AF’s Weblog

September 27, 2012

Acoustic Treatment for Small Studios

Filed under: Home Studio — Tags: , , , , — audiofanzine @ 8:01 am

To read the rest of the interviews please see:  Acoustic Treatment for Small Studios

Whether you’re a self-recording hobbyist or a professional mixing engineer, studio work is about making decisions. If the room you’re making decisions in isn’t a reliable listening environment, then the decisions you’re making won’t be reliable either.

Luckily there is a community of experienced acousticians, design consultants, and studio contractors dedicated to providing specialized services to musicians and engineers, in studios large and small. This article compiles some thoughts from two such studio acoustics professionals:

Tom Day began working on studio design projects in the late 1980s with a friend who had recently opened a consulting firm in Los Angeles. In a couple of years, they built a series of musicians’ studios within, and outside of, the constraints of zoning and code in L.A.’s complex, competitive, and restrictive collection of communities.

In 2001 Tom restarted his business, Wirebender Audio Systems, to provide a variety of services to studios and other customers. He has provided consulting for project studio designs, college studio facilities, industrial and business-space noise control, and a couple of industrial products that required noise output reduction analysis.

Bryan Knisley has been providing custom studio design and contractor services for 12 years. His company, North Orbit, serves a wide range of home, project, and commercial studio clients. Most of the people Bryan works for are musicians or studio owners working in the commercial music industry.

In addition to studio projects, Bryan works on a wide range of commercial and residential sound control projects. He also helps test various products and designs at Orfield Labs, an acoustic laboratory in Minneapolis.

What is the most common acoustic problem you find in the typical home studio or under-designed commercial studio?

Tom: Too much emphasis on reverberation treatment before creating reasonable noise isolation. If the room isn’t quiet, reverberation and reflection problems may not be the biggest problem in the room design. Absorption provides little-to-no value if you are bothering your neighbors, or if outside noises are finding their way into your recordings.

Bryan: I would have to say that most often I find speaker placements and/or mix positions that need to be adjusted before room treatments even start going in. Nearfield monitors are often way too far apart, too close to a front wall, or the engineer is seated too far forward or back for the particular room.

Subwoofers are often right up against a wall, or stuck in a corner. That will excite the existing room modes even more and enhance low frequency problems. Most home or project studios are small, and the fundamental axial mode frequencies are easily reproduced by a subwoofer (or any monitor with a low enough frequency range). For example, a 12-foot wide room has a fundamental axial mode of about 46.5Hz.

What is the most common room treatment question you hear from home studio clients?

Bryan: “How can I treat my low frequency problems so my mixes will translate better?”

Tom: “How do I keep from irritating my neighbors when I’m recording drums?” Next would be, “How do I do all of that [the answers to the first question] cheaply?”

In your experience, are there any particular elements of a typical small studio treatment project that lend themselves to a DIY approach?

Tom: Absolutely. With reasonable knowledge, decent construction skills, patience, a critical eye to detail, and time, I think building a decent small studio space [yourself] is incredibly practical.

Bryan: Yes! Absorption panels are fairly easy to make, and a great place to start. Diffusers, bass traps, resonators, etc. are all very fun to make, and you’ll learn a ton along the way.

Unfortunately, you’ll probably make a ton of mistakes as well. Asking around and finding someone experienced who’s ‘been there and done that’ to come to your space for an hour is probably money and time better spent! I’m very much a DIY guy, but I’m lucky to have worked with very knowledgeable folks over the years and continue to learn new things every day.

A lot of beginning engineers, and even some working engineers and studio owners, dismiss the importance of detailed room treatment, or delay it because of expense. How would your simplest argument against those attitudes go?

Bryan: Unless you’re mixing with headphones, your room is coloring what you hear. You can spend a truckload of money and chase an “ideal” room forever, but with good ears and some effective room treatments you can make a huge improvement in your mixing and/or listening environment. When it sounds good, it’s fun to go to work.

Tom: There is, of course, a return-on-investment to be considered with any expense. However, a well done acoustic treatment can be reasonably priced and can make the difference between a workable space and a constant fight to figure out what is coming out of the monitors.

When room resonances, isolation problems (and the resulting signal-to-noise/dynamic range capabilities of the studio), and reverberant character of the room are appropriate for the work being done, the client can get a lot more work done in less time with more confidence. If the room in question is used for music performance, competent acoustic treatment will make the difference between a recording that sounds professionally done, and one done in a closet.

Sometimes a visit from an acoustic designer can provide useful DIY tips so the client can do the work on a tight budget and get a reasonably professional result.

To read the rest of the interviews please see:  Acoustic Treatment for Small Studios

September 24, 2012

Monster Beats Pro Review

To read the full detailed review see:  Monster Beats Pro Review

Thanks to its partnership with Dr Dre, Monster’s Beats Pro have become a grand success. But are we really talking about a new reference product here or just a fad? That’s the question…

There’s nothing strange in an audio and hi-fi cable manufacturer launching a range of headphones, that’s what you usually call diversification. But what’s really surprising is that the manufacturer’s most expensive headphones are endorsed by famous hip-hop producer Dr Dre and that they are a smash hit in spite of their $400 price tag! Within a few months, the Beats Pro and their less expensive variations have become a popular reference: you can see them on many heads on the street, despite their price and their “pro” flair. We must admit that the Beats have that something extra: they are lookers! Compared to the old-school designs from the 80’s that still influence some AKG, Sennheiser and BeyerDynamic headphones, Monster tried to create a pair of headphones with a different look (available in black or white with a small, red “b” on each ear cup) and different high-quality materials, like brushed aluminum for the headband and real leather for the earcup cushions.

The beauty and the beast inside

Monster Beats Pro

It seems Monster has learned a lot from Apple’s marketing strategies: the Beats Pro come in a nice-looking, heavy box with all the necessary accessories. Besides small guides, the package includes a soft cover and even a small antibacterial cloth for cleaning the headphones. All details of the packaging and the accessories have been painstakingly considered and the same applies to the headphones themselves. Among the good ideas introduced with the headphones is the locking system of the red cable, which enables you to plug it either to the right or the left earcup. The other end of the cable features an angled minijack and even a small rubber holder for the 1/4″ jack adapter. A very good idea, considering how easy it is to forget where you put it…

Watch out for counterfeits

Being a fashion phenomenon, the Beats are the most counterfeited headphones in history, according to Monster. This might explain why you see them everywhere in spite of their hefty price. The manufacturer is very clear in this respect: the only way to get authentic Beats headphones is to buy them from an official dealer. They also advise against products sold on eBay (or the like) because up to 99% are counterfeits.

The headphones are quite heavy, which will please some and displease the rest, but they feel pretty comfortable on my head and give an impression of roughness with their thick brushed aluminum parts. Both earcups can be folded, which is convenient for transportation and for DJ-style listening. The adjustable headband and earcups allow the headphones to fit every head.

In short, they look great, are well manufactured, well thought-out, and sold in a beautiful package (following Apple’s footsteps). The only negative thing is that Monster doesn’t include spare earcup cushions, probably because the cushions of the Beats Pro are washable… Time will tell if this strategy is right!

Now let’s take a closer look and a listen…

Conclusion

Monster Beats Pro

The Beats look great and even if the bling-bling of its white leather won’t be to everyone’s taste (a black version is also available), the high quality materials, the listening comfort, the provided accessories, and the packaging justify the $400 price tag. But when it comes to the sound, the conclusion isn’t as easy. The overemphasized lows and tiny highs make the Beats quite pleasant to the ears, but they also make them an aberration for your wallet, at least for studio applications. In fact, they can hardly compete with similar products from AKG, Beyerdynamic or Ultrasone. Monster applied a successful marketing strategy consisting in making headphones fashionable, while implying that the sound is good because the price is high thanks to a cleaver endorsement strategy…

In this regard, Dr. Dre is certainly one of the best hip-hop producers ever. I have a huge respect for the man and his work, but I would like to know for what kind of professional applications is he using these “professional” headphones that neglect so many nuances and details of the audio signal due to an overemphasized low-end. In the end it all comes down to marketing, which makes me wonder if Bon Jovi ever drove the Volkswagen Golf that holds his name…

Advantages: 
  • Original look compared to competitors
  • Well thought-out headphones, good manufacturing quality
  • Accessories

Drawbacks:

  • Unbelievable value for money
  • Super-ultra-overemphasized lows
  • Crippled highs

To read the full detailed review see:  Monster Beats Pro Review

September 17, 2012

Motu Track16 Review

To read the full detailed review with sound samples see:  MOTU Track16 Review

Track16 is the latest addition to Motu’s range of audio interfaces. The numerous features announced by the manufacturer are very appealing. Let’s see how they translate in the real world!

How Does it Sound?

MOTU Track16MOTU Track16

 

Test system

MacBook Pro QuadCore i7 2.7 GHz
OS 10.6.8
Motu Track 16
Motu CueMix FX 1.6 52865
Logic Pro 9.1.7

 

MOTU Track16

MOTU Track16

Let’s make a first attempt with a Cort Jumbo acoustic guitar (thanks to Nico for his guitars and his presence in front of the mic!) captured by a TLM-103, a mic with an excellent signal-to-noise ratio. Note that you can’t achieve max gain via the control on the interface itself and once you close the window (for example to get free space on your screen), there is nothing on the interface to recall CueMix…

Now let’s have a listen…

Conclusion

MOTU Track16Let’s start with the negatives, for example the bulky and rigid D-Sub cable that takes a lot of space on a table or mixer. That’s certainly a pity for a product sold as a desktop interface. Moreover, sometimes there are audio clicks and I was not able to find the reason why (except when you power on/off). The main drawback is the buzz followed by clicks when you increase the trim setting of the Hi-Z inputs. The quality of the mic preamps equals the quality of similar interfaces at the same price-point. You’ll be able to work without constraints, even if the preamps don’t quite reach the performance of the ones on comparable RME or TC interfaces. However, an ideal solution would be to add an external preamp via the ADAT interface.

Putting that aside, this audio interface offers many advantages. First of all, the number of ins/outs and the way they can be managed from the interface itself. The construction seems pretty sturdy, which is reassuring, especially considering that in this price range you can find several plastic boxes with knobs that fall off… The software is quite impressive, even if it lacks some features, like a real routing matrix for example. Nonetheless, the eight buses, high-quality effects, measurement tools, SMPTE LTC sync, the possibility to save setup presets, etc. make the combination of CueMix FX and Track16 a very useful tool.

Advantages: 
  • Perfect construction
  • Impeccable “toggle display” function
  • Quality converters
  • Immediate mute of the current channel by pushing the knob
  • Excellent display features
  • 32-bit, floating-point internal processing
  • Powerful and effective CueMix FX software
  • Zero-latency monitoring
  • Working with a 32-sample buffer size is not a problem
  • Perfect design
  • Quality of the effects
  • Eight independent mixing buses
  • SMPTE (LTC) sync via single 1/4″ jack
  • Audiodesk 3 included
  • 24 bits/192 kHz
  • ADAT S/Mux

Drawbacks:

  • Audio clicks from time to time and when powering on/off
  • Strange behavior (buzz and clicks) of the Hi-Z Trim controls without a signal present
  • Floor-noise of the preamps is a bit high
  • No real routing matrix
  • ADAT switching system not always reliable
  • D-Sub cable: too rigid and without color marks

To read the full detailed review with sound samples see:  MOTU Track16 Review

September 14, 2012

Basic Concepts in Electronic Music Production

To read the full detailed article see:  Basic Concepts in EDM

If you’re reading this article you might already know that EDM stands for Electronic Dance Music. The styles range over a wide gammet of musics, from House to Dubstep, Drum-n-Bass, and IDM (Intelligent Dance Music). While the specifics of each style are extremely diverse (even within different styles there are dozens of sub-styles) – certain attributes remain consistent.

If you are just getting into EDM, or just want a fresh perspective on it, this article should offer some great food-for-thought.

Rhythm

The purpose of EDM is to make people dance. Period. The rhythmic elements and the movement of the record are sacrosanct. Once you find the pulse of the record, you make that as clear as possible. That means pushing the rhythm elements way up, exaggerating any kind of pumping movement and articulating the attacks of anything that is outlining that rhythm.

In addition, it’s best when people not only hear what they want to dance to, but feel it as well. One of the biggest challenges with EDM is packing that heavy bass into the mix. The first key is to remember that physical bass is a much wider range than just the sub. In fact, club systems tend to be very unreliable when it comes to the sub range. Pay special attention to what’s happening between 80 Hz and below 300 Hz. There’s a still a lot of physical bass there, and a little love in that zone can go a long way.

In fact, most instruments have “physical” ranges. For a snare, you might be looking at 300 Hz – 500Hz. For a hi-hat you might be looking at 1 kHz. To say exactly where the physicality of a certain sound exists is almost pointless – it varies widely. But when you feel it, you know.

Loudness

The difficulty in physical sound, and I know a lot of engineers are going to shoot me for saying this, but the difficulty is that club music needs to be loud. Only so much energy can fit into a limited space, so picking and choosing how to maximize your bang-for-the-buck in terms of headroom is one of the biggest challenges in EDM.

Sometimes it’s a lot more productive to trigger a sine wave or use a bass enhancer on a kick drum, rather than simply boosting the low end – as you can get a little more “perceived” bass without running the headroom. And equally over extending compression or distortion to gain perceived size is also worth experimenting with. Ideally all club systems would have tons of clean amps with DJs who know how to not overload the speakers, who could then turn the club amps up and keep there mixers down. But that’s not the world we live in. So until then, club music does fall under the jurisdiction of the loudness police.

Let’s take a look now at some other concepts…

….

Conclusion

This article is very stream of consciousness. I hope people comment and ask questions below as there is probably a million more things that could be said on this subject. But in the mean time, this should provide a few basic concepts that will step up your game when producing EDM.

To read the full detailed article see:  Basic Concepts in EDM

June 14, 2012

Top 10 Things That Can Never Be Taught Often Enough In Audio

Filed under: Live Sound — Tags: , , , , — audiofanzine @ 8:48 am

10. Musicians feel most comfortable and play best when they hear what they need to hear on the stage. Of course, the experienced monitor guys and recording guys already know this. But it’s something for those less experienced to think about. No, it’s not about how much power you have or what kind of monitor wedges. It’s about psychology.

And I think it’s true that if you become good at monitors and understand how to please musicians, you are 90 percent there towards becoming a good mix engineer.

Sure, the last 10 percent might be the “magic” but you can’t make magic without the basics.

9.  Sound travels at 1,130 feet per second, at sea level, at 68 degrees F and 4 percent relative humidity. This is important because if you understand how sound propagates, you’ll automatically know more about microphone placement, setting delay towers, and things like delaying the mains to the backline. And you should also know that the speed changes with temperature, humidity, and altitude. (If you don’t, it’s a good idea to look it up.)

8.  The Inverse Square Law. You know, the thing about a doubling of the distance from the source means that the acoustic power is cut by 1/4, right? This applies all over the place, from mic technique to loudspeaker arrays. It relates to how much power you will need from the power amplifiers.

For instance, if you normally cover an audience at 20 to 60 feet from your stacks, but for the next gig, the audience will be 40 to 100 feet away, how much more power will you need to maintain about the same acoustic power? About four times as much! Maybe think about delay stacks (see #9).

Let’s see some more pointers…

2. Grounding. Let’s not mince words here: this is a subject you need to understand. If you have more than one path to ground in your audio system, and the resistance to ground is different between them, you will have problems with hum and buzz.

Related to this is how you terminate your connections, especially if any parts of the system go back and forth from balanced to unbalanced terminations.

It’s also a good idea to learn the sonic signatures of different kinds of hum and buzz to therefore speed up your troubleshooting when the time comes. This is because some types of buzz are not related to grounding problems, but instead may be power supply issues, for instance.

1.  Gain structure, baby. This is the main one, the real deal. The thing that, if you can’t learn, or don’t understand or have forgotten, will get you into more trouble than anything else. There will be more noise and/or more distortion in the system unless you get this right. And there will be less gain before feedback, too.

So here’s the deal: every input and every device has an optimum range of levels it wants to see or wants to work with. If you’re feeding something a signal that is too low, you have to make this up somewhere, and therefore you’ll be bringing up the noise more than it should be. And that noise will be in your signal from then on.

Oh, sure, there are noise reduction devices you can use, but why do that when proper gain structure will take care of it for you? And really, we should use the least processing possible to get the job done because things sound better that way.

Alternatively, if you an input or a mix bus is fed too much signal, headroom will run out, which means you’re adding distortion. And this, also, cannot be removed later. Artistically adding distortion via plug-ins, hot-rodded guitar amps or certain outboard gear can be cool. Adding it by slamming your inputs or your mix bus is not cool.

For instance, if a wireless microphone output can be set at line level, but you set it to mic level and connect it to a mic input on your mixer, you will have more noise than if you connect the line output to the line input. Why? Because essentially you’re padding down the output then boosting it back up again with a high-gain mic preamp.

Sure, sometimes you might want to put the signal through a transformer or other “good” distortion device—just be aware that from a gain structure point of view, this is not ideal.

OK, that’s the list. If you’ve already mastered these things, great! You’re probably doing better mixes, with more gain before feedback, better coverage and happier musicians than those who don’t. But please don’t rest on your laurels – get out there and learn as much as you can.

Those of us going to your shows will know it when we hear it!

To read the full detailed article see:  Top 10 Things That Can Never be Taught Often Enough in Audio

October 21, 2011

10 Questions About Mastering Your Recordings

Filed under: Mastering — Tags: , , , , — audiofanzine @ 7:43 am

Mastering is a crucial process, but it’s not always all that well understood by the average musician…so let’s deal with some of the basic issues.

Your tunes are done, and you’ve decided it’s time to create a CD — which brings you to the subject of mastering, where all the tunes are assembled and optimized for the best possible sound. You really don’t want to make any mistakes at this crucial stage.  Indeed. Mastering can make or break a record, so there’s a lot of interest in doing it right. Here are the ten most common questions I hear from people who are about to get their work mastered.

Q. What’s the best piece of gear for giving me a professional, “radio-ready” sound?
A. The best piece of gear is a professional mastering engineer who has done this process before for hundreds, if not thousands, of recordings.

Q. So do I just send an audio CD with all the cuts, and the engineer masters them?
A. That’s one option, but certainly not the most desirable. Although you should always check with the engineer for specific requirements, if you recorded your music in high-resolution audio, then it’s best to provide those high-resolution mixes, as WAV or AIFF files. The mastering engineer will likely do some processing, and 24-bit files give more “calculational headroom.”


Steinberg’s Wavelab includes excellent
dithering options, but don’t apply these
if you plan to hand off your file to a
mastering engineer.

Q. Wouldn’t it be better to send a dithered version of the 24-bit files, as the files are going to end up as 16 bits on a CD anyway?
A. No. Dither is always applied as the very last stage of mastering, when the higher resolution signal gets downsized to the 16 bits required by Red Book audio.

Q. I want a couple of cuts to crossfade into each other. Should I do the crossfading myself and send the combined cut?
A. Probably not. Fades can be dicey, and again, the mastering engineer will likely have tools that provide the best possible audio characteristics when creating fades. Also, that will insure dithering happens to the combined file — you don’t want to dither two files, then crossfade them. Just make sure that you include full documentation on where you want the fade to begin and end for the two cuts.

 

To read the full detailed article see:  10 Questions about Mastering

April 9, 2010

Music Making with a Computer (Part 1)

A computer to make music? Sounds great. Which computer should I get and with what specification? Good question. But first things first: what is a computer and how does it work?

Computers revolutionized the way we work, regardless of what you call work: music production, accounting, management. Can you imagine having to write your CV with a typewriter (carbon copy included) instead of a text editor? Of course you can’t. The same applies to music recording and producing: it’s hard to do it without a computer… You’ll certainly find vintage fundamentalists here and there, but we all have to resign to the fact that all songs released these days have been processed in one way or another with a computer before they hit the market – even if just because all formats are digital nowadays (CD, MP3; except for the DJ and Hi-Fi freak vinyl niche market).

It is indeed still possible to record an album with a good, old multitrack recorder, and to enjoy that special sound character a tape provides, but you have to admit that it requires a lot of time and money (service, tapes, etc.), and thus it is an expensive hobby for the rich. Unless you are Jack White or Lenny Kravitz or you have enough money to rent Abbey Road for three months to edit tapes with glue and scissors, you’ll have to make do with a computer to make your music – like 99% of home studio owners and sound engineers.

What’s the purpose? With a suitable interface and software, you can control all sorts of electronic MIDI instruments (synth, sampler, etc.) and virtual instruments, you can record and mix audio with all necessary effects… What’s more, you can save as many variations as you want, repair mistakes and enjoy the wonders of cutting, copying and pasting; live or in the studio. And all of that for a ridiculous price, considering what you had to pay to do the same 30 years ago.

In short: you need a computer! Ok, but which one? Mac? PC? With which processor? And what hard drive? How much RAM? But, most importantly, how can I choose from the options available if I don’t know what a CPU is or what does RAM do?

Don’t panic! We’ll help you get things straight…

Computer Parts

Regardless of whether you have a Mac or a PC, computers generally work the same, all the more ever since Apple started using Intel processors. The difference between these two platforms resides mainly in the operating system (Window, Mac OS X, Linux, etc.), their design and the software available. It doesn’t matter if you decide to assemble your own computer or buy a pre-assembled model by a given manufacturer, a quick overview of the different parts of a computer will be very useful in order to understand their roles…

CPU

The CPU (Central Processing Unit) or microprocessor, is often compared to the brain of the computer because it manages all calculations. Considering that all data passes through the CPU, its processing power is of utmost importance for the overall performance of the computer. When it comes to audio, for example, it processes a reverb effect while displaying the graphic user interface and manages all other computer instructions (data keyboard, etc.). To use a musical metaphor, you could say it’s the musical conductor of your computer

Basically, a CPU is a small silicon square on which several millions of transistors are assembled: over 60 million on a Pentium IV and more than 731 million on the Core i7 thanks to the continuous progress in miniaturization. More cells in the silicon brain provide more power, but the number of transistors is not the only factor: the processor design and its speed also come into consideration.

The faster the CPU, the more calculations it will be able to process in a given time. This speed is measured in gigahertz (GHz). When a CPU is clocked at 2 GHz, it means it can process two milliard cycles per second. But what is a cycle? Good question! To keep it short and simple, let’s say that a cycle is a basic calculation, like adding two numbers. Multiplying two numbers takes several cycles and dividing them even more. Why? Because a CPU is extremely limited compared to the human brain. But it is extremely fast and the user can’t really notice it, which gives the impression that the machine is more intelligent.

But keep in mind that this clocking frequency is only theoretical because, in real life, our processors rarely work at full capacity. Why? Because they are slowed down by other components like RAM (Random-Access Memory). Furthermore, increasing CPU frequency is not the only nor the simplest way to increase a computer’s power. In fact, the latest CPU generations have improved their architecture implementing multi-core processors.

A multi-core CPU is a chip including several processors connected in parallel. You can find dual-core (two cores), quad-core (four cores) and even octo-core CPUs (eight cores).

By using this technology, it is now possible to improve the processing power without increasing the CPU clock, thus avoiding heat generation problems due to higher speeds.

Nowadays, these types of CPUs (mainly dual-core and quad-core) are mounted in all computers on the market regardless of whether it is a Mac or a PC.

Now let’s take a look at some other parts…

Conclusion

Now that you have been educated on the basic parts of a computer and what they do, in the next article we will deal with the specific setup choices available to have a computer ready for making music. And you can trust us, there are plenty of choices…

To read the full detailed article see:  Making Music with a Computer

May 20, 2009

[Musikmesse] Cakewalk Demo

Check out the action that happened over at the Cakewalk stand as they were presenting their new V-Studio.

To see more exclusive video demos visit Audiofanzine Videos.

April 19, 2009

Video Demo: Vintage Tools VT-Trakker Mixer

Vintage Tools presents their new VT-Trakker which they say is the sum of everything they’ve developed up to now.

To see more exclusive video demos visit Audiofanzine Videos.

August 27, 2008

Arturia Analog Factory Experience review

Filed under: Computer music reviews — Tags: , , , , , , , — audiofanzine @ 1:05 pm

Arturia has been showing more and more interest in software/hardware solutions, as can be seen with some of their top of the line projects, such as Origin. The editor also offers a more affordable solution with Analog Factory Experience (AFE), combining v2.0 of its Analog Factory and a keyboard controller made by CME. Let’s see what this tempting bundle has to offer…

What’s in the box?

Clavier

The first surprise when you lift the cardboard box is its weight: 3.7kg. Does this mean there’s a good keyboard inside? In any event, its metal case and solid wood-style sides make a nice impression in this all-plastic era. On one hand there’s the keyboard controller, on the other there’s v.2.0 of the Analog Factory, a Windows and Mac software program that compiles all the audio engines of Arturia’s former soft synths. The v.2.0 now offers 3500 presets grouped by style, synth model and other tags, while v.1.0 “only” has 2000 presets and doesn’t include the Jupiter-8.

The Arturia sound
Audio engine of each of the seven synths
3500 presets
Classification and fast access
Standalone and plug-in
Keyboard seems to be solidly built
Full-size keys with a nice touch
Controllers
Pedal inputs
USB or Midi
Low price

Some presets are too loud
Some clicks when changing presets
No direct monitoring of Key Parameter assigning
Pitch bend values are fixed in presets
Polyphony is fixed in presets
Some faulty connections (ADSR sliders)
No aftertouch
Lifespan of keys?
Some issues with other Arturia synths in standalone mode
Optional DC adapter
Multifunction Level knob

Read the full Arturia Analog Factory Experience review on Audiofanzine.

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