Yamaha has launched its first-ever lineup of finger drum pads to inspire ultimate creative expression

Yamaha has announced the new FGDP Series finger drums, the brand’s first-ever, all-in-one finger drum pads designed for players at all skill levels. The stand-alone instruments, consisting of the FGDP-30 and FGDP-50, are portable, ergonomically designed and packed with a wide array of professional grade sounds.

Engineered to be played anywhere, at any time, the FGDP Series comes in a lightweight package equipped with high-quality preset sounds and a long-lasting battery for easy, fun music-making on the go. The finger drums feature a unique, streamlined pad layout for ease of use, in addition to a velocity switch and polyphonic aftertouch sensor allowing players to incorporate dynamic drumming techniques such as ghost notes and high-speed rolls into any performance.

“Our goal with the FGDP Series is to introduce a new kind of way for our customers to create music whether they are passionate finger drummers, aspiring musicians, or new to the world of music making,” said Matt Rudin, drums product marketing manager at Yamaha Corporation of America. “With the FGDP-30 and FGDP-50, players can expect a versatile music machine that fuses years of Yamaha’s cutting-edge synthesizers and drums technology into a single compact instrument.”

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Boutique recording equipment maker Lindell Audio has announced the availability of its LiN2A Vintage Levelling Amplifier which authentically reproduces the tonal quality and ease-of-use of the de-facto dynamics processor of 60 years with its latest engineered release – making it ready for today’s studio setups.

The ’2A-style compression of Lindell Audio’s LiN2A forgoes the conventional ratio, attack, and release controls of other compressors in favour of a simple two-knob (GAIN – up to 40dB ±1dB – and PEAK REDUCTION) control scheme with program-dependent responsiveness for instant results.

Thanks to its Black Lion Audio T4BLA Custom T4B optocell element, the LiN2A can effortlessly deliver smooth gain reduction and transparency — i.e. transparent level-smoothening for silky vocals or adding a bit of bite and weight to bass and kick tracks. Combining this with a dynamically responsive Compress (≈3:1) or hard Limit (∞:1) Mode makes for true tube-driven optical compression and limiting with ultra-fast attack and level-dependant release — as dictated by that Black Lion Audio T4BLA Custom T4B optocell element, effectively reproducing the tonal quality and ease-of-use of the de-facto dynamics processor of the past 60 years, manufactured for current studio setups.

Readily rounding out this exquisitely engineered 2U rack-mount design, which houses two US-manufactured Cinemag transformers, is a front panel-positioned vintage-style VU (Volume Unit) meter with Output +4, Output +10, and Gain Reduction metering options, as well as rear panel-positioned INPUT and OUTPUT on balanced ¼-inch TRS jacks to ensure easy connectivity between the LiN2A and other hardware.

A RAD Distribution company, Lindell Audio’s LiN2A is shipping and available at a Minimum Advertised Price of $699.00 USD. RAD Distribution is the exclusive North American distributor for Lindell Audio products (http://www.raddist.com/lindell-audio.php).

For more in-depth information, please visit the dedicated LiN2A webpage here: Lindell Audio LiN2A

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Solid State Logic announce that it is expanding its line of Audio Creation Products (ACP) with SSL 12. The new SSL 12, priced at £333 ex.VAT / €399 + tax / $499, is a 12-in 8-out USB bus-powered audio interface that combines truly professional features, performance, and flexibility in a portable desktop format. Building on the success of SSL 2 and SSL 2+ interface models, SSL 12 expands in almost every way; more microphone preamplifiers, enhanced headphone performance, advanced routing and monitor controls, ADAT input as well as next-gen converters delivering superior audio performance.

SSL 12 is a high quality, value-based, centerpiece for a home or project-based studio control room. Included are 4 SSL-designed microphone preamplifiers (with Mic/Line and HPF), 2 Hi-Z instrument inputs for guitars, bass or vintage instruments and 2 professional grade headphone outputs along with next-generation 32-bit /192 kHz AD/DA converters — guaranteeing pristine audio at all times. Advanced routing and monitoring options combined with ADAT input supporting 8 additional channels of digital audio offer a total of 12 tracks of simultaneous recording and 8 channels of playback brought together in a rugged, portable design.

Custom SSL Control Room 

Contained within its SSL 360° software mixer, SSL 12 features a customisable SSL control room. Here users receive instant feedback from detailed I/O metering, assign functions to SSL 12’s three front panel switches, including key monitor controls; Alternative Monitor Switching, Mono Sum, Invert Phase Left, Dim, Cut, as well as access to an on-board talkback microphone. Creating up to 4 independent near zero-latency foldback mixes is quick and intuitive thanks to its SSL console-style routing and recalling sessions a breeze via Save/Load function. In addition to this, users can choose between modes (Standard, High Impedance, High Sensitivity) to best suit different headphone types or create additional line outputs via re-purposing the headphone outs.

Producer Toolkit

Producers and content creators are catered for with a tool kit to keep creativity flowing. Users can configure where SSL 12’s Loopback feed is taken from: Record the output of a media player (e.g. via Playback 1-2) or create a custom sub-mix of your podcast via one of the Aux Busses (e.g. Line 3-4). Both headphone mixes and line outputs 3-4 are also accessible for absolute production flexibility. In addition to this, electronic music producers and vintage instrument enthusiasts will appreciate the comprehensive control offered by the DC-coupled outputs for creating Control Voltage signals, and MIDI I/O.

SSL Production Pack

Included with SSL 12 is the renowned SSL Production Pack, a value-packed suite of software instruments, sounds, plug-ins and DAW (worth over $1000), that includes the Vocalstrip and Drumstrip 2 plug-ins as well as 3-month access to SSL’s Complete subscription and other 3-month licenses from the likes of Antares and Output.

Features

• USB bus-powered (with on/off switch), Mac/Windows compatible; power is provided by USB 3.0, audio via USB 2.0
• 4 SSL-designed microphone preamps with unrivaled -130.5dBu EIN performance and enormous 62 dB gain range for a USB-powered device.
• Per-Channel Legacy 4K circuits, providing analogue colour enhancement for any input source (inspired by SSL 4000-series console).
• 2 Hi-Z instrument inputs for guitars, bass or vintage instruments.
• 2 Professional-grade headphone outputs.
• 4 x dedicated balanced outputs and precision Monitor Level, with stunning dynamic range

– Use Outputs 3-4 to connect an alternative monitor set to or as additional line-level outputs.

– DC-coupled for controlling CV input instruments & FX

• 32-bit/192 kHz AD/DA Converters boasting >120 dB line output dynamic range .
• ADAT IN supporting 8 additional channels of digital audio.
• Built-In talkback mic and 3 user-assignable front panel switches to assign monitoring functions / talkback mic operation.
• MIDI I/O.
• SSL Production Pack Software Bundle included, providing 3-month subscription to SSL Complete, Vocalstrip 2 and Drumstrip, plus an exclusive collection of, virtual instruments, plug-ins and DAW.

SSL has been designing cutting-edge mixing consoles and processing tools for the world’s finest recording studios for over five decades, and the addition of SSL 12 into its family of interfaces puts the power of SSL in the hands of a myriad of modern musicians, producers and content creators.

SSL 12 is priced at £333 ex.VAT / €399 + tax / $499.

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Audio-Technica has announced the launch of its new ATS99 Hypercardioid Dynamic Microphone, designed to provide exemplary performance for vocalists on stage. The new microphone is engineered for responsiveness and fast transient delivery, with particularly enhanced capture of low- to mid-range sounds at high volume, allowing singers to perform confidently across a broad frequency range.

A combination of the ATS99’s high powered magnet and step-up transformer with a hypercardioid capsule ensures that its sonic performance is complemented by both rejection of unwanted sound and feedback resistance, even in challenging live performance situations.

The microphone’s internal shock mount structure also makes a significant contribution to reducing handling noise while the robust machined aluminium body is designed for light weight and easy-to-hold grip.

The ATS99 has a recommended retail price of £280 / €319 inc VAT and ships with an AT8470 stand clamp, 5/8” to 3/8” threaded adaptor and pouch.

ATS99 Technical Specifications

• Element: Dynamic
• Polar pattern: Hypercardioid
• Frequency Response: 60- 16 000 Hz
• Open circuit sensitivity: -52db (0db=1 v/Pa, 1kHz)
• Impedance: 600 ohms
• Weight: 262g
• Dimensions (mm): 181.5(l), 50 max body diameter
• Output connector: Integral 3-pin XLR-M type

Welcome to issue 7 of Audio Media International

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Today, CEntrance debuts the English Channel, a compact suite of analog signal processing tools with an integrated digital audio recorder. CEntrance, a company known for its work with top Hollywood artists, already offers portable audio recording products for voice actors and radio professionals. The English Channel takes that concept further, packing a suite of signal-processing tools into a handheld format perfect for Live Streamers, Podcasters, and YouTubers. The English Channel is designed to save space with its miniature footprint. It packs a studio-grade Microphone Preamplifier, a Dynamics Processor, and a classic Analog EQ in a small desktop unit. The package also includes a streaming audio interface and allows the vocal artist to live-stream their performance with a connected phone or laptop, record to the built-in recorder, or record the performance via software. The English Channel will be available in January 2023, for $1499. 99 USD.

The English Channel consists of three palm-size audio devices which are designed to work together: The first device is SoapBox. It’s a studio mic preamp with Gate, Compressor, and De-esser. Its mic preamp features 70 dB of gain and works with all condenser and dynamic microphones. Its dynamics processor cuts out background noise and makes the vocals louder. The second device is BlackCab. It is a 3-band parametric EQ with sonic shaping features to dial in the perfect vocal sound. The third device is PortCaster R4S. It is a streaming audio interface with monitoring over headphones or speakers. PortCaster also includes a 24-bit SD Card digital recorder, with a ‘One-Button Record’ feature. With its two additional microphone inputs, PortCaster makes it possible to record 3-person Podcasts, and also allows adding a podcast participant to call in over the phone.

The three devices are secured in the Commander Console – a custom lightweight desktop ‘rack’ using camera-style, removable screws. The English Channel features versatile powering options—it can take power from any standard USB charger or power bank via USB-C. The product can even be powered by a USB jack in the car. Only one USB power cable is required as each device passes power to other devices. The product ships in a small travel case with extra space for a microphone, creating a complete solution for high-quality recording or streaming in almost any location.

The English Channel will appeal to Live Streamers, Podcasters, YouTubers, and traveling Journalists who are under pressure to produce professional content on tight deadlines. They will value its excellent audio quality and streamlined production efficiency. The added bonus of analog technology is “Zero-latency”, which makes live streams immediate and lets the host monitor the program without audio delay. With the compressor unit inline before the A/D converter, the English Channel also helps prevent overloads and distortion during production. The products are rugged and feature intuitive controls and operation. They use tactile analog controls and can be accessed without looking, which is important for a busy professional. Designed to help the vocal artist focus on their craft, the product purposely avoids distracting screens or complicated menus.

“Busy vocal artists prefer to minimize the time spent in production. We designed the English Channel with that in mind,” said Michael Goodman, CEntrance founder, and CEO. “Utilizing their favorite presets for gate, compression, and EQ the user can now quickly deliver broadcast-grade audio from a hotel room or even a parked car. Pros may love the sound of their studio rack-mount gear, but it’s difficult to take that on the road. The English Channel offers that great-sounding, classic analog technology in the palm of your hand.”

The English Channel will be available in January 2023 for $1499.99 USD. The bundle includes the Commander Console rack, the case, and needed cables—and saves 20% compared to buying the devices individually.

Welcome to issue 7 of Audio Media International

The post CEntrance Debuts “English Channel” Analog Audio Processor appeared first on Audio Media International.

From immersive product demos, in-depth masterclasses and a raft of eye-popping new gear peppering the corridors, booths and studios, the return of Miloco’s gear showcase at their jaw-dropping London HQ brought sights and sounds to remember…

First held back in 2017 at their SE1 studio complex, Miloco’s Gear Showcase was on the way to becoming a bright new fixture in the calendars of the UK’s music technology industry. With the pandemic sadly putting pay to the event in recent years, the re-launch was met with a high degree of enthusiasm from attendees, exhibitors and industry pros alike.

Having evolved into one of the world’s biggest studio and production-related companies, Miloco currently oversees 170 studios across the globe, as well as offering studio construction via Miloco Builds, a huge array of gear via Miloco Gear and a bespoke sample library outlet via Drumdrops. Connecting with the industry is essential to Miloco’s ethos, making the return of the open-door Gear Showcase something that had clearly been expertly planned.

Upon entering, our first port of call was the central live room of The Pool studio. Within, the likes of Sony, KMR, Trinnov, Flare Audio, Chandler, Help Musicians and Source Distribution were eagerly presenting their latest wares…

The Pool and The Vault

Flare Audio’s E-Prototype and Calmer distortion-reducing earphones were the first products to take our interest. The E-Prototype in-ear ‘phones boldly claim to change the internal shape of the ear canal so sound quality heard by users is dramatically increased. This ‘Mirror Image’ sound technology is startlingly innovative. “What we’ve discovered is that we’re able to create two flat surfaces inside the earphone, a bit like a periscope, and we can produce a mirror image of the impulse and the driver onto the surface of the eardrum. It’s unlocked a whole new world of sound quality.” Flare explained to us. Calmer, Flare’s initial foray into in-ear technology, uses a similar ear-canal-adjusting philosophy to reduce stress-inducing, peaky sounds that people might hear in their day-to-day lives. They’ve become a big seller.

Sony’s brand new entry-level C80 microphone took a central position in the space (and would later be road-tested in The Bridge studio). Alongside its legendary brothers, the C-100 and C-800, the microphone features a two-part metallic anti-vibrational body structure, dual-diaphragm and Noise Elimination Construction which minimises vibration.

Up in a separate vocal booth, Source Distribution had a plethora of astounding synths set-up and ready to play, including the Moog Matriarch, Arturia’s analog polysynth the PolyBrute and ASM Hydrasynth. This gave us our first chance to explore the Polybrute’s new in-built multi-axis MPE performance controller, the Morphée, allowing X, Y and Z axis navigation of sounds. We might have spent a little too long getting lost in its five dimensional universe…

KMR Audio presented a multitude of wares. From outboard, microphones to some choice speakers – namely the jaw-dropping NNNN Comium 30 speakers. Sporting a distinctive, fan-like appearance, these full range 2-way monitors harness your room’s boundaries, turning them into an amplifier to generate higher SPL. It also does away with back wall reflections. Elsewhere, choice hardware from Gainlab Audio, Universal Audio, Cranborne Audio and an always-staggering Shadow Hills mastering compressor stocked the racks, while a Townsend Sphere L22 microphone could be modelled to any other microphone voicing at will.

In the Pool’s Control Room, a pair of Genelec’s state-of-the-art 8351Bs were wowing ears via their incredible, precise power. This latest addition to ‘The One’ family, delivers exemplary point-source monitoring. With newly elevated SPL, room calibration and further-reaching high frequency response.

In the smaller Vault area, Audient’s ASP 4816 Heritage Edition desk was being demonstrated. This in-line, completely analogue mix console brings large-format multi-channel dexterity with a much smaller footprint. Audient were keen to explain the range of clever things the 48 input console is capable of; “This is available in two configurations, there’s the Standard Edition and the Heritage Edition. It contains the recording and monitor paths in just one channel strip, this halves the space required yet has the same functionality as a larger desk.”

The Bridge and The Red Room

One of the most fun parts of the evening came when Sony demonstrated the new C80 mic with a live vocalist. “The C800 was a classic in the studio world, but very hard to get hold of in Europe and the UK.” Sony explained to a studio-full of enthusiasts. “What we did about ten years ago was bring out the C100 as a new flagship studio mic. As of yesterday, when they arrived in the country, we’ve now got the C80. Sony’s first studio mic that’s less than £500.”

Singing a two minute section of a song, the guest vocalist, Sophia, put Sony’s world-class family of mics to the test. While differences were detected between all three during the shootout, the overall quality bar was extraordinary, particularly for the ultra-affordable C80.

Elsewhere, numerous other engaging experiences were on offer, with an Atmos Demo in the Red Room, revealing the full scope of the space’s Dolby Atmos 7.1.4 setup. Harnessing the power of the ATC SCM45A as the left, front and right speakers, four ATC SCM25A’s overhead and dual Augspurger subs, the Atmos experience in this gold-standard mixing studio is nothing short of mind-blowing.

Later at The Red Room came the event that many people had been waiting for, a production masterclass with the acclaimed Charlie Hugall. The producer and mix engineer’s credits included Ed Sheeran, Florence and the Machine and Celeste. Hugall was talking us through his approach to the arrangement of Tom Grennan’s huge hit, Found What I’ve Been Looking For. “I thought I’d talk through this tune because basically, a lot of it was done on a bit of a shoestring budget, and it’s really the sum of the parts. Some of those parts are a bit ropey, but that’s part of the charm.” The MPG-award winner explained. “Tom came in with this amazing, gravelly, gritty voice. So one of the main things that I believe in with production is to just try and support the vocal, and facilitate its feeling.”

Opening up his original Pro Tools project, Charlie divulged how he had taken the original demo and gone away and added instrumental and rhythmical life to it, experimenting with quite freeform ideas (including some ‘obnoxious’ piano and ‘dodgy’ strings). He told the attendees how some of those basic recordings wound up in the final mix. “When I opened the project up after five years, I was like ‘Oh my God, what was I doing?’” Laughed Charlie, “But I wasn’t thinking about the solo’d tracks as individual things when I was arranging it, if things felt good for the song overall. They stayed.”

While the packed studio looked on in awe, Hugall isolated each of the huge-sounding track’s constituent parts, and explained that when it comes to production, often questing for things that sound too ‘perfect’ in isolation can be detrimental to the feel of the song. Once a vision is secured, Charlie told us that he needs to inhabit that song’s world “I wanted to create a feeling where the listener felt like there was too much going on. It was an intentional kind of thing. It informs my conduct on a personal level as a producer too. I’m not going to be sitting back being low-key. If I want the track to be lively, I’m going to be up on my feet, hyping up the artist. I want to match the energy of the artist and bring energy to a session that I want to get in the track.” It was a fascinating and inspiring masterclass.

It’s fair to say that those in attendance at Miloco’s Pro Audio Gear Showcase gained much from the evening. Whether by testing out mouth-watering pro-end gear, learning from the wisdom of seasoned pros, or just taking in the incredible surroundings of Miloco’s extremely cool HQ. Next year’s event can’t come soon enough.

Check out milocostudios.com for more information, and stay tuned for information about next year’s event.

Welcome to issue 7 of Audio Media International

The post Inside The Miloco Pro Audio Gear Showcase 2022 appeared first on Audio Media International.

IK is inviting guests to join them for the upcoming iLoud Precision listening sessions on Wednesday, November 23, at Tileyard Studios in London.

IK has teamed up with Tileyard Studios to allow users to hear the new iLoud Precision studio monitors in the best of locations at Kings Cross in Central London.

IK’s experts will showcase the full range of new IK Multimedia iLoud Precision studio monitors, including the just-released X-⁠MONITOR control software. Guests will also have a chance to win exclusive giveaways sponsored by IK Multimedia.

The event will take place at Studio 4, Tileyard Studios. You can register and secure your time slot between 12 noon and 7 p.m. HERE. It’s FREE!

iLoud Precision series represents another breakthrough in nearfield monitoring from the company that revolutionised compact monitors with iLoud Micro Monitor and iLoud MTM.

Available in a choice of 3 configurations — 2-way 5” or 6.5”, and 2 x 5” MTM — these handmade works of sonic art reflect IK’s 25+ years of expertise in loudspeaker design and digital signal processing, delivering a level of sonic detail that beats speakers at three times the price, with unique DSP-based features and software workflow enhancements that can’t be found anywhere else.

The post IK Hosts iLoud Precision Listening Sessions at Tileyard Studios London appeared first on Audio Media International.

To mark the availability of the new A Series, ADAM Audio and Sonarworks have unveiled details of their studio monitors collaboration, the successors to the award-winning AX Series.

The ADAM Audio A Series delivers highly accurate, transparent sound across a full line of monitors. The line also includes a wealth of voicing and room adaptation options that can be controlled remotely and in real time via A Control, a free-to-download software application from ADAM Audio (available for Windows and MacOS). A Control also facilitates a highly anticipated feature of the series, delivered in collaboration with calibration experts Sonarworks.  Via A Control, users can upload and store SoundID Reference calibration profiles directly on the DSP of A Series monitors without the need to run the SoundID Reference application or any additional DAW plugin.

Technology & Benefits

Each A Series monitor contains an embedded platform on the loudspeakers’ DSP that can host calibration profiles created in SoundID Reference. This powerful software measures the acoustics of your space and generates a unique calibration to help counteract problematic frequencies and resonances. Typically, this calibration profile requires a VST or the SoundID Reference application to run, contributing to CPU usage and latency. The A Series integration nullifies CPU usage and significantly reduces latency by storing the calibration profiles directly on the loudspeakers’ DSP. Once transferred to the speaker, you can continue to benefit from the SoundID Reference calibration without the need for any software or network cables – a great example of the “set and forget” philosophy.

Extended 60-day Trial 

ADAM Audio and Sonarworks have shared details of an extended 60-day SoundID Reference trial for A Series customers. The trial license is available to A Series customers who register their speakers in the MyADAM area of adam-audio.com.

It offers the full functionality of SoundID Reference, including the ability to export calibration profiles so they can be imported to A Control and transferred to the loudspeakers’ DSP. A Series customers will be provided with the license by email by the team at ADAM Audio. A measurement microphone is required to perform the measurements necessary to create the calibration profile in SoundID Reference.

A Control

ADAM Audio A Control is a key component in this innovative collaboration. Designed internally by ADAM Audio, the free-of-charge application provides A Series customers with a modern speaker management and equalisation system. As well as facilitating the transfer of SoundID Reference calibration profiles to the loudspeakers, users can also create their own calibration profiles across 6 bands of parametric equalisation or make changes to the voicing and room adaptation settings found on the backplate. All changes made in A Control can be heard in real-time from the listening position, allowing users to be confident in their equalisations and toggle between uncalibrated and calibrated audio.  A tutorial video can be viewed below.

As reported back in April, ADAM Audio, the studio monitor company that is now part of the British conglomerate Focusrite Group, announced the launch of a complete new range of studio monitors, with a total of 5 models. The new A Series is the successor of the original and most popular designs from the Berlin-based company, now adding rotatable HPS waveguides for the company’s X-ART tweeter, DSP-based room correction and voicing with remote control software. The most significant innovation is the DSP-integration of automated room correction in partnership with Sonarworks.

ADAM Audio is the latest studio brand to partner with the Latvian company on an automated room correction solution that runs directly on the DSP of the A Series monitors. This allows the speakers to adjust to multipurpose environments in which people currently create music, such as a bedroom or living room where acoustic treatment is often not an option.

Using the A Control software, users can push advanced filters directly to an embedded platform onboard the monitors to help compensate for imperfect room acoustics, and this platform supports filters from Sonarworks. Using Sonarworks SoundID Reference software and a measurement microphone, users can create calibration curves specifically for their room and run them directly on A Series monitors.

Prices for ADAM Audio A Series monitors:

The post ADAM Audio and Sonarworks unveil details of A Series collaboration appeared first on Audio Media International.

What is it?

Audient’s EVO range of interfaces is designed to offer simplicity, value and a great sound. The interfaces are not perhaps as sonically glossy as those in Audient’s ID range, which all feature the same mic preamps used in the company’s high-end consoles. Instead the EVO range has digitally controlled analogue preamps that allow the interfaces to include features like Smartgain which sets your input signal levels for you.

EVO 16 adds to the range’s 2-in/2-out EVO 4 and 4-in/4-out EVO 8, so you’d expect it to boast eight ins and eight outs and you’d be correct… on the analogue side of things anyway. It is also expandable by way of up to 16 more digital ins and outs via two pairs of optical connectors that deliver 16 channels at 44.1/48kHz or eight at 88.2/96kHz. That’s a maximum of 24 ins and outs, then – an impressive count at this price.

What’s New?

All new for EVO 16 is the Motion UI system that shows parameters on a brilliantly clear display. The other big headline is the loopback feature – available on up to 16 channels – an essential inclusion for podcasters, gamers, and other streamers who demand the flexibility of mixing multiple audio sources from their computer with their own speech.

Build Quality

EVO 16 is compact and well built and uses similar design elements to the original EVOs – the slightly sunken buttons and main dial, for example. While EVO 4 and 8 are designed for desktop use, EVO 16 adds rackable aspirations, with free rack ears available as an option. We used it as a desktop interface and also sat it snugly beneath our laptop, and it performs just as well in these capacities, with rubber feet avoiding slippage and damage.

The eight analogue inputs are all on combi XLR-1/4” jacks with switchable phantom power. You can connect mic, line and instrument level gear to the first two which are located at the front. The remaining six accept just mic/line inputs and are around the back along with the eight analogue outs, which can be connected to studio monitors or outboard gear. Here you’ll also find the USB C connector, power (this isn’t, sadly, a USB powered interface) and those digital connections. The last two outs are two independent headphones on the front of the unit, great for setting up different mixes for two people monitoring or playing.

Day to Day Use

Using the unit is pretty much as easy as Audient intended, especially features like Smartgain. This is an option that we loved on the first two EVOs and it’s present and correct on EVO 16, but with a higher multichannel capacity. Using it is just a matter of hitting the green button, then whatever channel you are levelling and then green again. The channel then sets its input so you don’t clip, and all in less than 20 seconds. Do this across all eight inputs simultaneously if you wish, and you have a very quick multi-input setup for band or drum kit recordings.

The Motion User Interface (UI) feature is based around a bright central display which is very clear across a wide viewing angle. It homes in on specific aspects of the interface – channel input, for example – and displays key parameters which can then be altered with the single main dial on the front of EVO 16. This is a highlight, as clearly seeing what is going on makes you less reliant on having your computer close to hand. However, you will want to use the accompanying EVO Mixer software on your computer for more complex routing tasks.

Sound Quality

Serious studio owners will quite rightly demand the kind of console quality that Audient’s more pro ID range or other high end interfaces deliver. But side by side, the ID specs aren’t too dissimilar to EVO 16’s – certainly on the mic pre side of things – so I think you could end up paying substantially more elsewhere for not that much of a sonic uplift. Certainly for project studio owners and many others, the EVO range delivers the goods. Combined with the digital control, it feels crystal clear and precise, uncoloured and, dare we say, more modern compared to some interfaces that offer all sorts of input colouration.

Bottom Line

Audient’s EVO 4 and 8 clearly have newcomers to music production as a target audience, and those that aren’t bothered about conventional setups nor pristine and legendary console character. EVO 16 takes this core idea but shifts its target further upwards towards studio users who just want to get on with the job with minimum fuss. Then, of course, there’s the growing pro streamer market for which this is an ideal solution across many scenarios. EVO 16 has the answers for when both audiences come knocking, then, and in terms of features, ease of use and bang for buck, there’s very little else that comes close.

The post Audient EVO 16 Review appeared first on Audio Media International.

Packing in the very same transformer-balanced tech of the iconic 88RS, The Neve 88M interface manages to fit the power of a two-ton desk into a USB-powered box. We take a deeper look at this powerful interface to learn more about how it incorporates its control room-swallowing parent

Wowing the hordes of gear-hungry attendees of the NAMM show is no easy thing, but Neve’s debut desktop interface – the diminutive 88M certainly turned heads when it was unveiled at this year’s show back in June. Astoundingly packing in the same Marinair transformer-balanced preamps that powered the company’s large-format flagship, the 88RS (as used in Abbey Road, AIR and Capitol Studios), the 88M promised to provide a refreshingly compact route to achieving Neve’s hallowed world-class quality in a small or project studio.

By their very nature, transformer-based preamps eliminate any and all RF interference, and can add up to 70dB of microphone gain, not to mention that all-important coating of a much sought warmth and colour to a chain. This special blend of aural magic is very often the indefinable element that elevates a vocal recording. Neve’s bus-powered 88M contains two of these preamps, faithfully replicating the ones found within the colossal 88RS.

Further to the two analogue inputs on the interface’s front, the 88M also includes ADAT optical I/O at the exterior which allows expansion by up to eight ins/outs. There’s also a balanced insert send and return loop – allowing for the connection of analogue outboard. Let’s put it simply – 88M brings all of this pro level wizardry into an affordable USB 3.0 desktop interface. But just what prompted Neve to branch out, for the first time, into the world of USB desktop interfacing?

NEVER SAY NEVE AGAIN

The road to the release of the 88M started around half a decade ago, when – after countless requests from customers – Neve began seriously considering how to go about releasing a bespoke microphone preamplifier/interface. “Some of the other popular units just appeared to be the circuit diagram of the components data sheet, but we knew we could make something better, something built from the ground up to be optimal for sound and home recording.” Explains Mark Crabtree, the MD of Neve , “We had a lot to live up to with the 88M, because the 88R microphone preamplifier has probably been used for more legendary recordings over the past 20 years than any other, as the 88RS is the console of choice for the world’s top studios.”

USB connectivity was important, but so was maintaining the 88RS’s beloved sound quality and conversion, without compromise. “The breakthrough came from using USB3/USB-C, which provides a substantial amount of power and is available on most modern computers.” Mark tells us, “For USB-2 users, a simple powered USB hub would stand in for the unpopular power brick”. With this greater flow of power, there was nothing to stop the incorporation of the Marinair transformers into the interface – a major facet of the 88RS sound.

Several design iterations were mulled over before the final product design was locked after the 12th revision. The shiny black metal chassis is ensconced in a Tolex-like material, while the distinctive red of the monitor level and gain knobs of its twin front inputs just scream ‘Neve’. The 88M’s internal circuit boards were upgraded to four-layer to increase performance. While this creation process took a little over two years, the remaining three years were spent guaranteeing that the interface that had been built was able to meet the standards that the team envisioned for it, via a series of rigorous listening tests.

Beyond its authentic sound, the other essential components of the 88M include the professionally balanced insert loops for each of the 88M channels, a really vital feature that Neve’s design team wanted to bring into the home studio environment. “The ability to combine the preamps with external processors such as the 8803 EQ gives the analogue side of the 88M plenty of flexibility for tracking sessions.” Says Crabtree. “On the digital side, we spared no expense in sourcing premium ADC and DAC chipsets to complement the analogue front end. The addition of ADAT I/O allows for expansion in the digital domain, with external units such as the 1073OPX.”

NEVE 88M – READY FOR LAUNCH

At NAMM 2022, the 88M was finally presented to the world at large “The NAMM launch was extremely successful.” Mark recalls, “We worked with many of our dealers to create pre-launch content and provide ‘stock on the shelf’ so that the early adopters can get their hands on the units straight away. We’re still working through the back-order list, because customer demand is so high. But with each and every machine made in house, we never sacrifice quality for production speed.”

With the 88M, Neve have successfully reconstituted the 88RS’s power into an accessible, authentic-sounding and space-conscious interface, the incredible work of Neve’s designers and engineers has resulted in something that can breathe life into a vocal.

It’s this philosophy, of providing modern producers routes to channel their legacy, that Neve continues to pursue.“Neve’s recent launch of the 8424, a compact console with large console features, plus the OPX 8-channel interface, have been very successful and takes the company into a wider market, including the growing market of home production. We also released the RMX16 in a 500-series rack to reach a wider audience with definitive production tools. The release of the Neve 88M follows this pattern, and we are delighted with the overwhelmingly positive reaction we’re getting from customers worldwide.” Mark says. Fuelled by the past, but with the producer of 2022 in mind, the 88M is certainly among the most characterful, expandable and meticulously-crafted interfaces that money can buy.

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