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December 24, 2009

SSL X-Desk: Art for All?

Filed under: Mixing reviews — Tags: , , , , , , , , , — audiofanzine @ 12:29 pm

SSL X-Desk Review

2009 was a year of changes and Solid State Logic got it perfectly. More than ever, the British manufacturer wanted to perpetuate its leading position in the professional analog mixer market launching a new product, the most refined of all: the X-Desk, a compact, 16-channel, analog line mixer developed for project studios. This human-sized mixer aroused our curiosity…

Even though acronyms have changed a lot with the advent of the internet, SSL (simply think “Oxford, England”…) still remains a synonym for professional quality to any audio enthusiast – both for sound and technical aspects. After many years of having become one of the indispensable products in professional studios all over the world, the British manufacturer started to show interest in modular solutions with its X-Rack Series, allowing (almost) anybody to enjoy their legendary sound if they had the need and the budget. In 2008 they presented the Matrix, which confirmed the manufacturer’s will to win new clients over with a new analog mixer concept. Equipped with 16 inline channels, 40 inputs with digital routing and DAW control, it combines the best of both the “out-of-the-box” and the “in-the-box” worlds. Now, SSL moves even further in that direction with the X-Desk. No more jam-packed mixers: 16 line input channels, no mic preamps nor EQ, but enough mixing and connection possibilities.

SSL X-DeskAt first sight, the mixer’s extremely compact size (17.1″ x 12.2″ x 4.7″) will surprise you, considering it’s an SSL, even if the Matrix had already started with the trend… You can now have the Oxford sound directly in your home studio, even if it’s more a home than a studio – like in this review!

Nevertheless, just look at the mixer and you’ll know it’s a real SSL. First of all, you’ll notice the typical sturdy manufacturing. Reliable production, clear silkscreen and a well thought-out design that makes the workflow easier. The mixer has the same 25-pin D-Sub connectors you’ll find on most professional products. Moreover, all ten D-Sub sockets on the rear panel are recessed, ensuring an easy integration of the X-Desk in your production environment. No connector will be outwardly exposed, therefore reducing the space needed to set up the mixer. We all know that connectors can take up a lot of space and SSL dealt with that issue properly.

The small mixer looks nice and it promises a lot of flexibility and ease of use. But what about the technology inside?  Let’s take a closer look…

Conclusion

SSL struck a decisive blow with the X-Desk by offering an expandable mixer that focuses on the real needs of today’s professional music production. This compact device concentrates all the brand’s know-how and philosophy to provide all the essentials for quality mixing. It surely doesn’t have anything to envy its competitors – does it have any competitors, considering its price?

SSL fans will enjoy the typical SSL sound energy. For all the rest who always wanted to work with SSL products, the X-Desk is the best opportunity to realize their dream at an affordable price.

Advantages:

  • Clean but biting SSL SuperAnalogue sound in a compact mixer
  • SSL typical versatility and philosophy
  • Routing, summing and monitoring possibilities worthy of a large mixer
  • Precise functions that make the X-Desk a fully reliable mixer
  • Cleverly designed stereo Cue bus providing 16 summing channels
  • Expandability that allows you to link up to eight X-Desks and use all outboard combinations you wish
  • What a price!

Drawbacks:

  • Talkback sound
  • CUE ST level control without push-push switch (like on the 4000!) to cut/activate the signal without loosing the level setting
  • Cables must be bought separately…
  • No “X-Desk XPander” version without monitor and FX send/return functions to optimize X-Link chaining…

To read the full detailed review see:  SSL X-Desk Review

October 30, 2009

Mackie Onyx 820i Review

Filed under: Mixing reviews — Tags: , , , , , , , — audiofanzine @ 5:29 am

It’s been a while since the first Onyx mixers with the FireWire option first came out, and now Mackie carries on with the Onyx 820i, which comes with Pro Tools M-Powered. Hmm…so what does M-Audio think about that?

Mackie Onyx 820iAt AudioFanzine, we were very surprised when we first received the Onyx 820i. We have not heard anything about a new Mackie analog mixer series sold with ProTools M-Powered, and there was also no information about it to be found on the web! The unit comes with “universal” drivers compatible with DigiDesign’s sequencer. As we write this review, we still don’t know if this is the result of a cooperation between ProTools and Mackie or if the manufacturer just took the liberty to use the software. What’s more, even though the pack we received included the Onyx and Pro Tools M-Powered, the latter is not an integral part of the product that you will find in stores. So let’s focus on the mixer then…

Unpacking

We like the overall design of the mixer, and the aluminum chassis gives it a sturdy and classy look, which is a very good point considering it’s an entry-level mixer. The plastic knobs–from the solo and mute buttons to the EQ controls–will be familiar to all Mackie users. The mixer’s compact dimensions (14.2″ x 9″ x 3.8″) and weight (9.7 lb.) make the mixer seem sturdy. We’ll have to see if this holds true under real-life conditions. It also has four rubber feet on the bottom side so it’s a mixer that will surely stay in place.

Now, let’s have a closer look at the technical features of the Onyx…

Conclusion

Mackie did an amazing job breaking the $500 price barrier with this compact analog mixer with three mic preamps, effective EQs and an 8 in/2 out FireWire interface. The quality design and manufacturing of this small Onyx make it a pleasant surprise. Mackie learned from previous mistakes and the 820i proves to be very comprehensive, as well as a good solution for live and studio musicians. The fact that it is ProTools compatible is already the focus of heated discussions because it seems Mackie might have tampered with DigiDesign’s system. Nonetheless, you’ll still have to pay an extra $250 for the sequencer, which raises the price to $750. It’s not that expensive but it makes us wonder why instead of bundling their highly recommended Tracktion software, Mackie encourages us to buy a competitor’s software…

Advantages:

  • Quality/performance/price ratio
  • Manufacturing quality
  • Effective Perkins EQ
  • Comprehensive connections
  • Pre or post-EQ FireWire

Drawbacks:

  • Preamps too limited for some applications
  • Only two computer output channel
  • Pro Tools compatibility smells like hacking…
  • Pro Tools M-Powered not included ($250 extra)…

To read the full detailed article see:  Mackie Onyx 820i Review

September 2, 2009

Behringer – DJX-750 DJ Mixer

Filed under: DJ, Mixing reviews — Tags: , , , , , , , , , , , — audiofanzine @ 7:36 am

Behringer presents the DJX-750 DJ Mixer which features the capability of altering FX parameters in real time.

To see more exclusive video demos visit Audiofanzine Videos.

September 1, 2009

Behringer – PMP860M & PMP980S Mixers

Behringer presents the PMP860M & PMP980S Box powered mixers, both with 900-Watt peak power and inbuilt FX processors.

To see more exclusive video demos visit Audiofanzine Videos.

August 28, 2009

Behringer – Xenyx XL Series Mixers

Behringer presents their Xenyx XL series live mixers.

To see more exclusive video demos visit Audiofanzine Videos.

July 8, 2009

Tascam M-164 Series Analog Mixers

Tascam unveils their new M-164 series, a new line of analog mixers featuring new digital technology that allows each channel to be recorded individually to a computer through USB.

To see more exclusive video demos visit Audiofanzine Videos.

June 25, 2009

Vintage Tools Sonic Summarizer & NTP Dual Limiter

Vintage Tools presents their Sonic Summarizer and the NTP Dual limiter.

To see more exclusive video demos visit Audiofanzine Videos.

June 2, 2009

Fostex – LR16 & LM16 Mixers

Fostex introduces two new mixers, the LR16 and the LM16.

To see more exclusive video demos visit Audiofanzine Videos.

May 21, 2009

Behringer DJX-750 Mixer

Behringer presents the DJX-750 DJ Mixer which features the capability of altering FX parameters in real time.

To see more exclusive video demos visit Audiofanzine Videos.

May 11, 2009

Making a Studio Pt.2

Making a Studio Pt.2
Electricity

Nothing will work without electricity unless you’re jamming at the local drum circles down on the beach. Electrical installation studio power is often overlooked. Studios will setup a “clean feed” that is a separate breaker from the rest of the general power that is being used for air conditioning, lighting and the basic necessities of the rest of the building. Have you ever plugged something in and heard that horrific buzzing sound coming from the speakers or guitar amp? This is usually due to bad electrical wiring, which causes ground noise. This is the first thing to listen for when going in to a studio session. A simple solution to the problem would be to use a simple ground lifter on the gear or lift the ground from a direct box which can also solve the problems. We will go into details later.

Ouverture

Isolated electrical circuits for each individual room are a must in a recording studio. The proper amount of amperage is also a must. Not enough amperage will surely cause your breakers to blow. Consult with an Electrician who is familiar with studio setups to insure that wiring and voltage is regulated and conforming with local codes.

Unregulated Power Supplies (UPS) should also be in place just in case there is a power failure. This will insure that valuable equipment will not blow up or cause a fire. If there is a case of a power outage the UPS will provide enough time to backup important computer files and safely turn off your equipment. Some studios will have complete generator systems in place to keep the studio running for the remainder of the session.

Improper lighting can also cause buzzing ground issues, especially fluorescent bulbs. Avoid using these in any studio. Dimmers can also cause many problems. The average household dimmers will surely put a damper into a clean sound. Make sure that professional grade dimmers are installed to avoid ground noise. Always listen carefully to signals being recorded before committing to a final take. There are a countless number of accounts that the engineer discovers electrical noise on takes during the mix process.

Plan de groupe A simple ground lifter can help to eliminate buzzes in the studio.

If you are serious about your studio, may I suggest balance power or a separated panel with neutral power conditioning. The evil problems of ground issues are a direct reflection of sources returning or looking for a different ground. Voltage potential between neutral and ground will certainly change your way of looking at things… for example, .5 volts between neutral and ground is the maximum allowance by UL code that electronics will operate optimally without potential induction issues. I would suggest having a meter installed to rate this. Logging this information and having a good rapport with the local electric company would not hurt at all.

Now let’s continue…

Location

Booking the proper studio

Where one decides to record is as important as what they are recording. If a band is located in Los Angeles why not just find a studio in L.A.? There are plenty of studios in L.A. with amazing gear and fabulous rooms yet the distractions of being in their hometown could take away from the focus of concentrating on the recording process. Many artists will book studios in remote locations to avoid outside interference and distractions. Privacy is very important in the entire process. Friends coming over to drink beer during the sessions could definitely hinder the process.

When budgets do not permit then finding a studio in a location that is suitable for the logistics of all who are involved in the project must come into play. The most important thing is that everyone feels comfortable in the location. If you have to pack your 9mm to get from the car to the studio then you may want to reconsider. When booking the studio look for a good location, a good price and make sure the gear and the room is adequate.

Deciding where to build a studio

Plan de groupe Urban…

In business, location is everything. Asking yourself if you have enough clients in that area to sustain all of the bills that incur for your studio, must be the key to your decision. Only a few very talented industry pros have the luxury of clients going out of their way to work in a remote location.

Purchasing a building for a studio is a great option for many reasons. By owning the property you become the landlord. Therefore you can do a build out as you please. This is a great investment as an alternative to a lease. Many Artists these days are buying houses and renovating them as Recording Studios. Many mansions have been converted into studios. This option for obvious reasons definitely brings the comforts of home right to the recording process.

Plan de groupe or Rural?

Whether building a private studio, a home studio or a commercial facility, they all take a bit of investigation before committing to the expense. Parking should be considered as well as local conveniences such as anything that your focus client base may desire. If your clients are country artists I don’t think they would like recording on South Beach and if your clients are looking to be around where the action is the mountainside resort studio is probably not ideal.

Visit Audiofanzine soon for part 3 of Making of a Studio, talking about acoustics, commercial studios, home studios and more.

To read the full detailed article see Making a Studio Part2

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