Product Reviews

  • First Listen: A Review Of The Chandler Limited TG OPTO / TG12345 MKIV EQ

    For many years, Chandler Limited has been making some of the highest quality studio equipment available, and is the only company authorized to develop and manufacture the official equipment of EMI/Abbey Road Studios. Their brand new 500 Series modules, the Chandler Limited EMI TG Opto Compressor and Chandler Limited EMI TG12345 MKIV EQ, were recently announced ahead of AES 2017.  

    Paring down elements of Chandler Limited’s TG1 OPTO and Curve Bender into two 500 Series modules, these new pieces trace their lineage back to the TG12345 console. This desk was used at Abbey Road Studios and provided the sounds behind countless hits records such as The Beatles’ Abbey Road and Pink Floyd's Dark Side of the Moon. Continue reading

  • First Listen: A Review Of The Rupert Neve Designs 535 Diode Bridge Compressor

    Prior to the start of AES week, Rupert Neve Designs announced that they would be releasing a brand new compressor. The 535 Diode Bridge Compressor is comparable to the classic 2254, but comes in a 500 series size module and includes some new features. Continue reading

  • Comparing The New Royer R-10 Ribbon Microphone To The R-121

    Last week I was introduced to the new Royer R-10 Bi-Directional ribbon microphone. The R-10 is very similar to the classic R-121 in design. It’s small and lightweight, which allows you to position the microphone without any intrusion, and utilizes the same ribbon transducer.

    Throughout this blog, we’ll look at what makes each of these microphones special in their own regard and pit them against each other in a shootout on some different guitars and amplifiers. Continue reading

  • First Listen: A Review of the Mellotron Micro Digital Synthesizer

    I recently got to play with one of my new favorite toys, the Mellotron Micro. I’ve always been a huge fan of the way a Mellotron sounds, as they are truly the key to capturing the audio mood of melancholiness. Made famous by The Beatles’ “Strawberry Fields” and The Moody Blues’ “Nights in White Satin”, the Mellotron sound has been a favorite of many professional keyboardists since the early 1960s. Continue reading

  • First Listen: A Review Of The Elektron Digitakt Compact Digital Drum Machine


    For months around the halls of Vintage King I've been hearing about the Elektron Digitakt, a new all in one compact drum machine and music production station as powerful as any on the market. I have been a big advocate of music production stations like the Korg Kronos and Native Instruments Maschine for the past couple of years, I use them on just about every project I work on as a producer to add bits of ear candy throughout the arrangement. I also love producing electronic music as a little side hobby of mine, so I was really stoked when the new Elektron Digitakt came across my desk.
    Continue reading

  • 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

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