Studio & Home Studio 
A place where acoustics are carefully studied and controlled, the studio, like its little brother, the Home Studio, brings together all the necessary equipment at the different stages of music production: mics & preamps for recording sound; converters and recorders or computers for recording; console, sound treatment and effects processors for mixing, and of course a monitoring system to hear if everything’s as it should be.
List of user reviews
Studio & Home Studio
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Overall Opinion 
- The Monster Cable Power Center HTS1000FR is a truly complete power strip that has eight ports power jacks, four coax, and four LAN jacks. It is designed for use with home theaters as a center piece for power and connections. It is definitely one of the most in depth power strips that I've seen, as you feel totally secure plugging things into every port of this without a problem. Like all Monster Cable products, it is built with extreme care and design and is as sturdy feeling as any power surge that I've used. They also make a very similar model without the coax and LAN jacks, that are designed for all purpose types of use. While quite expensive for something like this, this is truly the ultimate power strip. There is nothing beyond the price that I don't like about it, as it is built like a rock and is something that I know under all circumstances will survive a long time. I believe that like their cables, all of their products are backed by a lifetime warranty if I'm not mistaken, so even in the off chance that it did break, I believe you would be back by that. I can't say that I would recommend the Monster Cable Power Center HTS1000FR to everyone, as it is just too expensive for most people to have around, but in the time that I've used it and seen it in use, if you're looking for the ultimate power source for your home audio and/or video set up, it doesn't get much better than this. Most people of course will not need something like this, as it just won't be worth the price for most people, but if you can afford it and need a power strip of this caliber, I'd definitely recommend this one.
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Characteristics
- The Inward Connections Vac Rac TSL-3 Stereo Tube Limiter is two channels of an amazing sounding limiter/compressor. It is one of the fullest sounding limiters that I've used to date. I don't know what kind of connections it has since the one that I was used that was already racked in place, but it is made up of all analog components and has 6BM8 tubes inside of it. It is rackable and will take up three spaces in a traditional space.
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Utilization
- The configuration of the Inward Connections Vac Rac TSL-3 Stereo Tube Limiter is very simple one. Each of the channels has knobs for reduction and gain make up, as well as switches for bypass and for choosing either output/gain reduction mode. There is also a mic/line selection switch for the entire unit. A manual isn't needed unless you're having technical problems.
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Sound Quality
- As I stated earlier, the Inward Connections Vac Rac TSL-3 Stereo Tube Limiter is one of the thickest and fullest sounding compressor/limiters that I have used. You don't need to do much fiddling at all with it to get a great sound, as pretty much whatever you do sounds good - it's just one of those types of compressors, like the LA-2A, which in many ways it reminds me of. I like the way that it sounds on pretty much every application that I've used it on, but especially for vocals and guitars. The Vac Rac really does some great work on it's own without being complicated whatsoever.
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Overall Opinion
- If you own or have used the Inward Connections Vac Rac TSL-3 Stereo Tube Limiter, you must know what I'm talking about when I say how great this sounds, but for those who don't and are interested, I highly recommend trying it out for yourself one way or another. These aren't easy to come by though, as they cost a lot of money and I haven't seen them around in too many studios. You can of course buy one, but like I said it will really cost you a bit! If you're a professional looking for a stereo tube limiter, they don't make them too much better than this...
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Characteristics
- The API Audio 500-6B Lunchbox is six slot casing, designed for 500 series modules made by API and other companies. The 500-6B has a built in power supply, which is very nice as you don't have to get a separate one to power up your modules. It will fit just about any 500 module as far as I know...
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Utilization
- There isn't anything that you really need to know about using the API Audio 500-6B Lunchbox, as once you've got it set up, you're good to go. It isn't hard to place the modules into the 500-6B as they slide right in without any problems. I don't think that you really need a manual, but if you're new to the make up of 500 series racks and cases, it might be a good idea to have it around anyway.
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Sound Quality
- There isn't anything at all that you can judge the API Audio 500-6B Lunchbox on sound quality, as it is merely as casing for 500 series modules. No sounds whatsoever are made or processed through this piece of gear - it only houses modules that do. It doesn't have the means to color or add to any of the sounds that you hear in the modules either...
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Overall Opinion
- As far as 500 series casings go, the API Audio 500-6B Lunchbox is one of the best out there for a few different reasons. First, since API does manufacture most of the 500 series modules out there, this casing is absolutely fully compatible with their modules and other out there. They really invented the lunch box and 500 series design, so getting it from the source isn't a bad idea. It is also great that it comes with the power supply, which is a considerable amount of money if you need to buy one on its own. So even though you might have to pay a bit more for this 500 series casing than you would another, it makes up for this with the power supply being included. If you're looking to put together a 500 series rack, I'd highly recommend going with the API Audio 500-6B Lunchbox.
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Characteristics
- The Great River 32EQ is a reissue of the equalizer found in the Harrison 32 Series consoles, and as far as I know, both parties had a hand in designing this new model. The 32EQ is made up of analog components, boasting four bands and both a high and low pass filter. It isn't rack mountable in a traditional space, but rather will fit into a 500 series lunch box style rack.
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Utilization
- There isn't really anything that you need to know about the Great River 32EQ that is out of the ordinary. Each of the four bands has knobs for gain and frequency selection. The only weird thing about the 32EQ that threw me off for a second was the way they numbered the frequencies, but users will soon see how it works as it isn't complicated at all. The high and low pass filters have a button to turn them on a knobs to choose the frequency at which you would like signals to pass. I haven't seen the manual for the 32EQ, but I think it is easy enough to use on its own where you don't need one.
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Sound Quality
- I have not used the original Harrison 32 Series consoles, so I cannot compare the Great River 32EQ to its original, but will say that regardless of what it is modeled after, the 32EQ is a great sounding equalizer. It is up there with the cleanest sounding that I've heard, which is always what I'm looking for in an EQ. Some engineers like when an EQ adds something to your sound, but I only want my EQ to do exactly what I tell it, and that is what you get with the 32EQ. I used the 32EQ on a whole slew of different applications within the same mix, and the mix came out shining bright as can be. Of course like all signal processing, it will only be as useful as you make it...
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Overall Opinion
- For such a reasonably priced piece of gear, the Great River 32EQ sure gives you a lot of bang for your buck. Today more than ever I think the way to go for equalization is to pick and choose the modules you like and put them in something like the 500 series rack, and the 32EQ would be a great choice for any studio owner to have. They are cheap enough where you could have a few of them without spending much money at all. While the price may still be a bit much for home studio owners, smaller studio owners need to keep in mind that you're going to have to pay to get great gear, but everyone once in a while you get a piece of gear like the 32EQ that combines top notch tone with a reasonable price...
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Overall Opinion
- The Furman PB-40 is your run of the mill patch bay, consisting of 40 points in a single space rack mountable unit. It has all 1/4" TRS connections, and is all around quite standard for a TRS based patch bay. I've used the PB-40 on its own in a smaller home studio, but you can definitely get a few of these and use them as a full on patch bay in a professional studio if you so choose. That's pretty much all that you need to know in terms of characteristics, and it really isn't much to know at all. The PB-40 seems to have a pretty good build as well, although since I don't own myself I can't say how well it will hold up over time. Having said this, I think that as long as you treat it properly and don't move it around violently too much, you should be all set. There are a whole slew of 40 point patch bays available, including that made by Tascam which I have also used, and I have to say that I really don't see a difference at all. A 40 point 1/4" TRS patch bay is going to be what it is regardless of who makes it, granted that it is made with the right equipment and isn't made incredibly cheaply. Basically what I'm saying is that if you're in the market for a patch bay of this size, I'd do a comparison of the price between brands as the first thing to look at. The price of the Furman PB-40 is very reasonable and is right in the range of what you should expect for a patch bay like this. There isn't too much more to say that I haven't said, but the bottom line is that the PB-40 is a solid patch bay that will get the job done for anyone who needs a 1/4" TRS patch bay of this size...
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Characteristics
- The Summit FEQ-50 is a single channel passive equalizer made up of analog components. It has XLR connections as well as 1/4", including options for output routing through either the tube or solid state portion of it. It isn't rack mountable, but is about half the size of a single rack space, so if you had two of them I'm sure you could rack them together.
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Utilization
- The make up of the Summit FEQ-50 is fairly simple, especially if you're familiar with the simple configuration of parametric equalization. It has four bands, each of which have gain knobs and frequencies knobs, which have set frequencies to choose from (about six different ones for each). They each also have bandwidth switches that have two different settings to choose from for if you want either a wide or narrow Q. That's pretty much all that you need to know about it's configuration, so I don't think that a manual is necessary.
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Sound Quality
- The tone of the Summit FEQ-50 is incredibly clean sounding overall. I've used it on instruments of all types, as it is versatile and has the tools to be used for applications of all types. It doesn't color your tone beyond the cutting or boosting that you apply, but the FEQ-50 certainly has its own type of sound that is hard to describe or to compare to any other piece of gear that I can think of. I love having the bandwidth switches, as they really come in handy when trying to zero in on a specific frequency. While I generally like having complete control over the frequencies I choose, Summit has done a great job here by determining which frequencies are most often used.
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Overall Opinion
- For a high end equalizer, the Summit FEQ-50 is actually priced nicely. While it is probably still too expensive for most home studio owners out there, this is a great deal for professionals looking for top tier tone regardless of price, as you'll certainly save a bit of change when you compare this to some of the other equalizers out there. The FEQ-50 is a seriously compact piece of gear as well, as it will take two of them to fit them in a rack. I'm a big fan of most of the gear that Summit Audio has to offer, and wholeheartedly recommend the FEQ-50 as a nicely priced option for a single channel equalizer.
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Characteristics
- The Lauten Audio Horizon is a large diaphragm tube condenser microphone designed for use in the recording studio. I wouldn't use the mic for any other purposes beyond in the studio, as with all tube mics, the Horizon is fragile. The mic has a standard cardioid pick up pattern, and picks up the full range of frequencies from 20 Hz to 20 kHz. It also has an adjustable pad at both -10 and -20 db. The mic comes with its own power supply and 7 pin cable, as is needed for a tube mic. It also comes with accessories like a shock mount and hard shell carrying case, both of which are essentials for a tube mic.
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Overall Opinion
- The Lauten Audio Horizon is the perfect in between tube condenser microphone for uses of all types. It isn't too expensive where most people wouldn't be able to afford it, and it also isn't so cheap where it has a poor build and make up. While there are plenty of tube condenser microphones out there to choose from, there aren't as many as you would think in this price range. Most of them are either really cheap or really expensive, so it is nice to see a high quality mic that is at an in between price. The Horizon has a pretty cool and unique look, but where this really gives you your bang for your buck is with it's sound. It has a very rich sound and will work for applications of all types. I've used Horizon for recording both vocals and acoustic guitar, but I liked the sound of it much more for vocals. While it sounded okay for acoustic guitar, it was a bit heavy for the application, as would most likely be the case for other acoustic instruments. Having said this, I think the Horizon will work well for most applications where you would want that thick sound you get from a tube condenser mic. Whether you are a home or professional studio one, the Lauten Audio Horizon has a place for you if you want a great sounding tube mic at a great price.
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Characteristics
- The Altec Lansing 1592 B is an analog mixing amplifier and microphone preamplifier. It is uniquely designed, as it has five channels, each with their own parameters. I'm unsure of the connections that it has, as the one I've used was already racked up and routed through the patch bay, so there was no need to do any connecting in the back of it. However, I do believe that it has XLR for each of the channels. It is indeed in rack mountable form and will take up four spaces.
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Utilization
- The configuration of the Altec Lansing 1592 B isn't too hard to understand, although it is a unique piece of equipment. Each of the five channels have leveling knobs, as well as gain switches that act as a pad. There is then a master volume knob that will control the level of all five of the channels. In addition to these basic parameters there is also a tone switch, a monitor volume control, and high and low pass filters. There is also a VU range knob that allows you to control your metering. The manual for the 1592 B is thorough and helpful.
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Sound Quality
- You can use the Altec Lansing 1592 B in a few different ways. You can use as you would a mixer, or just use the preamplifiers in it on their own - the latter of which is what I've used it for. With the 1592 B you're getting five channels of good sounding mic pres if you decide to use it in this way, which is really the only way I'd recommend using it. You can use it as a mixer if you choose, but it's options are limited this way. I've found the pres on the 1592 B to be of good quality and to be useful on most applications, as I don't think that they would necessarily be suited best for any one situation.
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Overall Opinion
- The Altec Lansing 1592 B mixing amplifier is a pretty rare piece of equipment, as it isn't one that I have seen around too often. I would think that if you did find one, that it could be had at a pretty cheap price, and if this was the case I'd recommend picking it up. Even though they aren't the best sounding mic preamps in the world, considering that you're getting five of them in one unit, the 1592 B is a great deal for those who will find it...
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Characteristics
- Manley Langevin's Stereo Variable Mu is a dual channel limiter and compressor. It is an analog dynamic processor, the connections of which I'm not sure of as the few times I've used it it was racked up already and I had no need to look at the back of it. The Variable Mu will take up two spaces in a traditional size rack casing.
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Utilization
- I found that using the Manley Langevin Stereo Variable Mu was generally a pretty easy thing to do. I will assume that those who are using a high end limiter like this one will probably have a bit of experience using other limiters and compressors, so if this is the case, these users should be able to adapt quickly to using the Variable Mu. Each of the two channels has it's own parameters for threshold, output, attack, and recovery (release). There is than a dual input know which controls the input level on both of the channels. In addition, each channel has switches to choose between either a compression or limiter mode, for bypass, and there is also a single switch to choose either a linked or separate connection between the two channels. I haven't seen the manual, but I think the Variable Mu is easy enough to use where you don't need one.
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Sound Quality
- The Manley Langevin Stereo Variable Mu is capable of being used in all sorts of situations and scenarios. While it is first a limiter and then a compressor on paper, I would say that it has equal capabilities to do both sort of dynamic processing. The sound in general has a very good balance of clarity, sharpness, and girth. I love the way that it sounds on vocals, which is really the only application that I've gotten to use the Variable Mu for thus far. Judging by the way it sounds on vocals alone though (and I've used it on a few different voices), I would say that this can be used for a variety of instrument applications as well. I've yet to have the chance to prove this theory though...
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Overall Opinion
- The Manley Langevin Stereo Variable Mu is definitely one of the most popular products that Manley has to offer, which is saying a lot considering their impressive line of high end pro audio gear. I love the gear that Manley Langevin has to offer, although it can be a bit pricey at times, including with the Variable Mu. However, this is absolutely what you need to expect from high quality signal processing like the Variable Mu. If you're a professional studio owner or engineer, the Variable Mu is something you should absolutely check out, but if you're a home studio owner, this is probably a bit out of your price range.
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Characteristics
- The TL Audio Dual Valve Equalizer is like the name states, a stereo valve based parametric equalizer. It has pretty simple characteristics, with connections in the back for both XLR and 1/4" for each of the channels and for both inputs and outputs. It also has a 1/4" auxiliary input on the front of the panel. It has a standard power cord jack and will take up two spaces in a standard size rack mount.
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Utilization
- For those who have experience with parametric EQs, the TL Audio Dual Valve Equalizer will seem pretty familiar, as this is more or less your standard make up for a four band parametric EQ. Each of the four bands has parameters to choose your frequency and to set your gain cut or boost. The bands have four fixed frequencies to choose from, which are well choose and cover all of the bases. There are also buttons for choosing either mic or line input and bypass and a switch for using the unit as either a mono or stereo piece of gear. The manual for the Dual Valve EQ is put together well and covers just about everything you'd need to know about it.
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Sound Quality
- The tone of the TL Audio Dual Valve Equalizer is overall quite clean. I find it easy to get the types of equalizing that I'd like to get done with this, as everything about it makes it possible to do so. It can be used for any type of application, as I don't think I'd necessarily favor one thing over another. I do love the way that it sounds for drums, vocals, and guitars, which are three of the main things that I would record anyway, making it a versatile unit as well. It doesn't have the thick sound that you'd get with a tube EQ, but rather has a slightly different type of sound from the valves, which isn't a bad thing at all, it's just a bit different...
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Overall Opinion
- While the TL Audio Dual Valve Equalizer is now discontinued, you can still find them around if you're interested in doing so. They do have some newer versions of the Dual Valve EQ, but this review has been for the original one. The price of this EQ was actually pretty reasonable when it was new, so I'm imagine that those that you could find used wouldn't be too much money at all. As far as hardware EQs go, this one is the perfect mixture of high quality sound and price...
