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SBS Designs S1

Posted on May 17, 2013 by Joe

ProAudioStar.com

SBS Designs S1

Joseph Colmenero

The hardest thing about having NS-10M Studios, aside from an exhausting listening experience, is picking the right power amp. I had a chance to demo an SBS Designs S1 for a few weeks and found it interesting how big of a difference a power amplifier can make on your speakers.

SBS Designs operates out of New Jersey and was founded by Craig Bernabeu in 2001. They do HiFi installations and have their own amps, isolators, and a unique tube processor. Their line of amplification includes the Series M mono block amplifiers and the Series S stereo amplifiers. For the last few years SBS Designs Series S have been making replacing the power for studio main monitors like Augspurgers. The S1, as recommended by SBS, is for tweeters, compression drivers, and bookshelf type speakers. Performance specs are 65 watts per channel @ 8 ohms, Class AB output with a 10 Hz-100 kHz frequency response. I decided to give this one a try over the 125watt S2 and the 275watt S3 because my current amp is a Bryston 2B.

The front of the panel has to steel hands (presumably to protect the power switch or to help carry in out of racks), a nice big power switch, and 3 pairs of LEDs to indicate output level: Ready, Active, Max Out(clipping). The rear is surprisingly clean and simple: a really big heat sink, two XLR line inputs, knob-less gain pots, recessed banana connectors for speaker out, AC input, and a reset button for the thermal/current sensing circuit breaker. The circuit breaker is a good idea since, to have amp be suited for a recording studio environment, it is without a cooling fan or a built limiter.

Getting it out of the box and racked was easy enough. The unit itself weighs just a bit over 15lbs and the handles on the front help keep it steady while I screwed it in. Turned it on and started listening to music. The highs on the NS-10s opened up quite a bit and the bump on the 2kHz crossover smoothed out. With earlier NS-10s this would probably prompt a user to do the tissue trick but since my pair are the studio version its not a problem. I turned on a few go to tracks that I am most familiar with and noticed things like distortions, reverbs, and noise that I hadn’t noticed before. The response from mid to high revealed detail that I was previously missing. This would probably be due the 10 Hz-100 kHz frequency response and 100v/us slew rate giving it greater definition and transients. The lows were much tighter than the Bryston. The NS10M Studios, being a closed-cabinet, need high wattage and damping to get more out of the lows. Engineers will go with an amp that is 100watts or more per channel to get the lows to come out more and make sure the signal is above distortion. An SBS Designs S2, which is 125watts per channel @8ohms, would better drive the low end. Hooking the S1 up to a less stubborn speaker like the ProAc Studio 100s or Alesis Monitor1 MKII that have a ported design will give a complete sound from low to high. For my personal use the S1 worked just fine since I listen to the NS-10s at a strictly whisper quiet level and with these high end amps you don’t have to worry as much about low level distortion burning your voice coils.

At the end of the three weeks of using the SBS Designs S1 I came to listen more to my NS-10s. Mixes were translating and I could work long hours without fatigue. The S1 gave me more detail and a comfortable listening experience than my current amp, which by comparison sounded like it had holes in the upper-mids and sluggish overall. I would recommend an S2 for NS-10 users to get the detail on top and the wattage for the low end.

SBS Designs ISO-Q2

Posted on May 17, 2013 by Mike

Last week Shorty from SBS Designs dropped by our office with some new gear for us to try out. One of the products was the ISO-Q2 isolator. This is already in use by a number of a-list touring dj’s, and if you’re a fan of outboard gear or are putting together a club installation the ISO-Q2 has some unique features that definitely make it worth taking a look at. I set up the ISO-Q2 and gave it a quick run through:

On the front panel of the ISO-Q2, right in the middle you have the standard knobs you’d expect on any DJ isolator – Bass, Mid, & Treble. What sets this one apart is the addition of 2 extra knobs that you won’t find on other isolators – bass frequency cutoff and the treble frequency cutoff. These are super nice for a couple of reasons. First, because you can tailor your frequency cut offs to the particular track or genre you are playing – you would want a different cut off point for techno and disco for example. These are also useful for creating some neat effects where you can, for example, cut the bass gain and then change the cut off frequency for an added sweep effect.

On the back panel you can find 2 more features that set this apart from other isolators out there. The ISO-Q2 has an effects send / return (I set up with a Mini Kaoss Pad to test it out) that is by passable with a switch on the back panel. The other notable feature on the back is a Master Gain knob, which can be useful for a couple of things. You can use it to provide a little headroom for your system to protect from dj’s who go a little heavy on the gain, or you can use it to boost a signal from a lower-output mixer.

I recorded a quick demo using the ISO-Q2, you can listen below. Track info: Beto Cravioto – Inherent Vice (Cameo Culture Remix), out now on Plant Music.

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ZVEX Pedals: Now In Stock!

Posted on May 6, 2013 by Mike

We’re happy to now be carrying ZVEX effect pedals here in the shop. Check out Joe as he runs through some of the office favorites.

DSI Mopho X4

Posted on February 11, 2013 by Clay

Dave Smith’s synths are so consistently great, we here at ProAudioStar have taken to calling him Uncle Dave. Well, fellow synth-heads, this time Uncle Dave did more than buy us a ginger ale and drive us to Tee-ball. The X4 captures a coveted corner of the synth market – the affordable polyphonic analog corner. After playing with this puppy, we were wowed by it’s warmth and style.

This completely analog four-voice synth basically takes four Mophos (DSI’s acclaimed monophonic synth) and stacks them together with even more features to help you customize patches.

Sound

In our tests the X4 often sounded akin to the Prophet ’08. It has that fat analog bass sound, but it’s filters allow for plenty of high-frequency response too. . The X4 also features the famous Curtis four pole low pass filter. Overall the X4’s is more tonally capable of noticeable textures that sometimes lean gritty or sharp, than more nuanced supportive-type pads. So if you’re looking for smoother patches, you’ll usually have to do some patch editing.

Thankfully, editing patches is a breeze due to the X4’s sensible layout and the downloadable patch editor, which can load custom patches to the unit via USB.

The X4 has two digitally controlled oscillators and four low frequency oscillators per voice, plus a feedback circuit for extra oomph, as well as three envelope generators. This signal path is 100% analog, but is controlled digitally, giving you the best of both worlds (a feature we think will become more and more common in the realm of analog synths). The addition of two sub-oscillators provided superbly exciting depth to many of the lead and bass patches we tested.

I had a blast messing with the sequencer for sequenced chords, and the arpeggiator, both sync-able via the tap tempo “Push It!” button or MIDI clock in. The Push It! Button can be programmed to trigger custom functions, leading to some very cool possibilities.

While the X4 is not multitimbral, it is designed to work with a DSI Tetra synth-module, which expands the total number of voices to eight in total. There’s a satisfyingly perfect spot on the right-hand side of the X4’s surface for the Tetra to sit, should you use them together. Coincidentally, most of the Eventide pedals also fit perfectly there. We got some amazing sounds running the X4 through the Eventide Space pedal – a highly recommended combo that helped us to expand and further texturize some of the X4’s tones.

Build

The X4’s build is great. It has a velocity-sensitive keybed with responsive aftertouch that allow for nuanced playing. It features hard-platsic knobs and wheels, a matte black aluminum body and wood side-panels. The 44-key keyboard is an ideal size- big enough for a wide tonal range but still small enough to take to gigs.

The X4 features stereo and headphones out, CV and sustain in, MIDI In and Out/Thru plus MIDI poly chain for DSI synths, as well as USB.

The Nicest Mopho Around

Overall, the X4 offers the classic DSI sound, made famous by the Prophet series, at a more affordable price and portable size. At 44 keys, banks on banks on banks of strong analog sounds, and the ability to easily customize patches, it’s no wonder that at $1,299 the Mopho X4 has been a very popular synth at ProAudioStar. We dig it, and we think you will too.

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The DSI Mopho X4 is available now for only $1,299.00 from your favorite synth dealers, ProAudioStar.

- Clay

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NAMM Show 2013 – Photos

Posted on January 25, 2013 by Mike

The guys sent in some pics of some of the cool stuff happening at the NAMM show, going on right now in Anaheim, CA.

Bernie Worrell putting the new Moog Sub Phatty through it’s paces:

Some of the displays at the Marshall booth:

Stacks on Stacks on Stacks

Custom Pin-up stacks

A little something for the analog nerds:

Mellotrons, old and new:

I honestly have no idea what this is, but it looks like fun:

What is this?

An analog touch strip?

The Behringer iNuke Boom claims to be the world’s largest boombox:

NAMM 2013 Sneak Preview pt. 2

Posted on January 23, 2013 by Mike

Some more early shots from the convention floor at the NAMM Show.

Pensado’s Place!

White Minimoog Voyager XL 4

Fancy Minimoog Voyager

Black & Red MicroKorg

Black & Red MicroKorg XL+

Numa Concert

Red 1

Scarlett 2i2

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NAMM 2013 Sneak Preview

Posted on January 23, 2013 by Mike

Here’s a sneak peek at some of the new products making their debut at this year’s NAMM show:

M-Audio Axiom Air Keyboard/Software Combo

Akai Max 25

Numark NS7 with MPC Pads

Numark Orbit

Behringer Modular DJ Controllers

Moog Sub Phatty Demonstration with Nolan DeCoster

Posted on January 21, 2013 by Joe

Moog was generous to loan us a prototype Sub Phatty for a week. Right away we had to turn it on and see what it could do. A knob-per-function layout was quick to reveal a robust LFO section, 2 versatile and rich oscillators, a sub-octave square-wave oscillator, a noise generator, and a Multidrive overdrive circuit.

Just to satisfy my nerd-curiosity, I broke out the ole’ oscilloscope to see the sweeping and evolving harmonics in action. A simple sine wave will quickly reveal the added 2nd and 3rd harmonics as you add more and more of the Multidrive to the signal. It beautifully turns saws into razor blades.

Nolan, being that his desk is not too far away from mine, couldn’t stay away from it. We were left with only one option; to make a full track using only the Moog Sub Phatty and document the results. So, off to the empty warehouse space in 20 degree weather to spend 3 hours creating. Equipment used was a Zoom H4n, Ableton Live, KRK Rokit 5, Canon 60D and, of course, The Moog Sub Phatty.

As an added bonus for anyone reading this blog we have included a link to download the Ableton Live session. Enjoy!

Download the Ableton Live Project

-Joe

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Kooley High Rooftop Performance

Posted on August 1, 2012 by Joe

Hailing from the dogwood heavy hills of North Carolina, super-group Kooley High arrived on the scene in early 2007. Two sturdy producers (Foolery and The Sinopsis), three intelligent and witty emcees (Tab-One, Rapsody and Charlie Smarts) and one keenly crowd-aware DJ (Ill Digitz), the group’s collaborative works have resulted in numerous features with Kid Daytona, Skyzoo, King Mez, Homeboy Sandman, Phonte and others.

Before hitting the stage later that night Ill Digitz, Foolery, Tab-One and Charlie Smarts dropped by for pizza, soda and rooftop antics.

Notes About the Recording:

The performance was recorded with Logic onto a USB external hard drive using a Presonus StudioLive 16.0.2. For monitoring we had a QSC K10. Microphones were Electro-Voice N/D 767s. Files were transferred to Pro Tools and mixed.

The Electro-Voice N/D 767 is the mic of choice for live hip-hop vocal since they are designed to handle vocalists who tend to “cup” their microphone. Electro-Voice VOB (vocally optimized bass) technology reduces proximity effect and muddiness associated with close proximity capturing. The result is an incredible clarity, balance and level before feedback.

DJ Ill Digitz’ setup comprises of an Apple Macbook running Serato Scratch Live, a Rane TTM-57SL, and a Technics 1200. This is all he needs to make it to multiple gigs in one night with a fast setup and tear down time. He also has some impressive skills as a scratch DJ.

Hughes & Kettner Tubemeister36 – Video & Review

Posted on July 30, 2012 by Jeremy

Some amp and guitar manufacturers have a habit of resting on their laurels, and letting their past glories carry them through decades forward. Hughes & Kettner is not one of those companies. Instead of rehashing old ideas and repackaging them as new, Hughes & Kettner always seem to be pushing the envelope in amp design, while never forgetting that it’s all about the tone. From high-end stomp boxes, to killer tube and solid state amps, to the legendary Red Box DI, H&K continues to move forward and wow guitarists the world over. Their newest line, the Tubemeister series, has been making major waves over the last year with 18 and 5 watt heads and combos. Combining big tube tone in a portable package, the Tubemeister amps have been extremely well received, deservedly so. Riding on that success, Hughes and Kettner introduces the Tubemeister 36 Head.

The Tubemeister 36 (TM36) is a 36 watt edition of the popular new series. Like the 18 watt version before it, is sports an FX loop, multiple channels, and a built-in power attenuator. It also includes the Red Box DI output, which is allows you to send a cabinet-emulated line out to a mixer or mic preamp. This is a great option for those of us who love home recording but have neighbors who don’t appreciate our musical genius! It also offers a power soak, allowing you to operate in 18, 5, and 1watt modes, or a silent modes which you can activate for direct recording. However, the TM36 packs a lot more than its 18-watt predecessor. Here are some key upgrades:

1) MORE POWER! – As you’ve probably figured out by now, the TM36 has twice the power as the 18 watter. It is powered by 4 EL84 tubes, and 3 12AX7 preamp tubes. Aside from volume, it does add quite a bit of depth to the overall tone. The lows are able to push quite a bit more, and 4×12 cabs get to resonate and move more air.

2) 3 Channels – The TM36 features Clean, Crunch, and Lead channels. The Clean channel has its own independent EQ controls, while the Crunch and share an EQ. All 3 channels have their own Gain and Master volume controls.

3) Digital Reverb – Unlike the 18 and 5, the 36 has built-in digital reverb, accessed on the rear panel via an On/Off button and a Min-Max knob. While the reverb does not get very saturated, it does vary depending on the channel you are on. If you are on the Clean Channel, it is wetter, and dries up as you move to the Crunch and Lead channels.

4) MIDI Footswitching – Here’s where the TM36 is unlike nearly any amp available, regardless of power. Using the optional FSM-432 MIDI board (the same one used for their Coreblade series), you suddenly have access to a multitude of tone combinations. Not only can you switch between channels, but using the MIDI board allows to to preset the power soak setting, the FX Loop, and Reverb. Heres a quick example: You can program the board so you can have one channel be Clean, with Reverb on, running at 36 watts. Then you can program another channel to be your Lead channel, running at 18 watts for added breakup, with Reverb off and the FX loop on! As the FSM-432 has 32 banks, each with 4 presets, you can program 128 different settings….which is freaking crazy.

As Hughes & Kettner was kind enough to loan this to me for a week, I decided to put it to good use. My first night with it, I took it to my band’s rehearsal. Hourly rehearsal joints are hit or miss when it comes to amps, so it was nice to bring something solid to the jam. I plugged it into a Marshall 1960 cab, and blasted away.

I started by checking out the Clean channel. With the added power, I was taken aback by the clarity. Compared to the TM18, the 36 gives a considerable amount of depth and true clean tone. Set the Gain low and the Master high, and you have a very clean, AC30-like chime. Crank the gain and pull back on the Master, and you get a Plexi vibe that is very reactive to your picking velocity.

The Crunch channel offers a very open sound that lends itself well to big open rock chords. As it is not overly compressed, it is a bit unforgiving. In other words, if you haven’t been practicing, this channel will not cover it up for you. It is very reactive to touch, and has a bit of a darker overall tone to it.

The Lead channel was where I spent most of rehearsal, as I like big loud gain. For me, this is where the TM36 won me over, much like the 18. With most amps, I usually dial in a thick rhythm sound, and use an overdrive for leads to add some compression and saturation. With the TM36, I didn’t even use a pedal. I was able to dial in a tone where the chords shined through, yet with enough sustain to bust out leads without any assistance form a pedal. This is a rare trait for any guitar amp in my experience.

Then it was gig time. I strapped the TM36 and my Pedaltrain Jr. to my cart, and hit the road……make that rails. My band was playing Trash Bar in Brooklyn that night, and I was stoked to play through this thing again at an unreasonable volume. Upon plugging it into the house Marshal 4×12, many friends approached me to ask what the little glowing box I had was. After turning it on and up, the sound guy kindly asked me to bring down the volume. I obliged…..until he walked back to his booth of course. Throughout the set, the TM36 held it’s own, and sounded fantastic. It must have brought something extra out of me, because many of my friends told me after the set that my playing was particularly on point that night. I’d like to take all of the credit of course, but great gear brings out the best in any player.

We then took the TM36 to the studio to do the demo video that is featured with this blog. The sound you hear in the video is my Les Paul Custom plugged straight into the head, into a THD 2×12 cab. To mic the cab, we used a Shure SM57 (is there any other cab mic out there?). We also included the raw audio files from this session, as we wanted to give you the same performance through a cab, as well as the Red Box DI out so you can hear the tone from each.

We also included a short little ditty I came up with on the fly. It’s basically sampled drums, 2 rhythm tracks (recorded using the Crunch channel), and one blistering solo (Me? Humble?) recorded using the Lead channel. Hopefully this provides some added context for how good this amp really sounds.

Between the video, the review, and the included audio files, I think I’ve made my point: This amp rules! When I reviewed the TM18 head last year, I was so blown away that I didn’t give it back. The TM36 might take some strong arms to pluck from my hands as well. Thanks again to our friends at Hughes & Kettner for letting us put this through the rigors of NYC, and for making another solid amp in their huge family of amazing gear. If you want to get one for yourself, hit us up at ProAudioStar.com. Until next time, PLAY LOUD!!!!

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