Pictures From AES 129

Hey everyone!  Here's a little album of all the pictures I took while I was in San Francisco at AES 129.  Hope you enjoy & thanks again for the continued support of ZeSoundSuite!



Best,

Nick

What is an Optical Compressor?

I'm not an electrical engineer, when people start getting super electrically geeky regarding audio I usually get lost rather quickly.  The gritty important details fly over my head before I can even think about absorbing & understanding them.  Keeping this in mind I'll make this simple enough so that anyone who understands basic compression can understand how an opto-compressor works on an electrical level.  After all, it was the simple explanations that taught me what I know about them.  Once you know how it works, you'll know more about compression in general.  That way when you do go analog compressor shopping and you'll be better informed when making your audio investment.

An optical compressor (also known as a leveling amplifier) is a compressor that uses an electro optical attenuator & a photo conductive cell to monitor and control the dynamics & amplitude of processed program material (audio).  Already lost?  Wondering what the hell an electro optical attenuator & photo conductive cell is?  Keep reading you don't need to know what they are, only what they do. 

An electro optical attenuator features a light source. (in newer products these are LEDs)  This light source's intensity is directly proportional to the input signal of the material you're compressing.  So, as input level rises the LED shines brighter & with more intensity.  Conversely, as input level drops the LED shines with less intensity.  Well that's all fine and dandy but...  How does a flashing light source compress audio?  Here's how: The amplitude dependent light source is just one part of an optical compressor, we also need something to monitor this light source.  This is where the photo conductive cell comes in.  It monitors the lights source so the unit knows how loud the incoming signal is via the light's intensity.  Remember, I said earlier that the intensity of the light is directly affected by the level of input signal.  That's really important for understanding the larger concept. 

A photo conductive cell's job is to watch over the light source and then adjust resistance based on the intensity of the light.  When a louder signal is pushed through the optical compression unit the light shines brighter, the photconductive cell picks up on this brightness and in turn reduces its resistance being applied to the given signal.  This then tells the amplifier to reduce it's gain thereby creating a form of compression.



Unlike other compressors that allow you to choose attack & release times, an opto's release time is program dependent.  You can't choose the attack & release, they will change based off the material they are processing. (this is what makes optical compressors desirable)   Since a light doesn't just shut off and instead dims as it goes out, the release time is directly proportional to the level of the incoming signal which is simply being represented as light in an opto-compressor.  The same is also true for the attack times of compression when using a opto-compressor. This is why many people believe opto-compressors sound better.  They're said to be more musical because their response is non-linear, just like music is.  Other compressors have set response times (you adjust the attack & release) that are linear and exact.  With optical compressors the response (attack & release times) is set internally.  This response as I stated before is based of the properties & responsiveness and quality of the light source & photo conductive cell being used in the optical compressor.

Most Compressors you've seen also usually have a makeup gain control.  We need this control because when we apply compression to something we're working on the amplitude decreases.  We use makeup gain to return the material to it's previous amplitude with the compression applied.  Opto-compressors do not have a makeup gain control.  Their makeup gain is set and built into the circuit.  For every dB above the chosen threshold the signal hits the gain will increase by just less than a dB.  This can make using an optical compressor tricky because a lot of people aren't used to the gain adjusting as they adjust compression.  However this also means there are less controls to adjust and it's just a matter of getting used to this new way of manipulating compression.

Hopefully this all made sense to the folks in audio layman's term land.  Like I said before you don't have to know exactly how each part functions, only what each electrical component does to understand how it works.  Now that you know a little bit more about optical compressors when you're ready to buy a nice analog compressor to fatten up your own sound you'll be more educated about the wider process of compression! 

Best,

Nick

Sherman Rodec Restyler Analog Filter

It was only a couple days ago that I introduced you all to Rodec's MX2200 DJ Mixer.  Today I'm going to feature the product that brought me into the Rodec light.  The Rodec/Sherman Restyler is an analog EFX unit built by two of the best boutique analog audio manufacturers in Belgium.  Sherman products have made their name in the standalone analog filter world, and Rodec makes some of the best analog DJ & Live Sound mixers you can buy.

Sherman's Filterbank 2 has become a staple in the analog filter game, it literally features everything any analog filter nut could ever want.  The Restyler isn't quite as versatile but IMO, I feel like that's what makes it so special.  The Restyler has no MIDI or LFO features, not to say this is a bad thing.  Both Sherman & Rodec took a more direct approach when they designed & built the Restyler, no fluff, just the stuff you need to give your music those fantastic analog filter characteristics that have been around since the days of Hendrix & even before.

On first glance the Restyler is certainly a visual wow, when you're looking at the Restyler, it stares you back in the face and screams; "manipulate every part of me, NOW!"  The unit sits tilted at a nice angle that should be rather comfy & ergonomic for most of you DJ's & Performers out there.  The knobs, buttons & faders live separated and spaced out from each other on the unit, this means even fat finger people like myself won't have a problem mashing the controls to infinity and back during a live set.

The Restyler won't leave you in the dark either, the visual feedback from the multiple LED's on the unit ensure that you and the Restyler are constantly in close communication.  Feedback from a piece of equipment isn't as important in the studio world when we should be using our ears but, in a live setting (specifically one with crumby stage monitoring) these visual cues can often times be all we have to go on.  The Restyler has all the typical metering LED's you're used fo and some that might be less familiar.  It's large blue LED ring around the Master pot indicates filter modulation by pumping on & off based upon how much filter modulation is being applying to your source material.  The blue & green trigger LED's rung around the "Slave" pot indicate which filter (master or slave) has the greatest effect on the source material you're running through the Restyler.  If the master filter is processing more source material, than the slave the LED will be lit with blue, if the processing is taking place inside the slave filter, the LED will light up green.  Any combination of the two filters will be represented by the illumination of both colors around the slave knob.

Three sliders handle the output levels of the low-pass, band-pass, & high-pass filters.  Their travel is quite short at only 20mm but users do say they are still quite effective.  If a fader is raised above the center unity detent the output of the filter is increased whilst simultaneously reducing filter modulation.  The modulation knobs offer both positive and negative modulation with the unity setting set not dead center but at the 9 o' clock position.  The Restyler features both amplitude and frequency modulation sourced from an envelop follower. (an envelope follower extracts multiple frequencies from a single wave and then uses the information to control EFX; phase, wah, etc.)  The three slope buttons on the Restyler change the filter cutoffs from the default 12dB to a steeper and more aggressive 24dB slope.  According to Sound on Sound (where I first discovered the Restyler) The 8 button combination provides you with enough filter flavours to satisfy just about any producer or DJ.  The Restyler is more than just a filter, utilizing the controls correctly you can gate and delay material too, the Restyler does major work beyond just typical filtering, revealing a whole set of EFX characteristics not first considered when talking about filters.  It's all just a matter of how the user puts the Restyler to work.  Keep in mind that a limiter behind the Restyler is extremely important, filters can do major damage to not only our ears but our equipment as well.  If you abuse this beast it will in turn abuse you; destroying your ears first and then demolishing your equipment.  Treat it with respect and safe guard from costly mistakes by using a limiter post the Restyler in your chain.

The inputs and outputs of the Restyler are certainly DJ friendly as they offer RCA in's & out's.  The restyler also features combi jacks (XLR & 1/4' Connections in one Jack) for 1/4" & XLR Inputs, and 1/4" Outputs.  This is a stereo unit and is mainly designed for the processing of entire songs in a live situation but, I see no reason why it can't become a trusted tool in many production studios as an outboard filter EFX unit too.  There's no doubt the Restyler can liven up those linear and lifeless sounding soft-synths from your DAW.  After all analog filters are a large part of what gives true analog synthesizers their own character & sound.

I've never actually used a Restyler so I can't really speak much as to how it works once in your hands.  However, the Restyler to me seems more like an instrument than an EFX box.  The analog character from both Sherman & Rodec should liven up almost any piece of material ran through the Restyler.  Wheather you're a performer on the go or a producer locked up in a studio the Sherman/Rodec Restyler is certainly something you want to take a look at.  The audio world is slowly becoming more and more consumed by the hard and lifeless sound of digital audio, utilizing something like a Restyler adds the analog flavor that will set your music apart from the rest.  For more information on the Sherman-Rodec Resytler be sure to visit the Restyler Website and check out the video below!

Empirical Labs EL-8 Distressor

The ELB Distressor from Empirical Labs is probably the most recognizable and consistent piece of gear you'll ever see in any music production studio.  If you look at videos or pictures of professional dance music producer's studio you'll see at least one EL-8 and most of the time you'll see two!

Empirical Labs EL8 Distressor is an analog compressor that integrates digital control over separate analog circuits.  This design gives the user total flexibility and makes the Distressor one of the most versatile compressors out there.  The Distressor is really a handful of units all rolled up into one single rack space unit.  Even without any compression applied there is a treasure trove of harmonic tricks & character you can apply to your material using the various harmonic/distortion modes built into the Distressor.  Most of these modes model vintage sounding gear that today would cost you an arm and a leg to afford. (more on this at the end of the article)

The Distressor offers 8 different compression ratios from a subtle 1:1 ratio to Empirical Lab's "Nuke" setting (200:1)  These ratio's aren't selected with a knob like on most compressors, you use a switch, this switch digitally engages different analog circuits based on your chosen compression ratio.  Thus giving each compression curve it's own personality and release character.  The more subtle curves add just the right amount of low order harmonics while the intense ratios provide the user bright and shiny sound characteristics perfect for livening up drum groups or room mics.  The most sought after curve the Distressor possesses is no doubt the 10:1 "opto" curve.   In this setting the analog circuits are switched to a different set designed to emulate the famous opto LA2A of yesteryear from Universal Audio.  Professionals will tell you that the Distressor's "opto" mode sounds a bit harsher than the LA2A but, they will also tell you the Distressor does a damn good job of emulating on of the finest compressors ever built.

Another very handy feature of the Distressor is it's "fool proof" operation, you don't have to be an compression master for this beast to help your work.  According to Empirical labs if you leave the knobs towards the middle and the ratio set around 6:1 you can't really go wrong.  The large knobs with high resolution numbering in small steps makes it very easy to adjust settings, furthermore this feature makes recalling previous settings when coming into the studio with fresh ears in the morning a breeze.

The last feature I'll touch on is the Distressor's three harmonic/distortion modes.  The first two modes; Clean & Distort 2 are designed to add warm 2nd order harmonics similar to the sound achieved when using classic tube gear.  The third mode; Distort 3 provides 3rd order harmonic distortion much like the warmth & sound achieved when using an analog tape machine.

The Distressor isn't built cheap, it's built like a tank and housed in solid and sturdy vent-less single rack unit.  The components are all top quality and most are military grade.  You don't hear of Distressors breaking down too often because they have been designed and built with an immense amount of care.  The power supplies are designed to run cool and all the components were selected in part because of their long life.  Rest assured, you're investment is quite safe when you purchase a Distressor, no need to worry about quality issues with any of Empirical Lab's gear.  If you ever do have an issue they will surely get it resolved for you as quickly as possible.  The people behind Empirical Labs are passionate about audio and this shows in their products and services.


Fact is, I could go on about the Distressor for days, like I said in the introduction to this article, you will be hard pressed to find a professional production studio without at least one Distressor.   I feel like I've said enough for you to get the basic idea though.  The EL-8 Distressor is an extremely versatile and flexible piece of gear perfect for almost any tracking or mixing situation.  If you're making music completely inside of the box and looking for something to add a little magic to the brittle and linear sound of digital music get yourself a Distressor.  It is one of the most unique sounding and multifaceted pieces of professional audio gear you can buy without spending 6 months salary.  To learn more about the Distressor check out Empirical Labs website and scope the video featuring the founder of Empirical Labs!

PS: All of Empirical Labs gear is currently 15% off to celebrate their 15 years in the audio industry.

Thermionic Culture All Valve Professional Audio Products

What sounds better than digital gear?  Analog gear... What kind of analog gear sounds the best?  TUBE analog gear!  All valve (tube) equipment actually process 100% of the incoming signal, Class B (tubes are Class A) forms of equipment only process 50% of the incoming signal.  Not to say this is a bad thing, it's just that tubes do in fact sound better than solid state gear.  They just add that pleasant harmonic touch to everything they process, no plug-in will EVER be able to replicate vacuum tube's effect on audio.  Tubes bring the life and harmonics from a piece of material that would've been otherwise dull and unappealing.  I can't explain it in a way that will make sense without typing 4,000 words though, you just have to hear tubes action for yourself to understand why they're so much better.

Since there isn't a lot of manufactures left who make all tube gear some things have happened to the industry.  First: Gear that's 100% all valve has gotten fairly expensive. Second: Everyone knows tubes sound better, so...  Companies will throw a crumby tube in their equipment to process the basic tone but still leave the power amp as a class B design.  This is just flat out misleading.  Don't buy tube gear from companies who don't specialize in all tube designs.  Thermionic Culture doesn't sacrifice quality to cut the bottom line & fool the consumer, they make amazing sounding gear for the masses who want professional sounding productions!

The man who started Thermionic Culture; Vic Keary, built his first studio's in the 50's and has been in the audio world ever since.  In the 50's you couldn't just buy a bunch of commercially available gear you actually had to "build" a studio, with your hands and brain.  Vic Keary is an audio legend and the company he's created will surely become a page in the book of professional audio companies.

I could spend a bunch of time explaining all of the products Thermionic Culture offers the public but that would be quite a lengthy article.  Instead I'll just give you a run down of the basic idea behind the company and then you'll be able to take that info with you when you visit Thermionic Culture's website to check out their gear!  Thermionic Culture is a professional audio equipment designer and manufacturer from England.  Everything they build is constructed by hand (if this isn't fantastic I don't know what is)  Thermionic Culture's gear can be found in some of the best professional studio's in the world.  People that know audio know tubes sound better, people that know tubes sound better know Thermionic Culture is the business when it comes to sweetening sounds.  Thermionic Culture has 16 different models of all valve based gear in the form of Pre-amps, Compressors, Summing Mixers & EQ's.  I am quite interested in their Phoenix Mastering Compressor and can't wait till I have enough cheese to afford one.  Thermionic Culture's company motto is: 100% Full Fat Audio Content.  Why give your productions and projects anything less than 100%?  Check out Thermionic Culture's Website and do some digging for yourself, you'll understand why this in indeed one of the most respected professional audio companies out there! 

Check out this video from Sound on Sound featuring Kevin Walker from Thermionic Culture to learn more about their flagship product The Culture Vulture!



Best,
Nick