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Hardware

That we can work with this kind of great equipment today feels like a big political/social step to me. While previously the highest quality was available only from institutions, studios or millionaires - it has become quite accessible. Moreover, it is housed in a box, not on multiple floors.

Outline of the requirements: the DAW is to work as an electronic instrument with single outputs and record everything simultaneously (also the participating acoustic instruments). It should be optimized for everyday life (still stereo!) - as a production studio, with all the trimmings (lncluding Mastering) - the quality preferably audiophile and high resolution (up to 192kHz).

Cabling should be rarely necessary, but it needs a patchbay for the integration of external equipment and for the individual outputs. Finally the mobility has to be guaranteed - this includes small size, low weight and a possible simple assembly and disassembly.

With the below described, exclusive, but quite reduced hardware it is possible to work with up to 32 channels IN/OUT, in a technical reference class. In my setup, 12 of the 16 analog inputs are equipped with mic preamps. Four of them can be used as a DI box. For stereo applications, there is an 8 channel analog summing amplifier. Four individually adjustable headphone amplifiers are integrated, as well as an A/B-speaker- and a mono-switch. Two additional digital inputs (D-box) make it possible to put more interception points and there even is a built-in talkback microphone.

The Metric Halo ULN-8 and Metric Halo LIO-8 are a super-extra-class audio-interfaces and the heart and frontend of my DAW. Eight fantastic microphone preamplifiers, which can be colored through emulations (physical models) of famous preamps. High end AD-DA conversion, internal 80-bit processing with its own processor, hardware and software designed excellent, stable - and a headphone amplifier that lets even hifi freaks rejoice. Even the two built-in DI inputs are better than usual - these audio-interfaces may appear large and expensive at first glance, but on closer inspection they are small and extremely reasonable! ULN-8 replaces hardware which is 10 times more expensive and has to be transported in huge and heavy flight cases.

The software Console V5, which comes with the ULN8, brings a wealth of fine PlugIns and allows free configuration of the audio interface as a mixing console. It can be controlled with MIDI controllers (or Euphonix Mix MC) in real time. Of course setups can be saved. In addition, Console V5 is able to record more than 100 tracks at the same time without using DSP energy from the host-computer. A DAW host-software will be needed first when editing takes place.

Monitoring, mid-side band, analog summing and much more is also possible with Console V5 - it has to be set in the software. An abundance of fine PlugIns (EQ, Compressor, Limiter, Gate, Delay, Reverb, Transient Designer, etc.) are included, partially together with good presets. Live, editing or mastering setups can be saved and recalled..

Specific ideas can be realized and implemented on the graph-level - complete studio processors can be build with the building blocks. The smaller audio interfaces of Metric Halo can also be recommended without reservation. In 10 years of experience with this company and its products - now well represented by Anne Goerth and Stefan Bahr in Germany - there is really no comparison and the ULN-8 is a stroke of genius!

With SpectraFoo Metric Halo also offers another fantastic analysis software that make these devices also a first choice for sound engineers. For the most of us the standard version of the software is great and makes really perfect metering available! There is a full version, you can even use to to measure halls.

Since the ULN-8 and LIO-8 are coming with a lot of connections, they have D-Sub25 connectors. That means some multicores or stageboxes will be needed:

The Mamba XDB has been specially designed for the ULN-8. I have not opened it, but it looks extreme well built! It is the newest addition for making my life easier. It offers 16 analog inputs, 8 analog outputs and 8 digital AES IN/OUT in both, the Tascam and the Yamaha format. A nice side-effect is: due to the shallow depth, the Mamba creates some - in my case - needed space (for power supplies etc.). Considered that there may be too many plugs (3 instead of 1) in the game for staying in audiophile purity, the Mamba in daily work, transportation etc. is fantastic. The D-Sub25 connectors don´t have to be deducted every time! They are even not designed for frequent changes (appr. 1000x). For special situations ("highest end of my recording posibilities"), I also use custom stage boxes, which are connected directly to the audio-interfaces. I will compare both solutions soon. I don´t believe that i will hear any differences.

Because the Mamba was especially developed for the ULN-8, I find it "an unhappy solution" that the first 8 inputs are fitted with Combo-connectors - if the first 8 inputs are used as microphone inputs (as intended), it is a real source of danger. For me, phantom power and TRS plugs just do not belong together. In my oppinion XLR would have been the better choice. To be safe I´ve plugged rubber pins into the TRS-slots of the first 8 Combo connectors. Since nothing seems to be easier to do, the Combo´s are not a real problem...

Für grossen Anschlussbedarf habe ich zusätzlich Stageboxes, die direkt mit den Interfaces verbunden werden, darunter auch eine 12 Kanal Box für die Mikrofone. Diese Box hat ein 12 kanaliges Mogami Multicore und zwei D-Sub25 Stecker, die direkt an die Audio-Interfaces angeschlossen werden: 1-8 an ULN-8 und 9-12 an LIO-8.

As a very practical and high-value backend, the Dangerous D-Box has proven itself. It offers besides "console-sound" the very things that make sense as an extension of audio-interfaces - if you don´t want to use half of the outputs from the interface for monitoring. Technically and sonicly the D-Box is already in a difficult-to-surpass quality. The only restriction on the D-Box is that it can´t be cascaded - thus the summing is limited to 8 channels (which has shown no problems to my projects so far).

Since the recovery of DAW software coherency problems, analog summing does not play the trump card any longer if one operates with top audio-interfaces. The ITB (in the box=digital) summing e.g. with the ULN-8 software-sonsole V5 sounds as good - maybe even a little clearer than the D-Box. Analog summing (OTB=Out The Box) is always a teamplay of the components, because the impedances are changed - that's why no absolute predicate about the quality of analog summing is to be met.

As a small-studio-central the D-Box is still a great benefit. Speaker A/B and Mono-switch i use the most, the D/A converter and the analog stereo-input allowing more listening-spots which complies with my needs. Even that i don't use the D-Box summing very often today - it would be hard for me not to use the D-Box. Perhaps I will remove it however from my travelling setup (heavily and large power pack) and use instead the following device.

II

The RMS216 Folcrom is a passive summingbuss (= no PSU). With 16 channels it seems to be predestinated as a perfect backend and expanding circuit for my 2 audio-interfaces. After the discussions were absolutely not helpful in the usual threads, I decided to take a closer look to the Folcrom: especially in the combination with ULN-8 and LIO-8 this device could be the piece of audio-architecture that expands the audio-interfaces in a very minimalistic but versatile way.

The famous summing devices (like the D-Box, 2-Bus etc.) have a stereo Mic-Preamp behind the summing-bus were the signal gets a Makeup gain of approximately 35dB - the Folcrom hasn't. The user has to route the Folcrom to the prefered Mic-Pre. The character of the chosen preamp now colors the whole mix.

For me coloring is the main interest here. Since the D-Box is "just clean" like my audio-interfaces - that is doubled and the distinctions are quite disregardable - a colored preamp might be an adequate way to get a colored imprint on the main-mix. For Live-amplification i am hoping for a vivid body, since the sum isn`t calculated but is physically happening. In a production it might be uncomparable but playing live could be a different "feeling" for the interprets. I am quite curious about it and will publish the results during the summer here.

Zwei "gerackte" Telefunken V672 Baujahr 1970 bilden wahlweise ein "Vintage" Front- oder Backend mit bis zu +70dB Gain. Trotz hohen Gewichts sind diese alten Radiostudio-Verstärker nachwievor eine Hausnummer und für manche Dinge/Klänge eine hervorragende Lösung. Bei mir kam der Amp durch die Anschaffung des Folcrom Summenbusses zurück ins aktive Equipment, nun aber als Aufholverstärker.

Die drei inneren Schalter (48v/Pad/Phase), Volumen, DI-Eingang und Netzteil waren Bausätze von JLM-Audio. Zum Go Between Kit (48v, Pad, Phase) möchte ich aber anmerken, dass der Pad Schalter vor dem Übertrager liegt und daher nicht zu empfehlen ist (er wirkt sich auch negativ auf das Rauschverhalten aus). Mein 19' V672 hat deshalb die aussenliegenden Extra-Schalter (Pad, aber hinter dem Übertrager!).

Die Qualität des Telefunken V672 als Aufholverstärker hinter dem Folcrom-Buss war für mich überraschend! Von einer Färbung kann man aber nicht sprechen, der Amp ist sehr clean und klingt voll - schliesslich war er 1958 beim NWDR für das Radiostudio entwickelt worden.

Die Diskussionen über ananaloges Summieren sind derart deprimierend, dass ich demnächst etwas eingehender darüber schreiben werde...

The Quantec Yardstick 2496 is not a reverb but a room simulator. The favorite of many reverb-haters. A unique device - just where it does not need reverb, or reverb does not do well, but the room is wrong. Quantec goes a different way than "the others" and ploughs a lonely furrow due its concept. The Yardstick 2496 has 2 AES inputs and 6 AES outputs (surround) - it does not have a converter and offers only one algorithm. Since the firmware 3.x it is possible to edit the Yardstick via webbrowser. The decision for the Yardstick fell because Reverb consumes much computing power and because modulated early reflections (FX-reverb) can be great destroyers for transparency in the studio work. In particular, in productions with acoustic instruments without effects, Quantec makes the distinction and teaches us to distinguish between modulated reverbs and phase-neutral room simulation!

For FX-reverbs and other emulations of great studio processors i like to use the UAD-2. It has become a central item in the color center of my setup today! (see also PlugIns).

Especially the newer PlugIn-developments like Manley Massive Passive, Studer A800, Empirical Labs Fatso and the SSL Buss Compressor are just beautiful!

Unfortunately the prices are higher than it might seem! Hardware-updates are not supported - customers have to buy the new hardware for the full price.

Thus the functionality of this setup can be accomplished physically, the Euphonix MC Mix is an ideal controller. Used with various software simultaneously, the sliders are jumping to the position of the active software. Currently, in any case the ultimate among smaller controllers. Anyone who has worked with high-quality machines will not be satisfied with MIDI control: the lack of speed and only 128 steps. Euphonix offers 1024 steps and the Ethernet connection is about 200 times faster than MIDI! The improvement in the transmission of slider movements is comparable to the sound-improvement in the the step from 44.1 to 96 kHz. Meanwhile i've got two of them...

As analog extensions of my DAW i have two filterbanks which couldn't be more contrasting.

While the extreme rare EMS Rehberg Analyse Filterbank - to find mostly in akademic studios - "only" offers the elemination of certain frequency-bands with 40 - 57dB (extremely clean through expensive parts), the Sherman 1 Filterbank is a mud-slinger and destroyer. The design is very close to a typical synthesizer-filter with two 12dB blocks, variable frequency, resonance and LFO. The Sherman is very popular in the Pop- and Techno-scene.

Both filterbanks don't have a digital pendant. Since they are built completely analog, i've listed more detailed information under Analog.

Particularly noteworthy are certainly the DPA 4021 (3521) and the Brauner Phantheras, microphones of absolutely top class! My longest faithful companion however, are the AKG C414, which I love very much and whose skills I always could depend on. To me it has become increasingly clear over the years that there is no "just as good as ..." microphone, but only good and bad microphones! Learn more about the individual microphones on the manufacturers links experienced in the Equipment-list.

PA /Stage-Amplification

Nexo Nexo is the only manufacturer I know, who has (barely) affordable micro-PA's that truly reach a performance and sound which is simalar to the big names in this industry - such as Meyer Sound, or D & B. The small Nexo PS 8 is a wonderful PA with a huge sound.

The PS 8 has a very clear treble and will produce a musical, balanced and stable sound image! The subwoofer is fast and therefor audible early enough. This PA is well suited for "instrumental" enhanced live-electronics in the orchestra or chamber ensemble. Despite the small size it´s powered with incredible 1750 Watts. The best of it: for 4-channel or very wide 2-channel performances i've got two of those PA's!

The combo-amp Traynor K4 - still a well kept secret - is my first choice in sound and assertiveness not just for Fender Rhodes. This amp is a small PA in a combo! 2 equalizers, 3 amps, 4 channels, 5 Speakers and very loud 300W (200W Low and High 2x 50W)! It´s "charisma" on stage is compact and strong.

Studio-monitors

As monitor speakers for studio work I am very pleased with the good Genelec 1030A and a Genelec 1092A Subwoofer since many years. This speakers are still very good (especially if you are used to the sound!) - the subwoofer is mighty and has to be handled with care, otherwise it will be too much.

As a second monitor i used a pair of Klein+Hummel o 98 - they are perfect for mixing and have a vital sound! The bass frequencies are quite clear. These speakers show some informations, the Genelecs don't get. Unfortunately there time has expired - original parts are lacking and they became the K+H "problem child" (quotation K+H).