Introduction
You know, from time to time, you get some (nice) surprises, when you less weren't expecting it.
By a casual, I have answered back to a post (in Seymour Duncan's forum), where the Original Poster was asking "which is the best cable for you and why".
My answer was that "After testing a bunch of cables, from the cheapest Chinese to the expensive ones, I went to Mogami 2524 bulk cables" and that "While Vovox (Sonorus) and Evidence Audio (The Lyric HG) where in the top of the pyramid, Mogami's was just slighly under those in tone but, way lower in price" and that "while My Lyric HG broke, my Mogami's last still".
Well, you never know which eyes are reading you.
I've received a mail from Toni Marinello (Evidence Audio), same day, few hours later.
An Unique and Exemplar Customer Service
Toni's mail was short, barely a telegram but, with just what matters. He said he read in SD forum that my Lyric HG broke and, asked me if he could do something to help me.
My fault. I remember I read a nice interview to Toni Marinello in The Tone Quest digital fanzine, long time ago. I remember very clearly the key figures of such an interview but, I completely forgot the name of da man to be honest.
So, I was thinking that Toni was some kind of Customer Service Representative that was interested on washing Brand Image or, that maybe, Evidence Audio had a nice post-sale service, at the end.
In that scenario, my answer was something like: "hi Toni, thank you. Well, I don't know if you can do something for me. I bought the cable in that online store some time ago and, it broke just playing. You know, you move while you perform, and the cable breaks".
Typical, right?.
How many cables have broken due to the messes that occur while you move while playing?.
What do you do, then?.
You usually buy (or craft) one more and, maybe a new brand/model, with the secret expectation that, this time, it will last longer.
Ok. I have sent back my answer to Tony expecting to receive something like "We are very sorry. This is cable broken by a bad use, etc., etc.". But, what I received back was an answer llike "My cables are warranted for life. I've already talked to store X and I will make a replacement cable for you. The store will place soon an order for me and, I will include such a cable for you". I wanted to send me the Forte (more indicated for guitar to pedal board applications, because it's more flexible), instead of the Lyric HG.
I wrote back a mail saying how gratefully surprised me and thank you him for his interest and kind offer.
I've explained my experience with several of his products: Monorail (with George's L connectors), The Siren II, The Lyric HG and The Forte.
I've explained to him that I gave up trying to mount patch cables with Monorail using George's L connectors (as he suggested, originally), because it was a waste of time with very low success ratio.
Also, that I loved the Siren but, that it would be a nice thing if he was preparing some cables with an extreme with those metallic clamp connectors often seen in combo speakers. In that way I could upgrade my 3 combos.
And, also that being the Forte a great cable, in my honest opinion, it hasn't the same tone (or lack of tone, as per himself words) than the Lyric HG, that the Forte sounded warmer, not so EQ evenly sounding and slightly less defined and chiming as the Lyric HG. For this, I wanted him to send me a Lyric HG replacement that I would use for the run pedal board to amp or just for recording.
He answered me back that, even being a single-man company, he cares about all his customers the same and, he loves to do it that way. That he was glad to have to opportunity to update me with its upgrades and enhancements.
He understood my issues with Monorail / George's L connectors and, explained me that, after some time (I bet that based on customers feedback), he developed a perfect connectors system to work with his Monorail system (SIS) and linked me to his page, which has an impressive video showing how one of his Monorail cables mounted with the SIS system, was supporting the weight of a combo amp!!!.
Watch this video!.
He also pointed me to a page where I could buy the Siren with such a clamp connectors and, that this was released some time ago.
Finally, he understood my point with the Forte but, let me know that the Forte was re-engineered and that now sound exactly the same as the Lyric HG and, it's more expensive, because each thread of the double multi-thread core wires were insulated with Enamel (as big part of pickups' coil wires!!!).
So, I've thanked them again for the great update and, sent the original purchasing info for him to discuss the way with the store. I am waiting that replacement cable.
Pay it once, enjoy it your whole life
As already mentioned above, there are few cables that I will put on the top of the pyramid and, in my personal tests, tone-wise, the best sounding cables where Vovox Sonorus and Evidence Audio The Lyric HG, in every single variable: punch, loudness, definition, low microphonics, tone preservation, plain frequential response, etc. But both presented same issues: they were so thick and rigid that weren't unsuitable for real performance (at least that you stand up quiet as a mummy).
The Mogami 2524 sounded to me slightly better than the Forte and slightly worst that those two heavy weights but, price-wise, the Mogami was way more affordable than any of those and, I could buy the bulk cable to make my patch, cords and cables to the lengths I needed. That's why I went for Mogami 2524, without any doubt.
To be honest, I didn't know that Evidence Audio offered a "for life warranty" and, if I knew that in some point of time, I would probably though that this was just "snake oil".
But, evidently, Evidence Audio is taking really seriously his compromise and, this completely changes my perception of what is really expensive or affordable.
How many cables have broken due to the messes that occur while you move while playing, in your life?.
Evidence Audio cables are the hell expensive, indeed. If you think you should buy again a replacement cable, then you end searching for a more reasonable alternative, as I did.
But understand this key point: you buy once, enjoy the whole life.
I don't know of any other product in musical world (honestly, even out of the musical environment) offered with such a level of warranty and compromise!. Only this subject sets completely apart Evidence Audio from other cable makers / assemblers.
I know that there are many people that think that cables make no difference and, this is just snake oil. And, to be honest, I was in the same position long time ago.
But, instead of discussing about something I had never experienced, I bought several cables, of variate prices and design to demonstrate to myself that I was right.
The surprise was to discover that I was wrong and, that cables make real difference, specially in long runs and when your pedalboard has some respectable number of pedals (12 in my tests).
For those that thing this is just snake oil, please, do your own tests (with significative lengths and number of pedals). This is the only way you will be in a real position to discuss about the subject.
For those that already know cables make a difference and, that were thinking on to go for Evidence Audio but, ended with a more affordable and reasonably well sounding cable (as myself), just consider that to buy an Evidence Audio cable is a one-time expense for your whole life.
Can it be considered as expensive from that point of view?.
Unfortunately, the news about the upgrades and enhancements that EA did, aren't easily seen in his own page. Tony has a presence in Thegearpage and, will probably provide right feedback in some social networks tools (facebook, twitter, etc.) but, since I'm not using those, I didn't new about what he enhanced.
Myself, once I can save the money, I will go back to EA stuff, this time knowing that I am getting the best sounding cables for my whole life, paying just once!.
More readings
The Tone Quest Report published a nice report The Truth about Audio Cables, where the interview with Toni Marinella will bring you a lot of interesting technical information about cables and cable makers.
In my own blog, I was discussing about the qualities that a good guitar cable should have, in my entry what is a good guitar cable? (including a video comparing several cables) and, a comparison Mogami vs Evidence Audio.
Everything about electric guitars world
30 March 2014
20 March 2014
Strat Fighters: Fender's Eric Johnson model vs Fender's American Deluxe Strato loaded with David Allen Dovers pickups
Introduction
Few weeks ago, we went to an awesome store to test several Stratocasters for my fellow friend.
During that intensive testing of the best sounding axes under 2500 Eur, the winner in sound was the Eric Johnson model, that sounded several steps over any other model (including some relics and other interesting variants).
But, my friend election was an American Deluxe, because of its ergonomics and added features (deluxe tremolo, staggered locking keys, compound radius fretboard, etc.).
Our goal was to give to that axe, at least, same quality sound as the Eric Johnson model had, with the help of David Allen's Dover pickups.
I've designed some special wiring for this axe, to overwrite the no-sense stock alternative pickup combinations and, my fellow friend luthier did the wiring and overall set-up.
The axe was sounding really good but, did we success?.
How to know it without a fair axe to axe comparison, right?.
Strat Fighters
We needed to compare both guitars, in a fair way, by using exactly same gear without changing anything, between one or the other test.
We went back to the store and, ask them to allow us to test both axes with same rig, because we were very curious about final results. That Eric Johnson had the sound, the Deluxe the playability so, if we achieved the sound in the Deluxe, we had the complete axe on hands.
First, we were plugged in an amp that made everything to sound lifeless. It was the George Benson's model of the Fender's Hot Rod series.
Ok, maybe it can work for a semi-accoustic guitar and Jazz stuff but, it wasn't our coup of tea.
As soon as we moved on the Bassman reissue (same we used first time to test every Strato), bells, chime, spark, quack came back to life and, that was a key point to do a fair comparison.
For driven tones, we used the Bogner Ecstasy Red pedal, that would allow us to test how the singles stand under hi gain conditions. So we covered from clean to hi gain and, everything in between.
During the first phase, we were just trying the Deluxe with Dovers alone and, fine-tunning pickup's heights, once the fair Bassman revealed every nuance.
Also, we checked the alternative wiring of my design, finding really useful the 5 alternative combos (LP Neck virtual humbucker / Tele single/single virtual middle position / LP virtual middle position / Tele humbucker/single virtual middle position / LP virtual bridge humbucker).
Results of virtual humbuckers with Dovers isn't vintage-alike but, hot output humbuckers, instead.
Virtual bridge humbucker sounded fatter than any LP vintage humbucker but, awesome for hi gain stuff, anyway.
Once we were satisfied with the sound of the Deluxe with DA's Dovers, the doubt floated on the air: "Ok, that is sounding crazy good but... really good?... did we achieved a sound with the quality of the EJ model?".
My fellow friend started to play a part of a song and, I said: "Stop here. Just get that EJ, select same position and replay same part!".
Just after the first note, everything was clear but, he finished the part, anyway.
We swapped the guitars several times more with some other song parts and, trying several (standard) positions. Always same results.
You know, sound differences are very difficult to explain but, I will try it.
Overall, the EJ model sounded as being pushed back in a Z edge of a tridimensional sound, while the Deluxe with Dovers sounded in your face. Similar effect to what happens when you change from an small combo to a bigger open back cab.
Dovers sounded string-to-string and note-to-note more defined but, not in a cold and aseptic way but, in a very musical and harmonically rich way.
Under hi gain, the Dovers stand firm without issues, delivering huge sound and, without going muddy, blurry or just undefined. Any pinch or artificial harmonic is achieved with ease, shredding, tapping, palm mutes, everything works with attitude. The well defined piano-alike basses give a good body to the sound and, helps to achieve a powerful sound, without going undefined.
And the winner was...
Well, taking into account that the Eric Johnson model was BY FAR the best sounding Stratocaster under 2500 Eur in that store and, taking into account that such an axe sounded as shy or pushed back and undefined compared the Deluxe with Dovers then... the winner was... the winner was...
Yes, you can name it!
Deluxe with David Allen Dovers !!!.
Unfortunately, we were not allowed to record a video with this comparison, since this could potentially affect brand's relations. So, if you are a follower of this blog, you will know that I care about tone and, you can just believe on this or not. But, to me, David Allen pickups are the most exciting pickups I've ever tried and, go some step over Bareknuckle Pickups (which were my preferred ones, up to now).
I don't know how David achieves it but, man, you owe a good set of David Allens to know how good your guitar can sound.
Some height adjustment tricks for David Allen single coils
If you are used to standard mass production pickups, you need to be aware that the sensitivity of awesome boutique pickups, as David Allen's ones needs a more careful approach to determine the right height for each pickup. I've lost lot of time with several sets and several Stratos so, I'm feeling in a position where I can share something to help you in the process.
First, you must understand that the balance side to side (low E / high E strings) is more important than the average height of the pickup. There is just one plane (determined by both sides height) were those pickups sound perfect, any slight side unbalance can mask the sound.
So, that's the procedure I've followed:
Try to use some simple design single channel amp, with a good organic and clean sound.
Few weeks ago, we went to an awesome store to test several Stratocasters for my fellow friend.
During that intensive testing of the best sounding axes under 2500 Eur, the winner in sound was the Eric Johnson model, that sounded several steps over any other model (including some relics and other interesting variants).
But, my friend election was an American Deluxe, because of its ergonomics and added features (deluxe tremolo, staggered locking keys, compound radius fretboard, etc.).
Our goal was to give to that axe, at least, same quality sound as the Eric Johnson model had, with the help of David Allen's Dover pickups.
I've designed some special wiring for this axe, to overwrite the no-sense stock alternative pickup combinations and, my fellow friend luthier did the wiring and overall set-up.
The axe was sounding really good but, did we success?.
How to know it without a fair axe to axe comparison, right?.
Strat Fighters
We needed to compare both guitars, in a fair way, by using exactly same gear without changing anything, between one or the other test.
We went back to the store and, ask them to allow us to test both axes with same rig, because we were very curious about final results. That Eric Johnson had the sound, the Deluxe the playability so, if we achieved the sound in the Deluxe, we had the complete axe on hands.
First, we were plugged in an amp that made everything to sound lifeless. It was the George Benson's model of the Fender's Hot Rod series.
Ok, maybe it can work for a semi-accoustic guitar and Jazz stuff but, it wasn't our coup of tea.
As soon as we moved on the Bassman reissue (same we used first time to test every Strato), bells, chime, spark, quack came back to life and, that was a key point to do a fair comparison.
For driven tones, we used the Bogner Ecstasy Red pedal, that would allow us to test how the singles stand under hi gain conditions. So we covered from clean to hi gain and, everything in between.
During the first phase, we were just trying the Deluxe with Dovers alone and, fine-tunning pickup's heights, once the fair Bassman revealed every nuance.
Also, we checked the alternative wiring of my design, finding really useful the 5 alternative combos (LP Neck virtual humbucker / Tele single/single virtual middle position / LP virtual middle position / Tele humbucker/single virtual middle position / LP virtual bridge humbucker).
Results of virtual humbuckers with Dovers isn't vintage-alike but, hot output humbuckers, instead.
Virtual bridge humbucker sounded fatter than any LP vintage humbucker but, awesome for hi gain stuff, anyway.
Once we were satisfied with the sound of the Deluxe with DA's Dovers, the doubt floated on the air: "Ok, that is sounding crazy good but... really good?... did we achieved a sound with the quality of the EJ model?".
My fellow friend started to play a part of a song and, I said: "Stop here. Just get that EJ, select same position and replay same part!".
Just after the first note, everything was clear but, he finished the part, anyway.
We swapped the guitars several times more with some other song parts and, trying several (standard) positions. Always same results.
You know, sound differences are very difficult to explain but, I will try it.
Overall, the EJ model sounded as being pushed back in a Z edge of a tridimensional sound, while the Deluxe with Dovers sounded in your face. Similar effect to what happens when you change from an small combo to a bigger open back cab.
Dovers sounded string-to-string and note-to-note more defined but, not in a cold and aseptic way but, in a very musical and harmonically rich way.
Under hi gain, the Dovers stand firm without issues, delivering huge sound and, without going muddy, blurry or just undefined. Any pinch or artificial harmonic is achieved with ease, shredding, tapping, palm mutes, everything works with attitude. The well defined piano-alike basses give a good body to the sound and, helps to achieve a powerful sound, without going undefined.
And the winner was...
Well, taking into account that the Eric Johnson model was BY FAR the best sounding Stratocaster under 2500 Eur in that store and, taking into account that such an axe sounded as shy or pushed back and undefined compared the Deluxe with Dovers then... the winner was... the winner was...
Yes, you can name it!
Deluxe with David Allen Dovers !!!.
Unfortunately, we were not allowed to record a video with this comparison, since this could potentially affect brand's relations. So, if you are a follower of this blog, you will know that I care about tone and, you can just believe on this or not. But, to me, David Allen pickups are the most exciting pickups I've ever tried and, go some step over Bareknuckle Pickups (which were my preferred ones, up to now).
I don't know how David achieves it but, man, you owe a good set of David Allens to know how good your guitar can sound.
Some height adjustment tricks for David Allen single coils
If you are used to standard mass production pickups, you need to be aware that the sensitivity of awesome boutique pickups, as David Allen's ones needs a more careful approach to determine the right height for each pickup. I've lost lot of time with several sets and several Stratos so, I'm feeling in a position where I can share something to help you in the process.
First, you must understand that the balance side to side (low E / high E strings) is more important than the average height of the pickup. There is just one plane (determined by both sides height) were those pickups sound perfect, any slight side unbalance can mask the sound.
So, that's the procedure I've followed:
- Lower the three singles to pickguard level.
- Start fine tuning the Neck pickup.
- Raise the low-E side of the pickup until you get a clear defined, good output sound for bass strings.
- Around that spot, 1/8 of turn of the adjustment screw will make a clear difference.
- Raise now the high-E side of the pickup until you get a clear balance in every string. Double check balance by playing same note in same fret of low and high E strings. Check the chord overall body and consistence, note by note.
- Once the both sides are balanced, raise both up or down, same screw turns, up to get the best sounding result.
- Check now with some overdrive or distortion pedal. The sound should be liquid, sustained and well defined. Otherwise, readjust pickup.
- Once you have the neck pickup fine tuned. It's time for the Middle pickup.
- Just measure the gap between pole and string bottom in both sides of the neck pickup, while you press related string against the last fret of your fretboard.
- Once measure, press again the string for each side and adjust the gap for the middle pickup to the exact same height.
- Play with 1/8 turns of the adjustment screw to fine tuning the middle. Maybe, you will need to raise both sides 1/8 to 1/4 of screw turn respect of the neck. Be sure you have both sides well balanced, as explained for the neck pickup.
- Try the middle with some distortion and, readjust when needed.
- Now, check the notch position that combines neck + middle pickups. If you need to fine tune, do 1/8 screw turn adjustments to the middle pickup, until you get the perfect notch sound.
- Time to go for the bridge pickup.
- Measure middle heights (as described above) and fine tune the balance of the bridge pickup.
- Try with distortion and fine tune.
- Try then the notch position that combines middle and bridge pickups. Fine tune bridge height to get a good quacky sound.
- Check that the output of the three pickups seems the same, in loudness.
- You are done!. Enjoy it!.
Try to use some simple design single channel amp, with a good organic and clean sound.
15 March 2014
Guitars: Epiphone Korina Flying V review
Introduction
Note: this blog entry was already published in my old Spanish version of this blog, around November 2011. I'm revisiting it here and updating it with more relevant info.
Who can resist to the attraction of the Gibson Korina Flying V?. Who wouldn't love to have one of those in his/her arsenal?.
Well, prices of a Gibson Korina Fying V are absolutelly out of my budget and, more if this shall not be my #1 guitar. So, I went to Gibsons' poor brother and bought an Epiphone Korina Flying V and, this is my experience and impressions with such a guitar.
Presentation
No surprise. All these low cost guitars, Made in China, come with a cardboard box (which seems a casquet), wrapped in some kind of foam-foil that just protects the guitar from dust and nothing else.
With the guitar, some adds by Epiphone, a cheap instrument cable and an Allen key to set up the thrussrod.
But, wood looks really good. No flaw, nothing wrong to point here.
Well, you need to know that Korina is just a paint color, not the wood. Really, the wood for neck and body is just mahogany, with a Korina-colored clear coat.
So, if you expected a Korina made instrument, you will not get it.
Body, neck and peghead are really good finished and, even the fretboard has a nice look (not that cheap rosewood fretboards with zebra aspect).
Respect of plastics: the pickguard and the jack's plastic nut are triple-layered (cool!). The nut, even being a plastic one, looks hard plastic and not that bland plastics seen in most of cheap Chinese guitars.
Respect of hardware: we can find typical medium-cost asian stuff, not bad and, fully functional. Die-cast oil sealed tuning keys, etc. The gold plated coat is low cost so, it will wear really fast, as usuall.
Frets are of type of wide medium-jumbo but, a tad shorts on height so, if in a future your frets wear, you will probably need to completely refret the fretboard.
Two aspects that worry me are the narrow sparrows where stand the light weighted bridge and, that piece where the strings go to their anchoring spots thru the body.
Electronics are good. Not those typical mini-pots or cheap 3-way pickups selectors. The electronics work was neat and the guitar presents no hum or ground noise, at all.
Pickups have a very low output and, to get something good from them, you need to push them with some booster (Xotic EP Booster or Wampler Decibel+ are good ones for this task).
They sound PAF-alike but, they lack output, body, harmonical richness, and openess for a wide and huge sound. Well, they sound just plain and lifeless.
Anyway, as it comes stock (except for overall setup) it has an use but, as often happens with Epiphone's guitars, a new set of better sounding pickups will be very well welcome, indeed.
Playing the guitar
After, seen that the overall impression is favorable, this is time to hung the guitar on and to check how it plays. But What the hell is this?.
This guitar has a serious head diving issue. It's just unplayable as it cames stock!.
Without going to change the position of the strap anchors, the only way to get a bit rid of the issue is to use a lether (with big grip) strap, to minimize the diving issue.
I've finally decided to move the upper anchor to the back of the body, centered just below the neck junction (as you can see in Gibson's models). This completely fixes the diving issue but, then, you have that anchor drilling your belly, and certain lateral deviation.
Neck is easy to walk and smooth (well finished frets). Overall, it seems to me that strings haven't the right stress, they feel bland. But, after swapping stock strings with D'Addario XL110 (10") everything, in stress and sound made an awesome difference.
Pots and 3-way work smoothly. No issues.
Respect of sound, testing it with a Marshall 1923C and a few pedals: Xotic EP Booster, Hermida Audio Zendrive and Tiki Drive, it sounds a tad dark and warm, which makes it a bit difficult to cut the mix and, the sound seems as covered by a blanket but, this is a clear issue coming from the choosen pickups.
If I test the guitar unplugged, it's clear that the wood is very resonant and with a huge sustain.
As I said, new pickups are a must for this guitar to let it shine
Moding the guitar
Until now, we found three main issues: head diving, strings and pickups but, if you try to mod your guitar, you will soon find the forth and fifth issues with this guitar.
One of the worst design decisions I've ever seen is that the posts of the bridge are drilled through the pickguard and, that means that if you wanted to remove the pickguard to swap your pickups, you need to unscrew the post (so ruining your setup) and, just when you had that post removed you could be able to remove the pickguard. So, you bet it, one of the best mods you can do is to carve that part of the pickguard to avoid that screw thru the pickguard.
Second issue is related to the way the strings are being inserted. Not having the typical stop tail piece, you cannot just loose the strings and remove bridge and stop-tail, you need to completely unstring the guitar.
Other issue that you can find is that there is no room for a push/pull pot. Body is slim and its cavity also so, any potential mod should go thru micro-switches, IMHO or, after routing the cavity deeper.
Conclusion
This is a great guitar for its price, even leaving it stock. Has an eternal sustain and a very particular voice, bumped in mid-low frequencies, with a very warm and vocalish sound, all arround.
But, it's highly recommended that you re-position the straps anchors to fix the peghead diving and, that you swap stock strings with a good sounding set (D'Addario XL110 sounded good to me) and, that you throw there a good set of pickups.
Other than this, cut that pickguard to avoid the bridge post to go thru it and, you are done.
With right strings and pickups and, after fixing the peghead diving issue, this guitar will give you lot of fun and satisfaction. I have to highlight, very specially, its sustain and very vocalish voice.
Note: this blog entry was already published in my old Spanish version of this blog, around November 2011. I'm revisiting it here and updating it with more relevant info.
Who can resist to the attraction of the Gibson Korina Flying V?. Who wouldn't love to have one of those in his/her arsenal?.
Well, prices of a Gibson Korina Fying V are absolutelly out of my budget and, more if this shall not be my #1 guitar. So, I went to Gibsons' poor brother and bought an Epiphone Korina Flying V and, this is my experience and impressions with such a guitar.
Presentation
No surprise. All these low cost guitars, Made in China, come with a cardboard box (which seems a casquet), wrapped in some kind of foam-foil that just protects the guitar from dust and nothing else.
With the guitar, some adds by Epiphone, a cheap instrument cable and an Allen key to set up the thrussrod.
But, wood looks really good. No flaw, nothing wrong to point here.
Well, you need to know that Korina is just a paint color, not the wood. Really, the wood for neck and body is just mahogany, with a Korina-colored clear coat.
So, if you expected a Korina made instrument, you will not get it.
Body, neck and peghead are really good finished and, even the fretboard has a nice look (not that cheap rosewood fretboards with zebra aspect).
Respect of plastics: the pickguard and the jack's plastic nut are triple-layered (cool!). The nut, even being a plastic one, looks hard plastic and not that bland plastics seen in most of cheap Chinese guitars.
Respect of hardware: we can find typical medium-cost asian stuff, not bad and, fully functional. Die-cast oil sealed tuning keys, etc. The gold plated coat is low cost so, it will wear really fast, as usuall.
Frets are of type of wide medium-jumbo but, a tad shorts on height so, if in a future your frets wear, you will probably need to completely refret the fretboard.
Two aspects that worry me are the narrow sparrows where stand the light weighted bridge and, that piece where the strings go to their anchoring spots thru the body.
Electronics are good. Not those typical mini-pots or cheap 3-way pickups selectors. The electronics work was neat and the guitar presents no hum or ground noise, at all.
Pickups have a very low output and, to get something good from them, you need to push them with some booster (Xotic EP Booster or Wampler Decibel+ are good ones for this task).
They sound PAF-alike but, they lack output, body, harmonical richness, and openess for a wide and huge sound. Well, they sound just plain and lifeless.
Anyway, as it comes stock (except for overall setup) it has an use but, as often happens with Epiphone's guitars, a new set of better sounding pickups will be very well welcome, indeed.
Playing the guitar
After, seen that the overall impression is favorable, this is time to hung the guitar on and to check how it plays. But What the hell is this?.
This guitar has a serious head diving issue. It's just unplayable as it cames stock!.
Without going to change the position of the strap anchors, the only way to get a bit rid of the issue is to use a lether (with big grip) strap, to minimize the diving issue.
I've finally decided to move the upper anchor to the back of the body, centered just below the neck junction (as you can see in Gibson's models). This completely fixes the diving issue but, then, you have that anchor drilling your belly, and certain lateral deviation.
Neck is easy to walk and smooth (well finished frets). Overall, it seems to me that strings haven't the right stress, they feel bland. But, after swapping stock strings with D'Addario XL110 (10") everything, in stress and sound made an awesome difference.
Pots and 3-way work smoothly. No issues.
Respect of sound, testing it with a Marshall 1923C and a few pedals: Xotic EP Booster, Hermida Audio Zendrive and Tiki Drive, it sounds a tad dark and warm, which makes it a bit difficult to cut the mix and, the sound seems as covered by a blanket but, this is a clear issue coming from the choosen pickups.
If I test the guitar unplugged, it's clear that the wood is very resonant and with a huge sustain.
As I said, new pickups are a must for this guitar to let it shine
Moding the guitar
Until now, we found three main issues: head diving, strings and pickups but, if you try to mod your guitar, you will soon find the forth and fifth issues with this guitar.
One of the worst design decisions I've ever seen is that the posts of the bridge are drilled through the pickguard and, that means that if you wanted to remove the pickguard to swap your pickups, you need to unscrew the post (so ruining your setup) and, just when you had that post removed you could be able to remove the pickguard. So, you bet it, one of the best mods you can do is to carve that part of the pickguard to avoid that screw thru the pickguard.
Second issue is related to the way the strings are being inserted. Not having the typical stop tail piece, you cannot just loose the strings and remove bridge and stop-tail, you need to completely unstring the guitar.
Other issue that you can find is that there is no room for a push/pull pot. Body is slim and its cavity also so, any potential mod should go thru micro-switches, IMHO or, after routing the cavity deeper.
Conclusion
This is a great guitar for its price, even leaving it stock. Has an eternal sustain and a very particular voice, bumped in mid-low frequencies, with a very warm and vocalish sound, all arround.
But, it's highly recommended that you re-position the straps anchors to fix the peghead diving and, that you swap stock strings with a good sounding set (D'Addario XL110 sounded good to me) and, that you throw there a good set of pickups.
Other than this, cut that pickguard to avoid the bridge post to go thru it and, you are done.
With right strings and pickups and, after fixing the peghead diving issue, this guitar will give you lot of fun and satisfaction. I have to highlight, very specially, its sustain and very vocalish voice.
10 March 2014
Fender American Deluxe SSS (2010 model) - a succesfully mod story
Introduction
As I've explained in a previous blog entry, my friend was in the market for a new Fender Stratocaster and, ended with an American Deluxe SSS, 2010 model.
Not because of its sound, but because of the rest of ergonomic and good enhancements.
We have already decided to swap those pickups with David Allen's pickups and, after hearing the EJ model, we decided to go for Dovers set, which should nail EJ's tone.
I myself own one of the first Deluxe versions (that was produced for very short) so, I knew what's good and wrong with that axe.
In some way, this entry is an overall review of the American Deluxe model 2010 and, a story of the wiring mod I've designed for this axe, to substitute non-sense factory tones.
The Beast and the Beauty
Seriously, this guitar is Hell and Heaven, Beast and Beauty.
They did an awesome job in some areas but, they have took scary decisions in other areas.
Let's talk about the good things first.
From a "wood-luthier" point of view, this guitar is what any strato ever dreamed.
I mean, wood quality is clearly superior, as well as inlays and overall finish.
It has compound radius fretboard (my own deluxe, hasn't), a good nut (not the LSR nut of mine), staggered tuning keys (that give the right angle to strings, to avoid the tree strings) and, locking keys (which help to keep the tuning stable.
It has a nice Deluxe Bridge, that works pivoting with its blade on two posts, as any modern bridge (Kahler, Floyd Rose, etc.), which gives a better touch, immediateness and accuracy to tremolo effect and, helps to tuning stability also.
Also, the junction body / neck was beveled to allow a more comfortable access to low frets.
Well, in wood, hardware and ergonomics aspects is a great enhancement respect of Standards.
Now the bad (and understandable) things.
Why in the Hell, the minds that prototyped such a guitar thought on a set of Noiseless Samarian-Cobalt N3 pickups?. Not sounding bad at all, they aren't organic and, this is more clear when you just play any other good Strato. Why a Deluxe model has such a thing?.
Then, the potentially interesting S-1 switch, which should bring you 5 new exciting alternative pickup combinations (or sounds) to cover lots of ground. A good configuration that can give you 10 different sounds (including the 5 standard strato sounds) sounds amazing on paper, right?.
Well, from an "electronics-tech" point of view, every taken decision during design phase was wrong for this axe. Even the combos that came with the first version of the Deluxe SSS made more sense.
Most of the 5 alternative combos (with the S-1 pushed down) have no real use and sound really awful.
So, I can imagine lots of people missing all the good that the Deluxe model has to offer, because it plainly sounds worst than any Standard, with stock pickups and wiring.
Fender people!. What were you thinking while designing the electronics side?.
Bringing back the Deluxe to life
An axe of this level owes stuff at its level. We were clear about to throw there a set of David Allen's Dovers, because that was the sound we wanted for this axe.
Now, it was time to re-design the alternative wiring for this axe and, I had some surprise, again!.
After removing all the solder and, leave components unwired and clean, I've discovered that the new Deluxes are mounting some kind of hybrid super-switch.
It has one wafer as the original 5-way (that is, 3 real positions and 2 fake notch positions) and, one more wafer as the super-switch (that is, 5 real positions) so, this is a mix of a DP3T (with two notch positions) and a real DP5T. So, you have all the issues of the typical standard 5-way and, just few advantages of the super-switch.
Once more, Fender people, what were you thinking on when designing this axe?.
Well, we had to buy a new brand Super-switch (4P5T) to have 4 poles with 5 real positions to re-design the wiring for some interesting alternative sounds.
My plan was to preserve the original strato sounds in the normal mode (S-1 switch up) and to, provide LP-like sounds and some other interesting alternatives (as the middle position of the tele and, one of my favourite combinations).
So, my plan was to have:
1. Virtual LP Neck humbucker (Neck in series with Middle)
2. Virtual Middle position of Telecaster (Neck in parallel with Bridge)
3. Virtual LP Middle position (Neck in series with Middle - in parallel with - Middle in series with Bridge)
4. HS combination (Middle in series with Bridge - in parallel with Neck)
5. Virtual LP Bridge position (Middle in series with Bridge)
Results exceeded our expectations. In words of my fellow friend luthier: "this axe covers several decades of music styles. Every combo makes sense and has a real use. This is the most versatile guitar I've ever heard.".
Our plan is to go back to the store where my other fellow friend bought it and do a face-to-face comparison with the amazing Eric Johnson's model. We all (us and store' staff) know how both axes sounded before so, it will be a very exciting test, which I hope to record and hang in Youtube later.
This will leave you to understand how amazing would be a Deluxe with the right electronics from factory and, if you like how it plays, you will be able to enhance it with some additional economical effort but, at least, you will have a great ergonomical axe (with Charvel's compound radius fretboard!), versatile and sounding good as hell.
New heart and neurons for the beast
Before going for the wiring diagram, I would like to warn you about a very important issue, if your plan is just to swap stock pickups with a new set of good sounding strato pickups.
Warning about mounting sets with RWRP middle in a Deluxe!
If your intention is just to swap the annoying N3 stock pickups with a good sounding replacement set of pickups, be aware that you will be able to use there a set without RWRP middle pickup.
Reason is that stock wiring uses some (awful) out-of-phase combinations and, an RWRP pickup reverses the whole wiring sense and, makes no good to something that already sounded bad.
If your plan was to just swap original set of pickups with a new one, just be sure you use regular middle pickup.
With David Allen's Dovers
Most of DA' sets have a RWRP middle pickup so, they aren't direct candidates for direct replacement pickup but, since stock alternative combos made no sense, we've already decided to re-design the whole axe for versatility and real application.
My design includes no out-of-phase position so, you can throw there any kind of set of pickups (with or without RWRP middle) and, it will work flawless. If you use a RWRP middle, you will have real virtual humbuckers (alternative positions 1, 3 and 5), with hum cancellation, otherwise just expect some hum but, that's all.
The Diagram
As ever, click on the diagram for full size.
Pickups white conductors are drawn in light blue for readability.
This wiring will give you 100% satisfaction if you use mentioned DA Dovers, even that other pickups of similar quality level (if they are) can give you very good results.
Eric Johnson is originally using a 300K volume pot and 250K tone pots. He also uses a 0.1 mF cap, while my design works with a 0.047 mF cap.
DA pickups were designed to work with standard strato configuration and, therefore, they deliver same (or better tone, we will discover it in the comparison video!) with just three pots of 250K (stock).
Also, Eric Johnson is assigning Neck pickup to Tone 1 (middle pot on diagram) and Bridge pickup to Tone 2 (lower pot on diagram). But, we are using standard strato tones assignment here, therefore, Neck to Tone1 and Middle to Tone2.
To go for the EJ tone arrangement, just move the olive green wire from the tab where M+ lands to the tab where B+ lands and you are done.
The feedback
The owner of this axe is a fellow friend, who has not knowledge and not real interest on any technical subject. He just loves to play guitar and has "tone". Plays a broad range of styles and does it with feel and technic, with some special magic. You know what I'm talking about.
Who did the work was my other fellow friend luthier (and brother of the owner), who is a beast of wood and hardware but goes lost in electronics (even that solders as a pro). He couldn't understand what all those wires that he had to solder were going to do and, was scared to loose the standard strato sounds.
I want to share with you their comments, after testing the guitar with selected pickups and new brand wiring design, because it made me laugh a lot.
Owner comments:
"There is only one word that can define this: PERFECTION".
"I give thanks to God to allow me to play THIS axe".
"It has so huge sounds that I have to redo my whole rig' setup"
"I even don't need pedals, this is pure crazyness!".
Luthier comments:
"Gooooood, this is a fucking MASTER WORK!. A real beast!."
"I have no words to explain it... 10 sounds that cover most of the great decades of music.
Sound covers from Van Halen to pure Gilmour, Knopfler, Clapton, Prince... anything!"
"Clean, you get all the best sounds of the musical history, I swear it!".
"Man, my sincerly congratulation!. This is the more complete guitar I've ever heard. Anything he plays sounds to a disk record. Hiperpolivalent.".
"We MUST build guitars exactly as this one. They will be sold with ease".
"You should be here. Drive to here and, get some cava, dozens of bottles!".
Just stay tuned. We will arrange a demo session with Auvisa store's people to make a fair comparison with the expensive (but awesomely sounding) Eric Johnson's model.
As I've explained in a previous blog entry, my friend was in the market for a new Fender Stratocaster and, ended with an American Deluxe SSS, 2010 model.
Not because of its sound, but because of the rest of ergonomic and good enhancements.
We have already decided to swap those pickups with David Allen's pickups and, after hearing the EJ model, we decided to go for Dovers set, which should nail EJ's tone.
I myself own one of the first Deluxe versions (that was produced for very short) so, I knew what's good and wrong with that axe.
In some way, this entry is an overall review of the American Deluxe model 2010 and, a story of the wiring mod I've designed for this axe, to substitute non-sense factory tones.
The Beast and the Beauty
Seriously, this guitar is Hell and Heaven, Beast and Beauty.
They did an awesome job in some areas but, they have took scary decisions in other areas.
Let's talk about the good things first.
From a "wood-luthier" point of view, this guitar is what any strato ever dreamed.
I mean, wood quality is clearly superior, as well as inlays and overall finish.
It has compound radius fretboard (my own deluxe, hasn't), a good nut (not the LSR nut of mine), staggered tuning keys (that give the right angle to strings, to avoid the tree strings) and, locking keys (which help to keep the tuning stable.
It has a nice Deluxe Bridge, that works pivoting with its blade on two posts, as any modern bridge (Kahler, Floyd Rose, etc.), which gives a better touch, immediateness and accuracy to tremolo effect and, helps to tuning stability also.
Also, the junction body / neck was beveled to allow a more comfortable access to low frets.
Well, in wood, hardware and ergonomics aspects is a great enhancement respect of Standards.
Now the bad (and understandable) things.
Why in the Hell, the minds that prototyped such a guitar thought on a set of Noiseless Samarian-Cobalt N3 pickups?. Not sounding bad at all, they aren't organic and, this is more clear when you just play any other good Strato. Why a Deluxe model has such a thing?.
Then, the potentially interesting S-1 switch, which should bring you 5 new exciting alternative pickup combinations (or sounds) to cover lots of ground. A good configuration that can give you 10 different sounds (including the 5 standard strato sounds) sounds amazing on paper, right?.
Well, from an "electronics-tech" point of view, every taken decision during design phase was wrong for this axe. Even the combos that came with the first version of the Deluxe SSS made more sense.
Most of the 5 alternative combos (with the S-1 pushed down) have no real use and sound really awful.
So, I can imagine lots of people missing all the good that the Deluxe model has to offer, because it plainly sounds worst than any Standard, with stock pickups and wiring.
Fender people!. What were you thinking while designing the electronics side?.
Bringing back the Deluxe to life
An axe of this level owes stuff at its level. We were clear about to throw there a set of David Allen's Dovers, because that was the sound we wanted for this axe.
Now, it was time to re-design the alternative wiring for this axe and, I had some surprise, again!.
After removing all the solder and, leave components unwired and clean, I've discovered that the new Deluxes are mounting some kind of hybrid super-switch.
It has one wafer as the original 5-way (that is, 3 real positions and 2 fake notch positions) and, one more wafer as the super-switch (that is, 5 real positions) so, this is a mix of a DP3T (with two notch positions) and a real DP5T. So, you have all the issues of the typical standard 5-way and, just few advantages of the super-switch.
Once more, Fender people, what were you thinking on when designing this axe?.
Well, we had to buy a new brand Super-switch (4P5T) to have 4 poles with 5 real positions to re-design the wiring for some interesting alternative sounds.
My plan was to preserve the original strato sounds in the normal mode (S-1 switch up) and to, provide LP-like sounds and some other interesting alternatives (as the middle position of the tele and, one of my favourite combinations).
So, my plan was to have:
1. Virtual LP Neck humbucker (Neck in series with Middle)
2. Virtual Middle position of Telecaster (Neck in parallel with Bridge)
3. Virtual LP Middle position (Neck in series with Middle - in parallel with - Middle in series with Bridge)
4. HS combination (Middle in series with Bridge - in parallel with Neck)
5. Virtual LP Bridge position (Middle in series with Bridge)
Results exceeded our expectations. In words of my fellow friend luthier: "this axe covers several decades of music styles. Every combo makes sense and has a real use. This is the most versatile guitar I've ever heard.".
Our plan is to go back to the store where my other fellow friend bought it and do a face-to-face comparison with the amazing Eric Johnson's model. We all (us and store' staff) know how both axes sounded before so, it will be a very exciting test, which I hope to record and hang in Youtube later.
This will leave you to understand how amazing would be a Deluxe with the right electronics from factory and, if you like how it plays, you will be able to enhance it with some additional economical effort but, at least, you will have a great ergonomical axe (with Charvel's compound radius fretboard!), versatile and sounding good as hell.
New heart and neurons for the beast
Before going for the wiring diagram, I would like to warn you about a very important issue, if your plan is just to swap stock pickups with a new set of good sounding strato pickups.
Warning about mounting sets with RWRP middle in a Deluxe!
If your intention is just to swap the annoying N3 stock pickups with a good sounding replacement set of pickups, be aware that you will be able to use there a set without RWRP middle pickup.
Reason is that stock wiring uses some (awful) out-of-phase combinations and, an RWRP pickup reverses the whole wiring sense and, makes no good to something that already sounded bad.
If your plan was to just swap original set of pickups with a new one, just be sure you use regular middle pickup.
With David Allen's Dovers
Most of DA' sets have a RWRP middle pickup so, they aren't direct candidates for direct replacement pickup but, since stock alternative combos made no sense, we've already decided to re-design the whole axe for versatility and real application.
My design includes no out-of-phase position so, you can throw there any kind of set of pickups (with or without RWRP middle) and, it will work flawless. If you use a RWRP middle, you will have real virtual humbuckers (alternative positions 1, 3 and 5), with hum cancellation, otherwise just expect some hum but, that's all.
The Diagram
As ever, click on the diagram for full size.
Pickups white conductors are drawn in light blue for readability.
This wiring will give you 100% satisfaction if you use mentioned DA Dovers, even that other pickups of similar quality level (if they are) can give you very good results.
Eric Johnson is originally using a 300K volume pot and 250K tone pots. He also uses a 0.1 mF cap, while my design works with a 0.047 mF cap.
DA pickups were designed to work with standard strato configuration and, therefore, they deliver same (or better tone, we will discover it in the comparison video!) with just three pots of 250K (stock).
Also, Eric Johnson is assigning Neck pickup to Tone 1 (middle pot on diagram) and Bridge pickup to Tone 2 (lower pot on diagram). But, we are using standard strato tones assignment here, therefore, Neck to Tone1 and Middle to Tone2.
To go for the EJ tone arrangement, just move the olive green wire from the tab where M+ lands to the tab where B+ lands and you are done.
The feedback
The owner of this axe is a fellow friend, who has not knowledge and not real interest on any technical subject. He just loves to play guitar and has "tone". Plays a broad range of styles and does it with feel and technic, with some special magic. You know what I'm talking about.
Who did the work was my other fellow friend luthier (and brother of the owner), who is a beast of wood and hardware but goes lost in electronics (even that solders as a pro). He couldn't understand what all those wires that he had to solder were going to do and, was scared to loose the standard strato sounds.
I want to share with you their comments, after testing the guitar with selected pickups and new brand wiring design, because it made me laugh a lot.
Owner comments:
"There is only one word that can define this: PERFECTION".
"I give thanks to God to allow me to play THIS axe".
"It has so huge sounds that I have to redo my whole rig' setup"
"I even don't need pedals, this is pure crazyness!".
Luthier comments:
"Gooooood, this is a fucking MASTER WORK!. A real beast!."
"I have no words to explain it... 10 sounds that cover most of the great decades of music.
Sound covers from Van Halen to pure Gilmour, Knopfler, Clapton, Prince... anything!"
"Clean, you get all the best sounds of the musical history, I swear it!".
"Man, my sincerly congratulation!. This is the more complete guitar I've ever heard. Anything he plays sounds to a disk record. Hiperpolivalent.".
"We MUST build guitars exactly as this one. They will be sold with ease".
"You should be here. Drive to here and, get some cava, dozens of bottles!".
Just stay tuned. We will arrange a demo session with Auvisa store's people to make a fair comparison with the expensive (but awesomely sounding) Eric Johnson's model.
07 March 2014
Auvisa: a day on Guitarists' Heaven
Yesterday was a great day for some friends of mine and me.
One of my friends was in the market for a new brand Fender Stratocaster and, I was there also searching some amp with a solid clean channel that could take pedals with ease and cover a wide range of loudness.
We went to Auvisa, a nice music store here in Spain.
We were received by Auvisa staff, which seemed to me very knowledgable, kind and friendly.
They were able to answer any technical question we did, with full sense and, they've helped us to narrow our search to just an small number of items to be tested in depth, as per our description of what we were after.
The store has a very classy but modern look. Spaces are well illuminated and, everything seems sorted and well classified, in separated sections (Guitars, guitar parts, technical support, drums, keyboards, studio and gig gear, bass guitars, etc...).
The Store runs a lot of guitar brands like Fender, Ibanez, Tokai, Jackson, Martin, Vigier, LTD, Shur, Vox, etc. And an impresive number of amp brands as well, as: Marshall, Fender, Vox, Mesa Boogie, Yamaha, Line6, George, Victoria, Ampeg, Custom Audio, TC Electronics, Mark Bass, Shur, Engl, etc.
There is at least a representation of each guitar and amp lines, so we were able to test a broad range of stratos, from the cheapest (but good sounding) Mexican ones to Eric Johnson's model.
Auvisa people had everything ready for our tests. We were lead to the testing room. An impressive room full of nice guitars (Fender, Tokai, Taylor, ...) and full of amps, regular production and more arcane boutique ones and, of any size, from lunchboxes to the half-stacks.
We spent the whole morning just to narrow the set of stratos to just three models, the ones that impressed we all the most. So, before lunch, we narrowed the search to a Vintage Strato with Ash body, an American Deluxe and Eric Johnson's model.
To be fair, Eric Johnson's model was the one sounding the best. That model had a binding around the fretboard (often seen in Gibson's guitars and rarely in Fender's), which is just anecdotic but, the sound was incredible good and resonant.
But, my friend was more concerned about ergonomical aspects of the axe and, in that area, the American Deluxe wins hands down. Features of the Deluxe are very wellcome: two posts blade floating bridge, compound radius, staggered locking tunners and, alternate wiring (with the S-1 switch).
My friend felt at home with the Deluxe so, that was his finally election, during the afternoon.
Not sounding bad at all, the Noiseless Samarian-Cobalt 3 pickups that these axes mount stock, aren't so organic as other strato replacement pickups.
But, we weren't worried about it, because we had already a set of David Allen's Dovers (that David sent very kindly to me, to test) and we were already planning to swap the stock pickups with that great sounding set, who should let us close to (or surpass) the sound of EJ's model.
We are planning go back to Auvisa, once the guitar is being setup by my other fellow friend (the luthier) and, those David Allen are in place, to demo the enhancement to Auvisa's people.
To test those stratos, I've initialy selected the Fender Bassman LTD (4 x 10" speakers), because is a fair sounding amp that helps to reveal everything you want to hear in wood and pickups.
Unfortunately, the Bassman had some kind of tube hiss that was a tad uncomfortable and, it doesn't sounds very well at low volume levels. You need to push that baby to get the very well known organic sound.
But, it was ok to select the guitar, anyway.
Then, it was the time to select my amp. This time I went with open mind and not particular prejudices, not positive or negative about brands or models. I've clearly explained what I wanted and, which other amps I've already tested and what I didn't liked. Even that the Bassmann is an awesome amp, it wasn't what I was actually after.
I've bring with myself the whole rig, guitar, pedalboard and cables, to be sure that the amps that I was going to check will deliver with my gear.
This was also a good oportunity to demo to Auvisa people the sets of David Allen Stratcats pickups that I've got actually mounted in my American Deluxe Strato (the old one, without the compound radius).
It seems that a collaboration between David Allen and Auvisa can be possible and, if it works, I will feel really proud of have being the nexus between both parts, without any economical reward.
I believe on David Allen' stuff and, I love how Auvisa run their musical store, how they care about music, tone and people. So, I only wish good luck for both, if there is some agreement.
Well, going back to the amps.
Auvisa's people bring me a George boutique amp. I think it was the Tornado Duo model but, with a snake-skin tolex. I had good expectations with George's amps, after reading a bunch of reviews in guitarists forums.
To be honest, that amp wasn't my cup of tea. To me, it lacked loudness, body and, it was breaking up in a wrong way when pushed hard. It seemed to be as the speaker was farting under high preassure. Probably is a good amp but, it didn't worked fine with my gear so, it was quickly discarded.
Thinking on next one, I was very curious about the Hot Rod series of Fender, that seemed to me (on the paper) good candidates. So I've asked to test some Hot Rod and, a Hot Rod III Deville was already there, in the testing room.
So, I've plugged my gear to that Hot Rod III Deville and, tone was instantaneus. We all smiled and, nodded our heads.
I wasn't really interested on the gain channel, since I wanted to build my own gain textures with my pedals. I just wanted a nice clean channel that could take pedals with ease and that can sound good a lower levels and impressive a gig levels.
In the meanwhile, Auvisa people made me interested into test a Bogner distortion pedal (Ecstasy, the blue one) but, even having a good tone, I prefer myself how the Jetter Gear JetDrive pushed the amp and made those 6L6 tubes to sing. Wah, modulation, vibe, overdrive, distortion, delay, everything worked to my taste. The sound clean was really good and, rock stadium with my gain pedals.
I've jumped out my chair to check where the volume knob was dialed, because I thought the volume should be at 3/4 of its range and, I was concerned about headroom.
My surprise was huge. I was scared seeing that the volume was just at 2.5 !!!.
Mother of God!. What a big sound!.
I thought: "man, this seems the definitive amp, at least for my #1, the strato". But, while I was thinking that way, my friends were saying: "bro, get that one home and sell your rest of amps!. This will be the best amp in your collection. Forget the rest. Even that Marshall cannot be compared to this one".
Unfortunatelly for my pocket, I had to agree with all them so... I did it!!!.
Scared about price, I was greatefully surprised with the deal. Around 900 Eur, with VAT included. This is less than I had to pay for my Princeton Reverb reissue and, the sound has no comparison.
Since I had negative experience with Jensen' speakers, that usually sound beautiful, detailed and silky when playing alone but, that tend to be lost in the mix, I've talked about my concerns with this amp and, wanted to test the rig with some backing tracks, to check if the amp was able to cut the mix with authority.
But then, Auvisa's people told me that starting on series III (or maybe II) of Hot Rods, Fender started to mount Celestion speakers. This one had a couple of 2 x 12 G12P-80 celestions, that are very commonly used in modeling amps, that need to represent a broad range of frequencies and, therefore, every ecualization is able to work with such a speakers.
After this clarification, I was satisfied and finished the economical transaction, to bring that monster home.
Well, probably the speaker isn't the best around there but, to me, it did a nice job in this particular amp.
In any case, this is the only amp I've got loading 6L6s.
I never liked an amp loading 6V6GT tubes. Those sound really nice and sweet alone but, the tend to be lost in the mix and, they have some kind of sag and compression that tames the attack too much for my own taste. 6L6s are other kind of beast, very powerfull and big sounding.
At such a price, it seems to me difficult to get so much tone.
Well, I have a queue of gear to review / demo and, not so much free time.
Will try to post about all this in further entries.
But, yes, we felt ourselves as in guitarists' heaven, yesterday.
A big musical experience in an awesome store.
Thanks to Auvisa' staff!!!.
One of my friends was in the market for a new brand Fender Stratocaster and, I was there also searching some amp with a solid clean channel that could take pedals with ease and cover a wide range of loudness.
We went to Auvisa, a nice music store here in Spain.
We were received by Auvisa staff, which seemed to me very knowledgable, kind and friendly.
They were able to answer any technical question we did, with full sense and, they've helped us to narrow our search to just an small number of items to be tested in depth, as per our description of what we were after.
The store has a very classy but modern look. Spaces are well illuminated and, everything seems sorted and well classified, in separated sections (Guitars, guitar parts, technical support, drums, keyboards, studio and gig gear, bass guitars, etc...).
The Store runs a lot of guitar brands like Fender, Ibanez, Tokai, Jackson, Martin, Vigier, LTD, Shur, Vox, etc. And an impresive number of amp brands as well, as: Marshall, Fender, Vox, Mesa Boogie, Yamaha, Line6, George, Victoria, Ampeg, Custom Audio, TC Electronics, Mark Bass, Shur, Engl, etc.
There is at least a representation of each guitar and amp lines, so we were able to test a broad range of stratos, from the cheapest (but good sounding) Mexican ones to Eric Johnson's model.
Auvisa people had everything ready for our tests. We were lead to the testing room. An impressive room full of nice guitars (Fender, Tokai, Taylor, ...) and full of amps, regular production and more arcane boutique ones and, of any size, from lunchboxes to the half-stacks.
We spent the whole morning just to narrow the set of stratos to just three models, the ones that impressed we all the most. So, before lunch, we narrowed the search to a Vintage Strato with Ash body, an American Deluxe and Eric Johnson's model.
But, my friend was more concerned about ergonomical aspects of the axe and, in that area, the American Deluxe wins hands down. Features of the Deluxe are very wellcome: two posts blade floating bridge, compound radius, staggered locking tunners and, alternate wiring (with the S-1 switch).
My friend felt at home with the Deluxe so, that was his finally election, during the afternoon.
Not sounding bad at all, the Noiseless Samarian-Cobalt 3 pickups that these axes mount stock, aren't so organic as other strato replacement pickups.
But, we weren't worried about it, because we had already a set of David Allen's Dovers (that David sent very kindly to me, to test) and we were already planning to swap the stock pickups with that great sounding set, who should let us close to (or surpass) the sound of EJ's model.
We are planning go back to Auvisa, once the guitar is being setup by my other fellow friend (the luthier) and, those David Allen are in place, to demo the enhancement to Auvisa's people.
To test those stratos, I've initialy selected the Fender Bassman LTD (4 x 10" speakers), because is a fair sounding amp that helps to reveal everything you want to hear in wood and pickups.
Unfortunately, the Bassman had some kind of tube hiss that was a tad uncomfortable and, it doesn't sounds very well at low volume levels. You need to push that baby to get the very well known organic sound.
But, it was ok to select the guitar, anyway.
Then, it was the time to select my amp. This time I went with open mind and not particular prejudices, not positive or negative about brands or models. I've clearly explained what I wanted and, which other amps I've already tested and what I didn't liked. Even that the Bassmann is an awesome amp, it wasn't what I was actually after.
I've bring with myself the whole rig, guitar, pedalboard and cables, to be sure that the amps that I was going to check will deliver with my gear.
This was also a good oportunity to demo to Auvisa people the sets of David Allen Stratcats pickups that I've got actually mounted in my American Deluxe Strato (the old one, without the compound radius).
It seems that a collaboration between David Allen and Auvisa can be possible and, if it works, I will feel really proud of have being the nexus between both parts, without any economical reward.
I believe on David Allen' stuff and, I love how Auvisa run their musical store, how they care about music, tone and people. So, I only wish good luck for both, if there is some agreement.
Well, going back to the amps.
Auvisa's people bring me a George boutique amp. I think it was the Tornado Duo model but, with a snake-skin tolex. I had good expectations with George's amps, after reading a bunch of reviews in guitarists forums.
To be honest, that amp wasn't my cup of tea. To me, it lacked loudness, body and, it was breaking up in a wrong way when pushed hard. It seemed to be as the speaker was farting under high preassure. Probably is a good amp but, it didn't worked fine with my gear so, it was quickly discarded.
Thinking on next one, I was very curious about the Hot Rod series of Fender, that seemed to me (on the paper) good candidates. So I've asked to test some Hot Rod and, a Hot Rod III Deville was already there, in the testing room.
So, I've plugged my gear to that Hot Rod III Deville and, tone was instantaneus. We all smiled and, nodded our heads.
I wasn't really interested on the gain channel, since I wanted to build my own gain textures with my pedals. I just wanted a nice clean channel that could take pedals with ease and that can sound good a lower levels and impressive a gig levels.
In the meanwhile, Auvisa people made me interested into test a Bogner distortion pedal (Ecstasy, the blue one) but, even having a good tone, I prefer myself how the Jetter Gear JetDrive pushed the amp and made those 6L6 tubes to sing. Wah, modulation, vibe, overdrive, distortion, delay, everything worked to my taste. The sound clean was really good and, rock stadium with my gain pedals.
I've jumped out my chair to check where the volume knob was dialed, because I thought the volume should be at 3/4 of its range and, I was concerned about headroom.
My surprise was huge. I was scared seeing that the volume was just at 2.5 !!!.
Mother of God!. What a big sound!.
I thought: "man, this seems the definitive amp, at least for my #1, the strato". But, while I was thinking that way, my friends were saying: "bro, get that one home and sell your rest of amps!. This will be the best amp in your collection. Forget the rest. Even that Marshall cannot be compared to this one".
Unfortunatelly for my pocket, I had to agree with all them so... I did it!!!.
Scared about price, I was greatefully surprised with the deal. Around 900 Eur, with VAT included. This is less than I had to pay for my Princeton Reverb reissue and, the sound has no comparison.
Since I had negative experience with Jensen' speakers, that usually sound beautiful, detailed and silky when playing alone but, that tend to be lost in the mix, I've talked about my concerns with this amp and, wanted to test the rig with some backing tracks, to check if the amp was able to cut the mix with authority.
But then, Auvisa's people told me that starting on series III (or maybe II) of Hot Rods, Fender started to mount Celestion speakers. This one had a couple of 2 x 12 G12P-80 celestions, that are very commonly used in modeling amps, that need to represent a broad range of frequencies and, therefore, every ecualization is able to work with such a speakers.
After this clarification, I was satisfied and finished the economical transaction, to bring that monster home.
Well, probably the speaker isn't the best around there but, to me, it did a nice job in this particular amp.
In any case, this is the only amp I've got loading 6L6s.
I never liked an amp loading 6V6GT tubes. Those sound really nice and sweet alone but, the tend to be lost in the mix and, they have some kind of sag and compression that tames the attack too much for my own taste. 6L6s are other kind of beast, very powerfull and big sounding.
At such a price, it seems to me difficult to get so much tone.
Well, I have a queue of gear to review / demo and, not so much free time.
Will try to post about all this in further entries.
But, yes, we felt ourselves as in guitarists' heaven, yesterday.
A big musical experience in an awesome store.
Thanks to Auvisa' staff!!!.
27 February 2014
David Allen pickups - First contact
Introduction
How I've ended testing some David Allen's pickups is a curious history that can bore you but, the fact is that I've received three D.Allen strato pickups set, sent by David himself to me for evaluation and demoing.
As already stated in my Read Me page, I am not sponsored or payed by no one and, anyone sending me gear to test is in the risk of receiving a fair and honest review. If I personally love the product, I will recommend it hands down, otherwise, I will highlight the good things and made you aware the wrong things.
I am a guitar lover and, care about my tone so, I would never write a positive article about a negative product. Period.
Clarified this point, let me go ahead with this.
While few years ago, pickups makers were really few and, less the ones with high quality sounding pickups, nowadays it's possible to get top-notch pickups from several big and small pickups makers.
I'm very picky with my tone. My ears are now trained for the small nuances, because of home studio projects needed it. You know, I was happier when tone didn't worried me but, that's the life of a guitarist, to grow in feeling, tone and Technics.
My quest of tone made me to move from standard production pickups to something better, so I was happy to discover Bareknuckle Pickups some time ago, as a class A Boutique Pickups Maker settled in Europe, because most of the makers are in USA.
But, Seymour Duncan, who has a really nice production line (over any other massive pickups production lines, in my honest opinion), has also Class A Boutique Pickups in their Custom lines, as the Antiquity II Surf set.
And to be honest, I would be happy with either of those two makers, among other class A ones, like Franlin, Bill Lawrence, Tom Holmes, etc. So do I really needed some other class A boutique maker?.
I've warned you about it. I am very picky with my tone.
Even that those people are delivering top-notch products, most of time are just reproducing all the parts and materials used for a certain pickup that they've discovered as sounding specially good in some vintage or modern axe. Because, you know that, at the end, there is some unexplained magic that occurs just in certain gear.
But, I had always the sensation that those outstanding sounding pickups could have some margin for improvements, as well. I always wanted to test a combination of different magnets for a strato pickup, to be able to enhance what naturally sounds good in each string and to tame or fix what naturally sounds bad.
Fortunately, David Allen has several pickups lines. Some are 100% vintage-correct (as other Class A makers do) but, he is also doing some R&D and creating some pickups that are based on that vintage-correct sound but, fixing the bad things and enhancing the good ones.
Sounds it interesting for you?.
Then, let's go ahead with this article!.
David Allen: The Man
Probably, good Luthiers and good guitar players already know about David Allen' stuff and, probably they know who he is. If all this is new for you, let's do a quick profile about who runs David Allen Pickups.
David Allen is a Doctor in Physics and specialized in Electromagnetism. He was working for NASA for a while. So the scientific theory, equipment and knowledge is there.
But, you know, cold variable values and awesome theories and formulas know nothing about feeling. Music isn't built based on perfect things, but over things that have some magic just because they have some margin of unpredictable behavior. Transistors can create an amplified copy of the original sound more accurately than any amp tube but, it's just that slight degree of imperfection and the unique character of each single tube, which makes tube amps to sing more musically.
Around everything in a guitar, those things also happen and, nice electronics theories not always can explain why there are so much "this-shouldn't-happen" surprises.
David Allen is also a Guitar Player (and a good one). Same as Tim Mills by Bareknuckle Pickups or, Seymour Duncan. All them are people that love guitars and care about their tone.
So, we are in front of a man with tons of scientific knowledge to know what to tweak every time to achieve a certain tone.
David Allen: The Pickups
Big makers often work with three lines of pickups: those designed as low cost for certain guitar brands, to be mounted in cheap guitars, those of standard quality affordable and delivering a good tone for most of players and, a custom line where used components are different (period-correct, by example) and, the building process is closer to a craftsmanship work than other thing.
Boutique pickups correspond to that third line of guitars that you could find in the big makers. So, it would be unfair trying to compare a sub-production or production pickup against a custom or boutique one.
Honestly, any Custom Shop or Boutique pickup will probably sound good enough for any picky people but, even at this high level of products, you can feel the differences.
D. Allen uses different magnet shapes, sizes and compositions when designing a pickup, whatever is needed to achieve a certain sound or sound characteristics. Maybe some of the characteristics that differentiate his pickups (apart of tone) are:
So, take this video as an aperitif.
Not my best improvisation. During performance, I was more concentrated in to try every picking level with those pickups, to check their dynamics and how they work in crunch and distortion.
Bridge height is particularly bad and, during the smoking part of the bridge solo, I missed some legato or sustain but, as said, just the neck was fine tuned before the video.
Gear settings
As people seems to like to see how pedals where setted up, I am attaching here the pictures corresponding to the settings of the amp and pedals used for this video.
Resuming the gear, now.
Amp: Fender Princeton Reverb Reissue
Modifications from stock are tubes and speaker.
Speaker is a Weber 10A150T (Alnico), which I find cuts it better than the stock Jensen P10R.
Tubes are:
V1: Mullard 12AX7 reissue
V2: NOS RFT ECC81
V3: NOS RFT ECC83
V4: JJ ECC803S
Power: Tung Sol 6V6GT
Rectifier: Solid State TAD rectifier (plug in the socket of the rectifier tube).
Jetter Gear Jetdrive
This awesome double overdrive owes a separate blog entry. Still testing Jetter Gear stuff, to complete my pedalboard. Blog entries will come.
Used the green channel as a kind of Tube Screamer for crunchy stuff.
Stacked also the green channel for a more driven sound for solos.
Strymon El Capistan
Best digital Tape Echo delay emulation I ever tried. Awesome A/D and D/A converters, nice digital precision and awesome DSP stuff inside. Very natural sounding. Not easy to master but, worths the time.
Wampler Decibel+
Best Buffer pedal I've tested. Very natural sounding. Seems to work better at the end of the chain.
The Clean Booster incorporated, handled with the Gain knob is used here to push the tubes to their sweet spot, since amp volume is relatively low to make tubes to sing.
How I've ended testing some David Allen's pickups is a curious history that can bore you but, the fact is that I've received three D.Allen strato pickups set, sent by David himself to me for evaluation and demoing.
As already stated in my Read Me page, I am not sponsored or payed by no one and, anyone sending me gear to test is in the risk of receiving a fair and honest review. If I personally love the product, I will recommend it hands down, otherwise, I will highlight the good things and made you aware the wrong things.
I am a guitar lover and, care about my tone so, I would never write a positive article about a negative product. Period.
Clarified this point, let me go ahead with this.
While few years ago, pickups makers were really few and, less the ones with high quality sounding pickups, nowadays it's possible to get top-notch pickups from several big and small pickups makers.
I'm very picky with my tone. My ears are now trained for the small nuances, because of home studio projects needed it. You know, I was happier when tone didn't worried me but, that's the life of a guitarist, to grow in feeling, tone and Technics.
My quest of tone made me to move from standard production pickups to something better, so I was happy to discover Bareknuckle Pickups some time ago, as a class A Boutique Pickups Maker settled in Europe, because most of the makers are in USA.
But, Seymour Duncan, who has a really nice production line (over any other massive pickups production lines, in my honest opinion), has also Class A Boutique Pickups in their Custom lines, as the Antiquity II Surf set.
And to be honest, I would be happy with either of those two makers, among other class A ones, like Franlin, Bill Lawrence, Tom Holmes, etc. So do I really needed some other class A boutique maker?.
I've warned you about it. I am very picky with my tone.
Even that those people are delivering top-notch products, most of time are just reproducing all the parts and materials used for a certain pickup that they've discovered as sounding specially good in some vintage or modern axe. Because, you know that, at the end, there is some unexplained magic that occurs just in certain gear.
But, I had always the sensation that those outstanding sounding pickups could have some margin for improvements, as well. I always wanted to test a combination of different magnets for a strato pickup, to be able to enhance what naturally sounds good in each string and to tame or fix what naturally sounds bad.
Fortunately, David Allen has several pickups lines. Some are 100% vintage-correct (as other Class A makers do) but, he is also doing some R&D and creating some pickups that are based on that vintage-correct sound but, fixing the bad things and enhancing the good ones.
Sounds it interesting for you?.
Then, let's go ahead with this article!.
David Allen: The Man
Probably, good Luthiers and good guitar players already know about David Allen' stuff and, probably they know who he is. If all this is new for you, let's do a quick profile about who runs David Allen Pickups.
David Allen is a Doctor in Physics and specialized in Electromagnetism. He was working for NASA for a while. So the scientific theory, equipment and knowledge is there.
But, you know, cold variable values and awesome theories and formulas know nothing about feeling. Music isn't built based on perfect things, but over things that have some magic just because they have some margin of unpredictable behavior. Transistors can create an amplified copy of the original sound more accurately than any amp tube but, it's just that slight degree of imperfection and the unique character of each single tube, which makes tube amps to sing more musically.
Around everything in a guitar, those things also happen and, nice electronics theories not always can explain why there are so much "this-shouldn't-happen" surprises.
David Allen is also a Guitar Player (and a good one). Same as Tim Mills by Bareknuckle Pickups or, Seymour Duncan. All them are people that love guitars and care about their tone.
So, we are in front of a man with tons of scientific knowledge to know what to tweak every time to achieve a certain tone.
David Allen: The Pickups
Big makers often work with three lines of pickups: those designed as low cost for certain guitar brands, to be mounted in cheap guitars, those of standard quality affordable and delivering a good tone for most of players and, a custom line where used components are different (period-correct, by example) and, the building process is closer to a craftsmanship work than other thing.
Boutique pickups correspond to that third line of guitars that you could find in the big makers. So, it would be unfair trying to compare a sub-production or production pickup against a custom or boutique one.
Honestly, any Custom Shop or Boutique pickup will probably sound good enough for any picky people but, even at this high level of products, you can feel the differences.
D. Allen uses different magnet shapes, sizes and compositions when designing a pickup, whatever is needed to achieve a certain sound or sound characteristics. Maybe some of the characteristics that differentiate his pickups (apart of tone) are:
- Definition: Not a cold and lifeless definition note to note but a very musical one.
- Openness: Outstanding frequential representation, together with the magic that scatter wound seems to give to pickups, the sound is wide, open and full of life.
- Low noise: surprisingly low floor noise, this is key for the rest of characteristics, since a low floor noise increases the signal/noise ration and therefore, the dynamics and definition of the sound.
- Dynamics: The Dynamic Range of these pickups is awesome, allowing you to fully control your sound just with your picking strength and, that's a good thing when you love to run your amp in that sweet spot where you hear the micro-explosions of the tubes when you pick hard and, the beauty of a silky clean sound when you pick softly.
The only drawback that I can find on Allen' strato-replacement single pickups is that to achieve their best, you will need some patience to play with pickups heights. But this is also very common in such a kind of Boutique pickups, which sweet spot is narrower than the sweet spot of other custom shop pickups but, in that narrow sweet spot, they just sound as heaven.
I will give you some tips about how to face a heights set up with these pickups, maybe during my in-depth review of the StratCats set (which is the best strato pickups set I ever tested or heard).
Well, other drawback would be to have to choose just one single set of his pickups, because you will soon realize that all them seem to sound really nice so, think on what you usually love more: low / medium / hot output and musical style and, leave Allen to recommend you the set that better will work for your needs.
Quick video shot out of David Allen StratCats
While I was setting up the heights of pickups and, just once I had the neck sounding to my taste and, before optimizing middle and bridge, I was so excited with the incredible sound of the neck pickup that wanted to record quick video to spread the word.
As mentioned, I have three sets to test and just a Stratocaster for this and, I am finding myself a tad worried to unload those Stratcats from my axe #1, even to test other D.Allen options!.
But, I will do an in-depth analysis of each set in further blog entries.
So, take this video as an aperitif.
Not my best improvisation. During performance, I was more concentrated in to try every picking level with those pickups, to check their dynamics and how they work in crunch and distortion.
Bridge height is particularly bad and, during the smoking part of the bridge solo, I missed some legato or sustain but, as said, just the neck was fine tuned before the video.
Gear settings
As people seems to like to see how pedals where setted up, I am attaching here the pictures corresponding to the settings of the amp and pedals used for this video.
Resuming the gear, now.
Amp: Fender Princeton Reverb Reissue
Modifications from stock are tubes and speaker.
Speaker is a Weber 10A150T (Alnico), which I find cuts it better than the stock Jensen P10R.
Tubes are:
V1: Mullard 12AX7 reissue
V2: NOS RFT ECC81
V3: NOS RFT ECC83
V4: JJ ECC803S
Power: Tung Sol 6V6GT
Rectifier: Solid State TAD rectifier (plug in the socket of the rectifier tube).
Jetter Gear Jetdrive
This awesome double overdrive owes a separate blog entry. Still testing Jetter Gear stuff, to complete my pedalboard. Blog entries will come.
Used the green channel as a kind of Tube Screamer for crunchy stuff.
Stacked also the green channel for a more driven sound for solos.
Strymon El Capistan
Best digital Tape Echo delay emulation I ever tried. Awesome A/D and D/A converters, nice digital precision and awesome DSP stuff inside. Very natural sounding. Not easy to master but, worths the time.
Wampler Decibel+
Best Buffer pedal I've tested. Very natural sounding. Seems to work better at the end of the chain.
The Clean Booster incorporated, handled with the Gain knob is used here to push the tubes to their sweet spot, since amp volume is relatively low to make tubes to sing.
18 January 2014
Home Studio: Dynamics - Sonnox vs. IK Multimedia
Introduction
Thanks to the example song that comes with PT 11, which is well mixed and just needs a pump for mastering, I was able to compare the behavior of my dynamics processors and, very specially Sonnox Dynamics and Limiter against several IK Multimedia dynamics processors and their Brickwall Limiter.
IK Multimedia compressors for Master Bus
I've tested every IK Multimedia compressor in Master Bus, including Fairchild 670, White and British Channels, Precission Compressor / Limiter and Classic Compressor.
Without any doubt the Classic Compressor delivers the most musical sound in that bus, with just a touch of color and a nice punch. The Opto works nice but lacks that kind of warmth that the Classic Compressor has.
As Limiter, just the Brickwall Limiter does the job.
Comparing IKM vs Sonnox
I can make the Sonnox plugin to sound quite close to the Classic Compressor, if I set up the Warm section to 50% more or less.
The oposite isn't possible, since the IKM one is always coloring, you cannot achieve an uncolored result, for this you should use the Opto Compressor, that works awesome also.
But, without coloring the mix, the Sonnox Compressor works better, in my opinion.
In IKM Classic Compressor to achieve a more clear mix in low end, the Side Chain Filter should be pushed up to 78 Hz more or less to achieve same results than with Sonnox Dynamics, which always sounds clearer, even without using the EQ section.
Giving the same compression ratio, controls settings for each plugin clearly differ and, you have to find the spot that better works for each one, often even forgetting how controls were named.
Visually, Sonnox plugin is more intuitive but, sonically I love that Classic Compressor.
Maybe where there is less discussion is around the Limiter.
While you can get a more accurate control over the IKM one (more range of attack / release ranges), the protection level of the Sonnox is higher and, the Dithering button is really great to check if the mix is going to sound bad once transported to a 16 bits environment.
Compared to those plugins, I find Blue Cat Audio's plugings more complex to control and, sonically slightly behind those. But, I still love their Meter Pro plugin. What a nice one!.
Thanks to the example song that comes with PT 11, which is well mixed and just needs a pump for mastering, I was able to compare the behavior of my dynamics processors and, very specially Sonnox Dynamics and Limiter against several IK Multimedia dynamics processors and their Brickwall Limiter.
IK Multimedia compressors for Master Bus
I've tested every IK Multimedia compressor in Master Bus, including Fairchild 670, White and British Channels, Precission Compressor / Limiter and Classic Compressor.
Without any doubt the Classic Compressor delivers the most musical sound in that bus, with just a touch of color and a nice punch. The Opto works nice but lacks that kind of warmth that the Classic Compressor has.
As Limiter, just the Brickwall Limiter does the job.
Comparing IKM vs Sonnox
I can make the Sonnox plugin to sound quite close to the Classic Compressor, if I set up the Warm section to 50% more or less.
The oposite isn't possible, since the IKM one is always coloring, you cannot achieve an uncolored result, for this you should use the Opto Compressor, that works awesome also.
But, without coloring the mix, the Sonnox Compressor works better, in my opinion.
In IKM Classic Compressor to achieve a more clear mix in low end, the Side Chain Filter should be pushed up to 78 Hz more or less to achieve same results than with Sonnox Dynamics, which always sounds clearer, even without using the EQ section.
Giving the same compression ratio, controls settings for each plugin clearly differ and, you have to find the spot that better works for each one, often even forgetting how controls were named.
Visually, Sonnox plugin is more intuitive but, sonically I love that Classic Compressor.
Maybe where there is less discussion is around the Limiter.
While you can get a more accurate control over the IKM one (more range of attack / release ranges), the protection level of the Sonnox is higher and, the Dithering button is really great to check if the mix is going to sound bad once transported to a 16 bits environment.
Compared to those plugins, I find Blue Cat Audio's plugings more complex to control and, sonically slightly behind those. But, I still love their Meter Pro plugin. What a nice one!.
13 January 2014
Home Studio: Blue Cat's plugins
Introduction
While crossgrading to PT 11 and missing some of my key metering and analysis plugins, I've found Blue Cat's metering and analysis plugins as firm candidates to fill that gap.
After trying their Meter Pro and Freq. Analyst Pro plugins, I've decided to download their demo versions of all plugins included in their Master Cat's plugins bunde.
This blog entry is all about my impressions after trying such plugins, under Pro Tools 11.
Blue Cat's Meter Pro
To be honest, it takes a while to be used to Blue Cat's user interface. They usually have more knobs and buttons as you could expect but, in 5 minutes, I felt comfortable with this plugin.
The more cryptic aspect was the Crest meter. Since I didn't know for sure what that meter was measuring, I pushed the help button (the one with the question mark) and... oh... oh... oh... the PDF user's manual popped up on the screen (great!).
That Crest meter is just measuring the Dynamic Range, that is, the difference between average and peak measurements. Great.
Once, understood what is behind this meter, I was absolutelly satisfied with this plugin.
It covers any kind of metering system, including the typical (and used-to) K-System meters (K-20, K-14 and K-12) and, I love that kind of cloud events that easily leave you to see how the RMS and Peak RMS are moving in your mix. Really, very good and informative information.
Same cloud system is used for Crest (Dynamic Range), which is really helpful. Click on the image for a full-size pic.
To me, this is a nice combination of the TT Dynamic Range Meter and the meter section of the Inspector XL. I'm only missing rest of analysis tools included in Inspector XL and the Mono button of the TT Dynamic Range. Related to the dynamics / volume / loudness meter, Blue Cat's blended TT Dynamic Range metter and Inspector XL meter and, even improved those.
GREAT JOB!.
While I can save some money, I am using Blue Cat's Meter Pro demo version (which goes in bypass mode from time to time but, allows me to get the sense of loudness and Dynamic Range of my mixes, anyway).
Blue Cat's Freq. Analyst Pro
Well, here it cames most of the rest of analysis tools I was missing, respect of Inspector XL plugin.
While in Inspector XL everything was integrated under a single view, where you had all needed information (Stereo image, correlation, stereo balance, frequency analysis -FFE, 1/3 octaves, frequency loudness- and, even oversampling metering!), you can cover all that with three Blue Cat's plugins.
This particular Blue Cat's plugin gives you all info related to frequency analysis. It leaves you to focus on RMS or peaks for both channels, each separatelly or everything together.
It has a 2D and a 3D display. Ok the 3D is just a nice display enhancement but, adds no real value to the information displayed in traditiional 2D mode. The really exciting part is the one that allows you what to display at any time. I'm missing the 1/3 octave display of Inspector XL but, to be honest, this was the less used of all meters.
Overall, the plugin is a very good analysis tool. The pity is that you have to pay it appart of their Meter Pro and, we have still a pending plugin to cover every Inspector XL meter.
Blue Cat's StereoScope
This is the third Blue Cat's tool that completes the range of meters included with Inspector XL.
Here we have the representation of the the stereo image, in an unusual but practical way and, the phase correlation and stereo balance typical meters.
With those three tools, all the metering tools available in Inspector XL and, the metering info from TT Dynamic Range meter are on your hands (except for that Mono button of the TT Dynamic Range meter and, the 1/3 Octave analysis from Inspector XL).
But parameters to set up the wanted accuracy and thresholds of metering are adjustable, while in the mentioned plugins, it was not possible.
Because of such a personalization level for each plugin, I can understand why they are being delivered as three independent plugins. Each one is just doing a certain task but, all them are doing it in a very good way.
BlueCat's Dynamics
As in the case of Sonnox Dynamics plugin, BlueCat is offering a single plugin that covers most of Dynamics tasks.
It can be a bit cryptic to understand at a first glance but you have there full control on your dynamics.
The input section has a gain control that you can use to provide some gain to the input material before applying any dynamic tool.
A side-chain section allows you to filter the mid band of frequencies that will be affected by the dynamics tools (the side-chain section of Sonnox is more complete, in this case).
The filter on section allows you to remove any unwanted low and high end frequencies from both, unaltered signal and compressed signal (two shelves filters).
The Stereo section allows you to work with linked channels, independent channels of M/S.
Mode section allows you to work with any range of behaviour between a typical compressor and a fast-reaction Opto-compressor and, any mix between focus into peaks or RMS values.
The cryptic Low Curve corresponds to a Gate and allows you to filter those events which loudness is under a certain gain level.
The High Curve corresponds to a typical compressor effect and, allows you to clearly define threshold, knew spot and type, among compression levels.
The Gain section, when working in auto-gain mode, pushes the mix really hot and, reacts to the envelope of the input material with accuracy.
In the Output section, we have the possibility to engage a Brickwall limiter, to push the output (once post-processed) with an additional (clean) gain and (this is really exciting), to determine the amount of unprocessed and processed signals that are blend in the output.
This blender knob allows you for parallel compression, which works really natural.
This is a very good and transparent dynamics processor, without any doubt.
It has some thing that I cannot find in Sonnox Dynamics but, Sonnox has other things (as the Warm or the more complex EQ section) that I cannot find here.
Not exclusive, both are good tools for the proper case.
In the master channel, I made some comparisons by using the IK Multimedia OptoCompressor, the Blue Cat's Dynamics S, Sonnox Dynamics, and the Avid Dynamics III.
I loved the results of all, except the Avid one.
Since the Blue Cat's can behave as a regular compressor, as well as an optocompressor and, everything in between (there is a blender knob that allows you to select the mix of both behaviors!), it can sound quite well the same as the IKM optocompressor but, less coloring (at 100% Opto).
But, the setting at noon (50% VCA-Opto) with 50% Peak - RMS compression works really nice, with a sligth touch of color.
I don't like the auto-gain mode but, love the 2 stages oversampling control.
Overall, a very good compressor, with great dynamics controls, very intuitive, very useful.
That possibility to blend the effects of an VCA and an Opto compressor is unique in my Dynamics plugins. In the case of IKM you can select several different compressors and, for some, you can even select a different mode or algorithm. Same for Sonnox Dynamics, where you can choose a normal, classic or linear mode. But, in Blue Cat's you can blend the amount of the VCA or Opto effect, what gives you new possibilities.
The IKM Opto doesn't allows you to select a knee and, the Sonnox allows you to define knees as steps of -5dB (-5, -10, -15 and -20dB). The Blue Cat's one allows you to define the exact knee.
With all three you can achieve nice results, and very similar, in fact. Maybe the IKM is just a pinch warmer (if you don't use Sonnox Warm stage).
Blue Cat's Parametr'EQ
Ah, just a 7 bands EQ, right?.
NOT, IT DOESN'T !!!.
Whatch out!. Nice EQ plugin here!.
It can seem just a typical 7-bands EQ, as the one coming with PT 11 or, the Sonnox EQ plugin but, while the Sonnox EQ plugin has 4 o 5 different EQ modes, this plugin has a lot of nuances.
The key feature is under those little windows named "Non Linear" and "Comp Dist". By changing the ratios on those windows, you have EQ filters that behave very differently, from transparent non linear EQ to colored EQs with phase distortion.
You can choose your color with perfect accuracy and, results are easily heared.
Very recommended EQ plugin, for every task except, maybe, dramatic cuts or de-essing.
Blue Cat's Liny EQ
Well, I didn't tried this plugin. I've forgot to download and install it.
But, if it is able to enhance the Parameter's plugin with Non Linear at 100%, I bet it would be a very good pluging for mastering tasks.
But, to be honest, I cannot say anything about it. Nothing good, nothing bad.
BlueCat Multiband MB-5 processor
Multi-band compressor lovers can go mad with this 5-bands compressor. While most of multi-band compressors are limited to 4-bands, BlueCat's one can work with up to 5 bands and, the most interesting is that you can easily change the crossover areas for each band, as well as any kind of dynamics parameters that you would find in their Dynamics plugin.
Demo version allows me to play with just three bands but, control level over each band is impressive.
Once more, that blender knob in the master section is an awesome tool to make this multi-band processor to enhance the mix doing a parallel compression.
BlueCat Protector
That's theoretically a Brickwall Limiter.
But, while Sonnox Limiter, Massey 2007 Limiter or IK Multimed Brickwall Limiter are intuitive and easy to use (ceil clearly means ceil, max. output level means max. output level), this BlueCat Protector isn't so intuitive.
And, if you look to Avid's Master Meter plugin, the Protector isn't completely protecting your output, since it's generating overasampling events that will translate to clipping events in some players.
To be honest, none of the Limiters mentioned are protecting you 100% but, I clearly prefer the easy to understand interface that other breakwall limiters offer.
What's this trend to change the very well known buttons / knobs / functions?.
This helps to who?.
I'm missing also the dithering controls of the Sonnox Limiter, that are really usefull to check you compression levels before bounce the mix to a lower resolution format.
Not really excited with this BlueCat's plugin, to be honest.
Conclusion
I am very happy to have been discovered Blue Cat Audio. They seem to be doing a great job for a reasonable price.
All plugins are awesome but, I liked specially their Meter Pro, which is now my to-go meter (finally, I can say good bye to Inspector XL and TT Range Meter). I love that kind of density clouds that allow you to see where your RMS and Peaks sit the most, even more interesting than to see the bars go up and down.
To complement the Meter Pro, the StereoScope is a good plugin. I would prefer some alternative ways to present the Stereo density, as the typical views you can find in most of this kind of plugins but, this is just my personal taste. And I would prefer this plugin to be integrated together with the Meter Pro, to have just an slot busy in the master inserts.
As a final complement to the metering section, the Freq. Analyst gives you loudness by frequency, in several ways but, as the previous one, I would love to have it integrated in the Meter Pro plugin, to have all the info ready at a glance and, to save slots in the master bus.
I am gratefully impressed with their Dynamics plugin. Compared to Sonnox and IK Multimedia plugins, Blue Cat is offering more control and possibilities, with a very intuitive use. The special features that allow you to blend two types of compression: VCA and Opto, that Blender knob that allows you to decide which amount of the unprocessed signal (dry) is in the mix and, the possibility to blend compression based in RMS, Peaks or both, are very impressive and very well welcome.
Their Parmetriq EQ is made in the same way, allowing you to choose between non linear and compensated distortion, with anything in between, making the EQ as colored as you wanted.
Their 5-Multiband and Linear EQ are a plus for mastering tasks but, those are the ones with less use in my case.
Probably, the only plugin that I didn't liked is their Protector. For brickwall limiting tasks, nothing else like Sonnox Limiter, IMHO.
While crossgrading to PT 11 and missing some of my key metering and analysis plugins, I've found Blue Cat's metering and analysis plugins as firm candidates to fill that gap.
After trying their Meter Pro and Freq. Analyst Pro plugins, I've decided to download their demo versions of all plugins included in their Master Cat's plugins bunde.
This blog entry is all about my impressions after trying such plugins, under Pro Tools 11.
Blue Cat's Meter Pro
To be honest, it takes a while to be used to Blue Cat's user interface. They usually have more knobs and buttons as you could expect but, in 5 minutes, I felt comfortable with this plugin.
The more cryptic aspect was the Crest meter. Since I didn't know for sure what that meter was measuring, I pushed the help button (the one with the question mark) and... oh... oh... oh... the PDF user's manual popped up on the screen (great!).
That Crest meter is just measuring the Dynamic Range, that is, the difference between average and peak measurements. Great.
Once, understood what is behind this meter, I was absolutelly satisfied with this plugin.
It covers any kind of metering system, including the typical (and used-to) K-System meters (K-20, K-14 and K-12) and, I love that kind of cloud events that easily leave you to see how the RMS and Peak RMS are moving in your mix. Really, very good and informative information.
Same cloud system is used for Crest (Dynamic Range), which is really helpful. Click on the image for a full-size pic.
To me, this is a nice combination of the TT Dynamic Range Meter and the meter section of the Inspector XL. I'm only missing rest of analysis tools included in Inspector XL and the Mono button of the TT Dynamic Range. Related to the dynamics / volume / loudness meter, Blue Cat's blended TT Dynamic Range metter and Inspector XL meter and, even improved those.
GREAT JOB!.
While I can save some money, I am using Blue Cat's Meter Pro demo version (which goes in bypass mode from time to time but, allows me to get the sense of loudness and Dynamic Range of my mixes, anyway).
Blue Cat's Freq. Analyst Pro
Well, here it cames most of the rest of analysis tools I was missing, respect of Inspector XL plugin.
While in Inspector XL everything was integrated under a single view, where you had all needed information (Stereo image, correlation, stereo balance, frequency analysis -FFE, 1/3 octaves, frequency loudness- and, even oversampling metering!), you can cover all that with three Blue Cat's plugins.
This particular Blue Cat's plugin gives you all info related to frequency analysis. It leaves you to focus on RMS or peaks for both channels, each separatelly or everything together.
It has a 2D and a 3D display. Ok the 3D is just a nice display enhancement but, adds no real value to the information displayed in traditiional 2D mode. The really exciting part is the one that allows you what to display at any time. I'm missing the 1/3 octave display of Inspector XL but, to be honest, this was the less used of all meters.
Overall, the plugin is a very good analysis tool. The pity is that you have to pay it appart of their Meter Pro and, we have still a pending plugin to cover every Inspector XL meter.
Blue Cat's StereoScope
This is the third Blue Cat's tool that completes the range of meters included with Inspector XL.
Here we have the representation of the the stereo image, in an unusual but practical way and, the phase correlation and stereo balance typical meters.
With those three tools, all the metering tools available in Inspector XL and, the metering info from TT Dynamic Range meter are on your hands (except for that Mono button of the TT Dynamic Range meter and, the 1/3 Octave analysis from Inspector XL).
But parameters to set up the wanted accuracy and thresholds of metering are adjustable, while in the mentioned plugins, it was not possible.
Because of such a personalization level for each plugin, I can understand why they are being delivered as three independent plugins. Each one is just doing a certain task but, all them are doing it in a very good way.
BlueCat's Dynamics
As in the case of Sonnox Dynamics plugin, BlueCat is offering a single plugin that covers most of Dynamics tasks.
It can be a bit cryptic to understand at a first glance but you have there full control on your dynamics.
The input section has a gain control that you can use to provide some gain to the input material before applying any dynamic tool.
A side-chain section allows you to filter the mid band of frequencies that will be affected by the dynamics tools (the side-chain section of Sonnox is more complete, in this case).
The filter on section allows you to remove any unwanted low and high end frequencies from both, unaltered signal and compressed signal (two shelves filters).
The Stereo section allows you to work with linked channels, independent channels of M/S.
Mode section allows you to work with any range of behaviour between a typical compressor and a fast-reaction Opto-compressor and, any mix between focus into peaks or RMS values.
The cryptic Low Curve corresponds to a Gate and allows you to filter those events which loudness is under a certain gain level.
The High Curve corresponds to a typical compressor effect and, allows you to clearly define threshold, knew spot and type, among compression levels.
The Gain section, when working in auto-gain mode, pushes the mix really hot and, reacts to the envelope of the input material with accuracy.
In the Output section, we have the possibility to engage a Brickwall limiter, to push the output (once post-processed) with an additional (clean) gain and (this is really exciting), to determine the amount of unprocessed and processed signals that are blend in the output.
This blender knob allows you for parallel compression, which works really natural.
This is a very good and transparent dynamics processor, without any doubt.
It has some thing that I cannot find in Sonnox Dynamics but, Sonnox has other things (as the Warm or the more complex EQ section) that I cannot find here.
Not exclusive, both are good tools for the proper case.
In the master channel, I made some comparisons by using the IK Multimedia OptoCompressor, the Blue Cat's Dynamics S, Sonnox Dynamics, and the Avid Dynamics III.
I loved the results of all, except the Avid one.
Since the Blue Cat's can behave as a regular compressor, as well as an optocompressor and, everything in between (there is a blender knob that allows you to select the mix of both behaviors!), it can sound quite well the same as the IKM optocompressor but, less coloring (at 100% Opto).
But, the setting at noon (50% VCA-Opto) with 50% Peak - RMS compression works really nice, with a sligth touch of color.
I don't like the auto-gain mode but, love the 2 stages oversampling control.
Overall, a very good compressor, with great dynamics controls, very intuitive, very useful.
That possibility to blend the effects of an VCA and an Opto compressor is unique in my Dynamics plugins. In the case of IKM you can select several different compressors and, for some, you can even select a different mode or algorithm. Same for Sonnox Dynamics, where you can choose a normal, classic or linear mode. But, in Blue Cat's you can blend the amount of the VCA or Opto effect, what gives you new possibilities.
The IKM Opto doesn't allows you to select a knee and, the Sonnox allows you to define knees as steps of -5dB (-5, -10, -15 and -20dB). The Blue Cat's one allows you to define the exact knee.
With all three you can achieve nice results, and very similar, in fact. Maybe the IKM is just a pinch warmer (if you don't use Sonnox Warm stage).
Blue Cat's Parametr'EQ
Ah, just a 7 bands EQ, right?.
NOT, IT DOESN'T !!!.
Whatch out!. Nice EQ plugin here!.
It can seem just a typical 7-bands EQ, as the one coming with PT 11 or, the Sonnox EQ plugin but, while the Sonnox EQ plugin has 4 o 5 different EQ modes, this plugin has a lot of nuances.
The key feature is under those little windows named "Non Linear" and "Comp Dist". By changing the ratios on those windows, you have EQ filters that behave very differently, from transparent non linear EQ to colored EQs with phase distortion.
You can choose your color with perfect accuracy and, results are easily heared.
Very recommended EQ plugin, for every task except, maybe, dramatic cuts or de-essing.
Blue Cat's Liny EQ
Well, I didn't tried this plugin. I've forgot to download and install it.
But, if it is able to enhance the Parameter's plugin with Non Linear at 100%, I bet it would be a very good pluging for mastering tasks.
But, to be honest, I cannot say anything about it. Nothing good, nothing bad.
BlueCat Multiband MB-5 processor
Multi-band compressor lovers can go mad with this 5-bands compressor. While most of multi-band compressors are limited to 4-bands, BlueCat's one can work with up to 5 bands and, the most interesting is that you can easily change the crossover areas for each band, as well as any kind of dynamics parameters that you would find in their Dynamics plugin.
Demo version allows me to play with just three bands but, control level over each band is impressive.
Once more, that blender knob in the master section is an awesome tool to make this multi-band processor to enhance the mix doing a parallel compression.
BlueCat Protector
That's theoretically a Brickwall Limiter.
But, while Sonnox Limiter, Massey 2007 Limiter or IK Multimed Brickwall Limiter are intuitive and easy to use (ceil clearly means ceil, max. output level means max. output level), this BlueCat Protector isn't so intuitive.
And, if you look to Avid's Master Meter plugin, the Protector isn't completely protecting your output, since it's generating overasampling events that will translate to clipping events in some players.
To be honest, none of the Limiters mentioned are protecting you 100% but, I clearly prefer the easy to understand interface that other breakwall limiters offer.
What's this trend to change the very well known buttons / knobs / functions?.
This helps to who?.
I'm missing also the dithering controls of the Sonnox Limiter, that are really usefull to check you compression levels before bounce the mix to a lower resolution format.
Not really excited with this BlueCat's plugin, to be honest.
Conclusion
I am very happy to have been discovered Blue Cat Audio. They seem to be doing a great job for a reasonable price.
All plugins are awesome but, I liked specially their Meter Pro, which is now my to-go meter (finally, I can say good bye to Inspector XL and TT Range Meter). I love that kind of density clouds that allow you to see where your RMS and Peaks sit the most, even more interesting than to see the bars go up and down.
To complement the Meter Pro, the StereoScope is a good plugin. I would prefer some alternative ways to present the Stereo density, as the typical views you can find in most of this kind of plugins but, this is just my personal taste. And I would prefer this plugin to be integrated together with the Meter Pro, to have just an slot busy in the master inserts.
As a final complement to the metering section, the Freq. Analyst gives you loudness by frequency, in several ways but, as the previous one, I would love to have it integrated in the Meter Pro plugin, to have all the info ready at a glance and, to save slots in the master bus.
I am gratefully impressed with their Dynamics plugin. Compared to Sonnox and IK Multimedia plugins, Blue Cat is offering more control and possibilities, with a very intuitive use. The special features that allow you to blend two types of compression: VCA and Opto, that Blender knob that allows you to decide which amount of the unprocessed signal (dry) is in the mix and, the possibility to blend compression based in RMS, Peaks or both, are very impressive and very well welcome.
Their Parmetriq EQ is made in the same way, allowing you to choose between non linear and compensated distortion, with anything in between, making the EQ as colored as you wanted.
Their 5-Multiband and Linear EQ are a plus for mastering tasks but, those are the ones with less use in my case.
Probably, the only plugin that I didn't liked is their Protector. For brickwall limiting tasks, nothing else like Sonnox Limiter, IMHO.
12 January 2014
Home Studio: Migrating to Pro Tools 11. Some Reflexions - Part II
Introduction
In previous part, I was sharing with you my short experience while migrating from PT 8.0.5 LE to Pro Tools 11. It was clear that some of my foundamental plugins were missing and, I wanted to check if PT 10 (included with PT 11) could be enough and, which are the differences between the one and the other.
I've spent a couple of days installing all my plugings, after installing PT 10 and, this is a lot of software and a lot of time. Before my memory fails, I would like to share my impressions.
Checking Pro Tools 10
After long time downloading last versions and installing everything, it was the time to check PT 10 and, see if my investment in RTAS plugins was ensured.
The first 3 attempts to start the program failed. The program was crashing while loading plugins. Each time in a different spot so, it wasn't an error related to a certain plugin.
The forth time, I was able to open PT 10 and load the demo song that comes with PT 11 (which I've already modified adding some plugins in the master fader).
At a glance, PT 10 seems really similar to PT 8 and, fortunatelly all the bunch of plugins that I were installing were there, available for use and, this includes several 32 bits AAX and RTAS plugins. My loved plugins where there: the Sonnox Elite pack, every IK Multimedia plugin, Massey Plugins, EZDrummer, Superior Drummer 2, Inspector XL, the TT Range Meter and, some free stuff from BlueCat.
Ok. I started the song trying to do a critical hearing but, after half second, the engine stopped with a warning, asking me to increase the number of CPUs in the Engine's menu.
Fine. Number of CPUs was 4 so, I've raised the number to 7 (I've seen a video explaining that you should free at least 1 for system tasks).
After fixing this parameter, I started to play with the several plugins and checking if they were still working.
I can say that everything was working really nice and, the song sounded nice.
Maybe, the small nuances of the song sounded slightly veiled, compared to PT 11 but, overall, results were satisfactory enough.
I had the sensation that the engine was working with a higher load than in PT 11. I've opened the System window and, the CPU load was around a 30%. Memory and disk usage was ridiculous to be considered in this comparison.
But, later, I've checked same file, with same plugins in PT 11 and, the load was more or less the same but, I had the sensation that, while PT 10 seemed to be overloaded, PT 11 worked way smoothly.
I think the new engine is an improvement, for sure and, I would like to check it again with audio tracks, to see how both deliver when disk is involved in the equation.
Before re-checking the song in PT 11, I was surprised with one more goody: PT 10 was hunging on the void when trying to close it. I had to go to the Tasks Manager to delete the process. That made impossible to open PT 11 without re-starting the system.
I had the sensation that PT 10 was highly unestable, at least running under Windows 8.1 64 bits.
4 crashes in a row, just the first day, seems too much, IMHO.
Re-checking PT 11
Before checking again PT 11, I've installed the demo version of BlueCat Meter Pro plugin, to see if such a plugin is a good candidate to substitute both, the TT Dynamic Meter and Inspector XL.
Well, it can cover both meters with ease but, I will miss the mono button on the TT Dynamic Meter, that was so useful to check the corrective EQ of the individual parts, as well as hidden phase issues.
From Inspector XL, I will miss the rest of meters, useful to check the stereo balance, stereo image, correlation and, frequency analysis tools.
I am so used to the K-System of metering that, I am really happy to have found a real candidate to substitute both meters.
But, BlueCat has a lot of such a tools also so, I think I will end buying those but, in the meanwhile, I can work with their demo versions, which are totally operative but, with the particularity that they are automatically and randomly bypassed, as part of the demo "fee".
That could be a real issue with dynamics processors or EQ processors but, not for their suit of meters.
If you are in PT 11 and you miss your Inspector XL and TT Dynamic Range Meter, try the demo versions from BlueCat. Not so straight forward (lot of buttons to press) as the former ones and, I loved that display of the density clouds of the average and peak RMS. Very interesting.
I am looking forward to check their rest of analysis tools. They seem promising.
Overall, I would say that the mix sounds more airy with PT 11, slightly (a pinch) better but, difference isn't so dramatical. I would have no doubts on continue using PT 10 and protect my investment but, what really concerns me is the reliability of PT 10. Too much crashes in a very short time.
I dunno, maybe because I am in a 64 bits system, PT 11 works flawless while PT 10 seems highly unestable and, that compromises the possibility to protect my investment in previous plugins.
So, IMHO, you should carefully weight which path do you want to follow, before purchasing PT 11.
If you have a bunch of useful RTAS plugins (even some VST that were wrapped to RTAS) and, their respective manufacturers haven't available a 64 bits AAX version and, they don't have in project to deliver such an upgrade or, if they have it but that means to raise your investment, you should make your maths and take a decision.
If you decide to stay with PT 10, my recommendation is that you work with PT 10 in an estable 32 bits Operating System. Maybe you can have your hardware ready for a 64 bits system but, install the 32 bits version of the Operative System. I bet this would be more estable than running that 32 bits application in a 64 bits system.
In my case, with a 64 bits Operating System, I have no other option than to go ahead with PT 11, after seeing the lack of reliability of PT 10.
In previous part, I was sharing with you my short experience while migrating from PT 8.0.5 LE to Pro Tools 11. It was clear that some of my foundamental plugins were missing and, I wanted to check if PT 10 (included with PT 11) could be enough and, which are the differences between the one and the other.
I've spent a couple of days installing all my plugings, after installing PT 10 and, this is a lot of software and a lot of time. Before my memory fails, I would like to share my impressions.
Checking Pro Tools 10
After long time downloading last versions and installing everything, it was the time to check PT 10 and, see if my investment in RTAS plugins was ensured.
The first 3 attempts to start the program failed. The program was crashing while loading plugins. Each time in a different spot so, it wasn't an error related to a certain plugin.
The forth time, I was able to open PT 10 and load the demo song that comes with PT 11 (which I've already modified adding some plugins in the master fader).
At a glance, PT 10 seems really similar to PT 8 and, fortunatelly all the bunch of plugins that I were installing were there, available for use and, this includes several 32 bits AAX and RTAS plugins. My loved plugins where there: the Sonnox Elite pack, every IK Multimedia plugin, Massey Plugins, EZDrummer, Superior Drummer 2, Inspector XL, the TT Range Meter and, some free stuff from BlueCat.
Ok. I started the song trying to do a critical hearing but, after half second, the engine stopped with a warning, asking me to increase the number of CPUs in the Engine's menu.
Fine. Number of CPUs was 4 so, I've raised the number to 7 (I've seen a video explaining that you should free at least 1 for system tasks).
After fixing this parameter, I started to play with the several plugins and checking if they were still working.
I can say that everything was working really nice and, the song sounded nice.
Maybe, the small nuances of the song sounded slightly veiled, compared to PT 11 but, overall, results were satisfactory enough.
I had the sensation that the engine was working with a higher load than in PT 11. I've opened the System window and, the CPU load was around a 30%. Memory and disk usage was ridiculous to be considered in this comparison.
But, later, I've checked same file, with same plugins in PT 11 and, the load was more or less the same but, I had the sensation that, while PT 10 seemed to be overloaded, PT 11 worked way smoothly.
I think the new engine is an improvement, for sure and, I would like to check it again with audio tracks, to see how both deliver when disk is involved in the equation.
Before re-checking the song in PT 11, I was surprised with one more goody: PT 10 was hunging on the void when trying to close it. I had to go to the Tasks Manager to delete the process. That made impossible to open PT 11 without re-starting the system.
I had the sensation that PT 10 was highly unestable, at least running under Windows 8.1 64 bits.
4 crashes in a row, just the first day, seems too much, IMHO.
Re-checking PT 11
Before checking again PT 11, I've installed the demo version of BlueCat Meter Pro plugin, to see if such a plugin is a good candidate to substitute both, the TT Dynamic Meter and Inspector XL.
Well, it can cover both meters with ease but, I will miss the mono button on the TT Dynamic Meter, that was so useful to check the corrective EQ of the individual parts, as well as hidden phase issues.
From Inspector XL, I will miss the rest of meters, useful to check the stereo balance, stereo image, correlation and, frequency analysis tools.
I am so used to the K-System of metering that, I am really happy to have found a real candidate to substitute both meters.
But, BlueCat has a lot of such a tools also so, I think I will end buying those but, in the meanwhile, I can work with their demo versions, which are totally operative but, with the particularity that they are automatically and randomly bypassed, as part of the demo "fee".
That could be a real issue with dynamics processors or EQ processors but, not for their suit of meters.
If you are in PT 11 and you miss your Inspector XL and TT Dynamic Range Meter, try the demo versions from BlueCat. Not so straight forward (lot of buttons to press) as the former ones and, I loved that display of the density clouds of the average and peak RMS. Very interesting.
I am looking forward to check their rest of analysis tools. They seem promising.
Overall, I would say that the mix sounds more airy with PT 11, slightly (a pinch) better but, difference isn't so dramatical. I would have no doubts on continue using PT 10 and protect my investment but, what really concerns me is the reliability of PT 10. Too much crashes in a very short time.
I dunno, maybe because I am in a 64 bits system, PT 11 works flawless while PT 10 seems highly unestable and, that compromises the possibility to protect my investment in previous plugins.
So, IMHO, you should carefully weight which path do you want to follow, before purchasing PT 11.
If you have a bunch of useful RTAS plugins (even some VST that were wrapped to RTAS) and, their respective manufacturers haven't available a 64 bits AAX version and, they don't have in project to deliver such an upgrade or, if they have it but that means to raise your investment, you should make your maths and take a decision.
If you decide to stay with PT 10, my recommendation is that you work with PT 10 in an estable 32 bits Operating System. Maybe you can have your hardware ready for a 64 bits system but, install the 32 bits version of the Operative System. I bet this would be more estable than running that 32 bits application in a 64 bits system.
In my case, with a 64 bits Operating System, I have no other option than to go ahead with PT 11, after seeing the lack of reliability of PT 10.
11 January 2014
Home Studio: Migrating to Pro Tools 11. Some reflexions about.
Introduction
I've started using Pro Tools as a DAW (Digital Audio Workstation) around 2008 and, started with version 7.4 LE but, I've bought it just in the moment I had an indult to use 8.0 as soon as it was available, what occured really soon so, we can say that I am mostly a PT 8.0 LE user.
I was really happy with my old PC, with Windows XP Professional edition, my Pro Tools and some plugins I had purchased. But, as soon as I've started to buy serious plugins and to start recording my stuff then, issues popped up.
One of the worst issues that I had was related to a notable delay between the reproduction monitoring and the input recording. Such a big gap lead me to lots of mistakes, since there is no way to go with the click when the reproduction of what you are recording happens half second later.
Most of advanced DAW softwares were using delay auto-compensation and, I ever wondered why the most used DAW in Studios hadn't such a valuable feature.
Other issues were related to the hardware itself. Disk wasn't speedy enough, memory was low and, the CPU (even being an Extreme Edition) started to be highly overloaded with new brand plugins.
I was delaying the need to go for a higher version of Pro Tools for a long while, because that meant to upgrade (or replace) the complete PC and, probably the Operative System.
But, environment pushed me hard. Windows XP support is going to be discontinued very soon (if it isn't already over), what meant that I better go for a never Windows version.
First version of Pro Tools featuring delay auto-compensation was Version 10, which wasn't available for Windows XP but, only for Windows 7 (and then, for Windows 8). That was the one I've planned to buy in a future.
Well, since XP is gonna be discontinued and Pro Tools 10 worked for Windows 7 and 8, I've decided that it was time to change everything: PC, Operative System and Pro Tools version. But then, I've seen that PT 10 wasn't listed anymore and, that Avid was pushing hard PT 11.
Since PT 11 works in real 64 bits, a 64 bits operating system is a must and therefore, I've decided to jump really high and go for Windows 8.1 64 bits.
And this blog entry is all about the issues I've found when jumping so high. Maybe it will let you to better weight whether to go for PT 11 or stay in PT 10.
Buying Pro Tools 11 crossgrade
Once, I've decided to go ahead with Pro Tools upgrade, I went to Avid site and searched for Pro Tools 10.
Huh?. What?. Where is PT 10?.
Avid was talking about PT 8, 9 and 11 but, no trace of PT 10.
What's happening?. I'd swear it was there a couple of month ago !!!.
Ok. It seems that PT 11 includes PT 10 also and, both are independent versions of PT that can be installed in same machine. I wondered why. Answers came later.
Well, reading a tad more, I saw that PT 11 works just with 64 bits AAX plugings, that means that I cannot reuse my RTAS plugins. WHY ???.
It seems that AAX plugins are enhanced versions of PT plugins, that should deal with the new PT Audio Engine, which (as per Avid words) is way more efficient and powerful than the previous DAE (which worked with RTAS plugins).
There are two versions of AAX plugins, those that where compiled for 32 bits systems and those that where compiled for 64 bits systems. PT 11 works just with 64 bits AAX plugins, while PT 10 is able to work with your old RTAS plugins, as well as with 32 bits AAX plugins.
It seems as if PT 10 was the bridge between the old legacy Digidesign Pro Tool versions and the new Avid Pro Tool versions. While PT 10 can handle everything, PT 11 is very restricted.
Since Avid insists to define PT 11 as the biggest step forward in DAW software, I wanted to check first PT 11, before deciding what to do.
But, what about our investment in plugings for our previous versions of PT?.
Ah, ok!. If you want to use your expensive RTAS plugins, you can use PT 10 version.
So good, so nice. If you want to re-use your investment you cannot work with the top notch PT11.
Therefore, have I to work with PT10 and, when everything is ready, to import the project in PT11 to give the final touch to projects?. Crazy.
I mean, if PT 10 is able to work with RTAS stuff, couldn't Avid developed some software inside that new engine to run 32 RTAS plugins inside?.
With all those doubts rumbling in my head, I went ahead. Purchased a powerfuler PC, with speeder disks, lots of memory and a good CPU. Installed Windows 8.1 64 bits edition, some basic tools and, went for PT 11 download.
Huh?. Ah?. Were is my activation key?. I don't see PT 11 listed in my products area!.
Reading more carefully, PT 11 needs the license to be downloaded to a Dongle Key (iLok) version 2.
So, my old iLok doesn't work?. Ok. Purchasing a damned iLok version 2 and, waiting until I get the iLok to start installing my new brand PT 11. How excited I am !.
Aha. I've got the license in my new iLok 2. I've transferred also all my other licenses (not demo ones) to iLok 2 and, started installation of PT 11.
I was very happy to see that, this time, Avid made a single downloadable file for the complete process.
I've installed PT 11, started the Digidesign Rack 003 interface and opened an old project.
Damn!. It doesn't recognizes the audio interface.
After some tries, I've decided to search for info in Avid site and, voilà, you need to install FIRST drivers, which aren't included in PT 11 !!!.
Downloaded and installed drivers. This time the interface comes back to life.
Browsing the user's interface.
Mmm... just the old Audiosuite but, in AAX format, and just a couple of plugins that seem to be new (at least to me).
Overall, it looks the same (nice!) and, you can find everything where it was. This time, the interface was translated to Spanish (nice!) so, I am feeling at home.
Hmm... I am missing instruments and other plugins. Wait, there is some download named AIR Creative Collection. Let's download and install it.
Nice. Most of the stuff that came with my Rack 003 Factory bundle is there.
I am wondering how can I install the Music Production Toolkit 2 that I own.
No specific updates for PT 11 and, it seem those kind of products are discontinued!.
Every license contained in such a kind of bundles ended with an LE is not elegible for upgrade to PT 11 so, bye bye to Smack! LE compressor, among other LE plugins included in MPT2.
Fortunatelly, the MP3 bounce tool is already included, among the rest of not LE things.
Well, crossed feelings here. In one side, I always thought that all that was included in MPT2 should come stock in any PT version but, in the other side, I've payed a bunch of money for that extras and, half of my investment has gone.
Reviewing configuration menus, I see that now you can define a project working at 32 bits and 48 KHz (finally, a Studio setup!), what means a good improvement respect of previous versions that allowed a max resolution of 24 bits.
You can force PT to automatically translate the audio files when importing from a previous version to your project resolution and, what is even more impresive, you can change your project's resolution at any time, something that was impossible in previous versions.
In the ASIO controller (Windows Control Pannel), I can see that you can select the input volume for each pair of channels (1-2, 3-4, 5-6 and 7-8) and, you can setup the resolution and sampling rate for each one separately. Very nice!.
I/O Configuration is easier now and, you have a clear way to identify each input, output and bus and, even to determine the hardware delay for each input / output.
On Menu Options, the sought-after Delay Compensation options. Nice, nice, nice.
Everything looks the same but, with better resolution and more rational configuration options.
The Hell of Plugins
Before trying PT 10, I wanted to check the availability of 64 bits AAX version of my purchased RTAS plugins.
IK Multimedia plugins
After trying PT 11 alone, it was time to start upgrading my plugins. I remembered that IK Multimedia was delivering AAX versions of their plugins so, my investment was ensured with IKM.
Effectively, I've downloaded new versions and, everything was ready to be used in AAX format.
Just a side note. Version of IKM plugins that work in 64 bits AAX format are those delivered with the Custom Shop (T-Racks CS and Amplitube CS). So, if you have T-Racks singles, those aren't available as AAX plugins.
Since I went myselft for an upgrade from T-Racks Singles to T-Racks CS Grand some time ago, my plugins are read to use in PT 11.
IK Multimedia is one of the very few plugin makers that will preserve your investment.
THANKS A LOT IK MULTIMEDIA !!!!.
But, the awesome ARC 2 hasn't a 64 bits AAX version!!!!.
What the hell?.
This is a priced plugin and a must in any home studio!!!.
It has a 32 bits AAX version to be used with PT 10.
If you want the AAX versions of Sonnox plugins, you have to pay 15 GBP for each one and, even so, there are some plugins that aren't still available in AAX format.
I've spent a lot of money in Sonnox plugins and, now, I have to spent around 150 Eur more to have those working for PT 11.
VERY BAD, SONNOX !!!.
Sonnox plugins were the hell expensive. Very bad I have to pay an extra fee for PT 11.
I've decided to buy one by one, when I really need some but, this leaves me with very few weapons!.
FXpansion plugins
Seeing the issues with AAX versions of my RTAS plugins, I bought long time ago the FXpansion RTAS Wrapper, which was able to convert around 98% of my VST plugins into RTAS versions, directly usable under the AudioSuite Menu.
I have an idea!!!.
They will probably have now an AAX wrapper and, therefore, I should be able to wrap all my RTAS plugins to be used with PT 11.
What a great idea!!!.
Oh, not!. They don't have an AAX wrapper and, they will not do it!!!.
SAD, FXpansion. Your RTAS wrapper was an awesome tool.
TT Dynamic Range Meter
Another of my key metering tools, that costed my some money, on Tyschmeyer' site.
Well. There is no AAX version available to download and, the original maker (Algorithmix) isn't maintaining or selling it. So, another great plugin to the trash can.
VERY BAD, ALGORITHMIX.
It seems that now, Brainworx is selling an enhanced version of such a meter but, isn't available as an AAX version. What a pity!.
It seems that the only affordable alternative to solve the lack of the Inspector XL and TT Dynamic Range will be to buy Blue Cat's Meters. More money, OMG!.
I'm downloading all Blue Cat's freeware plugins to check which quality level do they have, before taking a decision. They seem very complete but, complexer, not dummy-proof.
ToonTrack plugins
Long time ago, I've purchased first the EZDrummer and several EZX expansion packs and, about one year later, Superior Drummer 2.0 and several SDX expansion packs.
Those are rarelly used, when I have to manually sequence some drums parts.
Well, it seems that ToonTrack did their duties and their products are up-to-date, providing 32 bits and 64 bits versions but, the installation is a bit messy. You have to install the original product version and, then to apply first late 32 bits update and then the 64 bits update. You better leave installation directories as default, to avoid weird results.
After a couple of days, downloading and installing everything, I've opened a PT 11 session and, inserted an Instrument Track to check if EZDrummer and Superior Drummer where available.
Both are now listed as Instruments for PT 11. Nice!.
Trying Superior Drummer... ok... Authorizing it. It seems to work.
Trying EZDrummer... CRASH!!!!. PT aborted.
I have to troubleshooting this. Will update status in a new blog entry.
112dB Plugins
Just one 112dB plugin I've purchased, the Red Monitor. This plugin allowed me to mix with headphones simulating same conditions as if I was hearing the mix thru monitors and, was a key plugin to silenty mix, without disturbing my family. Results where very close to real thing so, I liked it very much.
It seems that 112dB plugins are compatible with every PT version except 11 but, 64 bits AAX versions "are in the pipeline" (as per 112dB words).
DESPERATELLY WAITING FOR THAT 64bits AAX version.
Please, make it free!.
Massey Plugins
Well, currently Massey Plugins are compatible with PT up to version 10.
Fortunatelly, that guy is working on 64 bits AAX versions (in Beta Phase as per October 2013).
Knowing how Massey does things or they will be available for free or they will be available for a ridiculous upgrading price.
GO AHEAD MASSEY!.
What about PT 11?. Does it Deliver?.
I was a Cakewalk user for a very loooong time. After visiting some little Studios, I've realized that the to-go DAW was Pro Tools and, when I've tested my old Cakewalk songs in Pro Tools, I've instantanelly noticed a nice improvement in sound, just using stock plugins.
Well, comparing PT 8.0.5 LE to PT 11, I can say that I am feeling same improvement level. Things sound more "airy", more "correct" and, I am not feeling the sensation that the delicate nuances are being missing.
Stock plugins work better, smoother and clearer than in PT 8 and, I see the possibility to make a good mix just using stock plugins.
I was highly impressed with their new Channel Strip plugin. IMHO, this single plugin can do everything you wanted for a track or bus. A master piece of software, indeed.
I've tested it in every single track (bypassing previous plugins) and, it had an usable preset to be used for each track (which I tweaked just a bit to my taste) and, in all them it made an awesome, crystall clear and musical work. My congratulations, Avid people!. This is the best Avid plugin ever.
I've loaded one of my well known songs but, some tracks where missing. I've probably lost some information when swapping the PC so, I cannot blame PT for this. I will do further tests with new stuff, in any case.
I've loaded their demo session and, I was impressed with the bunch of tracks that were loaded, with lots of virtual instruments and, lots of plugins. I've opened the System window to check resources use and, I was impressed how low the CPU and memory usage where.
There are not so many audio tracks in that demo so, it's difficult to know how efficient it will be with audio tracks. Most of tracks where midi tracks triggering virtual instruments.
The Master Meter is also a nice tool to see if your Brickwall Limiter is doing its task and, it seems that IKM Brickwall Limiter isn't able to control everything. There are lots of oversampling events so, I guess I need to go for that 64 bits upgrade of the Sonnox Limiter.
I've tested several IKM plugins, mainly in the main bus but, also in some instruments, just to check if PT 11 was able to stand that load (IKM plugins are running with the highest resolution, what means a lot of load).
Everything worked smoothly. No issues and, awesome musical results (well, that's why I love IKM stuff).
I take advantage of this testing session to check the cryptic IKM Quad processors and, the Quad Imagine was a nice discovery, allowing me to widen the stereo image, just for those bands I wanted it.
I've also used the Bus Compressor (awesome as a glueing compressor, with a very light compression and gain makeup) and the (I confess it, underrated) OptoCompressor, among any other typical studio ones: Fairchild 670, White 2A, Black 79, etc. All them delivered good sound.
I still don't like their Metering suite. I think it's bogus or, I cannot understand what the hell is it doing.
Even pushing the mix hard, RMS levels stay always around -20dB, while I clearly see in other meters (as in the Limiter) that RMS are way over -20dB, maybe around -12dB.
That's why I loved Inspector XL and TT Dynamic Range Meters and, that's why I need to solve this ASAP.
I'm missing the K-System all the way!.
Overall, from a reproduction point of view, PT 11 seems a step over previous versions and, that channel strip is a top-notch workhorse that will make lot of people to smile, when using it in their mixes.
Don't forget to try it!. It's a GREAT plugin!.
The drawback is that it looks like a tad arcane, with lots of parameters and possibilities.
Best approach is just to recall some of its presets and then, to tweak a little bit something.
It deserves an in deep analysis to fully understand this incredible good tool.
Lots of tests are still pending and, very specially, those related to recording and, how PT 11 handles the delay or low latency monitoring.
I'm still pending on testing PT 10 also, that seems the Island I need to go to preserve my previous investment in plugins.
Conclusions
Pro Tools 11 seems the near future but, it cannot be the present. The present is Pro Tools 10.
Plugin makers are still dealing with their 64 bits AAX versions. Some will do that for free, some will charge you more or less money for an upgrade.
Currently, you cannot expect to smoothly re-use all your purchased RTAS plugins with Pro Tools 11.
It seems that Avid shaked the plugins market and, due to the highly technical development behind any audio plugin, it's gonna take a while for makers to have their plugins ready for a 64 bits AAX version.
Will I recommend to crossgrade to PT11?.
Yes, indeed.
It will take a while to have all your wanted 64 bits AAX plugins ready but, since PT 11 includes PT 10, you can buy PT 11 for tomorrow and use PT 10 for today.
Go for a 64 bits PC and Operating System. This will ensure you that you will be able to use PT 11 once everything settles. In the meanwhile, you can use that 32 bits PT 10 in a 64 bits platform without issues and, you can process tracks in PT 10 and import processed audio files to PT 11.
In a next blog entry, I will share my tests of version 10. I hope I will recover all my beloved plugins there but, how the system will work?. How nice it will sound?. Would it be a notable sonic difference respect PT 11?.
Ah, Ah, Ah!. Too many questions to be answered.
Stay tuned.
I've started using Pro Tools as a DAW (Digital Audio Workstation) around 2008 and, started with version 7.4 LE but, I've bought it just in the moment I had an indult to use 8.0 as soon as it was available, what occured really soon so, we can say that I am mostly a PT 8.0 LE user.
I was really happy with my old PC, with Windows XP Professional edition, my Pro Tools and some plugins I had purchased. But, as soon as I've started to buy serious plugins and to start recording my stuff then, issues popped up.
One of the worst issues that I had was related to a notable delay between the reproduction monitoring and the input recording. Such a big gap lead me to lots of mistakes, since there is no way to go with the click when the reproduction of what you are recording happens half second later.
Most of advanced DAW softwares were using delay auto-compensation and, I ever wondered why the most used DAW in Studios hadn't such a valuable feature.
Other issues were related to the hardware itself. Disk wasn't speedy enough, memory was low and, the CPU (even being an Extreme Edition) started to be highly overloaded with new brand plugins.
I was delaying the need to go for a higher version of Pro Tools for a long while, because that meant to upgrade (or replace) the complete PC and, probably the Operative System.
But, environment pushed me hard. Windows XP support is going to be discontinued very soon (if it isn't already over), what meant that I better go for a never Windows version.
First version of Pro Tools featuring delay auto-compensation was Version 10, which wasn't available for Windows XP but, only for Windows 7 (and then, for Windows 8). That was the one I've planned to buy in a future.
Well, since XP is gonna be discontinued and Pro Tools 10 worked for Windows 7 and 8, I've decided that it was time to change everything: PC, Operative System and Pro Tools version. But then, I've seen that PT 10 wasn't listed anymore and, that Avid was pushing hard PT 11.
Since PT 11 works in real 64 bits, a 64 bits operating system is a must and therefore, I've decided to jump really high and go for Windows 8.1 64 bits.
And this blog entry is all about the issues I've found when jumping so high. Maybe it will let you to better weight whether to go for PT 11 or stay in PT 10.
Buying Pro Tools 11 crossgrade
Once, I've decided to go ahead with Pro Tools upgrade, I went to Avid site and searched for Pro Tools 10.
Huh?. What?. Where is PT 10?.
Avid was talking about PT 8, 9 and 11 but, no trace of PT 10.
What's happening?. I'd swear it was there a couple of month ago !!!.
Ok. It seems that PT 11 includes PT 10 also and, both are independent versions of PT that can be installed in same machine. I wondered why. Answers came later.
Well, reading a tad more, I saw that PT 11 works just with 64 bits AAX plugings, that means that I cannot reuse my RTAS plugins. WHY ???.
It seems that AAX plugins are enhanced versions of PT plugins, that should deal with the new PT Audio Engine, which (as per Avid words) is way more efficient and powerful than the previous DAE (which worked with RTAS plugins).
There are two versions of AAX plugins, those that where compiled for 32 bits systems and those that where compiled for 64 bits systems. PT 11 works just with 64 bits AAX plugins, while PT 10 is able to work with your old RTAS plugins, as well as with 32 bits AAX plugins.
It seems as if PT 10 was the bridge between the old legacy Digidesign Pro Tool versions and the new Avid Pro Tool versions. While PT 10 can handle everything, PT 11 is very restricted.
Since Avid insists to define PT 11 as the biggest step forward in DAW software, I wanted to check first PT 11, before deciding what to do.
But, what about our investment in plugings for our previous versions of PT?.
Ah, ok!. If you want to use your expensive RTAS plugins, you can use PT 10 version.
So good, so nice. If you want to re-use your investment you cannot work with the top notch PT11.
Therefore, have I to work with PT10 and, when everything is ready, to import the project in PT11 to give the final touch to projects?. Crazy.
I mean, if PT 10 is able to work with RTAS stuff, couldn't Avid developed some software inside that new engine to run 32 RTAS plugins inside?.
With all those doubts rumbling in my head, I went ahead. Purchased a powerfuler PC, with speeder disks, lots of memory and a good CPU. Installed Windows 8.1 64 bits edition, some basic tools and, went for PT 11 download.
Huh?. Ah?. Were is my activation key?. I don't see PT 11 listed in my products area!.
Reading more carefully, PT 11 needs the license to be downloaded to a Dongle Key (iLok) version 2.
So, my old iLok doesn't work?. Ok. Purchasing a damned iLok version 2 and, waiting until I get the iLok to start installing my new brand PT 11. How excited I am !.
Aha. I've got the license in my new iLok 2. I've transferred also all my other licenses (not demo ones) to iLok 2 and, started installation of PT 11.
I was very happy to see that, this time, Avid made a single downloadable file for the complete process.
I've installed PT 11, started the Digidesign Rack 003 interface and opened an old project.
Damn!. It doesn't recognizes the audio interface.
After some tries, I've decided to search for info in Avid site and, voilà, you need to install FIRST drivers, which aren't included in PT 11 !!!.
Downloaded and installed drivers. This time the interface comes back to life.
Browsing the user's interface.
Mmm... just the old Audiosuite but, in AAX format, and just a couple of plugins that seem to be new (at least to me).
Overall, it looks the same (nice!) and, you can find everything where it was. This time, the interface was translated to Spanish (nice!) so, I am feeling at home.
Hmm... I am missing instruments and other plugins. Wait, there is some download named AIR Creative Collection. Let's download and install it.
Nice. Most of the stuff that came with my Rack 003 Factory bundle is there.
I am wondering how can I install the Music Production Toolkit 2 that I own.
No specific updates for PT 11 and, it seem those kind of products are discontinued!.
Every license contained in such a kind of bundles ended with an LE is not elegible for upgrade to PT 11 so, bye bye to Smack! LE compressor, among other LE plugins included in MPT2.
Fortunatelly, the MP3 bounce tool is already included, among the rest of not LE things.
Well, crossed feelings here. In one side, I always thought that all that was included in MPT2 should come stock in any PT version but, in the other side, I've payed a bunch of money for that extras and, half of my investment has gone.
Reviewing configuration menus, I see that now you can define a project working at 32 bits and 48 KHz (finally, a Studio setup!), what means a good improvement respect of previous versions that allowed a max resolution of 24 bits.
You can force PT to automatically translate the audio files when importing from a previous version to your project resolution and, what is even more impresive, you can change your project's resolution at any time, something that was impossible in previous versions.
In the ASIO controller (Windows Control Pannel), I can see that you can select the input volume for each pair of channels (1-2, 3-4, 5-6 and 7-8) and, you can setup the resolution and sampling rate for each one separately. Very nice!.
I/O Configuration is easier now and, you have a clear way to identify each input, output and bus and, even to determine the hardware delay for each input / output.
On Menu Options, the sought-after Delay Compensation options. Nice, nice, nice.
Everything looks the same but, with better resolution and more rational configuration options.
The Hell of Plugins
Before trying PT 10, I wanted to check the availability of 64 bits AAX version of my purchased RTAS plugins.
IK Multimedia plugins
After trying PT 11 alone, it was time to start upgrading my plugins. I remembered that IK Multimedia was delivering AAX versions of their plugins so, my investment was ensured with IKM.
Effectively, I've downloaded new versions and, everything was ready to be used in AAX format.
Just a side note. Version of IKM plugins that work in 64 bits AAX format are those delivered with the Custom Shop (T-Racks CS and Amplitube CS). So, if you have T-Racks singles, those aren't available as AAX plugins.
Since I went myselft for an upgrade from T-Racks Singles to T-Racks CS Grand some time ago, my plugins are read to use in PT 11.
IK Multimedia is one of the very few plugin makers that will preserve your investment.
THANKS A LOT IK MULTIMEDIA !!!!.
But, the awesome ARC 2 hasn't a 64 bits AAX version!!!!.
What the hell?.
This is a priced plugin and a must in any home studio!!!.
It has a 32 bits AAX version to be used with PT 10.
RNDigital Plugins
To me, Inspector XL is a key tool. All their meters are a must for me to mix ITB during the night, since they offer me more information that the headphones for some critical hearings.
Therefore, I wanted to check if there was an AAX version ready to download, as in the case of IKM plugins.
Whaaaaaaaaaaaaaaat?. Roger Nichols is dead !!!. RNDigital site is down !!!.
Searching Internet....
Whaaaaaaaaaat?. Some legal issues with the real developer ended closing Rogern Nichols sites and, that plugin isn't available anymore. Elemental Audio that was selling it is also down.
I am really upset. That plugin was key in my toolbox and, costed a bunch of money just being a set of meters.
VERY BAD.
SoundToys plugins
Well, SoundToys site seems to be alive, still but, they doesn't seem to update their software very often.
There is no AAX version available. No way.
Well, this set of plugins is very specific and, I am using basically the Reverb plugin by Sonnox so, I am not missing really nothing here.
Sonnox plugins
I remember to have seen AAX versions of Sonnox plugins available so, let's go there to download them!.
Damn!.If you want the AAX versions of Sonnox plugins, you have to pay 15 GBP for each one and, even so, there are some plugins that aren't still available in AAX format.
I've spent a lot of money in Sonnox plugins and, now, I have to spent around 150 Eur more to have those working for PT 11.
VERY BAD, SONNOX !!!.
Sonnox plugins were the hell expensive. Very bad I have to pay an extra fee for PT 11.
I've decided to buy one by one, when I really need some but, this leaves me with very few weapons!.
FXpansion plugins
Seeing the issues with AAX versions of my RTAS plugins, I bought long time ago the FXpansion RTAS Wrapper, which was able to convert around 98% of my VST plugins into RTAS versions, directly usable under the AudioSuite Menu.
I have an idea!!!.
They will probably have now an AAX wrapper and, therefore, I should be able to wrap all my RTAS plugins to be used with PT 11.
What a great idea!!!.
Oh, not!. They don't have an AAX wrapper and, they will not do it!!!.
SAD, FXpansion. Your RTAS wrapper was an awesome tool.
TT Dynamic Range Meter
Another of my key metering tools, that costed my some money, on Tyschmeyer' site.
Well. There is no AAX version available to download and, the original maker (Algorithmix) isn't maintaining or selling it. So, another great plugin to the trash can.
VERY BAD, ALGORITHMIX.
It seems that now, Brainworx is selling an enhanced version of such a meter but, isn't available as an AAX version. What a pity!.
It seems that the only affordable alternative to solve the lack of the Inspector XL and TT Dynamic Range will be to buy Blue Cat's Meters. More money, OMG!.
I'm downloading all Blue Cat's freeware plugins to check which quality level do they have, before taking a decision. They seem very complete but, complexer, not dummy-proof.
ToonTrack plugins
Long time ago, I've purchased first the EZDrummer and several EZX expansion packs and, about one year later, Superior Drummer 2.0 and several SDX expansion packs.
Those are rarelly used, when I have to manually sequence some drums parts.
Well, it seems that ToonTrack did their duties and their products are up-to-date, providing 32 bits and 64 bits versions but, the installation is a bit messy. You have to install the original product version and, then to apply first late 32 bits update and then the 64 bits update. You better leave installation directories as default, to avoid weird results.
After a couple of days, downloading and installing everything, I've opened a PT 11 session and, inserted an Instrument Track to check if EZDrummer and Superior Drummer where available.
Both are now listed as Instruments for PT 11. Nice!.
Trying Superior Drummer... ok... Authorizing it. It seems to work.
Trying EZDrummer... CRASH!!!!. PT aborted.
I have to troubleshooting this. Will update status in a new blog entry.
112dB Plugins
Just one 112dB plugin I've purchased, the Red Monitor. This plugin allowed me to mix with headphones simulating same conditions as if I was hearing the mix thru monitors and, was a key plugin to silenty mix, without disturbing my family. Results where very close to real thing so, I liked it very much.
It seems that 112dB plugins are compatible with every PT version except 11 but, 64 bits AAX versions "are in the pipeline" (as per 112dB words).
DESPERATELLY WAITING FOR THAT 64bits AAX version.
Please, make it free!.
Massey Plugins
Well, currently Massey Plugins are compatible with PT up to version 10.
Fortunatelly, that guy is working on 64 bits AAX versions (in Beta Phase as per October 2013).
Knowing how Massey does things or they will be available for free or they will be available for a ridiculous upgrading price.
GO AHEAD MASSEY!.
What about PT 11?. Does it Deliver?.
I was a Cakewalk user for a very loooong time. After visiting some little Studios, I've realized that the to-go DAW was Pro Tools and, when I've tested my old Cakewalk songs in Pro Tools, I've instantanelly noticed a nice improvement in sound, just using stock plugins.
Well, comparing PT 8.0.5 LE to PT 11, I can say that I am feeling same improvement level. Things sound more "airy", more "correct" and, I am not feeling the sensation that the delicate nuances are being missing.
Stock plugins work better, smoother and clearer than in PT 8 and, I see the possibility to make a good mix just using stock plugins.
I was highly impressed with their new Channel Strip plugin. IMHO, this single plugin can do everything you wanted for a track or bus. A master piece of software, indeed.
I've tested it in every single track (bypassing previous plugins) and, it had an usable preset to be used for each track (which I tweaked just a bit to my taste) and, in all them it made an awesome, crystall clear and musical work. My congratulations, Avid people!. This is the best Avid plugin ever.
I've loaded one of my well known songs but, some tracks where missing. I've probably lost some information when swapping the PC so, I cannot blame PT for this. I will do further tests with new stuff, in any case.
I've loaded their demo session and, I was impressed with the bunch of tracks that were loaded, with lots of virtual instruments and, lots of plugins. I've opened the System window to check resources use and, I was impressed how low the CPU and memory usage where.
There are not so many audio tracks in that demo so, it's difficult to know how efficient it will be with audio tracks. Most of tracks where midi tracks triggering virtual instruments.
The Master Meter is also a nice tool to see if your Brickwall Limiter is doing its task and, it seems that IKM Brickwall Limiter isn't able to control everything. There are lots of oversampling events so, I guess I need to go for that 64 bits upgrade of the Sonnox Limiter.
I've tested several IKM plugins, mainly in the main bus but, also in some instruments, just to check if PT 11 was able to stand that load (IKM plugins are running with the highest resolution, what means a lot of load).
Everything worked smoothly. No issues and, awesome musical results (well, that's why I love IKM stuff).
I take advantage of this testing session to check the cryptic IKM Quad processors and, the Quad Imagine was a nice discovery, allowing me to widen the stereo image, just for those bands I wanted it.
I've also used the Bus Compressor (awesome as a glueing compressor, with a very light compression and gain makeup) and the (I confess it, underrated) OptoCompressor, among any other typical studio ones: Fairchild 670, White 2A, Black 79, etc. All them delivered good sound.
I still don't like their Metering suite. I think it's bogus or, I cannot understand what the hell is it doing.
Even pushing the mix hard, RMS levels stay always around -20dB, while I clearly see in other meters (as in the Limiter) that RMS are way over -20dB, maybe around -12dB.
That's why I loved Inspector XL and TT Dynamic Range Meters and, that's why I need to solve this ASAP.
I'm missing the K-System all the way!.
Overall, from a reproduction point of view, PT 11 seems a step over previous versions and, that channel strip is a top-notch workhorse that will make lot of people to smile, when using it in their mixes.
Don't forget to try it!. It's a GREAT plugin!.
The drawback is that it looks like a tad arcane, with lots of parameters and possibilities.
Best approach is just to recall some of its presets and then, to tweak a little bit something.
It deserves an in deep analysis to fully understand this incredible good tool.
Lots of tests are still pending and, very specially, those related to recording and, how PT 11 handles the delay or low latency monitoring.
I'm still pending on testing PT 10 also, that seems the Island I need to go to preserve my previous investment in plugins.
Conclusions
Pro Tools 11 seems the near future but, it cannot be the present. The present is Pro Tools 10.
Plugin makers are still dealing with their 64 bits AAX versions. Some will do that for free, some will charge you more or less money for an upgrade.
Currently, you cannot expect to smoothly re-use all your purchased RTAS plugins with Pro Tools 11.
It seems that Avid shaked the plugins market and, due to the highly technical development behind any audio plugin, it's gonna take a while for makers to have their plugins ready for a 64 bits AAX version.
Will I recommend to crossgrade to PT11?.
Yes, indeed.
It will take a while to have all your wanted 64 bits AAX plugins ready but, since PT 11 includes PT 10, you can buy PT 11 for tomorrow and use PT 10 for today.
Go for a 64 bits PC and Operating System. This will ensure you that you will be able to use PT 11 once everything settles. In the meanwhile, you can use that 32 bits PT 10 in a 64 bits platform without issues and, you can process tracks in PT 10 and import processed audio files to PT 11.
In a next blog entry, I will share my tests of version 10. I hope I will recover all my beloved plugins there but, how the system will work?. How nice it will sound?. Would it be a notable sonic difference respect PT 11?.
Ah, Ah, Ah!. Too many questions to be answered.
Stay tuned.
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