Archives for 2003

Behringer Introduces New Low-Cost Gear for Home Recording and the Project Studio

Following on from an energetic appearance at Winter NAMM in Anaheim in January, where they launched no less than 13 new products for studio and stage applications, German audio equimpment maker Behringer has rolled out even more new gear for the European audience at Musikmesse in Frankfurt.

Along with 4 new guitar and bass amps for stage work, a pair of new DJ mixers, and a 16 x 2 rack-mount line mixer, Behringer’s Musikmesse launches include a couple of extremely affordable units aimed at the project studio and home recording crowd.

Mastering Studio in a Box

Behringer’s Ultra-Curve Pro DEQ2496 ($380 US) is a single rack space module, a mastering processor with dedicated 24-bit/96kHz internal and external processing performance that Behringer says will ‘put the world of professional mastering within reach of every studio.’ It certainly offers a rich set of features for the price.

At the heart of the DEQ2496 are two high-performance 32/40-bit floating-point SHARC® digital signal processors, and AKM® A/D and D/A converters with 113 dB dynamic range. These allow the processor to deliver the kind of clarity, warmth and punch to a mastering mix that you might expect of a high-end professional facility.

New Behringer Ultra-Curve Pro puts the power of professional mastering within reach of every studio

Insert the Ultra-Curve between the stereo output of an analog or digital mixing console and a workstation or master recording media, and it will enhance the dynamics of the recorded material, creating broadcast-ready material previously not available outside a professional mastering studio.

The DEQ2496 features 4 selectable EQ modules with 31-band graphic EQ, 10-band parametric EQ, Feedback Destroyer, plus three Dynamic EQs per stereo channel. A patent pending VPQ (Virtual Paragraphic EQ) option allows parametric control of graphic EQs.

Effects include a flexible compressor/expander function with peak limiter on each stereo channel, as well as an additional stereo imager and stereo delay for delay line applications.

An ultra high-resolution 61-band real-time FFT analyzer with additional auto EQ function makes room and loudspeaker equalization easy. Multi-functional level meters like peak/RMS, VU and SPL meter with dBA/dBC weighting via a RTA mic input provide all the visual control needed. Furthermore, 64 user memories facilitate complete setups and individual module configurations to produce quality masters.

Separate RTA mic/line input with phantom power, professional wordclock input, and MIDI connections enable full remote control, preset dumps and system updates. Balanced inputs and servo-balanced outputs with gold-plated XLR connectors, as well as AES/EBU and S/PDIF ins and outs (XLR and optical) guarantee compatibility in almost any recording and live situation.

The Ultra-Curve Pro’s software can be updated via MIDI, while an internal switch-mode power supply ensures maximum flexibility, noise-free audio and superior transient response at very low power consumption. Shipping is expected in the second quarter of 2003.

High-End, Low-Cost Vacuum Tube Preamp

Also worth a close look and listen, Behringer describes the new Tube Ultragain MIC100 ($50 US) as ‘the ultimate tube-based sound-enhancing tool for studio, live and hard disk recording applications.’

The MIC100 is designed around a 12AX7 vacuum tube, and it features UTC technology for exceptional warmth and low noise. It complements studio-grade condenser mics nicely, and it can also be used as a DI-box.

The Tube Ultragain MIC100 features low-noise mic preamp circuitry that uses discrete components for a highly transparent sound. It has a phase reverse switch, phantom power supply, LED metering and a switchable pad function.

Thanks to Behringer’s proprietary Ultratube (UTC) technology, the Ultragain is said to show excellent low-noise and low-distortion properties, while lending characteristic analog punch to percussion instruments and signals that are rich in high harmonics. As a DI-box, it can eliminate the dull sound of standard digital recorders and sound cards.

Behringer says the MIC100 is ideal for use in home recording or professional project studio situations, as well as live on stage. It will be available in the second quarter of 2003.

Behringer Web Site

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Wireless Flat-Panel Surround Loudspeakers Add to Philips High-End Matchline TV Range

Philips Consumer Electronics will add a new loudspeaker model to its Matchline CRT TV range in Europe later this spring. The AD904W will be a flat-panel design, using NXT transducer technology, and wireless as well.

The new speaker is intended for rear-channel applications in a home theater setting. The combination of flat and wireless should make for the ultimate in installation convenience.

Philips: “The AD904W offers an out-of-the-box home theater package, and is designed to ease integration into the family living space by use of NXT’s slim, high-design audio technology, and Philips’ own proprietary wireless technology, which removes the need for unsightly and awkward cabling.”

NXT flat-panel transducers exhibit excellent dispersion characteristics, so the relationship between speaker placement and listener is less critical than with many other loudspeaker designs. Philips says the AD904W will be able to produce a pure, coherent and uncoloured sound that is exceptionally smooth and balanced from any listening position in the room.

Commenting on the launch, Graham Ryan, NXT’s Director of TV and Home Audio applications: “Philips is one of our oldest partners, with a track record of launching excellent products using NXT technology. We’re delighted by this launch and see it as further recognition of the fit between NXT technology and the modern design aesthetic.”

The growing list of Philips products using NXT technology includes both 2.1 and 5.1 multimedia loudspeakers ensembles, an exciter for car audio applications that is currently under development by Philips Sound Solutions.

Philips Consumer Electronics Web Site

NXT Web Site

MODE 1.0 from Cycling ’74 Brings 5 New Audio Plug-ins to Mac OS X (VST, MAS, and RTAS)

Cycling ’74, the good folks behind the Max/MSP graphical programming environment for audio and MIDI, and the enormous Pluggo collection of Max/MSP-based plug-ins, is preparing to publish MODE 1.0, a set of five unique instrument and effect plug-ins for Mac OS X.

MODE is being developed for Cycling ’74 by CreativeSynth Development, a programming team based in Boulder, Colorado. CreativeSynth does commercial and custom software products for musicians, sound designers, and other music technology professionals.

The MODE 1.0 package will include three virtual instruments and two effects units for VST, MAS and RTAS host applications. Cycling ’74 expects to begin selling the new software in the 3rd quarter of 2003, at a suggested retail price of $295 (US).

The MODE collection includes:

BANG: A single-voice percussion module that combines sample playback, FM synthesis, and analog-modeling drum synthesis, for sounds ranging from simple emulation to brand-new percussive hybrids.

The BANG percussion module

MONO: A monophonic synthesizer that combines the ease of use and warm filter effects of an analog synthesizer, with the control and clarity of an FM engine, for an instrument that is equally at home in the studio or on stage.

The MONO synth plug-in

POLY: A versatile polyphonic synthesizer loosely based on classic DCO synths. POLY uses waveforms sampled from some of the most popular vintage digital and analog instruments and features a unique polyphonic arpeggiator.

The POLY module is loosely based on classic DCO synths

SPIN: A rhythm-based effects processor that features a state-variable filter, panning effects, rhythmic gating, delay, distortion and bit-reduction for sounds that range from subtle modification to extreme abuse.

The SPIN rhythm effects processor

WASH: A unique new effects processor built around an interconnected network of 6 fully-controllable recirculating delay lines. More than a mere effect, WASH is an instrument in its own right-capable of anything from simple multi-tap delay textures to hour-long walls of morphing feedback.

Cycling ’74 Web Site

CreativeSynth Web Site

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TASCAM Introduces US-122 USB-Based Audio/MIDI Interface for Mac OS and Windows

Tascam‘s big news at Musikmesse in Frankfurt is the unveiling of a new USB-based computer audio interface.

The US-122 is the third in Tascam’s line of compact, affordable USB devices aimed at musicians and home recordists, and co-developed with Frontier Design Group. The US-122 is purely an audio/MIDI interface, without the mixer and workstation control features of the previous models in the series, the US-224 and US-448.

The affordable TASCAM US-122 comes with sequencing and sample-player software, plus drivers for both Mac OS and Windows PCs, including ASIO, WDM, GSIF and Apple Core Audio (OS X)

Although it is designed as a low-cost, introductory-level interface, the US-122 ($269 US) does not skimp on pro-quality features. It includes phantom power for condenser mics, channel inserts, and zero-latency monitoring among its advanced capabilities.

“Since it’s self-powered via USB and features phantom-powered preamps, a person with a laptop and a couple of condenser mics has a great portable recording rig,” comments TASCAM product development manager Jim Bailey.

“On the other hand, a desktop recordist with limited space will really appreciate the US-122’s sleek, ergonomic design and features like analog inserts for working with outboard gear,” Mr. Bailey adds. “And beginning musicians can get into the US-122 with its affordable price point and easy-to-use design.”

The US-122 is a Mac and Windows compatible USB audio and MIDI interface. It features two XLR-based, phantom-powered mic inputs with analog inserts that allow hardware devices (compressors, etc.) to be placed into the recording signal chain. Two line-level inputs on balanced 1/4″ TRS jacks are included, switchable to guitar-level for direct instrument recording.

Two line-level outputs provide control for levels, and a dedicated headphone output is also included. The US-122 also offers 16 channels of MIDI I/O for use with synthesizers and other MIDI equipment.

The US-122 also provides a dedicated control for adjustable zero-latency direct monitoring, providing a sonically pure reference point before before the audio enters DAW processing.

Since the US-122 is self-powered via USB, no separate power supply is required for operation. This makes it suitable for mobile recording systems based around laptop computers. Drivers for the US-122 are provided for compatibility with ASIO, WDM, GSIF and Apple Core Audio (OS X) software systems.

The US-122 is bundled with two music production software tools: TASCAM’s GigaStudio 24 sampling workstation software and a special version of Steinberg’s Cubasis recording/sequencing software.

TASCAM: “With its compact design and rugged steel chassis, the US-122 meets the needs of everyone from hobbyist musicians through advanced professional recording engineers and producers.”

Tascam Web Site

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Propellerhead Adds New Sound Processing Tools and Routing Utilities to Reason 2.5

Propellerhead, the Swedish developer of popular music production software including Reason, ReCycle! and ReBirth, announces Reason 2.5, an upgrade to its flagship package. The new version comes with four brand new sound processing tools, and two new signal path routing utilities.

Reason emulates a rack of electronic synthesizers, samplers, drum machines and mixing equipment. Previous versions of Reason have won numerous awards, including the highly-coveted TEC Award, Editor’s Choice Awards from Electronic Musician, MacWorld, Remix, and Computer Music magazines, and the mipa award for Best Software Instrument. It’s available for both Mac OS and Windows platforms.

The new 2.5 version of Reason will be available in the second quarter of 2003. Reason 2.0 registered users will get the 2.5 update for free.

BV512 Digital Vocoder

The BV512 Digital Vocoder is a 4 to 512 band vocoder capable of modulating sounds, both in an old-school analog style, and in a digital FFT fashion. As a bonus, it also serves as a fully-automated graphic equalizer. A vocoder takes two input signals, the carrier, which provides the pitch, and the modulator, supplying the characteristics. This type of device is usually seen as a tool to create robotic voice effects, but with Reason’s unlimited patching capabilities, you can combine any two sound sources. For example, you could vocode a percussion track with the bass line, or a string pad with rhythm guitar.

RV7000 Advanced Reverb

The RV7000 is a stereo effect module dedicated to high-quality reverberation, with a quality rivaling the best hardware and software solutions you can buy. The reverb engine consists of nine algorithms: Small Space, Room, Hall, Arena, Plate, Spring, Echo, Multitap and Reverse, with up to seven individual parameters each. In addition to the reverb section, the RV7000 also includes an EQ and a gate section. The EQ section features parametric EQ and a low-shelving filter, for additional tweaking of the reverb signal. The Gate section can be applied to any reverb algorithm and can be triggered with CV or MIDI.

Scream 4 Sound Destruction Unit

Scream 4 is a distortion unit with 10 different damage types -Overdrive, Distortion, Fuzz, Tube, Tape, Feedback, Modulate, Warp, Digital and Scream. In addition to the distortion section, Scream 4 also incorporates a +/- 18dB 3-band EQ; and the unique Body Section, which is similar to a speaker simulator. There are five basic Body types to select from, each with it’s own vibe, as well as separate controls for Body Resonance and Body Scale. The Auto function is an amplitude respondent envelope follower that controls the scale parameter, creating unique dynamic effects.

UN-16 Unison

The UN-16 Unison is a reincarnation of the mysterious “Unison’ button found on early ’80s synths. Transformed into a Reason half-rack unit, it fattens up incoming audio by emulating the effect of 4, 8, or 16 detuned voices playing the same sound. The result is rich and wide, slightly similar to a chorus effect, but more complex.

Spider Audio

Spider Audio is a utility that merges and splits audio, bringing even more of the hardware studio’s patching capabilities into the software realm. Multiple audio signals can be merged and processed with the same insert effect or an instrument’s output can be split into four and sent to four different effect processors.

Spider CV

The Spider CV is the same as Spider Audio, except that the splitting and merging is performed on CV and gate signals. The merge function comes with individual attenuators for each input and the split function also inverts one of the CV outputs. This opens up for advanced and flexible modulation and control routing.

Propellerhead Web Site

Complete List of MIPA Awards Winners & Nominees

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