Focusrite Scarlett 18i6 USB Interface Review

Aug 1, 2011, By Barry Rudolph

The Scarlett 8i6 ($299) and 18i6 ($399; reviewed here) are two new USB 2 audio interfaces from Focusrite, and they differ only in their respective number of analog and digital line inputs (eight and 18, respectively). Both half-rack units feature two XLR Combi jacks for either microphone, line, or high-impedance DI inputs that use Focusrite preamps for up to 60dB of gain. Both units provide up to six simultaneous audio output channels. ...

Future Sonics, Monster and Sennheiser In-Ear Monitors Review

Aug 1, 2011, By Kevin Becka

Getting intimate with your mix is the best way to ensure that you’re covering all the sonic details and not leaving loose ends. It’s often the low-level mix elements that can come back to bite you later. For instance, a shaker, tambourine, reverb tail or delay can sound balanced in a mix heard out of speakers in a room, especially at the end of a long day when your ears are tired. But those mix items can sound out of place when you listen back with fresh ears. ...

Lexicon PCM Native Effects Bundle Review

Aug 1, 2011, By Michael Cooper

When Lexicon released its PCM Native Reverb Bundle last year, fans of the company’s highly prized reverb algorithms rejoiced: They were finally available in-the-box. PCM Native Effects Bundle completes the circle, adding delay and pitch processing to the mix. ...

Softube TSAR-1 Review

Jul 1, 2011, By Michael Cooper

TSAR is shorthand for True Stereo Algorithmic Reverb, but it might as well stand for “Tweak Simply And Relax.” The plug-in’s minimalist control set (only 11 controls) is so fast and easy to use that you won’t break a sweat getting terrific reverb sounds. TSAR-1 (Mac/Win) uses four audio engines that crossfeed stereo input signals between its left and right channels in a way that’s similar to how natural reverberation in an acoustic space propagates; mono and mono-to-stereo modes of operation are also supported. The plug-in supports AU, RTAS and VST formats, and sampling rates from 44.1 to 192 kHz. It requires an iLok. (A first-generation iLok will do.) ...

ADAM A8X Powered Monitor Review

Jul 1, 2011, By Bobby Frasier

ADAM speakers have been employed in pro audio applications for more than 10 years, having grown and evolved out of Dr. Oskar Heil’s highly original concepts—namely, the Air Motion Transformer, aka the ribbon tweeter. Since then, ADAM has become a pre-eminent supplier of this technology to the pro audio (and now home audio) world. I have been most-impressed with the higher-priced models, most significantly the now discontinued S3A and S2.5A. The A8X brings this technology into a more affordable arena. ...

Steinberg Cubase 6 Review

Jul 1, 2011, By Troy "atom" Frank

At first glance, Cubase 6 looks and feels different, but not too different. It has a more transparent, cleaner look, and you have additional options to customize the appearance of the controls and meters. That’s all for the good, but alone it’s not enough to ask users to upgrade. Today’s DAW owner wants more features, more power and more interoperability, and Cubase 6 delivers. ...

Radial Engineering Workhorse 500 Review

Jul 1, 2011, By Kevin Becka

Radial Engineering has a knack for creating practical, solidly built, problem-solving gear for stage and studio that are both innovative and fairly priced. The company’s DIs, reampers, splitters, switchers and acoustic stabilizers come in a variety of configurations that offer engineers plenty of creative options. In this lineage, the Workhorse 500 takes two simple ideas and marries them in a single unit. The Workhorse is an 8-channel mixer with panning, main, monitor and headphone outs, housed in an 8-slot, 500 Series rackmountable unit. ...

API The Channel Strip Review

Jun 1, 2011, By Steve La Cerra

There has been an incredible surge producing 500 Series devices during the past few years. Recognizing this, API has released The Channel Strip (TCS), which combines three of API’s 500 Series processors in a rackmount package with a dedicated power supply, API 325 line amplifier and comprehensive I/O. The front panel mirrors its default signal flow. From left to right, there’s a 512C microphone preamp, 527 compressor, 550A EQ and 325 output. Anyone familiar with these units has a jump on learning TCS, but there are differences. ...

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The Mix Regional section for Mix's September 2014 issue focuses on Miami. Send us your studio news: updates, sessions, new rooms, plus club performances and installations. Let the Mix audience know what is going on! Send photos and descriptions to mixeditorial@nbmedia.com.




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