Through the use of several proprietary methods the Dramastic Audio Obsidian performs a range of tasks unheard of from the average SSL or SSL-esque unit. The fist difference the user will notice is that the unit suffers no ‘shrinkage’ to the audio sound field. The highs stay brilliant and clear and the bottom will continue to thunder (especially with the unit’s internal High Pass Filter engaged on the unit’s detection circuit).
The second thing the user will notice is that when the "auto" release time is employed the audio has a smooth, rich texture without any pumping or breathing. From there, if the user has decided that the audio is a little too smooth for their application a simple click of the release switch to the "lofi" setting will net all the "in your face" aggression a user may desire. Overall the clarity and performance of this unit is unparalleled by any unit based around a Voltage Controlled Amplifier (VCA) gain reduction cell. At first look it may suggest something from the past, but at first listen the user will understand the future of professional audio. Transformer balanced input/output interface which gives the Obsidian its unique sound. The TXIO Enhanced option produces that "phat" classic analog sound making the Obsidian an excellent way to add warmth and character to digital audio workstations.
Precision stepped controls to accurately recall settings
Side-Chain Input XLR
Balanced inputs and outputs Ratio settings: 2:1, 4:1, 8:1, 10:1, 12:1 and SKULL
Attack control range: 0.1, 0.3, 0.6, 10 and 30mSec
Release control range: 0.1, 0.3, 0., 1.2 sec, AUTO and Lo-Fi
Compressors and limiters are some of the most important and versatile tools that any audio engineer can use. Virtually every modern recording uses compression somewhere in the chain of tracking, mixing, and mastering. This ubiquity makes them valuable but also creates confusion when considering the many choices in the marketplace. To help straighten that out, we’ll discuss the main types of compressors and the terminology that explains their usage.
The purpose of a compressor is to even out the audio signal in order to tame loud transients and bring up lower amplitude material. Compressors were born out of necessity to fill that very straightforward role, to protect radio transmitters from overly hot signals, and to keep recordings in a narrower dynamic range that was easier to reproduce on tape or record. Continue reading →
Whether he’s expanding minds in post-rock legends Tortoise, reimagining Sheryl Crow (yes, that Sheryl Crow!) with saxophonist Joshua Redman, or chopping up work on the spot with drummer Makaya McCraven, Jeff Parker has a natural feel for sounds that captivate. A significant force in the Chicago experimental and jazz scene, presently based out of California, his genre-defying work challenges listeners to think and feel beyond categories.
Parker is a supremely prolific sideman and studio collaborator, but he also happens to have several solo records under his belt too. Today we’re digging into his latest, last year’s Suite for Max Brown, an informal companion to his previous record, The New Breed, which was honored by London's Observer as the best jazz album of 2016. Continue reading →
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