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Universal Audio Goes Planet, plus New Neotek Elan in stock!
Analog Planet has joined the world of UA as their latest dealer, and we're tickled blue to be offering the UA range of vintage analog and DAW digital gear. There are a few pieces on the UA roster that we are particularly fond of: The LA-3A reissue, the 2192 Stereo converter, and thge UAD series of powered plug-ins.
In other news, AP is offering an exclusive! It's the last-ever Neotek Elan 36 X 24 all-analog console with patch-bay, NEW. It was hand-built last year (taking ten months) for a client who ultimately decided not to commission it. So it's brand new, still in the shrink. Save build-time and money, and own the last in a long line of great large consoles! Click here or call 617-763-7669 for more info.
Analog Planet Video Blog Begins!
Click here for the 3-part blog on Drewcifer's Tone-Zone: "AnalogPlanet Presents Big Guitar Tones in The Studio"
In conjunction with the blog, we are putting all the items used in the session on special on Analog Planet. Click here for the featured specials!
Blog Me, Drewcifer!
Zen Strikes Big Chord With UK GearSlut!
“I was blown away by Zen”
Audient’s analogue mixing console Zen receives rave reviews on leading pro-audio forum Gearslutz, after an independent user put it through his paces at his studio recently.
Oz Craggs from Hidden Track studios appraised a Zen fitted with mic pre and moving faders. “The feel of the Zen is absolutely stellar,” he says. “It is easily the quietest console I've ever heard. Kudos to Audient, this really blew me away!
“Sound reproduction was perfect,” he continues. “Overall, I was completely floored by the Zen. It had so many little touches that I've always wanted, yet none of the things I personally never use, like tons of aux sends."
Oz was so convinced of the Zen, that he has bought one for his Folkestone studio. “I certainly didn’t like seeing it leaving,” he laughs.
To read the full review, visit http://tinyurl.com/yeokacy
Cash For Clunkers Console Trade!!
It had to happen, right? Audient is offering a "Cash for Clunkers" trade-in deal on their entire range of consoles, Including the groundbreaking Zen!
Get $3000 for your clunker towards an ASP-8024 or $1500 for your junker on Zen. How tired is your tired old board? How dumpy is your desk? Does it have tape over the dead faders? Does it sound like a bowl of Rice Krispies? Does it smell like smoke? Or bong-water? C'mon, be honest. You spilled a beer in it, didn't you? Oh yes you did! We don't care! If it has at least 16 channels, was made after The Reagan Administration, and was at least $1500 new, WE'LL TAKE IT!
Even better, if you don't have a qualifying clunker to trade, Analog Planet will give you one! Yeah buddy! For free!
Turn This:
Into This!
Call Analog Planet right now! 617-763-7669
Rockin' New Joe Perry Solo LP Was Produced Dangerously!
Danger! Joe Perry, Live Wire!
Edmeston, NY - October 6, 2009 - Engineer Pablo Arraya recently completed Aerosmith guitarist Joe Perry's solo record, Have Guitar, Will Travel, where he acted as both the recording engineer for the final tracks and the mix engineer as well. Perry's solo album was released today, October 6, 2009. Arraya, a Grammy-winning engineer, brought his newly purchased Dangerous Monitor ST monitor controller to Perry's Boneyard Studio in Boston for the project. "The decision to buy the Monitor ST was directly related to working on the Joe Perry album," states Arraya. "His vintage Neve console has an amazing sound, and I wanted to add a more modern and flexible monitoring path. When I came in to the studio, Joe asked me to listen to a lot of Hendrix, Doors, AC/DC, and a lot of early Rolling Stones. He told me he wanted to get that sort of sound and feel. Perry told me 'I don't want it to sound pop-y and modern' - that was his vision at first, and things evolved from there."
On the Monitor ST choice, Arraya says, "Of all the things in a studio, the monitor section is an important one. It was time to do an upgrade to a better monitoring section - I had used the ST at a different studio and I loved how it felt, and Dangerous Music has a reputation for making great sounding gear." Arraya had been speaking with mastering engineer and good friend Dave Kutch, "He literally sold it to me on his recommendation - it was a no-brainer."
"When I got the Monitor ST, I hooked it up at Joe Perry's studio first," says Arraya about working on the Aerosmith guitarist's solo album. "I chose the Dangerous Music Montior ST over the Neve consoles' controls. I knew a lot of the mixing we were going to do was going to be like Hendrix-stlye, Doors-style, very 60's style mixing, where your drums are panned to one side, the bass to the other, your vocal shows up half way through the song. So I wanted to be able to have something to mute the left and the right speaker easily. On Joe's Neve console, you can't do that."
Comparing the Monitor ST to the sound of a large format console's monitoring, Arraya added, "When you bring the volume on the ST all the way down you still feel the punch of the kick and the power that's coming through the mix. And it doesn't matter what level it's at. That transparency for me is very, very important.
Since the studio does a lot of vocal overdubs, the headphone out puts and talkback get used a lot at Audio Piranha, "One of the things I like about the Monitor ST is that the mic for talkback is very dynamic, the person in the vocal booth can hear real well on their headphones. It sounds great. The headphone amp is really clean too. The Monitor ST is a very flexible box. I love the fact that you can do mono, the Dim function works really well, the ability to add the sub-woofer with the filter - that's a great option - calibrating the speakers is really easy; and the options for the inputs are super easy to use too." Another thing he likes about the Monitor ST, "When we want to update to 5.1, it's adding a box and you're there, you don't have to buy a whole new setup."
Pablo Arraya started his career with Sony Music Studios in 2000 after graduating from Middle Tennessee State University. The Native Bolivian quickly moved up the ladder to become one of the most requested engineers inside Sony's wide stable of talent. His diverse cultural background made him a versatile engineer. His engineering experience brought him to the attention of some of the most demanding international acts leading to a Grammy(r) in 2006 for Nancy Wilson's Turned To Blue album. Arraya leads sessions for all styles of music, and handles any studio situation with ease. He recently opened a new studio with the Audio Piranha Group on Park Avenue in Manhattan. Contact Pablo Arraya through the Audio Piranha Group website: http://www.audiopiranhagroup.com
Visit Joe Perry's website for the latest news about his solo album Have Guitar, Will Travel at: http://www.joeperry.com
Planet Tapped as SSL SuperAnalogue Dealer!!!
Analog Planet is now a dealer for The Solid State Logic SuperAnalogue Range, including the X-Logic X-Rack and the incredible new, SuperAffordable X-Desk.
This amazing mini-mixer can be the first component of a scale-able integrated SSL studio system - and it's under $3000! Woah! It's like having a 9000 console that fits in a computer bag. Then theres the Mynx, the cool X-Logic Modules, the classic G Compressor, Alpha Channel and much more.
EXCITING NEW PRODUCT ALERT:
The new Zen analog console from Audient is a truly trancendental piece of gear, offering in-demand analog features and DAW control for a really affordable price. How would you like 16 dual-path channels, WITH mic-pres, DAW-control AND moving faders for $15K? And that's dollars, not Pounds! And the best part is Audient's high-quality sound -- clean but with a hint of classic British color. Your mixing chakra will resonating with joy!
You know what has always been great about Audient? They make useful gear at the right price. The price-point vs the high-level of performance is always great with Audient. The gear always sounds excellent, works well (good ergonomics) and it's never the most expensive gear in the store. That's what ya call VALUE, son!Audient doesn't make something and put it out there and hope people buy it-- they look at what studios need and what kinds of budgets are there and then they make gear that answers the call.
Always great bang for the buck -- That's Audient.
With Zen, Dave and Gareth have done it again. The mixer is a perfect example of Audient's smart design. Form and function; Yang and Yin.
The Daking FET3 Squish in to Compressor Market...
Here comes the new dual channel limiter from Geoff Daking, built in the US with the same audio path and detector circuits as our highly successful single channel Daking FET II limiter.
The FET3 compressor circuitry and gain stages are all discrete and fully Class "A" with sound quality that will be at the very top of the scale. Our previous single channel FET2 was known forits speed, high performance and its unique ability to sound good an extraordinary variety of sources. The FET3 will equal this benchmark plus add several unique features to improve user control.
New variable High Pass Filters from 0 to 200Hz are added to the detector stage of each limiter channel to improve and customize limiter behavior. The HPF’s tell the limiter NOT to trigger limiting based on content below the set HPF frequency. This is extremely helpful on bass heavy material. This greatly widens the units potential application set and the ability of the user t o set this new behavior “on the fly”. Variable linking between channels is envisioned for use when compressing two different tracks, such as bass and kick, to tie limiter action together togreater or lesser degrees. The Stereo Link is continuously variable from 0 to ∞.
All controls except "Ratio" are pots. The new variable pots add the ability to fine tune behaviors in the studio. Mastering engineers may prefer the repeatability of switches, such as those on the FET2, which will continue in the Daking product line. The FET II's relied on control voltage summing for the stereo linking. Because the FET III is two independent units in one box, it uses audio summing, which is much more accurate.
The Daking FET III uses THAT CORP differential amps in and out (electronically balanced). The FET II has transformers in and out but they are 1:1 input to output so they do not “color” the sound. A mic input transformer at 1:10 ratio in a mic pre would color the sound significantly. The common mode rejection in FET3 is equal to that of FET2. The FET 3 output level is +24
while the FET II can be as high as +30. The FET3 and FET2 both use an outboard power supply. The FET3 2 RU case provides a small pocket in the back panel to store this external power supply.
Twang ‘em High! Ready to “Rockland Roll”
South Shore's Newest Band Brings Texas Twang to Gametime Sports Bar on June 5th
“If music were food,” muses Rockland’s Drew Townson, leader of the American roots band Twang ‘em High, “We’d be a bowl of blazin’ Texas chili!” Townson, a native of Dallas and Rockland resident for close to a decade adds, “Along with a couple shots of really good tequila!” Townson’s style of music draws heavily on his Texas roots. “We don’t sound like other bands around here; we’re not going to play U2 or Matchbox 20,” he says. What Twang ‘em High! does play is a down and dirty blend of Southern Rock, Blues, Country and other rootsy American music. “We even throw in a couple of Spaghetti Western themes,” says Townson. This shouldn’t some as a surprise, considering the band’s name is a play on the title of the 1960’s Clint Eastwood Western, “Hang ‘em High!”
Twang ‘em High’s mission, according to Townson, is to make the listener visualize a lone rider on the big western desert…on a drive-in movie screen. The group infuses everything with their own Texican flavor. “Even when we play an old Hank Williams or Johnny Cash tune, we’re going to rev it up with some serious Texas high-test,” says Townson.
The staple of TeH’s show is a Southern Rock tribute set filled with music by the Allmans, Lynyrd Skynyrd, the Outlaws and ZZ Top. “This is a guitar dream come true for me, “says Townson. “I grew up loving those great Southern Rock bands where the two guitarists would play dual harmony lead solos. I now have the great fortune to play guitar in a band with another awesome South Shore axe-man, and we do the twin lead thing all night long. I know for a fact that nobody else around here does that!” The other player Townson is referring to is Hanover’s Al Harper, aka “The Reverend Al”.
“And if you’re still hangin’ in by the third set, and hopefully feeling no pain, you’ll hear us get way down low with some serious Texas Blues,” Townson says. Clearly, these guys aim to put the “South” in to the South Shore music scene.
See Twang ‘em High! this Friday night June 5th at The Gametime on 123, or Friday night July 18th at Ye Olde Liberty Tavern, and get ready for a down and dirty Texas Twang Thang!
Website: http://www.twangemhigh.com
Gametime: http://www.manta.com/coms2/dnbcompany_s1dwg
More About Drew: www.drew-who.com
*** LATE BREAKING NEWS: T’eH has just been tapped to play a date in the Hanover Bandstand Summer Concert Series, on the bandstand in Hanover Center on 139. Catch ‘em on Sunday, July 26, 7pm!
My man uses Heil...do you?
Heil Sound is launching a comprehensive print-ad campaign spotlighting celebrity and industry endorsers who use and praise Heil Microphones. The ads will appear in your favorite industry magazines, ranging in scope from studio to broadcast to live sound. Here's a preview of one of the blurbs, supplied by Sean "Sully" Sullivan, FOH man for Sheryl Crow:
“PR 30s and 40s are my new favorite microphones. I put them in front of everything and just sit back and smile. The bottom end of the PR 40 is tight without all of the rumble you get from the most common mics that are out there. The PR 30 is my new benchmark for how a mic should sound. Drums sound great with them and I no longer use condensers for overheads, or anything!”
That's some high praise for HEIL!
Heil Turns Up The Volume!
A Brief Video History of Bob Heil and Heil Microphones...
Click here to visit YouTube to watch a very interesting biography of Bob Heil and his gear.
The Heil PR40 on Analog Planet
Stories From The NAMM: Dangerous Music Unveils 'DAC-SR' Surround Converter
Additional Switching System options: 6-channel mastering quality DAC for Monitor ST-SR
NAMM - Anaheim, CA January 15, 2009 - At the 2009 NAMM show in Anaheim, CA, Dangerous Music, Inc. is showing their highly anticipated "DAC-SR" 6-channel mastering quality digital-to-analog converter module with digital input switching for their popular Monitor ST/SR 5.1 controller. The Dangerous DAC-SR is the first surround sound option for the Additional Switching System (A.S.S), a 1 RU expansion rack which can house up to two modules with the ability to stack two racks, adding four additional functions, all switchable directly from the ST remote. Dangerous Music also announced that the "Uniswitch" A.S.S. module will be shipping to customers March 15, 2009. The Dangerous Uniswitch is a universal RS232 switcher that has customizable options. The stock version is engineered to control Gefen, Inc. video and Keyboard-Video-Mouse switchers directly from the Monitor ST remote.
"The new 6-channel DAC-SR is the perfect companion to the Monitor ST/SR surround controller for those users who need mastering quality digital-to-analog conversion with digital input source switching integrated into their listening environment," said Bob Muller, Dangerous Music's Founder. "This way clients have an easy path to creating their own custom controller setups with the Additional Switching System. The stereo DAC-ST module is a huge hit, and we're about to ship the Uniswitch for handling video source and KVM switching for multiple computer setups in post-production and film scoring facilities. More modules for the expansion rack's open architecture will be announced in the coming year."
Providing mastering quality 6-channel D-to-A conversion and digital source switching for a surround Monitor ST-SR setup, the Dangerous DAC-SR option delivers superb multi-channel D-to-A conversion instantly accessed from the Monitor ST/SR remote control. Integrated digital source switching allows the user to monitor all digital sources through the same converters, which is crucial for true A/B listening comparisons, confidence monitoring and level matching. The DAC-SR takes the guesswork out of any digital monitoring in the surround studio. It is easy to compare a mix to any reference source, without the need to factor in differences in level and sound quality that exist when using several different external converters.
Two rear-panel DB-25 digital inputs on the DAC-SR accept AES or SPDIF formats, and two TOSLINK inputs accept optical multi-channel feeds. Input 4 is switchable to accept stereo optical as well. As a truly professional system, DAC-SR can be calibrated to match any chosen studio reference level.
Monitor ST-SR
The Monitor ST-SR focuses on solving monitoring problems associated with DAW-based recording and mixing in studio environments not employing a traditional console. The Monitor ST is a remote-control based input source and speaker switcher with integrated cue and talkback systems, including an onboard headphone power amplifier- all in one rack space. The Monitor SR is a companion one-rack space expansion module providing full 5.1 surround monitoring capability. Studios working in stereo can start with the ST and later expand to surround by adding the SR unit with no equipment redundancy or obsolescence. With the cat-5 connected remote control unit, included with the Monitor ST, engineers can configure and control an entire system from the comfort of the studio's sweet spot.
The suggested retail price of the Dangerous DAC-SR is TBA.
The suggested retail price for Dangerous Monitor ST is $2199 US and 1700 Euro; and Dangerous Monitor SR surround expander is $1499 US and 1250 Euro.
For more information visit http://www.dangerousmusic.com phone 607-965-8011 or email: info@dangerousmusic.com
AnPlan's Thought of the Month for January: "The Heil PR40 is the Fet-47 of Dynamic Mics."
Why? Bob Heil's PR40 is a great mic for broadcast voice and studio vocal, as well as being a boomin' kick-drum mic, just like...yeah, that's right, the venerable 47-FET. Plus, the Heil's a lot easier to get your hands on, and has less zeros in the price! Check out The Planet's latest Blog for more on Heil, along with other sonic subjects: Drewcifer's Tone Zone Blog!
Two New Audio Toys to Land on Analog Planet!
Among the many new audio goodies shown at this years AES, there are two which will be of special interest to Analog Planeteers. First, Pendulum Audio is introducing a new OCL Opto-Compressor for the API 500 format. Appropriately, it's called the Pendulum OCL-500. Based on the same proprietary opto-cell circuitry found in Pendulum's hugely popular OCL-2 stereo tube comp, the OCL-500 provides smooth transparent compression in a single-wide mono "Lunchbox" module. The OCL-500 uses clean solid-state make-up gain, avoiding the inherent problems encountered when trying to run tube amplifiers on 500-format power. Pendulum's OCL-500 is slated to ship in January of '09 at a projected price of $1295.00 These will immediately be on back-order, so Analog Planet will be happy to get your name in the queue for the first run. Place your pre-order now!
The New Pen OCL-500: Sweet! Click the photo for more info-tainment.
Second, The Planet is excited about another adorable mono box, this one the Mic Pre One by Geoff Daking. It's the same incredible A-Range-type mic-pre found in the 52270 Mic Pre/EQ channel strip and the Mic Pre IV, re-engineered in to a handy-dandy single-channel table-top box. It's the perfect solution for the recordist on the go, or the small project room that only needs one channel of mic preamp. Plus, the MP-1 can be placed in the tracking area next to the microphone, allowing the user to avoid long mic-cable runs. With price-busting affordability at under $700, we advise getting TWO...NOW! It's the ideal stocking-stuffer! For more on the Daking, go here.
125th AES Convention Shakin' in San Fran
Can you hear that rumbling? Coming in waves like thunder? No, it's not another California earthquake; it's the 125th Audio Engineering Society convention in San Francisco. That's a stampede of audio enthusiasts, officionados, experts and VIPs from all over the planet, herding their way to the Bay City's Moscone Convention Center. This is the annual event where the gear makers debut their exciting new products for the coming year. Analog Planet is eager to see what eye-opening and ear-pleasing devices will be launched. Here's the AES web-site for more info: http://www.aes.org/events/125/
Analog Planet Hits Lucky Winner With A Brick!
Steve Ruark of Sacramento, CA, a hobby-recordist with a collection of cool classic keyboards, has just had a brick thrown at him by Analog Planet. That's because Steve is the lucky winner of our Groove Tubes Brick tube preamp giveaway. Steve is looking forward to using the Brick to warm up those frosty 1980s sounds generated by his vintage Yamaha DX7. Congrats Steve! Second prize went to Mark Polack of The Juke Joint studio in Nashville, who scored a free GT-50 FET condenser mic. And we know from experience that the GT-50 is a great mic for tracking twang!
In other news, Analog Planet is happy to announce that we've become a dealer for Pearlman tube condenser mics and Coles ribbon mics, which you can find on our planet within a planet, Microphone Planet www.microphoneplanet.com. Also new on the roster are EAR (Esoteric Audio Research) all-valve mic pres, eq's and compressors, along with Toadworks guitar pedals. There are more new dealerships waiting in the wings, so stay tuned!
STOMP THAT TOAD!
Analog Planet will add the exciting Toadworks line of all-analog guitar-pedals to its web-shop, effective immediately. "These pedals are boutique in build-quality and sound, but not over the moon in price," said Analog Planet's Drew Townson . A good bang-for-the buck value is what Analog Planet and it's customers look for and appreciate. Toadworks, a Spokane, Washington-based company, has been designing and building high-end guitar pedals for the better part of the 2Ks. They make a complete range of stomp-boxes, including overdrives like "Leo" and "Texas Flood" (an enhanced TS808 circuit), the "Mr. Squishy" compressor, and the new Howard Leese signature "Barracuda" flange. "Ya gotta love the names of these pedals! My favorite so far is 'Meat Junior'," chuckled Townson. Hungry for some meaty tone? Click here for more info on Toadworks: ToadworksUSA.com
Analog Planet Brings More Great Gear Lines In To Orbit
Analog Planet is pleased to announce it has become a dealer for the venerable British Ribbon microphone manufacturer, Coles. The Planet’s prime-mover, Drew Townson said, “Everybody’s using ribbon mics again, and with all these new generation ribbons, it’s easy to forget the originals. The Coles BBC mics were there at Abbey Road for the greatest recordings in history. I’ve used them myself over the years, and it’s hard to beat the Coles 4038 for drum overheads, guitars, bass, even vocals.”
Coles will join Heil on Analog Planet’s roster of fine dynamic mics, along with condensers from Telefunken and Wunder.
In addition to Coles, Analog Planet welcomes Quested monitors, DACs Audio products, and Ultrasone Headphones to its list of brands.
Stevie Wonder Gets His Soul On With Heil Microphones
After decades of using Sennheisers and Shures, Stevie Wonder has chosen the new microphone technology and articulate sound of the Heil PR 35. Wonder’s entire front stage line is now made up of PR 35’s for himself and his back-up singers, as well as a pair of Heil PR 30’s for the sax and trumpet artists. A compliment of Heil PR 22’s, 30’s and 40's is employed for drums, percussion and guitars, as well. Wonder’s array of Heils made its debut at a very special one-time show July 8 at The Hollywood Bowl, during which the singer was joined by a 50-piece symphony orchestra. As expected, the performance and the sound were both tremendous. “His vocals were so articulate, clean and clear,” said Heil Sound CEO Bob Heil himself, who was in-attendance at the historical show. “Not a bit of EQ was engaged on the FOH console with the PR 35; the way it SHOULD be!” Heil added. That a music legend like Stevie Wonder is changing his mic of choice after decades of using other brands is a noteworthy event.FOH engineer Bill Barnett is thrilled to have more headroom and the most articulation he has ever had for Wonder. Barnett used a Hardy/ Presonus mic preamp with absolutely no EQ.
Wonder at Hollywood Bowl, LA Times Review: LA Times
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