Other than being a mouthful to say, the DRS-Q4M mk2 packs a ton of functionality into a half-rack chasis. The unit functions as both a microphone preamplifier and EQ, both of which have a distinct sound in the mid-range channel strip market. The preamplifier section offers levels up to +26 dBu @ 1kHz, powered by 100% discrete, Class A circuitry. In addition to standard features like phantom power and a phase flip, the DRS-Q4M has a switchable high-pass filter, ground lift, and DI functionality for as much flexibility as possible when recording. The device’s EQ circuitry offers four bands of semi-parametric equalization, which is engaged using the “EQL” switch on the front of the unit. The low and high bands are shelving EQs, while the mid bands offer a standard Bell curve.

The Preamp

The preamp section provides two stages of gain with independent controls. The first knob can be switched in increments of 5 dB, ranging from -30 to -70 dB of gain. This knob acts as a line level sensitivity input when the Mic/Line switch is engaged, allowing users a more suitable level should they chose to use the unit’s EQ as post-processing.

The preamp sounds very clean, providing a bit of harmonic distortion when pushed harder. For lower level microphones such as ribbons, some additional gain may be desired before hitting the preamp. The unit handles pressure well, with noise floor only noticeable in the highest amplification settings. The preamps discrete circuitry ensures a clean, analog sound by passing the audio through minimal, necessary components.

On the way out of the box, the DRS-Q4M offers a continuously variable output gain stage. Featuring a slightly smaller knob on the front panel, users can choose to leave it around noon for minimal coloration, and even use it to cleanly ride levels going into their recording. The knob proved to be very transparent when tested on dynamic sources, allowing me to do some reduction on peaks in a vocal take without running the vocal through a compressor.

The EQ

As far as equalization goes, this is one of the best boxes I’ve used to add some air and top-end shine into my recordings. With 4 bands of EQ, users can boost or cut frequencies up to 16 dB. Like the input gain, the EQ knobs are notched at fixed amounts, allowing for easy recall and noticeable variation. While there were a few occasions I had wished a could get a narrower cut, the notches never seemed to be too hard to work with. Plus, if you ever get stuck on where to start with the EQ, Phoenix Audio provides several starting suggestions in their included Owner’s Manual.

The high band offers a switch to boost or cut at either 10kHz or 15kHz, which is slightly lower than what was expected. The 15 kHz setting added plenty of air to vocals and acoustic instruments, even with as little as two notches of gain (roughly 3 dB). The high-mid band offers 3-switchable positions at 6, 3, or 1.6 kHz. I couldn’t get much from it when it came to boosting anything, although it did come in handy with removing a few trouble frequencies and making a bit of a dip to make low-mid or high boosts more noticeable.

The low-mid EQ gave me everything I really need in a good additive equalizer. While the switch only offers equalization at 800, 400, and 200 Hz, it was enough to add some punch to snare drums and presence to any vocal performance. Again, a difference could be heard with minimal boosting/cutting. Finally the low frequencies offer a bit of a trick for users. The high-pass filter starts rolling off pretty drastically from 120 Hz down, leaving two of the three low band frequencies in that range. Users can select 130, 80, or 40 Hz, and should expect to do some extra boosting than with the other bands if utilizing the high-pass filter. The 16dB is certainly more than enough to give your kick drum an extra bit of thump.

The Verdict

The Phoenix Audio DRS-Q4M mk2 definitely gives other channel strips a run for their money. Being able to have a reliable EQ is essential when perfecting something as important as a lead vocal, and the EQ on this unit doesn’t fail to deliver. Judging the preamp alone, the sound is a bit cleaner than other preamps on the market, which is why the EQ is great to add some color. Still, clean amplification in a half rack unit is great and will fit in with most styles. Delicate enough to use on soft instruments and powerful enough to handle any loud source you can cram into it, the DRS-Q4M will always give you a great result.

For more information on the Phoenix Audio DRS-Q4M mk2, please check out their product page.

The Big Idea

The idea behind the CL-Z, and the whole Cloudlifter line for that matter, is the ability to add gain to your signal before it ever hits the preamp. To address the issue in the past, most engineers needed to purchase a preamp specifically made for low output microphones, and that can get pricey. Even then, you’ve got a preamp doing a lot of heavy lifting with your audio, and there’s usually a noise floor increase that comes with it. By adding a new gain stage to your path, the CL-Z will add a boost of 12 or 24 dB (which you select with the “Most or More” switch). This gain is extremely transparent; making sure any coloration you hear is coming from the preamp or microphone you’re using.

What Else Does It Do?

The additional features found on the CL-Z work hand-in-hand to provide a clean and useful sound. By including a variable impedance knob, and a switchable hi-pass filter, the user can match impedance with their microphones, and roll off low end as they see fit. The hi-pass filter works off of where the impedance knob is set, rolling off a bit more drastically at higher impedance levels. I was able to get some great results when dialing in higher impedance levels, even without the roll-off being engaged. For example, when the CL-Z was tested with ribbon mics, I would dial in 1,500 ohms (highest setting) and only roll it back when using the hi-pass and losing some low end that I needed.

The Verdict

The CL-Z is a must have for anyone with ribbon microphones in their collection. Being able to have control over the impedance alone adds a ton of value to your sound. On low output dynamics, you’re able to add enough gain that you don’t need to kill your preamp for a decent sound. If you get the chance to check out the CL-Z, or any other members of the Cloudlifter line, do it. You won’t be disappointed in the results, and may even start looking to add more if you use several low output microphones in a usual session.

For more information on the Cloud Microphones Cloudlifter CL-Z, go check out their product page.

While I don’t normally post about myself on the site, I thought it necessary to give everyone an update on DigitalRecordingArts.com and what you can all expect for the rest of 2013! Before getting into details, let me just say that you’ll still find plenty of reviews and news about recording equipment, recording techniques, and more. All of our current articles will remain intact and you’ll still be able to access any review through our archive or using the search function on the site.

New Headquarters in Nashville, Tennessee!

I’ve recently made the move to Nashville, Tennessee where I’ve started making the rounds to all of the local studios, and boy there’re a lot of them! Nashville is also proving to be one of the best places to find musicians that play live instruments. These musicians will provide plenty of music to record with the equipment coming through for reviews, and the musicianship I’ve found so far is top notch. If any of you are in the Nashville area and want to get together and discuss recording, music, or anything else, just get in touch! I’ll be settling into the area more permanently in May, so expect a brief lapse in content from May 5th to May 15th (nowhere near the lack of content over the past couple months, sorry about that!).

Remember that newsletter you signed up for?

Well we’re going to finally start using that to push updates to everyone. As a matter of fact, you might be reading this as a result of the newsletter. Whether you’ve signed up on your own when visiting the site, or signed up through our Facebook page during our dbx giveaway last year, thank you for doing so. As a little bonus for subscribing, we’ll be presenting all newsletter subscribers with an exclusive gift later this year (trying to decide between a sample pack and an e-book at the moment). If you haven’t signed up yet, go ahead and get in early to guarantee your copy.

New Writers

As you may have noticed since late last year, I’m not the only one here writing. We’ve had a few guest writers through here contributing their own reviews of certain products. I’m proud to announce that at least one of those guest writers will be contributing to the site even more! Brian DiMeglio will be contributing at least one more article to the site over the next few months, and we’re incredibly happy to have him join us. Brian is one of those multi-talented recording engineer/musician/producers. You can check out his last review on the Event 20/20 BAS Monitors here, or his solo project, Stay Safe, on Facebook or Bandcamp.

That’s what we’ve got going on now, so keep an eye out for new content. The newsletter will be rolling out this month, with more articles than ever before coming this summer. Thank you everyone who’s been supportive over the past three years that this site’s been operational. The feedback of my peers and the companies providing material for the site has been motivational to say the least.

Thanks,

Tony Stanhope

DigitalRecordingArts.com Editor

Audio Engineering Society (AES)

The Audio Engineering Society is perhaps the most technical of the three groups we’ll discuss, but if you can sift through the terminology, the heart of the group focuses on why sound sounds the way it does, and it’s really freakin’ cool. AES holds international conferences (the next of which will be held in Rome, Italy in May 2013) where engineers can meet up to discuss their work and network with others. In addition to these events, AES distributes a monthly journal, consisting of the latest research in acoustics and sound. Joining the AES is not free, but for $99/year you’ll gain access to the latest releases as well as their full archive of material (dating back to 1948). A student membership with the AES is only $39/year, and has no limitations in comparison to the full membership. For more information on the Audio Engineering Society, check out the About page on their official website.

The Society of Professional Audio Recording Services (SPARS)

This society is one of the newest I’ve found, and certainly has less publicity than the other two. Similar to the others, SPARS is a tool that any audio professional can use to learn their craft and make connections with others. Membership is based on your level of involvement in the industry, including a $25/year student membership, $99/year individual membership, $125/year studio membership, and even a $350/year level for equipment manufacturers. SPARS is unique in that they continually strive to get deals and help for their members, occasionally offering discounted services, and even promoting studios/individuals.

The National Academy of Recording Arts and Sciences (NARAS)

This group is the most exclusive society we’re looking at, and with good reason. While you might not recognize their name directly, NARAS is the group of audio professionals that host and select the winners for the GRAMMYs every year. NARAS recognizes the best of the best, and only the best are able to join as voting members. There are several ways to achieve this, including:

• GRAMMY award nomination within the past 5 years
• Endorsements from at least 2 current voting members
• A commercially released album (with certain requirements)

For a full list of potential ways the join NARAS, please visit the Membership Types page on Grammy365. There are also student options depending on your location, so check with your college to see what’s available in your area. NARAS is possibly the strongest supporter of education out of these groups, offering scholarships to students in audio programs. As an example, check out Digital Recording Art’s article on the Latin GRAMMY Songwriting Scholarship.

The relevancy to each of these societies may not be the same for everyone, but they each provide one opportunity: networking. Each group makes it a priority to give their members a chance to meet and collaborate. Being able to discuss audio with like-minded people isn’t easy, especially if you don’t live in a music or film hub like Los Angeles or New York City. These societies give you a chance to meet new people who will help you improve yourself professionally, in ways that you just can’t achieve on your own.

Your Competitors

Everybody needs to eat. For most when starting out, you’ll do whatever you can to build clients. This includes helping out friends, offering free recording time, or working another job to support your studio. Unfortunately, there are certain engineers who will take less honorable routes to gain clients, such as undercutting other studios and engineers when it comes to pricing. Forums like Gearslutz discuss this issue frequently, such as the point made in this thread. There’re plenty of arguments on both sides of this idea of lowered pricing, but one common opinion worries me.

• “Let them go to the guy cutting his rates to beat me, they’ll see their recordings suffer in quality and come running back.”

There’s some truth to this, but also a lot of ignorance. Sure, the guy recording with an SM57 on everything and mixing through his laptop speakers is going to have a hard time beating your quality. Unless you know for sure the other guy’s skills are lacking, you’re taking a huge risk in letting your clients go.

Pensado’s Place is a great resource for engineers of all skill levels to learn how their peers work.

The opposite end of this argument is 100% for the guys without clients doing anything to bring someone in, but doesn’t focus on their pricing as much as their skills. There are smaller recording engineers with far less equipment that work on their craft to the point of perfection, and these are the guys that will take your clients and keep them. Ko Ko, a member of the “Pensado’s Students” Facebook group makes a great point.

• “Ya might wanna stop all the endless conversations, wasted time and dissertations about how much better analogue gear and consoles are, because right now, somewhere out there, is an army of 18 year-olds that are practicing 24/7 and getting so good at what they do with plugins, that they are going to make your analogue recordings sound like amateur hour before you can say “WTF”.”

What Needs to Happen

I absolutely feel the cut-throat approach to pricing and the industry as a whole needs to stop if there’s going to be room for everyone. Albums can come out great from someone in their bedroom, as well as those that have hundreds of credits to list. Instead of looking at our peers as competition, we need to create open dialogue and share ideas to grow. Just as an internship should provide education in a large studio, we should be able to openly spread ideas with other engineers in our local markets in hopes of building a better music scene. When creative minds treat each other with respect, the artistic community can flourish.

Symphony 64 | ThunderBridge connects Apogee’s flagship audio interface, Symphony I/O, to any Thunderbolt™ equipped Mac for true Thunderbolt compatibility and performance. Capable of up to 64 channels of input and output at sample rates up to 192kHz, Symphony 64 | ThunderBridge delivers impressive channel counts at unprecedented speeds for a latency and hassle free recording experience. Symphony 64 | ThunderBridge will also connect Apogee’s X-Symphony equipped AD-16X, DA-16X and Rosetta Series converters to Thunderbolt Macs for legacy compatibility. Existing users of these devices will simply need to update to the most current software/firmware available on Apogee’s website before connecting to ThunderBridge.

Symphony 64 | ThunderBridge Highlights

• Connects up to 64 channels of Apogee I/O to any Thunderbolt™- equipped Mac
• Operates at sample rates from 44.1-192 kHz
• Compatible with Symphony I/O and X-Symphony-equipped Rosetta 800, 200, AD16X and DA16X.
• Latency = 1.8 ms at 96kHz/32 buffer
• 2 Thunderbolt™ ports for connecting additional devices
• 2 PC-32 ports for connection to Apogee interfaces
• 1 Word Clock Out
• DC Input – 12V DC 30W (power supply included)
• Status LED to indicate whether or not the device has been configured properly

System Requirements

• Audio Interfaces: Apogee Symphony I/O X-Symphony-equipped Rosetta Series or X Series interface
• Computer: Thunderbolt-enabled Mac computer, including MacBook Air, MacBook Pro, Mac mini, and iMac
• Thunderbolt™ cables
• Mac OS: 10.7 or later
• Power: DC Power supply included

Price: $995

Availability: February 2013

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All information taken from the official Apogee press release.

The iLoud line consists of two models, iLoud and iLoud MINI, both of which provide musicians with sonic accuracy that’s on par with professional studio monitors, making it possible – for the first time – to compose, record, and mix from a mobile speaker system.

Despite their diminutive size, both iLoud speakers are indeed very loud. In fact, they’re 2 to 3 times louder than comparable size speakers. The iLoud model offers a blasting 40W RMS of power, and it’s little brother, iLoud MINI, a robust 12W RMS.

iLoud speakers are the perfect monitoring and playback stereo speaker system for anyone on the go. Use iLoud or iLoud MINI for real-time monitoring and playback from your favorite apps like AmpliTube, VocaLive, SampleTank or DJ Rig, or in any application where you want to listen to crystal-clear, full-range music and audio the way it was meant to be heard.

iLoud

• Portable audio monitoring system designed for iOS and mobile devices
• High-quality, 40W total power
• 2-way system, with time alignment
• Stereo monitoring in a single unit
• Four Class-D Amplifiers, bi-amped system – 2 x 3” neodymium woofers, 2 x 3/4” neodymium tweeters
• High-quality and accurate sound. Perfect for music or media-creation portable monitoring and reference
• DSP processing for perfectly optimized and true-to-life sound representation
• Frequency response: from 60 Hz to 20 kHz
• Exceptional low-frequency accuracy
• Resonance-free tuned bass-reflex enclosure
• Optimally tilted for proper acoustical response
• Fully portable: small footprint and high-performance built-in rechargeable battery
• Bluetooth for wireless streaming, compatible with A2DP profile
• Auto Standby
• Includes iRig circuit to connect your guitar, bass or other instruments, including dynamic microphones, to your iOS applications

iLoud MINI

• Portable compact stereo speaker for mobile devices
• Battery Powered – Rechargeable high performance Li-Ion battery with smart management feature and auto standby
• 12W RMS power – Class-D power amplifiers
• 2 x 3″ neodymium high efficiency full range speakers
• 2 x Passive radiators on the back
• 1/8″ stereo line input
• Bluetooth compatible with A2DP protocol
• DSP controlled
• Superior low-frequency articulation for the size
• Rechargeable via MICRO USB socket
• 190 x 120 x 60 mm (7.48 x 4.72 x 2.36 inches) external dimensions

Price and Availability

iLoud will be priced $299.99 / €239.99 (excl. taxes) and it will be available in the second quarter of 2013 from the IK network of music and electronic retailers around the world.

iLoud MINI will be priced at $199.99 / €159.99 (exc. Taxes) and it will be available in the second quarter of 2013 from the IK network of music and electronic retailers around the world.

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All information taken from the official IK Multimedia press release.

The engineers at Moog Music have reimagined the Sub Phatty’s sound engine. The in-strument features two variable waveshape oscillators that perform with extreme clarity and accuracy while requiring almost no warm-up time. Users can simply power up, dial in settings, and put their fingers to work on the keys to summon crisp and detailed wave-forms with vibrant sound that brims with high-frequency harmonic content, yet stays true to the rich sonic density that has become synonymous with Moog synthesizers.

“We set out to design the grittiest Moog synth ever, one that still offers all of the great sound and flexibility that Moog synthesizers are known for, but that also really has teeth,” said Mike Adams, President of Moog Music. “One of the great advantages of the Sub Phatty is its ability to conjure aggressive sounds that cut through a dance mix, stand out on-stage, or burn up the studio. We think that everyone from producers and sound de-signers to DJs and synthesists will have a blast using it.”

The Sub Phatty’s filter includes the transformative new Multidrive circuit, a unique combi-nation of OTA distortion and FET drive, which serves as the sparkplug in the instrument’s powerful sound. At low settings, Multidrive adds warmth and width; when pushed, it de-livers a screaming snarl that is highly reactive to resonance, waveshape, and oscillator level.

Users can access a total of 16 definable presets via the 4×4 preset matrix on the Sub Phatty’s front panel. This matrix also doubles as a control panel for the instrument’s sub-cutaneous nerve center — users can select filter poles, set pitch bend amounts, toggle between legato glide modes, and more. These functions can also be accessed via the included Sub Phatty standalone/plugin editor.

The configuration of the Sub Phatty’s mixer section allows users to easily determine, at any given moment, which sources overdrive the filter and which simply pass through it. The mixer section further hosts controls for a square wave sub oscillator; those operating the Sub Phatty can utilize this tool as a third oscillator for added depth, or to craft their own customized incarnations of monstrous Moog bass. Also in the mixer section is a noise generator voiced to deliver rich, punchy low-frequency content, designed for analog percussion and sound effects.

In honor of the Sub Phatty’s release, experimental multi-genre music producer, Flying Lotus, and Adult Swim veteran, Adam Fuchs collaborated on a psychedelic short anima-tion called Moog Sub Phatty: New Machine For Living. Flying Lotus’s original score was made primarily with the Sub Phatty synthesizer and dynamically shows off its bold sound. This unique animation can be viewed on Moog’s website.

The Sub Phatty brings a fearless new voice to the Moog family of synthesizers. With its streamlined interface and dynamic sound design flexibility, this new synth fuses an un-paralleled connection between human & machine, opening the door to unprecedented sonic exploration.

For more information and full specs, visit moogmusic.com/subphatty

MSRP: $1,099 USD
Availability: Shipping March 2013

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All information taken from the official Moog press release.

Based on the ZDT Preamp technology designed by David Blackmer, the 521 ZDT brings the exacting standards of the Zero Distortion Technology preamplifiers to the convenient 500 series format, providing a “wire with gain” option to the 500 series rack.

The solid state ZDT 521 features switchable phantom power, polarity invert, and peak amplitude clip detection, just as in the original 1021 single channel ZDT Preamp. The transformerless output stage of 521 ZDT will easily drive long cable runs without loss of quality, making it ideal for remote recordings. Transparent gain is switchable from 5dB to 60dB in 5dB steps.

The Earthworks mic amp topology provides outstanding common mode rejection, excellent overload margin and an incredibly low noise floor, combined with the ultra wide bandwidth of the ZDT Preamps (1Hz to 200kHz +0.5dB) and distortion of less than 1 part per million (0.0001%). This exceptional level of performance is maintained over an extensive range of impedances applied to the input, making the 521 ZDT suitable for practically any microphone – ribbon, dynamic or condenser.

The 521 ZDT is expected to ship Spring 2013.

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All information taken from the official Earthworks press release.