Todd of Urban Sound Studio tackles everything from music tech questions to new gear. When he is not found on the stage or in the studio, he can be found presenting educational workshops on mixing, synthesis, and production techniques. Todd is Apple Certified in Logic Pro and known for his curriculum development of Pro Tools degrees for multiple universities. He instructs students via Zoom on Logic, Pro Tools, Ableton Live and other DAWs by teaching production, recording, and mixing techniques.
The entire point is when I show the mic placement and how positioning it out of the way of the player’s hand is essential. Maybe an advertisement skipped that part or something weird. Hmm….
It’s old and a bit boring, but still accurate. Hear Back OCTO and Universal Audio Apollo Tutorial and Review ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-HyGBn_XmTcs.html
Absolutely. In my opinion, you are buying a modern version of a classic instrument. If that is what you want, it is a lifelong instrument to keep, learn, and grow with.
Hi, how to hide empty columns on Console (Apollo Twin user)? On the previous version it was possible but I can't find any instructions onhow to do it with the current version. Thank you
@AxelBezzi oh, you are just looking to resize? I thought you wanted to hide the columns of inputs that weren’t being used. Yes, in that case, just drag over them. 😉
Love the modulated pwm rhythmic patches. I'm receiving a Prophet 10 in a few days, is there any way to sync this to another device via CV or midi? Is there an LFO setting where it re-triggers with every key press? Trying to figure out how this would line up with a backing track with a set BPM, thanks
External CV and MIDI control are both available. The LFO runs globally , but maybe there is a way to mod that or have Poly-Mod simulate the effect you want.
I didn’t try that, but it uses standard MIDI, so you should have no issues. I’ve also found that there isn’t any serious latency, which should make it great for performance. One thing I did find is that the mapping of the notes mostly stick to standard drum kit mapping. But they have some extra articulations that go beyond what many programs use as a standard. So you might need to tweak which midi notes correspond to which sounds.
Hey! Thank you for your amazing videos. Its possible use those two synths without using MIDI keyboard? Stand alone... like Moog, u know? Thnx in advance!
Thanks for watching. As you see in the video, there are basically 3 options. Either have a MIDI keyboard, use a hardware sequencer, or use your DAW to send MIDI. But alone, you really cannot take advantage of the full product beside generating noise or self oscillation.
@alxisk I never tried them. I’m sure they are an inexpensive way to get started. But I’d personally rather have a few boutique modules from the original brands
Well, they are completely different. The Model D is the most versatile and also the more classic sound. However, being that I have several Moogs, the Wasp is a unique dirty sound. But it is a bit of a one trick pony in a way. They are both solid. But if you don’t have anything and are only going for one, I would shoot for the Model D
I would think for a console style flow that you would want them pre fader so that the processing takes place first and the fader acts as your balance. Otherwise your fader would alter the gain staging into console 1, which would affect the tape/preamp, shape, drive, and compressor sections since they are level dependent processors.
Hi John. I would assume so. But I happen to be working away from that computer for about a month. Maybe it would be good to message Dom directly. (Or maybe the manual mentions it)
@@ToddUrban anytime I appreciate you taking the time to put together this information for us. I'm struggling right now because I'm trying to choose between the fiio fd7 for 230$ or IE 500 pros for 200$...
@jarrodhamilton5654 the one thing with the Sennheisers is that it is a single driver. So you will get better phase correlation than these multi driver devices. (In theory) I’ve found them comfortable live and in the studio as a 2nd reference. So I have no problem recommending them to anyone. I don’t think you get better. You just get different than them.
@@ToddUrban thank you so much for responding especially not having to. I will certainly stay in touch I'm a loyal type person. Having said that I owned a pair of Sennheiser IE80 S BT neck band earbuds and Loved them. They were the best sounding Bluetooth neck bands I've ever had. I wound up buying a few BTR 3 amp/dac in order to gain some volume out of them luckily they detached they're basically the IE80s w a Bluetooth neck band. Once amplifying them I've only wanted to upgrade and lose the Bluetooth.
Well, I have to be honest, as someone that had a 1972 Minimoog, this is pretty darn close. Of course the entire feel of having a full size instrument is different, but sonically, they are extremely similar.
@@ToddUrban Of course, but the brand is........... I think you know where I'm going. Do I tell my friends that I have a Juno and a Prophet, now that I have my Behringers?
I agree with you. And while I don’t take the side of the Behringer and Warm Audio haters, I do believe is supporting the original manufacturers, otherwise innovation will eventually come to an end without supporting them. That being said, I still do have a real Moog Model D at my disposal. 😉
Most people assign their outputs directly from the DAW. I do have some other content that shows this in regards to summing and outboard gear. But the idea here was mostly to showcase the basics for people who might be confused by the new UI.
Very professional D.I MADE IN USA with high quality components (studio quality) It's not some big piece of shit made in China with low-end components, the Chinese country which rotted the planet for two years with the Wuhan Covid 19 virus and has to date not compensated any country.
Pretty cool. I don't know what it is, but I can never pull the trigger on owning an OBX8 because it sounds to much like a Prophet 10. Besides the stereo imaging and resonance bass that's unique to the OBX8, that's it.
Have you watched my P10 / OB-X8 comparison video? They do have similarities in terms of what they can sound design. But the workflow is completely different. And due to that, the differences that they have in the filters, envelopes, and other sections result in very different patches. I’m not trying to sell you on one, but I think you might be surprised at how different they are once you work on them side by side. Now of course if you compare it to a CS-80 or DX, yeah, those are just totally different beasts. 🤓
Great Video! however im running into an issue where im not seeing the "output" section in the top left under "cues" is there some way of making that appear?
That little beast is amazing. Is there something like that in the digital world? I wish I have 1500 to spend on that but unfortunately not the case rn😅
Well, I’m not arguing that this cannot be done with plugins. However, one of the great things about a 500 series box is the tactile control, and instantaneous response. It has a great sound and is super easy to use, and there is something unique in the circuitry that pushes it beyond traditional M-S, as it always keeps a strong mono focus no matter how much you push through background. By the way, I’ll have a video on the full rackmount Luna coming soon. Keep your eyes open.
It is well known that the Cloudlifter is an exceptional product and very clean, fundamentally these are different products by nature of their designs. There are no clips or audio comparisons of the Cloudlifter included, despite the unfounded assertions made about its sound that prompted this response. This clearly does have the appearance of being a one sided marketing video, in contrast to the title. The Cloudlifter is innovative because it literally becomes part of your preamp electrically. The fact that the Cloudlifter has less components present in the actual audio path is a feature and benefit. The CL-1 has been long established as the market leader and is further evident in the fact that Shure licensed the Cloud Patents for the new active SM7. More components means more coloration, which is fine if that's the sound you like but they are distinctly different products. The Cloud becomes a modification to the circuit within your preamp in a sense, thus avoiding the need for additional capacitors and resistors in the audio path (that add coloration to the sound), and is more pure in nature than any device that has a large number of additional components in the audio path. Other devices like this one are more like preamps by nature in that they have additional capacitors and resistors in the audio path. Every preamp with phantom power already has capacitors in the audio path of the input, the nice thing about the Cloud is it avoids adding even more, and electrically utilizes those that are present in the preamp to electrically complete the circuit. The result is way more of the actual microphone signal itself, prior to being altered fundamentally by passing through capacitors and resistors.
Hi Cloud. Thanks for the response. First off, I have (and use) your boosters. They hold the position as the standard in the industry. So therefore, the objective here was to outline some of the differences between a new product in the category, rather than state one is superior to the other. Regarding an A/B example, it would make some great content. That being said, the differences between boosters can be subtle without crafting specific examples - typically with upper frequency extension to highlight the differences. I’m happy to discuss that content if you would like. That being said, thanks again for your comment and input here and for helping to push the industry forward with innovative products.
Royer Labs pioneered the active mic circuit with our R-122 microphone in 2003, well before the emergence of any of the in-line lifters, and the sophistication and performance of that successful active circuit informed the design of the dBooster. A number of components in the dBooster are not in the signal path, but are used to provide consistent, predictable performance. A cascoding JFET design (like the Cloudlifter) leaves any inline lifter using that methodology open to the influences of (very common) issues like poor impedance matches (which can drag output waaaay down), inconsistent phantom power, RF interference, lowered headroom, etc. No such problems occur with the dBooster - the circuitry deals with all of these issues, while also allowing for long cable runs with no signal loss. It provides consistent gain regardless of load, phantom power issues, cable length, RF influences… delivering exactly the same sonic characteristics regardless of whether these gremlins are at play or not. It’s true that the dBooster is more like a preamp than all other in-line lifters, including the Cloudlifter. That is completely intentional on Royer’s part, and we consider that to be a major feature. We take nothing from the Cloudlifter - it gave many engineers an inexpensive alternative to high-gain preamps, and companies around the world are copying it (imitation remains the sincerest form of flattery!). We liked the concept very much and simply set out to do it our own way.
Well, it is still a great mic. One reason could be that it captures more of a specific frequency range than the others, which have larger frequency extension. Therefore, it might help get something such as a guitar to sit properly in a mix.
Around the eighteenth century, the use of the triangle began to expand; its sound started to bring about new musical connotations and associations. Influenced by ambassadorship, diplomacy, “Turquerie” and the new sounds of their own military bands, European operatic and orchestral composers began to incorporate the triangle as a means of emulating the sounds of the mehterân-the metallic sounds of the zil and cevgen, combined with the rhythmic pulse of the kös, davul, and nakkare.[4] The early use of the triangle in an operatic/orchestral setting was often not notated, and simply performed by ear.[4] When a triangle part was notated, it was in steady, repetitive figures providing a march-like character.[7] The triangle was the available instrument in Europe for composers to write rhythmically, and with a metallic color.[4] However, the triangle was not used in functional mehter music, nor was it used by Janissaries or mehteran while providing music for battle.[4] In the early nineteenth century, Romantic-era composers began to seek new colors, and explored the sustaining qualities of the triangle.[4][8] Preference was given towards a long, sustaining sound that only triangles without rings could provide.[4] Thus, the jingling rings associated with the triangle for five centuries prior, fell out of use
Nice video... I see you've read the non-existent manual : ). Just kidding of course, but I do wish they ship with a nice paper copy. Dropped the ball here. I did hae one question... can you enlighten us on the MOD Paddle up portion of the controller. Was this a carry-over from the prior synths (OB-8, the most prior, I believe), or is there some magical way to enable it and use it for good (not evil?). Thank you!
The non existent manual. lol. Love it! As for the mod paddle, as much as I am aware, this is the functionality of the original. I am not sure if it can be wired to have bidirectional control if you did some sort of mod. I would assume it is the same as the pitch lever, but would need to ask sequential, (or open it up myself) to be certain.
Man, your videos are fantastic. I’m looking to get into analog summing and using more outboard gear, and this was a really great rundown. Keep up the great work!
Thank you for watching. Analog summing doesn’t make the mix, but it does change the workflow and allow for the separation of stems, integration of analog gear, and the ability to push your circuitry harder if wanted. (Which in this case is a massive benefit due to the transformers in my box). So for me, I do find it is a nice benefit compared to ITB mixing.
