Reviews

FENDER

American Acoustasonic Jazzmaster

FENDER MUSIC AUSTRALIA | RRP: $3,999

It’s not often that an entirely new product explodes onto the scene in any industry, let alone when discussing musical instruments. The golden era of guitars, the ‘50s and ‘60s has resulted in a market often saturated by reissues, replicas, emulations and, more recently, lawsuits. That’s why the last few years, where Fender has slowly trickled out the Acoustasonic range, is such a breath of fresh air. While admittedly combining two existing guitar designs, they’ve really managed to push the envelope and create a guitar that is neither an acoustic or an electric but somehow an amalgamation of both. The most recent addition to this collection is the Acoustasonic Jazzmaster, preceded by Telecaster and Stratocaster variants. The Acoustasonic range features electronics similarly placed to their electric counterparts, but a smaller sound hole between the neck joint and bridge, similar to an acoustic. What’s produced is a tone that feels simultaneously organic but unfamiliar and new, like some impossible tone of piezo-like clarity. This Jazzmaster features a Fender Acoustasonic Shawbucker in the bridge position as well as a Fishman Under-Saddle Transducer. These are controlled by a master volume pot and a “Mod” knob that blends between the various electronics, as well as a five-way switch. The specifications of this Jazzmaster in particular are where this guitar gets interesting. Jazzmasters are generally constructed from ash or alder, while acoustics are often a variation of spruce or maple. The Acoustasonic Jazzmaster is a mahogany body, and is a blend between a chambered body and a full-blown acoustic. The mahogany is finished in a pearl satin polyester finish that controls the tone of the wood. The neck is also constructed from mahogany, and features a Modern Deep “C” shape, similar to Fender’s more recent American Ultra series. The fingerboard is ebony, which provides an interesting contrast to the generally warm sound of the mahogany. The frets are narrow tall, so you’ll feel right at home switching between different Fender guitars, and the 12” radius of the fretboard feels relatively modern. A Graph Tech TUSQ nut gives the whole guitar an articulate and balanced response. The mahogany provides a girthy warmth, controlled by the scooped sound of the ebony board that gives the Acoustasonic Jazzmaster the response of a jazz-box, at least when it’s unplugged. Amplified, the Fishman and Fender collaborated pickups in the Fender Acoustasonic Shawbucker, Fishman UnderSaddle Transducer and Fishman Acoustasonic Enhancer provide a wide array of tones from amplified acoustic to electric rhythms. These three sounds are blended with the “Mod” knob, or can be used solo with the five-way switch and master volume. The Acoustasonic range overall is somehow both what you’d expect from such a modern acoustic design, but also unlike anything you may have played before. Unplugged, the tone is beautifully controlled and does away with the boominess of some larger bodied acoustic guitars, even when strummed hard. On the other hand, nothing is missed with quieter playing and subtle nuances, providing an overall balance that’s difficult to find without employing a compressor. The tone is snappy like an electric, particularly when amplified, but even unplugged it sings and inspires. Straight out of the Deluxe Fender gig bag, the action was set nicely and the guitar played in tune. The 25.5” scale length feels familiar, and the frets feel closer to a jumbo, so it’s definitely a more modern player. Blending between the three pickups you can muster piezoesque dynamics or solid rock chords when tweaking the “Mod” knob, and the five way switch offers the option to switch into a really interesting sound in the Shawbucker. The Shawbucker is a common humbucker choice for a lot of Fender guitars in all price ranges, but the Acoustasonic Shawbucker really is an entirely new beast. It retains the woody quality of an acoustic, and pushes the mids without becoming overly revealing or unflattering to the player. The Acoustasonic Jazzmaster in particular may very well be the missing element in the pursuit for tone. On this model it contains a new three-way system for picking up and amplifying your tone, as well as blending and shaping controls to nail it, no matter what you’re going for. Both unplugged and amplified it can muster tones you may have only dreamed of. It’s neither an acoustic or an electric - it’s both, but also in a class of its own. The specs feel modern, but stellar choices of wood and construction make for a well-tuned and designed guitar. The Acoustasonic Jazzmaster will arrive safe in a Deluxe Fender gig bag, ready to rock both unplugged and amplified. It features revised specs from the Acoustasonic Telecaster and Stratocaster that came before it, making the Jazzmaster the flagship model for the range. Redesigned pickups, a refined body shape and construction really make for an unparalleled playing experience. The future is now and it’s coming to fruition at Fender.

BY LEWIS NOKE EDWARDS

FENDER

Chrissie Hynde Signature Telecaster

FENDER MUSIC AUSTRALIA | RRP: $2,699

The Chrissie Hynde Telecaster was one of the most exciting announcements for Fender’s 2021 range. After forming the Pretenders in 1978, Chrissie has remained the only constant member, while handling lead vocals and lead guitars as well as the song writing, landing her a place in the Rock and Roll Hall of Fame in 2005. Much of this history has been written with her ‘65 Fender Telecaster strung across her shoulder, and the Chrissie Hynde Telecaster memorialises just that. The Pretenders have found fame through their broad range of styles and influences, seamlessly blending pop, rock, punk and balladry into one unique and instantly recognisable sound. Finished officially in Ice Blue Metallic, the Chrissie Hynde Telecaster features Fender’s Road Worn Nitrocellulose Lacquer that dulls the blue back a little to further compliment the gigtough chrome mirror pickguard. This one comes in a deluxe hardcase and features a rosewood fretboard, nicely offset against the hazy blue of the nitro finish. The Chrissie Hynde Telecaster is a force to be reckoned with, much like the woman herself. It can harness a variety of tones with a few simple controls, thanks to specifically voiced custom pickups and the Telecaster’s time tested layout and design. The Chrissie Hynde Telecaster is about as classic as the Pretenders’ driving rhythms and slow strummed choruses. This Tele had a body made from alder and covered in a nitrocellulose lacquer allowing the tone of the wood to breathe a little more. The rosewood board is a vintage radius at 7.25” and 21 vintage tall frets divide the tones between the synthetic bone nut and string-through-body Tele bridge, with stainless steel saddles that are a nice touch. This stainless steel reduces wear and rust over time, while the string-through-body helps offer that classic vintage Fender feel as well as allowing the strings resonate through the single-cut, alder body. The construction of this guitar really lends itself to the workhorse, offering a bunch of hard wearing and solid parts and materials. The chrome pickguard offers a little extra spank that’s picked up by the custom Chrissie Hynde single-coils. The pickups are voiced to accurately replicate the tone from the pickups in her ‘65 Tele, and offer classic voicing with a little extra magic in the mids and pick attack. These pickups are controlled by, as standard, a three-way switch and a master volume and master tone. Your Chrissie Hynde Tele will arrive safe in a deluxe Fender hardshell case, which, don’t get me wrong, is a welcome addition for such a reasonably priced guitar. All of these specs make for a Telecaster with classic vintage Fender feel and vibe. The mid-60s “C” shape takes us back to the golden era of Fender electrics, and the vintage tall frets inspire a certain jangly style of riff and chordal strumming. The pickguard offers a particularly metallic attack that flourishes in a mid forward but ever-articulate tone, similar to guitars with an anodised pickguard. The tone is balanced and bright, but the neck pickup is where this guitar really shines. It feels like more than a single coil, but not as sizeable as a humbucker. It’s warm and articulate, thick and creamy, but can poke through without much of a push. The bridge pickup balances out the guitar nicely, offering a clean, compressed tone that takes pedals and amp overdrive well without becoming snarky or sharp. It goes without saying that relicing can sometimes feel overdone, and obviously aged in a fake fashion. This relic, however, is listed as Road Worn and it feels exactly like that, a nicely worn-in workhorse guitar that feels played, loved and cherished but has seen its share of gigs and miles on the road and will continue to see many more. The Fender locking tuners further add to the workhorse feel, with the guitar arriving in tune out of the box and maintaining it throughout this review. You can rest assured the guitar will stay in tune while slung across your shoulder with the included custom white strap and “CH” embossed sheriff’s badge. All in all, the Chrissie Hynde is one of the best guitars to come out of the Ensenada factory in recent years. To be fair, you’d expect nothing less when commemorating one of the hardest working players in rock ‘n’ roll. This is a super balanced and unique guitar, featuring a bunch of specifications and additions that make it stand out from the crowd. The chrome pickguard, bridge construction, materials and pickups make this unlike any other Tele you’ve played. It’s an all-rounder, and offers clean Fender tone and punchy rock tones, offering something for whatever you’re plugging it into or amplifying it with. Chrissie’s weapon of choice is this Telecaster, that settles nicely between her sing-a-long style vocals and whatever else the Pretenders have happening in their broad range of instrumentation. From piano ballads in ‘I’ll Stand by You’ or bright percussive playing in ‘Back on the Chain Gang’, Chrissie’s Tele can hold it all down and settle within their songs to play a variety of roles.

BY LEWIS NOKE EDWARDS

FAITH GUITARS

Neptune Harvest Moon

CMC MUSIC | EXPECT TO PAY: $2,150

Faith Guitars have been meticulously crafting acoustic guitars for close to 20 years, slowly but steadily garnering a reputation as one of the world’s leading acoustic artisans. Founded in 2002 by British luthier Patrick James Eggle, Faith Guitars are now widely renowned for their resonant tonewoods, as well as their stylish designs and portability. Their latest release, the Neptune Harvest Moon, is no exception to the rule. Its starring feature is its super resonant Trembesi tonewood body, accompanied by a silky mahogany neck with a satin finish, not to mention a Fishman INK3 preamp and Fishman under-saddle pickup. The body’s gloss finish is also an impressive addition to the Neptune’s aesthetic charm. It’s probably first worth talking a bit about Trembesi tonewood, and what it exactly brings to the table when discussing tonal warmth and resonance. Trembesi wood is indigenous to Indonesia and is found in abundance across Java and a few other Indonesian islands. Faith began utilising this unusually alluring tonewood a few years ago, with its mid-centred timbre making its presence known on many of the company’s more recent releases. The first thing that really struck me about the Neptune when playing it for the first time was just how well the low strings project. I’ve played quite a few acoustics of comparable value to the Neptune and have noticed that some of these guitars’ lower frequencies have a propensity to buzz and sound rather thin. The Neptune’s lower-pitched strings, on the other hand, sound sublime – their fat, round sound cuts through the mix beautifully, providing a fitting tonal accompaniment to the bitier higher frequencies proffered by the acoustic. Obviously, everyone has a preferred means of tackling the acoustic guitar, whether that be with a plectrum or with their fingers. I would say that while the Neptune sounds majestic while strummed, the string tension and 55mm spacing makes it the ideal six-string for fingerpickers. I’ve heard some acoustic guitarists explain that the reason they rely so heavily on using a plectrum is because reverting to fingerstyle causes them to lose volume and purchase on their instrument. This is mostly the case with guitars that have slacker strings with less tension – while they might sound nice and bright while strummed, this tonal sheen doesn’t always come through once you flick away the plectrum. The way in which the string tension is primed on the Neptune also affords players a wide dynamic range. Those who play lightly will still be heard due to the sheer resonance of the instrument, while guitarists who choose to dig into the strings will hear that glimmering ‘pop’, especially in the higher register. A tell-tale sign of a quality acoustic instrument is the extent to which you can hear the harmonic overtones when playing a chord: being a pianist primarily myself, this is the one of the first characteristics I look for when playing a new upright or grand piano. The same applies for hollow bodied guitars, and with the Neptune, there’s something pretty satisfying about strumming a chord and letting those glistening overtones complement the rest of the chord. I’d say that the Neptune Harvest Moon is naturally inclined towards its mid-range, so spending some time tweaking the Fishman EQ whilst plugged in is always a good idea. If you’re strumming away at a rhythm guitar part, you may want to take a bit of heat off the mids and add a touch more treble, so as to make room for all frequencies to cut through. Additionally, for those who like to play with reverb, it’s probably best to just apply a smidgen and let the natural rebarbative qualities of the Trembesi tonewood do the talking. Another of the Neptune’s many great specs is its neck profile: as someone who occasionally struggles barring chords on some wider-necked acoustics, it really seems like Faith have nailed not only the width, but also the depth of the mahogany neck. It’s slim but not to the point of resembling a banjo neck, and its satin finish makes for some fairly effortless shifting. While the action is set at an ideal level, the string tension means you might want to apply a tad more left hand pressure than usual while fretting. This will likely take some getting used to, however in the grand scheme of things it’s only really a minor technical adjustment. Given the vibrant sustain that the Trembesi tonewood offers, it’s no surprise that the Neptune itself may weigh a fraction more than your typical spruce-bodied acoustic, if that’s what you’re used to. But again, the difference in weight is almost negligible once you come to appreciate the enduring resonance of the instrument. The contour also feels as aesthetically natural as can be, and rests comfortably against your midriff when sitting down. Overall, the Faith Neptune Harvest Moon has to be one of the finest acoustic guitars I’ve had the pleasure of playing. Its unique tonewood affords it a warm sonic edge that you’ll be hard-pressed to find in other similarly-priced guitars, while the carefully set string tension gives you a remarkably wide dynamic range to play with. At its current price point, the Neptune is the ideal acoustic for those of you looking for an instrument with vibrancy, sustain and durability.

BY DAVID TOMISICH

PHIL JONES BASS

Double Four BG-75

EGM DISTRIBUTION | EXPECT TO PAY: $829

Most of the time, bassists are prone to copping a hard-knock from gear manufacturers. Due to the powerful frequencies bestowed upon their instrument of choice, they’re forced to make do with amplifiers that are bulky as hell and weigh over a metric tonne to cart around, which is possibly why so many bassists end up with slipped discs or poor posture from carting their gear about. On the inverse, finding a practise amp that actually sounds like these mega rigs is pretty darn hard, and often, us low-end theorists are forced to compromise and make do with some sort of practise amp that simply put, just won’t cut the mustard. Recently, however, there’s been a bit of a shift in this ethos from a number of bass amp manufacturers, with modern technologies such as Class-D amplification and neodymium speakers allowing for bass amps to be smaller and lighter than ever before - all without compromising on tone and power. Over more than 45 years of operation, Phil Jones Bass have forged a remarkable legacy for creating bass amps that are known to be stage-ready and crazy loud, with many utilising unique small speaker arrays to achieve their power. For instance, the 16-H Bass Horn speaker has a whopping 16 PJB Piranha Type A speakers and extensive baffled bass ports, and it’ll blow your head off. But, as we’ve found out recently, you don’t always need that kind of power. Enter the Phil Jones Bass Double Four BG-75. This 70-watt pintsized contraption is a minuscule bass amp that looks like a bass head, until you get a little closer and realise that it’s actually a tiny combo. It’s a perfect example of Phil Jones Bass’ small-speaker / big-sound ethos in action, and while it probably won’t suffice for use onstage, serves as a killer option for any kind of practise or rehearsal scenario you may be facing. The Double Four is a singlechannel bass amp with a simple three-band EQ, with controls for bass, middle and treble offering enhanced tone sculpting to make sure you get the perfect tone. There’s also a passive/active/ mute switch with an LED on the input to let you know when you’re approaching clipping territory, as well as a master volume, a headphone jack for when you need to run silent practise sessions and a line out for recording. Additionally, there’s also an aux in with its own level control, which allows you to plug in your phone, tablet or other device to jam along with backing tracks or demos. In many respects, the Double Four very similar to the Session 77 combo amplifier, but is purposely designed for use around the house rather than onstage or in the studio. Where the PJB Double Four BG75 gets really interesting is in the speaker section. This little pocket rocket makes use of two PJB NeoPower four inch neodymium drivers, which the PJB team spent a hefty amount of R&D time on perfecting to ensure they output low frequencies with ease. Each one of these speakers is also fed by their own Pulse Width Modulation amplifier, which converts electrical energy to power the speakers instead of running them hot. This means that these speakers will last much longer than your average woofers, which should provide you with all the peace of mind necessary when purchasing a product of such a high calibre. It’s worth noting that just because the Double Four is dubbed as a practise amp, it doesn’t mean you have to cut corners with your sound when using the PJB Double Four BG-75. The cabinet may be around the size of a lunchbox, but it’s built to the same standards of all PJB cabinets, which means it employs heavy bracing and acoustic damping to ensure the clearest, most faithful reproduction possible. It also means freedom from a problem that plagues many practice amps: dead low notes. That solid construction and heavy damping means that, should you be running a five-string bass, your low B will sound as punchy and clear as any other notes. Whether you’re playing frenetic jazz fusion lines or jamming along to sludgy doom metal, the Double Four will definitely live up to your expectations. As with the Session 77, the Double Four will faithfully reproduce the input signal, whether it’s an active or passive bass plugged directly in, or a processed signal making its way into the amp through a preamp or effects unit. It also means the auxiliary input sounds nice and faithful too. Heck, if you wanted to you could use this amp to play music in between sets, should you be playing a small enough room that you can get away with an amp of this size. Because yes, this is marketed as a practice amp, but it pushes out enough volume for at least small gigs, and the line out means you can also plug it into a PA system to effectively use the amp as your onstage monitor while the PA system sees it as a direct box. Although Double Four BG-75 doesn’t feature creature comforts such as distortion, compression or limiting, let’s be real here: how often are you going to want to use these kind of features when you’re jamming along to tracks at home? Half the time, it’s challenging enough to find a practise amp that sounds decent enough to pull the trigger on, and it’s here where the PJB Double Four shines. It’s a nofuss jamming solution that sounds and looks great, and at the end of the day, isn’t that what us bassists have been looking for all along?

BY PETER HODGSON

PIONEER DJ

Toraiz Squid

JANDS | EXPECT TO PAY: $869

There’s no denying the sheer influence of Pioneer DJ within the electronic music market. For years, the company have dominated DJ booths all over the world with their club-standard range of CDJs and mixers, while their broad assortment of software controllers, headphones and monitors have helped them expand further into the home market as well. Not a brand to rest on their laurels, Pioneer DJ took their game up a notch in 2016 with the launch of the Toraiz range: a series of samplers, sequencers and synthesisers aimed at professional DJs and electronic producers looking to flesh out their sets with the sound and feel only hardware can provide. The success of previous products in the Toraiz range, such as the SP16 sampler and the 303-inspired AS-1 mono synth, have proved that Pioneer DJ are making all the right moves with this new venture, and their latest addition to the range - the Toraiz Squid - only seeks to prolong this winning streak. Before we go any further, it’s crucial to note that the Squid, unlike other products in the Toraiz range, does not make any sound. Conceptually, however, it’s one of Pioneer DJ’s most unique offerings to date. Similar to that of the Arturia BeatStep, it’s a multitrack sequencer that allows for control of up to 16 instruments, with an abundance of inputs and outputs making it suitable for use as the centrepiece of a live hardware setup. Notes and step data can be input via a MPC-style backlit 16 pad grid, while a smattering of other buttons and dials allow for control over parameters such as modulation, swing, pitch and groove. Tempo and MIDI channel data is displayed by two seperate LCD screens on the top-right of the unit, which despite being rather small in the grand scheme of things, prove to be essential in navigating your way around the Squid. In the connectivity department, the Squid is jam-packed with just about everything you need to make a track out of the box. In addition to hosting a USB-B port, the unit features MIDI in, out and thru, as well as two CV/Gate ins and outs, a Clock in and out and even DIN SYNC ports in the off-chance that you happen to have any old ‘80s Roland drum machines laying about. Bafflingly, the Squid is void of Pioneer DJ’s Pro DJ Link port to allow for network connection with CDJs or other units in the Toraiz range, but if you’re only looking to utilise the Squid as a studio centrepiece without any other Pioneer DJ gear, this shouldn’t be considered an issue. Perhaps the most enticing aspect of the Toraiz Squid is just how powerful its sequencer is. Users can stack up to 16 different tracks with an impressive 64 patterns and 64 steps per track, while step resolution can go from quarter notes all the way up to thirtysecond notes. There’s also room for 128 projects, with Pioneer DJ’s Squid Manager app letting you save and transfer your sessions between devices. The real drawcard here, however, is the fact that the Squid possesses polyphonic sequencing capabilities, with up to eight notes being available per step, which means it’s able to facilitate some wildly creative melodies when utilised with the right gear. As with any piece of kit this sophisticated, it’s definitely worth diving into the manual before you attempt to tackle the Squid: like its namesake, it’s a unique beast, and certainly takes some wrangling before you obtain any level of comfort with it. That being said, after a few hours, the workflow does become quite intuitive, and before too long, you’ll be switching between instruments and crafting tracks like a pro. Once you’ve got the hang of the Squid’s workflow, you can then dive into its more mindboggling features, particularly those pertaining to swing, groove and modulation. Features such as Speed Control, which lets you trigger notes at double or half-time, are perfect for creating jungle-inspired snare rolls and trappy triplet hi-hats, while the Fixed Length button can be triggered to launch off-grid polyrhythms - perfect for any kind of live IDM or glitch set. There’s also another unique feature offered by the Squid called the Groove Bend, which can be controlled via a springloaded crossfader on the bottom left of the unit. This essentially adjusts the trigger steps of your sequence to play faster or slower depending on how far you shift it to the left or right, and can be utilised to extreme effect to accentuate particular phrasings or drum loops. When paired with any other combination of swing, pitch, melodic or modulation parameters, the possibilities for creating distinctive bleeps and bloops are simply infinite. With the Toraiz Squid, Pioneer DJ have created a true monster of a sequencer for the most demanding of electronic artists. This thing is absolutely jam-packed with features that are guaranteed to take your productions or live sets to a whole new level, and the sheer array of inputs and outputs make it a killer option to place at the heart of any hardware setup. Sure, the workflow might take some getting used to, but once you’ve mastered its quirks, the Squid will unveil its true potential as a powerful, uncompromising multi-track sequencer with many a trick up its sleeve. An undisputed winner in our books.

BY WILL BREWSTER

ATC

SCM25A Studio Monitors

AVP IMPORTS | EXPECT TO PAY: $14,495

Industry royalty ATC (Acoustic Transducer Company) have been producing loudspeakers for almost 50 years, with a reputation for excellence in the space that is borderline unparalleled. That isn’t an exaggeration either - the legendary British company are often referred to as the manufacturers of the finest audio systems in the world. Handmade in the town of Stroud in Gloucestershire, the SCM25A is a three-way active monitor, and the most compact (and affordable) of ATC’s SCM line. Unlike some its larger counterparts, the SCM25A is also equally adept at both nearfield and mid-field monitoring in equal measure, making it a somewhat more flexible and mobile prospect than some of its larger brethren. With a true frequency reproduction between 47Hz-22kHz, and a unique low-resonance port for bass frequencies, the SCM25A is suitable for all but the most bass-intensive tasks providing exceptionally true and unbiased monitoring across a broad range of studio applications. The 25mm neodymium soft dome tweeters are of the upmost quality, and the 75mm soft dome mid driver and 164mm carbon paper cone bass drivers are both handmade by ATC to make sure they tick all the right boxes. If required, ATC even provides a ‘port bung’ to seal the bung hole bass port where necessary; for instance, if you were installing the loudspeaker into a recessed wall mount. Sonically speaking, the SCM25As (and ATC monitors in general) are in a league of their own when it comes to critical recording and mix applications, serving as one of the most justified investments in all of audio-instantly levelling up the quality of your productions in an obvious and immediate way. The clarity is breathtaking, and like so many speakers of this calibre, expertly tread the line between professional audio and professional audiophile. You’ll find yourself wanting to stay back and listen to your favourite records, just to experience them as they were meant to sound. It’s a beautiful thing, and it’s one that anyone who works in audio should have the pleasure of experiencing at least once. With crossover frequencies at 380hz and 3.5kHz, the mid-range speaker’s range is a little smaller than most three-way systems, but whatever you do, don’t consider that as a disadvantage. Whatever the impetus behind this decision may be, it seems to have worked, as it is in these critical midrange frequencies where the SCM25A proves to be such a valuable studio tool. The level of detail afforded by the SCM25A is really something else: these monitors are so detailed that you may find yourself rethinking you standard routine whilst using them-things like reverb times, dry/ wet ratios and compressor release times will jump out in new - and often humbling - ways. Yes, you’ll hear your mix flaws like you’ve never heard them before, but you’ll also be able to scrutinise, remedy and maybe even improve them in a manner you’ve possibly also never done so previously, resulting in tangible improvements to overall mix quality. ATC monitors typically have a very wide horizontal dispersion, and the SCM25A, with a reported 80 degrees, is no exception. The benefits of this are an incredible stereo image and inflated listening sweet spot; you won’t start hearing things differently after lunch because your chair moved slightly. The consistency and quality of the sweet spot is something to behold. The downside to this, however, is that your room may need some additional acoustic treatment to do them proper justice - many pro users will go as far as to design their listening environments based around ATC monitors in order to reap the benefits of everything they have to offer, which when given the price-tag, is certainly worth the ask. Simply put, you need to treat your SCM25As with respect if you want them to do the same to you. Should you require a little more oomph - or, perhaps, just be a really excitable fan of sub-heavy genres like dub or even dubstep - the SCM25A also features a bass-boost option, offering a beefy 3dB of gain at 40hz. You probably won’t need to use this unless you need to plug the bass port and are significantly affected by the resultant drop in bass, but some spaces and listening scenarios may benefit from this feature. For my money, I’d leave it disengaged, but that being said, I’m not that into dub, so really, it’s your call. When you are dealing with increments this fine, you’re typically best off leaving it to the mastering engineer with specialist tools for the job and let’s be honest, you are probably already bringing them a mix that is far closer to finished than what they are used to, so maybe let them do their job. That is, unless, you’ve gone absolutely crazy on the levels, but again, that’s all on you. In many ways, perhaps the most liberating aspect of having monitors of this calibre is having the total reassurance that your mix will translate, regardless of system or listening context. Legendary studios around the world like Abbey Road Studios and East West don’t just swear by ATC loudspeakers to fit in. They are worth their weight in gold. The list of hit records they’ve helped forge is numerous, the accolades are thick and heavy, but in an age of endless scepticism and audio snake oil, it’s truly nice to know that some things are just genuinely, profoundly good. It’s safe to say that the SCM-25As are just that.

BY PAUL FRENCH

UNIVERSAL AUDIO

Luna Recording System

UNIVERSAL AUDIO | ENQUIRE FOR PRICING

If there was ever a brand that embodies exactly where we are at in regards to the evolution of the recording studio, it would be Universal Audio. A multi-generational family business who have been on the cutting edge of studio technology since the late ‘50s - from tube to solid state, hardware to software, native to DSP and beyond, they hold a singular place at the table, both historically and technologically - pioneering many of the studio advancements we now take for granted. As it stands in 2021, the brands digital arm (UAD) are the undisputed kings of the professional plugin/interface market, producing some of the most used and sought after digital audio processing in all of pro audio. Their plugin emulations of expensive and hard to obtain studio gear in particular are a bonafide industry standard, used by all the top flight studios in the game. Luna signifies Universal Audio’s move into the competitive world of the digital audio workstation, by utilising the deep hardware integration found on their line of Apollo and Arrow hardware units. This powerful DSP (combined with UAD’s expertise in all things plugin) also means that Luna has some incredible tricks up its sleeve, features that many of its competitors would struggle to replicate. Luna is free for all Mac users with a Thunderbolt Apollo or Arrow interface, which is fantastic for current UAD users. Given the brand’s dominance in the current recording climate, rest assured, there’s almost certainly no shortage of UAD users out there at the present juncture. A recording system designed to get rid of a lot of the pesky double handling that comes with ITB recording and processing, Luna can directly access Unison preamps (UA’s preamp emulation), creating a much more streamline relationship between gain staging, A/D conversion and harmonic saturation, much as one would on traditional console, but that’s not the only nod to the world of analogue workflow. While mixing with Luna, every channel has dedicated tape emulation processing and all bus channels have the option of Neve channel summing, which along with the aforementioned processing at the input stage, make for an extremely organic and intuitive signal flow, with tracks coming together naturally and effects being chained together in context rather than in isolation. It can’t be stressed enough how lovely this interaction between the UA hardware and Luna is from a studio workflow perspective. It’s a perfect example of how to do digital audio the right way, with high quality components at the input stage, studio grade conversion, powerful outboard DSP for realistic modelling and a controller like tweakability of hardware from within the user interface. All of these things make recording with Luna an absolute pleasure to work with. One particularly handy feature is the option of accelerated real time monitoring. Utilising the DSP power of either your Apollo or Arrow unit, Luna can reproduce audio in under 2ms from input to output which is seriously impressive. This creates opportunities to punch guitar or vocal parts whilst you’re already in the throngs of a CPU heavy mix, in turn making for easier performance revisions and amendments after the fact. This lightning fast monitoring also lends itself to extracting a more natural, better timed performance, because as any engineer will tell you, analogue signal flow starts at the source - first and foremost. While UAD are renowned for their unrivalled ability to replicate analogue in the digital domain, the ease and simplicity of the editing function definitely takes full advantage of all the luxuries of the modern digital workflow, allowing for easy comping and drag and drop functionality throughout. The Focus Browser is a highly intuitive feature that appears on the left side of the screen and adapts to whatever task you are currently performing within Luna. For example, clicking on an input will automatically bring up all possible inputs you can route to the channel while clicking on the insert slot will bring up a plugin browser featuring all currently installed plugs. This feature makes me wonder why other DAW creators haven’t thought of this sooner, as it really is a better way to navigate the workspace. And this is at the crux of what is so exciting about Luna. As the purveyors of the finest software emulations of analogue gear - many of which they themselves pioneered all those years ago - Universal Audio have a rare and intimate understanding of exactly what was good (and not so good) about the analogue era. The wonders of harmonic saturation at the preamp, the sympathetic nature of tape, the benefits of committing early to a sound, the superiority of editing in the box, the economic upside of not needing to build a reverb chamber on your property: this is the kind of impartial, hybrid thinking that Universal Audio excels at and it’s one of the reasons why Luna is often referred to as a ‘Recording System’ as opposed to just another DAW. With Luna, it’s not just about the Workstation itself as much as it is about how the Workstation exists within the context of the broader Universal Audio ecosystem and the answer is, naturally, instinctively and above all else, extremely musical. Chances are, you won’t find another piece of software so sophisticated and organic as Luna - this is music making at its absolute peak. A certified winner, and a clear step into the future for one of the most revered names in audio history.

BY SAM MCNIECE

SSL

UF8 DAW Controller

AMBER TECHNOLOGY | ENQUIRE FOR PRICING

Back in 2019, legendary studio icons SSL shook things up with their excellent SiX desktop mixer, an affordable (at least by highend studio standards), compact, all-in-one portable desktop mixer solution. It was in many ways a statement of intent from the legendary brand. For years, people had wondered which of the big three console manufacturers (API, Neve, SSL) would be the first to repackage their colossal reputation in the commercial recording sector and translate it into the burgeoning home studio market. The SSL SiX came in at just the right price-point and with just the right feature set and onboard processing to serve as the perfect entry point for budding producers looking to integrate two premium quality SSL channel strips into their home setup, but the lack of A/D conversion meant that there was still a vital link in the signal chain that needed to be addressed. That came recently, with the release of the 2 and 2+, SSL’s all-conquering line of smallscale, modestly priced desktop interfaces. With their combination of rock solid preamps/conversion, egalitarian price-point and with the weight of the SSL name behind them, needless to say the 2 and 2+ were a roaring success, but it begged the question, where to next for the legendary brand, now that they had skilfully and successfully bridged the gap between $200k professional 48 channel console and $400 2 channel USB interface? The answer, it seems, lies somewhere in the advanced DAW workflow and its similar level of importance to both the pro user and home recordist alike. This brings us to the UF8, SSL’s new premium small scale desktop control solution and an absolute go-to for anyone looking to take their mix workflow out of the box and onto a set of faders, but with a level of scalability that won’t require excessive upgrades down the line. For the home recordists (especially those who are primarily used to an in-the-box workflow), the UF8 serves as the perfect, scalable entry point into a ‘console’ style workflow, with all the visual and haptic upside that comes with mixing through fader banks and rotary dials (and with the option to chain units together as your mixing needs expand). For the seasoned pro, the UF8 serves as a delightfully portable fader option for location and post work, absolutely ideal for riding dialogue or for getting in-the-box desk mixes ready on the fly. The naturalness of the navigation/ display and the portability/ stowability of the unit itself, makes it your new best friend for any small scale mix applications or minimalist studio setup. Utilising SSL 360, the UF8 is a professional quality MIDI controller that can interact with three DAWs at once and have 43 fully customisable keys per DAW via the aptly named soft and quick keys. This software also allows seamless use of this controller with Pro Tools, Logic, Cubase, Ableton and Studio One. For all of these integrations, SSL has provided standard button assignments which get you going faster and still allow you to tailor the hardware to your specific needs. As with all SSL products, the UF8 build quality is decidedly fieldready, with a metallic enclosure, high-quality motorised faders, rotary encoders and durable soft key buttons throughout. High resolution LCD TFT screens adorn the device with key information that is track specific including level, pan and track name. Fast USB connectivity lets you connect the UF8 to pretty much all devices imaginable. The UF8’s large rotary knob is called the CHANNEL encoder, and has a range of different functions depending on what you’re focused on. It can be used to scroll through tracks one by one on the device as standard, scrub through a track with the playback head in nav mode, move a selected clip using nudge mode and modify specific parameters using focus mode. The multiple uses of these encoders is yet another intuitive way to get the most out of your software using this controller. If eight faders aren’t enough for you (or if your track counts are edging closer and closer into Brian Wilson territory), SSL have added the ability to chain together four units for a classic 32 channel SSL experience, giving each channel with a dedicated fader. Chaining four together allows each to have a different set of assignable buttons which creates an absurd amount of possibilities including mixing your track in a couple passes. Alternatively you can use a single UF8 and scroll between different channels on the track with a click of a button and watch the motorised faders snap into place. Dedicated plugin buttons also allow you to select a plugin on a channel and use the endless rotary encoders to modify them without using your mouse. If the encoders aren’t fine enough for you, hovering over a parameter in your DAW will enable use of the CHANNEL encoder in the aforementioned focus mode to be used as a mouse scroll wheel, allowing for fine tuning. Swapping between windows in your DAW is easy by using the default assigned quick keys on the device. Utilising the send and swap buttons allows with a click of a button, the snapping of your sends to the faders, switching between pre and post fader and flipping back to your mix in seconds. If there was ever any question as to how SSL would navigate the move from classic large format console, to the compact world of the modern DAW workflow, the answer is incredibly well. The UF8 expertly toes the line between premium (but not out of reach) desktop fader option and scalable pro workhorse, in turn making it a more than justifiable investment for engineers on both sides of the fence.

BY PAUL FRENCH

SONARWORKS

SoundID Reference

FEDERAL AUDIO | EXPECT TO PAY: $499

SoundID Reference is Sonarworks’ solution for achieving a flat frequency response from your monitoring system. With more and more home studio setups becoming prevalent around the world, perfectly curated rooms with extremely pricy speakers are dwindling. These spaces are used as reference points to how music will sound in the real world as their relatively sterile, flat frequency responses allow for the same results every time. Translation is what these rooms are looking to achieve. Even with this close to neutral room, most studios will have multiple speakers setup with different frequency responses to check how it will translate to the outside world. When bands get a new mix of their track, they often will take it and listen to it in the car on the way home. Most people know what their car sounds like, as they listen to music in it daily and translating there is make or break for a good mix. Right now, access to music production software and DAWs is at an all time high and without access to professional studios or expensive mastering engineers, it can be tough to get a great mix that translates. One solution to this is getting an industry standard pair of headphones such as the Beyerdynamic 770s or Audio Technica AT50Xs and using this software by Sonarworks to flatten their response with a pre-made curve tested in their own studios. You can even test your headphone’s curve changes online via their website to hear what a truly flat response actually sounds like. But what about for your studio? Sometimes hearing your mix on speakers can be more like what it’s going to translate as. So, let’s say you’ve treated your room and got a nice set of speakers. Now what? Floating your entire mixing room and buying expensive diffusion panels might be a bit overkill for achieving that last bit of clarity. Here’s where SoundID Reference could help you. Using their software to create a profile of your room, you can achieve the studio flat sound you’ve been searching for and use their extensive translation check feature to make sure your mixes sound tight wherever they’re heard. Despite this all sounding like such a complicated process, we’re happy to report that using the software is pretty simple. There’s also instructions on how to plug everything in and identify what microphone you’re using, making sure that you’re well on your way to finding out how to get SoundID Reference up and running so you can start using it straight away. This version ships with a measurement microphone, a small diaphragm condenser, which is used to perform tests on your speaker system and the way your room is responding to it. There’s about 15 minutes of setup time for SoundID Reference to collect enough information about your setup and find the EQ curve that will flatten out your speakers. SoundID Reference exists as both a standalone program and a plugin. Both offer linear phase and zero latency modes with the linear phase mode being truer to the flat response curve but introducing subtle pre ringing to achieve this. Having a standalone version is a big plus as you can use it to listen to all your music with the correction applied as opposed to just using the correction while mixing. The plugin version is more suited to recording as the latency from the standalone version even in low latency mode can be substantial. However, it’s definitely recommended to use the standalone version for most applications, as you might accidentally print the room correction onto your mix - and nobody wants that! Once you’re happy with the flat sound, you can tweak the balance within the app also. There’s built in low and high shelves working in tandem to accentuate either end of the frequency spectrum to your personal taste. It’s also possible to make the software correct only specific frequency regions. This would be good if you like the way the top end of your speakers sounded in your room but were having troubles in the lows due to standing waves or lack of bass traps. Using the Translation Check features is amazing for checking how it’s going to sound in real world environments. You can emulate a bunch of classic devices including car stereos, phone speakers, TVs and both in ear and over ear headphones. This is an often over-looked step by inexperienced engineers which can lead to a mix not hitting as hard as it could. With this software, it’s important to note that it cannot correct everything. When used on cheaper speakers in an average sounding room for instance, the amount of EQ correction needed to apply this will create subtle but audible distortion as the speakers will be working really hard to reproduce frequencies that are lacking in your room. This is why it’s recommended to first do some research on the space you’re using and treating existing standing waves and first reflection points with sound treatment before using this software. Using SoundID Reference by Sonarworks, will give any audio setup a leg up in terms of clarity and translation. Utilising the packaged microphone, which could also act as a room mic on your next recording, to neutralise your space and allow you to hear your music the way it’s supposed to be heard.

BY SAM MCNIECE

WARM AUDIO

WA-67 Tube Condenser Microphone

STUDIO CONNECTIONS | EXPECT TO PAY: $1,549

The famed German ’67 is considered by many to be one of the holy grails in the audio world: without a doubt, it’s a desert island tube condenser mic. Used by the likes of The Beatles, Nirvana and Frank Sinatra, it has truly etched its place into the recording industry as one of the most ubiquitous vocal microphones. Until recently, finding an original and functional ’67 would prove both difficult and expensive - originals known to sell upwards of $12,000AUD and even then, there is all kinds of split opinion on reconditioned versus original factory parts, serviced versus nonserviced - the list goes on. For those new to vintage microphones, the price-tag and specificity regarding what’s under the hood would almost be enough to put the ‘67 in the too-hard basket, were it not for one reason. These are renowned for being some of the best sounding microphones ever made with designs that are still at the top of their game, even some 60 years after the fact. Enter Warm Audio and their WA67 Tube Condenser Microphone: a rock solid, modern interpretation of the classic ‘67, with a price-tag that looks closer to a decent commuter bike than it does a HECS debt. Warm Audio are a relatively new player in the space (celebrating their tenth year of operation in 2021), making their start like so many - in a garage. They first made waves in the pro-audio sector back in 2011 with their WA12 - an excellent and well received recreation of the API312 preamplifier circuit. Since then, Warm Audio has expanded into all facets of the studio space, developing accurate recreations of a whole manner of highly sought-after vintage and contemporary microphones, preamps, compressors and even guitar pedals. Warm’s mission is to bring the classics to the everyday musician and audio engineer, and it shows both in the quality of their wares and in the affordability of the price-tag. Right from the get-go, it was clear that the WA-67 had little in common with any kind of ‘budget’ microphone I had ever encountered. Features like the heavily padded box, timber ‘coffin’ case, deluxe shock mount (with spare elastics), additional standard mount, power supply, IEC power cable and seven pin cable by Gotham were all a welcome sight, exuding the kind of top-shelf European construction so prevalent in those classic microphones. The WA-67 boasts boutique and high quality components to deliver the instantly familiar ’67 tone, that broad spectrum capture with an iciness in the highs that we have come to associate with big budgets, big artists and the like. The components themselves feel weighty and are of premium quality, and there is little question that Warm Audio have gone to great lengths recreating the discrete tube circuit path of the original ’67 in the WA-67. To complement Warm’s brass custom K67-style capsule is the EF-86 Pentode vacuum tube and a high quality output transformer from industry heavyweights Lundall, while the circuit also features high quality capacitors from Wima and Solen. This combination of discrete components faithfully recreates the crisp high frequencies and thick, buttery low / low-mid frequencies that the original ’67 is known for. The nickel-plated microphone chassis is slightly larger than the original, though features all of the appropriate functions: three polar pattern modes (Cardioid, Omni-Directional and Bi-Directional), switchable high-pass filter and -10dB attenuation pad. For those fortunate enough to be familiar with vintage German microphones, they will be quick to note the inconsistencies from one microphone to the next, particularly for tube models like the original ‘67. As is the nature of vintage equipment, it is tremendously difficult to find two specimens that are identical. Purists may argue that recreations of vintage equipment never meet the mark, but the reality is that due to component degradation, years of use/abuse and makeshift repairs, this gear deviates from its original specifications. The WA67 does not exhibit the bitey, harsh upper midrange characteristics that many other budget tube condensers tend to, maintaining a smooth and complementary tonal response in most applications. While the exact essence of the original ’67 is hard to pinpoint, given the tonal variation from one unit to the next, what the WA-67 gets so right, is to scratch all the right itches in terms of the original’s strong suits and marrying them with all the benefit of hindsight, consistency of components and batch numbers that modernity affords us. The draw-card of the original ’67 microphone is in its ability to make anything it’s pointed at feel larger than life with harmonically rich hyperrealism, and thankfully, the WA-67 has this in spades. Its frequency response is colourful to the ear without over-exaggerating any distinctive frequency range, making it perfect for delicate vocals, big piano-like acoustic guitars and even as a tool to add mojo to percussion. The tube circuit adds a pleasing harmonic texture to the high frequencies and presents a very quiet self noise, making it a perfect recording tool. For the asking price, there is little competition in ’67 voiced microphones that perform quite as well as the WarmAudio WA-67. Warm Audio have demonstrated once again that it is possible to deliver high quality recreations of classic pro-audio equipment at a more consumer friendly pricepoint, offering a wallet-friendly alternative for any studio boffin.

BY TOM GLOVER

PRESONUS

Studio One 5 Professional

LINK AUDIO | EXPECT TO PAY: $599.99

PreSonus have been in the DAW world for the past ten years, which by the standard of modern recording software officially makes them a veteran in the space at this point. What started as a sister piece to their ubiquitous and game changing StudioLive series of interfaces/mixers has over time, grown into a sophisticated recording software all of its own, with a powerful feature set and one of the smoothest and most intuitive workflows going. With Studio One 5, PreSonus look to have a landmark release on their hands in regards to their flagship recording software, continuing to straddle the line between stage and studio in effortless style, and with some powerful new features that are sure to appease both the drag and drop and linear schools of production workflow in equal measure. First point of call is PreSonus’ generously large native effects library, which has received a lot of love in this upgrade. Analog Delay now looks and sounds more analogue, both due to its new funky design and improved hardware modelling of analogue gear, which has been applied to a range of native effects across Version 5. ProEQ2 has received a linear phase high-pass filter, which is an awesome addition to a tool which is likely to see more use than almost anything on a mix. Safe to say that maintaining this phase correlation through the early stages of processing makes for awesome peace of mind and better sounding stems at the instrument busses. While on the topic of instruments, Rotor, an emulation of a classic organ amplifier (that may or may not rhyme with Wesley) looks and sounds incredible, and is a picture perfect sonic representation of the fabled piece of gear. The graphics on the UI itself also make it one of the most aesthetically pleasing VST’s I’ve worked with in recent times. Quality stuff here. Clip editing in Studio One 5, now features score view, perfect for musicians and composers who love to create in this format. All the data from MIDI will appear in the score and vice versa. In order to export the score you will need a copy of Notion, PreSonus’ notation software which is included in the PreSonus Sphere subscription service, but I can see this being a particularly good workflow tool for the multidisciplinary artist, film composer or songwriter looking to integrate session musicians into the fold. Being able to compose, track, notate, mix all in the same software and with minimal double handling is a definitely a coup. The new clip gain edit feature is a breeze to use and actually alters the waveform display relative to the changes you apply to the clip itself, which is both a novel and intuitive feature and really helps visualise gain staging and relative levels at mix. Studio One differs from many of its contemporaries in its virtuoso use of windows and multiple workflow options to navigate the various parts of the creative process. The Song view for instance, is home to one of my favourite features: the Scratch pad. This acts as a secondary arrangement page toggled by the click of a button which can store ideas that you want to keep that don’t currently fit into your song. It can also be utilised as a place to experiment with different or alternative arrangements within your song. While the scratch pad lets you experiment with different MIDI and arrangements, ‘Scenes’ is an amazing tool for swapping between different mix ideas. Every ‘Scene’ is basically a snapshot of the mix including all effects, routing and send levels. You can choose what parts are included when recalling a scene and they have a plethora of uses in the mix context. Project View, a different interface within Studio One, allows for mastering of entire albums within one instance of the software. The amount of metering native to the DAW is amazing and I love the ability to not only apply effects to each individual song, but also to the master bus affecting all tracks. There’s an easy way to add metadata to songs and export them to your computer or directly to SoundCloud from the interface. Perhaps the most exciting new feature about Studio One 5 is the ‘Show’ page. This area of the software is built for live performances, taking elements from other parts of the DAW and integrating them onto one page. Dragging your songs in is simple, and will create a new set item each time you do that. Alternatively, opening a song you’ve just finished, muting the vocals so you can perform them live and bouncing it directly to the show page is possible. Now you can create a channel for your live vocals, go back to the song and copy the exact effect settings to the show. You are then able to add a VST instrument and set up different patches and effects for each individual song which Studio One automatically switches to while playing. The ability to sidechain from multiple channels at once, the fact that return channels are automatically created when dragging and effect into a send and the ability to copy a channels complete settings including effects inserts, sends, pan and level. Maybe the best of the bunch is the ability to fully customise the keyboard shortcuts to optimise Studio One to your personal preferences. All in all, this new chapter for Studio One boasts a fully customisable experience in music making, mixing, mastering and live performance. Somehow PreSonus has improved the software for all types of users, making it a serious competitor in all uses of its digital audio workstation.

BY SAM MCNIECE

ACUSTICA AUDIO

Sienna

ACUSTICA AUDIO | ENQUIRE FOR PRICING

The parable of the blind men and the elephant describes a situation where a group of blind people come across an elephant for the first time. They all touch a different part of the elephant, and come together to explain their own experiences of how they think the beast is shaped; one person who had their hand upon the elephant’s leg describing it as a pillar-like tree trunk, another who had their hand upon its trunk described it as a thick snake, and so on and so forth. Although this parable has been around for more than two and a half millennia - well before recorded music - it is still the perfect analogy for the imperfect concept of monitoring, the listening environment and human perception (cause) and its influence on the decision making process (effect). Every new engineer would be familiar with the feeling of finally finishing a mix on your home setup - whether it be through headphones, monitors or a combination of both - only to have it completely fall apart when playing it back through a different setup. It’s a tale as old as time, especially for those mixing primarily on headphones. In fact, even the best monitoring set-up, in the most perfectly treated room, referenced at the perfect listening volume, will not give you an exact gauge of how your mixes will translate into the kind of real-world, less-thanideal listening environments that it is likely to be played in. Thus, referencing your mix on different speaker setups is crucial for getting the full picture of said elephant. Italian software developer Acustica Audio know this better than anyone and their new plugin suite, Sienna, is an absolute game-changer, with the ability to emulate world-class studio listening environments and monitoring setups on inexpensive headphones. Sienna offers a huge range of perspectives to reference, improve and perfect your mixes with, resulting in better quality monitoring for the budding engineering and significantly lowering the price of entry into the world of critical audio-meaning better mixes for all. It’s a noble undertaking, and one which can have an extremely powerful and liberating effect on your mix work. The suite is made up of three separate entities, the first of which is Sienna Reference, which allows you to select your reference (control) headphone from the list of approved headphones. In no mind to leave anyone behind, Acustica Audio have modelled correction algorithms for over 170 different models of headphones, including everything from the prestigious Audeze LCD-2 to the trusty Koss Porta Pro. You can blend the unaffected signal to see what correction has been applied with a wet/ dry Mix knob, cut or boost the output signal if needed, and play with the Magic Q knob, which superimposes a correction curve based off the Harman curve that Acustica Audio have designed to deliver a more accurate and musical listening experience. There are also multiple slots for different headphones within the plug in as well as the ability to save presets throughout, so you can switch between different headphones on the fly. After selecting your reference model of choice and after Sienna Reference has applied its corrective algorithms to offset that natural bias of your cans, Sienna Rooms swoops in, giving you cart-blanche access to acoustic modelling from some of the finest sounding rooms/ acoustic environments in Europe and emulating the listening space of your choice to bring the high quality (read - expensive), open air experience to the headphone mix. I found this to be particularly handy for better referencing of low-mid and low frequency material, which we all know is often poorly represented in headphones, given the ears close proximity to the driver. Sienna Rooms was an awesome way to simulate the manner in which low frequency material dissipates in the time domain. I also found it to give me a better read on overall true loudness, given its ability to simulate stereo summing and natural room reflections. The ability to switch to an anechoic room was also an awesome control variable to work from, just in case you had gotten lost in all the options and needed to return to home-base. It also offers a whole host of not so ideal (but none the less vital) listening environments - iPhone speaker emulation, car speaker emulation, boombox emulation, NS10 setups and so on - for you to cross check your mixes and make the necessary adjustments before you bounce. The art and science of controlling the monitoring environment is one of the fundamental pillars of studio recording, not to mention one of the primary reasons that $100k monitors a) exist, and b) are a worthwhile investment for certain studio setups. In an age where the high tier studio experience is getting easier and easier to recreate in the home, a tool like Sienna is invaluable, further bridging the gap and bring high quality monitoring to those who grew up referencing on headphones and headphones alone. Dealing with such a heady subject, it’s probably not the easiest thing to articulate in a review like this, but I can’t recommend Sienna highly enough both as a tool for better mixes and to further one’s understanding of monitoring and its effect on recorded output. Needless to say it’s an eye opener.

BY LIAM MCSHANE

AUDIO-TECHNICA

AT4047SV Matched Pair

AUDIO-TECHNICA AUSTRALIA | EXPECT TO PAY: $1,119 EACH

All hobbyists and professionals in the recording world would love to have high-end studio microphone staples as part of their line-up. That being said, the privilege of owning one comes at a price - and a very costly one at that. Audio-Technica has bridged that gap by bringing the vintage microphone sound into the modern studio environment at an affordable price. The brand’s 40 series has an illustrious history of outputting amazing studio microphones, many of which have been widely accepted in the world of recording as some of the best affordable mics on the market today. Despite not being a German tube condenser of vintage ilk, the 40 series has been notably used to record the vocals of major recording artists including Bono, Elton John, Barbara Streisand, Paul McCartney, Billy Joel, Stevie Wonder and John Legend, just to name a few. Units in the range include the famous AT4033 (voted Microphone of the Year in 1992 by the Audio Engineering Society, now discontinued), AT4033a, AT4040, AT4050 and many more in the series. Now, Audio-Technica introduces the AT4047/SV into the 40 series range, and we’re happy to have two units on hand to set up as a matched pair for this review. First thoughts out of the box, the AT4047/SV looks and feels elegant, with a silver matte finish, which is quite reminiscent of the stylings of vintage studio microphones. This may be a minor detail for some, but as someone who is particularly anal when it comes to stands, the shock mount is incredibly well built. The shock mount is made out of a metal frame and the microphone is secured with rubber bands, with a central slot where the microphone can rest without the fear of it slipping through. Once in the shock-mount, you still have easy access to the necessary switches at the rear of the microphone. Seriously, it’s a great shock mount, and it’s a pleasure to use such a contraption with microphones this nice. The AT4047/SV is a large diaphragm condenser with a cardioid polar pattern, and has the usual pleasantries of a high pass filter at 80Hz with a 12 dB per octave slope and a -10 dB pad. The AT4047/SV boasts a maximum input level of 149 dB SPL and increases to an impressive 159 dB SPL when the pad is switched on. It also has a frequency response of 20 Hz -18 kHz with a slight presence increase between 5 kHz and 10 kHz. Even though the AT4047/SV can be used in broadcasting and live sound situations, it’s in the studio environment where it truly reveals its potential as a sophisticated audio tool. Putting this microphone through the usual rigours of daily studio life, it’s immediately apparent that this microphone is able to stand on its own as a reliable workhorse. From the get-go, this microphone exhibits the usual cardioid polar pattern, it responds well on axis and has great rejection at 180 degrees off axis. More importantly, because of the dual-diaphragm capsule design, it responds just as well when you’re off axis from the sound source, without losing a lot of high frequency information. Testing the AT4047/SV was an exciting experience, and the opportunity to have two units on hand made things even better still. On drums, it handled itself extremely well as overhead microphones, where there wasn’t any harshness from the cymbals and gave a natural sound without any hype around the high frequencies. When applied to a rumbling bass amp, it was very well rounded around the bottom end with a clear definition around the low mids. In regards to placement, there was a slight proximity effect when placed closer to the bass amp, however the effect was not as apparent in comparison to other cardioid microphones. On an acoustic guitar, using stereo techniques showed how easily this microphone really captures clear, natural and highly responsive sound. The recessed top-end provided by the AT4047’s FET design also makes it a no-brainer for tracking audio sources in nontreated and unflattering recording environments, such as the average bedroom or rehearsal space. On that note, this FET construction also makes the AT4047 a killer solution for recording single-coil electric guitars - a source which can often be problematic to track for those without advanced studio knowledge. Simply apply a bit of trial and error mic positioning, a slight touch of strategic EQing, and before you know it, your Stratocaster will sound as spanky on record as it does in your head - all thanks to the humble AT4047. The specifications detailed a limited frequency response of 20 Hz - 18 kHz, however upon testing there was plenty of high frequency information which made it quite easy to process in the mix. The AT4047/SV was tested alongside other big name brand studio microphones within a similar price range and it was amazing to see that this microphone was able to match the performance of the other microphones, yet still have a unique sound of its own by bringing the sound of vintage FET microphones into modern day studios. The AT4047/SV is highly versatile microphone and could be used for most applications, it has a sound that is warm, clear and natural and is a great addition to AudioTechnica’s 40 series.

BY TRINKSI LIWANAG

SCHOEPS

V4U Condenser Microphone

STUDIO CONNECTIONS | EXPECT TO PAY: $3,905

There exists a home truth amongst the professional studio fraternity, that when it comes to recording peripherals like mics and monitors (products that are on the first and last line in regards to overall sonic quality): you really do get what you pay for. That isn’t to say that there aren’t entry level mics and monitors that can’t excel in a very specific context or application; moreso that in a reputation based industry like pro studio, where the stakes are high and where the ability to replicate a ‘professional’ level of sound quality, first time, every time is literally in the job descriptionunderstandably there is a level of investment required in order to hit this target consistently and efficiently. This approach is no longer just reserved for the professional studio either, and as we lay witness to the continued maturation of home recording (and the increasingly pro level setups of the modern DIY producer) we are seeing a blurring of the lines between pro and prosumer, both in workflow and with a host of exotic brand names traditionally reserved for top flight commercial studios, finally starting to make their way into the broader public lexicon. Perhaps there is no better example of this than legendary German microphone haus Schoeps and products like their stunning V4U - a brand who for the last 70 years have been one of the finest proponents of the European microphone tradition, while also bearing enough forward-thinking design nous to translate into the modern recording climate, becoming a favourite premium option for engineers on both sides of the proverbial fence. In a market saturated with large diaphragm condensers for all seasons, Schoeps stand out for a myriad of reasons, least of all their ongoing dedication to smalldiaphragm technology. For the uninitiated, Schoeps deal exclusively in small diaphragm (not a diaphragm over 1” in sight) and it is this sense of restriction that has propelled them into such interesting, cutting edge design territory with the V4U. Not content with settling for being the reigning kings of classical stereo mic’ing, the engineers at Schoeps have applied this aforementioned SDC mastery and applied it to one of the most LDC dominant sources of all: the human voice. The result is something both unique and truly special. The V4U marries Schoeps’ small diaphragm expertise with the desirable sonic imprint of a large diaphragm microphone, resulting in a nimble, pleasant sounding vocal mic with a host of tricks up its sleeve, particularly for offaxis concerns like capturing an animated vocalist outside of the direct line of incidence. It’s an area of microphone design that isn’t always talked about as much as it should be in regards to its influence on recording quality, but it is a conversation that needs to be had. Needless to say, the V4U’s stellar off-axis properties mean you’d have to be working hard not to be able to pull something high quality and usable from it - given the multitude of placement sins it is able to absorb and tolerate. This aforementioned tight cardioid pickup and neutral off-axis colouration aren’t the only indicators of Schoeps’ focus on directionality and spill with the V4U. Thanks to a handy hinge contraption on the neck of the microphone, the entire capsule can be tilted forward and backwards 20 degrees, independent to the body of the microphone, only further increasing the V4U’s versatility of application. A more-than-respectable selfnoise of 15dB quells any concerns one may typically have for a typical small diaphragm condenser and this, coupled with its ability to pull lifelike detail from a broad range of program material, is yet another reminder why Schoeps are such a formidable presence in film/FX work. No shrinking violet, the exceptional SPL capability of 144dB also lets the V4U handle some serious volume for band work and louder source material. A warm and lucid frequency response lends itself to consistency between different voices, making it a real all-rounder microphone, for vocals and beyond. While it’s hard not to overlook just how well this thing captures vocals, to limit its use to just vocals would be a folly; the V4U’s lightning fast transient response, one of its more immediate features, gives an uncanny sense of motion to recordings. Between the crispness of a piano’s action and the sighing of a string section, the V4U captures momentum that large diaphragm microphones don’t seem to hear. Need a better drum kit overhead solution? A pair of V4U microphones is fast becoming a popular premium option for overheads. But the artifice doesn’t end there: the V4U’s ability as an all-rounder makes it a top tier choice for all but the most brutal of recording applications, lending its classy open capture to anything put in front of it. When it makes anything sound this good, it becomes all too easy to grab as first choice regardless of what convention might say: woodwind, pitched percussion, even foley - the V4U will sound great on all of them. One of the most thoughtfully designed and sublimely executed microphone releases of recent memory, the Schoeps V4U is an awesome choice, both for the top flight recording/foley studio, or for the home recordist looking to level up their recordings. Its unique topography, ability to produce detailed rich, critical recordings and its exceptional off-axis response all combine to make it an extremely useful tool for all studios great and small.

BY LIAM MCSHANE

ZOOM

PodTrak P4 and P8

DYNAMIC MUSIC | EXPECT TO PAY: P4 - $499, P8 - $1,049

Podcasting has come a long way in recent years and nowhere is this more evident than in the plethora of high quality podcast specific microphones and mixer/ interface/recorders hitting the market of late. Gone are the days when podcasters had to make do with equipment primarily designed for music. The modern podcasting production suite is well and truly its own thing, having more in common with small-scale broadcast than it ever did the art of music making, and the medium is all the better for it. Long heralded as the number one choice for field recording, video work and the like, Zoom was well ahead of the curve with this gradual shift towards podcast specific hardware. The release of their extremely powerful crossover music/content suite, the LiveTrak L8, was testament to this, showing off the brand’s capabilities in the podcasting space and becoming a favourite among podcasters the world over, but this was only a sign of what was to come. For many, the new PodTrak P4 and P8 are the realisation of what Zoom had hinted at with the LiveTrak L8’s podcasting abilities - a versatile, flexible multimedia device designed specifically with podcasting in mind. All the features we’ve become accustomed to are here with these portable devices, showcasing low noise, high gain inputs and multitrack recording as well as a host of other key features that are sure to pique the interest of anybody dipping in a toe into the rapidly growing medium. Both the P4 and P8 feature 70dB worth of gain on each mic input, and all channels have access to phantom power. This means you can use basically any mic you’d like, including demanding low output mics such as the SM-7B, with ease. The P4 has four mic inputs and the P8 has eight, and there’s headphone jacks with dedicated level controls for every mic input, ensuring that everyone’s mix matches the impedance level of their headphones. Unique to this device is USB and TRRS connections, allowing you to connect an external call via your phone or computer for remote participation in your podcast. There is support on both recorders to use Zoom’s BTA-2, to connect your phone via Bluetooth. It’s worth noting that recording through these two connections on the P4 will take up a channel in place of the mic inputs, whereas the P8 has dedicated channels for these. On all external phone calls, there’s also a mix-minus option to prevent feedback impacting your guests and your recording. Controlling inputs on the P4 is done via the trim controls for each channel and low-cut and limiter switches are within the menu. The P8 has added functionality with the trim controls accessed via the touchscreen along with the low-cut filter, a combination compressor/de-esser and tone control which either accentuates or dulls the highs and lows in opposition from each other. Along with these features, the P8 also has eight faders for mixing your podcast in real time. This also possible on the P4 by adjusting the trim knobs live, but its compact design accommodates for more of a set and forget mindset. Speaking of live mixing, muting and unmuting panelists is easy with devoted buttons for each channel. The P8 additionally has ON AIR buttons which when deactivated mean that the audio is not recorded or outputted to your stream but still comes through in the headphone mixes. This is useful for getting mic levels right without your audience hearing ‘one, two, one, two’ repetitively and not outputting unrelated chatter during pre-recorded content. Both units feature multitrack recording which is a huge win at this price point and the P8 allows you to edit on the device via the touchscreen. Features such as fades, trim, normalisation of volume and the ability to add background music will surely be enough for anyone using this device as intended as a podcasting hub. All your recordings will be saved to an SD card and both units support up to 512GB card size and can be accessed directly from the USB port. Using the customisable pads on both units, you can channel your inner shock jock. Pre-load via USB and trigger sound effects, background music or even a previously recorded interview straight from the device and adjust the volume of all the sounds at once with the provided knob. In line with Zoom’s all terrain approach to audio, all of these fantastic elements can be enjoyed without a wall outlet or wired power supply. Both units can be used with AA batteries or external usb power packs, and if you’e recording for long periods of time, these PodTraks will switch from USB power to battery power without skipping a beat - neat. But hold on Dr. Podcast: maybe you’d like to use this device to record things directly to your DAW, seeing as your computer is right there in front of you? Well my friend, the good news is you can do that also. The P4 also acts as a 2I/2O interface while the P8 boasts a sizeable 13in/2out which will be more than enough for most users. iOS class compliance comes standard and means a seamless plug and play experience for all Apple devices. All in all, both of these PodTrak units from Zoom are incredibly powerful and affordable options for podcasters in all levels of professionalism. The P4 is better suited for small scale operations where portability is key while the P8 shines with its level of flexibility and onboard editing capabilities.

BY SAM MCNIECE

SENNHEISER

IE 100 Pro In-Ear Monitors

SENNHEISER AUSTRALIA | EXPECT TO PAY: $179

If you’ve ever performed on a large-scale festival stage or are even just staunch about getting the best possible live mixes at your gigs, then you’ll understand the vital importance of in-ear monitors for live performance. In the past, these units have been expensive and require specific receivers to transmit audio wirelessly, which limits their use in other environments and means they’re out of the equation for the average musician. Nowadays, however, Bluetooth headphones have become the norm for consumers thanks to some clever marketing tricks by smartphone companies and you’d be hard-pressed to see wired headphones on public transport these days. Now, imagine there’s a product that can both entertain you on your commute to work and for all your live performance needs, and bang: in comes the Sennheiser IE 100 Pros, a reasonably priced set of in-ear monitors with both wired and wireless connectivity that puts clarity at the forefront of your ears, perfect for use whether you’re onstage or simply just on the bus. Given their impeccable German origins, Sennheiser products are usually beautifully crafted and extremely sturdy and reliable, and these IE 100 Pros are no exception. The professional black and grey aesthetic of our review buds are subtle but effective, but if you like a splash of colour dangling from your earbud, they also come in red and clear finishes. Inside the box you’ll find both a wired connection that connects via a 3.5mm jack and an IE Pro BT connector which is easily interchanged via snapping in and out. There are a range of different earbud sizes to suit basically everyone and a cleaning tool to ensure you’re getting the best sound all the time. The earbuds themselves I found to sit very comfortably for long periods of time and I have no doubt they would have no problem staying in while running around or throwing your guitar into an amp. Using the IE Pro BT connector, you are able to connect to anything that uses Bluetooth which includes your phone. You can expect up to ten hours battery life out of the Bluetooth adapter from a full charge, which is more than substantial for a full day of use. The adapter recharges in under two hours via USB C and comes with a cable to charge it with. The strap loops around the back of your neck which might take a little bit to get used to as opposed to the popular Apple Airpods in which the Bluetooth connectivity is inside the earbud itself. That being said, the strap is relatively lightweight and the buds don’t feel like they’re going to pop out at any time. Phone calls and volume adjustment are a breeze with control buttons and a microphone neatly implemented on the strap. Dynamic range is very important in live performance situations and these don’t disappoint. They can hit a whopping 115dB sound pressure level while wired which will be more than enough for well, everyone. These buds can represent frequencies from 20hz18khz which is more than suitable and approximately the standard hearing range for most people. The IE 100 Pros boast a relatively flat frequency response which might sound a little underwhelming in comparison to consumer Bluetooth headphones but the overall clarity will benefit you in live and studio situations where hearing exactly what’s happening is key. Another thing worth noting is that while using the Bluetooth adapter, the maximum volume is not as high as consumer headphones. From the perspective of a casual listener, if you’re only looking to blast the latest techno releases on the tram to work and not use them in other situations, you might be better suited with a different set of buds. That being said, these are in-ear monitors and not consumer headphones, so it’s important to bear that in mind before you get too critical on how they sound. For purposes of testing their studio applications I used ambient soundscapes of birds chirping, rainforest noises and random chatter. In this context they impressed me, I could hear minute details very clearly and the output was relatively uninterrupted by outside noise. In terms of sound isolation they function quite well, especially for in-ear monitors that have no specific noise cancelling technology apart from the silicon buds gripping the inside of your ear canal. As these headphones are designed as in-ear stage monitors, sound is meant to remain clear and undistorted during extremely loud environments.To test this, I played a drum track through my DAW as loud as you would hear it live - which, as most of you probably know, is exceptionally loud. Unsurprisingly, they gave a substantial amount of clarity and fullness under this amount of stress, which should translate impeccably to any kind of live environment. For live, studio and casual usage, these IEMs by Sennheiser are a sturdy, clear and precise product that accurately represents a wide range of frequencies and does extremely well under demanding circumstances. They’re super affordable and easily malleable, and will suit the needs of the average gigging musician without breaking the bank. It’s this competitive price-point and versatile range of use, that makes the Sennheiser IE 100 Pros a product that can be used just as much off stage as they can onstage. Two big thumbs up from us!

BY MYLES MASAREI

SAMSON

Q9U XLR/USB Dynamic Broadcast Microphone

ELECTRIC FACTORY | EXPECT TO PAY: $349

Samson Technologies operate out of Hicksville, New York and produce accessible and reliable products that fulfil a variety of uses for professionals and amateurs alike. The Q9U bridges a gap in being a large diaphragm dynamic microphone that can be used via USB and XLR alike. It features some onboard sound sculpting options and an internal shock mount to insulate the capsule and prevent audible bumps that may ruin an otherwise exciting and engaging podcast. Podcasts and broadcasting such as gaming and social media are seemingly where the Q9U was designed to be used, but as a full-range, dynamic mic, it can really do a lot more. Low pass filters are great for the spoken word, but they can also be great for recording a majority of sources, and the mid bump can help you commit to present, articulate sounds while recording. The Samson Q9U is a robust, professional microphone designed to make easy work of recording, sculpting and monitoring your sound source, whatever that may be. So what’s in the box? The Samson Q9U arrives in a well-packed and double wrapped cardboard box that protects the foam insert which grips the microphone. Included is a second windshield, keeping in mind that the metal grille enclosing the capsule is designed to prevent wind, breath and plosives, while the secondary foam windshield will ensure that nothing else gets through. The microphone itself is secured to a short clip with a thread to screw it onto a mic stand. The stand itself is robust and malleable, but solid enough to support the weight of the Q9U, even at the obtuse angles sometimes required to capture the best sound. The Q9U also includes a USB 2.0 to USB-C cable, as well as a cable with USB-C at both ends. In use, the Samson Q9U is weighty and solid, much like many Samson products. It feels well-built and like it can handle the consistent use of a variety of professional needs. While using the mic digitally via the USB output, you can record at 24bit/96kHz and monitor latency free via the 3.5mm headphone output on the mic itself. These kinds of additions make the Q9U a no-brainer for those dipping their toes into recording, as there’s no need to worry about headphone mixes or latency, as your sources can hear themselves crystal clear. The Q9U also has a handy ‘Mute’ button on the body of the mic which is especially handy for streaming where other sound sources need to move into the spotlight. The microphone is very directional and records very clear signal, thanks to the cardioid pattern and humbucking coil within the mic to eliminate or ‘buck’ hum. It can capture sound from 50Hz right up to 20kHz, so the Q9U is a really good choice for someone who may only have a need for one microphone. This is because the USB capabilities make it very portable and easy to use, but the addition of the XLR output means that as your skills grow, and you may decide to bring in some external processing like compressors or EQs, it can grow with you, your gear and your skills. The XLR output also makes it a great choice for recording music, as the response is fairly flat and you can toggle the little mid-bump or low-cut switches to taste. The Q9U weighs just under a kilogram and is constructed from zinc alloy and steel. The grille on the mic is metal, and will handle most plosives or explosive sounds, but the foam windshield include will handle everything else, though admittedly darkening the sound a little overall. The capsule offers a low-cut and mid boost, more specifically a cut of 3dB below 200Hz, so be weary when recording music incase you filter out too much of the good stuff. For spoken word, however, this is ideal. To my ears, the mid bump also offers a boost of about the same at around 1kHz, so again this is ideal for cleaning up a voice or muddy instrument. The mic sounds very true to the source, and offers a little proximity effect when your source is super close, which can be handy for capturing music or alternatively the excitement of an enthralling story or anecdote in an interview. Ultimately, the Q9U really is a great tool to have in your arsenal, and Samson have once again demonstrated their understanding of the needs of musicians, artists and creators. While USB microphones are increasingly popular due to the ease of which they can be used, XLR microphones are a cut above that offer the user many more options to ensure a sound is captured clearly and concisely. The Q9U is both of these, offering beginners a mic that they can learn and build with, and for more advanced users, it’s a super portable mic that offers a bunch of different options for capturing a great sound fast. Everything you need is either in the box or featured on the mic, so thanks to Samson, there’s really no excuse not to start that podcast, streaming channel, song, interview, video or voice-over.

BY LEWIS NOKE EDWARDS

STEINBERG

UR44C Audio Interface

YAMAHA MUSIC AUSTRALIA | EXPECT TO PAY: $499

I’ll admit, I have a soft spot for Steinberg interfaces. As someone primarily concerned with making music rather than wrestling with IT issues, I’ve always been able to appreciate the brands rock solid components, seamless connectivity and general all round reliability, both in design and execution. I’ve heard enough connectivity horror stories to come to the conclusion that reliability may be the most important feature of all, and it’s something that everybody should be considering when in the market for a new interface. The newest interface from industry stalwarts Steinberg does not disappoint. Ever the reliable dark horse, the UR44c has all the seamless connectivity and rocksolid components you’ve come to expect from the industry staple. It features a maximum sampling rate of 192kHz audio conversion with 32-bit resolution, resulting in top-notch analogue-to-digital conversion to produce awesome sounding recordings from the confines of your bedroom. Straight out of the box, there’s no denying that this is a welldesigned piece of gear. Its sleek and clean appearance is paired with a simple black and grey colour scheme, which should make for a clean addition to any desktop studio space. Thankfully, the UR44c has also got a nice amount of weight to it, yet it is relatively small for an interface with this much power and flexibility - so far, it’s ticking all the boxes for everything you’d need from an interface of this calibre. Reflecting Steinberg’s forwardthinking design ethos, the UR44c makes use of lightning fast USB-C 3.0, enabling faster processing time and putting a lighter load on your computer’s CPU, while a standard 12-volt adapter can also do the heavy lifting. You’re also able to choose whether you want to power the interface via USB-C or with the 12v adapter, with the unit even being able to be powered via devices as compact as an iPad Pro or a USB powerpack - a real nice touch for anyone working on the go. Expanding beyond the parameters of what most expect from an interface at this price-point, the UR44c consists of six inputs and four outputs, with the unit featuring four microphone preamps on the front and an additional two line inputs on the rear of the unit. Each preamp is paired with a corresponding gain control for immediate adjustments, while a larger output knob on the right-hand side controls the overall volume of the UR44c. Additionally, the preamps on the UR44c are also Class-A D-PRE preamps, which only enhance the recording quality of the unit even further. Whether you’re tracking vocals or simply plugging in a guitar or bass for some DI action, you’ll notice the difference these preamps provide immediately: there really is a distinctive sheen and sparkling quality that many interfaces in this price-range simply can’t achieve. On the rear, you’ll find four line outputs and an additional set of main outputs, which should be more than enough for most applications in a home recording environment. I was also stoked to see that the UR44c featured MIDI in and outs on the back as well - far too many interfaces in this price range don’t feature MIDI I/O, so it’s nice to see Steinberg have added these in the mix. The Steinberg UR44c also boasts phantom power for every input, which is a huge plus for anyone looking to multi-track a singersongwriter or even record a stripped-down drum track. There’s also two headphone jacks on the front of the unit, letting you and another performer record and hear playback simultaneously without the need for any splits. This is an incredibly thoughtful and super practical touch, and helps enhance the human element of recording live instruments with another performer. Thanks to the inclusion of USB-C processing, the UR44c is super fast in operation, and throughout my time with the unit for this review, I experienced absolutely no issues with latency whatsoever, even when using the most punishing of plugins. Considering that this tends to be one of the biggest issues facing interfaces in this price-range, it’s refreshing to see that Steinberg have built the UR44c to withstand such issues, and means this should be an interface that you won’t want to replace anytime too soon. Additionally, Steinberg have also bundled the UR44c with a copy of Cubase and a bunch of latency-free DSP effects to get you recording quality-sounding tracks straight out of the box. These include Guitar Amp Classics; a suite of sophisticated amp models that cover all grounds from Clean to Lead, as well as a REV-X reverb and a Sweet Spot Morphing Channel Strip to spice up your tracks. However, it’s not just traditional recording where the UR44c exceeds expectations. The unit also makes use of Loopback functionality to make it a versatile and powerful option for livestreaming, letting you merge incoming audio signals with playback from your DAW to create the best streaming experience possible. Regardless of whether you’re live-streaming gaming, audio production or even just live podcasting, this is a powerful tool you’ll want to take advantage of, and it’s nice to see Steinberg including it with the UR44c. When weighing up the price, quality, performance and features afforded by the Steinberg UR44c, it’s hard to find any faults with this interface at all. It’s compact, affordable and easy to use, and Steinberg’s emphasis on minimising recording latency should be considered as a massive drawcard for any bedroom producer.

BY MILES MASAREI

M-AUDIO

BX8 D3 Studio Reference Monitors

ELECTRIC FACTORY | EXPECT TO PAY: $559

Producing music from home is an increasingly accessible endeavour. Companies like M-Audio are producing quality products to fit a budget without sacrificing the user’s ability to produce the best music they can make. From interfaces to MIDI Controllers to monitors, you could easily put together a professionalgrade recording rig with entirely M-Audio gear. The new BX8 D3 are an 8” active studio reference monitor, designed for rooms of most sizes. The D3 is the flagship of the BX series of monitors, and they feature everything you need in a studio monitor, as well as some improvements to make your critical decision making easier. The BX8 D3 offer a really balanced response, good bottom end for a mid sized speaker, and a clear midrange. The D3 monitors features upgraded speaker cones and tweeters, and a forward thinking design to maximise the response of the speakers at all volumes. The enclosures are constructed from vinyl-laminated highacoustic-efficiency MDF and feature M-Audio’s fastener-less design to reduce any important acoustic energy being lost as it resonates through fasteners, screws or joints. The speakers weigh in at 11kg, so they’re heavy enough to be a quality speaker (that’s the rule of thumb, right?). They feature a rear facing bassport, that assists in providing a balanced response and does not blast the user with bottom end. They’re active, powered speakers that are driven by two Class A/B internal amplifiers, with a separate driver for the woofers and the tweeters (150 watts of power with 80 dedicated to lows and 70 reserved for highs). The 8” woofer’s cones are constructed from Kevlar, a material gaining consistent popularity for its toughness, rigidity and weight, allowing the cones two move quickly and accurately, for accurate transient response for unparalleled monitoring. At the high end, the tweeters are constructed from treated silk and feature a custom waveguide to ensure a clear, accurate and precise stereo image. On the rear of the speaker you have TRS and XLR inputs, an ‘Acoustic Space’ toggle and a master volume. The ‘Acoustic Space’ acts as a bass cut if required in a smaller room, as the BX8 D3s are designed to go right down to 37Hz and up to 22kHz. Once plugged in, the D3s are really impressive. Monitoring is a really difficult one to judge, as we often hear things compared to what we’re used to, and are subject to whatever treatment we do (or don’t) have in our listening space. What the D3s do to combat this, is offer a clear indicator of the ideal listening position. The power LED in the centre of the enclosure, between the tweeter and woofer, shines more brightly when it senses you at an ideal distance and position to be hearing the clearest, most balanced sound emanating from the speaker cones. The ‘sweet spot’ can sometimes be difficult to distinguish, but the BX8 D3s have got that sorted for you. As an 8” speaker, the D3s give out a pretty reasonable amount of bass, and was initially overwhelming in my modestly sized room. A quick switch of the ‘Acoustic Space’ toggle and I was happy, albeit maybe more comfortable with a sound I’m more used to. While running through a few different sounds and mixes, I found myself toggling between the ‘Acoustic Space’ settings, and ended up having no bass cut, and feeling like I could accurately hear what was happening in the low end. The mids and highs feel clear and articulate, without being overwhelmingly bright, nasal or embarrassingly revealing like some speakers. These other types of monitors have their place, of course, but the BX8 D3 are designed to be a full range speaker for consistent use, and I had little or no ear fatigue after my test. I can see these speakers being great for electronic music and rock, offering plenty of bottom end and low mids, as well as articulate highs. The sweet spot indicator is a welcome addition, as the unstepped pots (that the D3s have) always leave me second guessing if my settings are exactly correct, and whether by placebo or not, I’m usually unable to focus. Maybe it’s my curiosity at the Kevlar woofers, but the mids feel very articulate and much more detailed than similarly priced speakers, and even monitors beyond this price-point. I was able to hear clearly, and felt like my critical decision making was founded on a clear picture. What’s more, my little mix test translated great into my car. Overall, the BX8 D3 are a great set of monitors for those looking to get into more detailed and accurate listening, and may be looking to upgrade from a smaller or less professional set-up. M-Audio produce reasonably priced products for entry level to intermediate level users, but the BX8 D3 feel like something more. They’re fairly simple when you look at them, but offer everything you may need to get yourself into a good listening position to begin shaping and sculpting sound confidently. I found myself trusting them quite quickly, and the proof is in the pudding, if it translates in a car, you’re pretty close to done. The cabinets feature forward thinking and practical design, modern ingredients and a classy, inconspicuous aesthetic as to not distract from the ingenious power LED to alert you when you may not be listening to the most accurate sound possible. M-Audio is a brand to be trusted, and so are their monitors. The BX8 D3s are no exception.

BY LEWIS NOKE EDWARDS