PRO AUDIO
Taylor

Taylor
March 24, 2014

JBL 3 Series Studio Monitors Overview

There are so many choices these days when it comes to a great pair of studio monitors. Most studio engineers will tell you that the most neutral loudspeaker is the old trusty Yamaha NS10. This is certainly correct in a lot of respects, but the NS10 has fallen out of production and your best chance at getting a pair is probably used and no less than $400. That classic technology has of course been ported over to their newer models, but people still love that classic NS10 sound. JBL however saw this as an opportunity to produce a professional studio monitor with the most neutral frequency response and at a price that everyone in the marketplace can afford. Their achievement in pristine fidelity and incredible affordability has culminated in the production of the JBL 3 Series Studio Monitors. JBL Professional was nice enough to invite us into their home where …

PRO AUDIO
Taylor

Taylor
November 21, 2013

Presonus Sceptre S6 Studio Monitor Review

It seems like every major pro audio manufacturer has a studio monitor within their product catalog, so how are you supposed to know which ones are the best? If you are mixing and making music professionally or even doing it for fun, then you really want the flattest response possible. It seems that more and more consumers want to get the studio monitor that’s going to have the best response for mixing down a final piece of content, whether that be your pet project or your professional work. With all of these options out there and everyone claiming to have the best on the market, how do we decide which ones to get?

One contender that debuted earlier this year was the Presonus Sceptre S6 Studio Reference Monitors. When I initially saw them on the NAMM show floor I was a little skeptical of the design until I read more …

PRO AUDIO
Taylor

Taylor
November 1, 2013

Native Instruments Maschine Studio Review

It’s been quite a long time since we have seen anything drastically new from the Native Instruments line of Maschine groove production controllers. Sure we got the Maschine Mikro and two new versions with the MK2 line, but these added only slight improvements to workflow and left a lot of active Maschine users (myself included) wondering if there was ever going to be anything substantially different on the horizon. Well those questions can now be answered with the latest controller in the Maschine line, the Maschine Studio.

There are tons of new features on the Maschine Studio which, in my opinion, really improve the sound design process because it gets your eyes and your hands off the computer screen and mouse and onto the actual controller. That’s not to say that this was not achievable on the Maschine MK2 or even the first Maschine, but it was not perfect. …

PRO AUDIO
Taylor

Taylor
September 10, 2013

Nektar Panorama P1 Overview

Last week we ran a performance styled demo of the Nektar Panorama P1 in use with Ableton’s Push. This week we are back with an overview of the unit. Overall, we found ourselves in familiar territory with the P1, and think it will meet the needs of a different group of users than the P4 and P6 had done. We didn’t go into detail on the control system as much this time, as we had covered that in our P4 overview. Let us know if you have any questions about the Panorama series. If last week’s performance demo made you wonder about the differences between the more modular P1 and the P6/P6, be sure and take a look at the P4 Demo as well.

To pick up a Nektar Panorma P1 for yourself, head on over to UniqueSquared.com.

Transcript…

The Nektar Panorama P1 is the third controller in the

PRO AUDIO
Taylor

Taylor
June 13, 2013

RME Fireface UFX Review

RME has a reputation for being one of the leading companies when it comes to high quality, analog to digital converters within their audio interfaces. A lot of high quality interfaces stop right there with the microphone preamps and the AD conversion. RME goes that extra step on the Fireface UFX by including all kinds of internal settings from FX controls to an internal DSP for recording without a computer. You also have options for adding external hardware to up the ante and give you a large volume of inputs and control. The RME Fireface UFX has been out for a couple years now, but we rediscovered its power when comparing it to the large volume of audio interfaces coming from various companies. A lot of the newer interfaces are trying to incorporate a level of portability with quality, but many fall short when compared to the RME Fireface UFX.

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