Archive for December, 2008
Tuesday, December 30th, 2008
It’s been a really long time since we’ve had a gear review here, probably because I haven’t bought any gear for almost a year. There’s a lot to cover in this one.
For a long time I’ve been looking for an alternative to my Digi 002R, a product I’ve never been happy with, and paid way too much for. When the Profire 2626 was announced I was immediately intrigued. It seemed to have all the features I needed and wanted plus it worked with Pro Tools, and it didn’t cost a fortune. I finally got to borrow a Profire 2626 from work along with an iLok so I can try it out on my system.
Features
- 8 analog inputs and outputs
- Signal and Clip indicators on analog inputs
- 8 Octane microphone preamps and 2 instrument inputs
- -20dB pads on each preamp by pulling gain knob
- 16 ADAT Optical inputs and outputs
- 2 channel S/PDIFÂ I/O
- Wordclock ports for sync
- MIDI in/out
- 2 headphone outputs
- 1 U rack space design
- Software control panel/mixer for low latency free monitoring
Installation
Set up went very smoothly. I downloaded the latest driver from M-Audio’s website. Ran the program, turned off the computer, plugged in the Profire, turned it on and started the computer. Windows found the new hardware, installed drivers automatically and within a minute I was playing music from Foobar 2000 out the Profire. Now why is that anything to write about, well previously with the 002R I had to play music through the onboard pc soundcard, with a cable going into the 002 alt input and push a button on the front to send it to the speakers. The Profire just works.
DSP Mixer and Routing
This took a bit to wrap my head around, I’ve never had an interface with a dsp mixer, the 002 didn’t even have a control panel! I had a brief run glance through the manual (again a download from M-Audio) and then I remembered the tutorials Jeff Dykhouse did not too long ago. The dsp mixer allows you to route the input directly to the outputs for zero latency monitoring and custom cue mixes. This is something I’ve got no experience with, in fact I usually tell people not to use the the “mix knob” on their usb interfaces and always monitor through the software. I can definitely see the benefit with this, but it’s no good if I want to monitor through effects.
Preamps
The preamps are very clean and low noise compared with any preamp I’ve owned previously. I would consider these on par with the Presonus Digimax series, 1000x better than the 002, which is unusable. I love that there are -20dB pads on all the preamps. The ProjectMix I/O is an excellent interface, but it’s useless for recording drums because the preamps have no pads, turned all the way down they still clip like a mofo. Not the case with the Profire 2626, I’d have no problems with recording drums with it.
MIDI, S/PDIF, BNC Wordclock Connections
To save space on the interface, a few of the connections are on a short breakout cable that connects to a 9-pin D-SUB jack on the back. There are no pictures of this that I can find online, or in the manual, so I took a picture of the actual cable.
Working With Pro Tools M-Powered
Along with the 2626 I borrowed an iLok so I can try it out with Pro Tools M-Powered. Installation went smoothly for me, largely because I know what I’m doing. I got the PTMP 7.4 download from the dealer site, installed, restarted, got the latest CS update (the Profire came out after 7.4 was released and requires at least CS 5), installed and restarted.
Opened up Pro Tools and did the Dverb test. Previously my computer could do a maximum of 220 dverbs, the Profire has a larger maximum buffer of 2048, I can now exceed 260 Dverbs. My old pc with a dual core AMD processor would max out at about 80 dverbs. The new quad was definitely worth the money. The lowest buffer size is 128, which is pretty good for monitoring with plugins IMO.
I think Pro Tools is also more stable with this interface.
The Negative Stuff
- It’s not the perfect interface, but I’d say its pretty close. There are a few things I’ll miss having.
- No Mono button
- No Mute button
- Master volume control is digital, there is not a lot of resolution in the counter clockwise position. Turning it up slowly, it remains silent for a bit then it suddenly turns up, not loud but not quiet enough either. I need to open the software control panel for fine adjustment of volume.
- There is constant soft white noise from the speakers with this on, there are lots of clicks and noises when you first turn it on that get sent out of the speakers. This wouldn’t happen with a real analog volume control.
- Headphone out 1 is not independent of the master output, maybe I have something configured wrong but I have to have the speaker volume up to hear anything out the headphone amp. I don’t get it.
- Power supply is a “line lump” ac adapter rather than a full size IEC cable with big transformer. Seems “unprofessional” but of course that keeps this a 1U rack space and the weight down.
- DSP Mixer can only handle 18 I/O at once. I saw a post on GearSlutz by an M-Audio engineer saying more than that would require an additional DSP chip and much higher pricetag.
- Setting up this to work with Skype has stumped me at the moment. I can send my mic through skype no prob, but to playback something pre-recorded doesn’t get sent out.
- Only 18 I/O available in Pro Tools. This is a limitation from Digidesign in the software, all 26 I/O are available in any other DAW and you can even daisy chain them for more. This really isn’t a limitation for me, I don’t own a single piece of outboard gear (yet) and rarely use more than 2×2 I/O
The verdict
The pros far outweigh the cons on this interface, it’s a major upgrade from the Digidesign 002 Rack and I’m thoroughly enjoying playing around with it this weekend. I’m expanding and simplifying my DAW at once.
I have no choice, I have to buy it.
Posted in Gear, Pro Tools, Review | 6 Comments »
Monday, December 29th, 2008
Continuing the series on explaining effects, this time it’s all about Compression. Compression is a form of Dynamics processing which is any device that preforms automatic gain changes. Other Dynamics processors are Noise Gates, Maximisers, and De-Essers.
Compression
Compression is an effect that can take a while to understand because the results are not always as obvious as other effects. To explain it as simply as possible, when a signal goes into a compressor, it gets turned down. Thats it. How it does this, how fast, and smoothly is what makes each one unique.
Compressor Controls
Most compressors will have the same set of controls:
The Threshold control sets what level will start the gain reduction.
The Ratio sets how much gain reduction, with a 4:1 ratio for every 4dB of signal above the threshold 1dB will be allowed through.
The Attack control sets how fast the compressor reacts to peaks.
The Release control sets how fast the compressor reacts as the signal lowers
Makeup gain is used to bring up the overall level of the compressor after the peaks have been reduced.
Sometimes there is an auto makeup gain control which will increase the output level to match the gain reduction.
Some compressors have a knee control that starts compressing at a lower ratio as the threshold is approached, this is very helpful for a more natural compression.
Compressors will usually have a few meters, an input level, gain reduction and output level. If there are only two meters there is usually a switch to change the output level to show gain reduction. Gain reduction meters go in the opposite direction of the level meters.
Setting a compressor
This is my method for setting a compressor:
I choose a ratio depending on how aggressive I want the compression to be. The type of sound I’m using it on determines this, softer sounds like voice get lower ratios, bass gets a medium ratio and drums get a higher ratio.
I turn the attack and release controls to the fastest setting, and make sure the meter is showing gain reduction.
Then I lower the threshold level until I’m getting about 1 decibel of gain reduction on the peaks.
From there I’ll fine tune the attack and release for whatever sound most natural, and use the makeup gain to match the output with the input level.
If I want more compression, I’ll lower the threshold more.
Example:
Here’s an example of some electric guitar with and without compression. I’m using more compression than I normally would on this so that the effect will be easier to hear. It should be pretty obvious that the compressor has evened out the dynamics of the performance.
[Listen to this example]
Compression can bring out more details in a performance, but it will also bring up background noise especially at higher ratios, that’s not usually what you want.
A slow attack will let some of the transient through, you can use this when you want to increase the punch of drums. You want to compress the sustain of the drum, and use the make up gain to make the drums larger than life.
Example:
In this example there is an ambient room mic for a drumkit. First you will hear it without compression, then with (actually with a ton of compression), and I’ll increase (slow down) the attack time with each loop. Notice the increased bigness of the drums, and how the transients get through and keep it punchy.
[Listen to this example]
Limiter?
A limiter is a compressor that’s output stays at or below a specific level regardless of the input level. It only turns down remember. The compression ratio starts at 10:1 and can go up to infinity. Limiters need very fast attack and release to be effective.
A brickwall limiter aka Maximizer, is a mastering tool used to increase the volume of a song as much as possible. These brickwall limiters have an infinite ratio and will not let anything past the threshold. This type of limiter has two main controls, one for threshold and one for the maximum output level.
With these you basically set the maximum output level, something like -0.02dB and then crank the threshold to crush everything and make it sound really loud and obnoxious (like Death Magnetic). The misuse of the brickwall limiter is often associated with the loudness war and with compression in general.
Multi-band?
Another common mastering tool is the Multi-band compressor.
A Multi-band Compressor is actually 4 compressors in one. The frequency range is split up into 4 bands like an equalizer, Low, low mid, high mid and high frequency bands. This can give you a much smoother compression with a lot more control.
De-Esser
There is one more type of dynamics processor, the de-esser. A de-esser is designed to reduce the harsh esss sounds in a voice. The compression works on a single frequency or frequency range rather than the entire input signal. These are generally used for voice processing but you might find some other uses for it.
Recommended Plugins
Simple compressor: Massey CT4
Advanced compressor: Digidesign Smack!
Master Limiter: Massey L2007
Multi-band Compressor: Wave Arts MultiDynamics 5
De-Esser: Massey De-esser
Posted in Audio Effects Explained Series, Plugins, Software, Virtual Effect, tutorial | No Comments »
Monday, December 22nd, 2008
Every Monday I highlight free plugins new and old that are worth checking out. See all posts in the Free Plugin Of The Week Series.
For those of you that missed this on the Twitter, Digidesign has released a few of the older plugins free.
Pro Tools 8 comes with a ton of new plugins, but it also comes bundled with a few very useful oldies. These are now free for anyone on a 7.3+ system. Look for the version 8 download for each of these. No iLok required for any of these, no codes, just run the installer.
Digidesign: D-Fi Bundle (Lo-Fi, Sci-Fi, Recti-Fi, and Vari-Fi)
Digidesign: Maxim
Bombfactory: Sansamp PSA-1
Trillium Lane Labs: TL AutoPan
Trillium Lane Labs: TL Utilities (TL Metro, TL InTune, TL MasterMeter)
Even if you don’t upgrade to Pro Tools 8 you can still use these. Sansamp is my favorite right now.
You’ll likely need to get the most recent Pace InterLok drivers [end user dropdown box on right]
Happy Holidays!
Posted in Free Plugin Of The Week, Plugins, Pro Tools, Virtual Effect | 1 Comment »
Wednesday, December 17th, 2008
I don’t think I’ve ever mentioned Twitter here before, but I’ve got one and sometimes I say interesting things on it. Ok so maybe I haven’t so far, but I plan on it. I may post smaller things like new plugin announcements or podcast updates there when all that’s necessary is a link. Follow me if you like.
http://twitter.com/theaudiogeek
If you don’t know what Twitter is: “Twitter is a service for friends, family, and co-workers to communicate and stay connected through the exchange of quick, frequent answers to one simple question: What are you doing?“
This is essentially like the status box on Facepoo or Mycrap and none of that other useless junk those sites have like music and video.
Posted in Site news, commentary | No Comments »
Friday, December 5th, 2008
Continuing the series on audio effects, this week I’m explaining Noise Gates.
A noise gate is a form of dynamics processing used to increase dynamic range by lowering the noise floor. A gate is an excellent tool for removing hum from an amp, cleaning up drum tracks between beats, background noise in dialog, and can even be used to reduce the amount of reverb in a recording.
(more…)
Posted in Audio Effects Explained Series, tutorial | No Comments »
