Color My World

Color My World

by Eddie Ciletti

Figure-1a: From left to right are three sine waves that depict what controlled distortion looks like as delivered by HEDD 192 (click for larger image).

For those troubled by the sterility of digital, vintage gear offers color options galore, but along with them is the "baggage" of maintenance. In addition, gear designed thirty to fifty years ago didn't need to be as quiet. As sexy as analog tape is, "oxide" and recorder noise conspired to hide other noises... Yes, digital changed all that, but the response by "boutique" manufacturers has more than filled the sonic void.

In case you haven't noticed, I like reviewing gear from small independent audio companies. The products I've scrutinized to date are generally over-built by people who take their audio seriously, as you do. Don't believe me? Drop an e-mail or call on the phone. Chances are you'll find the designers are accessible and passionate, though busy. Often hand assembled, their gear is more likley to stand the test of time just like the vintage gear that is so hotly desired.

I am not one who believes digital technology is bad, but it forced us all - enthusiasts and uber-geeks alike - to take a crash course in the study of "ancient" equipment. That's why my reviews tend toward the educational, because I am still learning about what sounds good and what makes good sound. Sharing that knowledge transcends the negative aspects of gear lust - talent and execution must come first - but knowing how to apply the right piece of gear to an audio challenge comes from study and experimentation.

Figure-1b: The 3rd octave display of the MiniLyzer shows how Triode mode generates even order harmonics. In this case, 2kHz is one octave above the fundamental. (The MiniLyzer is a product of Neutrik Test Instruments (click image for larger view).

With that in mind, Crane Song's HEDD 192 along with the Great River MP-2NV both provide the kind of "sonic airbag protection" associated with vintage using two radically different approaches. HEDD is a stereo converter with analog emulation and the MP-2NV is a stereo mic preamp a la Neve. While it is not customary to evaluate two products from two manufacturers within one review, the coincidence of theme and timing was just too perfect. Each approach proves that there is more than one way to skin the proverbial cat, but in this case, no animals were harmed in the testing process.

HEDD's UP
As the name suggests, HEDD 192 will accommodate sample rates up to 192 kHz and 24-bits. As "just" a converter, this second-generation version of HEDD - a Harmonically Enhanced Digital Device - includes dither that is exclusively Crane Song's. The product currently ships with socket-ed 96kHz converter boards; the upgrade path is waiting for acceptable parts and communications standards. The DSP includes three emulation controls labeled TRIODE, PENTODE and TAPE with a common Bypass switch. The processing can be applied at any time to either the analog or the digital signal path. Just rotate the knobs clockwise and enjoy.

Of the three controls, Triode generates the type of even-order (octave) harmonics associated with single-ended vacuum tube circuits. This effect can be masked by harmonically rich content so, depending on the signal being applied, it may not seem to be the most obvious at first. Darker sounds benefit most from this process. From left to right, each control - TRIODE, PENTODE and TAPE - becomes progressively more responsive. Once familiar with their affect, you'll be twisting a little of each for infinite variations.

Figure-1c: Using Pentode and Tape mode together generates plenty of odd harmonics, the third and fifth being 3kHz and 5kHz, respectively
(click image for larger view).

For the first test, the output of my Soundscape workstation was routed through HEDD to "warm up" a mix-in-progress. Visitors have been quite impressed with the before and after demo - there's nothing subtle about it - turn the TAPE knob clockwise and the track gets larger without increasing "overs," without sounding compressed, simultaneously adding richness to the bottom and mids.

I also used HEDD to emulate an AMPEG B-15 bass amp by routing an electric bass track through it, crankin' the Pentode knob to increase the "spectral content." By adding a sweet bit o'distortion, a nice round Bass Guitar became more bull-ish, capable of sitting in the mix through verse and chorus without getting lost in the sauce. That's deep, with or without the pun.

The emulation makes astounding visuals starting with Figure-1a, a family of Sine waves from clean to mean. In Figure-1b, the NTI Minilyzer was used to view the harmonic content via 3rd Octave display. The arrow points to1kHz (the fundamental), to the immediate right is the 2nd harmonic - 2kHz - one octave above. Figure-1c points out the 3rd harmonic. What is amazing about HEDD 192 is that all of the distortions are so controlled - no hard clipping, only phat, although it is possible to go overboard, it does sound alot like analog tape.

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