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36 Articles

COME IN & CHECK OUT OUR NEW SHOWROOM

Turramurra Music is Sydney’s leading professional audio equipment destination. Our recently renovated live sound PA showroom features a wide range of mixing consoles, from compact analogue and digital rack mixers, through to large format digital consoles from leading manufacturers including Allen & Heath, Midas, PreSonus, Yamaha and more. Plus, we have just been appointed as one of Australia’s only official DigiCo dealers. We have Sydney’s largest range of consoles available for hands on demo in store, along with 40+ individual PA speakers – and that’s just our live sound area. Our dedicated PA specialist staff can support you with any enquiry large or small, from upgrading your mixer, speakers or mics to complete system design and installation. We also provide mixer training for individuals and groups, and have dedicated education…

COME IN & CHECK OUT OUR NEW SHOWROOM

Here’s a question I recently asked myself: Do kids drink water straight from a garden hose anymore? I don’t think they do. For whatever reason, slurping straight from the hose occupies a disproportionately large chunk of my childhood summer recollections. It, in part, defines my idea of refreshment — opportunistic, unlimited, messy, and al fresco. These days, it’s a form of child abuse to send a kiddywink packing without bottled water. What’s more, packaged water remains a big deal despite all its obvious obscenities. (Nothing better than to witness another preachy UN committee outlining the latest global disaster scenario with each delegate nursing a single-use water bottle.) Packaged water has become one of the most peculiar status symbols in all history. To have spent $10 on a bottle of water,…

STUDIOS 52 / EMPIRE MUSIC STUDIOS After 33 years, Studio 52 at Johnston St Collingwood has closed and moved to newer, bigger and much greater facilities in Heidelberg, between Northland shopping centre and Latrobe Uni. For over a year the new Empire Music Studios have been built while Collingwood was running out of time, due for demolition to make way for ever more apartments. The first stage of Empire Music Studios opened in November: Studio 1, the new home of producer/engineer, Trevor Carter, along with Production Suite 1, an art and photography suite, event space, along with brand new bathrooms and kitchen. Now Studio 2 is complete. It is one of Melbourne’s largest recording spaces (~150sqm). The studio houses an amazing Yamaha C7 grand piano which has been completely refurbished…

INTO INTERFACES? SSL continues to peddle its analogue wares to the masses, this year going beyond the SiX and its true SSL “sound in a shoebox” approach and doing something even more accessible: the SSL 2 & 2+. Both are USB bus-powered, desktop audio interfaces with a distinctive look and feel, offering SSL mic preamps and legacy 4K analogue enhancement mode on each inspired by 4000 Series consoles. The 2-in/2-out SSL 2 packs two pres together with 24-bit/192k conversion, a single high-grade headphone output, easy-to-use monitor mix control for low-latency monitoring, and balanced monitor outputs. The 2+ adds onto that MIDI I/O, a second headphone out with its own send, and unbalanced outputs for DJs. Will they compete or SSLip to the wayside? Apogee brings its top-notch conversion into a…

LIVE d&b‘s new KSL-SUB and KSL-GSUB operate with two forward-facing 15-inch drivers and a single, rear-facing 15-inch driver. The sleek sub weighs in at 82kg, measures 1 x 0.90 x 0.45m, and boasts an output of 139dB when driven by d&b D80 amplifiers. A new KSL-SUB adapter frame allows the KSL-SUB to be hung mounted above KSL top boxes in a flown line array. The KSL-GSUB has a more streamlined form without the standard rigging hardware of the KSL-SUB. Its 45cm height allows for under-stage positioning. The dBTechnologies VIO C Series is a flexible two-way active line source designed for ease of rigging and diversity of coverage options. The C12 and C15 are single woofer designs (12- and 15-inch), and the C212 features two 12-inch woofers. The whole series is…

NAMM STUDIO LUNA is Universal Audio’s surprising new DAW outing. It transforms UA’s interfaces into fully integrated production systems, using its integrated DSP to create an analogue-style (Mac only) DAW centred around latency-free processing. LUNA offers precisely emulated audio summing circuitry from the Neve 80-Series mixing consoles. Neve Summing is a LUNA Extension directly built into LUNA’s mixer, adding instant colour. Other Extensions include a Studer A800 Multitrack Tape. LUNA also sees UA’s first foray into software instruments (Minimoog, Steinway Model B and other instruments included). Available free for Apollo and Arrow Thunderbolt owners. Moog has released its Sub Phatty successor — the Subsequent 25. Subsequent 25 has upgraded from Sub Phatty with the implementation of wood side pieces, twice the headroom for access to a new range of tones…

THE QUICK MIX with CHRIS TANAKA CANWELL

Who are you currently touring with? My main gig over the last few years has been mixing FOH for Vintage Trouble out of Los Angeles. We’ve toured all over the world, and most of my other work fell by the wayside once we teamed up! I also double-dipped as their Tour Manager for a while which was a great learning experience. Who are some other acts/bands that you have worked with? The Jacksons are another group that I do FOH for when they play the States, as well as Evan Ross and his wife Ashlee Simpson. I also spent a few years as the house monitor guy at the Knitting Factory back in my hometown so I’ve had the opportunity to work with a bunch of bands, including The Neighbourhood…

THE QUICK MIX with CHRIS TANAKA CANWELL

Melbourne’s ‘School of Rock’ Now Tooled Up

Melbourne’s ‘School of Rock’ never had it so good. Northern College of Arts & Technology has certainly done it tough at times. In fact, back in the early ’90s, then-premier Jeff Kennett’s razor gang closed the school down. Students kept showing up and the dedicated teachers kept teaching, even after the department had closed the coffers and padlocked most of the buildings. Sitting in NCAT’s brand new creative arts building, all that seems like ancient history. It’s an $11.5m state-of-the-art facility for music and fine arts students, packed with spaces for students (Year 10 to 12) to learn, rehearse and nurture their creativity. The jewel in the crown of NCAT’s gleaming new creative arts building is the live performance space. It’s a flat floor studio with retractable raked seating. The…

Melbourne’s ‘School of Rock’ Now Tooled Up

TASCAM SERIES 8P DYNA Eight-Channel Preamplifier

An easy way to boost your input count is to plug a multichannel preamp into the ADAT port marked by a red glow on the back of your interface. Tascam’s new Series 8p Dyna is a nice way to do it— eight channels of discrete preamplification and compression for an accessible price tag, all over a single cable. Physically, the Series 8p Dyna is built tough. Handles on the front face help you easily descend the unit into a horizontal desk rack or pull it out of a full rack case. With gain and compression on each channel, the 16 knobs are quite densely populated although the labelling is clear from all angles. Each channel also has a backlit +48V phantom button. Over to the right is the metering panel…

TASCAM SERIES 8P DYNA Eight-Channel Preamplifier

ARTURIA AUDIOFUSE 8PRE USB-C Audio Interface

AudioFuse was an outstanding maiden interface for Arturia. Wrapped in a futuristic design and several thoughtful features were squeezed into the desktop package. Arturia has expanded the AudioFuse’s appeal by developing a rackmount version with more I/O. Meet the AudioFuse 8Pre. Carrying over the innards from its predecessor, the most obvious difference of the new rack-able version is six extra preamps; eight in total, as opposed to two in the first and four in AudioFuse Studio. Metering has a similar look with the bright LED strip sitting next to each channel’s gain pot. Although the AudioFuse 8Pre only has one set of headphone outputs, we still get both 6.5mm and 3.5mm options — no stress if you can’t find that elusive adapter. IN ACTION Firing up the AudioFuse 8Pre couldn’t…

ARTURIA AUDIOFUSE 8PRE USB-C Audio Interface

PRICE $1199 CONTACT CMI Music & Audio: (03) 9315 2244 or www.cmi.com.au PROS Quality preamps with heaps of gain Routing software is intuitive and comprehensive CONS Two headphone outs would be nice Software allows only one cue mix SUMMARY Life is too short to use troublesome interfaces. Be of good cheer – Arturia’s AudioFuse 8Pre is about as reliable as they come. The first rackable rendition of the AudioFuse concept, 8Pre functions on its own or as a standalone ADAT expander with clean pres and fantastic control software. Bundled with instrument and emulation plug-ins you’ll actually use, AudioFuse 8Pre is a workhorse interface that’ll just work.…

UNIVERSAL AUDIO APOLLO TWIN X Thunderbolt 3 Audio Interface with DSP

A studio in a box. That’s the basic premise of a Universal Audio interface. With the DSP-enabled line of Apollo interfaces, UA has done a fantastic job recreating the signal chain workflow of an outboard-laden analogue studio within a digital microcosm. The UA Apollo Twin X is built on this idea, yet takes on a new outer shell. Of the many members in the Apollo family, the Twin X is the most compact. The sturdy desktop unit is less than a handspan across, totally backpack-able and rugged enough for an itinerant life. It’s also Thunderbolt 3 so latency reaches new lows when tracking through UA’s emulations of prestigious outboard models. UAD-2 Duo processing is the brains of the DSP, letting you load up the plugs without stressing your PC (Quad…

UNIVERSAL AUDIO APOLLO TWIN X Thunderbolt 3 Audio Interface with DSP

PRICE $1699 CONTACT CMI Music & Audio: (03) 9315 2244 or www.cmi.com.au PROS Excellent sounding interface with expandability Generous free bundle of DSPaccelerated plug-ins Desktop design great for home studios CONS None SUMMARY If you can’t work out of a million dollar studio, the UAD Apollo Twin X ‘studio in a box’ concept is the next best thing. With onboard DSP driving pristine plug-in emulations, this desktop interface features two Unison-enabled mic pres, monitoring control, and ADAT expandability. As a bonus, Apollo users get the UAD Luna recording system (Mac only) for free when released later this year.…

RØDE VIDEOMIC NTG Shotgun Microphone

Rode’s VideoMic NTG sees two worlds collide — namely, the VideoMic family of utilitarian tools for videographers, and the NTG line of broadcast-style shotgun microphones aimed at audio professionals. The result is a versatile supercardioid self-powered videography mic up for grabs at a reasonable price. Rode has ensured VideoMic NTG isn’t picky about what it’ll work with. This is the only shotgun mic I can think of that will happily function with a smartphone, laptop, camera, tablet, field recorder, you name it. There’s more than meets the eye with this little mic. FUNCTION ROOM Rode’s focus on functionality shows itself in a number of nifty little hacks. A little cable guide on the Rycote mount lets you stow excess cable length and avoid a large dangly loop around the camera.…

RØDE VIDEOMIC NTG Shotgun Microphone

SENNHEISER HD 25 LIGHT Closed-Back Headphones

Lightweight and unobtrusive, Sennheiser’s HD 25 on-ear headphones may not impress with their looks but effortlessly impress with their sound. Those little earcups deliver big sound and a thumping bottom end without sucking anywhere nearly as much amp juice as your reference open-backs. In fact Sennheiser boasts of the HD25’s ability to handle sky high SPLs without exploding, making it an ideal tool for audio monitoring in various applications – from a recording engineer to a cameraman to a DJ. Sennheiser has long considered the HD25 a ‘DJ headphone’ because, besides the punchy bass, it has a rotatable ear cup and both earcups slide straight off the headband to allow for walkie-talkie style one ear listening. Newly added to the family at NAMM 2020 is the HD25 Light – the…

SENNHEISER HD 25 LIGHT Closed-Back Headphones

PRICE $179 RRP CONTACT Sennheiser: (02) 9910 6700 or sales@sennheiser.com.au PROS Impressive tone with gutsy lows Lightweight CONS Headband feels a little delicate SUMMARY Sennheiser’s HD25 Light won’t disappoint as a trusty ‘desert island’ monitoring tool for audio engineers or recording musicians. Professional enough for critical listening yet portable enough for field recording or live performance, the HD 25 Light is an affordable all-rounder that sounds bigger than its size.…

TOP 5 Producers’ Show 'n' Tell with: Dave + Sam

1. Macbook Pro Without this there’s no record! Everything was recorded, arranged, mixed and processed through this thing. Purchased in 2014 and still going strong! 2. Shure SM7B What better selling point is there than it being the mic that “was used to record Thriller”. We recorded about 80% of No Shade on it...› 3. Arturia DrumBrute This was more of an inspirational piece than anything. It made it on the record in a few instances, but more often it was used to get the energy going when we first started a session. Sam would start creating a beat and Dave would begin freestyling and it got us in the mood to create. It’s so fun and intuitive to program and the built-in FM synth module is really fun for…

TOP 5 Producers’ Show 'n' Tell with: Dave + Sam

Justin Vernon, leader of the alt-folk band Bon Iver, called their 2016 album 22, A Million, “a new way of telling a story.” It was an understatement. 22, A Million was as experimental as it’s possible to get (short of going atonal), with tons of distortion, drop-outs, and weird sonic artefacts. The combination of disorientating sonic weirdness, gorgeous melodies and crazy song titles proved enormously successful, both critically and commercially. 22, A Million was a major achievement, but, as is often the case with artistic high points, where could they go from there? Getting even weirder risked severing their connection with popular culture, while a more straight-up album might be considered a retreat. The follow-up album, I,I, released in August, provides the answer. In many ways it is a return…

To illustrate their mix approach for I,I, Hanson and Messina chose ‘Jelmore’ as the most indicative. The first six tracks are sends to outboard gear – an Eventide H3000 side chain and a Thermionic Culture Vulture side chain. Below that are nine drum tracks, four keyboard tracks, two sax tracks, a bass track, four Messina and H3000 tracks (returns of the top six tracks), then vocals. At the bottom are a number of group/stem tracks that are prints of signals coming back from the desk. Messina: “The six tracks at the top are duplicates of other tracks in the session. These were edited to taste and then used as the key input sources for various gates and side-chaining. They each triggered the key in a different way and at different…

Recording The Teskey Brothers Live

Walking into the Forum Melbourne on a cold Spring afternoon I’m looking for Naomune Anzai (Nao to his friends), production manager and FOH mix engineer for the Teskey Brothers. Recently renovated and restored to its original beauty, the Forum’s inside is resplendent in gothic glory with Greco-Roman spires and turrets looming against a starry dark blue ‘sky’ – reminding me yet again of what a special venue it is. Underneath the proscenium arch this evening something equally special is taking place: the Teskey Brothers are playing a fourth sold-out show, and behind the scenes there are no less than three recording rigs capturing every note – one of them recording to analogue tape. If there’s any band that can take on this challenge successfully, it’s the Teskey Brothers with their…

Recording The Teskey Brothers Live

FEELING GOOD Michael Bublé Live

‘A mix is a mix is a mix.’ This is the sage advice given to FOH engineer Craig Doubet by a recording engineer mentor David Leonard (who won a Grammy in 1983 for co-engineering the Toto IV album). By which he meant: a good mix will translate across any monitoring system. Craig carried that lesson into his live sound career. In a live context, the lesson is: make sure your well-balanced mix sounds good in the room by getting your PA right — right design; right tuning. Which is why Craig Doubet personally oversees the intricate Michael Bublé PA design. He knows most of the arenas in the world pretty intimately and armed with Meyer Sound’s MAPP acoustic prediction program, will make sure his crew chief knows exactly what the…

FEELING GOOD Michael Bublé Live

MONITORS: SIDEFILL, WEDGES & IEM

The current tour saw Michael Bublé move from Sennheiser’s 5000 Series to the 6000 Series. The system is interesting for the fact it converts the signal to digital in the transmitter. I spoke to Monitor Engineer Marc Depratto about his experiences: “It’s been very stable. It’s given us more flexibility, in the sense that we can stick the transmitters very close to each other and you don’t run the same risk of intermodulation. Which is especially true of a show like ours where you’re in 20-plus countries in year. We could be in Dallas one week — which is an RF hell-storm — and then in another city with a highly regulated RF landscape and not have any problems. It makes it much easier. “The 6000 series also sounds great.…

MONITORS: SIDEFILL, WEDGES & IEM

MIXING SYNTH POP SYNTHS

In the previous two parts of this series we went through my processes of mixing drums and mixing bass for synth pop. Having established the foundation of our mix with the drums and bass, we can now begin introducing the more atmospheric and harmonic elements: the synths! Of course, the word ‘synth’ could refer to any number of keyboard sounds – it could be a warm pad from a Juno 60, a stabby chord from a Prophet, an aggressive MS20 lead line or even just an electro piano sound. Whatever the case, the various techniques described here can be applied in all sorts of scenarios. Let’s get stuck in to it! EVERYTHING IN ITS PLACE I request wet and dry copies of all mix stems, but I almost always use…

MIXING SYNTH POP SYNTHS

Someone once said “a little knowledge is a dangerous thing”, and that is certainly true in the case of plug-in effects. With the advent of investigative utilities such as the excellent DDMF PluginDoctor (which I explored in AT133), and Christian Budde’s earlier VST Plugin Analyser, anyone can enter boffin mode and explore what their plug-ins are doing under the hood. However, it can be all too easy to write off a plug-in after misinterpreting test results. For example, one plug-in developer recently apologised on line for making plug-ins that completely confused most measuring plug-ins – as he jokingly pointed out, it can be like trying to run static test tones through a compressor and coming to a conclusion, when its effects on a dynamic signal like music are obviously far…

MEYER SOUND ULTRA-X40 Active Compact Loudspeaker

Meyer Sound Laboratories’ popular UPA speakers are retiring after a long and distinguished career as leaders of the professional mid-sized point-source class. The full-range passive UPA-1 was released in 1980 and was the first live speaker to use a trapezoidal cabinet – a shape that allowed for curved arrays. Output quality was maintained by a dedicated electronic controller containing active crossovers, frequency and phase correction circuits, and feedback circuits to provide driver protection. In the mid-1990s Meyer Sound embraced powered loudspeakers by putting the processing and an amplifier inside the speaker cabinet. The active UPA-1P has been delivering Meyer’s trademark high-fidelity-at-high-volume sound to appreciative audiences ever since. Mention them around sound types and you’ll likely hear an anecdote along the lines of “I heard this big sound and it was…

MEYER SOUND ULTRA-X40 Active Compact Loudspeaker

ULTRA OPTIMISED

Mark Woods talks with Pablo Espinosa, Meyer Sound’s Vice President & Chief Loudspeaker Designer, about the Ultra-X40. Mark Woods: How do the Ultra-X40s maintain their dispersion pattern below the horn’s crossover frequency? Is there some kind of array behaviour with the eight-inch speakers? Or is it the wave guide they’re mounted on? Pablo Espinosa: All of the above, and more. When using a single driver, the polar pattern of the driver is dominated by the size of the driver and the frequency being reproduced – this is just physics. One of the huge advantages of using two drivers in this configuration is that the combined polar pattern of the two drivers can be controlled and optimised to well below their crossover frequency. In addition, the polar pattern can also be…

KORG VOLCA NUBASS Vacuum Tube Synthesiser

My first drum machine back in the ’80s was a Roland TR-606. It was what I could afford at the time and it didn’t stay in its original form for more than one day — it soon had separate outputs and tunable toms, and it was quite unique. At the same time, I was never compelled to visit its bass accompanist friend, the TB-303, because of its lack of synth facilities and because the sliding and squelching sequencer part of it didn’t really appeal. Keep in mind that this was the early ’80s, so that distinctive style we now know as ‘techno’ or ‘acid house’ didn’t exist (and the Devil Fish mods didn’t come until much later), plus I had already owned Roland’s 101 keyboard from their System 100, Roland’s…

KORG VOLCA NUBASS Vacuum Tube Synthesiser

ZOOM F6 Portable Field Recorder

I recently reviewed Zoom’s F8n [see AT132] and both it and their new F6 demonstrate that Zoom is continuing a strong evolution of design in its products. There will never be a single device that is perfect for all needs, but the F6 is an interesting development that is, in many ways, a real game-changer for location recording. I take a pragmatic approach to the equipment I use; the best tool for a job is the tool that lets me get that job done. That means I judge microphones and recording equipment with my ears, not by some arbitrary value of reputation. The ultimate test of any equipment is if you trust it enough to use it for paying gigs. This review is based on my experience using the F6…

ZOOM F6 Portable Field Recorder

PRICE $1399 RRP, expect to pay $1099. CONTACT Dynamic Music: (02) 9939 1299 or info@dynamicmusic.com.au PROS Rugged, small & light weight. No need to adjust input gain. Numerous powering options. CONS Cannot adjust recording levels of 32-bit files. SUMMARY A small, lightweight and good sounding field recorder with numerous operating modes. Its 32-bit recording capabilities remove the need to adjust input gain before recording, and allow it to capture peaks that would distort 24-bit files.…

32-bit floating-point has been a processing standard for years and, now, as an audio file format theoretically provides a staggering dynamic range compared to Linear PCM. As a rule-of-thumb, Linear PCM offers a dynamic range of 6dB per bit, so 16-bit offers 96dB, 24-bit offers 144dB, and 32-bit offers 192dB. In comparison, the 32-bit floating-point format provides over 1500dB of dynamic range, which is far more than will ever be needed to represent the dynamic range of an analogue audio signal. Dynamic range is measured as the difference between a device’s noise floor and its maximum level before distortion. According to the user manual, the F6 has an EIN (Equivalent Input Noise) of -127dBu and a maximum input level of +4dBu on the microphone inputs, giving it a dynamic range…

DYNAUDIO CORE 7 Active Studio Monitors

Dynaudio’s Core series of studio monitors has that feeling of getting back to basics. It was as if Dynaudio went a little too ‘mad scientist’ with the previous flagship studio speakers, the Air series, and Core is the natural course correction. The Air series was a bit of a marvel, no doubt. It promised to be a seamless intersection of hardware components and software DSP right from the beginning. Drivers would come off the manufacturing line with a perfectly-matched DSP correction to accompany them. But perhaps the more DSP you add and the more obvious you make it, the less it feels like you can trust the physical hardware. What’s to stop Dynaudio hooking up a hand-folded piece of paper to a DSP chip and calling it a professional listening…

DYNAUDIO CORE 7 Active Studio Monitors

ROYER LABS dBOOSTER Inline Mic Gain Booster

Recording an album for the Melvins some decades ago, I put an RCA 74B a few feet back from King Buzzo’s Sunn amp and had my first listen to a ribbon mic. A friend had gifted it as a joke; he’d grabbed it at a garage sale, found it to be noisy and dismissed it as an unusable relic from a bygone day. As usual, I had an SM57 crammed up on one of Buzzo’s 12-inch speakers. When I listened to the RCA ribbon, it didn’t have the ugly 6kHz sizzle inherent to SM57s. The signal was indeed noisy, but noise was never an issue on Melvins’ albums so I rolled tape and never looked back. I quickly learned that dynamic and condenser mics have a high resonant frequency that…

ROYER LABS dBOOSTER Inline Mic Gain Booster

PRICE RRP: $362 CONTACT Mixmasters Pro Audio: (08) 8278 8506 or www.mixmastersproaudio.com.ausales@mixmasters.com.au PROS Allows passive ribbons and low-output dynamics to be used with any preamp. Maintains original sound of the microphone. High ‘bang for buck’. SUMMARY A sophisticated in-line booster with a high input impedance to prevent degrading the original sound of the microphone, and a stable output impedance to ensure the sound is not degraded by the preamp it is plugged in to. CONS Requires an extra mic lead.…

Jonathan Burnside talks with Rick Perrotta of Royer Labs about passive microphones, impedance and how the dBooster does what it does... Jonathan Burnside: There are a lot of boosters on the market. What inspired you to add yet another to the fray? Rick Perrotta: Most of the signal boosters are nearly-identical circuits using four transistors in cascade mode; they’re very simple circuits with few components. They provide a certain amount of gain under certain conditions, but that gain isn’t stable. The input impedance of the preamp, the quality of the phantom power (meaning the amount of current available), and the output impedance of the microphone all affect performance. They’re very dependent on conditions and the preamp they’re plugged into. They can lack fidelity and can be noisy when driven hard.…

ROSWELL MINI K47 Stereo Cardioid Condenser Microphones

There’s an air of efficiency around Roswell’s Mini K47; no-nonsense, straight to the heart of it, says what it does on the tin. And at the heart of these mics is the capsule; a K47-style one, the sort you’ll find in Neumann tube mics like the U47 and M49. The mini part? Well these ain’t no U47-sized mics. A pair of Mini K47s turned up in the office after I met Roswell’s owner Matt McGlynn at NAMM earlier in the year. Unfortunately, I got caught up moving around a bit, and they’d only found their way onto a number of guitar recordings. Recently, things have settled down and I found the time and projects to try them on some other sources. Even if you’ve not heard of Matt, you’ve probably…

ROSWELL MINI K47 Stereo Cardioid Condenser Microphones

In the early ‘60s Arthur C. Clarke wrote: “Any sufficiently advanced technology is indistinguishable from magic.” Thirty years later I was baby-sitting a fully-configured CEDAR (Computer Enhanced Digital Audio Restoration) system; a great opportunity because my work involved restoring audio from tape, vinyl and 78rpm discs. Pre-dating iZotope’s RX and native processing by at least a decade, CEDAR was a PC-based system loaded with DSP chips that offered real-time de-noising, de-clicking, de-crackling, etc. It was amazing, and I wondered how to recreate it using the audio building blocks I was familiar with: amplifiers, filters and dynamics processing. I didn’t even know where to start. It was, essentially, indistinguishable from magic. I asked CEDAR’s Gordon Reid to explain how it works in terms of the audio building blocks I was familiar…

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