Mix News for September

Sep 23, 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 September 1 - 15 (read September 16-30 news)

Orban/CRL Mobile Broadcast Laboratory Tour Announced
Orban/CRL announced its first cross-country U.S. tour of the new Orban/CRL Mobile Broadcast Laboratory (MBL). The unit is a fully equipped, 33-foot mobile vehicle that has been converted to allow for testing and demonstrations of Orban and CRL products, as well as host comparisons with other products. The MBL also carries kiosk rack-mounted displays of the entire product line of Orban/CRL.

A variety of equipment, including the new Optimod-PC 1100, the Optimod FM 8400HD and the Opticodec 7000 and 7400 Series ISDN machines, will be onboard. Presentations will be conducted on High-Definition Radio and the most recent developments in audio processing. The MBL will offer broadcast engineers, technical service managers and owners an opportunity for hands-on demonstrations and a chance for in-depth Q&A sessions with representatives from Orban/CRL.

Already on the road, the Lab will be in these cities on these dates: September 11, 2003, Minneapolis; September 16, 2003, Milwaukee, Wisc.; September 18, 2003, Chicago; October 1, 2003, at NAB Philadelphia; October 10-13, 2003, at AES in New York City; October 14, 2003, in Cleveland; October 20, 2003, in Wichita, Kan.; October 28, 2003, in Sacramento, Calif.; October 29, 2003, in San Francisco; October 30, 2003, in Fresno, Calif.; November 11, 2003, in Los Angeles; and November 11, 2003, in San Bernadino, Calif. Additional stops in Denver and Phoenix are still in the planning stage. The Tour will continue into 2004.

For more, visit www.orban.com.

Ultrasone Donates Headphones to Music for Life Alliance
EARS Audio Distribution donated 30 Ultrasone HFI-15G headphones to the Music For Life Alliance. The Music for Life Alliance is a nonprofit organization dedicated to providing new and refurbished musical instruments and audio equipment to underserved kids in school and community-based music programs.

Linda Albright, sole proprietor of EARS Audio, said, "We are proud to have been able to contribute these Ultrasone headphones to the school music program and to help educate future generations about the importance of safe listening and protecting their hearing."

The donations were in honor of Muriel Anderson's All-Star Guitar Night featuring Les Paul, which took place at the Ryman Auditorium in Nashville during the NAMM Summer Session. EARS Audio Distribution also donated an Ultrasone HFI-550 Beatmaster headphone and an Ultrasone HFI-650 Trackmaster headphone to the Silent Auction. All proceeds raised from the auction will benefit the Music For Life Alliance and Nashville-area high school piano labs.

For more information, visit www.ultrasone.com.

Fall 2003 Football Games to be Presented in Dolby Digital 5.1
Networks announced that this coming football season, pro and college football games will be broadcast in Dolby Digital 5.1 surround sound; included in these broadcasts is ABC's Monday Night Football. ABC, FOX and other networks will also broadcast select regular season Sunday and post-season games in Dolby Digital 5.1.

“"Fox's first Dolby Digital broadcast was the network presentation of the theatrical film Independence Day in 1998. Fox also produced Super Bowl XXXVI and has produced its NFL and NASCAR coverage in the format since last season. In fact, Fox has made a commitment to broadcast all of its Fox Widescreen sports presentations in Dolby Digital 5.1, as we believe that the purest digital audio enriches the viewing experience by making viewers feel like they are at the game," said Andy Setos, president of engineering at the Fox Group.

"Live programming, such as sports, is a great showcase for Dolby Digital 5.1," said Tom Daily, director of marketing professional audio for Dolby Laboratories. "Sports fans really appreciate the difference that Dolby surround sound makes in experiencing the action."

For more, visit Dolby online at www.dolby.com.

Recent Studio News From the Zone
Including numerous session dates at Atlanta-based Zone Studios, the studio brought onboard engineer Joel Mullis and opened a third studio, "The G Room." The new room has Pro Tools and is being used for mixing, editing and pre-production.

Ying Yang Twins recently completed recording and mixing their new album, Me and My Brother for TVT Records with producer DJ Smurf. The Zone's Billy Hume mixed the record and played guitar. Devin Johnson engineered in Studio B. Break 'Em Off/Arista recording artist Bonecrusher has begun work on the follow-up to his album Attenchun!. Hume was again tapped for his production chops, with Joel Mullis and Devin Johnson engineering.

Hume was also found remixing David Banner's "Like a Pimp," featuring guest spots from Busta Rhymes and Twista. Banner was also working on tracks for his second release for Universal Records. Cloud 10 recorded their first full-length album at The Zone. Hume produced, engineered and mixed the record.

For more session and studio news from The Zone, visit www.mindspring.com/~hume/zone.html.

MakeMusic! Releases Finale 2004
New features in 2004 include: Human Playback, which plays back your music as the user has written it; FinaleScript, which uses English to create scripts of Finale commands to modify multiple files automatically; a free version of SmartMusic Software Synthesizer; SmartMusic SoundFont, the same professional-grade instrument sounds found in the SmartMusic practice system; ability to create SmartMusic accompaniments with advanced features for solo works, exercises, warm-ups, etc.; Save as Audio File to record onto an audio CD; and Smart Page Turns, which aligns individual parts for natural page turns.

“"We have worked closely with the world's best engravers and publishers," stated John Paulson, MakeMusic!'s president. "The power of FinaleScript, the new note-entry design and the ease-of-use features such as Smart Page Turns will make their work much more efficient. Similarly, we have worked closely with educators. The built-in synthesizer, great sounds and Human Playback will inspire students when they listen to their assignments created with Finale. The Save as Audio File feature will let students share their music with friends and family and enable teachers to keep a record of each student's progress."

For more, visit www.makemusic.com.

Euphonix Moves Manhattan Address
Euphonix has recently relocated its New York sales and service operations into a new facility. The office will be used by Peter Kehoe, director of sales in the Eastern region; James Tunnicliffe, service manager for the Eastern region; and Tony Langly, VP of broadcast marketing.

The new address is 424 West 33rd St., Ste. 560, New York, NY 10001; 212/889-6869; fax 212/889-6897.

For more, visit Euphonix online at www.euphonix.com.

Emagic Releases Logic Platinum 6.2
With a simultaneous release date, Emagic released the first Logic version optimized for Apple's Power Mac G5. Version 6.2 update is a requirement when running Logic on a G5. All registered owners of Logic Platinum 6.x can now find this as a free download at www.emagic.de/support/download/lpx.php?lang=EN.

"The G5 is a dream machine for musicians," said Dr. Gerhard Lengeling, Emagic co-founder and chief architect of audio applications. "The introduction of the first 64-bit desktop processor means a huge step toward an integrated, computer-based native music-production system: one that includes software instruments, composing and post-production tools. As a musician, you will experience an incredible performance boost. Not only CPU-hungry plug-ins, obviously, but also those functions that require moving lots of audio data in RAM benefit greatly from the extremely fast new bus architecture."

According to Lengeling, many aspects of audio applications will profit from the new G5 frontside bus; for example, especially when large amounts of audio data must be streamed or moved in memory. This includes audio inputs and outputs, plus audio buses within an application's internal mixer. In addition, Emagic's EXS24 software sampler and all effects plug-ins, such as Emagic's PlatinumVerb, will benefit from the new bus architecture. Logic Platinum 6.2 also includes special performance optimizations for Power Mac G5 models with dual processors.

For more, visit www.emagic.de.

Peerless Mastering Installs SLS Loudspeakers
Mastering engineer and president/founder of Peerless Mastering, Jeff Lipton recently installed SLS Loudspeakers' S1065 in his Newtonville, Mass. facility.

“"The decisions I make while listening on the SLS monitors translate incredibly well outside of the room, whether the record is played on an inexpensive boom box, in a car or on a home stereo system," Lipton explained. "They also enable me to work a lot faster since I can hear exactly what needs to be changed right away and I can trust what I'm hearing."

An important feature of the SLS monitors, according to Lipton, is their ribbon driver-based design, which eliminates artifacts that can cause ear fatigue. "I can go an 18-hour day, monitoring between 78 and 82 dBs, feeling just as sharp at the end of the day as when I started."

According to mastering facility designer and president of Alactronics, Bob Alach, who provided and installed the speakers at Peerless Mastering, "I choose SLS for mastering facilities because there's a huge difference between their monitors and just about everything else in the world due to the ribbons. The high-power ribbon drivers are just an entirely different technology; they don't sound like any other speaker. You don't get a lot of artifacts using SLS like you can with regular metal-dome tweeters or horn drivers. They help you hear more of what is really recorded."

Currently, Lipton is using the monitors to work on a Wishing Tree Records compilation album called The Amos House III featuring Wilco, the Aluminum Group and the Skating Club. Lipton's other recent projects include the Dropkick Murphys, the Pernice Brothers, the Magnetic Fields, Big Star, Leadbelly, Lightnin' Hopkins, Woody Guthrie, Atom, Neil Carswell, Jack Drag, The Moles, Richard Davis and the Dead Milkmen.

For more, visit Peerless Mastering at www.peerlessmastering.com/splash. For more on SLS, visit www.slsloudspeakers.com.

Drums on Demand CD Available
With recordists and songwriters in mind, Drums on Demand ($49.95) was created from studio recordings of contemporary songs, offering nearly 900 stereo, royalty-free loops (almost 700 Megs) organized into 41 Song Sets®, with each set including as many as 33 verse, chorus, fill, bridge, break, intro, ending and other loops.

The loops were tracked into 24-bit Pro Tools with state-of-the-art mics and mixed down using high-end compression and reverb. PC/Mac CD-optimized for Acid and Cakewalk, the CD is also compatible with all .WAV-based audio recording programs that read 24-bit .WAV files (Pro Tools, Performer, etc.). Features include: "Acidized" loops; rock, pop and country styles; multiple time signatures; 41 loop sets, Ranging from 72 to 170 bpm; multiple snares; and brush and rim-based loops.

For more, go to www.drumsondemand.com.

Tribune Studios Installs Twin Max Airs
Tribune Studios, a division of Tribune Broadcasting, has installed twin Max Air digital audio consoles in its Hollywood production facility. Both 96-channel, 5.1 surround-capable consoles will be used for live-to-tape production sound on shows such as The Sharon Osbourne Show, Family Feud and Style Court.

Director of engineering and technology, Jim Toten, said, "Max Air packs a lot of bang for the buck, and from an operator's point of view, it's easy to learn and use. The touchscreen and the full Superchannel in the center of the console make it easy to work with, which is very important, as our mixers are freelancers. We have also been using the Euphonix System 5 for some time so we know the company very well and like the reliability and the architecture of their systems.

"Although the shows we do now are in stereo, we wanted to be fully 5.1 capable," Toten continued. "We typically use between 40 to 60 sources so Max's 96 channels easily cover current needs and give us some spare capacity, which will be needed in the future when we do more surround work."

For more, visit www.euphonix.com.

Propellerhead Announce Reason Adapted
Propellerhead Software announced that Reason Adapted, a special edition of its Reason application, will be included with Digidesign's creative bundle, which is focused on innovative music applications that implement Propellerhead's ReWire Inter-Application. Every new Digidesign Pro Tools system will now include the ReWire-infused Reason Adapted, Ableton Live Digidesign Edition, and IK Multimedia AmpliTube LE, SampleTank SE and T-RackS EQ, in addition to core Pro Tools software.

ReWire is a cross-application technology to transfer both MIDI and audio seamlessly between ReWire-compliant applications. ReWire was designed as the software equivalent of a multichannel cable between two audio applications, and integrates MIDI, audio and transport control in one invisible application link. Synchronization between the devices is also handled by ReWire. Once the applications have detected each other (which happens automatically), they are in complete sample-accurate sync. Originally created as a proprietary protocol, ReWire is now an open standard implemented in Digidesign Pro Tools and over three dozen other music applications.

Reason Adapted is the essence of Reason 2.5, which emulates a rack of electronic synthesizers, samplers, drum machines and recording equipment.

For more, visit www.propellerheads.se.

Mackie Introduces Spike
Mackie Designs Inc. announced an all-inclusive compact recording system. Available in Q4 2003, the Spike Powered Recording System ($419) includes all of the hardware and software necessary to track, mix and record music on a Mac or PC, including Mackie's new XD-2 USB 24-bit USB audio/MIDI interface, integrated Tracktion audio recording and sequencing software, a copy of Ableton Live Mackie and more.

"Many musicians looking to get started in the world of computer-based recording are discouraged by the complexity and limitations of existing software and hardware systems," commented Dan Moore, recording product development manager at Mackie. "Spike is really about providing a turnkey, out-of-box recording solution that will allow even the most technically challenged musician to be tracking and editing their music in a matter of minutes rather than days."

The hardware portion of the Spike Powered Recording System is the new 2-channel XD-2 USB audio/MIDI interface with 24-bit, 96kHz resolution and support for ASIO 2.0, WDM and OS X Core Audio. The XD-2 features two of Mackie's low-noise digital mic preamps that deliver low distortion, plenty of headroom and a clean, detailed sound. Each input channel features a "combo" jack that can support a line-level or an instrument input, in addition to the mic preamp. Other input/output options include S/PDIF I/O, MIDI I/O, stereo monitor outputs, and front-panel headphone jack and level control.

The XD-2 also features an onboard SHARC® DSP chip that supports a full suite of dynamics processing for recording. This includes a 4-band parametric EQ, a compressor/limiter and a gate/expander, all of which can be rearranged in order along the signal path for each input or output channel. The onboard DSP also allows for low-latency monitoring of effects while recording.

The software bundle that ships with the Spike Recording System includes a copy of Tracktion, a new multitrack recording and MIDI sequencing software application from Raw Material Software. Tracktion's interface allows users to record, overdub, edit, mix and play back any combination of audio tracks or MIDI sequences. Through a drag-and-drop interface, Tracktion provides unlimited track count, and full VST and VSTi support automation. Tracktion ships with a number of bundled effects and soft synths. As part of the Spike Powered Recording System, Mackie is also including is a copy of Ableton Live Mackie, a powerful loop-based sequencing software application for live performance based on the Live software from Ableton. Mackie will also bundle two free plug-ins: the new AmpliTube LE guitar cabinet and distortion modeler from IK Multimedia, and the new Warmer-Phaser modulator based on the Blue Tubes bundle from Nomad Factory.

For more information, visit www.mackie.com.

Mackie Designs Inc. Now Loud Technologies
Mackie Designs Inc. announced today a change to the company's corporate name from Mackie Designs Inc. to Loud Technologies Inc. This change is intended to eliminate confusion between "Mackie" the company and "Mackie" the brand.

Jamie Engen, CEO at Loud Technologies, said, "As the company has grown, it has become increasingly difficult to differentiate the corporate entity 'Mackie Designs Inc.' from the brand 'Mackie.' This change will enable us to more clearly communicate within the financial and business communities, while at the same time, allow all of the brands under the new corporate designation, Loud Technologies, to strengthen their own unique identities and market positions.

"The transition from Mackie Designs Inc. to Loud Technologies Inc. will take place over a period of weeks rather than days. It's a change in designation only that is intended to bring clarity to our brands and does not indicate a change in ownership, corporate structure or in day-to-day business operations. 'Mackie' the brand will remain and, as such, will have greater clarity and messaging as a result."

Currently, there are seven brands in the Loud Technologies portfolio: Mackie, TAPCO, EAW, RCF, RCF Precision. SIA Software and Acuma Labs. Loud Technologies will continue to be headquartered in Woodinville, Wash., at the current Mackie Designs Inc. headquarters.

In other Mackie news, the company announced plans to position RCF as the worldwide commercial sound brand within the Mackie Designs family. With this announcement, the company will begin transitioning current Mackie Industrial products to the RCF brand starting with the DX8/DX810 Digital Mixer and the SP400C Ceiling Monitor.

"We have a fantastic network of dealers, distributors, system designers and contractors in place that have been very supportive of the Mackie Industrial brand and we are fully committed to this team," commented Ken Berger, senior VP of marketing at Mackie Designs Inc. "We want to build upon the momentum that they have helped us to establish, and at that same time, leverage RCF's rich 50-year history in commercial sound into new markets, including North America."

As part of this refocus, Mackie also introduced a new logo and graphics identity for the RCF brand. These graphics, along with the newly rebranded RCF DX8 and DX810 Digital Mixers, as well as the RCF SP400C Ceiling Monitor, are currently on display at the PLASA show in London. A new RCF Website is scheduled to launch later this year.

For more information, visit www.mackie.com. Coming soon: www.loud-technolgoies.com.

MediaComm Adds SSL 4056G+
After acquiring a Pro Tools|HD rig last year, MediaComm (Charlotte, N.C.) augmented its audio menu even further with an SSL 4056G+ console.

The SSL suite will also perform audio sweetening, using the studio's Pro Tools|HD, which offers 128 channels for mixing in post, as well as full sound-to-picture capability. To complement the SSL, MediaComm installed a new isolation booth for simultaneously recording/mixing as many as four talents. MediaComm's head audio engineer Kelly Morse said, "The changes to this room will not only allow us to accommodate large-format productions, but will improve audio service to our Avid nonlinear suites, our audio sweetening rooms and our production control rooms." The 4056G+ took six engineers two weeks to install, during which time MediaComm equipped the desk with plant-wide connectivity.

For more, visit www.media-comm.com. For more on the board, visit www.solid-state-logic.com.

Peavey Intros New Digital Mixer
PVDJ, a division of Peavey Electronics Corporation, introduced the new Rotomix professional modular mixer that is designed for remixer DJs and installation in clubs and restaurants.

The Rotomix professional 6-channel mixer utilizes modular design, so each channel has its own independent circuit board, reducing interference between the channels for a clear sound. Features include a sleek aluminum rotary knobs; a high-performance preamp section; a rugged metal casing; six fully configurable, stereo channels including phono, line, balanced line and mic inputs; 3-band EQ with soft boost and frequency kill effects on each channel; six channels, each assignable to zones A and B and main output; 48-volt phantom power for condenser mics; and triple stereo outputs for each zone to meet any connection needs.

The Rotomix will be available in November 2003. For more, visit www.pvdj.com.

Avatar Studios Installs Yamaha DM2000
Resident mixer/engineer Roy Hendrickson has installed a new 96-input Yamaha DM2000 digital production console in his mix room, Studio R, located on the fourth floor of Avatar Studios (New York City).

Hendrickson initially installed the DM2000 for its 96kHz capability after having mixed on it in a studio in Minneapolis, and was delighted with the smart, well-thought-out features of the console. “"The internal patching is better than anything I have seen before," he said. "The console has a very honest, big sound."

The new Yamaha console is interfaced with a fully loaded Pro Tools|HD3 rig complete with 48 I/O. Hendrickson utilizes the Pro Tools layer and locator on the DM2000 quite frequently: a feature that allows him to mix much faster and not have to look at the computer screen at all during mixing. The built-in USB interface of the console makes connections very easy, according to Hendrickson. The P2 interface is used to control the collection of analog machines located in Studio R. Now fully capable of 96k digital surround mixing, Studio R has a full complement of multitrack and 2-track analog recorders, including Ampex and Studer machines. Other equipment includes a UREI LA-3A, Pultec EQs, Neve 1073 channel modules, an Eventide SP2016 and an Ampex ATR-102. The room is also tied into analog reverb units and an EMT 140ST located in the basement. Studio R has direct access to Avatar's vast collection of outboard gear.

Kirk Imamura, president of Avatar Studios, said, “"Roy has done some amazing work on Yamaha consoles in the past, mixing over 30 albums on a couple of 02R units. We can't wait to hear what he does on the new DM2000 with all its digital surround mixing capabilities."

Hendrickson is currently mixing a live album in surround for a DVD release, and with the addition of the Yamaha DM2000, is gearing up for 24-bit/96kHz digital surround mix projects. He has previously worked on 5.1 surround mixes for Philippe Saisse and Cassandra Wilson.

For more information on Avatar, call 212/765-7500. For more information on the DM2000, visit Yamaha online at www.yamaha.com/proaudio.

Tierney Sutton Records at Conway
Tierney Sutton's upcoming CD, Dancing in the Dark is a tribute to Frank Sinatra and was recorded at Conway Studios (Hollywood) for Telarc. Engineering tasks were handled by multiple Grammy Award-winner Michael Bishop.

"The idea was to have Tierney record a collection of tunes that made Sinatra famous," said Bishop. "'Come Fly With Me,' for example, is as well-known for the Nelson Riddle arrangement as it is for Sinatra's impeccable vocal. Having a female vocalist sing these songs turns things around right away. Another twist was the new arrangements by Tierney and the band. Tierney has a fantastic band, and we started out recording her and the trio live to DSD. We'll add strings, winds and light brass later as a DSD overdub.

"Our initial plans," continued Bishop, "were to record the basics in Studio B over at Capitol Studios in Hollywood, where Sinatra worked. But Diana Krall and Tommy Li Puma were working in Studio A at the time we were going to track, and their record was similar to ours, so it didn't quite feel right. We moved over to Conway, which is like a recording heaven! In this day and age, a lot of recording goes on in personal rooms and hole-in-the-wall studios that have Pro Tools rigs and there's a certain sameness to lots of the releases. Only a first-class facility with world-class tech support would cut it on this project. I always depend on a great room that will give us that certain edge in getting a unique sound. The bleeding-edge gear we use demands the best in studio support staff. Even though we were working with just a trio, I wanted to record in a large space in order to get the sound of the room into the recording."

To capture the sounds of a grand piano, Bishop used a pair of Sennheiser MKH 800s on the Steinway Hamburg concert grand during the sessions. "How you mike a piano depends a lot on the nature of the recording itself," said Bishop. "Classical recordings require moving mics out into the room. Close-miking is often used on jazz and pop piano recordings, but I wanted the option of moving the mics further out from the instruments for a bigger sound at times. Studio C over at Conway is large enough to track a small orchestra in. I essentially used it as a piano room, but I was able to take advantage of the size of the space to help me capture the sound and body of the instrument, and the altitude as well, which gives some great colors. Recording the ambience of the room itself is critical, as important, in fact, as the instrument itself." According to Bishop, this record will be released on SACD, as well as in the conventional CD format. "If you have any shortcomings in the room, the microphones or in the signal chain, they'll all be revealed on the high-resolution release, so we're particularly careful when we make recordings planned for these specifications."

In addition to the 800s, Bishop placed a Neumann KU 100 behind the main mics for surround pickup. On the band tracks, the KU 100 was used for overheads and main pickup on the drums. For the string session, it functioned as surround pickup in addition to being a big part of the stereo sound. Bishop also relied on a Neumann Solution-D mic, which he had previously used on Sutton's last Telarc release, Something Cool. "The principle attraction of the Solution-D is its extreme transparency," he continued. "Tierney doesn't need any help on her voice. We don't want to cover up or enhance her sound at all, and the Solution-D doesn't impart any coloration. I use a very simple signal chain, in part because the Solution-D requires no external preamp. We go straight from the Solution-D to a Prism DA2 converter—one of the best PCM D-As ever made—at 96 kHz. Then we hit a GML 8900 dynamics controller, which handles some overall compression when it's needed. The D's internal high-frequency limiting is great to have when you're working extremely close to a vocalist and you have to worry about sibilants.

"I control everything from my laptop in the control room. The Solution-D software lets me send control data over the same AES cable that the signal is coming into the control room on using the system's AES 42 interface. I can change a pickup pattern or alter the sensitivity and gain, and insert high frequency and peak limiting without ever leaving the control room! All of these functions are controlled at the microphone itself. Add to that the openness and the clarity of the microphone, and you've got a fabulous combination, which has become an invaluable tool for me. I couldn't imagine going into a session with a vocalist who has such a wide tonal range and using any other mic but the Solution-D. I've tried all sorts of classic microphones on Tierney, but I haven't found anything that beats the D."

For more on the microphones, visit www.sennheiserusa.com or www.neumannusa.com.

John Carroll Joins TL Audio
TL Audio announced that following a two-year absence from the industry, John Carroll has recently joined the company as an associate director. Carroll, who has over 30 years experience with pro audio manufacturers, was the sales and marketing director at Soundtracs plc up until August 2001.

Tony Larking, owner and managing director of TL Audio, said, “"We are delighted to have convinced John to join our team, bringing with him a wealth of experience in all aspects of our business, gained from over three decades in our industry."

Carroll can be contacted via e-mail at johncarroll@tlaudio.co.uk.

Crown Receives Quality Certification
Crown International recently announced that it has received ISO 9001:2000 certification of its quality-management system.

Company president Blake Augsburger said, "This achievement is evidence for our customers and partners that Crown takes quality seriously. Our quality-management system was designed to keep us on track as we develop and market products and services that are of the highest quality, and that exceed our customer's expectations. Senior leadership at Crown have made it a priority to put this system in place and to manage our business with a focus on quality."

Crown originally achieved certification to the ISO 9002:1994 standard in 1999. This new version of the ISO quality standard places a greater emphasis on top management involvement in the quality system, as well as a focus on continual improvement. Additionally, the audit for compliance with the standard now examines the extent to which a company's quality system contains customer-focused elements, including understanding needs, meeting requirements, keeping customers informed and measuring satisfaction. A company receives ISO 9001:2000 certification upon verification by an independent auditor that it has complied with the standard.

Crown's quality-management system will be re-examined every six months to ensure on-going compliance with the standard. Augsburger noted, "While achieving ISO 9001:2000 certification has been our goal, it does not represent an end unto itself. Rather, it is a significant milestone in our ongoing efforts. Sustaining the level of performance that this latest certification acknowledges is essential since quality is a continuous process."

For more, visit www.crownaudio.com.

Recent Session News at Wire Recording
Pushmonkey (www.pushmonkey.com) was at Wire Recording in Austin, Texas, mixing tracks for a new release on Wire's 32x24 vintage API. Working with Pushmonkey were Wire Recording owner and mix engineer Stuart Sullivan, producer Paul Leary (Sublime, U2, Meat Puppets) and Pushmonkey guitarist/co-engineer Will Hoffman.

Hoffman was also at Wire in August producing and engineering tracks for Texas-based Passerby.

For more, visit www.wirerecording.com.

Now Shipping: Melodyne 2.0
Celemony announced that it has begun shipping Melodyne 2.0, which introduces the "MelodyneBridge," a new technology that allows Melodyne to be connected to any VST or AudioUnit host. Though Melodyne remains as a stand-alone application, it can also be used as if it were an effect plug-in.

Melodyne is a multitrack audio recording and editing application that separates recordings into score notes and allows the user to edit vocals, solo instruments and percussion similarly to editing MIDI tracks.

Melodyne 2.0 implements the ReWire protocol and can be connected and synched to all ReWire applications, including Cubase, Digital Performer, Live, Logic, Pro Tools or Reason. It can also be synched to MIDI Clock and SMPTE, and supports MIDI In/Out, as well. Users can control Melodyne via MIDI keyboards and remote controls (Mackie Control, Logic Control, Radical SAC and others) and can send the musical content of an audio file as MIDI to synthesizers in real time, including velocity and pitch phrasings.

Melodyne's mixing features have also been improved, such as the addition of EQs, insert effects, aux sends and returns, group tracks, and access to both VST and AudioUnit effect plug-ins. In addition to running on ASIO, DirectX, SoundManager and CoreAudio-based hardware, the Studio Edition adds Direct I/O support.

Melodyne 2.0 runs on Mac OS X and Windows SE/ME/XP. Melodyne cre8 allows the user to edit eight tracks simultaneously and supports files up to 48 kHz and 24-bit. The Studio Edition can load and edit a virtually unlimited number of tracks and supports 32-bit files and sample rates up to 192 kHz. Both versions offer a 500-level undo function.

For more, visit Celemony online at www.celemony.com.

NAB to Launch Post-Production World Conference
The National Association of Broadcasters have created a post-production education conference: the NAB Post|Production World Conference, which will be held during NAB2004 (April 17-21 in Las Vegas).

The NAB Post|Production World Conference, co-produced with digital media educator Future Media Concepts, will feature over 160 sessions on a large variety of topics, including digital video and film editing, news editing, compositing and special effects, 3-D animation, Web design, DVD authoring, video encoding for DVD and streaming, sound design, digital imaging, tech support for digital facilities and DV production tips.

"NAB research shows that our production/post-production attendees are extremely talented professionals seeking only the highest-quality educational opportunities," said John Marino, VP of science and technology at NAB. "This partnership with Future Media Concepts will offer NAB2004 attendees a world-class educational event to complement the massive display of audio and video-production hardware to be seen on the NAB2004 show floor."

"As digital media creation tools have become more sophisticated and capable of doing more, the need for quality training has never been so evident," said Ben Kozuch, president and co-founder of Future Media Concepts and the conference chairperson. "We have created the Post|Production World Conference to provide digital media professionals from all over the world with the opportunity to receive cutting-edge training that respects their professional skills and to serve as an invaluable networking opportunity that is so crucial for success in our industry."

Software covered in the sessions will include Avid Media Composer, Avid Xpress Pro, Avid Xpress DV, Avid|DS, Pro Tools, NewsCutter, Apple Final Cut Pro, Shake, DVD Studio Pro and Logic, Adobe Photoshop, After Effects, Premiere and Encore, Macromedia Flash, Dreamweaver and Fireworks, Discreet, Combustion and Cleaner, and Boris Red and Continum. In addition, the conference will feature Spanish-speaking instructors for sessions on Avid, Final Cut Pro and After Effects. The "Inside the Creative Mind" track will feature industry leaders demonstrating and discussing the aesthetic process used in creating a project. The conference will also feature a business track designed to provide digital artists with tips to enhance their career. Instructors from Future Media Concepts, power users and digital artists will serve as presenters.

For more information on NAB2004, visit www.nabshow.com. For more information on Future Media Concepts, visit www.FMCtraining.com.

A Designs Offers New Stereo Mic Pre
A Designs Audio has announced its MP-2r pure tube-in/out, high-gain stereo microphone preamplifier.

The MP-2r all-tube mic pre has a gain of 60 dB and uses a zero-feedback loop design, employing a combination of custom-wound input and output balanced transformers, Jensen transformers and high-end tubes. The front panel includes independent polarity, phantom power, level controls and large backlit VU meters. Also included is a Neutrik Combo XLR 1/4-inch connector, which can be used as a direct-in for instruments.

MSRP for the MP-2r is $1,899 and is already shipping.

In other company news, A Designs also introduced ATTY, an in-line level controller for mono/stereo audio signals that is intended to obtain more control over powered desktop speakers and amplified units that do not offer an output control.

ATTY has two Neutrik combo input jacks (1/4-inch XLRs) for true stereo and two balanced output XLRs. There is a level control knob and a "panic button," which can act as a mute switch that shorts the signal until full control is regained. ATTY is small and compact (2x3x5 inches) and weights 2.5 pounds. MSRP is $95 and will begin shipping next month.

For more, visit www.adesignsaudio.com.

Waves Releases Transform Bundle
Waves' Transform Bundle—a collection of new sound-transformation tools—offers four plug-ins: Sound Shifter, Doubler, TransX and Morphoder, supporting sample rates up to 96 kHz.

Sound Shifter allows shaping of time and pitch with the ability to pitch-shift over an octave with a time ratio of 50% to 200%, allows users to fit music to any duration while maintaining fidelity, punch, groove and transients without smearing. A preset library provides presets for common time- and pitch-related applications.

The Doubler adds dimensions and fattens up tracks with double-tracking, exciter-style and harmonization-type effects. Two- or four-voice doubling is provided with 100-cent detune range, plus one octave downshift, and up to 200 cents of pitch modulation, providing a large range of effects with maximum control, including independent gain, pan, delay, feedback, detune and modulation settings for each voice.

TransX shapes attacks and transients, and controls and shapes dynamics for punch without artifacts. TransX includes wideband and multiband transient-contour shaping, automatic transient detection, and control over transient sensitivity, balance, release and threshold.

Morphoder expands upon the concept of a vocoder, but adds features such as formant shifting and compressor-enhanced filter-release dynamics and many others.

The Transform Bundle supports native and TDM systems via TDM, RTAS and AudioSuite for both Windows (including XP) and Mac (including OS X) systems. The Bundle is now available and is priced at $1,200 (native) and $2,400 (TDM).

For more, visit www.waves.com.

Emmy Noms to be Judged on DVD
This year, the Academy of Television Arts & Sciences will distribute shows that are nominated for Emmy Awards in Outstanding Sound Editing and Outstanding Sound Mixing categories via DVD so that judges will be able to hear the shows in their original multichannel broadcast formats. In addition, shows can be heard in Dolby Surround, Dolby Digital 5.1 and in stereo. Previously, the Academy distributed nominated content on VHS cassettes.

Programs presented in Dolby Digital 5.1 that have been nominated for a sound-related category include The Sopranos, Live From Baghdad, Meredith Wilson's The Music Man, The 75th Annual Academy Awards, The 45th Annual Grammy Awards, Alias and James Cameron's Expedition: Bismarck.

"Audio professionals mix many shows in surround sound because they believe that the format improves the viewing experience, so we are now distributing content on DVD to allow the judges to hear the nominated program the way mixers originally intended," said John Leverence, VP of Awards for the Television Academy.

"We're very gratified about this development," said Patrick Artiaga, director of automotive and broadcast marketing at Dolby Laboratories. "With this move to DVD, the Academy voters will consider the quality of the multichannel mixes the sound editors and mixers have worked so hard to produce."

Onyx 2.0 Now Available
Jasmine Music Technology and NTONYX announced that Onyx 2.0, a sequencer/arranger, is now available.

Onyx 2.0 operates not only with notes, but also with musical objects (harmony type, performance manner, instruments, meter, etc.). These features can be adjusted in a wide range of parameters; for example, musical objects can be morphed together. Onyx creates musical objects (named OOStyles: Onyx Orchestrator Styles) from ready MIDI files or recorded fragments. This allows the user to create a song from two to three slices.

Onyx Musical Object Morphing (MOM) technology is able to make any song sound in the manner of another song's style by changing the harmony, tune, performing manner, rhythm and meter.

Other features include: bank/patch selection, volume and pan envelopes drawing, record/play/loop functions, MIDI FXs, multiport MIDI output, factory and user presets, additional views and much more. Minimum system requirements include 500MHz processor, Windows-compatible sound card, 128MB RAM, 30MB hard disk space and supports Windows 98SE/Me/2000/XP.

For more, visit www.ntonyx.com.

ESI Acquires ST Audio
ESI announced that it has acquired the ST Audio (www.staudio.com) brand beginning September 1, 2003. ESI will manufacture, distribute, develop and update hardware and drivers for the full range of ST Audio products. In addition, ESI will take over all pro audio production line responsibilities, as well as providing a sales department to service both current and future ST Audio customers.

Chess Lim, president and CEO at ESI, said, "We are delighted to welcome ST Audio's customers and distributors to the worldwide ESI family. Leveraging its audio expertise in designing high-end digital audio interfaces for the professional and project studio markets, the ST Audio product line will significantly broaden ESI's innovative product range and provide additional solutions to our customers."

For more, visit www.esi-pro.com.

Glyph Announces GT Series
Glyph Technologies' new GT Series of FireWire-based storage subsystems features a hot-swappable FireWire hard drive that is compatible across the line.

Cross-functional and expandable, the GT Series offers both tabletop and rack-mount solutions in durable stainless steel. The series includes the GT 050 fixed-mount tabletop, the GT 051 hot-swap tabletop, the GT 103 single-space three-bay enclosure, and the GT 308 three-space eight-bay enclosure. The GT Key hard drive works with all of the enclosures and is available in 80GB, 120GB and 180GB capacities.

Backed by Glyph's service and technical support, GT Series enclosures are covered by a three-year warranty. Hard drives come standard with overnight advance replacement in the first year. For more, visit www.glyphtech.com.

Mix News September 16-30

ESI Acquires ST Audio
ESI announced that it has acquired the ST Audio (
www.staudio.com) brand beginning September 1, 2003. ESI will manufacture, distribute, develop and update hardware and drivers for the full range of ST Audio products. In addition, ESI will take over all pro audio production line responsibilities, as well as providing a sales department to service both current and future ST Audio customers.

Chess Lim, president and CEO at ESI, said, "We are delighted to welcome ST Audio's customers and distributors to the worldwide ESI family. Leveraging its audio expertise in designing high-end digital audio interfaces for the professional and project studio markets, the ST Audio product line will significantly broaden ESI's innovative product range and provide additional solutions to our customers."

For more, visit www.esi-pro.com.

Intelix Releases Product CD-ROM
Intelix U.S., manufacturer of audio/video hardware and software, has released an updated Product Specifications and Installation CD-ROM.

The CD-ROM features the complete line of Intelix Designer and Installation software, as well as product manuals, technical notes and data sheets covering the company's complete line of matrix mixers, room combine systems, mic/line mixers, monitor mixers and audio/video baluns.

For more, visit www.intelix.com.

Behringer Launches Many New Products at PLASA
Behringer's new Ultragraph Pro FBQ1502 is a 15-band stereo graphic equalizer with FBQ feedback-detection system in a single rackspace. The patent-pending FBQ feedback-detection system reveals critical frequencies and can also be used as an audio analyzer. The FBQ1502 features a dedicated mono subwoofer output with adjustable crossover frequency. An additional low-cut filter removes unwanted frequencies such as floor rumble, while a highly accurate 4-digit LED output metering and input gain control enable easy level setting. Ultralow-noise audio operational amplifiers are used throughout, and connections include servo-balanced inputs and outputs with 1/4-inch TRS and gold-plated XLR connectors. It is expected to ship Q4 2003.

The Ultragraph Pro FBQ6200 is a31-band stereo graphic equalizer that also offers the FBQ feedback-detection system. Features include dedicated limiters with gain reduction meters for each channel and a pink-noise generator provides test signals to equalize a sound system to any room acoustics, as well as a mono subwoofer output with dedicated level control and adjustable crossover frequency gives your music some extra verve. Additional sweepable high- and low-cut filters for each channel remove unwanted frequencies such as floor rumble and tape hiss. Level setting is provided via an accurate 8-digit LED input/output metering and input gain control. Top-drawer components include an ultralow-noise audio operational amplifiers, servo-balanced inputs and outputs with 1/4-inch TRS and gold-plated XLR connectors and the relay-controlled hard bypass with an auto-bypass function.

For more on the new FBQ Series, visit www.behringer.com.

HW International Renamed to Shure Distribution UK
HW International announced that it will commence trading as Shure Distribution UK after recently being acquired by Shure Inc.

As a Shure subsidiary, Shure Distribution UK will continue to carry Shure, Phonic, PreSonus and QSC Audio brands, as well as the latest addition to its portfolio, Aviom. According to the company, the name change will not affect customer's day-to-day dealings with the company, as the staff and company structure remain unchanged.

For more, visit www.shuredistribution.co.uk.

Now Shipping: Tascam FW-1884
Tascam's new FW-1884 professional DAW control surface and audio/MIDI interface is now shipping. Designed by Tascam and Frontier Design Group, the FW-1884 uses the FireWire high-speed data-transfer protocol and offers 18-channel audio interface, eight mic pre's, 4x4 MIDI interface and flexible editing and mixing controls.

Features include: eight analog, eight ADAT digital and two S/PDIF coaxial or optical; comprehensive mixing, automation, editing and navigation controls for almost any DAW application; nine 100mm motorized touch-sensitive faders; dedicated controls for pan, solo, mute and select per channel, tactile control over four bands of EQ; eight balanced XLR mic/line inputs with high-quality mic preamps and phantom power; 24-bit/96kHz recording resolution with surround monitoring control; four MIDI inputs and outputs; and FE-8 fader expander adds an additional eight control channels and faders, up to 129 channel control (available in winter ’'03).

"The FW-1884 is much more than just a fader controller, it takes command of your entire studio," said Jim Bailey, Tascam product specialist. "With all of its mic pre's, audio and MIDI interfacing, editing, mixing and monitoring control, it replaces much of the gear you need to record into a DAW."

For more, visit www.tascam.com.

Michael Beinhorn, Frank Filipetti Rely on SSL XL SuperPre for Guitar Tracks
While recording Fuel's latest project at Chalice Recording Studios, producer Michael Beinhorn and multiple Grammy Award-winner Frank Filipetti used an Solid State Logic XL SuperPre" SuperAnalogue Remote Signal-Acquisition microphone preamp system.

"We listened to a wide variety of microphone preamps because we were recording guitars and we wanted to find the best ones for the job," said Beinhorn. "We were very fortunate to get the SSL SuperPre's to try them. Out of all the microphone preamps that we tried, the results were definitely a revelation. We found that the SSL's were simply superior. The response was faster than everything else, and the detail on them was really spectacular to the point that the artist was actually able to notice the improvement over their experience with other gear."

Filipetti added: "The results were especially eye-opening, because we put the SSL's up against vintage, discrete circuit mic pre's, and the SSL SuperPre's were better. The entire experience with the SuperPre's was terrific. The SuperPre's seem to do a lot of things equally well. One, they have a lot of bottom-end power, and at the same time, they have a lot of air and openness at the top. They were also very smooth in the upper-mids. It is a very nice combination, and I wish we could have used them on the entire project."

According to Beinhorn, the advantage of the remote SuperPre system is that it provides the shortest path to the preamp of a microphone level signal, reducing any negative cable artifacts. "They are outside of the console, and can therefore be positioned anywhere inside of the studio environment. The SuperPre's are different than other microphone preamps that can be moved around, in that you can actually control their relative volume from a remote-control device inside the control room. That's just an amazing bit of flexibility."

For more, visit www.solid-state-logic.com.

New Sessions at Threshold Sound & Vision
Recently in at Threshold Sound & Vision (West L.A.) Singer/songwriting Kenny Loggins mastered his newest release It's About Time with chief mastering engineer Stephen Marsh, producer Tony Shepperd and engineer Dominic Camardella. Among those lending their writing (and vocal) abilities to this new album are Clint Black, Richard Marx and Michael McDonald. It's About Time is set to be released on Loggin's new All The Best! Records this summer.

Also in, blues guitarist Keb' Mo' worked with Marsh mastering a bonus track for his upcoming Best Of collection set for release on Sony's Epic/Legacy imprint.

For more on the studio, visit www.thresholdsound.com.

Digidesign Announces Free Update From Pro Tools 6.1 to Pro Tools LE 6.1.1
Digidesign announced Pro Tools LE 6.1.1 software, a free, cross-platform update featuring an overhauled low-level driver architecture and providing a true open-hardware platform for users of third-party software products. The software update and stand-alone driver installers are available to Pro Tools 6.1 software owners via download from the Digidesign Website at www.digidesign.com.

Recommended for Pro Tools LE 6.1 software users, the Pro Tools 6.1.1 update offers improved system stability and performance when using both audio and MIDI I/O on Digi 001 and Digi 002/Digi 002 Rack systems. Pro Tools LE 6.1.1 also provides other enhancements such as Core Audio driver support for Digi 002/Digi 002 Rack; new stand-alone installers for Core Audio, ASIO and Wave drivers that can be used without having to install Pro Tools; and other Pro Tools software enhancements such as Windows Media 9 export on Windows XP-based systems.

Improved Core Audio drivers now fully support the Digi 002/Digi 002 Rack units, plus a new "Opt-In" method to exclude known incompatible software from accessing the hardware. The enhanced Core Audio driver can also be used with Mac OS X-based TDM systems. Other features include an improved playback-only .WAV driver, Windows Media 9 support (Windows XP-only) when working with Internet-centric applications, and a customizable Shuttle Lock Speed feature that allows setting shuttle speeds between 50% and 800%.

Musictech College Hires First Dean of Music and Music Industry Studies
Dr. David Wray joined Musictech College (St. Paul, Minn.) in August as the first Dean of Music and Music Industry Studies. A practicing music industry attorney, former municipal court judge, college administrator, educator and drummer in the late '60s, Wray plans to expand Musictech's business curriculum, developing an international exchange student program and pursuing four-year Bachelor's degree accreditation for the college.

"Of the many highly qualified candidates we interviewed from around the country, Dr. Wray stood out as the most widely talented and certainly most versatile person for the position," said Jack McNally, president of Musictech College. "We are glad that he made the decision to leave the University of Memphis and excited to have a dean of his caliber and experience join our staff."

A graduate of the University of Oklahoma with a Law degree from Memphis State, Wray has worked as a lawyer for such business clients as Allstate Insurance, Lorentz, Brunn Co., Southern Pacific and MJC International. On the entertainment side, he has provided legal advice to Time-Warner, Sony, MGM/UA, Amplitude Entertainment, ASCAP and Polygram Intl. Wray has also served as legal counsel for bands Foreigner, Survivor and Steve Miller Band. Wray also sat on the bench from 1997 to 1998 as municipal court judge in Amity, Ore. He became a music industry academic in 1998 when he joined the administration of the University of Memphis, Music Industry Division, to enhance its music business curriculum and raise admission standards. Soon, he was named chairman of the school's Music Business and Recording Technology program and implemented the school's first foreign-exchange program with Buckinghamshire University outside of London. He was also the first tenured associate profession in the university's Music Industry Division.

"What attracted me to Musictech was the opportunity to work in an academic setting with faculty who have made a living in the music business," said Dr. Wray. "Musictech is an enclave for instructors who work in the music industry, and they provide their invaluable perspective to the students. Musictech is unlike any other contemporary music school I've seen, and I'm really looking forward to being part of its future."

For more, visit www.musictech.edu.

PAD Hires Chris Walsh
Professional Audio Design (PAD) appointed industry veteran Chris Walsh as the company's new director of West Coast sales.

"We are very happy to have Chris join our team," said Dave Malekpour, president of Professional Audio Design Inc. "Chris brings with him a wealth of experience, from studio engineering and managing at Warner Bros. Publishing to sales management for several large audio firms. Chris' well-rounded background in all aspects of audio makes him the ideal choice for our West Coast sales division, and we are looking forward to expanding our business with him onboard."

Walsh graduated from the Institute of Audio Research's one-year program and began engineering jobs at several major-record labels, including Elektra/Asylum Records and 20th Century Records. From there, he migrated over to Warner Bros. Publishing, where he was in charge of studio operations and engineering. His sales career began with Studio Maintenance Inc., where he sold and installed large audio consoles. He was the studio manager and staff engineer for Yo-Dad Productions, general manager for The Guitar Center, overseeing several retail outlets, and he was the VP of sales and marketing for Martinsound Inc. Just prior to joining PAD, Walsh served as the sales manager for studio products for Tannoy North America and as a product manager for DPA Microphones.

"I'm thrilled to have such an exciting opportunity at a proven company such as PAD," said Walsh. "I look forward to leveraging the experience and industry contacts I have gained over the years to help generate additional exposure for PAD on the West Coast."

For more, visit www.ProAudioDesign.com.

Fans Can 'Play' With New David Crowder Album
David Crowder Band announced a first-ever promotion with M-Audio that will be featured on the September 16 release of its sophomore sixsteps/Sparrow Records album, Illuminate. Using Propellerhead's Reason 2.5 software (distributed by M-Audio in the U.S.) for almost all of the programming featured on the disc, David Crowder approached the company with the idea of including the software on the upcoming CD. The company responded favorably, making the band's Illuminate the first Christian artist's CD to include the software.

"As soon as David Crowder learns about a new piece of technology that facilitates his creative process, he turns around and shares it with others," said Kevin Walt, head of M-Audio media and artist relations. "M-Audio strongly identifies with his enthusiasm for equipping songwriters with the means to realize their creative dreams. This collaboration between M-Audio and the David Crowder Band embodies our mutual passion for empowering the music community as a whole."

David Crowder Band fans can sample Reason 2.5 by accessing the demo of the software featured on the Illuminate enhanced CD with their Mac or PC computer.

"We hope you like the demo of this software. It has changed the way we've made music in the past couple of years, and we got to thinking that you guys that are making music yourselves might just flip out about it too," said the band. "It's just ridiculous how much you can do with it. So it's our hope that your music is inspired and empowered and that you create sounds and songs that push this whole thing forward!"

In addition to the software, the David Crowder Band placed mastered studio tracks for two songs on the album: "Revolutionary Love" and "O Praise Him (All This for a King)," the first single from the CD. Fans will not only see how the songs were recorded and mixed, but also be able to use Reason to create their own remix of the songs.

In addition to Reason software, the David Crowder Band also incorporated the producing talents of Charlie Peacock (dcTalk, Switchfoot), Mitch Watkins (Joe Ely, Abra Moore) and Zach Lind, who further played drums on the song "How Great."

More information on the David Crowder Band can be found at www.davidcrowderband.com. More information on Reason 2.5 can be found at www.m-audio.com.

2004 Acura TL Includes DTS 5.1
DTS announced the availability of the first standard OEM car audio system to feature DTS 5.1-channel digital surround in the United States: the 2004 Acura TL. The 2004 Acura TL's ELS Premium eight-speaker surround sound system with DVD-Audio, DTS and CD six-disc changer, AM/FM tuner and Dolby cassette was designed with multiple Grammy-winning recording engineer and producer Elliot Scheiner. Producing six channels of sound, the system plays DTS 5.1 music discs, as well as DVD-Audio titles.

The first OEM-standard vehicle to carry a DTS-capable system was the Toyota Brevis, available in Japan, and DTS-capable systems are currently available as an optional feature in the Lexus RX330 and Lexus GX430. Additionally, most major after-market car audio manufacturers currently produce systems featuring DTS decoders, including Alpine, Clarion, Eclipse, JVC, Kenwood, Panasonic, Pioneer, Sanyo and Sony.

"The widespread adoption of home-theater systems has driven increased popularity in surround music in general—and DTS Surround Sound specifically—which is quickly leading to consumers demanding the same experience in the car," said Jon Kirchner, president and CEO of DTS. Acura's decision to include DTS as a standard feature in the 2004 Acura TL shows how they recognize and value the future of in-car entertainment."

For more, visit www.dtsonline.com.

Moonlight Mastering Works on Ray Charles Concert
Nancy Matter of Moonlight Mastering has recently mastered Ray Charles: In Concert, a 29-song two-disc collection from five live albums: Ray Charles at Newport, Ray Charles in Person, Berlin, 1962, Ray Charles Live in Concert and Ray Charles Live in Japan. The collection also includes performances that were recorded between 1958 and 1975.

Matter, owner/engineer of Moonlight Mastering, said, "This two-disc set takes you through an era of a legend that shares his talent through his voice and his music. Without a doubt, working on this project shows why Ray Charles is one of our world's greatest superstars whose career has lasted several decades."

Terry Howard, Ray Charles' engineer and a Grammy-nominated engineer who compiled the tracks for In Concert, immediately returned to Moonlight Mastering after Matter's previous work on the Ray Charles-produced Jimmy Scott CD. Howard said, "Over the years, I have worked with the top-name mastering engineers such as Bernie Grundman, Doug Sax and so on. It's one thing to have the right equipment, but really knowing how to produce such a sonically great-sounding work is another. In my opinion, I believe Nancy Matter is up there with the Bernie Grundman's and Doug Sax's of the mastering world."

For more, visit www.moonlightmastering.com.

Le Mobile Summer News
Recent gigs for Le Mobile during the summer have included:

Le Mobile owner/engineer Guy Charbonneau recorded No Doubt's Rock Steady tour in Long Beach, Calif., and then mixed the project for stereo video and 5.1 DVD (both slated for November release) while the truck was parked in its Vista, Calif., headquarters. He did the same for The Pretenders forthcoming Loose in L.A. DVD, recording Chrissie Hynde and company at L.A.'s Wiltern Theater. For country superstar Kenny Chesney, Le Mobile traveled to Knoxville, Tenn., for tracking of his Back Where I Come From Party. When the truck returned to California, Charbonneau did the stereo mix for the CMT broadcast, as well as some premixing for a future 5.1 DVD release.

Summer tracking-only projects for Le Mobile covered a broad range of festival, TV and multimedia assignments. Chief engineer Charlie Bouis was in Le Mobile's vintage Neve for all seven live taping sessions of The WB's Pepsi Smash TV series at Hollywood's Ren-Mar sound stage. Le Mobile also recorded two MTV projects, the MTV Bash and the MTV Movie Awards, along with the annual Coachella Festival and the Warped Tour for Warner Bros. Prior to Fleetwood Mac's summer tour, Le Mobile recorded some live sessions for AOL, and Good Morning America later booked the truck to record a guest performance by Lisa Marie Presley. Other bookings included a ballet score for New York's WNET-13 and orchestral music for a Disney cruise ship project.

"This summer really marked a turning point for the Le Mobile as a mixing studio, particularly for surround projects," said Charbonneau. "We had a great response from all our clients. I just got an e-mail from Gail Colson, Chrissie Hynde's manager, and she said that the mixes sounded great and everybody in the band thought the sound was fantastic. So, who says you can't do surround mixes in a truck?!"

Find out more at www.lemobile.com.

Gibson Announces New Audio Division, New President
Gibson Guitar Corp. is expanding beyond its core musical instrument business into the consumer electronics business with its new entity, Gibson Audio.

"As digital audio technology brings more and more power to consumers, there is a great need for simplifying the user experience so that normal Joe and Jane Consumer—who don't have engineering degrees—can enjoy all of the amazing benefits that these technologies bring," said Kris Carter, president of Gibson Audio. "This simplification of the user experience is a key component of what Gibson Audio is all about."

While Gibson Audio has yet to announce specific product offerings, a classified project known only as the Remember Music Project is under development, with a full product launch set for January at the 2004 Consumer Electronics Show. "We can't say much just yet, but the products that come out of this project will indeed be groundbreaking and will set a new standard for comprehensive digital music solutions," said Carter.

Prior to joining Gibson, Carter was founder and CEO of Ecoustix Inc., a company that designed and built a high-end digital jukebox system for hotel guestrooms that delivered thousands of CDs of music licensed directly from the major record labels.

"It is very exciting to join a company like Gibson with such a storied history," Carter said. "During the last 100 years, Gibson has crafted the instruments that allow artists to create great music. During the next 100 years, Gibson Audio will craft 'listening instruments' that provide new and innovative ways for listeners to enjoy music as it was meant to be: purely and simply."

Visit Gibson's Website at www.gibson.com.

Furman Power Source Keeps Mazer Up and Running
When the blackout this summer hit northeastern U.S. and much of Canada, Elliot Mazer's New York studio, running off a Furman Sound IT-Reference Discrete Symmetrical AC Power Source, suffered from the power outage in the middle of a very important session.

Diana Haig (Mazer's wife) was in the process of putting the final pre-mastering touches on a DVD-Audio project for Warner Records featuring a live performance by Frank Sinatra, Sammy Davis and Dean Martin, titled The Summit: An Evening With the Rat Pack. Mazer said, "While using Pro Tools, she noticed that the mouse began acting strange. We saved the session and the lights went out. Then, the entire studio gracefully shut itself down. I heard the relays click in the IT-Reference immediately after the power went down."

The Furman Sound IT-Reference and the individual Furman Sound PL8 Power Conditioners protected Mazer's Pro Tools|HD system and racks of outboard gear when the power was restored. Mazer said, "After the power came back on, we checked the computer hard drives and they were fine. We looked at the folder for the project and saw that the session was saved at 4:09 p.m., which is the exact time the blackout occurred. With the power restored, I ran Disk Warrior on the hard drives and then it was business as usual.

"The IT Reference box is fantastic," Mazer continued. "It helped us lower the noise floor in the system and allowed us to interconnect the various digital and analog systems. We used to have to run grounding cables around the studio and you could measure 10 volts potential between gear. Once we put the IT-Reference in, all of that went away, everything sounded better and became more stable. Aside from the blackout on August 14, 2003, fuses have blown in the past and the system always went down gracefully. We use 192kHz sampling rates and have to make sure that the entire signal chain is extremely clean, and the IT-Reference ensures that it always is!"

For more on the power supply, visit www.furmansound.com.

Full Sail Adds Third Amek 9098i
Full Sail Real World Education recently installed and commissioned its third Amek 9098i. Serving as the heart of the school's new Studio C, the fully loaded 72-channel desk is being used to teach signal flow, automation and recall in the "Recording and Mixing Consoles" course.

After employing a pair of 9098is for more than two years now—including an identical 72-channel model in Studio A and a 40-channel in Suite 1—Full Sail Recording Arts program director Bill Smith commented, "Aside from the fact that we love the sound of the desk, having several identical consoles provides us with maximum flexibility in scheduling; we can easily move projects between studios in order to use our facility most efficiently. It also allows us to fine-tune the usage of each console for specific types of lab. For example, we don't need to tie up a large tracking facility to teach automation; we can use one studio to track while another is teaching signal flow/automation and a third is doing overdubs. This allows our students to have the most effective learning experience."

Studio C, completed in July, is laid out for instruction and features a large plasma display for console computer functions, Pro Tools display and video playback, as well as a large isolation booth for teaching, tracking and overdubs. In addition to the new 9098i, the room is equipped with a Pro Tools|HD system, Tascam MX-2424 hard disk recorder, a myriad outboard signal processors and Dynaudio BM15A monitors.

"To sum things up, we've been very happy with our 9098is," Smith added. "Not only do they sound fantastic, but they've proven themselves to be extremely reliable, and I doubt that you could find more brutal conditions for a console! Our students are working on these desks 24/7 and really putting them through their paces."

For more on the school, visit www.fullsail.com. For more information on the board, visit www.amek.com.

SSL Sells 15 C Series Consoles Worldwide
Since the release of Solid State Logic's C100 Digital Broadcast Console and the C200 Digital Production Console at NAB 2003 four months ago, the company announced that it has sold15 consoles worldwide.

C100 Digital Broadcast Consoles have been sold to facilities including two consoles for the Danish Broadcasting Corporation in Denmark; one console for NHK in Japan; one console for The Golf Channel in the U.S.; two consoles for SBS in Korea; and one for National Basketball Association Entertainment (NBAE) in the U.S. The C200 Digital Production Consoles are in action on both sides of the Pacific, including one console each at Nippon TV (Office Terra) and Imagica Akasaka in Japan, and installations in the U.S. at Western Carolina University, Underdog Entertainment and Bicoastal Music.

"SSL has been serving the broadcast industry for almost 30 years and we have learned a great deal about the demands on facilities and operators," said Niall Feldman, director of product marketing for Solid State Logic. "The C100 and C200 are designed to offer the utmost in reliability, while meeting the demanding needs of broadcasters operating in a multiformat HD environment. Our consoles provide tremendous power in a small footprint. We have combined a user-friendly control surface with displays that allow the operator to accurately monitor all signal paths and operational status. The consoles are scalable, making them more accessible to a wide range of applications and budgets."

For more on the consoles, visit www.solid-state-logic.com.

Applied Acoustics Systems Launches Online User Library
Applied Acoustics Systems has launched an online library for registered users of the Tassman Sound Synthesis Studio and Lounge Lizard EP-2 Electric Piano.

Providing an expanding online database of new Tassman instruments and presets for both products, the new user library allows Tassman and Lounge Lizard users to exchange their creations, as well as offers new users a wide range of examples to develop their own synths and sounds.

"One of the key issues we wanted to address in the most recent updates to Tassman and Lounge Lizard was encouraging our users to work together as a community in exploiting the full creative potential of these instruments, and the new import/export features were implemented in both products with this is mind," said AAS CEO Marc Pierre Verge. "Creating a place where our users could easily exchange their creations was the last piece of the puzzle, and I'm very happy we're now be able to provide this. It will certainly be exciting to watch the user library grow in the coming months."

In other AAS news, Berklee College of Music has added the Tassman Sound Synthesis Studio in the Modular Functions and Signal Flow and Physical Modeling/Additive Synthesis courses for Music Synthesis majors.

"Tassman provides us with not only a powerful production tool, but also a highly effective teaching tool," said Kurt Biederwolf, chair of Berklee's Music Synthesis department. "The maturity and sophistication of software synthesis has allowed our Music Synthesis department to move in interesting new directions, and we are excited about the inclusion of Tassman in support of our cutting-edge courses."

For more information, visit AAS online at www.applied-acoustics.com. For more on Berklee, visit www.berkleemusic.com.

API Vision Surround Mixing Console to Debut at AES 2003 NYC
API Audio will introduce its Vision Surround Mixing Console at AES 2003 in New York City. The console combines API's analog circuitry with all-new multichannel features. The debut of the new console coincides with API's announcement of the first Vision Console installation at Galaxy Studios in Belgium.

API's director of engineering, Paul Wolff, with input from Galaxy Studios' head engineer Ronald Prent, designed the Vision console. The creative dialog on the new console design began with Prent's original request for a custom-built, 6-channel version of API's 2-channel 2500 mastering compressor.

The new 24-bus Vision features three stereo mix buses, a dedicated 5-channel surround mix bus and 10 aux buses. Each three-pot pan section comprises a mode-switchable LR/LCR "main" pan pot for the front channels, a front-to-rear fader pan and a rear-channel pan pot. Even when the front-channel panning mode is set to the LCR mode, the L/R stereo bus is still active, allowing for a simultaneous stereo mix. Vision's master section embodies a full complement of multichannel monitoring facilities, providing flexible bass management, routing and down-mix monitoring options, plus the master bus, monitor path inserts and multichannel effects returns with surround panning. Vision also includes a noise generator with multiple measurement test points for precision setup of the complete multichannel monitoring system.

Each of Vision's channel strips can accommodate two classic API 200 Series modules, and has two fully automated 100mm full-throw moving faders on each channel that can easily be linked for stereo operation. Each of these moving faders (and there are two in every input) has a 5-channel panner. All buses are controlled by API's Instant Reset Switch System, using sealed, analog relays that are controllable from each individual channel, as well as from the center computer or a remote laptop. Console automation is handled via the API Vision Automation System controlling a total 176 moving faders. For equalization, each channel can be outfitted with either the 550L 4-band switchable EQ module or the 560L graphic EQ module, a smaller-footprint version of the classic API 560 EQ. Additionally, the main fader path has a tunable filter section similar to the 215L.

Visit API at AES in demo room #2D08 or go online to www.audiotoys.com.

Michael Brauer Mixes Paul McCartney
Slated for broadcast on the A&E cable network, Paul McCartney In Red Square highlights the ex-Beatle's visit to (and first-ever concert in) the Russian capital in May. McCartney played for a crowd of almost 100,000 and made a side trip to St. Petersburg, where he received an honorary doctorate from the St. Petersburg Conservatory.

The show employed a staff of industry veterans, including video producer/director Mark Haefeli, music producer David Kahne and mix engineer Michael Brauer (pictured), who mixed the footage in stereo and 5.1 for broadcast and a future DVD release at Henson Studios (the former A&M facility) during the week of July 14.

"I actually got involved in the project through David [Kahne]," said Brauer. "He called me to mix Paul's last live release, Back In the U.S. Live 2002. I did the 5.1 and stereo mixes for those, so David contacted me again to do the Red Square show. Henson is a great facility, and it also happens to be one of David's favorites, as he has his own studio within the building for his production work.

"The original recording was a direct board recording to two Tascam 2424 hard disk systems, done by Pablo Boothroyd, the live sound engineer, and the original material was excellent, very clean," Brauer continued. "The only additional channels were near and far-audience mics." Brauer and Kahne worked in Henson's Studio A, using an SSL SL9080 J, Nuendo and Pro Tools recording media. "I chose the MSP10 Studios after some serious evaluation. The sound was clear and didn't break up at higher volumes. The room I was mixing in had high ceilings, so I had to crank it up a bit more, but they filled up the room nicely. The range was also good: I didn't need to take out any bottom end or do a 75dB cut; we kept everything very flat. We also used the Yamaha SW10 sublow, due to the fact that so many home-theater systems that are equipped for 5.1 employ a sub cabinet. When David listened back to the project in mastering, the things we intended on doing came out exactly as planned.

"I'm not into 5.1 tricks,”" he added. "My approach to 5.1—especially for a live show—is to present the performance as though you were about 15 rows back from the stage, as opposed to way back. That way, the perception is not really about hearing what's going on behind you. Instead, it's about feeling a lot more dimension in front of you. For instance, when the audience comes up, that audience should surround the listener both panoramically and realistically."

Brauer's outboard gear included an Avalon VT-747ST for the stereo processing. "For the front L-C-R, I used a Neve 33609 compressor along with a couple of Pultecs," Brauer said. "For the rear, we added a Pendulum compressor. As for the instruments, the drums got EL8 Distressors; the bass, Avalon 737s; and the guitars, a combination of EAR 660s and some Fairchild compressors. The vocals got my favorite compressors: the VacRac on the main, or maybe the Federal. I also used some old Motown EQs on the drums and Neve EQs on the toms."

Meyer Sound Offers Leasing Plan
Meyer Sound's new special leasing plan provides qualifying sound rental companies and facilities with an opportunity to acquire Meyer Sound loudspeakers and ancillary items with minimal initial investment and low monthly obligations.

The Meyer Sound leasing program an easy online application, fast-track approval process and responsive service throughout the term of the lease. The program is provided through the Business Finance division of American Express, and is designed to allow customers making purchases over $50,000 to pay in 12 monthly payments with no interest charged and a $1 buyout at the end of the lease term. Special financing rates are also available for longer lease terms. These plans offer flexible structuring options, including a payment schedule tailored to the seasonal income variations of the tour sound business. The leasing program is currently available to businesses in the United States and Canada only and is a limited-time offer.

Information can also be gained by e-mailing leasing@meyersound.com. Visit the company online at www.meyersound.com.

World Class Audio Installs New Loudspeakers
World Class Audio Inc. (Anaheim, Calif.), a recording facility owned by engineer Shawn Sullivan, has recently outfitted the studio with some of the highest-quality analog and digital recording and mixing equipment, including a pair of ATC SCM20 Pro self-powered, portable reference monitor speakers.

According to Sullivan, "I pulled [the ATC speakers] out of the box and basically started working on them 12 hours a day. My mixes were instantly better. I've been using them every single day.

"They're extremely revealing monitors," Sullivan continued. "I don't have to second-guess anything. Everything is dead-on. They have stepped up what I do. I don't have to hype the mix: It's reality. So far, everything has been absolutely spot-on."

Sullivan recently employed the speakers on a mixing project for artist Zayra." I did a one-pass vocal ride with the A&R guy sitting behind me. I handed the disc to him and he said, 'That's it? Aren't you going to listen to it on anything else?' I said I don't need to. He went home and listened to it on six different systems and could not find one fault with it."

Sullivan has also used the loudspeakers on a band named Greenwich.

World Class Audio features a Chris Pelonis-designed control room. "It's one of the top studios in Orange County," Sullivan said. "Everything we do is straight into Pro Tools. We've got an expanded ProControl and quite a bit of outboard gear, with a nice-sized tracking room and iso booth. I'm all about analog outboard gear. I got tired of blowing money on plug-ins, so I have all Class-A, top-of-the-line, killer outboard gear."

For more on the loudspeakers, visit www.transaudiogroup.com. Visit the studio online at www.worldclassaudio.com.

Mackie Releases DreamVerb Plug-In for UAD-1
Mackie, a Loud Technologies Inc. brand and Universal Audio announced the availability of DreamVerb, the newest Powered Plug-In for the Mackie UAD-1 DSP card. DreamVerb is available free of charge from the Mackie Website (www.mackie.com) for registered UAD-1 owners. This special offer will only last for 30 days after the release (i.e., until October 23, 2003), at which time DreamVerb will be sold regularly for $149 USD.

DreamVerb is Universal Audio's flagship stereo reverb for the Mackie UAD-1. It features an intuitive and powerful interface that allows users to create an acoustic space from a large list of different materials and room shapes. These acoustic spaces can be customized by blending or "morphing" different room shapes and surface materials, adjusting the effect of the room materials on the sound space, and even varying the density of the air to simulate different ambient situations.

Other DreamVerb features include a flexible 5-band parametric EQ and unique level ramping for the early and late reflections for sounds ranging from extremely realistic dynamic room simulations to lush reverb effects. With Universal Audio's proprietary Smoothing algorithm, all parameters can be adjusted in real time with no "zipper-noise," or audible artifacts. A single UAD-1 can run up to six DreamVerb plug-ins at 44.1k. And like all UAD-1 plug-ins, DreamVerb can run at multiple sample rates for 44.1k to 192k recording. One authorization can run DreamVerb on up to four cards.

"DreamVerb sets a new standard for plug-in reverbs," said Daniel Moore, recording product manager at Mackie. "It's able to mimic the dense reverberation characteristics common to dedicated hardware units that typically sell for much more than the entire UAD-1 Powered Plug-Ins bundle."

Mike Barnes, director of marketing at Universal Audio, added, "DreamVerb not only offers the sumptuous sound users have been asking for, but it ships with a comprehensive set of highly usable, studio-designed presets for quick session work and an advanced toolkit of editing parameters for programmers who want to intricately shape and design virtually any kind of real or surreal acoustic space."

A DreamVerb demo version can currently be downloaded for free from either the Mackie or Universal Audio (www.uaudio.com) Websites.

Blackberry Hill Studios Opens
Blackberry Hill, a new, 3,200-square-foot studio in the southwestern hills of Eugene, Ore., owned by acoustic guitarist Justin King, has opened its doors with a 60-channel, all-analog Amek Media 51 console at its helm.

Although Blackberry Hill is a traditional commercial studio, King, who has released three solo albums (S/T, Opening and Le Bleu), as well as toured with the likes of James Taylor, B.B. King, Steve Winwood, Diana Krall and Nickel Creek, is christening the new facility by recording demos and tracks for his upcoming fourth album.

King commented on the new console: "Even though the desk was just commissioned a few weeks ago, I've already completed quite a few recordings on it. Several of the pieces were tracked out with a full band, so I've had the chance to hear not only acoustic guitar, but piano, drums and all sorts of other instruments through the desk now. The highest compliment I can think to pay the Media 51 is to say that everything sounds like itself. I'm definitely from the school of recording where you first get a beautiful sound from an instrument and then preserve that as accurately as possible, rather than have to use a lot of EQ to try and make it sound natural. The Amek almost effortlessly makes everything sound terrific.

"In particular," he continued, "I've found that the Media 51 provides a wonderful clarity and separation between instruments. The Rupert Neve-designed preamps are incredibly pristine, and I often find myself tracking things through them despite the fact that I have tons of outboard gear. And, of course, the famed British EQ is equally nice, too."

Officially celebrating its grand opening in early October, Blackberry Hill affords stunning panoramic views of the Three Sisters Mountains and Willamette Valley from 1,500 feet above sea level. The studio facilities, located on the first floor of the unique round-shaped two-story building, comprises a 1,300-square-foot tracking room, two large isolation rooms, a machine room and 500-square-foot control room. The studio is also equipped with Studer A80 and MCI JH24 2-inch 24-track machines, a 12-channel Neve 5106 sidecar, Pro Tools|HD, and a wide selection of both vintage and state-of-the-art mics, outboard preamps and processing. The studio boasts three well-appointed apartments on the second floor, full on-site meal preparation, a private jet service, sailboat, and unlimited access to miles of trails for hiking, among other amenities.

For more details on Blackberry Hill, please contact the studio at 541/485-2202 or via e-mail at justinguitar@hotmail.com. For more on the board, visit www.amek.com.

BluWave Audio Remixes Foreign-Language Version of Kubrick Films
BluWave Audio, a division of Universal Sound Department, has completed the foreign-language remix for the DVD Region 4 releases for seven of film director Stanley Kubrick's works: Lolita, Barry Lyndon, A Clockwork Orange, 2001: A Space Odyssey, The Shining, Full Metal Jacket and Eyes Wide Shut received new Brazilian, Portuguese and Latin American Spanish dialog tracks. With the exception of the 1962 Lolita, which has a restored mono soundtrack, all of the newly recorded dialog accompanies a remastered 5.1 Dolby Digital soundtrack.

Manager of audio restoration services Tom Regal and re-recording mixer Jim Fitzpatrick did the remix, and Leon Vitali from the Kubrick estate supervised.

While restoration was being performed in Universal City, Calif., actors were recording the dialog in Mexico City and Buenos Aires. The recordings were converted into digital files and posted to an FTP site and then downloaded to BluWave Audio's Stage B, a state-of-the-art mixing room dedicated to soundtrack restoration. All the files were then incorporated into the mix. The remixed versions were completed in just 37 days.

For more, visit BluWave online at www.bluwaveaudio.com.

Digigram Adds Another Linux Driver for Sound Cards
Digigram announced the availability of a Linux driver under open-source licensing for its miXart 8 and miXart 8 AES/EBU multichannel sound cards. The driver follows the most advanced audio standard for Linux called ALSA (Advanced Linux Sound Architecture) and is available for download at www.alsa-project.org.

The miXart 8 platform combines Digigram's onboard processing with comprehensive audio mixing functions. Professional audio applications requiring multiple I/Os for distributing, recording, routing and mixing can take advantage of the miXart s 8/8 analog mono I/Os. The miXart 8 AES/EBU features 4/4 additional stereo AES/EBU inputs/outputs, and due to its synchronization capabilities, it can be used to integrate audio with video systems.

Digidesign Releases Free Software Bundle
Digidesign's free creation software bundle that will be included with all new Pro Tools® TDM or LE systems comes with Propellerhead Software Reason Adapted, Ableton Live Digidesign Edition, and IK Multimedia AmpliTube LE, SampleTank SE and T-RackS EQ, in addition to core Pro Tools software.

"Our new partnerships with Ableton, IK Multimedia and Propellerhead provide Pro Tools users with an incredible rich, varied and powerful palate of tools that allow them to start creating in new ways 'right out of the box,'" stated Dave Lebolt, Digidesign general manager. "Now, musicians will have a vast new 'construction set' of music-making possibilities available to them, regardless of their differing styles or interests. Wherever you want to go creatively, these tools can help take you there. And they're included free in every Pro Tools system, from Mbox to Pro Tools|HD—across the entire Pro Tools product line."

Propellerhead Software Reason Adapted provides a virtual rack of MIDI-based innovative synthesizers, samplers, drum machines and effects. All audio from Reason Adapted can be streamed directly into the Pro Tools mixer via ReWire for additional processing within Pro Tools.

Ableton Live allows the user to launch loops or sound effects on-the-fly. Live also features automatic beat-matching and real-time quantization. IK Multimedia SampleTank SE is a special-edition RTAS virtual instrument plug-in. AmpliTube LE is an RTAS guitar processing and amp modeling plug-in that provides users a variety of amplifier and cabinet models, as well as classic stomp box and other effects. T-RackS EQ is the EQ module from the company's T-RackS analog mastering suite. T-RackS EQ offers Pro Tools users a powerful, high quality tube-modeled parametric EQ as an RTAS plug-in for use in mixing and mastering.

For information on the full versions of Ableton, IK Multimedia and Propellerhead software, visit www.ableton.com, www.ikmultimedia.com and www.propellerheads.se, respectively. Visit Digidesign's Website at www.digidesign.com.

Tascam Intros SX-1LE
Designed for musicians and recording professionals, Tascam's SX-1LE professional digital workstation is based on the company's SX-1, and provides features such as 16-track/24-bit recording, 40-input surround mixing, touch-sensitive moving faders, a VGA output and 128-track MIDI sequencing for an estimated street price under $3,000. The product will begin shipping in late September 2003.

Other features include: flexible 40-input, 32x8 digital mixing console; 5.1 surround mixing; 16 high-quality phantom-powered XLR mic inputs; 16-track uncompressed recording at 48 kHz/24-bit; 6-channel stem recorder; intuitive user interface using mouse, keyboard and two displays to view waveform, MIDI and automation data; SMPTE timecode input; built-in CD-RW drive; up to four real-time processors with Tascam DSP effects like reverb and chorus; 8-channel ADAT optical digital input and output; three expansion slots create an additional 24 inputs and outputs; 320x240 LCD; VGA display output; jog/shuttle wheel; 128-track MIDI sequencer; and two MIDI inputs and four MIDI outputs for 64-channel MIDI output.

For more, visit www.tascam.com.

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