By Russ Long. The Mara Machines MCI JH-110C 1/4-inch 2-track is undoubtedly the best way to incorporate the true sound of analog into today’s recording workflow.
By Mike Dwyer. This mic shows the same excellent build quality that we’ve come to expect from Soyuz.
By Billy Davis. Stagepas has impressive sound quality and will be a valuable asset to any gigging musician or presenter who plays small, intimate venues.
By Liz May. Shure's flagship Axient Digital wireless system handled everything we threw at it and came through with flying colors during PSN's review process.
By Rob Tavaglione. Krotos’ Reformer and Dehumaniser lines offer a new approach to sound design.
By Russ Long. Besides excelling at vocal recording, the SV33 mic’s natural sound character makes it a perfect option for instrument recording.
By Russ Long. The Mojave MA-1000 is an audio gem that can hold its own against any microphone manufactured today.
By Clive Young. A workhorse that does what you expect of it, the R-07 offers some comprehensive features for those who need more out of a consumer recorder than just the basics.
By Rob Tavaglione. I’m quite familiar with the unique response of ribbon tweeters, especially from my previous reviews of ADAM Audio monitors—Eve’s founder was a founder of ADAM as well—yet I was still unprepared for just how natural these 207s sounded.
By Rob Tavaglione. At right around $1K per pair at retail, these KH80 DSPs are hardly the most affordable of the micro-monitors out there today. They are, however, the most advanced, the most flexible, and quite likely the best sounding.
Producer/engineer Rob Tavaglione put Audio-Technica's AT5047 to the test on a variety of sources. And the verdict was...?
By Russ Long. Sound Forge Pro Mac 3 is an audio editor and processor that incorporates a highly customizable single-window architecture. While the look and feel of the application isn’t necessarily bare-bones, it is still a no-fluff application that doesn’t have a host of unnecessary options or excessive menus.
By Rich Tozzoli. The company describes this mastering plug-in as a “unique multiband limiter, human-ear EQ and powerful audio maximizer” that will increase the loudness of your mix while maintaining or improving its dynamic perception.
By Steve Harvey. Avid CEO Louis Hernandez Jr. discusses storytelling, creativity in new book.
By Rich Tozzoli. Dig into Universal Audio’s new software emulation of the classic Empirical Labs EL8 Distressor.
The PSN review team takes on a HDMI wireless connection kit that allows audio and/or video content to be shared wirelessly from a HDMI port-equipped device.
By Rob Tavaglione. Did I mention that I’m currently obsessed with shaping the stereo field? I should also mention that the stereo-izing of mono tracks has been part of that width obsession, too. Day after day, I’m called on to make bland lead vocals into sexy, stereo, shimmering images of intrigue. Thankfully, Side-Widener helps do just that.
By Rob Tavaglione. IK Multimedia makes a number of gadgets, accessories and forward-thinking tools that are geared towards the postmodern performing and self-recording musician. However, its new iRig Acoustic Stage is a must-have for both live and studio sound engineers for its unique problem-solving capabilities, coupled with a low price of only $99.
By Rob Tavaglione. I know that I’ve been asked no less than a hundred times, “Can you make it sound like it’s on a scratchy old record?” I’ve often skirted the somewhat clichéd or cheeky request by saying, “I can add some static, but it’s hard to make it sound really cool.” Well, now that I have iZotope’s Vinyl plug-in, I’m able to say “Yes, I can do that” followed by “And yes, it will sound cool.” It’s powerful stuff that is remarkably free.
For those unfamiliar with the Bit-tree brand of patchbays, it is worth noting that the company’s founder, CEO Glenn Garrard, got his start in the music industry by building and maintaining speakers and tape machines for Detroit’s Motown Records alongside the illustrious Berry Gordy, Jr. When Gordy relocated Motown to LA in the early 1970s, Garrard moved, too, eventually working in television (for The Merv Griffin Show) before founding Bit-tree later in the decade.