PSP Audio has long been one of my favorite audio plug in designers so I was really curious to see what they had cooked up with their newest offering. After a day with the trial version, I plunked down my hard earned duckets and I haven’t looked back.
The most obvious competition for this type of “Series 500” style plug in would be Slate and McDSP. I don’t have the McDSP Plug In so I can only reference the Slate.
First off, PSP has designed the modules based oof of their own concepts, unlike the Slate one, which brings in a mix of both their own as well as emulations of popular hardware units such as the API EQ, the SSL EQ and even a sanctioned Distressor. Both plug ins feature a “drag and drop” style of filling the rack and modules can be placed in whatever order you like. Neither one offers a truly “surgical” multi-band eq but all of them have their uses.
Aside from the sound, I was drawn in by the concept that you can try out different compressors/eqs in a slot while maintaining all of your settings. This is a quick way to audition different “flavors” without losing your changes. The preamp modules offer the sound of the 60’s,70’s 80’s and 90’s with a Drive and Noise amount. The gate is intuitive and easy to set up, as is the compressor. They have also included an amazing de-esser (pretty much worth the price of admission) and side chain capabilities (something sorely lacking in the Slate Strip).
All in all, an “amazing piece of kit”,as they say in England.
This equalizer is one of the most highly regarded EQs in the Plug In pantheon. I have lusted after it for ages, as an EQ that could be my “go to” for both Logic and Pro Tools. The GUI and navigation are fantastic and it offers many useful features such as “Match EQ”, mid/side capabilities and some interesting shapes (ie. “tilt” and “brickwall”).
The design and functionality has been shamelessly copied by Slate for their new Infinity EQ (which I also have). So what made me pull the trigger on the Fab Model? The tipping point was the inclusion of Dynamics, turning each band into a Compressor or Expander (if you so choose). Simple yet incredibly effective.
Other goodies include a very generous Preset Collection and Fab’s Help Tips (which are an education unto themselves). I am already using this EQ in my mixes and it’s easy to see what all the hype is about.
Kandace is a force of nature…virtuoso pianist, soulful vocalist and an unaffected presence that commands every stage she steps out on. Plus, she’s hilarious and knows more about cars than Marisa Tomei’s character in “My Cousin Vinny”.
Earlier this year, I was fortunate to be a part of this fantastic project, a documentary about Kandace and her latest collection “The Women Who Raised Me” on Blue Note Records. Part of the documentary was slated to be a “live in the studio” recording with her band, drummer and bg. vocalist Ms.Taylor Moore and bassist and bg. vocalist Aneesa Strings.
Her SRP producers Carl Sturken and Evan Rogers as well as the Film Production company agreed on Riverworks Recording for the tracking. It has a huge tracking room and a grand piano and I know the room inside out.
We set up three monitor mixes that each musician could control and an individual floor monitor for each. Micing was minimal…two for the piano, a mic and DI for the bass, one bass drum and 2 overheads for the drums and vocal mics for all. After a bit of trial and error, we settled on the Sennheiser MD421 for Kandace’s vocals. I’ve recorded her on everything from a Shure Beta 58 to a high end Neumann TLM 170 and she always sounds great so I wasn’t too worried.
It was a grueling 2 day shoot on one of the coldest days this winter. They wound up shooting about 5-6 takes of each song and I made rough mixes for Carl and Evan to review.
A few weeks later, we convened at their production area at The Loft in Bronxville to mix the songs. One other additional session for small tweaks and we were done. The record came out and debuted at #1 Jazz on iTunes and Billboard all over the world.
There are so many ways to mix but I have always been partial to the “channel strip” approach, where most of what you need is in one plug in. There are lots of great ones out there and some offer more bells and whistles than others. Most offer EQ, Compression,Filters and a Gate. The Eventide Ultra Channel adds a Stereo Delay and a Harmonizer as well as a recreation of their famous “Omnipressor”. The Scheps offers 2 (!) DeEssers as well as Saturation and the ability to move the modules around in any order. Slate takes the “500” Series Approach for up to 8 Modules. My “go to” is Metric Halo’s Channel Strip and I love how they update and add features (like a Real Time Analyzer).
But…I was intrigued when I first read about this one from Brainworx.
Back in the day, my friend Al Hemberger at The Loft Studios was looking for a high end Single Channel Mic Preamp and wound up with a rack of these:
So when I read that Brainworx had modeled an ENTIRE CONSOLE, CHANNEL BY CHANNEL, I had to try it out. The layout is easy to navigate in the plug in and it sounds..yes…I’m going to say it…”musical”. I haven’t had a chance to run it in full console mode but it’s great on individual channels and the gate is surprisingly effective and “unfiddly”.
It was time…end of year plus the need for some small home monitors. I had been thinking about the small Yamaha and JBL speakers but they still seemed too large for my desk area. These little guys from IK had been getting some great press and endorsements (both Lord Alges!!) and they featured a slimmed down version of their ARC technology.
What does that mean?…well.. the Holy Grail of ANY speaker is Truth and Translatability. No one likes that feeling of playing your recording/mix outside of your listening environment and being horrified at how it sounds on another system..lost vocals!! Screechy guitars!!No BASS!!too much BASS!!…let’s face it..it’s your worst nightmare.
The general culprit (assuming that it’s not you) is the combination of a bad set of monitors and a bad sounding room. IK has built a technology (ARC) into these speakers that allows you to plug a microphone (included) into the back of these speakers and press a button that runs an audio sweep and calibrates the speakers to your listening environment. The listening area (or “sweet spot”) is pretty narrow but seems to be pretty accurate.
I haven’t done enough listening/mixing on these to see how they stack up yet….more to come
I was a fan of Elliott’s from his first album and we covered his classic “Last Of The Rock Stars” in my band. So when I got the call from my publisher asking if I wanted to co write with him, I jumped at the chance. We met up at my studio on West 19th street and wrote and recoded 2 songs. Elliott sang and played acoustic guitar and harmonica while I played electric guitar, keyboards ,machine drums and sang backing vocals. Ernie Brooks, who had played with Elliott as well as the Modern Lovers, swung by the studio and added some great bass work. One song , “Hardcore” wound up (the demo version) on his “Beauregard” CD and was the title of Charles Pitter’s insightful Elliott bio.
The other song “Forgiveness” sat on the sidelines…until a few weeks ago when, much to my surprise, it showed up on his new collection “Ricochet”.
It’s that time of the year again…AES descended upon the west side of NYC at the mammoth Javits Center. The newly renovated “7” Subway line now stretches from Grand Central to Hudson Yards, just one block from Javits..no more freezing crosstown walks.
Despite my early registration for tickets on line, I was given a Kafka-esque run around by the staff who were in charge of admission…I just about gave up.
Inside, it felt a high tech craft fair, with booths and demos and gear that could make your head spin. Sadly, I was there on the final day and it seemed like many of the exhibitors were tired and just wanted to pack up and go home. Wandering around, several analog consoles by Neve, SSL and Trident caught my eye and Avid had a large presence with a multi part area of their own.
Lots of great boutique companies and I discovered an amazing software company called Accusonus. Their noise reduction and sonic restoration tools are sure to give iZotope a run for their money.
Next time, I’m going on day one…still, a great show.
It’s been a great summer to play with some new audio toys and beef up the arsenal.
Slate dropped some cool new offerings through their subscription service…a Gate for VMR, a TH-U Guitar Amp/Cabinet/FX plug in from Overloud, the Ana-2 Synth and a whole host of Modular FX from Kilohearts (their Transient Shaper is amazing). I love that they’re partnering with third party plug ins but it always makes me a little nervous that they might discontinue their relationship and I could be left with some old sessions that won’t open correctly. Many felt burned when this happened with the 224 and I’m still not thrilled that they’re parting ways with Scuffham (my fave guitar amp sim).
PSP Audio has been tempting me with deals so I finally broke down and added their E-27 EQ to my collection. It’s a broadband EQ with a great Drive control and sounds extremely musical.
The UAD Plug Ins that I bought earlier this year have been getting quite a work out, especially the Shadow Hills Mastering Compressor and the API-2500 Compressor. Nothing sounds like either one of these beasts.
I’m looking forward to catching up with Paul Wolff (Inventor of the 2500) at AES in October. He is making some amazing custom consoles and he’s always up to something new and interesting.
A new release is always a thrill and this one has been a long time coming. I had the pleasure of working with Keith on this collection, co- writing and producing 2 of the songs here.
“Trial Of The Century” features one of my favorite singer songwriters, Chris Merola. Chris has been active in the NY Americana scene since the beginning and he continues to record and perform with his band Tumbleweed Mile.
Jeff Young sings “Bank Of Worry” with the soulfulness that he is well known for and, like Chris, is great to hang out with in the studio.
I also had the opportunity to mix some of the songs with Keith and was completely blown away by the vocals of Maya Saxell.
The eclectic nature of this album is an anomaly in today’s musical landscape…which I like.
It’s great to have choices..but sometimes you find yourself in what Stravinsky called “the abyss of freedom”. I decided that I would go deep on one synth for a while and this is the one:Dune 3.
It is a truly rich and glorious sounding machine, with none of the “graininess” of some of the even “high end” synths. It is actually an 8 layer synth where each layer can be an independent synth. Each layer has 4 possible oscillator types (Virtual Analog/Wavetable/FM/Noise Generator) that can be mixed, panned, modulated, filtered and sent to one of two incredibly comprehensive Effect Outputs. Add in two Arpeggiators/Step Sequencers and there is never an excuse for a “static” sound.
The FM section looks fairly basic but it is very musical…and one of the things I like best about this synth is that it encourages “knob twiddling” instead of just using presets. It’s intuitive enough that you can build a sound from scratch with a specific intention (ie. “My Ultimate Super Thick Fuzz Bass”) or you can experiment with the settings and be surprised (in a good way).