Product Reviews

  • First Listen: A Review of the Soyuz SU-023 Bomblet

    The SU-023 Bomblet is the newest in a long line of high quality, handmade mics by the brand, Soyuz Microphones. Every Bomblet is 100% hand-made in house by master machinists in Russia, including the mic’s capsule, which is modeled after the vintage 19A19 LOMO microphone. The capsule’s unique character comes from it’s triple back plate system which sets it apart from any other capsule in production.

    This new FET condenser microphone also sports a unique circuit which was modeled around the original schematic designed by Soyuz’ own radio electronics engineer, Valery Nikolaevich. The SU-023 Bomblet’s transformer is hand wound at their factory and uses a specially designed toroidal core. Continue reading

  • Comparing A Vintage Fairchild 670 To The UnderTone Audio UnFairchild 670M

    The Fairchild 660 and Fairchild 670 vintage compressors are the most sought after and coveted compressors of all time. They have been the top choice for tracking and mix engineers for over five decades because of the signature glow and warmth they add to whatever source you run through them, even if no compression is actually happening. They have been the choice compressor for The Beatles, Pink Floyd, classic Motown records and many more. Loaded with 20 tubes, 14 transformers and miles of wiring, it’s no wonder that the Fairchild has a sound that has been unmatched… Until now.

    UnderTone Audio is a pro audio company run by recording guru Eric Valentine. Valentine has been making records for over 25 years and worked with many of today’s top artists. He has used pretty much every piece of gear on the planet and knows how to create gear that caters to the modern tracking and mix engineer. Engineers such as Greg Wells swear by Valentine’s designs, as Wells traded in his vintage Neve console for one of UnderTone Audio’s custom recording consoles. Continue reading

  • Utilizing The Trinnov ST2 Pro In A Project Studio

    Over the last couple of months, I’ve had the chance to sit in on two Trinnov ST2 Pro installations and detailed listening sessions. When you’re working in a room that isn’t treated properly, most of the time you don’t even notice the problems, you just get used to them and work with what you have. This is where the old car test and listening on multiple sets of speakers in different listening environments came into play. Most of the time when the song leaves your mixing room for the first time, you often say, “Wow, there is way too much bass” or “Where did all the bass go?” Continue reading

  • First Listen: A Review Of Remic Microphones D5400 and D5400LB

    Until a few weeks ago, I was never aware of Remic Microphones (pronounced “Ree-Mike”) or their D5400 mic for upright basses. For years, I have used the standard Al Schmitt method of miking an upright bass, which is a large diaphragm condenser near the bridge and f-hole, and one on the top of the bass near the fingerboard. Al uses two Neumann M149s (which is a $10,000 microphone setup), I’ve been partial to using a Neumann U 47 on the bridge position and a Neumann U 67 on the neck, but if you don’t have access to high-end microphones, any two large diaphragm condensers would do the trick. Using that method, you can achieve a lot of depth and low end from the bridge microphone, and the attack, string noise, and presence of the instrument from the fingerboard microphone.

    My buddy Takashi Iio and I had a session come up and it happened to be the day these Remic Microphones had come across my desk for a demo. Takashi is one of the finest bass players I’ve ever seen, his playing ranges from jazz to rock and everything in between. He is the top of the A-list musicians here in Detroit, first call for every gig and studio session, and plays on over 250 studio recordings each year. When you get to that level of playing, you become very particular about your tone, which I believe we had completely dialed in, that was until the Remic was put to the test. Continue reading

  • Fresh Listen: A Review of the Barefoot Sound MicroMain26

    Over the past month or so, I've been fortunate to demo a few different monitors for Vintage King and recently brought home a pair of Barefoot Sound's MircoMain26 to review. I was very impressed by the performance and attention to detail Thomas Barefoot and his team put into these monitors. It's no wonder mix engineers like Chris Lord-Alge, Tom Lord-Alge, Butch Vig, Michael Brauer and so many others swear by Barefoots to achieve their signature mixing sound

    In my own studio, I’ve been working with a pair of MicroMain27 for the last year or so, and have relied on them for their accurate translation between listening environments. They have the ability to impress clients from the second they hear the downbeat of a mix. With the MicroMain26, Barefoot Sound has taken their design to a whole new level. Continue reading

  • First Listen: A Review of The Moog Music Subsequent 37 CV

    At Moogfest 2017, Moog Music announced the release of the Subsequent 37 CV, a higher end reimagining of the Sub 37 Tribute Edition. This fully analog synthesizer with electronic memory for easy recall ability is limited to only 1,000 units in the United States with the first 125 being hand built live during Moogfest.

    The Moog Music Subsequent 37 CV has so many amazing features, it’s hard to know where to begin with this review. I spent days messing around with this synth, and feel like I only scratched the surface of its potential power. I was blown away with the sounds of the 256 stock presets, ranging from dirty sub bass to lush airy pads. Also, the Subsequent 37 CV is stocked with banks of percussion, woodwinds, brass, organs, sound effects, ambient noises, synth leads and strings. Continue reading

  • Exploring Universal Audio's Compressor, Equalizer and Effect Plug-Ins

    When purchasing UAD-2 powered gear from Universal Audio such as the Apollo Twin, Apollo 8, Apollo 8p, Apollo 16 or a UAD-2 Satellite, you gain access to some of the most powerful plug-ins in the world. Offering great digital replications of top audio gear like the Neve 1073Manley VoxBox, Neve 88r, Thermionic Culture Vulture and many more, Universal Audio has made these plug-ins so close that you forget you aren't using the real thing. Continue reading

  • Fresh Listen: A Review of ATC SCM45a Active Studio Monitors

    I've always been a huge fan of ATC monitors, and every time I get to work on a pair it's an absolute pleasure. As a listener, I always notice new sounds in my favorite songs, often unheard on other monitors or headphones. As an engineer, my mixes translate great on the first pass to any listening environment, and the client is always extremely happy.

    While demoing the ATC SCM45a, I got goosebumps multiple times from how amazing the songs were sounding through these speakers. There is a magic that happens in the higher frequencies of ATCs that no other speaker in its class can quite compete with. Without any DSP, they are very airy, crystal clear and pleasant sounding even at extreme monitoring levels, resulting in very little fatigue after long listening or mix sessions. The low end is always very tight and focused, even in the sub frequencies, and the speakers can be extremely loud with barely any noticeable distortion. Continue reading

  • First Listen: A Review of the Universal Audio OX Amp Top Box


    Last week I was lucky enough to sit in on a demo of the newest product from Universal Audio, The OX Amp Top Box. Universal Audio has been setting the standards of analog gear in professional recording studios for decades (see the 1176 or LA-2A), but they have spent more and more time recently in the digital realm. Continue reading

  • First Listen: A Review of Kii Audio Three Active Studio Monitors

    Over this past week, I was lucky enough to get to spend some quality time with the newest, flagship speaker from Kii Audio. The Kii Three is truly remarkable in design, frequency response and customization to fit ANY room you are tracking or mixing in. Continue reading

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