Metric Halo 的老外用家
[size=14.399999618530273px]Metric Halo Converters And Software Offer Audio Guru Karsten Lipp Long-Standing, Future-Proof Sound
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[size=14.399999618530273px]JUNE 2012: Karsten Lipp is an innovative guitarist, composer, and electronics alchemist whose work has appeared in films, in musical releases of his own and others’ projects, and on the stages of European clubs and festivals.
[size=14.399999618530273px]After spending a decade in Italy, Lipp recently returned to his German homeland, where he works with Australian singer/songwriter Emaline Delapaix and fronts the experimental jazz band Swoosh, in addition to contributing to myriad one-offs and projects that leverage his deep knowledge of electronic music, recording, mixing, and guitar tone and technique. In 2001, Lipp purchased a Metric Halo Mobile I/O 2882 interface, which – thanks to Metric Halo’s commitment to future-proofing its equipment with upgrades – is still a tool he uses on a daily basis. Since then, he has added a Metric Halo ULN-2 +DSP interface. In addition, Lipp uses the Metric Halo ChannelStrip plug-in on every mix he executes.
[size=14.399999618530273px]"I always enjoy performing and recording in spaces that have their own special character," said Lipp. "Paying attention and playing with the acoustics of a space almost makes the room into another musician. Back in 2001, I was excited to learn about the Metric Halo 2882 interface because it was the first mobile audio interface with built-in preamps. It would allow me to make mobile recordings. Actually, I had no idea about the quality and the power of the 2882 before buying it. At the time, I was just looking for an affordable and transportable machine that could do the job."
[size=14.399999618530273px]In 2008, Metric Halo released the 2d Card that upgraded older versions of the 2882 and ULN-2 to enhance the performance and feature set so that the units would stay ahead of contemporary units from other manufacturers. "It's amazing, my eleven year-old equipment is still up to date," said Lipp, who only recently installed the 2d Card. "Metric Halo is generous with driver, firmware, and software updates that often come with amazing new features, for free!" Even the 2d Card, which is a circuit board that replaces much of the internals in the 2882 or ULN-2, costs much, much less than even the cheapest professional-grade converter. The ULN-2 interface that Lipp purchased included a +DSP license for his Metric Halo converters that unlocks powerful processing without taxing his computer's CPU, as the processing power resides within the interfaces themselves. "I'm sure I'll still be using these converters in the years to come, with future generations of Macs, Thunderbolt, or whatever may come," he concluded.
[size=14.399999618530273px]As one of his revenue streams, Lipp records classical concerts using his Metric Halo converters. "In over 400 concerts, my Metric Halo converters have never, not even once, failed me or introduced a glitch into the recording," he averred. "They're absolutely rock solid. Moreover, they're built like tanks. I especially love that the 2882 has nothing external that can break; it's just a well-built metal box." Now that Lipp has the 2d Card installed, which adds enhanced mixing capabilities to MIO Console (the software brains for all Metric Halo interfaces), he plans to mix FOH and monitor mixes for all his shows with Emaline Delapaix.
[size=14.399999618530273px]Apart from some "very charming lo-fi recordings" made by Delapaix, Lipp recorded everything on her new EP Between Breeding Seasons with the Metric Halo ULN-2 and 2882, exclusively relying on their high-quality preamps. "I have never really compared preamps or converters," said Lipp. "But I have been in many fancy studios that had systems and outboard gear that were much more expensive than my 2882 or ULN-2. But I never felt the wish to 'upgrade' to something else (apart from a Metric Halo ULN-8). I don't even look around. I'm just a really happy user, and I always get compliments for the sound and the recording quality. One thing I've noticed is that the Metric Halo preamps and converters always sound warm and deep. They translate the dynamics of the music in the same way that I hear it live."
[size=14.399999618530273px]Lipp also mixed both the Delapaix project (Between Breeding Seasons) and his latest, Swoosh release, using Metric Halo's ChannelStrip plug-in, which combines equalization, delay, compression, and gating in one interface. "I used ChannelStrip on almost every track of every song," said Lipp. "I love the EQ in ChannelStrip for its clean precision. With other EQs, I'd sometimes feel like I'm turning knobs and it keeps getting worse. I'd try to resolve one issue but then create another problem. With ChannelStrip it's so much easier to understand what I'm doing and what needs to be done. I turn one knob and I actually hear only one knob! It's very responsive to even very minimal adjustments and so transparent that I can really hear what I'm doing. I often only need a 0.5 dB dip. It's also extremely important to have gain, sample delay, and phase inversion in the same plug-in. They are all the tools I need to get a clean and transparent mix. I use the sample delay and phase inverter when I mix drums or other instruments that have been recorded with multiple mics to get a sound that is natural and powerful."
[ 本帖最后由 hkborn 于 12-10-18 22:06 编辑 ]
[size=14.399999618530273px]
[size=14.399999618530273px]JUNE 2012: Karsten Lipp is an innovative guitarist, composer, and electronics alchemist whose work has appeared in films, in musical releases of his own and others’ projects, and on the stages of European clubs and festivals.
[size=14.399999618530273px]After spending a decade in Italy, Lipp recently returned to his German homeland, where he works with Australian singer/songwriter Emaline Delapaix and fronts the experimental jazz band Swoosh, in addition to contributing to myriad one-offs and projects that leverage his deep knowledge of electronic music, recording, mixing, and guitar tone and technique. In 2001, Lipp purchased a Metric Halo Mobile I/O 2882 interface, which – thanks to Metric Halo’s commitment to future-proofing its equipment with upgrades – is still a tool he uses on a daily basis. Since then, he has added a Metric Halo ULN-2 +DSP interface. In addition, Lipp uses the Metric Halo ChannelStrip plug-in on every mix he executes.
[size=14.399999618530273px]"I always enjoy performing and recording in spaces that have their own special character," said Lipp. "Paying attention and playing with the acoustics of a space almost makes the room into another musician. Back in 2001, I was excited to learn about the Metric Halo 2882 interface because it was the first mobile audio interface with built-in preamps. It would allow me to make mobile recordings. Actually, I had no idea about the quality and the power of the 2882 before buying it. At the time, I was just looking for an affordable and transportable machine that could do the job."
[size=14.399999618530273px]In 2008, Metric Halo released the 2d Card that upgraded older versions of the 2882 and ULN-2 to enhance the performance and feature set so that the units would stay ahead of contemporary units from other manufacturers. "It's amazing, my eleven year-old equipment is still up to date," said Lipp, who only recently installed the 2d Card. "Metric Halo is generous with driver, firmware, and software updates that often come with amazing new features, for free!" Even the 2d Card, which is a circuit board that replaces much of the internals in the 2882 or ULN-2, costs much, much less than even the cheapest professional-grade converter. The ULN-2 interface that Lipp purchased included a +DSP license for his Metric Halo converters that unlocks powerful processing without taxing his computer's CPU, as the processing power resides within the interfaces themselves. "I'm sure I'll still be using these converters in the years to come, with future generations of Macs, Thunderbolt, or whatever may come," he concluded.
[size=14.399999618530273px]As one of his revenue streams, Lipp records classical concerts using his Metric Halo converters. "In over 400 concerts, my Metric Halo converters have never, not even once, failed me or introduced a glitch into the recording," he averred. "They're absolutely rock solid. Moreover, they're built like tanks. I especially love that the 2882 has nothing external that can break; it's just a well-built metal box." Now that Lipp has the 2d Card installed, which adds enhanced mixing capabilities to MIO Console (the software brains for all Metric Halo interfaces), he plans to mix FOH and monitor mixes for all his shows with Emaline Delapaix.
[size=14.399999618530273px]Apart from some "very charming lo-fi recordings" made by Delapaix, Lipp recorded everything on her new EP Between Breeding Seasons with the Metric Halo ULN-2 and 2882, exclusively relying on their high-quality preamps. "I have never really compared preamps or converters," said Lipp. "But I have been in many fancy studios that had systems and outboard gear that were much more expensive than my 2882 or ULN-2. But I never felt the wish to 'upgrade' to something else (apart from a Metric Halo ULN-8). I don't even look around. I'm just a really happy user, and I always get compliments for the sound and the recording quality. One thing I've noticed is that the Metric Halo preamps and converters always sound warm and deep. They translate the dynamics of the music in the same way that I hear it live."
[size=14.399999618530273px]Lipp also mixed both the Delapaix project (Between Breeding Seasons) and his latest, Swoosh release, using Metric Halo's ChannelStrip plug-in, which combines equalization, delay, compression, and gating in one interface. "I used ChannelStrip on almost every track of every song," said Lipp. "I love the EQ in ChannelStrip for its clean precision. With other EQs, I'd sometimes feel like I'm turning knobs and it keeps getting worse. I'd try to resolve one issue but then create another problem. With ChannelStrip it's so much easier to understand what I'm doing and what needs to be done. I turn one knob and I actually hear only one knob! It's very responsive to even very minimal adjustments and so transparent that I can really hear what I'm doing. I often only need a 0.5 dB dip. It's also extremely important to have gain, sample delay, and phase inversion in the same plug-in. They are all the tools I need to get a clean and transparent mix. I use the sample delay and phase inverter when I mix drums or other instruments that have been recorded with multiple mics to get a sound that is natural and powerful."
[ 本帖最后由 hkborn 于 12-10-18 22:06 编辑 ]
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[size=0.8em] MAY 2012: A casual listen to Santigold's pop-friendly, genre-defying music pegs it as favorably simple, with hooks that fly under the radar to secretly steal your heart... a theft of which you are only made aware hours later when you find her songs creeping around your brain on endless loop!But to the careful listener, it is apparent that Santigold's songs take their straightforward form from the complex interrelationships of sonic textures and instrumentation that complement the larger structure. In other words, there's a lot going on in a Santigold song! To create those textures and to imbue them with the urgency and immediacy worthy of a great live show, drummer/programmer Ian Longwell and guitarist/music director Ray Brady work hard to define a universe of samples that they then play live, relying on a Metric Halo 2882 interface to deliver those sounds to monitors and FOH. During the show, Longwell manages sample playback and MIDI messaging in Ableton Live from his drum throne. His kick and snare each possess a trigger, to which a large number of drum pads expand the number of samples he can play. "Ray and I are very diligent about building out a great set of samples," said Longwell. "We take pieces from the record where necessary or sit down with, say, an analog synth or effect to make up new samples. Regardless, we are creating real instruments that can really be played." They have painstakingly programmed every element of the show. His acoustic kick and snare are doubled by song-specific samples and he will often change the sounds associated with any particular trigger to suit the needs of a song. For example, his snare can trigger a different sample on the two than it does on the four or a bigger sample in the chorus then the verse, or the kick can sample various 808s tuned to the progression of a song. Longwell originally acquired the Metric Halo 2882 four years ago. "I had a lot of requirements," he said. "First, I wanted something that didn't have to be rack mounted. For one-offs and DJ gigs, I can load the 2882 without its rack ears, together with my MacBook Pro, into a small Pelican briefcase. It's a carry-on when I fly. Most importantly, I needed something that was completely reliable – and it is. Finally, high-quality D/A conversion was essential. With the 2882, the fidelity of the output is ready for even the best arena sound systems." On top of meeting those requirements, Longwell said the 2882's reasonable price was certainly a mark in its favor. The software that controls the 2882 (and all other Metric Halo interfaces) is MIO Console, and Longwell appreciates the tremendous flexibility it gives him. "I can route signals around and change the gain structure to suit the needs of a particular show," he said. "With Santigold, we have two different click outputs, one for me with cues and one for the band without cues. For convenience, I can assign any output from Ableton Live to the 2882's headphone output. Recently, Longwell and Brady added a second Metric Halo 2882 to their rack. "I love that in MIO Console, the two units appear as one – just sixteen outputs (twenty if I route the headphone outputs). That makes us free to assign them any way we please," he said. "Before, we were only able to break the outputs into four groups (each requiring a stereo output): drums, bass synths, higher synths, and vocal effects. Now we can give the FOH engineer more control by breaking things down further." Longwell recently ordered an LIO-8 for use in his (stationary!) New York City studio. This year Santigold opened for the Red Hot Chili Peppers, headlined solo at Coachella and this summer play at Lollapalooza and Bonnaroo. |
[ 本帖最后由 hkborn 于 12-10-18 00:59 编辑 ]
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[size=14.399999618530273px][size=14.399999618530273px]FEBRUARY 2012: When The Kills went on a tidy fifteen-show tour of North America in support of
Blood Pressures
[size=14.399999618530273px](Domino Records), culminating in their ten year anniversary show in New York City, they brought along trusted FOH and recording engineer Philip Harvey (Modest Mouse, White Stripes).
[size=14.399999618530273px]In addition to delivering the tuneful and carefully-crafted lo-fi of The Kills to the fans who flocked to see the duo in the flesh, Harvey was also charged with the task of recording the shows. On loan from the Amsterdam Recording Company, where he serves as head engineer, Harvey crossed the ocean with his trusted Metric Halo interfaces and the confidence that they would capture the musical soul of the band’s performance night after night.
[size=14.399999618530273px]Harvey was introduced to Metric Halo gear and software during his seven-year tenure as the FOH engineer with Medeski Martin & Wood. “It was around 2000 when the folks from Metric Halo approached the band,” he explained. “They showed me the Metric Halo Mobile I/O 2882, which was their top-of-the-line interface at the time. I was amazed to learn that I could reliably record twenty-four tracks with my Macintosh G3 laptop and three 2882s. The thing had something like 256 MB of RAM, and with all the processing taken care of by the Mobile I/Os, Metric Halo could always coax an incredible performance out of it.” At the same time, Metric Halo demonstrated its SpectraFoo sound analysis software to Harvey. “Since then, I’ve used all the other programs, including a few quirky iPad apps, but nothing compares to the smooth, musical performance of SpectraFoo,” he said. “I’ve come to trust the tight correspondence between the reality of what I’m hearing and its visual representation in SpectraFoo.”
[size=14.399999618530273px]Because The Kills only had a trailer for gear on this tour, Harvey had to keep his rig as light and compact as possible. A Digidesign SC48 digital console fit the bill and still afforded him plenty of flexibility. He installed a XO16 output card into the SC48 to feed sixteen channels or groups to his Metric Halo ULN-8. In addition, he tracked both the mix output from the board and a M/S pair of AKG 414s as audience microphones with his Metric Halo Mobile I/O 2882. In all, he recorded twenty inputs of every performance using Metric Halo’s rock-solid MIO Console software to the custom installed internal hybrid hard drive on his 2011 MacBook Pro. After doing some experiments in rehearsals, Harvey determined that the whole rig sounded significantly better if he let the Metric Halo ULN-8 serve as the master clock.
[size=14.399999618530273px]"Since I've been working with Metric Halo equipment for over a decade, I've come to appreciate the company's extreme commitment to ensuring that everything it sells is future-proof," said Harvey. "It is the exact opposite of the 'planned obsolescence' business model that pervades the industry. I bought the MIO 2882 I use today in 2000, and then a couple of years ago they sold me a 2d card for a fraction of the price of a new interface... it increased its processing power by a factor of five! What other company is that serious? And then, of course, you have the ULN-8, which sounds absolutely amazing. Between the pre-amps, converters and clocking, I use it when recording, mixing, and mastering. It reveals things in the mix that other interfaces completely smear over."
[size=14.399999618530273px]Harvey used the fifth input on the Metric Halo 2882 to feed an Earthworks TC40k omni-directional mic to the Metric Halo SpectraFoo sound analysis software that was constantly up and running on his MacBook Pro. "It's all the routine stuff that SpectraFoo makes easy," he said. "I adjusted the soundcheck mix to compensate for all the bodies present at the show. I watched for frequency buildups. I watched my volume by calibrating the volume to an SPL meter, which is a simple thing to do with SpectraFoo. I even used it to identify the precise delay time between the board and the ambient mics, which is crucial when going back to mix these live recordings." When not on the road, Harvey uses SpectraFoo at the Amsterdam Recording Company to analyze the recording and control rooms and to deliver consistent, error-free mixes.
[size=14.399999618530273px]Harvey has logged many hours of live recording with his Metric Halo interfaces, notably, he recorded Under The Great White Northern Lights while on tour with The White Stripes in 2008. Although the fate of these particular recordings is not yet determined, it's a good bet that they'll find their way to fans in many forms. Recordings from previous tours have been available on The Kills' website, on live videos, and as promotions on other websites.
[size=14.399999618530273px]
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[size=14.399999618530273px][size=14.399999618530273px]FEBRUARY 2012: When The Kills went on a tidy fifteen-show tour of North America in support of
Blood Pressures
[size=14.399999618530273px](Domino Records), culminating in their ten year anniversary show in New York City, they brought along trusted FOH and recording engineer Philip Harvey (Modest Mouse, White Stripes).
[size=14.399999618530273px]In addition to delivering the tuneful and carefully-crafted lo-fi of The Kills to the fans who flocked to see the duo in the flesh, Harvey was also charged with the task of recording the shows. On loan from the Amsterdam Recording Company, where he serves as head engineer, Harvey crossed the ocean with his trusted Metric Halo interfaces and the confidence that they would capture the musical soul of the band’s performance night after night.
[size=14.399999618530273px]Harvey was introduced to Metric Halo gear and software during his seven-year tenure as the FOH engineer with Medeski Martin & Wood. “It was around 2000 when the folks from Metric Halo approached the band,” he explained. “They showed me the Metric Halo Mobile I/O 2882, which was their top-of-the-line interface at the time. I was amazed to learn that I could reliably record twenty-four tracks with my Macintosh G3 laptop and three 2882s. The thing had something like 256 MB of RAM, and with all the processing taken care of by the Mobile I/Os, Metric Halo could always coax an incredible performance out of it.” At the same time, Metric Halo demonstrated its SpectraFoo sound analysis software to Harvey. “Since then, I’ve used all the other programs, including a few quirky iPad apps, but nothing compares to the smooth, musical performance of SpectraFoo,” he said. “I’ve come to trust the tight correspondence between the reality of what I’m hearing and its visual representation in SpectraFoo.”
[size=14.399999618530273px]Because The Kills only had a trailer for gear on this tour, Harvey had to keep his rig as light and compact as possible. A Digidesign SC48 digital console fit the bill and still afforded him plenty of flexibility. He installed a XO16 output card into the SC48 to feed sixteen channels or groups to his Metric Halo ULN-8. In addition, he tracked both the mix output from the board and a M/S pair of AKG 414s as audience microphones with his Metric Halo Mobile I/O 2882. In all, he recorded twenty inputs of every performance using Metric Halo’s rock-solid MIO Console software to the custom installed internal hybrid hard drive on his 2011 MacBook Pro. After doing some experiments in rehearsals, Harvey determined that the whole rig sounded significantly better if he let the Metric Halo ULN-8 serve as the master clock.
[size=14.399999618530273px]"Since I've been working with Metric Halo equipment for over a decade, I've come to appreciate the company's extreme commitment to ensuring that everything it sells is future-proof," said Harvey. "It is the exact opposite of the 'planned obsolescence' business model that pervades the industry. I bought the MIO 2882 I use today in 2000, and then a couple of years ago they sold me a 2d card for a fraction of the price of a new interface... it increased its processing power by a factor of five! What other company is that serious? And then, of course, you have the ULN-8, which sounds absolutely amazing. Between the pre-amps, converters and clocking, I use it when recording, mixing, and mastering. It reveals things in the mix that other interfaces completely smear over."
[size=14.399999618530273px]Harvey used the fifth input on the Metric Halo 2882 to feed an Earthworks TC40k omni-directional mic to the Metric Halo SpectraFoo sound analysis software that was constantly up and running on his MacBook Pro. "It's all the routine stuff that SpectraFoo makes easy," he said. "I adjusted the soundcheck mix to compensate for all the bodies present at the show. I watched for frequency buildups. I watched my volume by calibrating the volume to an SPL meter, which is a simple thing to do with SpectraFoo. I even used it to identify the precise delay time between the board and the ambient mics, which is crucial when going back to mix these live recordings." When not on the road, Harvey uses SpectraFoo at the Amsterdam Recording Company to analyze the recording and control rooms and to deliver consistent, error-free mixes.
[size=14.399999618530273px]Harvey has logged many hours of live recording with his Metric Halo interfaces, notably, he recorded Under The Great White Northern Lights while on tour with The White Stripes in 2008. Although the fate of these particular recordings is not yet determined, it's a good bet that they'll find their way to fans in many forms. Recordings from previous tours have been available on The Kills' website, on live videos, and as promotions on other websites.
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Here are some recordings done by Andrew Levine, part of the ULN-8 beta team:
12baritone (12 vocalists & piano)
http://12baritone.de/
Italian songs
http://muse.blumlein.net/015.html
wavegarden (slightly esoteric![]()
http://www.wavegarden.net/sound/starlife.mp3
http://www.wavegarden.net/sound/waves_of_orange.mp3
http://tinyurl.com/wavegarden
Demonstration of my XYtri
http://XYtri.blumlein.net/
I'd like to thank Andrew for offering us the opportunity to showcase his work and the ULN-8!
12baritone (12 vocalists & piano)
http://12baritone.de/
Italian songs
http://muse.blumlein.net/015.html
wavegarden (slightly esoteric
http://www.wavegarden.net/sound/starlife.mp3
http://www.wavegarden.net/sound/waves_of_orange.mp3
http://tinyurl.com/wavegarden
Demonstration of my XYtri
http://XYtri.blumlein.net/
I'd like to thank Andrew for offering us the opportunity to showcase his work and the ULN-8!
- Lolly Lewis
- Barry Diament
- Marc Schonbrun
- Don Gunn
- Floris van Manen
- John McCaig
- Andrew Levine
- Tibor Páli
- David Wilcock
- John Leonard
- Mark Cahill
- Allen Rowand
- Ralf Kleeman
- Tony Vincent
- Charlie Pilzer
- Brian Monroney
- John Curley
- Rico Sergeant
- Hiroaki Honshuku
- Steve Hilmy
- Travis Gregg
- Scott Metcalfe
- Christopher Jones
- Michael Romanowski
- Erlend Myrstad
- Jerry Schroeder
- Orren Merton
- Dave Davis
- Julian Scott
- Philip J Harvey
- Steve Devino
- Chipp Robb
- Henry Robinett
- John Kerns
- David Quinn
- Dennis Gunn
- Jeremy Miller
- Michael Dunston
- Nathan Lawrence
- Ronald Antony
- Jason Wolford
- David M. Lohr
- Stefan Garr
- Maurie Mogridge
- Jon Stern
- Arild Grindheim
- David Das
- Brad Hawkins
- James Gebhard
- Harm Schopman
“In their own words…”Metric Halo users share their views on v.5 and 2d
Lolly Lewis“I have been a Metric Halo user since 2003. I originally was attracted to their Mobile I/O 2882 for its portability and for the MIO Console, a software recording utility perfectly suited to my needs in location recording: I do live acoustic music recording, mostly classical, and I simply want to capture the audio tracks as cleanly as possible.
I usually work in 2-channel, but in recent years I have had more and more requests for multichannel recording with subsequent (not to mention simultaneous) mixing required. This has been possible with the MIO Console, but in a relatively two-dimensional way. I started out as a monitor mixer, so the MIO's matrix routing system made sense to me, but it wasn't particularly intuitive at first use and it required a lot of navigation from one window to another to set things up the way I wanted them and to control the mixer. And if I wanted to add any effects processing, that was another separate process (and set of windows) to manage. It was a bit of a struggle to create an independent cue mix, and to play back takes I had to have a yet another separate mixer setup.
With the new 2d Card and the v.5 Mixer it's like the MIO Console's gone from black and white to Technicolor. First of all, the routing is simple because — just like in a hardware console — all the functionality of the mixer is incorporated into the channels themselves. Input assignments, trims, EQ, effects, pans, output assignments: all in one place. Sends and sub-mixes pop up as floating auxiliary mixers. And the console is completely customizable – from the numbers of inputs and outputs down to the colors of the strips themselves.
Another real innovation is how the Console links up with the Monitor Controller. It's so easy to route any of my various mix outputs to the monitor selector, and configure all the available outputs: when I'm recording on location I have to switch frequently between sources and between speakers and headphones and now it happens seamlessly with one click, right in the software.
And all of this without losing a bit of Metric Halo's beautiful audio quality. I'm stoked!”
Lolly Lewis
Transparent Recordings
(Recording and/or live sound for numerous clients including San Francisco Symphony, SF Symphony Chorus, San Diego Symphony, Composer John Adams, Composer Anthony Davis, Earplay, Chanticleer, Kronos Quartet, San Francisco Choral Artists, Aspen Music Festival, Telluride Chamber Music Festival, and many more)
Barry Diament“I’ve been using MIOs for several years now, because the hardware and software have provided not only the cleanest sound I could find but elegance in the execution and simplicity in use.
MIO Console v.5 takes it to a whole ‘nother level. If you can imagine a recording, mixing or processing setup, you can achieve it in minutes. And on top of that, you don’t have to trade sound quality to get the convenience. You get both, big time.
The plug-ins provide everything I need in the mastering room. Character lets you add color as desired and for those jobs where only a pristine path will do, I’ll take v.5 over any other option on the market. In combination with my MIO, the v.5 Console’s Record Panel is my favorite way to capture audio.
The Mixer, the Monitor Controller, the DSP, the Record Panel, oh my. The folks at Metric Halo have achievements they can be quite proud of.”
Barry Diament
Soundkeeper Recordings
Barry Diament AudioMastering and Recording Credits
Marc Schonbrun“When the 2882 was introduced over eight years ago, Metric Halo had plans for its future. Well before it was fashionable to go Green, MH had built-in expandability without asking you to buy a whole new interface. The original 2882 is still ahead of its time. Now you pop in the 2d Board and you get the best sounding, most powerful, most flexible Firewire audio product ever shipped. The new console is absolutely amazing and Character is worth the price of admission alone. It's not an upgrade, it's a rebirth.”
Marc Schonbrun
Guitarist - Author - Music Technology Educator
Marc Schonbrun
Don Gunn“v.5 of the MIO Console and the 2d Card have taken my ability to route and process audio to new heights. Character in particular has brought new life to the already exemplary MH preamps by giving them the personalities of my favorite boutique and vintage pres.”
Don Gunn
Recording/mixing engineer
http://www.dongunn.com
[ 本帖最后由 hkborn 于 12-10-18 16:01 编辑 ]