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

Our new “X81 Class A” features the same great microphone preamplifier as our X73, but with a more comprehensive four band equalizer with “Q” adjustments on the two mid range frequencies. We utilize the same class A amplifier designs found in the Neve 1073 module throughout our X81 Class A. The equalizer section features ten low mid frequency points, 10 hi mid frequencies, 5 frequecy choices on both the low and high shelving adjustments. There is also a high pass filter, a D.I. and an ouput strength meter.

The Universal Audio 2-610 is based on the legendary Universal Audio 610 modular console. Designed by Bill Putnam, the Universal Audio 610 was among the first modular recording consoles. Early Universal Audio consoles were used in all of Putnam’s studios including Universal Recording in Chicago and United/Western in Los Angeles. Many prominent engineers such as Bruce Swedien began their careers in these studios with this classic rotary knob console. The 610 was particularly well noted for its preamplifier, and has left its mark on countless classic recordings from Frank Sinatra to Van Halen, to the seminal Brian Wilson recording, Pet Sounds.

• Classic Sound of the Legendary 610 Modular Console
• Variable Gain and Output Levels, Multiple Impendence Settings
• Mic, balanced line and Hi-Z inputs
• High and Low shelving EQ
• Updated “silverface” cosmetics & enhanced build quality
• Improved EQ circuit and more “open” sonics as requested by users
• New switchable -15dB pad as requested by users
• Ultra quiet operation
• Custom wound double sized alloy transformers

FORM FACTOR

One channel, multi-input, gain, filter, parametric equalizer with insert capability and internal power supply

• Inputs: Mic (balanced, XLR), MI (Musical Instrument; unbalanced, 1/4” TS)

• Gain control: +15dB to +7dB, 5dB steps

• Fine control: -5dB to +5dB, continuously variable

• Phase switch, Phantom power (P48) switch

• Filter — Second-order Butterworth active high-pass filter; 100Hz, flat, 40Hz

• Insert control: split parametric equalizer from preamplifier

• EQ section: four bands, fully parametric, continuously variable controls

• EQ IN switch

• Overload (OL) indicator: peak indication, preamplifier and equalizer

INPUT

Microphone: 1 kΩ balanced, >80dB CMRR, +17dBu max input before clipping

Insert In: 20 kΩ balanced bridging, >40dB CMRR, +21dBu max input before clipping

MI: 1 MΩ unbalanced, +8.5dBu maximum input before clipping

THROUGHPUT

Bandwidth:

-0.1dB / +0.002dB, <10Hz to >30kHz, worst-case

-3dB, >300kHz and <<10Hz, typical

<0.003% Harmonic distortion, 20Hz to 20kHz, typical

<0.006% SMPTE Intermodulation distortion, typical

30v/usec discrete low-noise precision operational amplifiers, GML 9202

Noise:

-80dBu broadband, EQ engaged, typical

-112dBu EIN, MI input

-120dBu EIN, Microphone input (Rs = 150Ω, 30kHz BW), worst-case

-80dB crosstalk, 20Hz to 20kHz, worst case

OUTPUT

+27.0 dBu clipping

< 3 mV output offset, stabilized by DC servo correction, direct coupled

Wired pin 2 “hot”, 3-wire unbalanced

OTHER

Internal linear power supply, 110V/220V switch, 50/60Hz; +/-28 VDC, +/-18 VDC, +48VDC

Approx. power consumption: 28W; 500mA/250V slo-blo fuse installed (110V operation)

Separate Ground and Chassis connections at rear

19″ W x 1.75″ H x 10″ D rack mount chassis, black anodized aluminum, silver legend

Weight: 11 lbs., approximate; shipping weight may vary

Using the same circuit topology as the original ISA microphone pre-amplifier designs, the Red 1 offers four channels of ultra-high quality Focusrite microphone amplification. Used with high quality ribbon, valve and condensor mics, the Red 1 obtains outstanding results with any sound source, but especially voice, piano and string instruments.

With four mic pre-amps in a single unit, the Red 1 is ideal for those looking for improved audio performance, as a compact ‘way in’ to digital recording systems, or for location multi-mic recordings. Each channel offers custom-wound Focusrite input transformers, switchable phantom power, phase reverse, an easily-read illuminated VU meter, and a handy scribble disc for denoting channels. Mic gain is switched in 6dB steps over a 66dB range, for accurate, precise channel matching and recall.