64/Tape Op#103/Gear Reviews/(continued on page 66) I found that I typically ran the input knob only at about 9 o’clock to provide a few dB of <strong>com</strong>pression at 4:1, and the output knob lived around 1 o’clock. I also tended to use the middle positions of the attack and release, whereas on the vintage unit, I particularly like the slow attack and fast release settings. I often use an 1176 just to add a bit of presence to a vocal, with its slightly edgy tone, and I could get the same effect with the WA76, but also with the smooth low-mids that the transformers provide. Overall, the WA76 stands up extremely well to my collection of <strong>com</strong>pressors, which include Summit, UREI, Inward Connections, Focusrite, and a few custom pieces. The entire build quality belies the low price, and some may even overlook the unit for fear that corners were cut. I don’t see anywhere that quality was <strong>com</strong>promised, but some clever cost-saving processes were used, and the external power supply helps trim costs, as well. With vintage and reissue 1176 units costing almost four times as much as the WA76, it’s an easy call to check one (or two) out. I know Warm Audio will have trouble keeping these in stock. ($599 street; www.warmaudio.<strong>com</strong>) –Adam Kagan Exponential Audio R2 Stereo reverb plug-in I’ve been on a mission over the last seven or eight years to find a reverb plug-in that fills the void left by not being able to place a microphone, say, 5–20 ft away from a source. I’ve used just about every big-time reverb plug-in out there, and while some are better than others in terms of “believability,” I’d easily place Exponential Audio’s R2 Stereo in a first-place tie atop my list. After a few days of using it, and being continuously baffled by how good it sounded, I reached out to its developer, Michael Carnes (whose name you may recognize from his many years at Lexicon as principal engineer), for some enlightenment. His response helped me to put some pieces together: “Many earlier classic reverbs had all sorts of noticeable modulation. This was originally done because the modulation helped break up room modes. It wasn’t natural, and no modern reverbs use those techniques any longer. But it turns out that a lot of people liked the sound of the modulation. So I wanted a reverb where that could be an artistic <strong>com</strong>ponent rather than a technical workaround.” With that information in mind, I dug a little deeper into R2 to see what it was made of. One reverb litmus test of mine is the quality of the plate setting. To me, a boring plate is just... well, boring. Much like I do with Pad Thai or Mattar Paneer, I find myself keeping mental notes on my favorite plates, and R2’s was again among the most musical that I’d ever used. (It should be noted that R2 offers a very extensive library of presets to choose from, as well as several variations of those presets depending on what you’re looking for.) Allow me to explain. There are two key factors that have made me abandon most of my other reverb plug-ins for R2. First, the reverb tail is full of motion and grit, so it doesn’t sound like an algorithm or convolution. Don’t get me wrong, it’d probably lose in a shootout with a real EMT 140, but most of us don’t have one of those lying around. The thing with most digital reverbs is that they sound “soft” to me, as if they don’t contain quite the level of sonic interest that occurs when recording actual ambience or using a physical spring or plate. To my ears, R2 gets you a heck of a lot closer; I have little fear that I’m going to make my mix more “digital” sounding when I pull up the aux fader. You can even control the type of chorus that’s shaking the reverb, which is a really nice option to have depending on what sort of depth you’re looking for. The second factor, which should not be overlooked, is that R2 sits nicely in my mixes without equalization, aside from a high or low–pass filter, depending on the scenario. Obviously, you and I mix differently, but I feel that so long as your sounds are generally balanced, incorporating R2 should be effortless. If your work experience sounds anything like mine, I strongly suggest giving R2 Stereo a trial run. ($299 direct; www.exponentialaudio.<strong>com</strong>) –Dave Hidek MicRehab Miktek CV4 mic modification How do you get a $10,000 sounding mic without bankrupting your studio? Send it to Shannon Rhoades at MicRehab, that’s how. Specifically, I’m talking about the Miktek CV4. To be fair, the stock mic is good right out of the box. The mic is sturdy, the PSU is beefy, and the price is friendly — especially for independent studios without deep pockets. However, when the SPL is pushed, the capsule seems to pinch, resulting in a harsh, metallic overtone “zing” found in the upper frequencies that seem impossibly hard to dial out. This characteristic appears to be the result of the Chinese-made capsule used in the stock CV4, which makes this a prime candidate for a mod. Shannon Rhoades might be a name that is unfamiliar to some, but he is definitely the real deal. Shannon is the force behind MicRehab, an independent upstart specializing in modding, reskinning, and restoring mics of all brands and varieties, from vintage to modern-day models. Before MicRehab, Shannon worked with his brother Tracy Korby (Korby Audio Technologies) building and repairing new and vintage microphones. The brothers then moved to Nashville to maintain Blackbird Studio’s vast vintage mic collection. While at Blackbird, Shannon also spent four years helping to launch Miktek, where he became intimately familiar with the CV4. After leaving Miktek, Shannon took over mic managing duties from his brother at Blackbird and began his own venture, MicRehab. Needless to say, his credentials speak volumes. So what does Shannon’s mod entail? The bulk of the mod <strong>com</strong>es from replacing the stock Chinese capsule with a custom sputtered gold (or nickel), 3 micron (and in some cases 1 micron!) mylar capsule. This is what makes Shannon stand out among the rest. There are probably less than a handful of people in the country that sputter their own capsules, let alone with the degree of craftsmanship that Shannon brings. I suspect there are other <strong>com</strong>ponents of the mic that Shannon mods (backplate, capacitors, etc.), but he is keeping a tight lid on his proprietary “secret recipe” — at least for now. After receiving my CV4 back from Shannon, I was eager to get a session underway, and thankfully, my client was willing to let me have some fun with the new CV4 on a tracking session. We recorded both electric and acoustic guitars, as well as male vocals (brooding, indie-pop). The signal chain was relatively simple: CV4 to one of two preamps — EZ1290 (a DIY Neve 1290/1073 preamp replica) or CAPI VP28 [Tape Op #95] — captured through a UAD Apollo [#95], and monitored on a pair of Spiral Groove Studio One speakers (in a well-treated control room). Tracking electric guitars proved to be somewhat underwhelming. I think I would have preferred a ribbon/dynamic <strong>com</strong>bo in this case; however, switching over to acoustic brought the smile back. The CV4/VP28 <strong>com</strong>bo was just what the doctor ordered — bright, jangly, and full of body and wood. But let’s be honest, we’re here for the vocals, and man did they sound good. I mean, really good. <strong>joaoveludo@gmail</strong>.<strong>com</strong>
<strong>joaoveludo@gmail</strong>.<strong>com</strong> Please Support Our Advertisers/Tape Op#103/65