The Neve 1073LBEQ provides a Neve 1073 EQ circuit in a single 500-series module. The 1073 is widely considered the world’s premier mic preamp & EQ module, delivering the unique Neve sound featured on some of the most famous recordings of the past 40 years.

The big, punchy sound of the classic Neve 1073 module complements any musical genre, from rock to rap, jazz to classical. Its lush sound with classic Neve signature makes it the consummate mic-pre/EQ module for recording vocals, guitars, and acoustic instruments of all descriptions. With the 1073LBEQ module, the highly sought-after classic EQ sound is now available in a 500-series form-factor.

Highlights

* Legendary 3-band EQ design
* When integrated with 1073LB preamp, the combination is 100% discrete and = genuine 1073 mic pre/EQ
* Rotary controls provide accurate adjustment of the 1073 3-band EQ and High Pass Filter
* Signal presence LED illuminates green from a level of -25dB and red from a level of +24dB
* Switch for EQ IN/OUT function, with LED indication
* Electronically balanced classic Neve circuits used in Line Input and Line Output stages for standalone module use. These stages are bypassed and the 1073LBEQ module is 100% discrete when combined with the 1073LB mic preamp
* Audio Processing Insert design allows the audio to/from the 1073LBEQ module to be inserted into the audio path of an existing 1073LB (modules must be fitted in the same rack)
* High frequency concentric knobs perform two functions: HF shelf control and High Pass Filter control
* Fully screened module packaged in Mu-metal case eliminates stray electromagnetic fields from Lunchbox PSU or other module types

The 1073LBEQ provides the legendary sound of Neve in a remarkably simple format. A Line level input feeds an electronically balanced EQ circuit with 3-bands of adjustable EQ and a High Pass filter, which can easily be switched in/out. The output is also an electronically balanced Line level output. A signal presence LED and Neve’s clever Audio Processing Insert design is also integrated into the module.

The 1073LBEQ can be modified to work as an inserted process with an existing 1073LB mic pre module. A modification is required inside both units and a cable, which is supplied with the 1073LBEQ module, is needed to connect the LB mic pre to the LB EQ. The result of this is a genuine 1073 mic/pre input -> EQ -> output audio path when in this mode. Revolutionary!

This mono unit is the perfect solution for studios and audio engineers looking to bring in the very essence of the Neve 1073 EQ sound to their portable racks.

Note: The Neve 1073LBEQ will not work with the A Designs 500HR 2 Slot rack or the Empirical Labs EL500 2 Slot 500 Series Rack.

VINTAGE KING

monotron
Analog synthesis returns, in the legendary KORG tradition
Korg is no newcomer to the joys of analog synthesis. Back in the 1970s, our astounding fully polyphonic PS-3000 Series and our affordable semi modular MS Series set the bar for creative musicians around the globe. Surely one of the most popular of Korg's analog synthesizers was the coveted MS-20, famous for its dynamic sound creation capabilities and its fat, snarly, expressive filter. Kept popular by dance and electronic artists, this legendary MS-20 filter came back to life using the Component Modeling Technology in Korg's Legacy software collections. Now you can experience the glorious, evocative MS-20 filter along with true analog synthesis in Korg’s new monotron Analogue Ribbon Synthesizer!!

Analog on the go!
Powered by two alkaline AAA batteries, the compact monotron can be held in one hand. Although small enough to easily carry with you, the amazing monotron is packed with KORG's legendary analog technology, generating thick and powerful sounds. Concentrating on the most important sound parameters, the controls have been streamlined as much as possible. The panel contains only five knobs and one switch. With this level of simplicity, now anyone can easily enjoy the world of analog synthesizers.

Product Highlights:

* Full-fledged, true analog synthesizer: VCO, VCF, LFO

* Inspiring, easy-to-play ribbon keyboard

* Intuitive, fun-to-tweak controls

* Features the same classic analog filter found in the legendary Korg MS-10 & MS-20

* Filter any external source using the audio input jack

* LFO can modulate either pitch of filter cutoff

* LFO Rate knob features cool LED visual indicator.

* Battery operation and palmtop size equals true portability

* Internal speaker/headphone jack lets you enjoy the sound anywhere – alone or with friends!

http://www.korg.com/monotron

Yamaha CS80 from Logan Mannstrane on Vimeo.

More interview footage to come with Ken and Rod!

http://www.epikdrums.com/

http://www.solid-state-logic.com/news/article.asp?ID=219&T=M

LOS ANGELES — Solid State Logic, the world’s leading manufacturer of professional digital and analogue consoles, is proud to announce the release of X-Patch at the 2010 Winter NAMM Convention, Booth 6907 at the Anaheim Convention Center from January 14th to 17th.

X-Patch is designed to deliver the flexibility of plug-in style routing to boutique analogue processing. Developed from technology at the heart of SSL’s acclaimed Matrix console, X-Patch provides a 16x16 SuperAnalogue™ routing matrix that can be Ethernet controlled remotely from a standard computer. SSL’s Logictivity™ Remote Studio Browser application provides Set-up, Configuration and Preset Storage and makes the X-Patch the perfect tool to incorporate analogue processing into any production studio environment. X-Patch can function as a simple ‘X-Y Router’ or as a ‘Matrix’ to create complex processing chains. This allows for analogue processing to be built into favourite processing chains and then easily placed into signal paths, for example, favourite Mic Pre, EQ & Dynamics processors recalled as the perfect vocal chain at a single stroke. In a studio environment X-Patch speeds up workflow and aids creativity by reducing the constant physical re-patching required when using only a patch bay for routing. Up to six X-Patch units can be controlled in parallel from a single instance of the X-Patch Logictivity Browser software.

X-Patch is also a powerful stage or studio live performance tool for guitarists. Once configured, X-Patch can operate independently of the Studio Browser application and host computer and has MIDI connections. Connection of a standard MIDI Foot Controller to X-Patch creates a versatile stand alone analogue routing/switching system for on-stage boutique instrument processing, or amplifier selection at a fraction of the cost of comparable professional on stage effects selection systems.

Key Features

* Inserts analogue processors into production workflow like plug-ins
* Suited to studio production and live performance applications
* Insert ‘chains’ can be created, saved and recalled
* Browser software controls routing and set up
* Ethernet connection to Mac or PC host computer
* 16 x 16 pure analogue routing matrix
* Rear panel audio connection via 4 x 25 way D-Sub’s
* Front Panel XLR inputs and outputs for channels 1 & 2
* SSL SuperAnalogue™ transparent audio performance
* MIDI connectivity enables use of Programmable Foot controllers
* +4dB and -10dB operating levels facilitate use of guitar pedals etc

X-Patch will be available Spring 2010 priced $1,199 + Tax.

Ken Scott's Endorsement Of The UAD Trident A-Range Plugin

NEW KEN SCOTT COLLECTION *EPIK DRUMS*

http://www.sonicreality.com/

Ken Scott's Take On The Recording Of The Beatles White Album

EPIK DRUMS A KEN SCOTT COLLECTION

http://www.presonus.com/

For full story click the continue reading button to the right

Following up on the runaway success of its StudioLive 16.4.2 digital mixer, PreSonus announced a new member of the family: the StudioLive 24.4.2. Like its 16-channel sibling, the 24-channel StudioLive 24.4.2 is designed for both studio recording and live sound, without compromising the requirements for either.

StudioLive 24.4.2 sports the same friendly user interface, robust feature set, and extensive I/O configuration as the StudioLive 16.4.2 but with several significant additions and enhancements. The most obvious difference is that the new mixer provides 24 input channels, rather than 16. As with the 16.4.2, each input features a trim pot, XLR mic input with XMAX™ mic preamp, 1/4-inch TRS balanced line inputs and unbalanced insert points. Like the 16.4.2, the StudioLive 24.4.2 offers 4 subgroup outputs, but where the 16-channel model offers 6 aux buses, the 24.4.2 provides 10 aux buses.

Of course, both StudioLive models serve as dual-port FireWire audio interfaces that can route all channels and buses to and from a Mac or Windows PC. But where the 16.4.2 is a 32x18 FireWire interface, the 24.4.2 can send 32 channels to the computer and can return 26 channels via FireWire.

The now-familiar Fat Channel provides extensive metering and the programming interface for the EQ, dynamics processing, high-pass filter, and signal routing. But the StudioLive 24.4.2's Fat Channel provides a 4-band fully parametric EQ, an upgrade over the StudioLive 16.4.2's semiparametric equalizer. The StudioLive 24.4.2's gate/expander has also been upgraded from the gate/expander in the 16.4.2, adding Key Filter and Key Listen features.

Like the StudioLive 16.4.2, the StudioLive 24.4.2 provides 31-band graphic EQ. But whereas the 16-channel mixer has 1 stereo graphic EQ for the main bus only, the 24-channel StudioLive has 4 stereo 31-band graphic EQs, and they're available to the main, subgroup, and aux outputs. The graphic EQ's settings can be stored and recalled individually or as part of a mix scene, as with every other setting on the StudioLive.

Otherwise, for the most part, the StudioLive 24.4.2 has essentially the same feature set and interface as the StudioLive 16.4.2. Nothing has been taken away. You still get two stereo 32-bit effects processors, stereo tape sends and returns, a talkback section, stereo S/PDIF digital output, and all of the other powerful StudioLive features. You can daisy-chain the StudioLive 24.4.2 with another StudioLive (either model) and with FireStudio-series interfaces, to create a mega-system with up to 52 inputs and outputs for mixing with recording. Up to three StudioLive 24.4.2s can be daisy-chained in Standalone mode for live mixing without recording.

The two StudioLive models offer the same superb audio quality, with high-headroom, 32-bit floating-point processing; Class A XMAX™ mic preamps; and 24-bit, 48 kHz digital converters with 118 dB dynamic range. Both mixers' FireWire interfaces work with any ASIO- or Core Audio-compliant audio application and are compatible with Windows and Mac OS X, including Windows 7 and Mac OS X 10.6 (Snow Leopard). Latency is so low that you can use your host program and plug-ins with either StudioLive in real time for live performances.

StudioLive comes bundled with PreSonus's new Capture™ 1.1 recording software for Mac OS X (including OS X 10.6) and Windows (including Windows 7). Designed primarily for live recording, Capture is preconfigured to record with the StudioLive, so all mixer channels are correctly routed to Capture tracks. Launch Capture, open a new session, click once to arm all tracks, click on Record, and you're capturing the audio from up to 32 channels and a stereo bus of your choice! It could not be simpler.

You also get a free copy of PreSonus' groundbreaking Studio One Artist digital audio workstation software for Mac and Windows, which features unlimited track count, a full complement of PreSonus Native Effects plug-ins, and more than 4 GB of third-party resources.

With outstanding ease of use, top-quality sound, roadworthiness, cascading multiple units, bundled recording software, and the features you want for both studio and live applications—and now more channels and aux sends, fully parametric EQ, an enhanced gate, and more flexible graphic EQs—the StudioLive 24.4.2 is absolutely loaded. To top it off, with an expected street price of $3,299, it is an outstanding value that competes head-to-head with digital mixers that cost several times its price.

http://www.seelectronics.com/whatsnew.html