So, do I now have to re-mix everything I’ve ever done with the Mark III? No, but it certainly could have saved me hours of guessing at what is now very clear.” Those details really add up to bringing a little order to the madness that often accompanies a mix. In addition, the reverb eq is more prominent with the III. The sound of the accordion was bothering me before, but I wasn’t sure what the exact culprit was. I’m now able to hear that I went slightly too far in the 4k range on an accordion. I’m able to “see” in better detail aspects of the mix that were eluding me somewhat, including the ever-important left/right relationship, as well as the “Phantom Center.”įor example, I’ve found that I’m using less eq now, and probably a little less compression as well. The analogy that I’ve been using to describe the differences is more along the lines of having a more powerful microscope (telescope if you prefer). It’s not that it sounds so much better than the II. Bringing the Mark III in at the mixing stage has been something of a revelation to me. The tracking and most of the over-dubs for this Americana-styled album were done with the Mark II and my Universal Apollo Quad silverface. The answer as to how much better the Mark III sounds lies in a current project that I’m mixing, and know intimately. I also completed my recently released third solo album, “Time Sensitive” with the II. After all, how much better could it sound than my trusty II? I made some high profile recordings with the II, including Van Dyke Parks’ “Songs Cycled” album, and numerous guitar sessions for shows such as “The Walking Dead,” “Black Sails,” and “Eureka.” Having logged the most hours with the Micro Clock II, I approached purchasing the Mark III with a little hesitation. Each version was a decided step up from its predecessor. “I’ve been with the Micro Clock from version 1 onward. The world of recorded sound needs that, badly.” “…for just under $1000, the Micro Clock MkIII is an excellent offering, hopefully signaling the beginning of a price reduction for superior clocking that will, eventually, allow more and more recordmakers to get into better, jitter-free digital audio systems, putting their inferior, prosumer-grade systems finally to rest. It actually separated the 909 kick from the creamy Moog bass…something I was not able to accomplish to my satisfaction in the mix.’” This is the one area that every one of our reviewers cited as ‘something special.’ As one of our taste-testers aptly put, ‘what the did to the low end defies gravity. “For electronic musicians, ‘it’s all about the bass,’ and any gear that’s going to enhance your low end, should be taken seriously. Even in studios with more sophisticated gear, the mkIII made a difference.” From a project studio, to a mastering suite specializing in electronic music, plugging in the mkIII enhanced the three attributes mentioned above. “Will your $1000 investment pay off in terms of the final quality of your music According to our five evaluators in our long term test, as well as our Editor-In-Chief, the answer is a resounding ‘Yes!’ The BLA mkIII simply made almost every studio sound better.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |