Road Tests

This one is short and sweet. The ever-increasing use of computer firepower in the live sound biz has resulted in a plethora of laptops on gigs.

Our test pieces for this go-round are a robust pair indeed. We're taking the new A-T 4080 and 4081 ribbon microphones for a spin. In the past, I've found it difficult to remain constructive while reviewing mics. They're one of those things that is most certainly left up to a matter of personal preference.

Unless you have been living in a cave for the past year, you already have heard at least something about the WavesLive MultiRack system. It was first talked about or at least alluded to right after NAMM in 2009. And we said then and maintain after using it that this is a potential game-changer that allows mix engineers to access Waves plug-ins using any console be it analog or digital.

I have field-tested and written about many audio amplifiers, and a common thread in all those reviews is power versus weight. Every sound guy wants as much horsepower per pound as they can get in their amps. Of course it goes without saying that the power must be colorless and transparent. So that brings us to the Peavey IPR 1600 stereo power amplifier.

I would be lying if I said I am not a fan of Ashly. Their gear has always been reasonably priced, and I have never had a big problem with gear functionality, as well as advancing the shows that I do with my personal gear, which are, on average, around "B" level nationals.

Whether you're an engineer or an artist, what is it that we're looking for from personal monitors? I've narrowed that question down to a few things that are important to me. I want to have brilliant (but not painful) highs, super-punchy mids to make the vocal cut through and low end that stimulates the shaking of my nether regions. A hard feat to accomplish, and very few PM manufacturers can say that they can accomplish this.

Midas PRO6, what can I say about you? You are one classy dame. You have all the right pieces in all the right places. The first time I laid eyes on you I had that feeling you get as a freshman when you see the hot senior walk past you in the hall. I was scared.

Most know Blue to be a manufacturer of high quality studio microphones. Their creative, intuitive and distinctive designs have caught attention from many engineers over the years. I remember a couple of years ago thinking to myself "I wish they would come out with a live microphone, I bet it would be awesome." So needless to say, when I found out I was going to be reviewing two of these mics, I was a happy guy!

It's kind of funny that this review is running in the same issue as the Midas PRO6 because, while they could not seem more different on the surface, they share a common thread. Both are very apt demonstrations of the relentless march towards digital in our little live event audio world.

OMG!!!!!! Heil drum mics are my new BFF!!!!! Now that I've made myself sound like a Valley Girl, I'll try to compose myself and act like the audio professional that I am. (Hah!)

It has been more than 10 years since dbx introduced the first DriveRack. To say that the DriveRack has been a success is a huge understatement. This product line has changed how many sound technicians set up and manage their sound systems. Not to mention how so many installations are designed with DriveRacks as part of the system.

In the Road Test you are about to read, I am combining a review of the PreSonus StudioLive 16.4.2 digital mixing console with the PreSonus Studio One Pro software. Either one of these products warrants its own review, but I had the opportunity to use them together. So, here goes.