Mix News for October

Oct 24, 2003 12:00 PM, By Sarah Benzuly


Education Guide

Mix is gearing up to present its longstanding annual Audio Education Guide in its November 2014 issue. Want to have your school listed in the directory, or do you need to update your current directory listing? Add an image, program description, or a logo to your listing! Get your school in the Mix Education Guide 2014.

News October 1 - 15

(read October 16 - 31 news)

Steinberg Intros Cubase SX 2.0
Now shipping, Steinberg's Cubase SX 2.0 offers a new, revised user interface and more than 100 new features.

Improvements include the new VST audio engine with 32-bit floating-point audio resolution, a Freeze function for VSTi's, real multichannel surround, Stacked Recording mode and the freely configurable user interface. Because Cubase SX 2.0 is a native application, users can choose which audio and control hardware they want to work with.

Other features include: full latency compensation, FX return channels, user-definable input/output buses, transport part and much more.

For more information, visit Steinberg online at www.steinberg.net.

dbx Offers DriveRack Studio Monitor-Management Processor

Salt Lake City-based dbx has introduced its DriveRack Studio Monitor-Management System, which was designed and engineered from the platform of the company's DriveRack Loudspeaker-Management System line of products.

The DriveRack Studio offers the tools necessary for optimal monitor-management applications, including graphic and parametric EQs, compressor, limiter, crossovers, monitor-alignment delay and output muting. Also available is a built-in real-time analyzer, which is used to tune the control room. The DriveRack Studio, according to dbx, will compensate for the frequency response curve of a room automatically; all that is needed is the addition of a reference microphone and the DriveRack Studio does the rest. The DriveRack Studio can also function as a programmable output switcher.

Currently shipping, the DriveRack Studio has an estimated street price of $549.95.

For more, visit www.dbxpro.com.

BMI, Yamaha, Apple Support Florida Distance-Learning Program
In a collaborative effort between the Florida Department of Education, BMI, Yamaha and Apple, elementary-aged students from 23 Florida school districts attended distance-learning master classes held via video conference by two New York songwriters, Chris Cerf (Sesame Street) and Julie Gold ("From a Distance"). The program was an idea that came about through discussions between BMI and past MENC chairman and head of the Florida Department of Education, June Hinckley.

To facilitate the distance-learning classes, a videoconferencing link was arranged between BMI in New York City and a special video classroom at the University of South Florida. The project was in collaboration with the U.S. Department of Education, the Arts in Education Grants, the Florida Department of Education and Apple Computer Corporation. The masters taught at the BMI New York offices using two PSR550 portable keyboards provided by Yamaha, identical to those used by the students who attended the two-hour, six-week lesson on the campus of the University of Southern Florida in Tampa.

"Yamaha's Chris Gero [director of Yamaha corporate artist affairs] was quick to see the value and the potential of these collaborative distance-learning environments. His enthusiastic response to our program helped ensure its success," said Robbin Ahrold, VP corporate relations for BMI, who was the BMI architect for the project.

"Having the opportunity to support the BMI distance-learning program shows Yamaha's continued commitment to songwriters and music education," said Gero. "It was a natural that Yamaha would want to provide Chris and Julie the exact PSR keyboards as that used by the kids."

The BMI Distance Learning program, which began as a pilot last February, will continue this fall and hopes to expand to other school districts across the country. Cerf and Gold have "signed on" once again.

For more, visit www.yamaha.com.

Emagic Adds Reverb Plug-In
Emagic has introduced its Space Designer, a reverb plug-in for Logic 6. Space Designer is the latest member of the company's range of studio tools and software instruments.

Space Designer features a real-time convolution process using reverberation samples—impulse response (IR). Users can create and edit custom convolution reverbs; Space Designer can be further shaped using its parameter set that features specially designed envelopes for volume, filter and density.

Space Designer ships with more than 1,000 high-quality impulse responses and synthesized settings, including real rooms and hall, as well as classic and contemporary reverb units. Space Designer requires Logic Platinum, Logic Gold or Logic Audio 6.3 or higher. The company plans to ship the plug this month.

For more, visit www.emagic.de.

Recent Sessions at Loho Studios
Loho Studios (New York City) has had a busy couple of months. Here are a few recent recording projects.

Producer/engineer Neil Dorfsman came in to work on artist Amy Bartle. John Kaplan was the Pro Tools engineer. Pictured, from left, are Loho assistant Joe Hogan, Adrian Holz, Neil Dorfsman, John Kaplan and singer Amy Bartle. Reggae dancehall legend U-Roy & The Love Trio were working with engineer Bob Ebeling. TVT artist Ambulance Ltd. and Sony artist Sweetback were in to record upcoming releases with engineer Bob Brachman. Engineer John Marshall Smith was working with AM60, while engineer Jason Candler had his hands full with jazz musician Phillip Johnston.

For more on Loho Studios, visit www.lohostudios.com.

Crystalphonic Listens to Grace Design Headphone Amps
Recently opened Crystalphonic Recording Studios (Charlottesville, Virg.) is a multiroom facility equipped with top-of-the-line digital and analog technologies, including six Grace Design model 901 Reference Headphone Amplifiers and a Model 201 2-channel microphone preamp.

Each room includes a Grace Model 901, which allows producers, engineers and musicians with reference-quality stereo monitoring of analog or digital tracks via headphones. Two additional units are available as “"floaters" for clients to use as needed. A Model 201 preamp is also available to cut tracks in Studio A.

“"The model 901 has become an integral part of the creative process here, whether it's during the recording, mixing or mastering stages," said Crystalphonic owner Kevin McNoldy. "Everyone who hears their mix through the Model 901 says the same thing: a collective 'wow' as their music is revealed with incredible sonic detail and resolution. The Model 901 has become something of a 'desert island' piece: We simply won't work without it."

For more info on the gear, visit www.gracedesign.com. Visit Crystalphonic Recording Studios online at www.crystalphonic.com.

Dolby Announces Takeover Offer of Lake Technologies
Dolby Laboratories Inc. has announced a cash takeover offer for Lake Technology Limited for approximately Aus$17.6 million. Dolby already owns 14.99% of Lake.

Chairman of Lake, Russel Ingersoll, said, "Dolby and Lake have long had a close commercial relationship. Lake welcomes Dolby's interest in Lake, evidenced by its previous investments in the company and now this offer from Dolby."

Lake's Board will appoint an independent expert to provide an opinion as to whether the offer is fair and reasonable. If the expert determines that the offer is fair and reasonable, the Board intends to recommend the Dolby offer in the absence of a higher offer. Lake has appointed Clayton Utz as its legal advisor. Dolby has appointed Macquarie Bank Limited as its exclusive financial advisor and Mallesons Stephen Jaques as its legal advisor.

If the Board recommends the offer, it intends to support an accelerated timetable for the offer and will agree to the joint dispatch of a bidder's and target's statement to shareholders. The Board recommends that shareholders do not take action until they receive a target's statement from Lake.

Further details of the offer can be found at www.dolby.com. Visit Lake Technologies online at www.lake.com.

In other Dolby news, the company has acquired Cineaa, a start-up content-protection and anti-piracy technology company based in Virginia. Cinea will operate as a wholly owned subsidiary of Dolby Laboratories, with Cinea personnel and offices remaining in Virginia. Cinea CEO and founder Robert Schumann will become head of the new Dolby subsidiary, reporting to Tim Partridge, VP of the the Professional division at Dolby Laboratories.

"Content is increasingly being delivered digitally, and unauthorized use of digital content can have serious consequences for the content owner. Content protection has thus become an ever more important element in enabling the delivery of high-quality entertainment," said Partridge. "Cinea has proven its expertise in this important area, and is an ideal complement to Dolby's audio and image expertise.

"Our studio customers have made it clear that piracy is the most important problem they face today," Partridge continued. "Dolby has a long history of meeting the needs of the film industry through technical innovations such as stereo, surround sound and digital audio. Content protection is another area where innovative and comprehensive solutions are clearly needed."

"Cinea's mission is to provide world-class anti-piracy tools and services to our studio customers," said Schumann. "Dolby's unsurpassed reputation for quality and customer service—and proven ability to bring practical solutions to market—will allow Cinea to expand the scope of our offerings and provide our customers with quality solutions worldwide."

Sigma Electronics Adds to OctaStream Product Line
Sigma Electronics unveiled its DV5515 latency-control module, an enhancement for the OctaStream!" family of AES digital audio signal management products.

The new DV5515 is a unique digital video-frame synchronizer that integrates with OctaStream modules via Sigma's OctaBus!". This allows for timing information to be read and compared between up to eight delay modules to realign the timing of HD, SD and AES signals. The DV5515 incorporates memory sufficient to delay high-definition video for up to 10x 25Hz frames (400ms) and in excess of 50 frames at standard-definition rates. The DV5515 also allows the user to frame-synchronize and re-align video frame boundaries across different signal formats.

The OctaStream family also offers the DA5320 Mixer and Subframe router that brings timing, mixing and synchronizing power to eight individual audio channels from four AES input streams; the DA5315 Variable Delay Compensator and DATC Comparator, which sets variable delay up to 10 seconds for each of four independent AES signals over eight channels; the DA5325 Sample-Rate Converter that serves as the audio equivalent of a video-frame synchronizer; and the SG5605 AES and DATC Reference Generator, which provides an AES tone/silence with eight audible channel identifiers.

“"Signal latencies have significantly increased with the advent of digital video and audio systems," commented Nigel Spratling, president of Sigma Electronics. "Every time a signal is compressed, processed or converted in the audio/video chain, a slice of processing time is added to the program material. This ultimately translates into loss of the timing relationships between signals, especially between different formats. The addition of the DV5515 to the OctaStream product family now delivers the power to eliminate these problems and keep the production stream flowing smoothly."

For more information, visit www.sigmaelectronics.com.

Soundart Updates Australis
Australis Version 1.21 analog synthesis emulation soundskin for the Chameleon platform is now available for download at www.soundart-hot.com/english/users1_2.htm. With Australis, Soundart's Chameleon becomes a luscious synthesizer to create everything from pads and leads to percussion and wild sound effects. It now boasts more flexible modulation, enhanced FX and a host of new industry-standard features.

New features include: expanded multiwave oscillators with a list of complex waveforms and phase initialization option per oscillator; adjustable balance between filters in Parallel mode; expanded LFOs functionality with adjustable fade in and phase initialization; square waveform with variable pulse width; Unison mode with configurable detune and pan-spread amount; expanded modulation matrix; individual phaser FX available per part (with three and six peaks mode); individual distortion FX available per part (with several distortion curves); expanded arpeggiator with new modes and capabilities; tempo sync (external, internal, auto) for time-based parameters (speed in LFOs, chorus and phaser, delay time in delay, and note length in arpeggiator); downloadable arpeggiator patterns via MIDI SysEx; audio input to run external sounds sources through the effects mixer; enhanced front-panel, real-time controllers with Absolute, Relative and Pick Up operating modes; parameters assignable to external controllers, including support for sustain and expression pedals; factory sound banks and demo songs included in the same application; multi-mode control of arp patterns and delay sends for individual singles; and enhanced user interface.

Har-Bal International Releases Har-Bal EQ System
Har-Bal International, a joint venture between TAQUIS and HDQTRZ Digital Studios, announced the release of Har-Bal (Harmonic Balancer), a new mastering equalization system for all Windows systems (95, 98, ME, NT, 2000, XP) that corrects inconsistencies in mixed track sound files. The introductory price is U.S. 95.

Har-Bal lets the user create original and remastered recordings. The reference files included with the program are guides that show the user (based on the music genre) how to adjust the spectrum of your a song. The reference files are based on a study of the average frequency spectrum of hundreds of songs of varying styles of music.

When a song is loaded into Har-Bal, its frequency spectrum is immediately analyzed. Users then choose a reference template (provided by the company) and will immediately see the locations of the strengths and weaknesses of the song. The software uses an 8,192-point linear-phase FIR filter, whose characteristics are designed to match and compensate for the average spectrum as closely as possible. The degree to which the user can boost and cut a particular region is essentially unlimited.

Har-Bal International is currently working on a Mac version. For more, visit www.har-bal.com.

Winners Announced for Mackie Makeover Contest
David Strachan (Decatur, Ga.) and Kate Slaney (Birmingham, Ala.) were the grand-prize winners of Mackie's summer-long Mackie Makeover contest.

Strachan won the Mackie Recording Studio Makeover package, comprising a D8B Digital Mixer, an HDR24/96 Hard Disk Recorder/Editor and a pair of HR824 Studio Monitors. A recent new owner of a Mackie DFX·12 Compact Live Sound Effects Mixer, Strachan first learned about the contest when he went to register his mixer online. "The first thing I'll do is replace my existing equipment and make music with Mackie," he said after learning that he won. "I was totally surprised. I've never won anything like this until now."

Slaney, a self-described "dreaming artist," takes home the Mackie Rehearsal Space Makeover package with an SR32·4-VLZ Pro Live Sound Mixer, two C300 Loudspeakers and two M·800 Power Amplifiers. Once she gets it set up, "I'll probably get arrested for noise violation," she said.

For more, visit www.mackie.com.

Recent Sessions at Hot Sound Studios
Rock producer John Agnello (Red Cross, Mark Lanegan) was recently in Hot Sound (New York City) with New York-based Radiate. In addition to producing, Agnello also engineered the sessions. He was assisted by Rob D'Aquino.

Dominic Chianese (aka, Uncle Junior) from The Sopranos recently released his first solo CD of romantic Italian guitar ballads entitled Ungrateful Heart on the AOL Grand label. The album was produced by Nick Addeo and engineered by Rob D'Aquino.

Reggae/Soca singer P.J. Browne has been working at Hot Sound for an upcoming release on V.P. records. The sessions were produced by P.J. and engineered by Jeff Phillips, and assisted by Theresa Stopak. Other recent studio activity includes Disney, singer/songwriter David Francis, avant garde artist Anna Ghallo and New York City-based band Plead Guilty.

In other studio news, Hot Sound Studios has just reconditioned its Ampex ATR 102 for 1/4-inch and 1/2-inch use in mixing and mastering. The machine will be available for use in either the Neve/Studer 2-inch-equipped Studio One or the Pro Tools suite in Studio Two. The work was done by Michael Spitz of ATR with new heads from John French of JRF.

Visit Hot Sound online at www.hotsound.com.

Harman Adds Studer to Group
Harman Pro North America, the United States distributor for Amek, BSS Audio and Soundcraft, has added a fourth Harman International company to its portfolio: Studer.

According to HPNA VP and general manager Kim Templeman-Holmes, “"Studer's long-standing reputation for delivering some of the professional audio industry's finest products is certainly well known. And forward-thinking new offerings like the Vista 7 digital production mixer demonstrate that the company is not simply content to rest on its laurels. We look forward to bringing Studer's products to a wider customer base throughout the United States."

Studer Professional Audio AG president Bruno Hochstrasser, said, “"Prior to this, the distribution of Studer's products in the United States was handled by our affiliate in Canada. Allowing Harman Pro North America to spearhead sales and support activities on its own soil should reduce response times and costs, both of which will benefit our American customers."

Harman Pro North America also announced that it has relocated all of its operations from Nashville to Northridge, Calif. New contact information is 8500 Balboa Blvd., Northridge, CA 91329, 818/920-3212, fax 818/920-3208. For more, visit Studer online at www.studer.ch.

Sterling Sound Adds API Gear
Sterling Sound recently purchased 19 API 550 equalizers. Mastering engineer and partner Greg Calbi was first introduced to API in the mid-'90s, while working with Geoff Emerick on a remaster of "Band on the Run."

"When I'm considering a piece of equipment," Calbi explained, "I need to know that it does something that nothing else does. There are two things that the API 550 does extremely well: It filters subsonic information in a way that keeps the shape of the original signal but gets rid of the excess in a very precise and musical way. It's hard to describe, but the 550 does something that is very difficult for an equalizer to achieve.

"For example, so many times during a mastering session," Calbi continued, "you're trying to take away the mushy, undefined bottom and keep the clarity of the mix. The API 550 achieves this result extremely well. If I hear some unwanted fuzz on the bass guitar or kick drum, I'll go right to the 550. The device has a two-position switch that lets you zero in on the signal even more closely. To tell you the truth, I don't know exactly what the positions signify, but they work! If the 550 only had that ability to zoom in on the low end and work on it in a musical way, it would be worth having in my rack.

"But the 550 does something else that most equalizers can't: add warmth in the 400 to 600 cycle range in a clean and defined way. With digital mixes especially, you're always looking to add warmth without losing clarity. By this time, everyone is looking to avoid the overly crisp but somewhat cold sound of digital music. The API 550 does an outstanding job of keeping a mix in perspective and smoothing things out. All of our mastering suites have 550s in them, so that should tell you something about how our staff has responded to them. The most recent project I used them on was Emmylou Harris' new album, which will be coming out in October on Nonesuch. I was able to add warmth to Emmylou's voice without sacrificing anything, and the results were outstanding."

For more on the gear, visit the company's distributor at www.audiotoys.com.

Creative Network Design Releases New Managment Tools
Creative Network Design, a developer of cross-platform media asset-management software, has announced NetMix X3 Sound Library Management for Windows XP and Mac OS X and NetMix Pro X3 Project & Media Asset Management for post-production.

Supporting both Windows and Mac OS platforms, the NetMix Sound Library Management system allows the user to search for sound effects, music and samples quickly and transfer sounds with the click of a button into the editing software. NetMix X3 is perfectly integrated with Pro Tools 6 on Windows XP and Mac OS X, allowing the user to import a taglist with multiple audio files into the region bin of Pro Tools or spot a sound directly onto a Pro Tools track. NetMix offers a centralized user-interface design for improved creative workflow, waveform clip editor, looping, pitch change, sample and bit rate conversion, virtual browser and a drag-and-drop-to-database function. NetMix is compatible with Pro Tools, Nuendo, Logic, Digital Performer, Toast, Final Cut Pro, Media100, After Effects, Avid products and more.

Additional features include a customizable multi-user database, collaborative media network, customizable metadata for Broadcast. WAV, playback from local/network volumes or Internet, and security and user management.

In collaboration with Hollywood's leading sound supervisors, NetMix Pro offers FX spotting, ADR and Foley cue sheets to be created and organized by projects, reels and scenes. The user can attach descriptions and notes to every scene, spot sounds and multitrack projects to specific timecodes and preview in sync to DV movies. Sound supervisors and editors can access and search projects simultaneously using a multi-user database server.

NetMix Pro also features a multitrack editor and mixer. The user can quickly build a complex sound and spot it to multiple tracks in Pro Tools or bounce it to a mono/stereo audio file. Unlimited multitrack projects can be saved, giving the user the ability to store work for further use. Synchronization to timecode and DV movies allows the user to preview sounds before transferring the audio files.

Visit the company at AES Booth #1046 or online at www.creativenetworkdesign.com.

Live 3 to Make Debut at AES
M-Audio and Ableton will release Live 3—a new upgrade to their audio sequencing instrument for Mac OS 9, Mac OS X and Windows—on October 10 at AES; it is currently available for public beta testing from www.ableton.com.

Live 3 is an integrated audio sequencing tool that gives users control “"inside" of the sample. It offers sound designers and musicians to easily and flexibly animate their samples. Changes in volume, pitch, pan, effects controls and more can be drawn onto any section of a sample as clip envelopes, as well as allowing the user to create infinite variations from just one sample in real time.

“"We are very proud to release the first audio sequencer that will allow you to 'get into the loop,'" said Gerhard Behles, CEO and founder of Ableton AG. "As we know, making music with samples and loops is fast and fun. To a lot of people, though, an annoying problem has been that samples always sound the same. Live 3 now ends this problem and allows you to 'open up' or 'unfold' your samples and work 'from within.' In Live 3, you will be able to reveal the millions of sounds a sample can make as you draw volume, pitch and effect curves onto it. With Live's new clip envelopes, an arsenal of built-in effects and all VST plug-in effects become the building blocks of a dream (re-)synthesizer"

New features of Live 3 include clip envelopes that extend Live's 'elastic' approach to audio by allowing musicians to achieve endless variation of a sample. Every clip in Live 3 contains independent envelopes to draw pitch, volume, warping, mixer and effects parameters. The sample is processed nondestructively and in real time. In conjunction with Live's beat-synchronized playback and real-time quantization, the MIDI keyboard becomes a powerful song arrangement aid. Users can improvise new melodies over vocal phrases or spoken passages, or play variations of an instrumental solo on the fly—and capture it all in the Arrangement for further editing. Live 3 has a new Consolidate command that turns each track within a selected time range of the Arrangement into a new clip, ready to be looped or dragged into the Session View for instant use. New effects include resonators, compressor II, EQ three and utility. The Insert Captured Scene command captures all running clips as a new Session View scene. The Quantization menus now include triplet-note values; the global Quantization setting includes values greater than one bar, and many more features.

Live 3 is available for U.S. $399 on October 10. Upgrades from previous Live versions will be available online at www.ableton.com. Upgrades from Live 2 are $69 for the download version and $99 for the boxed version. Upgrades from Live1 are $99 for the download version and $129 for the boxed version.

StudioPanel Turnkey System Debuts at AES
MSR will introduce its acoustical management turnkey system for personal studio environments, StudioPanel!", at AES. StudioPanel is a customizable and cost-effective acoustical treatment system that can adapt to any personal recording or other acoustically critical space.

At its core, StudioPanel is a system of acoustical panels configured and calculated to provide the correct amount of sound absorption and diffusion necessary for contemporary monitoring systems to work successfully in a small- to mid-sized control room environments, and utilizes components used by leading studio designers and acousticians, such as mineral wool. StudioPanel is a system of acoustic components including absorbing and diffusing panels, a Helmholtz mid-bass absorber, CloudPanel!" floating ceiling panels, and a spring-loaded acoustic bass trap, known as the SpringTrap!". For media production professionals, the system allows modern active monitor systems to achieve their design goals and deliver accurate imaging, clarity and definition. A box the size of a typical software package is sold at retail and contains simple measuring devices, including an audio CD with numerous test tones. A clearly worded step-by-step instruction manual allows the user to precisely define the acoustical parameters of his or her own studio/media production space. Based on room size measurements, the company will ship to the user one of three ready-to-be-installed acoustical treatment “"kits" that contain all the necessary components, including corner and diffusion and bass trap systems.

“"This was a longtime dream I've had of bringing the benefits of years of working at the upper end of the acoustical domain to a much wider audience," said company president and co-founder Tony Grimani. "We've seen how these improvements have revolutionized the cinema industry and then the home-theater market. Now, they're available to virtually anyone who needs accurate and reliable acoustical management in a cost-effective package, taking their personal studio concept to the next level."

“"As a producer, the ability to manage acoustics and sound has been critical to my career," said co-founder Keith Olsen. "As a studio owner and user, I've tried to never let technology get in the way of creativity. By taking the experience we've accumulated in so many areas of the music and sound-for-film business and putting it into the form of an easy-to-use but well-tested and dependable turnkey solution, I think we'll help write a new chapter in the history of music in years to come."

Check out StudioPanel at AES Booth #1204 or online at www.msr-inc.com.

Linn to Show New Loudspeakers at AES
Demonstrated for the first time in full-production specification at AES, the Linn 328A Monitoring Loudspeaker is the company's flagship reference loudspeaker.

Features include an acoustically optimized 3-K driver array; 2x8-inch servo-controlled bass driver, 2x 500W bass amplifiers with active crossovers, and 500W, three-way active treble amplifier module with active crossovers. The unique Linn 3-K acoustic array (patent pending) is a precision-machined component housing an optimized and acoustically matched grouping of midrange, high-frequency and superhigh-frequency drive units. The 3-K array is mounted with an acoustically matched interface, ensuring uniform dispersion and single point-source accuracy. Linn's servo-controlled bass technology delivers accurate, extended and powerful low-frequency reproduction and ensures minimal distortion by measuring and comparing driver motion to the original audio signal and modifying power amplifier output to compensate for any bass driver nonlinearity. The company's "silent power" amplification, featuring Linn's patented "noiseless" power amplification circuitry, and advanced active crossovers deliver precise control of individual drive units completing a cool-running, hum and buzz-free monitoring tool.

The Linn 328A is designed to be suitable for reference monitoring within larger control rooms in applications such as music recording, mixing and mastering, radio production, film post-production, and TV production and post-production. The contoured cabinet shape enables stable console-mounting where the console meter bridge is able to support the unit. Alternatively, the Linn 328A loudspeaker can be mounted immediately behind the console on stands. Setup involves a mains power cable and an input signal via a balanced XLR cable connection.

In other Linn AES new, , the Linn 318A Monitoring Loudspeaker is a compact precision four-way active powered loudspeaker that is designed for near-field applications. The Linn 318A delivers a flat and extended frequency response and has excellent power handling. Features include the acoustically optimized 3-K driver array, 8-inch servo-controlled bass driver, 500W bass amplifier with active crossover, and 500W, three-way active treble amplifier module with active crossovers.

In larger control rooms, the Linn 318A will augment main monitors in multichannel monitoring installations, and is designed to perform freestanding, either on the console meter bridge or mounted on stands.

For more, visit Linn at AES Booth #1155 or online at www.linn.co.uk.

Key Code Media Announces New Division
Key Code Media has launched a focused audio division called Key Code Audio, which is a separate group focused solely on professional audio solutions.

The team is spearheaded by Reid Mason and Troy Morris, who have extensive experience within the audio industry for more than 20 years. Mike Cavanagh, president of Key Code, said, “"Our focus is on our clients. Our objective is specializing our organization around specific client's needs. This gives our clients better service and knowledge. Audio solutions cater to a different segment of the industry. It is critical we present and deliver to the high requirements demanded by our clients."

Key Code Audio will provide full audio bays and enhanced audio solutions for video bays, including those from Digidesign, Genelec, Yamaha, Tascam, Sony, Waves, Mackie, Apple and HP.

Key Code Audio is located at 3771 Cahuenga Blvd., Studio City, CA 91604, 818/303-3966, www.keycodeaudio.com.

Sanken to Show HAD-48 at AES
Sanken will show at AES its new HAD-48 mic preamp, which provides switched gains of +20 dB or +40 dB to boost signal levels. The HAD-48 features an XLR-style barrel (XLR-3M - XLR-3F) that is 4.14 inches long. The pre does not require batteries: It runs off 48-volt phantom power and draws less than 4.5 mA.

For more, see the HAD-48 at AES Booth #809 or online at its distributor, plu24, at www.plus24.net.

Cakewalk Releases SONAR 3 Producer Edition
At AES 2003, Cakewalk released its SONAR 3 Producer Edition, which boasts more than 100 new features and refinements, including streamlined UI with all-new Track and Console views; Universal Bus Architecture; gapless effects patching; VST/VSTi support; enhanced MIDI routing and synth layering; MIDI Groove Clips; multiport MTC/MIDI sync transmission; confidence recording of audio, MIDI and automation; VSampler 3.0 DXi; Ultrafunk Sonitus:fx Suite; and Lexicon Pantheon Reverb.

Other new features include a dynamic console view with per-channel, 6-band parametric EQ and assignable FX controls; Track Inspector, an optional vertical patch point and meter in Track view; ASIO and WDM compatibility; full delay compensation throughout signal path; full control over color schemes with multiple presets; patch effects, trim audio and roll-out loops without disrupting the audio stream; ACID loop, MIDI Groove Clip, Project5 pattern support; DX (28 included), DXi (four included), MFX (13 included), ReWire, VST and VSTi support; integrate MIDI-compatible control surface; and import/export OMFI and Broadcast .WAV clients and soft synths are directly routed through the extensive SONAR 3 bus architecture for enhanced processing and seamless integration with your mix.

SONAR 3 also includes content from leading sample and loops developers, including MIDI Groove Clips (a SONAR 3 exclusive) from KEYFAX!" in folk, jazz, rock, blues guitar and drums styles; and over 500 live-percussion, drums, acoustic and electric guitar, bass, modern and vintage synth files from PowerFX!" and SmartLoops!".

SONAR 3 Producer Edition has a MSRP of $719 U.S.; SONAR Studio Edition is $479 U.S. (MSRP). Registered SONAR 2.x XL customers can upgrade to SONAR 3 Producer Edition directly through Cakewalk for $179, or SONAR 2.x to SONAR 3 Studio Edition for $99.

In other company news, Cakewalk announced the SONAR 3 Producer Edition Tour, which features a real-world view of all the new features found in this Windows production environment and will be hosted by the company's product specialists. In addition, Project5, Cakewalk's new open soft synth studio, will also be showcased.

The tour will be staged at music retailers around the nation throughout October and November 2003. It kicks off the week of October 13 at Gand Music, Northfield, Ill.; Guitar Center, Central Chicago and Hollywood; and at the Sam Ash New York City store locations. Special pricing will be available for SONAR Producer Edition purchases the day of the event.

For more information, visit Cakewalk on the Web at www.cakewalk.com.

Mackie Intros New Digital Production Console
Mackie, a LOUD Technologies Inc. brand, announced its next-generation digital production console at the AES Convention in New York City. The Mackie dXb is a 96k/192k-capable, 72x72 I/O matrix (36x36 at 192k) digital production console with dual integrated touch screens, internal DSP, powerful automation, control surface functionality and FireWire I/O option cards for streaming audio to/from a desktop or laptop computer.

Development of the dXb was a collaborative effort between Mackie and Sanewave Inc., a Washington-based engineering and design company that specializes in digital audio technology. Ken Berger, senior VP of marketing and product development at LOUD Technologies Inc., commented, “"Sanewave was the perfect partner for the dXb because its group includes members of the original development team behind Mackie's award-winning Digital 8-Bus. Our own internal engineering resources augmented their expertise: the same Mackie teams responsible for key products like D8B v5 software, Mackie Control, Spike and an expanding portfolio of effects plug-ins. As a result of this collaboration, dXb is a significant leap forward for digital mixing, a market that Mackie helped define and continues to drive today. It incorporates functionality from a number of Mackie products, including an onboard UAD-1 Powered Plug-Ins card and the ability to operate as a Mackie Control Universal to provide tactical control for popular DAWs like Pro Tools, Logic, Digital Performer, Nuendo, Cubase, SONAR and more."

Physically, the dXb includes 24 channel strips with 100mm Penny + Giles optical touch-sensitive faders and two integrated 15-inch touch screens: one for each bank of 12 faders. These screens are the mixer's primary interface, providing access to important functions like send levels, inserts, routing, dynamics processing, surround panning, metering, effects and more. Also included is a tape-style transport with memory location recall and weighted jog/shuttle wheel, as well as a padded armrest with built-in mouse pad and a control room section that allows for A/B monitoring, dual phones mixes and talkback.

The dXb software has been designed for the precise response and intuitive operation more commonly associated with analog buttons rather than virtual ones. Both touchscreens and the mouse can be used simultaneously and operate independently. Users can also run select VST plug-ins internally without a separate computer and/or operate plug-ins in a desktop or laptop computer system and interface with the dXb via FireWire.

The dXb's rear panel features a card cage that can be customized with a variety of I/O cards, including analog (mic or line-level with remote-controlled mic preamps), AES/EBU, FireWire (IEEE-1394a), TDIF and ADAT optical. Both a Sync Card (supporting Word Clock and LTC) and Control Room Card (near-field and main speaker outputs, phones, and stereo AES/EBU and SPDIF) are included. Fixed rear-panel I/O includes Sony 9-pin, MIDI In/Out (MTC/MMC), FireWire (for external data storage), Ethernet and two USB host ports to connect a mouse and/or keyboard if desired.

The Mackie dXb will be available from select Mackie dealers in the second quarter of 2004 with a suggested retail price beginning under $20k, depending on configuration.

For more, visit www.mackie.com.

Great River Electronics Announces EQ-2NV
Great River Electronics announced the release of its companion equalizer to the Mercenary Edition series of products: the EQ-2 NV.

The EQ-2NV is loosely based on the topology of vintage 1081/1083 models, and its newly designed, Class-A, discrete single-ended amplifiers bring the musicality and control of the 108x greater clarity and dynamic range. The line input is a transformer-coupled bridging type, with sensitivity options ranging from elevated line-level (+8 dbm) down to keyboard and semi-pro levels (-20 dbm), which allows the unit to be employed with both professional-level equipment and in semi-professional applications. The input gain flexibility can also be employed to gain a new texture to the tones produced.

The equalizer is specifically designed to work with the company's NV Series microphone amplifiers' patch loop to significantly improve headroom at one end, a lower overall noise floor and overall greater musicality. When connected via the MP-2NV's patch point, the mic and DI inputs are fully functional, as well as the level control, metering and "big iron" of the MP-2NV's output amplifier. The equalizer also has a discrete, Class-A balanced output stage, which allows it to function as a complete stand-alone device. It is available in single- or dual-channel models.

For additional information, visit www.greatriverelectronics.com.

Universal Audio Announces New Products at AES 2003
Universal Audio announced at AES 2003 the 2-1176 (shown), a new dual mono/stereo 1176LN Limiting Amplifier. The 2-1176 retains all of the features and functionality of the company's 1176LN, and switches easily between dual-mono and true linked stereo. The 2-1176 builds from the circuit design of the company's 6176 Channel Strip and combines two 1176 channels from that unit.

"After over 35 years as the go-to professional compressor, customers are still telling us they can't get enough 1176LNs for their mixes and that they love strapping two 1176s together for stereo operation," said Matt Ward, president of Universal Audio. "The 2-1176 is the best of both worlds with two fully independent channels of 1176LN and a stereo adaptor in one box, so in addition to providing true stereo operation, it's an economical way to add two more 1176LNs to your studio rack."

At the show, the company also released the 2192 Master Audio Interface, a 1U, 2-channel 24-bit AD/DA with master reference clock, provides simple front-panel controls, supports sample rates up to 192k, and transcodes between AES/EBU, S/PDIF and ADAT in real time, with both single- and dual-wire AES modes.

"What really sets the 2192 apart from other AD/DA converter designs," said Universal Audio VP of engineering Joe Bryan, "is its discrete, Class-A analog circuitry, which yields not only exceptional detail, transient response and image stability, but, most importantly, retains all of the magical analog warmth and character of the original source across multiple sample rates."

The 2192 offers a low noise floor of -145 dBFS and a dynamic range over 122 dB. The 2192 also offers flexibility in clocking, signal routing and monitoring. A signal can run into the analog inputs at sample rates ranging from 44.1k to 192k, and then simultaneously output to AES/EBU (single- or dual-wire), S/PDIF and ADAT (with industry-standard S-MUX interleaving for sample rates above 48 kHz). The selectable output monitor controls any of the digital inputs or the analog input with no interruption to the transcoding.

The Universal Audio 2192 is now available for a MSRP of U.S. $2,795.

The company also released the Pultec EQP-1A Program Equalizer in TDM plug-in format for the Digidesign Pro Tools|HD and 24 |Mix systems. The Pultec EQP-1A has been available on the Universal Audio UAD-1 DSP card platform for more than a year.

The Pultec EQP-1A Plug-In is a faithful electronic reproduction of the legendary hardware equalizer using the company's proprietary "virtual circuit" modeling techniques. It supports sample rates of 44.1 to 192k. All of the unique features of the original hardware EQ are included in the plug-in. All front-panel controls are included on the user interface, including accurate modeling of knob tapers.

The UA Pultec EQP-1A for Pro Tools TDM systems is now available for a MSRP of U.S. $395. The Pultec EQP-1A is also available in a new UA Studio Bundle along with the 1176LN/SE and LA-2A Compressors for $995. Universal Audio is offering rebates to TDM customers from October 1, 2003, to December 31, 2003, for purchase of a $50 rebate for any single TDM plug-in; a $100 rebate for any two TDM plug-ins (compressor bundle counts as two); and a $150 rebate for buying all three TDM plug-ins (the Compressor Bundle counts as two and the Studio Bundle counts as three).

For more, visit Universal Audio online at www.uaudio.com.

ART Intros Twin Compressor System
Applied Research and Technology (ART) is now offering its Twin Compressor System (TCS) 2-channel compressor. Both an opto-isolator compressor and VCA compressor are featured; users can select one of the compressor styles or combine the two depending on need.

The unit also features a 16-position knob, which allows the user to select from several preset compression configurations. The TCS also allows for full manual control of all settings, such as attack and release. Housed in a 1U-space design, it can be used directly with instruments or with material captured by microphones, and is suitable for both studio and live performance uses.

TCS front-panel controls for each channel include attack, release, threshold, ratio, noise-reduction threshold, variable noise-reduction shelf EQ, preset encoder, straight-wire bypass, tube control for selectable tube harmonics and output level.

The two independent TCS channels can be linked and adjusted with the available global controls. When linked, one level control acts as a balance control for true stereo operation. For use with instruments such as guitar or electric bass, the TCS features a front-panel 1/4-inch instrument input jack and rotary gain control.

The TCS has an MSRP of $299, and will be shipping in December 2003.

ART also announced that the new DPS II Digital Preamp System is now shipping. The DPS II is a 2-channel preamplifier for both microphones and instruments. In addition to analog outputs, the DPS II has digital connectivity in multiple formats for linking to digital processors and digital recording devices.

Features of the DPS II include an impedance control for each channel, which allows the user to adjust the input impedance from 150 ohms to 3k ohms; rear-panel, 1/4-inch line inputs; automatic input switching; torroidal transformer provides lower noise levels; six LEDs located just above each analog meter monitor the peak levels of the input section and guide the user such that input section clipping is visibly apparent; enhanced "warm" settings, which overload much smoother and provide a big boost in gain for an improved "tube" sound; and Output Protection Limiting (OPL) circuitry enhancements.

The DPS II has an MSRP of $319.

Also shipping from ART is its Digital MPA Tube Preamplifier, which is a high-quality, 2-channel preamplifier for both microphones and instruments, and offers variable input impedance for flexible microphone voicing. In addition to analog outputs, the Digital MPA has digital connectivity in multiple formats for linking to digital processors and digital recording devices.

The Digital MPA has a light champagne-colored front panel and matching knobs; switch cap LED colors glow orange for analog functions and blue for digital functions.

Features include selectable plate voltage; large VU meters with user-accessible meter trim; metering of output level and tube warmth; improved discrete Class-A input microphone preamplifier; wider frequency response, lower THD and noise levels based on previous ART models; front-accessible instrument input jack; instrument jacks features high input impedance; and input automatically switches to the instrument jack when it's used.

The Digital MPA digital interface offers these features: 24-204k Hz external sample rate; 44.1/48/88.2/96/176.4/196k internal sample rates; 24/16-bit switchable dithering; wide dynamic range A/D, less than 118 dB (A weighted @ 24-bit); rotary encoder for quick selection of sample rate and output format; separate analog and digital output level controls; digital level LED meters with peak hold; ADAT optical I/O; sync to incoming ADAT data rate; switch-selectable optical output (S/PDIF or ADAT); selectable pro/consumer output format; AES/EBU output on cannon connector; and two Word Clock jacks allowing loop-through.

The Digital MPA has an MSRP of $749.

For more, visit www.artproaudio.com.

Genelec Shows Stereo Monitoring System at AES 2003
Genelec has created a compact, full-range stereo monitoring solution specifically designed to meet the needs of the project, recording, multimedia, or post-production studio environment. The Triple Play!" full-range stereo monitoring system comprises two Genelec 1029A two-way, bi-amplified active monitors and a Genelec 7050A LSE!" active subwoofer.

The 7050A subwoofer has been specifically designed to complement the 1029A active monitor. When combined, they deliver a smoothness of frequency response comparable to larger Genelec monitors. The subwoofer also lets the Triple Play offer greater placement flexibility. The compact 1029As are small enough to be located on a desktop as part of a multimedia/workstation audio system and visually appear fairly unobtrusive in a typical control room or project studio. The 7050A, when appropriately placed, can overcome many of the low-frequency problems associated with freestanding full-range speakers in small rooms.

This three-piece system has in-room flat frequency response—38 Hz to 20k Hz (+/-3 dB)—and each component features an integrated active balanced crossover, driver protection circuit and dedicated power amplifier. The Triple Play can produce peak acoustic levels of over 110 dB SPL @ 1 meter.

The system's focal point is Genelec's 7050A LSE Series Active Subwoofer, which employs the company's proprietary Laminar Spiral Enclosure!" (LSE) technology. The 7050A's cabinet is made of sheet metal rolled into a spiral and clamped between thick MDF side panels. Designed to complement the 1029A active monitor, the 7050A features a single 8-inch proprietary driver with 70-watt power amplifier, a frequency response of 38 Hz to 85 Hz +/-3 dB, and has the ability to deliver SPLs of 103 dB @ 1 meter. Like all Genelec LSE Active Subwoofers, the 7050A also features extremely low distortion.

The Triple Play system also includes two Genelec 1029A two-way, bi-amplified active monitors. The 1029A is a compact close-field system featuring a high degree of accuracy and wide dynamic range and incorporates Genelec's proprietary Directivity Control Waveguide Technology!" (DCW). Powered by a pair of 40-watt amplifiers, the Genelec 1029A monitors offer a frequency response of 68 Hz to 20 kHz (+/-2.5 dB) from a 5-inch woofer and 3/4-inch hard-domed tweeter. The 1029A has a front-mounted volume control and rear-panel bass and treble tilt room response controls. The Genelec 1029A active monitors measure 10x6x7.125 inches and are housed in a die-cast aluminum enclosure that features rugged construction, while also providing massive heat-dissipation capability and shielding against RF interference. Each speaker is also EM-shielded for additional protection when used in close proximity to video monitors.

All monitors in the Triple Play system feature extensive driver protection.

Available now, the Genelec Triple Play system has suggested retail price of $1,850 for the complete system.

For more, visit Genelec online at www.genelec.com.

Native Instruments Partners With Berklee College of Music
As a result of a partnership between Native Instruments and Berklee College of Music, Berklee will install NI's complete line of software instruments, such as Kontakt, Reaktor, FM7 and Absynth, on all college-owned computers.

Beginning in fall 2003, Berklee has required all entering students to have an Apple Macintosh laptop computer outfitted with software designed to support their music education and coursework. Advanced students in four of the college's five technology-rich majors are also acquiring Native Instruments titles to support existing curriculum. Stephen Croes, dean of the Music Technology Division at Berklee, said, "The broad nature of Native Instruments' offering is particularly attractive to our college's diverse musical interests and needs. The college-wide access to software instruments allows our faculty to examine new ways to present and enhance the curriculum, and the tech-heavy majors benefit from personal use and ownership of software instrument tools."

Berklee Music Synthesis department chair Kurt Biederwolf said, "The Music Synthesis department is very excited about our recent partnership with Native Instruments. For years, NI has succeeded in putting a wide variety of powerful software instruments in the hands of professional musicians, and the presence of these same tools in the classroom will open up many possibilities for learning synthesis concepts and applying them toward the production of cutting-edge music. Student ownership of these tools ensures a new level of discovery and mastery of the software that will help define their musical voices."

For more information on Native Instruments, visit www.nativeinstruments.com. More information on Berklee College of Music can be found at www.berklee.edu.

SSL Announces XLogic Product Line
Solid State Logic has released XLogic, an all-new line of 19-inch rack-mounting outboard signal processing units featuring the company's SuperAnalogue!" audio quality. Developed from SSL's XL 9000 K Series console, the XLogic rack-mounted units, which debuted at this year's AES 2003, bring high-quality audio performance to a wide range of applications, such as high-resolution digital recording for the latest DAW systems and compression for DVD mastering.

The XLogic product line comprises four units: the XLogic Channel, XLogic 5.1 Compressor, XLogic SuperAnalogue Mic Amp and the G Series Stereo Compressor.

The XLogic Channel puts SSL's XL 9000 K Series SuperAnalogue channel processing into a 1U unit, featuring SuperAnalogue Preamplifier with mic, line or instrument inputs, and switched gain for easy reset; twin-curve dynamics, selectable RMS or peak sensing for subtle to dramatic compression, including soft distortion at extreme settings; high- and lowpass filters, with routing into the dynamics sidechain, allowing frequency-dependent gating; G series and E Series "Twin-Curve" EQ, which is 4-band parametric EQ with variable Q on both mid bands and shelving/bell high and low bands; variable output level, with switchable metering; and optional digital interface card, featuring high-quality 96kHz A/D conversion and externally synchronized AES output.

The XLogic Channel features identical DC-coupled SuperAnalogue processing to the console from which it is derived, which provides a bandwidth greater than 196kHz recorders and a dynamic range beyond the range of 24-bit A/D converters.

The XLogic Multichannel Compressor unit is a 2U rack-mounted 6-channel compressor that uses SSL's center-compressor design elements within a SuperAnalogue design topology. Features include separate 5-channel and LFE channel compression controls, allowing separate treatment of LFE signals that typically require different attack and release characteristics; circular “"Max" display shows which channel is contributing the most to the sidechain, giving a clear, instantaneous indication of which channel is driving the compressor; separate trim controls for L, C, R & S channels provide different thresholds for each input; and dual stereo allows either different compression to be applied to the surround channels or for the unit to be used as separate 4-channel and stereo compressors.

The XLogic SuperAnalogue Mic Amp provides four of the XL 9000 K Series Microphone Preamplifiers in a 1U rack-mounting unit with optional remote control and is designed to work stand-alone, remote controlled or directly from a suitably configured SSL XL 9000 K console.

The XLogic uses DC-coupled SuperAnalogue technology combined with stepless changes to preamp gain through servo-driven motorized potentiometers, as well as selection of 20dB pad, +48V phantom power and hi/low-impedance selection for both line and microphone level inputs. When combined with an XL console or used with the optional XLogic Remote, the 4-channel amp can be used in multiples to provide additional capture capability. A twin 7-segment digital display identifies the appropriate channel, and the unit's "monitor" capability can be bused, allowing one headphone output to monitor any unit's mic input.

The XLogic G Series Compressor unit is a 1U rack-mounting stereo compressor that also uses SSL' G Series center-compressor design elements within a SuperAnalogue design topology. Front-panel switches allow the compressor and external sidechain signals to be switched in or out of circuit. The Autofade switch allows an automatic fade out of a duration set by the rate control. When the Autofade switch is released, the stereo signal will fade back up over the set time.

For complete details about the XLogic product line, visit www.solid-state-logic.com/xlogic.

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