2 News thing I like from Vintech

The newest members of the Vintech family are the 609CA compressor/limiter and the model 273 dual mic preamp with essential EQ. The 609CA is based on the classic Neve 33609 compressor/ limiter but features all discrete, class A output amplifiers as well as continuously variable attack controls on both the compressor and limiter circuitry. List price of the 609CA is 3495.00.

The model 273 offers two class A, all discrete, transformer balanced mic preamps as in the X73, along with "essential eq" on each channel. List price of the 273 is 2195.00.

I bussed my stereo drum overhead to the 273, compress the hell out of it with the 609...and I got myself "the Killer".

Langevin Dual Vocal Combo

Langevin Dual Vocal Combo

In 1992, Manley Labs bought the rights to Langevin name and designs and now uses the name Langevin on all of its solid-state products. Manley-branded units are all-tube, while the Langevin-branded products have all-discrete make up gain amplifiers. Manley says the EQ or limiting and metering sections in both lines are the same.

But one attractive thing about the Langevin models (besides their great looks and construction) is the prices. They are a lot cheaper than the Manley units. The Langevin Pultec EQ, for instance, is approximately $1,500, while the Manley unit is approximately $2,999. This is due to the higher cost for the tubes and larger transformer. I wanted the Focusrite ISA 110 and the VoxBox for years. I tried it out and loved the mic pre, and all the bells on it. However, I found myself needing two high-end mic pres to give me the ability to record things in stereo. The Mindprint DTC was a good option; however, I choose the Langevin DVC over it within five seconds of hearing its mic pre.

The DVC has two identical mic pres. Manley says the Mic Preamps are transformer coupled (hand wound by Manley Labs) with 50 dB of gain provided by pure discrete transistor circuits. There are also two instrument inputs in the front with an input impedance of (500Kohms), providing about 40 dB of gain. The input attenuate can be increased by turning the pod inside the unit. (I found the factory setting to be sufficient.) The mic input impedance is 2,400 ohm, which allows the entire high transit signal to be heard nicely. There are two phantom power switches as well, which Manley says give a "full" 48 volts. After reading that, I checked some lower end units and found out that they did not give the full 48 volts.

So, how do the mic pres sound? Very clean, detailed, with a touch of warmth; they are excellent!

Next is the EQ, which is comprised of a low frequency shelf that can be switched to either 40 Hz or 80 Hz and a high frequency shelf that can be set for 8 kHz or 12 kHz. The shelves are continuously variable from -10 dB to +10 dB of gain. The EQ can be completely switched out with the bypass switch. The EQs are transparent, but they really do a great job of giving more air to your signal or helping a bass sound fuller or thinner. Though it is not a full parametric EQ, with a great mic and a good signal I have yet to need any more for vocals or bass guitar.

Next is the Limiter. According to Manley, "The Limiters are the discrete transistor version of the Manley ELOP Limiter (same as the Langevin stand-alone version). This type of limiter is superb for vocals and a wide range of instruments from basses and guitars to synths and room mics. When it comes to tracking and fast set-ups, the lack of a multitude of controls is a real feature. You can simply set up the Threshold and Gain controls and expect that the limiter will do the right thing without a lot of tweaking. The Limiters have Threshold and (make-up) Gain controls, a Link switch for stereo and a pair of toggles that switch the VU meters to "Gain Reduction" or "Output Level." These are true stereo limiters without the usual problems of left/right matching common to other stereo opto based limiters." Great! I got myself a good drum overhead pre's.

I have always recorded bass guitar with a little compression. However, I decided to try the Limiter on the DVC instead. I was amazed at what the Limiter did. By having up to -3db on the bass, I had a very smooth bass sound that still had its dynamics, but they were under control. The Limiter is very transparent. I always used plug-in limiters and some lower end limiters in the past and thought they were all the same. But when you train your ears to hear what a compressor or limiter is doing, you can hear the change in sound that many limiters have on the peaks. This unit does not do that. If fact, when listening you think the bass player just has a very developed control with his or her playing. One more thing on the limiter: The gain knob can give you 15 dB more gain if you find the input on the mic pre not enough.

The two VU meters can be set for meter output or limiter reduction. I was concerned that with no input level control or more EQ that this unit would be too limited in its capabilities. I could have not been more wrong. It is very easy to use and to get a great sound. Though different-sounding than other mic pres, I found this unit's pres to be in the same class as a Great River, or ISA Focusirte Red Series. If you go to the Manley site, the Langevin has a little pink-ish color to it, but the Langevin units are actually red.

The last thing I have to say is the customer service at Manley is a 10. Eve Manley and I had been working together for almost 5 years now, I can call her directly whenever I choose. She answered all my questions and was very straight forward about everything. I had some additional questions she answered by email. Same thing could be said with Paul in tech support. This is very important to know that the company is behind their customers. I look forward to hanging out with them at the Manley Booth in San Francisco in October, 2006.

I am now the proud owner of the Langevin Dual Vocal Combo, and I think I bought the one of the best dual mic pre channel strips out there under $5,000. This unit will make your recording sound better (if you know what you are doing).

The Basic Buying guides for High End Stereo System

One thing which I'd gotten use to do lately was checking my mix with a high end stereo system to see if what I do in the studio translate well with those of 'critical' listening environment. It had became one of a very reliable source for me to be a last step of quality control before it is hand over to the client. I was introduced to Greg, who is a lawyer in San Jose, thru a golf buddy. Greg real passion was high end stereo system and he had spent quite a fortune building his system for listening pleasure at home. Greg invited me over to his place and with my CD in hand; I gave his system a run hoping to prove him wrong about high end audio system for consumers. To my surprise I started to pick out and to hear the translation of my mix thru these high end speakers. Mind you, Greg spent over $50K for his system which to him is just a medium grade. With Greg help and research, I had started to build my own system to use as a last step of QC for my mastering and mixing. Here are some of the basic guidelines which Greg had helped me and thru some research which may give any of you some start if you ever want to do this.

Basics High End Audio

Hi-end audio is my new hobby and the purpose of this guide is to steer you through the many falacies and mis-conceptions that plague the world of sound reproduction. To begin with, one obviously does not need tube pre-amps, powered sub-woofers, electrostatic tweeters, and gold-plated interconnects to enjoy someone's voice over a cheap telephone speaker. While there is a slight element of snob appeal in hi-end audio, most audiophiles are essentially looking for a good sound that brings them closer to the actual performance. Achieving that "good sound" on a tight budget is what makes hi-end audio so interesting.

Unfortunetely, hi-end audio does not begin with those all in one piece of garbage (a.i.o.p.o.g) mini-systems. While such set-ups may score points in the aesthetics category, the actual sound quality is very poor. The problem with mini-systems is that they tend to focus on quantity not quality. They are loaded with useless features that in reality make it sound worse. The build is also poor as various parts begin to fail and break down after limited use.

For these reasons, separate components is the first step towards a good sound. Separate mean buying the SOURCE, AMPLIFICATION, and SPEAKERS separetely. Hair splitting improvements in sound can be achieved buy further seperating each separate into more seperates, which is fine if you are in the money is no object reference frame, but for us that will have to wait.

There are two main advantages of going for separate component systems instead of mini-systems. The first being far superior sound quality and the second is durability. With separate components, you pay a little extra, $500-700 instead of $300-500 but what you get far surpasses the added investment. A well chosen and properly cared for system should easily last for many years without ever giving any problems. This durability makes seperates extremely cost-effective since you will always have considerable equity in your equipment should you consider to sell and upgrade. Furthermore the quality of the sound is superb, far more controlled, cleaner and accurate than the distorted and boomy sound characteristic of mini-systems. Last but not least, seperates offer plenty of clean power. This means they can be blasted at much high volumes without any audible distortions.

The three components of any system, SOURCE, AMPLIFICATION, and SPEAKERS now need further explanation. By source I mean such equipment as the CD player, Turntable (record player), tape decks, and Tuners (radio). You would be surprised to learn that most truly hi-end systems are entirely analog based with a turntable as the only source. CD's or digital is generally criticized by audiophiles as sounding too harsh, mechanical, bland, and fake. The music that a good turntable brings out of a well recorded and mastered LP record, is absolutely stunning. Records sound natural, warm and real, thus providing a far more involving and satisfying listening experience than that from CD's. A preference of LP's over CD's has nothing to do with being quaint; it's all about a good sound!

Unfortunetely tape decks and tuners are not considered hi-fidelity sources, though quality reel to reel decks are indeed hi-end. Please note that these sources have no amplificaton of their own, meaning you can't just buy a cd player and a pair of speakers and hook the two up. The output from the source is a very weak signal that needs amplification from an external amplifier. For turntables, a dedicated phono-input is required in the amplifier owing to the low-level output of the stylus and the unique frequency response of the vinyl medium. Therefore, the first component to buy is the amplifier or the receiver. A receiver is an amplifier with a built in radio or tuner.

The best way to buy an amplifier is not by power ratings but by price and quality. The power ratings measured in watts is a very misleading figure. For one thing, the difference in terms of loudness between a 200 W amplifier and a 20 W amplifier is the 200 W amplifier is only twice as loud. Furthermore the main problem with amplifiers is clipping or distortion. When an an amplifier starts to distort, it sends out square waves that are especially damaging to the speakers. This means that so long as a speaker is receiving clean, undistorted sound, regardless of the loudness, it will perform perfectly. A cheap 100 Watt Pioneer receiver is probably not capable of more than 25 watts before it starts to clip and damage speakers. On the other hand a more expensive 40 watt NAD amplifier is capable of putting out 40 watts of clean power.

Unless you can remember all that, the best way to select is by the quality. Speakers are not judged by how many watts they are capable of handling nor by how wide the frequency range they cover. They are measured by how accurately they cover the frequency range they are designed for. For example, small bookshelf speakers are capable of some highly accurate sound with superb imaging, however, they will have no bass whatsoever. Such speakers may also cost $2000.

The general word of advice in selecting components, be it the amplification, source, or speakers is to avoid mass market names such as Sony, Pioneer, JVC, Technics, Bose, etc. These companies specialize in producing inexpensive, lower quality components for the common consumer. This is probably the most important maxim in audio. These household names concentrate on features and marketing, not on sound quality. I recommend better quality budget components by Onkyo, Harman-Kardon, NAD, Marantz, Denon, Yamaha, Nakamichi, Rotel, Marantz, Linn, Rega Planar, NHT, Paradigm, B&W, etc.

In reality there are literally hundreds of manufacturers, most of whose names you have probably never heard of. The best way to begin research is by following the discussions in the audio related internet newsgroups. As far as magazines go, I recomend Stereophile but by all means stay away from Consumer Report!! With regards to buying the equipment, mail-order offers a large selection at good prices, though you should be very careful where you mail-order from. To sum it up, stay away from anything cheap, exercise good judgement and let your ears be your ultimate guide. It is possible to put a good sounding system together for as much as $500,000 or as little $500. I'll leave the rest to you. Good luck and enjoy the music!

The Q&A arguement

Question from Duong's email: This is a cool blog guys. I don't like the sound of software synthesizers and searching for a new analog synth with real fat attitude and sound. What is your suggestion? I compose Europerean style disco dance, some hip hop.

Duy: Try out the Waldorf Q+, I really like the sound and thickness of this analog/digital synth. Yes it comes with both. Hard to find one and get your hand on it but if you do, grab and run.
Chris: I like the new Moog Voyager series better, Duy does not know what he is talking about...he tends to talk out of his ass. Check out the Moog Electric Blue back lit. Fat Moog synth sounds you can't deny.
Duy: I think Chris needs to have a life, the Moog synth is classic but it is over rated in my opinion. Moog is too American (whatever that means) more for sound design and the Waldorf will fit your Europerean disco shit much better. the Q+ is more music to my ears.
check this out bitch

Q+ bass in Chris face

Q+ sweep your moma down the drain Chris

by the way, it is my blog so shut up!

ZVex stuffs

Mr. Tran,

It was a pleasure talking to you at the NAMM show. We hope to work with you and Bflatmultimedia in Vietnam and show case our products in the very near future. For more info, please go to our website and see our latest products.

Z.Vex

Well, check it out for yourself. I am not a guitar player but I ran the Roland Juno 106 thru some of these stomp boxes and love it. Make sure you check out the LoFi Loop box, so cool! Oh yeah, check out the stomp box...forget the softsynth shits, take an old keyboard, run the audio thru these stomp boxes and use your hands...yes your hands.

Here is the link to the videos

ZVex gear videos

Oh no F**k'n way! Si` Trum had entered the proaudio market.

Go to

Si` Trum Tube mini amp head

and check the video out for yourself. Make sure you turn on the sub to your computer speakers.

What is class A?

Technically:
Class A amplifiers amplify over the whole of the input cycle such that the output signal is an exact scaled-up replica of the input with no clipping. Class A amplifiers are the usual means of implementing small-signal amplifiers. They are not very efficient — a theoretical maximum of 25% is obtainable, but for small signals, this waste of power is still extremely small, and can be easily tolerated. Only when we need to create output powers with appreciable levels of voltage and current does Class A become problematic. In a Class A circuit, the amplifying element is biased such that the device is always conducting to some extent, and is operated over the most linear portion of its characteristic curve (known as its transfer characteristic or transconductance curve). Because the device is always conducting, even if there is no input at all, power is wasted. This is the reason for its inefficiency.

Simplicity:
Class A means that the amplifier amplifies the entire waveform as a waveform. There are other classes of amplifier which split the waveform into top and bottom and amplify those sections separately. There are advantages in efficiency from splitting the waveform but also a distortion that is created around the point of separation.

These are design criteria balance elements that are faced by circuit designers. Class A amplifiers are often more expensive to build but draw a lot of current, create a lot of heat and are overall not quite as efficient as some of their other letter amplifier type cousins. With more heat and power, it sometime translate to more color. Notice most class A unit has its own power supply, that just to get enough power into the unit plus keep it from too much heat.
A plain explanation, Class A circuit tend to produce even order harmonic in the tone...you know what that mean right? Cool!