update March 2020: API Audio has announced an expanded 2500+ stereo bus compressor with updated features, including an Expanded Threshold control (+20dv to -20dv) and the new Mix/Blend function that was added to the 50th Anniversary Edition of the 2500 released last year. Learn more here. Finding a stereo bus compressor that works for you is an important part of being a mix engineer. For many, the API 2500 has become the industry standard, as the discrete compressor offers you the ability to glue together mixes via two distinct styles of compression and add punch to the low end. API's 2500 features a dual-channel design that can be used individually for single-channel compression or paired together in tandem for stereo use. When it comes to the styles of compression, users are able to choose between “old” and “new.” Old style employs the “feed back” compression of the API 525, while the new style gives a “feed forward” compression feeding the side chain directly from the input. Continue reading →

A few weeks back, we did a shootout comparing the Urei/Universal Audio 1176 to a reproduction, plug-in emulations and some guitar pedals based on the classic compressor. We're back at it again in our latest VK Shootout, but this time we're using another beloved piece of outboard gear, the dbx 160. If you're like us and spend a lot of time visiting recording studios, the dbx 160 is a very familiar sight. The wooden cheeked beauty was first introduced in 1971 and features three dials for threshold, compression and outboard gain. Try to find an album from the 70s and 80s that doesn't feature this compressor on the mix... Go on, we'll wait. This thing has glued together more than Elmer's. Continue reading →

The Urei/Universal Audio 1176 is an icon in the recording studio and has had a profound influence on modern gear makers. So it's no surprise that many companies have sought to remake and add to the 1176 since it was first released in 1967. How do these 1176-influenced compressors compare to the original? That's what we set out to find in our latest shootout. While there are many different 1176 emulations out there, we gathered a small group of gear, including reproductions, plug-ins, and pedals to take to The 45 Factory. This could have been an all rackmount compressor shootout, but we decided to offer up a variety of options at different price points. The list of gear in the shootout includes a vintage Urei 1176 Rev D, Universal Audio's modern 1176 LN reproduction, Origin Effects Cali76 Compact Deluxe, Origin Effects Cali76 Stacked, Universal Audio 1176LN plug-in, and Avid Pro Tools BF76 plug-in. Continue reading →

When it comes to classic studio and live microphones, the Sennheiser MD 421 II and MD 441-U have been staples since their release in the late 1960s. In our new VK Shootout, we're pitting the dynamic microphones against each other in a session, as we use both the MD 421 II and 441-U on vocals, electric guitar, acoustic guitar, and drums. The Sennheiser MD 421 II has a large diaphragm, directional cardioid response and is capable of handling extremely high sound pressure levels. That's the reason you'll most likely see this classic in front of a guitar cab or on a drum set (particularly toms). The microphone features a five-position bass roll-off switch, which can control proximity effect for close-miking situations. Continue reading →

Universal Audio is responsible for creating some of the most accurate emulations of classic pro audio gear, including the Fairchild 660/670 , LA-2A, and Neve 1073. Add another essential preamp to that list, as the TAB/Telefunken V76 has recently got its own UAD plug-in. The V76 has some history behind it, which is chronicled in great detail over on our new Pro Audio Hall of Fame page. It all starts with the foundational block of the V41 mic pre, which was the design basis for the V72. The V76 is essentially two V72s in series with 76 dB of gain. Continue reading →

In the early years of the recording studio, engineers had to rely on microphone placement and echo chambers to get the reverb that they desired for certain tracks. This all would change when the German company EMT built the first artificial reverb unit in 1957.  Dubbed the EMT 140, this plate reverb would go onto become one of the most revered and often copied sounds in audio history. What exactly is the EMT 140 Plate Reverb? While the unit itself is pretty massive, the concept of how it works is pretty simple. A steel frame holds a large thin piece of sheet metal via springs attached to each corner of the outer structure. At the center of the piece of sheet metal,  there is a transducer, which gets a signal from the studio's control room. The transducer vibrates the sheet metal and two pickups mounted to the plate pick up the resulting vibrations. The EMT 140 also features a dampener that allows you to dial in decay time. Continue reading →

When it comes to large diaphragm condenser microphones, there is no more beloved mic than the Neumann U47. The U47 is stylish, sounds incredible, and has the distinct honor of being used on sessions by everyone from Frank Sinatra and Ella Fitzgerald to The Beatles and Bob Dylan. As far as modern reproductions of the U47 go, Flea Microphones has created a masterful take on the classic tube mic. The Flea 47 gets the details right by accurately replicating the most important components of the U47; the M7 capsule, the BV8 transformer and Telefunken's EF12 Tube. How close does it sound to the real thing? Continue on to find out. Continue reading →