Allen & Heath extended its PA series of stereo live sound consoles at the Frankfurt Musikmesse with the introduction of the PA20 and PA28 mixers. The new models are companions to the recently-launched PA-CP powered mixers, without the on-board amps.

The new Allen & Heath PA28 offers 24 mono channels and 2 stereo channels, padless preamps, and 4-band semi-parametric output EQ

The PA series is targeted at live sound customers including PA and AV rental companies operating smaller systems, bands, music venues, churches and schools.

The PA20 has 16 mono plus 2 dual stereo channels, giving a channel count of 20 inputs, while the PA28 has 24 mono plus 2 dual stereo channels. Main features are a new padless preamp, internal FX unit, SPDIF output and parametric output EQ.

The mono channels feature an XLR input with individual +48V phantom power, and a TRS jack input. The TRS input feeds a new two-stage padless preamp which directs line sources to the second stage for improved matching and performance.

4 auxiliary sends are included, with 2 pre-fade sends for foldback, one post-fade for internal or external FX, and another post-fade for additional FX or special feeds. Mute and PFL switches with LEDs, peak metering and a full 100mm fader are also provided.

The 4 band semi-parametric EQ which proved to be such an important feature on the amplifier outputs of the PA-CP powered mixers is also available on the main outputs of PA20 and PA28. The EQ is a specially-designed 4-band type, with shelving LF and HF, a fixed LM band at 250Hz and a swept HM.

The smaller Allen & Heath PA20 has all the same features as the PA28, but with 16 mono and 2 stereo channel inputs

Also included in the mixers’ comprehensive feature set: built-in editable FX, 12-segment LED meters, XLR lamp socket and background music facility.

Allen & Heath Web Site

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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‘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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The major new product introduction at Musikmesse from German virtual instrument developer Native Instruments is the first major update of their semi-modular software synthesizer Absynth. It’s due to ship in May 2003, at a suggested price of $299 (US).

Absynth 2.0 is now a sampler as well as a synthesizer. The combination provides rich new creative possibilities via an intuitive patch window that makes it easy to mix sampling, granular sampling, subtractive, wavetable, FM, AM, ring modulation, and wave-shaping synthesis.

Each Absynth voice has six synth oscillators or three sampling oscillators, four filters, three ring modulators, and a wave shaping distortion function. Waveforms can be drawn by hand or created by sketching harmonics. A built-in library of waveforms, envelopes, and even entire oscillator channels enables the quick construction of complex, evolving sounds with just a few clicks.

According to Native Instruments: “The combination of multiple synthesis techniques, granular sampling, and flexible envelope control generates everything from organic textures to rhythmic loops, from time-evolving soundscapes to vintage sounds.”

The new version of Absynth allows you to control an envelope (or a group of envelopes) dynamically with a MIDI controller, to morph and twist the sound with a single gesture. Each envelope can be modulated with its own graphically-displayed variable speed LFO for creating sounds with movement and vitality. A new Link mode allows multiple envelopes to be chained together, with adjustable time, amplitude, and slope scaling – perfect for detuned chords, phasingfilters, or for mirroring the sample playback position with filter resonance, for instance.

The update also delivers a revised DSP core that has been extensively optimized for greater CPU efficiency. Anti-aliasing can be switched on or off per oscillator, to choose between smooth analog highs, or cool digital jitter. The system runs completely in stereo, and each oscillator can be dynamically panned by its powerful envelopes. Several new filter models are available, including an exceptional two and four pole lowpass and a multi-pole allpass filter for phasing and resonant effects.

Plug-in operation of has also been improved in Absynth version 2.0. Each Plug-in can open its own bank, and the Absynth Engine is no longer needed to play sounds.

The updated package includes more than 800 evocative, expressive, and musical presets covering a wide range of sonic territory. Absynth 2.0 will be released in May 2003, at a suggested retail price of $299 (US).

Native Instruments U.S. Web Site

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German microphone maker beyerdynamic has introduced two new professional mics designed specifically for work with bass instruments and drums, at Musikmesse in Frankfurt.

Opus 99 Dynamic Mic for Bass

The new Opus 99 is a dynamic microphone “in best studio quality,” featuring extremely high SPL capability, and a special frequency equalization that will make it an ideal microphone for picking up instruments such as double-bass, tuba and the bass drum. The strong neodymium magnet system and a mass-reduced diaphragm achieve powerful reproduction and excellent impulse response.

In live applications the hypercardioid polar pattern minimizes feedback. As an option the Opus 99, can be supplied with a special stand (ST 99) to place the microphone in front of, or inside, a kick drum.

Opus 88 Condenser Mic for Drums

The Opus 88 condenser is a modification of beyerdynamic’s reliable Opus 87. This cardioid microphone is designed specifically for use with toms and snare drums. It features an extremely-high gain before feedback, and a very wide frequency response.

Opus 88 comes with a patented mounting clamp, with integrated pre-amp and 3-pin XLR plug. This provides for quick and easy set up. A short gooseneck and the horizontal swivel joint on the clamp ensure optimum placement in close proximity to the sound source. The rugged construction and the rubber shock-mounted microphone capsule are well protected against stray drum sticks.

beyerdynamic U.S.A. Web Site

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