Banana Seat – Pump Dance

You may remember Ghostdad from his stint here at ProAudioStar – he starred in a bunch of videos that we did. Since then, he’s been a busy man djing, producing music, playing in the band Win Win, and providing visuals for Porter Robinson’s live shows. He also partners up with Durkin (featured on the blog before here) as Banana Seat. They have a new track out via Fool’s Gold:

Banana Seat set aside the New York vs Boston rivalry with “Pump Dance”, a true bumper of a Clubhouse tune. BK’s Ghostdad and Beantown’s Durkin stuff Technotronic-worthy throwback synths and next level club thump into their bicycle shorts before grinding all up on you and stealing your heart forever. Play ball!

Banana Seat



To get more from Fool’s Gold Records, click here.

QSC K12 Giveaway – Get $100 For Entering!


We’re giving away a QSC K12 PA setup on our Facebook page. PLUS we’re giving a $100 coupon to everyone who signs up. The grand prize package includes 2 QSC K12 12″ powered speakers, 2 speaker stands, and 2 20-foot XLR cables. Click here to enter!

*Contest ends May 31, 2014. Must be a US resident to be eligible to win. Coupon code is good for $100 off purchases of $399 or more at ProAudioStar. Offer good on brand new, regularly priced items only. Some exclusions may apply, click here for details.

New Gear: Icon QCon Pro & iControls Pro


iControl Pro (left), QCon Pro (right)

Recently I had a chance to check out a couple of new items we are carrying here, the QCon Pro ($746.99) and iControls Pro ($386.99) from Icon. Both of these offer motorized faders and the ability to integrate with Cubase, Nuendo, Logic Pro, Samplitude, and Ableton Live with Mackie Control, and with Pro Tools via Mackie HUI Control. I tested these out with Ableton Live.

Setting up both of these devices was easy, using the included software and instructions. It only took a few minuted to get either one of them up and running with my software. Once set up all the controls are mapped in a logical way and did what you would expect.

These units have a good build quality.  They both are heavier than you would expect, and generally feel very solid. As you might expect from it’s higher pricepoint, the QCon Pro definitely has the nicer finish of the 2 units, especially in terms of the faders and knobs not being as plastic-y. Additionally It has multi-colored LEDs, an LCD display screen, and LED level meters for each track. The styling of these might not be everyone’s cup of tea, but for the price I am willing to turn a blind eye to that.

In terms of usage, I loved the QCon Pro – it does everything you would want it to, and the mapping for Ableton Live seemed to be spot on. The LCD scribble strips and LED meters made it very easy to be able to adjust almost everything without having to touch – or even look at – the computer.  The iControls Pro took a bit more getting used to, since the lack of any type of display made it a bit harder to use than its larger cousin. However, it still could be a good choice for someone with limited space and/or budget, who is looking to be able to mix tracks on a board, or as part of a portable setup. It’s worth noting that the QCon Pro is fairly large so might be too big for some setups.

Right now there’s nothing that can touch these controllers at this price point. Behringer will be dropping some competition in a few months, and it will be interesting to see how they all compare.

Warm Audio WA76 review and sound samples

To say I’m a fan of the classic 1176 limiter would be an understatement. It’s my desert island studio compressor, my go to squash box. I’ve even built two for my home setup.   When I heard I could get a clone for $599.00, my curiosity was peaked since It cost me more to make one. So, the Warm Audio WA76 had to get an audition.

UA Apollo in PT Mode for Hardware Inserts

UA Apollo in PT Mode for Hardware Inserts


The WA76 replicates the familiar look of the originals. The chassis is all black with the exception of the orange Warm Audio coffee mug logo and the model and setting printings. Layout is the same, with the two big knobs, two small knobs, two chunky switch assemblies, and single lamp lit VU meter.

The biggest change with the WA76 is the power supply, which is a “lump in the line” external power supply; a cost saving idea for the design and preferable to a wall wart that has the transformer on the plug.  The rear has the DC in for the power supply, In and Out XLR and TRS connectors, and a switch for a 23dB pad for when you are running a pre really hot in front of it. Controls and meter in front are all laid out just the same a any other 1176. The input and output knobs have step detents, which will make it easy for recalls. The Attack and Release have a center detent. Ratio buttons work just like the, meaning, you have the option of 4:1, 8:1, 12:1, and 20:1 ratios to choose from with the expected ability for All Buttons In (British Mode), no ratio (1:1 for just driving the transformers) and any combination of 2 or 3 ratios. Meter switch assembly is the same as well: GR, +8, +4, and OFF.


They have decided to model the WA76 after the Urei 1176LN revision D. The rev. D is regarded as the most favorable of the 1176 revisions. It’s just in the place of after including a lower noise and distortion circuitry and just before changing the output amplifier to a class AB (push pull) amplifier. This means it has just the right balance low noise and saturation; clean but not too clean.

Urei used the UTC O-12 input transformer; you can find these used for upwards of $200. Warm has found a solution in the Cinemag CM-2511 microphone input transformer. It’s not a replication of the UTC but is widely used for many clones. The specs are similar with the SM-2511 having a more modern bandwidth. The output transformer is also Cinemag. Everything else is the same discrete circuit with a class A output so it would be expected to be a ballpark replication of the sound of the originals.

I wouldn’t want to do a 1:1 comparison of the limiter with originals, clones, and replicas because they are all so wildly different on what they say is the 1176 “sound”; a problem that has risen from years of tinkering and refurbishing and just plain differences of opinion. I do know what to look for when using a FET limiter and that is near brick wall control of a signal. 1176 just has that added mojo because of its saturation from the 1108 pre amp and the distortion shimmer from the FETs. It will put vocals on your forehead, turn guitars into drills, and set drums on fire.

I’ve included some clips with broad idea of the settings. The most unique choice was “no ratio” setting for the kick drum for added mids. The kick was recorded with a D112 inside and about a fists distance from the beater.  A towel was thrown inside as well to dampen the sound. As a result, you get a very good attack but not much body or tone. Driving the input of the WA76 did nicely to resolve that. Another find was combining 8:1 and 4:1 for a program depending sounding behavior for a very slow guitar strum.


Every studio should have a FET limiter and the Warm Audio WA76 is among the best choices with a price that set to make it a no-brainer acquisition.


  • True to the Classic 1176 compressor in design and performance
  • Completely discrete signal path
  • Modeled after the D revision
  • Utilizes USA made CINEMAG input and output transformers
  • Supports the famous “all buttons in” ratio setting
  • Ultra fast attack time
  • Class A line level output amplifier
  • Input impedance – 600 ohms, bridges-T control (floating)
  • Frequency Response ± 1 dB 20 Hz to 20kHz
  • XLR and TRS inputs.  XLR and TRS outputs
  • 55db of gain
  • Less than 0.4% total harmonic distortion from 50 Hz to 20 kHz with limiting
  • Signal to noise ratio is greater than 74 dB at +25 dBm
  • EIN -104.1 dbm
  • Attack time, 20 microseconds to 800 microseconds
  • Release time, 50 milliseconds to 1 second
  • Meter provides dB gain reduction and dB output
  • Internal power supply, external 24v AC power transformer
  • 19″ Rackmount chassis, 2U
  • 1-year warranty