Signal Processing Hardware
Sep 25, 2007 4:11 PM
A-DESIGNS AUDIO HAMMER: Hammer is our new two-rackspace, dual-mono tube equalizer. AES booth #856.
ATLAS PRO AUDIO REVOLVER: The ultimate, portable two-module internally powered (400mA PSU) rack for 500 Series gear. Built to the highest standard for roadworthy durability. Desktop, stand-alone or one/two/three units can be horizontally racked. Designed by Tim Farrant and Nathan Eldred for the new Atlas Recording Equipment brand.
BUZZ AUDIO POTION: Potion is a true Class-A, FET-based compressor module designed to fit the API 500 VPR Series rack frames. Potion will suit those looking for an audio compressor with “attitude,” and is particularly useful in rock, hip hop and modern music styles where a somewhat aggressive character adds to the energy of the track.
BUZZ AUDIO TONIC: The Tonic offers three bands of EQ with a versatile sweep midrange section and two fixed-frequency high and low bands. Tonic also has a highpass filter using another real choke. The signal path is all true Class-A discrete transistor with the output balanced via a Lundahl LL1517 high-spec transformer. Tonic is designed to fit into the popular API 500 Series modular racks and requires a rack to function.
CEDAR DNS2000 FOR MAC/PC: DNS2000 Dialogue Noise Suppressor is now compatible with Pro Tools for PCs and Intel Macs. The Dialog Noise Suppressor also integrates with all of Digidesign's control surfaces, such as the D-Command and ICON systems, on PC or Mac platforms. The Remote Control Software (RCS) can support and control up to 128 DNS2000 hardware units for those really big jobs. The latest RCS and firmware downloads from Cedar's Website. AES booth #449.
CHANDLER GERMANIUM COMPRESSOR: Now shipping, the Germanium series compressor has a Class-A amp, transformer balancing and a FET gain reduction element. Features include a Wet/Dry mix (for "submixing" tracks within the comp), Comp Curve (to select the knee using various diode combinations), Clean/Dirty Comp and SideChain Filter. All Germanium units require the chaldner PSU-1 power supply. A Germanium Compressor Mastering Version is also offered. AES booth #162.
COLEMAN 7.1 SWITCHER: Coleman Audio introduces the 7.1SW balanced audio switcher. You can select any one of four 8-channel balanced audio inputs and route them to an 8-channel balanced output. As a passive switcher, it's bidirectional and can be wired to send one input to any of four places. The balanced 8-channel inputs and output are on (Tascam format) DB25 connectors. Applications include backup switching for DSP outputs feeding the crossover system in live sound; A/B'ing between four mixes in film/video post/surround music production; and simultaneously switching 5.1 and stereo mixes in broadcast, authoring, game sound, etc. AES booth #1023.
ELYSIA MPRESSOR: The mpressor is a new tool for creative dynamics processing. On top of the tried-and-tested standard features, this creative compressor provides several special functions that produce fat and freaky sounds by employing a punchy control behavior, colorations full of character and extreme settings. In addition to classic tracking applications, its favorite domains are groovy effect compression and creative sound design. AES booth #162.
EVENTIDE H7600: The H7600 is the most powerful Eventide stereo effects processor ever. The 24-bit/96kHz, 8-channel H8000FW is twice the power, plus FireWire. Also featured are Eclipse™, DSP4000B+ post-production effects processor and Reverb 2016. For Pro Tools TDM, the Anthology II bundle includes all 15 Eventide plug-ins, featuring its best effects of the past 36 years. New for AES is a TDM control plug-in for the H8000 Series, H7600, and Eclipse. Also, Eventide will demonstrate TimeFactor and ModFactor. AES booth #601.
LAVRY AP10: Lavry Engineering introduces the AD10 24-bit A/D converter featuring the unique Digital Alias-Free Emulation™ modes: tube, transformer and both. In keeping with the Lavry philosophy of transparency, Clear mode provides conversion without altering the sound. Features include balanced and unbalanced +4dBu XLR and -10dBV ¼-inch instrument line-level inputs; internal 44.1, 48, 88.2 and 96 kHz; external sync 32 to 100 kHz; LED peak meter also displays 14dB gain adjustment; and user-friendly interface. AES booth #249.
MANLEY LABS MANLEY MASTERING INSERT SWITCHER: This unit for high-end mastering allows centralized, hard-wire bypass of up to eight outboard devices, such as analog EQs/compressors/limiters. It has pre/post-level trims in 1/2dB steps, sum/difference matrices, mixing/parallel-path insert or rotary fader, and more. The internal architecture is mostly passive relay switching, and any gain boosting is minimalist: exceptionally clean, quiet, high-current and rarely unbalanced. Left/right signal paths are generally on separate circuit boards to minimize crosstalk. Switches are large EAO push-buttons and Grayhill gold-contact rotaries. AES booth #836.
MOOG MUSIC MOOGERFOOGER-FREQBOX: The MF-107 FreqBox™ is a different effect: The effected sound is not a processed version of your input signal, but the sound of the input signal modulating an internal oscillator. It contains a VCO with continuously variable waveshape. The MF-107 modulates the internal oscillator as follows: hard synched to the input signal and frequency modulated (FM) by the input signal. The VCO frequency can be modulated by an envelope follower.
MUSE RECEPTOR WITH KOMPLETE: Receptor, the ideal platform for running virtual instruments and effects software, just became your complete music solution, with Native Instruments’ Komplete 4 software package pre-installed and authorized. It sounds incredible, works with any computer or keyboard and saves time and money, whether you play live or in the studio. Muse Research will also show its Receptor PRO model working with Pro Tools featuring its exclusive UniWire technology. AES booth #1109.
NOVATION NIO 2|4: The nio 2|4 interface has four inputs (XLR mic input, instrument and two RCA line), four RCA outs, MIDI I/O and a low-latency environment, allowing its effects (amp simulator, filters, delay, chorus, phaser, flanger, distortion, EQ, reverb, tremolo and more) to be used in real time. The unit connects to any PC or Mac (OS X) via USB, and features two headphone outs. AES booth #136.
PRESONUS HP60: Intended for the distributed cue mix arena the HP60 ($399) system features six headphone amps outputting two stereo main inputs (A and B) and external input "more me" ins. Stereo output is available on each channel to send line-level channel mixes to additional headphone amplifiers or monitor systems. Channel controls offer headphone level, mix between inputs A and B, external input volume, mute and mono. Talkback is via external XLR microphone. AES booth #910.
PRESONUS MONITOR STATION REMOTE: The Monitor Station Remote ($229.95) connects to the Presonus FireStudio via a standard Cat-5 Ethernet cable and offers surround sound/stereo speaker management, input switching and a talkback system with built-in mic. It also has two separately adjustable headphone outs and mute/dim/mono switches, and integrates with the FireStudio's Control Console routing/mixing software for greater control of track routing, mixing and I/O switching. AES booth #910.
REAL SOUND CONEQ APEQ-2PRO ACOUSTIC POWER EQUALIZER: Provides two channels of CONEQ™ high-resolution, EQ-correction based on acoustic power frequency response. Unlike conventional SPL frequency-response techniques, CONEQ enables inverse FIR filter corrections to be applied with repeatable success. Following the measurement process, which takes about two minutes, CONEQ synthesizes a 4,096-point inverse filter that precisely corrects the loudspeaker’s frequency response to a flat target response or to a specific “personality profile” that can be anything the user requires. SRP: $2,999. AES Booth #669, Room 3D07.
RUPERT NEVE DESIGNS PORTICO 5015: The 5015 is a single-channel mic pre/compressor with an independent, transformer-coupled line-level input for the compressor section. The mic pre section is identical to the 5012 with 72 dB of gain, a swept HPF from 20 to 250 Hz, and the Silk circuit. The comprehensive compressor section is identical to the 5043. AES booth #840.
SPL-USA TRANSDUCER: This analog cabinet/miking simulator replaces the guitar speaker cabinet and mic(s) so the time- and resource-intensive mic processing of this loud source is no longer necessary. Transducer also offers much more sonic flexibility and variety than a single mic/cabinet setup, as it allows varied speaker and mic simulations while retaining accustomed features of individual setups (such as the ability to vary level-dependent loudspeaker characteristics and micdistances). AES booth #1025.
SPL TONELUX TRANSIENT DESIGNER
Tonelux has appointed SPL from Germany to produce Transient Designer modules in the format for the modular Tonelux VRack and the new V8 Rack systems. Unveiled at AES, this new SPL Model 2745 module has independent rotary controls for Sustain, Attack and Output, along with link and bypass switches. AES booths #1025 (SPL) and #847 (Tonelux).
SSL EXPANDS XLOGIC X-RACK: Solid State Logic is expands its modular XLogic X-Rack system. The $995 VHD Input Module combines an E-Series console mic preamp, Listen Mic Compressor and the SSL Variable Harmonic Drive (VHD) system that provides blends of second or third harmonic distortion to the mix. The $1,995 Stereo Bus Compressor Module offers the center section compressor from the G-Series console in a two-slot unit. AES booth #126.
SOLID STATE LOGIC X-RACK STEREO COMPRESSOR MODULE: The Stereo Bus Compressor Module, a component for the X-Rack modular rack system, is the first double-width module occupying two X-Rack slots and makes complete mixes sound bigger, with more power, punch and drive. The new module, which is being introduced at AES, delivers the classic tonal characteristic of the G Series Compressor but with the added benefit of the ultrahigh-bandwidth, ultralow-noise SuperAnalogue™ circuit design. AES booth #126.
THERMIONIC CULTURE EARLYBIRD 2.2 PULLET: The Earlybird 2.2 ($4,604) is a 2-channel tube mic/line preamp featuring an optional Pullet ($1,514), an add-on 2-channel passive boost/cut EQ with six midrange and three HF bands. As a passive device, it needs 40 dB of make-up gain boosting at the back-end, which the Earlybird 2.2 provides via a second set of switchable line inputs. When not used as a Pullet booster, the Earlybird 2.2 functions as two mic pre's with variable input impedance and onboard, switchable active EQ across the low, mid- and high bands, separate output trims, polarity switches and dual VU meters. AES booth #1028.
TONELUX MP1A: The $749 MP1a mic preamp offers a transformer-coupled input/output, plus a front instrument input. There's also a -20dB pad, polarity switch, dual-knob input gain, output fader and 8-segment LED with peak indication that can be switched to monitor input or output level. The rear panel XLR is multed to the front panel, as well as a D-Sub on the rear of the host V-Rack. The insert return input of the V-Rack is a resistor-isolated mic level input that can be used when the MP1 is in a live recording situation and there is no splitter. AES booth #847.
TONELUX TXC: The $949 TXC compressor allows parallel mixing of the dry and compressed signal and the ability to control the mix of feedback and feed-forward compression effects for custom compression knees. The unit also offers an Over-Ratio control, where the gain reduction is greater than the signal going into it for negative compression effects and for restoring transients to signals with minimal dynamic range. A Tilt control increases high frequency and decreases low energy into the sidechain, eliminating pumping due to a more uniform distribution of energy across the spectrum. AES booth #847.
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