Bardstown Audio "Software and Hardware I Personally Use And Like The Most" - Kip McGinnis

I have all of the latest versions of pro audio recording and midi software programs for both Macintosh and PC computer platforms, including Magix Sequoia, Samplitude, Cubase SX, Nuendo, Sonar, Vegas, Logic, Digital Performer, and Pro Tools HD Accel, BIAS Peak, Wave Lab, and Sound Forge. I also have all of the high-end effects processing plugins as well, including Algorithmix, Sony Oxford, Waves Diamond, TC Powercore, Universal Audio UAD-1, plus many Digidesign TDM plugins as well. Considering I have all of these well known professional products, my opinions are based on years of personal experience using all of these programs and plugins. I also have and personally use RME and Benchmark hardware products for audio/midi interfaces and A/D and D/A conversions. Regarding audio monitors, I have previously used Mackie HR824's. The monitors I now use exclusively are EMES Blues and EMES Violets.

For audio recording and editing, there is absolutely no other solution that comes close to Magix Samplitude and Sequoia. Samplitude and Sequoia sound exactly the same and have the exact same mix summing engine. For most people, Samplitude has all of the necessary features needed. Basically, Sequoia is an enhanced version of Samplitude that has additional features such as four point cross-fade editing, which is useful for editing live orchestral performances. I will not elaborate on the differences between Samplitude and Sequoia since Samplitude superbly fills all the needs for the majority of people. With both Samplitude and Sequoia you have complete and superior final stereo track wave editing, mastering, and CD and DVD-A burning, so you don't need to spend money on Wave Lab, BIAS Peak, or Sound Forge.

Samplitude and Sequoia sound noticeably better than any other solution available, including Digidesign's Pro Tools HD. Personally I use the exact same Benchmark A/D and D/A converters on both my Pro Tools HD Accel system with a Digidesign 192 Digital I/O, and I also use these same Benchmark converters on my Sequoia/Samplitude system using a RME HDSP 9632 for AES/EBU digital in and out, so I am definitely comparing apples to apples. Samplitude and Sequoia definitely sound noticeably better than Pro Tools HD, and yes, I do compare the exact same audio tracks in all of these systems using the exact same a/d and d/a converters. I will not even talk about all of the other pro audio and midi software programs that I have for both Macintosh and PC because they do not come close to comparing in sound quality as well, though I will say that I do like midi sequencing and midi editing and virtual and sampled instrument implementation in Logic Pro 7. I never liked midi sequencing and editing in Cubase SX, Nuendo, or Sonar. I find these programs to be very tedious and clunky to work with for midi and virtual and sampled instrument implementation.

Audio editing in Samplitude and Sequoia is far superior to any other program, including Pro Tools. Audio editing is much more precise in Samplitude and Sequoia and much easier to see exactly what you are doing. Audio editing in Pro Tools plus all of the other programs is guess work by comparison. I never feel as though I am editing with any sort of accuracy and precision in any program other than Samplitude or Sequoia. Audio editing in Sequoia and Samplitude is very easy and extremely clear to see as to exactly what you are doing. In all of the other programs I feel as though I am editing by the "seat of my pants."

The effects plugins that are included with Samplitude and Sequoia are among the very best in the world, and are superior to effects plugins that are included with all of the other pro audio application programs for both Macintosh and PC. The Room Simulator in Samplitude and Sequoia is gorgeous. The only other plugins that I use in addition to the plugins that are included with Samplitude and Sequoia are the Algorithmix plugins, which are most definitely the very best in the world, and I also use the Sony Oxford plugins as well in both TC Powercore and TDM formats. I have the Waves Diamond plugins, but they never get used at all because they don't come close to comparing to the plugins that are included with Samplitude/Sequoia, Algorithmix, nor Sony Oxford plugins. The plugins I most often use in addition to the included plugins with Samplitude and Sequoia are the Algorithmix Linear Phase Parametric Red and Orange EQ's, Algorithmix Noise Free Pro, Algorithmix Renovator if I need to remove an unwanted noise from a live venue recording, Sony Oxford EQ and Filters, Sony Oxford Dynamics, Sony Oxford Limiter, Sony Oxford Reverb, and Sony Oxford Inflator. I would also like to add that many people rave about the Waves Masters Linear Phase EQ. I have found the Algorithmix Linear Phase Parametric EQ's to be much more transparent and precise and without introducing any unwanted artifacts. The Algorithmix Linear Phase Parametric EQ's are extremely useful when needing to tweak an instrument in either a full mixdown stereo track or a stereo track sub-mix. I frequently use the Algorithmix Linear Phase Parametric EQ's on stereo jazz drum tracks, because I always mic a full jazz drum set with a single pair of overhead omni mic's in order to get the best drum sound for jazz, and quite often I like to be able to bring out more stick definition on the ride cymbals without changing the sound or character of any of the other instruments and components in the jazz drum set. With these Algorithmix Linear Phase Parametric EQ plugins I am able to very nicely provide more ride cymbal stick definition without effecting the sound of the snare, kick drum, hi-hat, toms, or the overtones of my cymbals. I was never able to do this nearly as well with the Waves Masters Linear Phase EQ.

I am extremely impressed!

In addition to having great sounding software such as Samplitude or Sequoia, audio hardware and converters are also extremely important. RME provides the best sounding professional grade converters to be found on a PCI audio card, such as the RME HDSP 9632 if you only need stereo in and out. If you need more analog ins and outs than just stereo, the RME FireFace 800 is the way to go, and the FireFace 800 also includes great sounding mic preamps as well. If you need multiple digital ins and outs, the RME 9652 is the way to go. The a/d and d/a converters on the RME 9632 and FireFace 800 are used extensively by many professionals around the world and sound absolutely beautiful.

The very best sounding a/d and d/a converters in the world are the Benchmark converters, though the RME converters will get you fairly close. Benchmark converters, according to many professionals who have compared all of the world-class converters, sound noticeably better than converters costing two and a half times as much. Personally I have Apogee converters in addition to my Benchmark converters, and the Benchmark converters sound way better than any Apogee box.

On the subject of microphones, the only mic's I ever use are DPA B&K 4012 cardioids and 4003 omni's. These mic's are much more accurate and musical sounding than any other high-end mic's that I have ever used. In addition to having a great sounding recording system such as Samplitude or Sequoia, professional audio hardware and converters, mic's and preamps, it is also very important to have the best sounding room possible to record in. Depending on your recording applications, the type of room that is most suitable will vary, so I will not elaborate on this topic because this subject can get very extensive and deep.

Finally I will talk about audio monitors. I have tried many of the hyped monitors that are available, including Genelec and Mackie HR824's. The very best monitors that I have ever worked with are the EMES monitors. As I previously mentioned, I have a pair of EMES Blues and EMES Violets. With EMES I hear details and definition that I have never heard with any other monitors, plus they are very musical to listen to as well. The kind of detail that is very important that I hear is when I make a very slight adjustment such as adding a very slight amount of EQ to an individual track in a full dense mix. I have never heard this kind of detail with any other monitors. With EMES, my mixes always translate extremely well on all CD playback devices, including car stereos, boom boxes, all home stereo systems, etc. I have never had to go back and re-mix and re-master any CD tracks that I have mixed and mastered with EMES. I can't say this about Mackie or Genelec.

All of the products talked about in this article are available for sale from Bardstown Audio with competitive pricing. In addition to competitive pricing, Bardstown Audio also provides the very best customer service and tech support in the world by being available seven days a week by both telephone and email for free support on all products purchased from Bardstown Audio.