At a quarter of the price of an original Neumann U87, Aussie company BeesNeez offers up a clone built to the exact specs: BeesNeez BU87i C. While not featuring all the bells and whistles — cardioid polar pattern only, no pad or filter — it clones the more revered of the U87s, the U87i not the newer U87i A. The results were very interesting. Check out what we found. Find out more: https://happymag.tv/beesneez-bu87i-c/ #beesneez #bu87ic #engineeringthesound #u87 #clone #microphone #micreview #shootout #australian #gear #audio #audiogear #music #neumann

American company Mojave was started out in a garage in 1985 by audio legend — and technical grammy award winner — David Royer. While he’s well known for his ribbon microphone designs with Royer Labs, he's also built a reputation with Mojave with his Tube and FET condensers. To add to the collection of affordable microphones without compromise is the brand-new Mojave MA-D. It's a handheld dynamic microphone that takes those expensive handheld condensers for a run for their money. We tested this out in the studio with Indigenous artist Aodhan with a stripped-back version of his single Catch Up. Find out more: https://happymag.tv/mojave-ma-d/ #mojave #engineeringthesound #microphone #ma-d #royer #proaudio #micreview #happymag

The Mojave MA-37 is a recreation of the vintage large diaphragm Sony C37a - the first condenser microphone manufactured in Japan which first appeared around 1955, and has since grown rarer and incredibly expensive. Today we’re going to put the Mojave up as a single mic on some drums, and then we’re going to do a quick shoot out between it and an original Sony on vocalist and performer Andy Golledge with an a cappella version of his track Baby Mumma. Let’s see how similar they sound, what the differences are, and what the Mojave has to offer. #mojave #ma37 #engineeringthesound

We tested out the very exciting new box from Chandler Limited, the RS660 compressor in our studio Noise Machines. It's a beautifully designed, vari-mu comp that offers vintage flair. The RS660 is a vari-mu tube-based mono compressor styled after both the Fairchild 660 and EMI RS124 custom compressor. Most audio manipulators will be aware of the legendary, rare and pricey Fairchild 660 which sells for above $50 grand, and the RS124 which was a custom piece designed by EMI studios after they decided to gut their Altec 436 compressor and rebuild it as a unit they deemed more useful for their own studio purpose. Chandler Limited started with founder Wade Goeke making his own DIY versions of equipment from the EMI/Abbey Road studios in the UK. They were so impressed with the sound that he began working in partnership with the studio to build modern recreations of some of their classic custom audio pieces. Like all Chandler pieces, the RS660 is a hefty, well-built piece of kit and sound-wise it’s fantastic! Put any audio through it, start to squish it, and it comes out thicker and richer than before it went in. It probably wouldn’t be my first choice for super fast, modern material but anything that requires a vintage 60s vibe will definitely benefit from this piece, which uses the once rare but now back in production 6386 tube. Now, in comparison to the Fairchild 660, we’ve never had the chance to get our hands on a real one but we’ve definitely used plenty of software versions. And while those have their moments, it’s never 100%. Whereas the RS660 does exactly what you expect from this style of box - thick and large! You've got the big input and output controls that do exactly what you’d expect. Push the input harder to get more compression and use the output to control the level coming out the other end. There's a rotary selector for THD (total harmonic distortion), Limit, or Compressor. THD turns the box into a distortion or overdrive, ranging from light to heavyish. Limit is a nice, thick-coloured limiter that will give an instantly recognisable, classic tone. And compress is a more subtle, smoother and less aggressive version of the limiter. More usable for everyday compression if you will. The Time Constant is an interesting set-up on this thing - directly inspired by the Fairchild 660 Time switch, and with a taste of the RS 124.  The first 3 settings replicate the swifter settings of the Fairchild (well, as fast as the Fairchild gets) with a quicker attack and a release that gets a little lower around the dial. Setting 4 is more moderate on the attack, allowing more transient through and giving a little less colour. And 5-7 replicate the settings of the EMI RS124 - really quite gentle on the attack, and an overall very smooth tone and release. And lastly, there's the Balance control for easy calibration with the pulse button, and a link switch if you want to work with a stereo pair. On the back, there's an impedance switch - 600 ohm for modern studio use, and 200 ohm is the original Abbey Road studio standard. We’re gonna stick with 600 ohms today. Utilising our new studio Noise Machines, Owen recorded drums — with a single overhead mic, Electric bass and electric guitar. He then put the box through its paces and see what it can really do with these instruments, and then finally ran the compressor over the top of a mono mix of them all together to see what happens. For the microphone, Owen used the brand new Pinnacle Fat Top II ribbon mic for some nice vintage sounds to compliment the compressor. Pinnacle Microphones are a company from Washington, USA that builds, assemble and tune its microphones. This is a thick, harmonically rich piece from Chandler Limited. We mentioned earlier that this thing sounded like how we wish plugin versions of vari-mu compressors actually sounded. We're not sure a plugin can really replicate what a good vari-mu compressor does, the RS660 is a truly great piece for this sound — it seems to make everything you run into it sound like a classic 60s record.  It’ll take the edge off drums and make them nice and creamy, and if you push it hard enough will start to mess with your cymbals and reverbs in the gaps too. Perfect. On an overall mix, we were loving it for a mid-60s vintage style — a really rounded glue holding everything together. Now, it’s not a unit for short, fast snappy transients — this thing is all about thickness, harmonic detail, and vintage tone, and it does that so well. It’s not a cheap compressor, but for a vari-mu it’s very reasonably priced, especially compared to the vintage units it’s based on, or other vintage pieces like the Gates Sta-level or the original Altec 438. The Chandler Limited RS660 Compressor retails for around $6300 Australian Dollars and is available now from all decent hardware retailers. Find out more at Chandlerlimited.com #engineeringthesound #chandler #rs660 #compressor

We shot out three ribbon microphones from Royer Labs in our studio Noise Machines — the brand new 25th Anniversary Limited-Edition R-121 Distressed Rose, the 25th Anniversary R-10 Hot Rod Limited Edition, and the R-10. @royerlabs are celebrating their 25th anniversary, and they arguably make some of the best ribbon microphones available — so we decided to listen closely to three of their best selling products. For more, visit: happymag.tv #royerlabs #microphones #engineeringthesound

Dive into the Cranborne Audio 500ADAT 8-slot 500 Series Rack with analogue summing & ADAT IO and Carnaby EQs, a revolutionary piece of equipment designed to elevate the capabilities of audio recording setups. Conceived by former Soundcraft employees in the mid-2010s, Cranborne endeavours to forge new frontiers in audio technology, and the 500ADAT stands as a testament to their unwavering commitment. At its core, the 500ADAT transcends the conventional boundaries of a standard 500 series audio enclosure. Unlike traditional lunchboxes, it seamlessly integrates the use of ADAT technology, thereby amplifying its versatility and functionality. With the ability to connect via ADAT, this enclosure becomes a beacon of opportunity for audio enthusiasts, particularly those employing compact desktop interfaces. Harnessing the power of ADAT, users can augment their setups with an additional 8 channels of outboard 500 series units, seamlessly integrating them as hardware inserts with unparalleled ease. Gone are the constraints of a limited setup; the 500ADAT empowers creators to fashion multi-channel, robust rigs adaptable to both studio and mobile environments. Yet, the marvels of the 500ADAT extend beyond its ADAT integration. Boasting XLR inputs and outputs, the enclosure remains faithful to its roots as a conventional lunchbox, while offering the added flexibility of connecting light pipes for enhanced functionality. What's more, the enclosure doubles as a summing mixer, enabling users to harmoniously blend outputs and synchronise their systems with impeccable precision, courtesy of its superior word clock technology. The Cranbourne 500ADAT enclosure retails for around $3000AU and is available from all your pro audio retailers. #cranborne #500adat #engineeringthesound

Discover the AEA TRP500 preamp, a groundbreaking addition to the world of audio amplification. Founded by Wes Dooley in 1976, AEA has a storied history rooted in the repair and restoration of RCA ribbon microphones, laying the foundation for innovation in modern audio equipment. Throughout its journey, AEA transitioned from repairing RCA ribbon mics to crafting its own classics, such as the R44C, which set new standards in studio recording. This evolution culminated in the development of the TRP500, a preamp designed to redefine audio amplification. The TRP500 boasts up to 85dB of gain, delivering pristine amplification that brings out the best in passive ribbon microphones. Its high impedance of 100,000 ohms ensures optimal performance, allowing ribbon mics to shine without sacrificing clarity or fidelity. Additionally, the TRP500 features a selectable high-pass filter and polarity flip, offering precise control over audio signals to sculpt your sound with precision. Versatility is at the core of the TRP500's design, catering to a wide range of microphone types beyond ribbon mics. Its intuitive controls, including stepped input and output gain pots, provide seamless integration into any recording setup. The superior JFET circuit design ensures a transparent audio path, capturing every nuance with exceptional detail and clarity. Built for reliability, the TRP500 features three LEDs for signal monitoring, ensuring optimal recording conditions even in demanding environments. Its rugged construction speaks to its durability and suitability for professional use. Priced at approximately $1000 Australian dollars, the TRP500 represents a worthwhile investment for audio professionals seeking uncompromising quality and performance. #AudioExcellence #AEA #TRP500 #engineeringthesound

We gave the latest offerings from Grace Designs a run: the ROXi & FELiX2 Preamplifier Pedals. Back in the '90s, brothers Mike and Eben Grace were grooving to the tunes of the Grateful Dead, but they weren't just fans; they were Deadheads on a mission. Fuelled by their passion for capturing live performances, these brothers set out to revolutionise the audio industry. Fast forward to today, and Grace Designs stands as a beacon of quality and innovation in the world of sound engineering. The FELiX2 is a dual preamplifier tailored for stringed instruments. Built with the stage performer in mind, this box of wonders offers two channels that can be utilised separately or blended seamlessly. With a comprehensive selection of EQ options, including high pass filters, low shelves, and parametric mid EQs, the FELiX2 puts precise sound sculpting at your fingertips. Whether you're strumming a guitar or plucking a banjo, this preamp delivers unparalleled control and clarity. Next up is the ROXi – a compact yet mighty standalone mic preamp. Designed to meet the demands of vocalists and instrumentalists alike, ROXi boasts pristine sound quality and versatile EQ settings. The inclusion of an FX send and return adds a layer of creativity, allowing performers to add their own personal touch to every note. From soulful crooning to blistering guitar solos, ROXi ensures that your sound is heard with clarity and precision. We had the pleasure of testing these preamplifiers in action during a live demonstration by Jas and Owen. The FELiX2, with its dual channels and comprehensive EQ options, allowed them to effortlessly switch between the banjo and vocals to tailor their sound to perfection. The ROXi delivered crystal-clear vocals with a touch of reverb, adding depth and dimension to the performance. From the stage to the studio, the FELiX2 and ROXi proved to be indispensable tools for any musician looking to take their sound to the next level. #gracedesigns #preamp #engineeringthesound