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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. Phantastic 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, the ULN8 itself 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.

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 cant be cascaded - thus the summing is limited to 8 channels (which has shown no problems to my projects so far).

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. 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 (see PlugIns) It has become a central item in the color center of my setup today!

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 over 16,000 steps. 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.

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...

Amplification

PA /Stage-Amplification

Nexo Nexo is the only manufacturer I know, who has (barely) affordable micro-PA's that truly reach the big names in this industry in their performance (Abstrahlungsweite) and sound 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 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 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 Genelec 1092A Subwoofer since many years.

Microphones

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.