A-Designs Hammer

Dual Three-band Equaliser

Published in SOS September 2008
Reviews : Processor

If you want 'that' analogue sound, sometimes real analogue gear is the only way you can get it - and that's what this valve EQ is all about...
Paul White

Photos: Mike Cameron

 
There's no arguing that the world of digital plug-ins has a lot to offer, but an emulation of a well-designed piece of analogue gear is never going to be quite as good as the real thing, especially where the device in question is based on tube circuitry — because, even at its best, modelling only captures an approximation of what makes tubes sound so special.

If I Had A Hammer

California-based A-Designs build high-end analogue outboard equipment, and their HM2 Hammer equaliser that's reviewed here is a solid-state/tube hybrid, two-channel EQ.  It comes in a 2U rackmount case and offers three bands of cut/boost EQ on each channel.  Rather than going down the full parametric route, this device is based around switchable-frequency filters, each of which has up to 12dB of boost or cut available (with six frequency settings per filter).  The filter bandwidth can't be adjusted but uses what the designers call a floating-Q system, which suggests that the Q varies depending on how much cut or boost is applied.  Additionally there are switchable high- and low-cut filters and individual channel bypass, both of which are controlled via miniature toggle switches.

Because the circuitry is based on tubes, the manufacturers recommend a warm-up time of at least 20 minutes to get the best sound quality, and when mounted in a rack, space should be left above the unit for ventilation.  Because tubes are inherently microphonic to a greater or lesser degree, shock-mounting is also recommended in high-SPL environments.

Little detail is given regarding the circuit design, so I removed the cover to check for myself.  Each channel has a single 12AT7 dual-triode tube in the signal path, and the filter circuits are constructed around ICs.  There are no audio transformers in the signal path.  Power comes from a conventional analogue power supply centred around a torroidal mains transformer, and all the PSU circuitry, the two tube stages and the ICs associated with the balanced inputs and outputs are mounted on a double-sided circuit board parallel to the rear panel.  The switches, pots and related filter circuitry are mounted behind the front panel on a separate circuit board.  A couple of ribbon cables join the two boards, and the majority of the case is kept clear to allow good ventilation.

The Hammer EQ comes in a robust 2U
rackmount chassis, with the inputs and
outputs provided on XLR connectors.

 
Overall, the construction is neat and economical in a conventional steel rack case and only balanced XLRs are fitted for the inputs and outputs (there are no TRS jack alternatives, which I think would be helpful in a home studio setup — I'd like to see more professional products offering these alongside XLRs).  A milled aluminium face plate lends a slightly more exotic look to the front of the unit, as does the choice of solid aluminium knobs and a retro blue/green 'jewel' power light.  There are no status LEDs or other frills.  In many ways the engineering approach reminds me of the UK's TL Audio — but of course the sound will be different, as that's all down to the circuitry.

A quick check with a voltmeter showed that the tubes are being run at a sensibly high voltage, though not quite as high as you might find in (for example) a guitar amp. This means that you're getting a true tube characteristic and not a 'starved plate' approximation, as you get with some budget valve products.

Taking a tour of the front panel, there are two identical and independent channels (no stereo link switch), each having mini toggle switches for bypass, high-cut (8kHz) and low-cut (84Hz) filters.  Three continuously variable pots look after the cut or boost (there are no centre detents) with the six-position, switched filter frequency knobs directly below them.  The three filters offer a sensible amount of overlap, with the following frequency values: 30, 50, 100, 200, 300 or 400Hz for the low-frequency band; 250, 500, 1200, 1600 or 200Hz for the mid; and 2.5, 3.5, 5, 7.5, 10 or 15kHz for the high.  Overall, the frequency response is quoted as 5Hz to 40KHz (-3dB), but given that tube circuits are generally designed to add a little harmonic flavouring, the distortion figures don't really mean a lot.

The literature that accompanies the Hammer claims that this design includes a novel filtering system that 'allows the even harmonics to flow through the 12AT7 tubes while filtering out unwanted noise'.  Clearly the result of this can only be judged subjectively — so perhaps now's the time to plug it in...

Hammer Test

Once I'd dug out the necessary cables to hook up the unit, operation was both simple and effective.  One of the most critical EQ applications is in processing an entire mix or submix, so it was in those areas that I did most of my testing.  While mixing in the box is certainly convenient, I often find it hard to maintain brightness without the sound getting gritty or confused, especially in a busy mix.  But when you pass the DAW mix though a nice piece of analogue gear (not necessarily a mixer) it can improve the subjective sound quite significantly.

In this case, the Hammer EQ brought about an immediate improvement when I added just a dB or two of adjustment, especially at the low end.  Two or three dB of boost at 100Hz really rounded out the bottom end of the mix I was working on, but without compromising clarity or making things sound mushy; it also seemed to make the bass end more even, with better definition between bass guitar and kick drum.  Just one dB of 10kHz added some 'breath' to the top end, and all the instruments seemed to come into better focus without suffering the gritty harshness that 'in the box' plug-in processing sometimes brings out.  I thought I'd miss not having a Q control, but for general shaping, as opposed to surgical correcting, the Hammer behaves very predictably and seems to know exactly what you want it to do.  Having separate switchable high- and low-cut filters also adds a lot to the flexibility, as you don't have to waste a valuable EQ band to handle each of these routine jobs.

I attempted to duplicate the Hammer settings using various EQ plug-ins I had available, with the UAD Precision Equaliser perhaps coming closest of the ones I tried, but the analogue magic still sounded a hint more musically pleasing to my ears.  It's hard to describe the effect but sometimes I feel with all-digital systems that I'm hearing the outline of the sound but without the substance being properly filled in.  As soon as you add a high-quality piece of analogue equipment like this to the chain, the whole picture becomes more stable, less harsh sounding and better integrated, even when very little processing is being applied.  Don't ask me why!

Conclusions?

The HM2 Hammer is a very musical-sounding EQ, and there's a very positive vibe surrounding it, especially in the US.  Of course, it is by no means the only outboard equaliser that can add 'that analogue magic', but as every equaliser circuit sounds a little different, you can't really compare the performance of this EQ against any of the competing products in an unambiguous way... some things you simply have to judge for yourself.  If you're thinking of spending this kind of money it might also be worth checking out some of the competition, such as the marginally less expensive Drawmer 1961 (which, to my ear, sounds every bit as sweet and has rather more tube circuitry in the signal path), or the various TL Audio models (which employ a similar approach and cost rather less).

That said, you really shouldn't let the cost, the fact that there are only two tubes in the box, or that you can't vary the Q, put you off auditioning the Hammer, because not only is it a very capable equaliser, it is also simplicity itself to use.  Equalisation is, and always will be, an area where the subjective result far outweighs what is written on the spec sheet — and in the case of the Hammer, I really like what I hear!

Alternatives
If you're planning to audition the Hammer EQ and want some points of comparison, you could look at the Drawmer 1961 and models by TL Audio, including the TLA EQ2.

Copyright and Published in SOS September 2008

A Designs' Pacifica Mic Pre

Two-channel unit recreates the sound of Quad Eight consoles -- with a twist

By Frank Moldstad

Product Review: 11/15/05

There are many “vintage” mic preamp clones on the market, most of them based on Neve and API mixing console circuits from the 1970s. But A Designs’ Pacifica microphone preamp is based on another classic design from that era that has gotten less attention: the Quad Eight Pacifica console.

One of the first manufacturers of music mixing consoles, along with Electrodyne, API, and Langevin, Quad Eight produced desks for film mixing and music applications. Its consoles, including the Pacifica, found homes in some top studios where their open musical sound was lauded. Its sonic signature can be heard on many classic tracks, such as Pink Floyd’s “The Wall,” which was mixed on three linked Quad Eights. But Quad Eight faded into the California sunset in the 1980s, and today the only way to land one of these prized mixers is through eBay or vintage dealers – where they’re an increasingly rare find.

Two years ago, A Designs founder Peter Montessi and audio designer Jon Erickson set out to recover this lost sound before it completely disappeared. They focused on the QE mic pres used in Quad Eight’s Ventura, Coronado and Pacifica consoles, which they considered to be one of the main contributors to the consoles’ unique sonic character. Researching the history of these consoles was often difficult because not only were the original console designers hard to find, but so were the designs, documentation and spare parts. They spent thousands of hours in listening sessions and at the design bench honing the sound. Among those they sought out was Tom Reichenbach, the son of original Quad Eight transformer designer Ed Reichenbach. With his input, they redesigned the transformers for the Pacifica, extending the range while capturing the Quad Eight’s unique sound.

When a prototype was finished, they solicited feedback from owners of Quad Eight consoles as well as a cross section of recording engineers. The consensus of these professional users was that the Pacifica had “that sound,” only with a little more top end – which was the goal Montessi and Erikson had set.

The Pacifica (MSRP $1,995) is a two-channel solid state preamp that fits in a 1U rack space. Each channel has a balanced XLR mic input and a Hi Z ¼-inch phono input for direct sources such as guitars and keyboards. Balanced XLR outputs are also included. There are also individual channel controls for level, 48-volt Phantom power, Phase and a -20dB pad. The unit is equipped with a muscular 72 dB of gain and a very low -128 dB noise floor, so input levels can be cranked without adding undue noise.

The Pacifica's distinctive cream color recalls original consoles

With a phenomenal frequency range of 9Hz-101kHz, the Pacifica far exceeds the capabilities of the original Quad Eight consoles. Its extended top end is especially noticeable with sources such as piano and acoustic guitar. The frequency response is a significant benefit for those whose recordings are destined for DVD, SACD, DSD or the coming Blu-Ray et al formats, which range up to 100kHz.

While human hearing is not measurable above 20kHz, recording and playback media limited to 20kHz may have an adverse impact on the audible frequencies. But that’s really a debate for psychoacousticians. Suffice it to say the Pacifica’s frequency response ensures that you’re getting all that the source material has to offer. That includes the low end, too, which is big and beefy. The sound is fairly even across the spectrum, with a slightly pronounced midrange

But my favorite aspect of the Pacifica is its character. This is not a clinical-sounding preamp. Every source I tried with it had an extremely musical sound, including voice, saxophone, piano and acoustic guitar. Things sounded clean, certainly, but they brimmed with rich overtones and surprising depth. I’ve never had the opportunity to use an original Quad Eight console, so I can’t comment on how this compares. But the Pacifica’s sound combines the warmth of a Neve with the presence of an API. It can be smooth and creamy one moment and punch through a mix the next. It seems to have a very quick transient response, which was noticeable during fast runs on the tenor saxophone, electric guitar and acoustic piano.

I particularly loved the Pacifica on voice and saxophone, where it rounded out the emotive qualities of these sources with incredible tones that ranged from sweet to brash depending on the passage. It added gorgeous nuances to a quiet close up voice and breathy tenor sax, both miked with a Soundelux U195, and likewise added beautiful sympathetic overtones during loud passages.

In reality, I found the Pacifica to be outstanding with everything I tried. On acoustic piano, the Pacifica showed off its range, delivering crisp yet warm low notes and sparkling high notes. It sounded killer on electric guitar, heightening the rich sustain from a Telecaster through a Bad Cat amp, miked with a humble Shure SM 57. Performance was equally gratifying with direct sources, such as a Jazz bass where the piano tone of the Rotosound strings was deep and rich.

With the electric guitar, I was able to put the Pacifica’s -20 dB pad to good use, raising the amp volume while maintaining a good signal level. And since the Pacifica has up to 72 dB of gain, turning its gain control up or down relative to other levels can produce interesting tonal variations. I did not have the opportunity to try the Pacifica on drums, but its 180 degree phase switch would be great for situations where miking the top and bottom of a snare drum is required.

Some mic preamps have a specialty -- perhaps they’re great on vocals but weaker on low end sources or full-range material. The Pacifica is an all–around unit that makes everything sound better. Those who can’t afford a rackful of preamps for every purpose will love the Pacifica’s versatility; those who can will love the Pacifica anyway.

This recreation of a classic sound – with a few secret tweaks from Mssrs. Montessi and Erickson -- might just become a classic itself. The Pacifica’s ability to deliver both character and fidelity gives a unique and wonderful sound, and makes it a very special preamp. It gets my highest recommendation.

A-Designs Audio Pacifica Mic Preamp

The sound of the Quad Eight console is back and in a box!

by Russ Long, 10.31.2006

Russ Long, a Nashville-based producer/engineer, owns The Carport recording studio. He is a regular contributor to Pro Audio Review.

I fell in love with the Quad Eight console while working at Nashville’s House of David studio (www.houseofdavidstudio.com) in the early 90s.  Although the sound of the Quad Eight isn’t as well known as that of Neve or API desks to most engineers, it is every bit as good and just knowing that Pink Floyd’s The Wall album was mixed on three tied together Quad-Eights is enough to send shivers up my spine.

While using the Quad Eight Ventura, Coronado and Pacifica console preamplifiers for reference, Peter Montessi and his team of audio gurus at A-Designs Audio came up with a preamp design that captures the heart and soul of these classic consoles resulting in a solid state, single RU, rackmounted, microphone preamplifier. Avoiding the current cloning trend, A-Designs Audio made the decision to think outside the box and make the tribute something beyond the legacy. This resulted in the A-Designs Pacifica ($1,995), a wonderful sounding mic pre with a classic look that retains the cream colored panel and red knob scheme from the original Quad Eight Pacifica console.

Features

The single rack space Pacifica is a solid state mic preamp that includes custom input and output transformers. The rear panel has a pair of balanced XLR input and output connectors as well as an IEC connector for power. On the front panel, each channel includes a level control that provides up to 72 dB of gain. There is a pad switch that activates the 20 dB pad and a 48V switch that activates phantom power. A red LED illuminates when phantom power is activated. The Pacifica’s phase switch reverses the polarity of the signal and the on/off switch activates the power. A blue LED power indicator illuminates when the power is activated. Also on the front panel are a pair of Hi-Z 1/4-inch inputs for direct injection. The preamp’s input impedance is 600 ohm @ 400 Hz. The noise level (EIN) measures -128 dB. The circuit has a frequency response of 9 Hz - 101 kHz with less than 1% distortion. The box measures 19 inches x 1.75 inches x 10 inches and weighs 11 pounds.

In Use

After having such a history with the Quad Eight console I couldn’t wait to put the Pacifica to the test to see how it compares to its ancestor. Thankfully, it doesn’t disappoint. I’ve been a fan of A-Designs Audio and their gear since day one and I must say this is my favorite piece yet. I describe the sound of the Pacifica as somewhere between the sound of a vintage Neve and an API. It effectively blends the aggressive presence and boldness of a Neve (less the compressed sound of a 1073) with the midrange clarity of an API. The result is a fantastic sounding mic preamp with a vintage coloration that sounds terrific on absolutely everything.

I’ve put the Pacifica to work on absolutely everything imaginable over the last three months and I have yet to be disappointed. The box works wonders on drums and percussion. I used it along with a pair of Audix SCX25-As to capture overheads. The sound was near perfect requiring no equalization at all. I was also able to capture a great overhead sound using the Pacifica along with a Royer SF-12 but in this instance I ran into the line inputs of a pair of Daking modules so I could add some top end shimmer. The box is amazing on kick and snare. I had equally good results using it along with an AKG D112 and a beyerdynamic M88 to capture the kick drum and on snare drum I used it along with a Heil PR20, my new snare drum mic of choice, and it sounded great; a full big body with plenty of crack and aggression. The mic worked equally well capturing toms and congas (Sennheiser 421s), and hi-hat, tambourine and shaker (Royer SF-1).

I had great results recording keyboards through the front panel DIs. This active Hi-Z 1/4-inch input places the input transformer directly in the signal path for a massive direct sound. I also had great results using one of the front panel Hi-Z inputs to record bass.

I found that the Pacifica works perfectly along with a Royer R-122 to record electric guitars. I was actually surprised to find myself frequently not even needing an equalizer. The guitar signal path that I ended up using most often is the Royer R-122 into the Pacifica into an Empirical Labs Distressor (or occasionally a Tube-Tech CL-1B) and then straight into the converter. Occasionally I would add a GML 8200 equalizer between the preamp and the compressor but more often than not, it wasn’t necessary. I also had good results using the preamp along with an Earthworks SR-77 and a Neumann KM-86i to record acoustic guitar. In both instances I added a GML 8200 EQ and a Tube-Tech CL-1B to the signal path.

The Pacifica is also wonderful as a vocal mic preamp. I used it along with a Brauner VM1-KHE, a Sony C-800G and a Blue Cactus with both male and female vocals and was always pleased with the Pacifica’s performance.

My only real complaint about the Pacifica is its lack of a high-pass filter. This isn’t that big of a deal because you can always get that from another piece of gear but there were several occasions (most often with keyboards into the front panel DIs or an electric guitar cabinet with a Royer 122) when a high-pass filter would have allowed me to go straight into the converter out of the Pacifica.

Summary
The A-Designs Audio Pacifica is astonishingly close both sonically and visually to the original Quad Eight desk. At approximately $1,000/channel, it isn’t cheap but it is easily within reach of any professional facility and most project studios. It’s an excellent choice for anyone who wants a clean, punchy microphone preamp packed full of character and versatility.

Review Setup
Apple Macintosh 2 GHz Dual Processor G5 w/2 GB RAM; Digidesign Pro Tools 7.1; Lucid Gen-X-96 clock; PMC AML-1 monitors; AKG D112, Audix SCX25-A, beyerdynamic M88, Blue Cactus, Brauner VM1-KHE, Earthworks SR-77, Heil Sound PR20, Neumann KM-86i, Royer Labs R-122, SF-12, Sennheiser 421, Sony C-800G microphones.

A-Designs Audio REDDI: A-Designs Audio Impresses Session Bassist Don Boyette

January 08, 2009

In an effort to get the word out about their tube-powered direct box, A-Designs Audio has taken and interesting tack: they've shown that even pros like L.A. session bassist Don Boyette are just now catching onto the wave of the A-Designs Audio REDDI.

By employing language like "Don Boyette Wishes He Had Gotten REDDI Sooner" and "Top L.A. session bassist finally plugs into A-Designs Audio's D.I. unit and flips," (emphasis added) the pro audio company seems to be exercising that the time is nigh to get on the bandwagon before it's too late . . . or too early.

Having toured the globe with Michael Jackson in support of both the Bad and Dangerous albums, and shared stages with many other popular artists like Stevie Nicks, Lionel Richie and The Pointer Sisters, Don Boyette is a top-notch bass player.

Boyette's typical signal path in the studio is to patch one of his vintage basses into the REDDI, which feeds out to a Neve EQ, Chandler mic pre, and A/D converter before ending up in his computer.  "I have a pair of nice '64 Fender P basses and a couple of '62 Jazzes, but I tell you, my early-'70s Gibson Ripper, in particular, sounds absolutely unbelievable through this setup.  Although I used to think that I got a fairly decent sound through that path without the REDDI, having it in there really refines the tone.  What the REDDI does to both the lows and highs--especially that silky, warm top end--is nothing short of amazing.  But it's still so transparent at the same time.  The product doesn't color the sound to the point where it doesn't sound natural. It's so completely appropriate, useful and perfect.  I have to give it up to Peter [Montessi, A-Designs' president]; he just totally nailed it.  How does he do it?"

Don himself is just silly with praise for this active, tube D.I. box:

"When I first plugged into the REDDI and did some tracking with it, I was seriously amazed," says Boyette. "I mean, [in my studio] I've got some of the best outboard gear you can buy -- Neve, Chandler, Universal Audio, you name it -- and when I heard how my bass sat in the track and how well it cut through, I was stunned. It sounded a bit like my 1073s, but even better. I had never heard my bass sound that good before. And I thought, 'Whoa, this is ridiculous! Why am I just now getting this thing? Why didn't I already have it?'"

At any rate, Don is happy to endorse the REDDI and claims to want another one so he can start using them on drums and to record electric guitars in stereo.

REDDI When You Are

An outstanding new tube DI from A Designs

By Frank Moldstad

15/11/2005

Just as with microphone preamps, there are major differences between instrument DI boxes.  Some are ultra-clean, others have built-in EQ circuitry to emphasize certain tonal characters.  But rarely do you find a DI that preserves all the definition of an instrument the way that A Designs' REDDI does.  This tube instrument preamp is clean but still dripping with natural tone.

The best way I can describe what REDDI adds is dimension.  It reveals a wide range of harmonics in a source, with an excellent translation of an instrument's character.  It doesn't have to be blended with an amp signal to sound good.  I tried it with electric guitar and bass as well as a synthesizer, and found the REDDI to perform impressively on every source.

The REDDI employs a vacuum tube design with a Sovtek 6N1P tube -- the same tube as the company's MP line of mic preamps.  It has a custom-wound output transformer, and puts out 16dB of gain.  The REDDI is designed to run wide open, with the Level knob essentially serving as an attenuator pad.  Since there is no input transformer, there's a pure passive signal path to the tube.  So if you have a good tone going in to the REDDI, you'll get an even better one going out.

Introduced at the 117th AES Convention in San Francisco last fall, the REDDI has a suggested list price of $850.  Its fire-engine red metal vented casing makes a statement, and with the front panel's glowing blue LED power indicator, the REDDI is hard to miss in a dark control room.  It includes a combo XLR/1/4-inch input, balanced XLR output, level control knob, ground lift, EIN power connector, and a Toroid power transformer in addition to the custom output transformer.  The ON/OFF power switch snaps back and forth with a solid industrial feel.  A 2U rackmounting option is available, which can accomodate two REDDIs side by side.

In use, the REDDI created sparkling harmonics on a clean Fender Telecaster played directly through it with nothing else in the signal path.  With an Ibanez TubeScreamer pedal in the chain, it drew out rich distortion tones.  And on a NORD Lead 2, the synth patches just came alive, delivering a much more musical sound than the sound of the synth directly into the board.  Certain patches I'd always rejected as too dull revealed depth and high-end sparkle that had previously been hidden.

But as a bass player, I was particularly interested in how the REDDI would work for the low end.  As opposed to guitars and keyboards, the bass is usually recorded direct.  The downside is that many DI units produce an airy bass tone that disappears politely into a mix.

That's not the REDDI's style, though.  It builds on an instrument's natural voice, bringing out a full range of harmonics.  I tried two basses through the REDDI, a 1968 Fender Jazz bass and a Pedulla fretless Buzz bass.  These two instruments sound completely different from each other.  The Fender is punchy and passive-aggressive, while the Pedulla is smooth and growly.  In both cases, I thought the sound was phenomenal, delivering the true character of the instruments.

In a mix, the REDDI signal sits very nicely.  Its ability to be faithful to the distinct tones of an instrument helps it to cut through even at lower levels.  The only outboard adjustments I made to the signal were slight EQ tweaks.  Depending on the kind of music being played, some people might want to boost the signal, running it through pedals, a clean preamp, or compressing it.  The REDDI is flexible enough to deal with whatever creative chains you'd want to put together.  With a Y cable, the signal can be split between the REDDI and an amp if desired.

But any additional elements in the chain will change the sound, and not necessarily for the better.  For instance, compressing the REDDI signal should be done with ears wide open.  It was kind of counterproductive when I put the REDDI through an 1176 compressor and all those rich harmonics were squashed down.  The reason a DI like this is valuable in the first place is because of the full and complex tone that it imparts.

I highly recommend the REDDI.  A project studio seeking a standout professional DI won't find a better alternative in this price range. And it would be a superb new flavor for a commercial studio with several other DI boxes.  Popular studio models such as Avalon's U5 and Demeter's HM-1 sound very different than the REDDI, the Avalon EQ'd for presence and the Demeter offering a smooth fat sound.  The REDDI is rich and detailed, with an extremely wide (20Hz-60000 kHz) bandwidth.  It reveals instruments in their full glory, adding a new dimension of harmonics and detail to tracks where it is used.  And it should be used on many tracks.

http://www.digitalprosound.com/articles/viewarticle.jsp?id=31797

Composer/Musician Viktor Krauss Features REDDI in Home Studio

By Mix Editors

Feb 3, 2005 2:12 PM

Viktor Krauss, a young composer and musician who plays piano, trumpet and double bass has played with Lyle Lovett, Graham Nash, Bill Frisell and The Chieftains. Krauss recently took a break from composing, producing, recording and touring in order to record his own solo release Far From Enough.

"I'm sort of a gear junkie," admits Krauss. "Ross, the engineer on the [John] Fogerty project, was using a REDDI. I saw it out of the corner of my eye and asked, 'What's that?' After using it, I thought it was great."

The REDDI direct box is designed for use with basses, guitars, synthesizers and other electronic instruments. Featuring a 6N1P tube, the REDDI offers a Neutrik combination XLR/quarter-inch input, balanced XLR output, on/off toggle switch, LED power indicator, level control knob, ground lift, EIN power connector, a metal vented casing, custom output transformer and an enclosed power supply with Toroid power transformer.

Krauss even replaced an old favorite DI upon discovering the REDDI's benefits: "The REDDI has a character of its own. I have been using the REDDI with the more electric sounding Underwood pickup for the low- to mid-frequency range and punch. I have found the REDDI to significantly help the tonal qualities of this pickup. Another great thing about the REDDI is its sweepable gain, which offers great variation for hitting a pre-amp and/or compressor."

When working at his home studio, Krauss most often records bass tracks exclusively direct, "but it depends on whatever the session calls for," he reasons. "I use the REDDI in conjunction with a Universal Audio 6176 channel strip, especially for electric bass. It just works wonderfully. If I need an over-driven sound, I have a little Ampeg B12 amp that I use. If it needs to be really clean, then I'll just use the REDDI." Krauss considers a Shure SM57 the best "safe" choice for miking his bass cabinets, while the AKG D 112 is good when the bass needs to be "a little puffier-sounding."

Krauss' use of the REDDI isn't limited to recording bass tracks though. "I really like the REDDI for any electric stuff," he says. "It's a great recording tool for just about anything. To my ears, it always seems to be very transparent. It captures the essence of the instrument instead of coloring it."

Get REDDI for the versatile red DI box from A Designs Audio

By Ken Morgan, added June 22, 2006

A Designs Audio makes the REDDI, which is a tube powered D.I. that brings warmth, power and realism to your D.I. tracking.

What's a D.I.?  D.I. stands for direct injection.  It's a method of recording whereby an an electric instrument gets plugged directly to your recording console, microphone preamp, or analog to digital converter.  Supposedly, Paul McCartney first used the technique in 1967 on "Sgt. Pepper's Lonely Hearts Club Band."

I've found that D.I. tracking can bring a better signal to certain types of tracking such as bass guitar.

The REDDI weighs as much as any mic preamp in my studio, yet, it's arguably the simplest device in the place as it only possesses one control labelled "level."  Out of the box, I found the red paint job to be flawless, with the rest of the REDDI to possessing a quality fit and finish.  The IEC standard AC cord is heftier than most, and all the screws and seams lined up properly.

I tracked some bass lines from a 1962 Fender Reissue Precision loaded with EMG pickups.  With the output knob low, the REDDI put out a deep and smooth tone.

Using the same bass, I started experimenting with adjusting the level control.  The sound changed from warm and smooth to aggressive, a little growl, but no distortion.  Halfway through the dial, the REDDI gave me a tone resembling a cherry sounding Ampeg B15.

Next, I ran the output of a wonderful sounding Rhodes right onto the REDDI, I liked the results.  The sounds rivalled those achieved by putting the Rhodes through a quality amp, with the only missing element being the space one gets from mic'ing an amp.

Then I experimented with 335 electric guitar copy plugged into an overdrive pedal into the REDDI.  I found the tone to be warm, true and powerful without the noise one gets from a guitar amp.  I tried a Fender Telecaster plugged into the REDDI, with an MXR Dynacomp in the chain.  An Albert Lee sort of tone emerged.  I put the 335 clone back into action, tracked through the 335's neck pickup and laid down some jazzy sounding tones - all accurate, all noiseless and all free from audio bleeds and loud drummers.

I found the REDDI to be the most versatile and useful DI I've encountered. It solves a lot of tracking needs in my studio. It adds a new sonic dimension to anything you throw at it.

I suggest giving the REDDI a try as a live bass D.I.  I’ve seen REDDI's in racks, on top of amps, and even in a few custom built pedalboards at shows.  I also suggest using the REDDI with a dynamic mic on a snare drum.  It's a choice for those of us who march to a different drummer and who strive to put a unique set of guts onto a snare track.

One thing to remember: great recordings usually possess different sonic images on different tracks.  Even with a top of the line D.I. such as the REDDI, you'll want to limit D.I. usage to a few tracks in most projects.

The Bottom Line: I feel the REDDI should fall in the category of "must have."  I admire it's versatility and quality of tone.  It's built like a tank. Highly recommended.

Ken Morgan operates out of Wireline Studio in Midland, Texas, USA.
Copyright 2006 langer. all rights reserved.

A New Attitude

Putting A Designs' ATTY2'D through its paces

By Frank Moldstad

Sometimes an audio device will settle into your workflow so quickly you wonder how you ever did without it. That was my experience with the ATTY2’D, a new passive level controller from A Designs that is also capable of functioning as a surround controller.

The ATTY2’D (pronounced Attitude) evolved from another product, the two-channel ATTY that A Designs introduced two years ago. The ATTY2’D raises the bar, with six channels, two stereo and two mono, and houses it all in a 1U rackmountable box. A Designs calls the ATTY2’D an “ATTY on steroids.”

The ATTY2’D is a versatile device with many possible configurations. Its basic function is to provide convenient level control – or actually attenuation control – for devices ranging from mic preamps to active monitors, CD players, headphone amps and talkback mics. Another handy function is for A/Bing monitors while mixing. And it can even be used in reamping applications, taking the signal from one source and sending it out to another.

Sure, there are already ways of handling most of these functions with existing studio equipment (except preamps that lack output attenuation, for which this is a godsend). But the ATTY2’D centralizes level control, putting everything within arm’s reach. Each channel has a mute button, and a large global mute button sits in the middle of the front panel. Instead of muting monitor outputs on a mixer, wheeling around to turn up a preamp’s input volume, and turning down an amp, it’s simple to mute and unmute the appropriate ATTY2’D channels. (And if you’ve ever experienced unearthly feedback after turning up monitors in a room with a live mic, the global mute button is your best friend.)

The ATTY2’D is one of the easiest devices you’ll ever hook up. As mentioned, it is a passive unit, so there’s no power cord to contend with. Audio connections are all balanced XLR in and out. With an active monitor system, for instance, you take the main outs from your mixing board (or audio interface) into the ATTY2’D, and then route the line outs from the ATTY2’D into the monitors.

I configured the ATTY2’D for a number of various workflow scenarios. It can accept three stereo devices, or two stereo devices and and two mono devices. I left the main L/R in channels 1/2, and in the remaining channels swapped out a headphone amp, a mono dbx 160x compressor, a mono Avalon U5 preamp, a talkback mic, a CD player and an amp connected to a pair of passive monitors. In each case, the audio quality seemed identical, with no added noise or volume discrepancies. On muted channels, I detected no bleed through or phantom signals – the muting is total. And I found major benefits from one-touch level control over each device, in both speed and convenience.

One of the most difficult things to decide is what should be connected to the ATTY2’D. Everyone’s setup will be different, depending on their equipment and workflow. After weighing all the options, I settled on the main active stereo monitors, the stereo amp connected to passive monitors for A/Bing, the mono Avalon preamp for reamping, and a talkback mic.

That did it for stereo tracking and mixing, but I was anxious to try the ATTY2’D as a surround monitor controller. So, having sorted things out for stereo, it was time to repatch.

I took a surround mix from Cakewalk’s SONAR 4, and routed the L/R to channels 1/2, L/R surrounds to channels 3/4, center channel to channel 5 and sub in channel 6. The corresponding outputs from the ATTY2’D went to the XLR inputs on active Blue Sky monitors and sub. On playback with the ATTY2’D in the chain, it was a snap to compare the overall mix to individual channels and surround busses. Mute....unmute, in the combinations of your choice. For quick reference, A Designs has silk-screened the surround channel indicators by each of the ATTY2’D channels, left to right from channels one through six.

Calibration is done from the console, or software. Each channel has an attenuation knob, which A Designs recommends be set to full/max for starters, providing 100 percent of the sound output. For surround sound set up, it’s advisable to begin with the sub.

There are many possibilities for employing the ATTY2’D, because it will pass the signal from any device through to any other device. It provides convenient central attenuation control over whatever you feed it, without altering the signal. And while the mission is simple, the benefits are major. Once you hook it up and become accustomed to using it, you’ll find it hard to go back. (I know, because after my testing, I had to unhook and send it back to A Designs.) For anything from active stereo monitor control and preamp attenuation to full-on surround monitoring control, this is an outstanding professional audio accessory that should be on everyone’s gear acquisition list.

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