Tag: audio

Looking to Get a Kick Out of Your Speakers?

Being a big fan of music I’ve definitely come to learn a lot about the differences between different brands of audio, how car audio is built, and what to truly look out for when purchasing any sort of audio system. Kicker has been widely known for providing great quality and sounding car audio products. Recently I was able to review the Kicker QS Speakers Series which are actually quite impressive. The Kicker QS Series Matched Component Systems have reached an entirely new level of optimal audio using the newest and most advanced parts to give listeners the next thing to live sound.

The QS Series midrange speakers come in two different sizes, the QS65.2 System that is 6.5 inches and the QS60.2 System that fits a 5.25 inch location. With a 3 layer TriTech composite cone woofer, the speakers provides a straight efficient cone that consists of a woven carbon-poly facing, rigid Rohacell foam core, and another carbon-poly backing put together for extreme internal damping and incomparable sound.

5.25-6 Inch QS Series 2 Way Convertible Component Speaker System

5.25-6 Inch QS Series 2 Way Convertible Component Speaker System

The midrange motor has a voice coil made of lightweight copper-clad aluminum ribbon wire that is tightly coiled for maximum power handling and great efficiency. It is wrapped around a T-cut pole piece and copper shorting ring that provides smooth frequency response and reduces harmonic distortion. The motor is also stored in a cast-aluminum basket which combines a unique groove-locking system to hold the TriTech cone in place.

With loud and clear 30 millimeter tweeter with DuPont Tetoron domes the speakers recreate luxurious highs from an angled, flush, or coaxial mount. This allows the installer to remove aluminum phase plugs from the midrange speakers’ centers and screw in special adapters and tweeters.

6.5 Inch QS Series 2 Way Convertible Component Speaker System

6.5 Inch QS Series 2 Way Convertible Component Speaker System

With great structure and superior sound quality you will definitely be boosting your listening experience while on the road. Make sure you check out this series and other speaker systems we have available here at SonicElectronix.com.

READ MORE +

Blast to the Past!

Love music? Love dancing? Ever wonder would it would be like to kick it old school, or perhaps (even for some of us) to do it again?  Well now you can with the Lasonic i-931 High Performance Ghetto Blaster! This portable stereo brings back the classic ghetto blaster (boom box) design that was always rocking throughout the 80s. Not only does this stereo system take you back in time, but is also fuses modern day technology with that legendary old school look.

Lasonic i-931Ghetto Blaster (Black)

The Lasonic i-931 is unique from its successors by its ability to stream audio using Bluetooth technology allowing anyone to enjoy a wireless experience. The stereo is also capable of reproducing music from SD/MMC cards for MP3 playback and USB flash disks. With a built-in auxiliary input, this stereo can pair up with essentially any portable music device. For those feeling that this may be a bit “too modern,” this ghetto blaster also has an AM/FM tuner with up to 20 radio presets to allow any user to have quick access to their favorite radio stations.

Old School and Modern Day Fusion

The Lasonic i-931 not only has all of these great features, but it also plays out a very awesome clean and detailed sound. The stereo is powered by two 15 watt speakers with devoted bass and treble EQ controls. This old school blaster is anything but outdated, and still has that great classic feel with that powerful modern day sound.

The Lasonic i-931 comes in Black and White skins, so make sure you check them out here at Sonic Electronix and start kicking it old school today!

Lasonic i-931Ghetto Blaster (White)

READ MORE +

Defy Mediocrity With Roland’s “CAPTURE” Series

Roland UA-11 DUO-CAPTURE     Roland UA-33 TRI-CAPTURE     Roland UA-55 QUAD-CAPTURE     Roland UA-1010 OCTA-CAPTURE

I’m currently wearing a shirt with the following words printed on it: “The future of music and art must not belong to the mediocre.” With any of Roland’s CAPTURE Series audio interfaces, and with your artistic input, you can give form to your creative vision(s); you can create something unique for future generations to enjoy for generations to come.

Octopus

4 out of 5 octopi recommend the OCTA-CAPTURE:

Roland UA-1010 OCTA-CAPTURE

Put plainly, these audio interfaces are phenomenal. The OCTA-CAPTURE in particular is a real beast. With exquisite recording resolutions of up to 24-bit/192kHz, Roland’s proprietary VS Streaming low latency driver technology, and the inclusion of Cakewalk’s powerful SONAR X1 LE (not to mention a current promotion that enables users to download SONAR X1 Studio for free), it’s difficult to overstate the awesomeness of this baby.

 

Discover duality with Roland’s DUO-CAPTURE:

Roland UA-11 DUO-CAPTURE

For those of you out there who might not need that much awesomeness; those of you who can do a lot with a little, Roland also makes the beautifully affordable DUO-CAPTURE audio interface. The DUO-CAPTURE USB audio interface comes equipped with two audio inputs and outputs along with dual headphone outputs (which are great for musician/engineer production sessions). It also comes with high-stability, low-latency drivers for both Mac and PC operating systems (although SONAR X1 LE is solely for Windows). With its unique, slim-line design and stable performance, the DUO-CAPTURE is the perfect audio interface for recording musicians on the go.

 

TRI-CAPTURE demonstrates the power of three!

Roland UA-33 TRI-CAPTURE

For anyone who needs a little more bang for their buck, such as an XLR input and/or a S/PDIF out, the Roland TRI-CAPTURE is right up your alley. The TRI-CAPTURE has a feature called “loop back,” which enables users to record along with music that’s being played back from the computer. It also has more detailed knobs, buttons and LEDs for greater control over your recordings. It supports phantom power for condenser mics and has a Hi-Z switch for guitarists. Additionally, like all other interfaces in this series, it too comes with a copy of Cakewalk’s SONAR X1 LE.

 

QUAD-CAPTURE = pro performance for portable productions

UA-55

The enthusiasm of our aforementioned cephalopod friends for the OCTA-CAPTURE aside, the QUAD-CAPTURE performs spectacularly well next to its brother. It has 24-bit/192kHz recording resolution, VS Streaming technology, AUTO-SENS automatic level adjustment, and VS Preamps just like the OCTA-CAPTURE. This interface is one of the best you’ll find in its price range, in this blogger’s opinion. This one is geared towards musicians and engineers who certainly take their craft seriously, but who might not need (or be able to afford) the flagship of the CAPTURE series, the OCTA-CAPTURE.

 
So, what are you waiting for? Don’t let octopi have all the fun! Pick up your Roland CAPTURE Series audio interface today, and be sure to grab the complimentary, comprehensive 178-page PDF guide to the SONAR DAW behind the links at the bottom of the product pages.

READ MORE +

DAWs, Automation, and the PreSonus FaderPort

On Leap Year, February 29th, we featured a pretty awesome piece of gear by PreSonus called the FaderPort as the Daily Deal. Now, despite Sonic Electronix making great strides in pro and home audio, we’re still primarily known for our car audio products. Many of our customers probably have no idea what a unit like the FaderPort would even be used for… until now. I hope you’re listening, because school’s now in session!

Single Channel USB Automation Controller with Transport Controls

DAWs and Automation

First of all, “DAW” stands for “Digital Audio Workstation,” and they are the means through which virtually all music is recorded, edited, mixed and mastered nowadays. Secondly, one of the great things about DAWs is that they have something called “automation,” that was carried over from those huge, old-school mixing consoles that were their predecessors.

Basically, automation is a way to non-destructively change some aspect of your audio over time in a mix. Some common examples are volume, muting, panning and DSP (Digital Signal Processing) effect levels. To break it down a little further, let me give a practical example: let’s say you’re mixing a song and you notice that between 1:00 and 1:05, the song gets quieter than you’d like it to be. A little automation can fix that in a snap!

Automation modes

It would be near impossible for me to speak for all DAWs, but the two most popular ones, Apple’s Logic and Avid’s Pro Tools, have four main automation modes:

  1. Read:
  2. The default automation mode. All this means is that your DAW will follow any automation data that exists on your track.

    Automation Read
    Read Mode
  3. Touch:
  4. In this mode, automation data will begin writing once you “touch” a fader, button or knob: either using a mouse in the DAW program or with your finger(s) through tangible faders, buttons and knobs like those on the PreSonus FaderPort.

    As soon as you let go, it will snap back to wherever the playhead was on the automation line when you pressed play, and will resume reading any automation data that’s on the track. Pro Tools even allows you to set the speed of the snap back.


    Touch Mode
  5. Latch:
  6. This mode is like Touch mode, except that instead of snapping back to where it was when you pressed Play, it remains at the level you leave it at. Like both Touch and Write Mode, Latch will overwrite any automation data it comes across.

    Unlike Write Mode, however, neither Touch nor Latch Mode will overwrite automation data without you touching a fader, knob and/or button; both modes will simply read automation data as would normally occur in Read Mode.

    Automation Latch
    Latch Mode
  7. Write:
  8. This mode will start writing automation data wherever the (vertical) playhead sits on that bold, black (horizontal) automation line, destructively overwriting whatever automation data it comes across.

    In the picture to the right, the red line you see is the automation data being written. As soon as I press Stop on the DAW, all that automation data above the red line will be erased. (Also, keep in mind that you can Undo those changes.)

    Automation Write
    Write Mode

The PreSonus FaderPort:

So, how does that all tie in? Well, the FaderPort can help you do all that stuff with a tangible fader, buttons and knobs, which minimizes time wasted having to navigate around with your mouse, not to mention learning scads of keyboard shortcuts and such.

As a pro audio engineer myself, let me tell you, a device like the FaderPort is tremendously helpful and is a steal at its current price; especially for those of us on a tighter budget.

Anyway, that about wraps it up! I hope you all learned something and will pick up one of those sweet FaderPorts before they’re gone!

FaderPort
Pick up yours today!

READ MORE +

Hear What You’re Missing With Infrasonic’s Blow4D Nearfield Reference Monitors

Apparently, Infrasonic owns a trademark on the phrase, “Hear What You’re Missing.” They’re certainly justifiably confident in holding that trademark. Infrasonic makes a variety of products, including reference monitors, FireWire/USB/PCI audio interfaces, MIDI controllers and microphones, and as far as this blogger can tell, they’re all top-notch. These monitors, the Blow 4D, are a fantastic example:

Infrasonic Blow4D

Bi-Amplified Nearfield Studio Monitor Speakers w/ Built-in 24-bit/192kHz DAC, Bass Reflex & Much More

The Infrasonic Blow 4Ds are a pair of 55-Watt, 4″ bi-amplified near-field studio monitors. They feature a two-way design, a bass reflex system and natural silk dome tweeters in order to reproduce the broad frequency response and overall stellar-quality sound that they do. Their high-strength MDF composite cabinet design also contributes to that.

Infrasonic Blow4D back

The Blow 4Ds have both analog AND digital inputs, with a stunning 24-bit/192 kHz DAC built right into it.

Don’t be fooled by the “BLOW4″ you see in the picture. It’s easy as pie to tell the difference. The difference (and, if I may, what a beautiful one it is) is that the Blow 4Ds come equipped with a DA-912 digital interface module, allowing users to utilize a number of digital inputs such as AEU/EBU(XLR), S/PDIF(RCA) and an RCA thru connector.

The DAC (Digital-to-Analog Converter) in the DA-912 has an astonishing 24-bit/192kHz resolution which translates to 123 dB of dynamic range. Keen observers will also notice the variety of filters above the DA-912 module that help control low and high frequencies in a wide variety of ways. Truly, the Infrasonic Blow 4Ds are some of the most outstanding near-field studio monitors on the market today. With speakers this accurate and powerful, you’ll surely “Hear What You’re Missing.™”

Make sure to click one of the images or this link to check out the Blow 4D product page for further information!

READ MORE +