Phil O'Keefe

Electro-Harmonix Mini-Synthesizer App A low-cost hardware synth classic returns as an even lower-cost app by Phil O'Keefe Mention Electro-Harmonix, and most people think "guitar and bass effects pedals." That's not surprising, considering they were pioneers in the field and have been making pedals for decades. But pedals are not all they make, and in fact they have a long history of making synth-related products too, such as the recently reissued (and reviewed) Crash Pad and Super Space Drum percussion synths that were developed in the late 1970s. Another synth-related product from the same era is the original EHX Mini Synth. Built into a compact metal case with a 25 note membrane "keyboard," this single-oscillator synth was one of the least expensive ways to get a keyboard synth. Now Electro-Harmonix has also reissued this classic, but unlike the recently reissued hardware drum synths they've done so in software form - let's get to know the Electro-Harmonix Mini-Synthesizer app. What You Need To Know The Electro-Harmonix Mini-Synthesizer app is a faithful software recreation of the original hardware EHX monosynth from 1980. It's currently available for iOS devices (running iOS version 8 or later) - including iPads, the iPod Touch and yes, iPhones too. The interface looks very similar to the original, with a reverse-color virtual keyboard sitting below various "slide"-style controls with colored knobs that are grouped together in various sections, just as on the vintage hardware synth. Like the hardware synth, the app version is a single oscillator synth, with a virtual version of the original VCO and its pulse waveform. The pulse width can't be changed, but the oscillator does have a pitch control slider and a suboctave (one octave below) can be mixed in for added thickness. Rounding out the Oscillator section, an Octave Up switch can transpose the notes up an octave (including any notes you are playing), and a Tune knob fine-tunes the synth over a +/-50 cent range. The Filter section is the most powerful section of this simple synth. A Phase Rate slider adjusts the phase shift speed, and can give the oscillator's square wave-sounding tones more of a buzzy sound similar to a sawtooth. The corresponding Phase Switch turns the effect on or off. Filter Start and Filter Stop sliders let you dial up the start and ending frequencies of the filter sweep, while the Rate slider controls how fast this occurs; it maxes out at about two seconds. Three more switches round out the Filter section. A Q switch adjusts the filter's bandwidth from fairly broad to a narrower and more resonant setting, while the 2X Filter switch changes the audio routing through the filter, which is either in parallel or in series. The Retrigger switch is new and can cause the Filter to retrigger with each key played, even if another key is being held down. Unlike the first hardware EHX Mini-Synthesizers, the EHX Mini-Synthesizer app has Delay and Reverb effects onboard, with an on / off switch for each. The order of these two effects can be swapped around, so it's possible to run the delay into the reverb or vice versa. The Delay section includes Time, Feedback and Blend sliders. Maximum delay time is about 2 seconds. The Delay will self-oscillate (or at least infinitely repeat) when the Feedback and Blend are maxed out. The Reverb offers control over Amount, and the Blend of the wet and dry signals. The Amount slider seems not only to adjust the reverb effect level, but also the length of the tail grows longer at higher settings. Touching the Reverb label above the slider opens a selection box with Plate and Reverse options. A Volume slider adjusts the app's overall volume level. There are some other differences between the app and the original hardware synth. For example, the keyboard isn't limited to the original hardware's 25 keys. A Horizontal Slider just above the keyboard lets you slide the keyboard left or right over a full eight-octave range. Furthermore, the keyboard layout is user-customizable and very playable, which isn't aways the case with iOS virtual keyboards. For example, if you want to play in G major, you can edit the "Modern" keyboard layout to remove the F, G#, A#, C# and D# from it entirely, leaving only the notes of the G major scale. A cool "Ribbon Controller" (the black and white striped area directly above the virtual keyboard) is to a conventional keyboard as a fretless bass is to a fretted bass. It also works in conjunction with the virtual keys; you can play a note on a key, then slide your finger up to the ribbon and finally, slide to the key on which you want to end. While the original Mini-Synthesizer was strictly a monosynth, the app gives you the option of running it either mono or with four-note polyphony. 22 presets are included, and you can create and save your own too. How many? You're really only limited by your device's memory, so… quite a lot, but don't expect me to try to count them for you! As you'd expect, inter-app audio and Audiobus are supported, and the Mini-Synthesizer also has a virtual MIDI input (so you can use an external MIDI controller instead of the virtual keyboard), and offers direct connectivity to DAW apps as a audio input. For those using an iPhone 6s or 6s Plus the keyboard actually supports aftertouch! Limitations I was unable to get the app to work with iOS 8 on an iPad mini 2. The app would load and seemed to function properly but there was no sound. Updating to iOS 9.3.3 cleared up the issue for me. An Android version is in the works but won't be available until October 2016. The "Classic" keyboard layout is static and cannot be user-modified. Also, the virtual keyboard's inverted color scheme is not flippable to the more familiar arrangement. Conclusions Let's face it - this isn't the most powerful synthesizer ever designed, and if you're looking for something complex and complicated you'll want to look elsewhere. But this is a fun recreation of a vintage classic, with some useful added functionality. In particular the configurable keyboard is lot of fun and far more playable than what you'll find in most apps, and the onboard reverb and delay effects are solid additions that add quite a bit to the sound manipulation capabilities. While I'm sure some users will prefer to run the Mini-Synthesizer through their hardware effects pedals, the onboard effects are great to have for on-the-go use, and unlike hardware pedals, their settings get saved with any presets you create. The original EHX Mini-Synthesizer was a "cheap and cheerful" way for people to get their feet wet with subtractive analog synthesis, and the new Electro-Harmonix Mini-Synthesizer app maintains that tradition admirably. It's high on the fun factor, and not at all challenging to use. At five bucks or less, it's a no-brainer app purchase for musicians everywhere, as well as anyone who is interested in learning about synthesis or just wants to have fun making some noise. -HC- Join the discussion Resources Electro-Harmonix Mini-Synthesizer App ($2.99 for iPhone / iPod, $4.99 for iPad) Electro-Harmonix Mini-Synthesizer product web page You can purchase the Electro-Harmonix Mini-Synthesizer app from the Apple App Store (iPad) Apple App Store (iPhone) __________________________________________________ Phil O'Keefe is a multi-instrumentalist, recording engineer / producer and the Senior Editor of Harmony Central. He has engineered, produced and performed on countless recording sessions in a diverse range of styles, with artists such as Alien Ant Farm, Jules Day, Voodoo Glow Skulls, John McGill, Michael Knott and Alexa's Wish. He is a former featured monthly columnist for EQ magazine, and his articles and product reviews have also appeared in Keyboard, Electronic Musician and Guitar Player magazines.

Auralex Acoustics MudGuard v2 Acoustical Shield for Microphones by Phil O'Keefe Acoustical shields for vocal microphones have become a very popular product category, and now several companies offer them. These shields provide spot treatment around the microphone instead of treating the entire room, typically by combining a mini gobo or acoustical screen with some sort of absorptive material to reduce unwanted ambience and acoustic reflections from the surrounding room surfaces. This also keeps reflected sound from hitting the mic, thereby limiting the amount of spill and ambience picked up by the microphone while recording. Auralex have recently updated and completely redesigned their original MudGuard microphone shield, so behold - the new MudGuard v2. What You Need To Know Part of the Auralex Iso Series of products, the Auralex MudGuard v2 is a compact and portable microphone isolation shield that reduces excessive room reflections and ambience that would otherwise be picked up by your vocal microphone and muddy up your tracks. The MudGuard v2 measures 16" W x 10" D x 14" H and weighs a bit under 4 pounds. While intended primarily for use with vocal microphones, it's suitable for other instruments and sound sources, such as microphones placed in front of guitar amplifiers. This can be really handy when using ribbon microphones on amps, since many ribbons are bi-directional and may pick up more ambience than you want. The Auralex MudGuard v2 uses a different shape then its predecessor. Instead of the usual concave dish shape found on most acoustical mic screens, which Auralex feels can concentrate and focus sound waves, the MudGuard v2 has convex surfaces facing inwards towards the microphone. These will tend to scatter and diffuse reflections instead of focus them. The exterior shell is solid, non-perforated, and made from a textured black thermoplastic. The rear of the MudGuard v2 has a plate with a raised Auralex logo. A metal L bracket is bolted to the thermoplastic shell of the shield with two bolts. The bottom of the L bracket extends into the semi-enclosed area inside the shield, and provides a place to mount your microphone and also to attach the MudGuard v2 to your microphone stand. The microphone's placement within the shield can be adjusted forwards or backwards over a distance of about four inches. There's sufficient space to mount just about any type of side-address large diaphragm condenser microphone you want to use, although users of some popular large diaphragm end address dynamic microphones (SM7b, 421, RE20, etc.) may wish for a bit more depth and a bit more adjustment range. Mounting hardware is included and the MudGuard v2 will easily mount to most microphone stands, although it is probably best suited for use with regular straight stands. If you're going to mount it on a boom, you'll need to make sure it's suitably counter-weighted for stability. The MudGuard v2 is lined with 1.25" thick Auralex Studiofoam for absorption. The foam lining on the two sides of the MudGuard v2 is convoluted and has the signature Auralex wedge-shape, although the tips are slightly rounded compared to what you'll find on the Auralex 2" Studiofoam. The center of the MudGuard v2 has a convex sheet of foam instead of the convoluted foam to complete the interior lining. Limitations As with all acoustic shields and screens, one side is left open; placing something absorbent behind the vocalist can further help reduce unwanted reflections and improve the quality of recordings done with the MudGuard v2. The area around the periphery of the MudGuard v2 where the foam and plastic meet is a bit sticky in some spots. This is most likely from a bit of excess glue that holds the unit together. Conclusions I own and regularly use various other products in the Auralex Iso Series, and the MudGuard v2 is a useful addition to the lineup. Folks with no acoustical treatment in their rooms will appreciate how it allows them to record vocals that are plagued with fewer issues from excessive ambience and reflections. Acoustic shields and screens are not miracle workers, and won't totally compensate for every acoustical abnormality in heavily acoustically challenged rooms, but they can make a noticeable improvement in your recording quality if you're in a highly reflective one. This is certainly true of the MudGuard v2. The unique shape of the Auralex MudGuard v2 makes sense and should help to scatter rather than focus sound reflections, although I'm not really sure it makes all that big of a difference over the relatively short distances involved. It would be really nice to see some test measurements and data from a lab. However, the MudGuard v2 definitely does what they say it does in terms of reducing unwanted spill and ambience pickup, and because of that it will be a very useful tool for many recordists. -HC- Join the discussion Resources Auralex Acoustics MudGuard v2 microphone isolation shield ($169.99 MSRP, $149.99 "street") Auralex Acoustics MudGuard v2 product web page Auralex Acoustics MudGuard v2 product spec sheet You can purchase the Auralex Acoustics MudGuard v2 from: Sweetwater B&H Photo __________________________________________________ Phil O'Keefe is a multi-instrumentalist, recording engineer / producer and the Senior Editor of Harmony Central. He has engineered, produced and performed on countless recording sessions in a diverse range of styles, with artists such as Alien Ant Farm, Jules Day, Voodoo Glow Skulls, John McGill, Michael Knott and Alexa's Wish. He is a former featured monthly columnist for EQ magazine, and his articles and product reviews have also appeared in Keyboard, Electronic Musician and Guitar Player magazines.

Dwarfcraft Devices Necromancer Fuzz Is this super-sounding fuzz scary and hairy enough to raise the dead? by Phil O'Keefe Necromancer nec·ro·man·cer ˈnekrəˌmansər/ noun noun: necromancer; plural noun: necromancers 1 a person who practices necromancy; a wizard or magician. 2 sorcerer, sorceress, (black) magician, wizard, warlock, witch, enchantress, occultist, diviner Source Magic. Socerey. Communicating with, and even raising the dead. So what exactly are the folks in Eau Claire, Wisconsin at Dwarfcraft Devices digging up with this pedal? I'm sure if you want to search around in the usual places you'll hear haunting echoes of epic dramas that played out long ago (at least in internet time), and I'll let all of that rest in peace; it's only a theory. But I think what they were getting at with the name is that this circuit has the magic that warrants it being summoned back and brought forth in such frighteningly fun form. Let's see if they're right. What You Need To Know Based on the Super Fuzz-inspired side of the Dwarfcraft Silver Rose Mk 2, the Necromancer leaves off the EC Fuzz side and clean blend knob of that dual fuzz pedal while making some changes to the Super Fuzz side, such as giving it a bit of extra kick and gain and an even more powerful EQ section. The silkscreened neon green and black artwork clashes wonderfully with the purple-pink of the pedal. This unique pedal has to be seen in person to be appreciated. As detailed and visually busy as the graphics are, it's still dead-easy to see how you have everything set. The artwork is courtesy of Metalocalypse veteran and long time Dwarfcraft collaborator SMO. The Necromancer measures 4.67" L x 3.68" W x 1.18" H, giving it plenty of space for a lot of knobs. Let's take a look at what each one does. The Necromancer fuzz has two rows of knobs, but the layout is very user friendly. You'll find Volume, Bias and Gain in the upper row. The volume knob controls the overall output level and the gain controls the fuzz and grit - and there's a lot of it available with this pedal. The Bias knob lets you get wide-open, sustaining notes and chords that scream out like drawn-out banshee wails, or more sputtery, choked and strangled tones depending on how you have it set. A small toggle switch labeled Mids gives the option of going all-out, or scooping the mids a bit for an alternate tone. The second (lower) row of knobs is the very powerful EQ - from left to right there's Treble, Mids and Bass. As they say on their website, Dwarfcraft are "proud to provide 'too much' bass and treble," so be careful you don't blow a speaker! The Mids control is centered at the same basic frequency (which sounds like about 1 kHz) as the Mids toggle switch, which provides much greater control over that crucial region than the switch by itself. A second toggle switch can take the EQ out of the circuit entirely. The input and output jacks mount on the sides of the pedal. Switching is true bypass, and a green LED illuminates whenever the Necromancer is doing its magic. An industry-standard 2.1mm center-negative jack mounts at the top of the pedal for connecting your favorite 9VDC power supply. Exceeding the recommended voltage or feeding it AC will fry your Necromancer like Old Sparky and leave it dead and lifeless - so don't do it. Looking inside the Necromancer to see how it casts its spells is easy enough: just pop off the back by removing the four screws. However, there aren't any hidden secrets or surprises, like user-adjustable switches or trimpots. The construction is mainly surface mount and cleanly done. Also note there's no battery clip inside - the folks at Dwarfcraft Devices think that having the corpses of a bunch of dead batteries piling up in landfills from people using their pedals is bad for the environment, so they omit the battery clip. Although designed with guitar in mind, it also sounds great on bass too and it can be used to crunch and fuzz up pretty much whatever suits you. Keyboards anyone?Dwarfcraft offers a limited lifetime warranty on their Devices. See their website for the details. Limitations I was very disappointed that the green colored paint doesn't glow in the dark. It would be incredibly cool and totally appropriate for this pedal if it did. A little noise? Yeah, it makes a little noise when you turn it loose… but you'd kind of expect that from a fuzz pedal that's designed to raise the dead, wouldn't you? Conclusions What makes a fuzz super? Your mileage may vary but for me, when I plug into it, play with it for a while, and am rewarded with cool sound after cool sound to the point where it puts a huge grin on my face - that's a pretty super fuzz. This pedal puts that grin on your face from the moment you take it out of the box - it looks as incredible as it sounds. Too bad the green graphics don't glow in the dark; seriously, that would be wicked-cool. It's hard to describe the sound of this fuzz because it's so versatile. Sure it can do a lot of the classic 70s era Super Fuzz tones, but if heavier 90s garage grunge is your thing, this will dead-on slay you with its silvery sound. It goes beyond super with the powerful three-band EQ, which really allows you to sculpt the sound considerably. Mad props to Dwarfcraft for putting the Mids control at the same basic frequency as the Mids toggle. It does get a little noisy with some settings but true fuzz lovers know that a little noise never hurt anyone, especially when it comes paired with tone to die for. I'd definitely recommend giving the Dwarfcraft Devices Necromancer fuzz a try if fate affords you the opportunity. But beware - once you've heard and played one for yourself, the memory of this cool pedal may haunt you until you go dig one up for yourself. -HC- If you'd like to discuss this review, or have any questions, please feel free to check out this thread. Resources Dwarfcraft Devices Necromancer Fuzz ($175.00 MSRP) Dwarfcraft's product web page You can purchase the Dwarfcraft Devices Necromancer from Amazon Reverb Ebay Dwarfcraft Devices Demo Videos: __________________________________________________ Phil O'Keefe is a multi-instrumentalist, recording engineer / producer and the Senior Editor of Harmony Central. He has engineered, produced and performed on countless recording sessions in a diverse range of styles, with artists such as Alien Ant Farm, Jules Day, Voodoo Glow Skulls, John McGill, Michael Knott and Alexa's Wish. He is a former featured monthly columnist for EQ magazine, and his articles and product reviews have also appeared in Keyboard, Electronic Musician and Guitar Player magazines.