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Winter NAMM 2014 Special Report:
Recording & Live Sound

By: Scott Kahn


Eventide MixingLink

Eventide Best of NAMM AwardSometimes the coolest products at NAMM are the hardest to spot, and guitarists visiting the Eventide booth would easily overlook this incredible pedal built for… vocalists! The MixingLink is a microphone preamp in a pedal with phantom power and an effects loop that enables vocalists to sing through Eventide effects pedals like the H9 Harmonizer, Space, or Time Factor (or anything else should they prefer).

The Mixing Link has plenty of other Swiss Army uses for guitar players as an A/B box, mini mixer, headphone practice amp, and more, but really, this thing is perfect for a vocalist who doesn’t want to be bothered by complex, multi-effect vocal processors when they just need a simple way to add an effect or two to their vocals.

PreSonus Temblor T10 Subwoofer


People have been saying great things about the new line of monitor speakers from PreSonus, and we’ve just received the Sceptre CoActual monitors in the studio for review, but new for NAMM was the Temblor T10 subwoofer, with 250W power and a frequency response of 20 Hz — 130 Hz (with a continuously variable crossover, of course). There’s also an 80 Hz high-pass filter, and the included footswitch controls the high-pass filter bypass as well as full subwoofer bypass, too.

Radial Space Heater


The sum of all tracks is… say hello to the Space Heater, a single rack space, eight-channel summing mixer with a 12ax7 tube circuit! The design conception was to provide a way to add some analog warmth to a full digital recording, for example, by sending eight of your drum tracks into the Space Heater, applying varying amounts of tube drive to each track, and then sending it back to your DAW. That’s just one of many possible uses for the innovative device. We love that you can select one of three different levels of voltage to the tube: 25, 50, or 100 volts, depending on whether or not you want some distortion or clean warmth. With an external power supply, ¼” TRS and D-sub in/outs, this could be a great “secret sauce” device for your pro studio.

Sensaphonics 3D AARO

The new 3D AARO in-ear monitoring system takes their already-great technology and makes it even better. The distinguishing feature in Sensaphonics systems is that they build microphones in their IEMs, which allow the performer to dial in their own ambient noise levels without compromising the effectiveness of the sound isolation that custom molds provide (other companies have resorted to drilling holes in their IEMs to allow ambient noise to enter). At the flip of a switch, performers can also have conversations with bandmates and support crew without needing to remove their IEMs.

With the second-generation active ambient system, the bodypack now enables stereo recording via the microphone system, so a performer can capture a live rehearsal or other performance from their own sonic perspective. Cool! Also new is a Bass Boost switch that adds 10 dB of additional low-frequency response to the mix, as well as use of the same quadaxial cable found on other Sensaphonics headphone products.

Shure SE846

If you’re interested in custom molds for your in-ear monitoring, you won’t go wrong treating your ears to the new Shure SE846 sound isolating earphones. They have four micro-drivers (as opposed to the armature technology employed by many custom in-ear monitor manufacturers) and a low-pass filter that reportedly brings new levels of low-end clarity to the three-way sound. Depending on the sleeves (tips) used, they provide up to 37 dB of ambient noise reduction.

See the Guitars section for information about the exciting new Torpedo Reload and Torpedo Studio products.

Universal Audio Apollo Twin

Universal Audio
The new Apollo Twin Thunderbolt audio interface is as impressive as it is beautiful. It’s a 2x6 interface with 24 bit/192kHz specs, combined with UAD SOLO or DUO processing. The beauty of this product integration is that you can use UA’s fantastic plug-ins on the input signal chain rather than only as a mixing solution. To that end, the bundled “Realtime Analog Classics” collection features many useful emulations, and UAD plug-ins now support Avid’s 64-bit AAX platform for use with Pro Tools 11.



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