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Archive for July 26th, 2010

Audio Damage Discord 3

[ 0 ] 2010/07/26

Like most plug-ins from the Audio Damage lab, Discord is designed for creative experimentation and is well capable of mangling a sound way beyond recognition.

Version three updates the original concept with new pitch-shifting modes, a variable band-pass filter and a brand new animated GUI. The GUI update is not just a cosmetic improvement, it's made programming easier and more accurate than previous versions by implementing a 'grab the number and scroll' technique.

This is especially helpful for making accurate adjustments to the amount of pitch shift or when setting the delay time in ms.

Shifty geezer

At the heart of the machine is a true stereo pitch-shifter with three distinct algorithms; kind of like the past, present and future of pitch-shifters. The P1 'Vintage' is modelled on the Eventide H910 and H949, while P2 'Clean' represents the modern sound and the third is Granular - which opens the way to another world of textures entirely.

Spiral galaxy

Next in line is a pair of delays, one each for the left and right channels. Each side has its own independent set of controls for delay time, feedback and cross feedback. The delay time ranges from zero to two seconds and can also be programmed in sync mode offering speeds between 1/1 and 1/32 with triplets and dotted notes.

The clever bit happens when the delay line feeds back into the pitch shifter. This makes each repeat shift up or down by the same amount again, sending the pitch spiralling up or down. This can spin right out of control with high shift and feedback settings, and create some awesome splattering and grainy tones.

The third effect block in the chain is a band-pass filter with controls for cutoff and resonance/width. This helps shape the sound to fit in the mix and the cutoff can be modulated via the dedicated LFO.

The sum of the parts

As multi-effect units go, Discord has a unique sound largely owing to its characterful pitch algorithms that alter the basic tone in interesting ways.

The delay and filter sections are really useable and work really well when feeding back into the pitch section. This makes it great for simple things like subtle double tracking for vocals through to wide wobbly chorusing.

With longer delay times it's easy to dial up cool underwater Dub-tek echoes, and weird granular twists that can be animated and take on a life of their own through the LFO.

The pitch shifting is not scale based, chances are after the initial delay repeat harmonic material will start to take on a more discordant nature - think along the lines of cinematic eeriness and Stockhausen clangs and you'll be in the ballpark.

One thing we would like to see is more panning options, besides the straight stereo spread. It would be nice to be able to pan the channels using the LFO, though we're told there will be some improvements to this in the next update.

If you already own Discord 1 or 2, this is a must have update which expands the palate and makes programming slicker and quicker all for $10. At the regular $60 asking price, it's still good value, and is highly recommended for everyone looking for a unique sound mangling tool for their creative arsenal.

Listen to some samples of what the Discord 3 can do with our audio demos:

Bass Doubling

Discord Delays

Dubtek chords

Granular Wobble

Granulated Delays

Jungle Grains

Minimal Beats

Shifty Drums



Avantone BV-1 Valve Mic

[ 0 ] 2010/07/26

Avantone has carved out a niche for affordable mics ranging from ribbons to large capsule condensers, and with all mics getting the once-over in the US prior to shipping, quality is excellent.

So by their standards, the BV-1 multi-pattern valve condenser marks a bit of departure, not only because it's quite pricey, but also because final assembly is done in the United States.

Given these facts it's perhaps fitting that it arrives in a Fender-esque tweed case. And with the inside sporting a deep red furry guitar case style lining, you've got to hand to them - overall this really looks the business. The mic and power supply are finished in the same gloss buttercream colour and both the mic box and the mic itself are stamped with the serial number.

As you'll have spotted the BV is a lollipop style, and includes an integrated pop shield that screws neatly into the neck section. The capsule itself is a dual diaphragm edge-tapped design mounted on four isolators behind a large twin-layer grill, and a nine-position notched knob on the PSU handles pattern selection.

Further features include body-mounted pad and low-cut filter (10dB and 6dB / octave at 80Hz respectively) and you also get a quality Gotham multi-core cable. Finally, the mic includes a US-made CineMag output transformer and a Russian-made 6072A low-noise valve.

Nice threads

Multi-pattern mics offer plenty of flexibility but also a bit of headache when it comes to spec, so maybe it's no surprise there are no response charts included.

In the central cardioid setting, our first impressions are that the BV-1 isn't excessively bright, and we're really sensing a solid, gutsy low mid-range with plenty of proximity on vocals.

Switch right to omni mode and you get a real sense of the mic's natural tone. But for us the best setting is the slightly wider cardioid settings either one or two notches towards omni, as these reduce the proximity and nasal nature slightly. If your room acoustics and isolation considerations allow it, this has to be the way to go with the BV-1.

In terms of sensitivity, the BV-1 delivers 18mV/Pa, and we certainly noticed the mic gain drifting up for acoustic guitar (which sounded lovely and rounded). Also the 18dB noise figure isn't amazing but not rare for a valve deign.

Caveats

Without a doubt the BV-1 is one on the best-presented mics we have ever tried, and when you consider the price, that's quite a complement.

However, there are a few things that did bug us. Firstly, although it looks cool, the pop shield sits too close to the capsule and you can't adjust it, so for us this would stay in the box.

Secondly, in an ideal world, we'd want a longer multi-core so we could get the PSU out of the way.

Thirdly, this mic is heavy (1.3kg) and needs a strong mic stand, so bear that in mind.

Finally, both the cradle and the pop shield give off resonant rings when you tap them. Not the end of the world, but worth knowing before you ruin a perfect take.

These points aside, the BV-1 is really rather nice and should deliver plenty of trouble free service while making your studio look more stylish.



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