Country singer-songwriter Bryan Harkness, who Tierra Music signed in May, is spending a lot of time at Tierra Studios this month recording 13 songs for his upcoming album. The record will come out in January 2010, but people will get a chance to hear his single “We Don’t Have to Walk Alone” long before that. Stay tuned for more.

Thomas Hultén records a trombone part for a song on his upcoming jazz album at Tierra Studios on May 21, 2009.

Trombone overdubs for upcoming Jazz album from Thomas Hultén on Vimeo.

The EQ1 is available in four different configurations. All of them work at 24/96. The basic model is the EQ1-MK2, the linear phase model is the EQ1-LP, the dynamic model the EQ1-DYN. The EQ1-DYN-LP incorporates both LP and DYN versions in one unit. The mode of operation (LP or DYN) can be chosen after power-up. All models are user-upgradeable to any other version.

Here are the main features common to all four models:

• Seven identical parametric bands. All seven bands cover the entire audio frequency range. Each band has Boost/Cut, Frequency and Q/Slope knobs. Each band operates in any of the following modes: High shelving, low shelving, peaking, high cut, low cut, bypass.
• One parameter per knob operation. Seven sets of controls for seven operating bands. Knobs are touch sensitive. LCD display shows detailed parameters of the touched band.
• Large, backlit Liquid Crystal Display which shows the overall frequency response (calculated in real time) and the detailed parameter values in dB, Hz and Q.
• A/B compare memory, 128 snapshot bank with two additional banks for back-up.
• Digital input / output in AES/EBU format on XLR connectors.
• Dithering to 16, 20 or 24 bits. POW-R dithering in the LP, DYN and DYN-LP models.
• 128 steps for boost/cut, frequency and Q parameters.
• Variable slope shelving filters.
• Very high Q (up to 650) for notching out offending frequencies.
• M/S mode for independent equalization of M and S channels. M/S encoder / decoder can be configured separately. Also see the article Stereo Shuffling: New Approach – Old Technique by Michael Gerzon
• Peak meter, over indicators.
• MIDI control for each parameter.
• Bypass, overall gain, CH1/2 independent or ganged.

Although many plug-ins and hardware effects boxes purport to deliver the “classic sound” and “analog warmth” of old favorites, few of them can begin to match the delight I felt when I first heard a bass guitar track brought to life by a Pultec EQP 1A-3. The Sintefex FX2000 analog sample digital stereo equalizer/compressor uses “dynamic convolution” to provide retro warmth with modern digital precision and maximum control. While lacking the big knobs (chicken heads on the Pultec) and heavy chassis, it’s the closest thing to a Pultec 1A-3, Fairchild 660 or Urei 1176 that I’ve used in recording and mixing.

The FX2000 is a stereo “spin-off” of the more full-featured FX8000. The FX8000 uses dynamic convolution to sample an analog process and digitally reproduce it with a highly accurate simulation of the original’s frequency response and distortion characteristics. While the concept of convolution is not simple (mathematically or empirically), one may think of the process as using audio samples to scale filter impulse responses. For those who have worked with Sonic Foundry’s Acoustic Mirror, the characteristics of an impulse response in audio will be quite familiar. (For a simple

graphical approach to convolution check out the java applet at http://plaza.harmonix.ne.jp/~tosiwata/cnv.html.)

Michael J. Kemp, co-founder of Sintefex with Mike Eden, designed the FX8000 (as well as its stereo “children” the

FX2000 and CX2000). Kemp gives an operational definition and overview of the dynamic convolution process in his

AES Pre-print, “Analysis and Simulation of Analog Dynamic Compressors and Limiters in the Digital Domain.” He

describes it as using non-linear synthesis to analyze and simulate classic hardware compressors and equalizers. This

involves using level-dependent impulse responses, measurements of attenuation characteristics against various signal

amplitudes and applying these in simulation via bilateral dynamic convolution on a sample by sample basis. It’s

immediately apparent that these Sintefex boxes require a lot of horsepower under the hood.

The Vintech X73 is a class A, all discrete, transformer balanced microphone preamplifier with equalizer. It is built with the same circuit design and components as the classic Neve 1073 module