EMU PM5 User manual

Focusrite
Saffire FireWire interface
Mywantsandneedsinanaudiointerfacetodayarevery
specific. I work solo 90% of the time, so I rarely ever need
more than two analog inputs; these have to be XLR with
phantom power. I want as small a device footprint as
possible since space in my recording den is pitifullysmall. I
like quick connectivity and dislike wrestling with PCI card
installations(whichwillbecomeevenmoreparamountsince
I’m building a new small form-factor PC); a FireWire 400
interfaceisjusttheticketinsuchsituations.Iwantasimple
control-panel appletthat doesn’ttake up too muchroomon
my monitor. At least one MIDI port is required. And I want
hardware-based volume control over both main monitors
and headphones.
I’mpleasedtosayFocusrite’sSaffirehasdeliveredonall
ofmybasic requirementsandevenaddeda fewnicetiesthat
willnodoubtmakeitquiteacompelling buyforothers.This
includes highlyflexible outputrouting and excellent quality
DSP plug-ins for compression, EQ, guitar amp simulation,
andreverb.Ofparticularnoteis thefold-backroutingforthe
reverb which is a nice feature for cutting vocal tracks. The
Saffire stands vertically and its front panel is very logically
laid-out and easy to read. Construction quality looks and
feels solid. Installation was a 5-minute affair, and a review
of the quick start guide had me laying down a vocal track
within 15 minutes.
OneparticularlynicefeatureofSaffire’ssoftwarecontrol
panel is its ability to “float” or “dock” so it’s always in the
foreground. Even though it is already compact infully-open
mode,youcanalsodisplayitinaminimizedstate.Imention
these two attributes because after using control panels for
many other devices, I’m happy that Saffire’s software has
addressed two pet peeves of mine: the constant back-and-
forth focus behavior between the control panel and the
recordingapplication,andpanelsthatcanfloatbutarefixed
insize and simplytake up too much monitorrealestate.
I have no plans at the moment for mixing for
anything other than stereo output, but the Saffire
provides eight outputs for mixing up to 7.1 format. As
mentioned earlier, one of its other useful attributes is an
extremely flexible output-mixing scheme. You canprovide
up to three individually-configurable output mixes. This
became particularly useful when I had a friend come over
to play upright bass as a live accompaniment. We used
both of the two headphone outs and we both had a
monitor mix tailored to our liking.
Now that I’ve made a case for why the Saffire fitsme
perfectly, who else might I envision as suited to its
capabilities? One clear example would be the podcaster
looking foran elegant, all-in-one solution. The FireWire
interface provides ease of connectivity as well as
portability. The two analog plus S/PDIF inputs will
handle a couple of “talking heads” plus background
music. The fact that DSP effects can be applied to the
analog inputsmeans no need foroutboardcompression.
The output routing flexibility gives each person a
monitor mix tailored to suit.
My only note of caution would be directed to those
wanting total portability in a remote location using a
laptop computer. As with other FireWire buss-powered
devices, unless your laptop has a 6-pin FireWire port, you
can’t operate the Saffire while on battery power. Focusrite
kindlyincludesanexternalPSUforthosewhose laptopsonly
include 4-pin (non-powered) connectors. All in all, the
Saffire is an outstanding package—very competitively
priced and as easy to work with as it gets. ($499 MSRP;
www.focusrite.com)
–Rich Hardesty
Elemental Audio
InspectorXL
DuringoneofmyRecordingWorkshopsafew years ago,
whileIwas talkingabout usingan RTA(RealTimeAnalyzer)
to check mixes, a student piped in that there was a free
plug-in online. So we downloaded and activated Elemental
Audio’sInspectorplug-in,anddamnif itwasn’tagreatlittle
helper. Strapped across the mix buss or on a track being
recorded, it gave us peak and average levels, spectrum
analysis via the RTA, clipping count, and channel balance
indication. All this was available in a small window and
though helpful wasn’t the most “scientific” way to examine
audio. Now Elemental has introduced InspectorXL, a huge
stepupfromthefreeversion.Basically,theplug-inhasbeen
separated into three main windows, plus a combo version
(Multimeter) similar to the style of the free one. The
SpectrumAnalyzerisanFFTanalyzer,spectragram,andthird-
octave RTA,with an amazingamount of control for setting
peak and average holds—super versatile for getting a
picture on the frequency balance of a mix. The Level Meter
display can be vertical or horizontal; it’s big and includes
peakandaveragelevels,adjustable holds,and more.I useit
whilemixingofftapeintoProToolsor tochecklevels within
Pro Tools. (Why doesn’t PT have dB increments on the
meters?) The Stereo Analyzer provides some functions I
didn’t quite get into using yet, such as a phase scope and
an M/S meter.You can save many settings touse for future
analysis, andthere are variable alarm settings for overs and
such. In use, I found this to be a great tool for examining
my mixes. If you’ve never used an RTA before, start out by
runningcommercialCD’sthatyouknowrealwellthroughthe
SpectrumAnalyzer. Watch howthe lows, mids, andhighs sit
on different songs and albums. Then check out your own
mixes.Youcan dothesamewiththepeak/averagemetering
—you’llseehowmuchcloserthelevelsaretoeachotheron
a masteredCDthan onan unmasteredmix(usually!), andif
one is doing mastering, this kind of metering is invaluable.
Overall,InspectorXL isone of the mostvaluable plug-insI’ve
come across (I feel like I’ve barely touched the surface of
whatit can dowiththisreview),andit’swortheverypenny.
Check the website because InspectorXL was on special for
$89 as I wrote this! It’s compatible with VST and RTAS on
both Mac and Windows, and AU on Mac. ($219 MSRP;
www.elementalaudio.com)–LC
E-MU
PM5 Precision Monitor
My first thought upon powering up these compact
nearfields was, “Wow, these sound much bigger than
they look!” After spending some time tracking and
mixing through them, I’d have to say they give much
pricier monitors a run for their money.
They are powerful enough to complement most
control rooms, with a bi-amped 40W/40W power
section, active crossover, discrete Class-A input stage,
and MOSFET output stages. As the name implies, the
bass driver is a 5’’ cone and the high frequency driver
is a 1’’ soft dome. The cabinets are surprisingly heavy
for the small size, magnetically shielded, and include a
1’’ thick front baffle. They’re rated for high SPL’s
(103 dB), and the amplifiers have a very high signal-
to-noise ratio. Connections are flexible with balanced
Neutrik and unbalanced RCA inputs.
I installed the pair in my control room at Brighton
Sound, which is admittedly a fairly, uh, unique room
to monitor in. Working within the room’s limitations,
my ears have grown accustomed to the rather mushy
low end, and I’ve learned how to translate that
effectively. But after installing the PM5’s, I
immediately realized that my low end issues in the
room were not entirely due to the room dimensions; in
fact the PM5’s offered me a much more focused, less
muddy low end. In short, they seemed to complement
my modest control room quite nicely. Kick drums and
bass instruments through the PM5’s had a new clarity
in the low mids that really stood out, especially when
compared to my earlier nearfields (powered Event
20/20’s). The sub bass frequencies were somewhat lost
on the PM5’s, but I could easily see how these
monitors would work well with a good subwoofer
system. E-MU’s companion PS12 subwoofer,
announced in January, should be shipping soon.
Without a subwoofer, I was hard pressed to get a sense
of what was really going on below 60 Hz or so.
Regardless, the bass response is surprisingly full and
deep despite the PM5’s smallish cabinet.
The high frequency detail is really exceptional for
the price point as well. Transients are clear and sharp,
without killing your ears after long sessions. Although
I didn’t notice any substantial ear fatigue, my friend
Rich Good of the band Kings & Queens did say his ears
rang a bit the evening after we both spent a long day
in front of the PM5’s—maybe not entirely the PM5’s
fault as we were monitoring on the louder end of the
scale (sorry Rich!). The PM5’s offer separate bass,
treble, and input sensitivity controls on the rear of
each monitor, which can help you calibrate the
monitors for your specific needs. I didn’t find myself
reaching for those, as the PM5’s frankly seemed well-
balanced right out of the box.
All in all, I think I’ll be picking up a pair of these
monitors; they are well designed, solid, and responsive
(not to mention totally affordable at $500 street per
pair). Simply put, they make my ears happy. To me,
this can only mean better sounds, better mixes and
happier clients. ($699 pair MSRP; www.emu.com)
–Dana Gumbiner, deathraymusic.com
70 /Tape Op#52/Gear Reviews