Recording

Mix News for October

News October 1 - 15 (read October 16 - 31 news) Steinberg Intros Cubase SX 2.0 Now shipping, Steinberg's Cubase SX 2.0 offers a new, revised user interface 10/24/2003 8:00 AM Eastern
News October 1 - 15

(readOctober 16 - 31 news)

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

Improvements include the new VST audio engine with 32-bitfloating-point audio resolution, a Freeze function for VSTi's, realmultichannel surround, Stacked Recording mode and the freelyconfigurable user interface. Because Cubase SX 2.0 is a nativeapplication, users can choose which audio and control hardware theywant to work with.

Other features include: full latency compensation, FX returnchannels, user-definable input/output buses, transport part and muchmore.

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

dbx Offers DriveRack Studio Monitor-Management Processor

Salt Lake City-based dbx has introduced its DriveRack StudioMonitor-Management System, which was designed and engineered from theplatform of the company's DriveRack Loudspeaker-Management System lineof products.

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

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

For more, visit www.dbxpro.com.

BMI, Yamaha, Apple Support Florida Distance-LearningProgram
In a collaborative effort between the Florida Department ofEducation, BMI, Yamaha and Apple, elementary-aged students from 23Florida school districts attended distance-learning master classes heldvia video conference by two New York songwriters, Chris Cerf (SesameStreet) and Julie Gold ("From a Distance"). The program was an ideathat came about through discussions between BMI and past MENC chairmanand head of the Florida Department of Education, June Hinckley.

To facilitate the distance-learning classes, a videoconferencinglink was arranged between BMI in New York City and a special videoclassroom at the University of South Florida. The project was incollaboration with the U.S. Department of Education, the Arts inEducation Grants, the Florida Department of Education and AppleComputer Corporation. The masters taught at the BMI New York officesusing two PSR550 portable keyboards provided by Yamaha, identical tothose used by the students who attended the two-hour, six-week lessonon the campus of the University of Southern Florida in Tampa.

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

"Having the opportunity to support the BMI distance-learning programshows Yamaha's continued commitment to songwriters and musiceducation," said Gero. "It was a natural that Yamaha would want toprovide Chris and Julie the exact PSR keyboards as that used by thekids."

The BMI Distance Learning program, which began as a pilot lastFebruary, will continue this fall and hopes to expand to other schooldistricts across the country. Cerf and Gold have "signed on" onceagain.

For more, visit www.yamaha.com.

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

Space Designer features a real-time convolution process usingreverberation samples—impulse response (IR). Users can create andedit custom convolution reverbs; Space Designer can be further shapedusing its parameter set that features specially designed envelopes forvolume, filter and density.

Space Designer ships with more than 1,000 high-quality impulseresponses and synthesized settings, including real rooms and hall, aswell as classic and contemporary reverb units. Space Designer requiresLogic Platinum, Logic Gold or Logic Audio 6.3 or higher. The companyplans to ship the plug this month.

For more, visit www.emagic.de.

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

Producer/engineer Neil Dorfsman came in to work on artist AmyBartle. John Kaplan was the Pro Tools engineer. Pictured, from left,are Loho assistant Joe Hogan, Adrian Holz, Neil Dorfsman, John Kaplanand singer Amy Bartle. Reggae dancehall legend U-Roy & The LoveTrio were working with engineer Bob Ebeling. TVT artist Ambulance Ltd.and Sony artist Sweetback were in to record upcoming releases withengineer Bob Brachman. Engineer John Marshall Smith was working withAM60, while engineer Jason Candler had his hands full with jazzmusician Phillip Johnston.

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

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

Each room includes a Grace Model 901, which allows producers,engineers and musicians with reference-quality stereo monitoring ofanalog or digital tracks via headphones. Two additional units areavailable as “"floaters" for clients to use as needed. A Model201 preamp is also available to cut tracks in Studio A.

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

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

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

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

Lake's Board will appoint an independent expert to provide anopinion as to whether the offer is fair and reasonable. If the expertdetermines that the offer is fair and reasonable, the Board intends torecommend the Dolby offer in the absence of a higher offer. Lake hasappointed Clayton Utz as its legal advisor. Dolby has appointedMacquarie Bank Limited as its exclusive financial advisor and MallesonsStephen Jaques as its legal advisor.

If the Board recommends the offer, it intends to support anaccelerated timetable for the offer and will agree to the jointdispatch of a bidder's and target's statement to shareholders. TheBoard recommends that shareholders do not take action until theyreceive a target's statement from Lake.

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

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

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

"Our studio customers have made it clear that piracy is the mostimportant problem they face today," Partridge continued. "Dolby has along history of meeting the needs of the film industry throughtechnical innovations such as stereo, surround sound and digital audio.Content protection is another area where innovative and comprehensivesolutions are clearly needed."

"Cinea's mission is to provide world-class anti-piracy tools andservices to our studio customers," said Schumann. "Dolby's unsurpassedreputation for quality and customer service—and proven ability tobring practical solutions to market—will allow Cinea to expandthe scope of our offerings and provide our customers with qualitysolutions worldwide."

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

The new DV5515 is a unique digital video-frame synchronizer thatintegrates with OctaStream modules via Sigma's OctaBus!". This allowsfor timing information to be read and compared between up to eightdelay modules to realign the timing of HD, SD and AES signals. TheDV5515 incorporates memory sufficient to delay high-definition videofor up to 10x 25Hz frames (400ms) and in excess of 50 frames atstandard-definition rates. The DV5515 also allows the user toframe-synchronize and re-align video frame boundaries across differentsignal formats.

The OctaStream family also offers the DA5320 Mixer and Subframerouter that brings timing, mixing and synchronizing power to eightindividual audio channels from four AES input streams; the DA5315Variable Delay Compensator and DATC Comparator, which sets variabledelay up to 10 seconds for each of four independent AES signals overeight channels; the DA5325 Sample-Rate Converter that serves as theaudio equivalent of a video-frame synchronizer; and the SG5605 AES andDATC Reference Generator, which provides an AES tone/silence with eightaudible channel identifiers.

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

For more information, visit www.sigmaelectronics.com.

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

New features include: expanded multiwave oscillators with a list ofcomplex waveforms and phase initialization option per oscillator;adjustable balance between filters in Parallel mode; expanded LFOsfunctionality with adjustable fade in and phase initialization; squarewaveform with variable pulse width; Unison mode with configurabledetune and pan-spread amount; expanded modulation matrix; individualphaser FX available per part (with three and six peaks mode);individual distortion FX available per part (with several distortioncurves); expanded arpeggiator with new modes and capabilities; temposync (external, internal, auto) for time-based parameters (speed inLFOs, chorus and phaser, delay time in delay, and note length inarpeggiator); downloadable arpeggiator patterns via MIDI SysEx; audioinput to run external sounds sources through the effects mixer;enhanced front-panel, real-time controllers with Absolute, Relative andPick Up operating modes; parameters assignable to external controllers,including support for sustain and expression pedals; factory soundbanks and demo songs included in the same application; multi-modecontrol of arp patterns and delay sends for individual singles; andenhanced user interface.

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

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

When a song is loaded into Har-Bal, its frequency spectrum isimmediately analyzed. Users then choose a reference template (providedby the company) and will immediately see the locations of the strengthsand weaknesses of the song. The software uses an 8,192-pointlinear-phase FIR filter, whose characteristics are designed to matchand compensate for the average spectrum as closely as possible. Thedegree to which the user can boost and cut a particular region isessentially unlimited.

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

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

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

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

For more, visit www.mackie.com.

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

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

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

In other studio news, Hot Sound Studios has just reconditioned itsAmpex ATR 102 for 1/4-inch and 1/2-inch use in mixing and mastering.The machine will be available for use in either the Neve/Studer2-inch-equipped Studio One or the Pro Tools suite in Studio Two. Thework was done by Michael Spitz of ATR with new heads from John Frenchof JRF.

Visit Hot Sound online at www.hotsound.com.

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

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

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

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

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

"When I'm considering a piece of equipment," Calbi explained, "Ineed to know that it does something that nothing else does. There aretwo things that the API 550 does extremely well: It filters subsonicinformation in a way that keeps the shape of the original signal butgets rid of the excess in a very precise and musical way. It's hard todescribe, but the 550 does something that is very difficult for anequalizer to achieve.

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

"But the 550 does something else that most equalizers can't: addwarmth in the 400 to 600 cycle range in a clean and defined way. Withdigital mixes especially, you're always looking to add warmth withoutlosing clarity. By this time, everyone is looking to avoid the overlycrisp but somewhat cold sound of digital music. The API 550 does anoutstanding job of keeping a mix in perspective and smoothing thingsout. All of our mastering suites have 550s in them, so that should tellyou something about how our staff has responded to them. The mostrecent project I used them on was Emmylou Harris' new album, which willbe coming out in October on Nonesuch. I was able to add warmth toEmmylou's voice without sacrificing anything, and the results wereoutstanding."

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

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

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

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

In collaboration with Hollywood's leading sound supervisors, NetMixPro offers FX spotting, ADR and Foley cue sheets to be created andorganized by projects, reels and scenes. The user can attachdescriptions and notes to every scene, spot sounds and multitrackprojects to specific timecodes and preview in sync to DV movies. Soundsupervisors and editors can access and search projects simultaneouslyusing a multi-user database server.

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

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

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

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

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

New features of Live 3 include clip envelopes that extend Live's'elastic' approach to audio by allowing musicians to achieve endlessvariation of a sample. Every clip in Live 3 contains independentenvelopes to draw pitch, volume, warping, mixer and effects parameters.The sample is processed nondestructively and in real time. Inconjunction with Live's beat-synchronized playback and real-timequantization, the MIDI keyboard becomes a powerful song arrangementaid. Users can improvise new melodies over vocal phrases or spokenpassages, or play variations of an instrumental solo on thefly—and capture it all in the Arrangement for further editing.Live 3 has a new Consolidate command that turns each track within aselected time range of the Arrangement into a new clip, ready to belooped or dragged into the Session View for instant use. New effectsinclude resonators, compressor II, EQ three and utility. The InsertCaptured Scene command captures all running clips as a new Session Viewscene. The Quantization menus now include triplet-note values; theglobal Quantization setting includes values greater than one bar, andmany more features.

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

StudioPanel Turnkey System Debuts at AES
MSR will introduce its acoustical management turnkey system forpersonal studio environments, StudioPanel!", at AES. StudioPanel is acustomizable and cost-effective acoustical treatment system that canadapt to any personal recording or other acoustically criticalspace.

At its core, StudioPanel is a system of acoustical panels configuredand calculated to provide the correct amount of sound absorption anddiffusion necessary for contemporary monitoring systems to worksuccessfully in a small- to mid-sized control room environments, andutilizes components used by leading studio designers and acousticians,such as mineral wool. StudioPanel is a system of acoustic componentsincluding absorbing and diffusing panels, a Helmholtz mid-bassabsorber, CloudPanel!" floating ceiling panels, and a spring-loadedacoustic bass trap, known as the SpringTrap!". For media productionprofessionals, the system allows modern active monitor systems toachieve their design goals and deliver accurate imaging, clarity anddefinition. A box the size of a typical software package is sold atretail and contains simple measuring devices, including an audio CDwith numerous test tones. A clearly worded step-by-step instructionmanual allows the user to precisely define the acoustical parameters ofhis or her own studio/media production space. Based on room sizemeasurements, the company will ship to the user one of threeready-to-be-installed acoustical treatment “"kits" that containall the necessary components, including corner and diffusion and basstrap systems.

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

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

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

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

Features include an acoustically optimized 3-K driver array;2x8-inch servo-controlled bass driver, 2x 500W bass amplifiers withactive crossovers, and 500W, three-way active treble amplifier modulewith active crossovers. The unique Linn 3-K acoustic array (patentpending) is a precision-machined component housing an optimized andacoustically matched grouping of midrange, high-frequency andsuperhigh-frequency drive units. The 3-K array is mounted with anacoustically matched interface, ensuring uniform dispersion and singlepoint-source accuracy. Linn's servo-controlled bass technology deliversaccurate, extended and powerful low-frequency reproduction and ensuresminimal distortion by measuring and comparing driver motion to theoriginal audio signal and modifying power amplifier output tocompensate for any bass driver nonlinearity. The company's "silentpower" amplification, featuring Linn's patented "noiseless" poweramplification circuitry, and advanced active crossovers deliver precisecontrol of individual drive units completing a cool-running, hum andbuzz-free monitoring tool.

The Linn 328A is designed to be suitable for reference monitoringwithin larger control rooms in applications such as music recording,mixing and mastering, radio production, film post-production, and TVproduction and post-production. The contoured cabinet shape enablesstable console-mounting where the console meter bridge is able tosupport the unit. Alternatively, the Linn 328A loudspeaker can bemounted immediately behind the console on stands. Setup involves amains power cable and an input signal via a balanced XLR cableconnection.

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

In larger control rooms, the Linn 318A will augment main monitors inmultichannel monitoring installations, and is designed to performfreestanding, either on the console meter bridge or mounted onstands.

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

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

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

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

Key Code Audio is located at 3771 Cahuenga Blvd., Studio City, CA91604, 818/303-3966, www.keycodeaudio.com.

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

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

Cakewalk Releases SONAR 3 Producer Edition
At AES 2003, Cakewalk released its SONAR 3 Producer Edition, whichboasts more than 100 new features and refinements, includingstreamlined UI with all-new Track and Console views; Universal BusArchitecture; gapless effects patching; VST/VSTi support; enhanced MIDIrouting and synth layering; MIDI Groove Clips; multiport MTC/MIDI synctransmission; confidence recording of audio, MIDI and automation;VSampler 3.0 DXi; Ultrafunk Sonitus:fx Suite; and Lexicon PantheonReverb.

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

SONAR 3 also includes content from leading sample and loopsdevelopers, including MIDI Groove Clips (a SONAR 3 exclusive) fromKEYFAX!" in folk, jazz, rock, blues guitar and drums styles; and over500 live-percussion, drums, acoustic and electric guitar, bass, modernand vintage synth files from PowerFX!" and SmartLoops!".

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

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

The tour will be staged at music retailers around the nationthroughout October and November 2003. It kicks off the week of October13 at Gand Music, Northfield, Ill.; Guitar Center, Central Chicago andHollywood; and at the Sam Ash New York City store locations. Specialpricing will be available for SONAR Producer Edition purchases the dayof the event.

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

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

Development of the dXb was a collaborative effort between Mackie andSanewave Inc., a Washington-based engineering and design company thatspecializes in digital audio technology. Ken Berger, senior VP ofmarketing and product development at LOUD Technologies Inc., commented,“"Sanewave was the perfect partner for the dXb because its groupincludes members of the original development team behind Mackie'saward-winning Digital 8-Bus. Our own internal engineering resourcesaugmented their expertise: the same Mackie teams responsible for keyproducts like D8B v5 software, Mackie Control, Spike and an expandingportfolio of effects plug-ins. As a result of this collaboration, dXbis a significant leap forward for digital mixing, a market that Mackiehelped define and continues to drive today. It incorporatesfunctionality from a number of Mackie products, including an onboardUAD-1 Powered Plug-Ins card and the ability to operate as a MackieControl Universal to provide tactical control for popular DAWs like ProTools, Logic, Digital Performer, Nuendo, Cubase, SONAR and more."

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

The dXb software has been designed for the precise response andintuitive operation more commonly associated with analog buttons ratherthan virtual ones. Both touchscreens and the mouse can be usedsimultaneously and operate independently. Users can also run select VSTplug-ins internally without a separate computer and/or operate plug-insin a desktop or laptop computer system and interface with the dXb viaFireWire.

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

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

For more, visit www.mackie.com.

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

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

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

For additional information, visit www.greatriverelectronics.com.

Universal Audio Announces New Products at AES 2003
Universal Audio announced at AES 2003 the 2-1176 (shown), a new dualmono/stereo 1176LN Limiting Amplifier. The 2-1176 retains all of thefeatures and functionality of the company's 1176LN, and switches easilybetween dual-mono and true linked stereo. The 2-1176 builds from thecircuit design of the company's 6176 Channel Strip and combines two1176 channels from that unit.

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

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

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

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

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

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

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

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

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

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

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

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

The two independent TCS channels can be linked and adjusted with theavailable global controls. When linked, one level control acts as abalance control for true stereo operation. For use with instrumentssuch as guitar or electric bass, the TCS features a front-panel1/4-inch instrument input jack and rotary gain control.

The TCS has an MSRP of $299, and will be shipping in December2003.

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

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

The DPS II has an MSRP of $319.

Also shipping from ART is its Digital MPA Tube Preamplifier, whichis a high-quality, 2-channel preamplifier for both microphones andinstruments, and offers variable input impedance for flexiblemicrophone voicing. In addition to analog outputs, the Digital MPA hasdigital connectivity in multiple formats for linking to digitalprocessors and digital recording devices.

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

Features include selectable plate voltage; large VU meters withuser-accessible meter trim; metering of output level and tube warmth;improved discrete Class-A input microphone preamplifier; widerfrequency response, lower THD and noise levels based on previous ARTmodels; front-accessible instrument input jack; instrument jacksfeatures high input impedance; and input automatically switches to theinstrument jack when it's used.

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

The Digital MPA has an MSRP of $749.

For more, visit www.artproaudio.com.

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

The 7050A subwoofer has been specifically designed to complement the1029A active monitor. When combined, they deliver a smoothness offrequency response comparable to larger Genelec monitors. The subwooferalso lets the Triple Play offer greater placement flexibility. Thecompact 1029As are small enough to be located on a desktop as part of amultimedia/workstation audio system and visually appear fairlyunobtrusive in a typical control room or project studio. The 7050A,when appropriately placed, can overcome many of the low-frequencyproblems associated with freestanding full-range speakers in smallrooms.

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

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

The Triple Play system also includes two Genelec 1029A two-way,bi-amplified active monitors. The 1029A is a compact close-field systemfeaturing a high degree of accuracy and wide dynamic range andincorporates Genelec's proprietary Directivity Control WaveguideTechnology!" (DCW). Powered by a pair of 40-watt amplifiers, theGenelec 1029A monitors offer a frequency response of 68 Hz to 20 kHz(+/-2.5 dB) from a 5-inch woofer and 3/4-inch hard-domed tweeter. The1029A has a front-mounted volume control and rear-panel bass and trebletilt room response controls. The Genelec 1029A active monitors measure10x6x7.125 inches and are housed in a die-cast aluminum enclosure thatfeatures rugged construction, while also providing massiveheat-dissipation capability and shielding against RF interference. Eachspeaker is also EM-shielded for additional protection when used inclose proximity to video monitors.

All monitors in the Triple Play system feature extensive driverprotection.

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

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

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

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

Berklee Music Synthesis department chair Kurt Biederwolf said, "TheMusic Synthesis department is very excited about our recent partnershipwith Native Instruments. For years, NI has succeeded in putting a widevariety of powerful software instruments in the hands of professionalmusicians, and the presence of these same tools in the classroom willopen up many possibilities for learning synthesis concepts and applyingthem toward the production of cutting-edge music. Student ownership ofthese tools ensures a new level of discovery and mastery of thesoftware that will help define their musical voices."

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

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

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

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

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

The XLogic Multichannel Compressor unit is a 2U rack-mounted6-channel compressor that uses SSL's center-compressor design elementswithin a SuperAnalogue design topology. Features include separate5-channel and LFE channel compression controls, allowing separatetreatment of LFE signals that typically require different attack andrelease characteristics; circular “"Max" display shows whichchannel is contributing the most to the sidechain, giving a clear,instantaneous indication of which channel is driving the compressor;separate trim controls for L, C, R & S channels provide differentthresholds for each input; and dual stereo allows either differentcompression to be applied to the surround channels or for the unit tobe used as separate 4-channel and stereo compressors.

The XLogic SuperAnalogue Mic Amp provides four of the XL 9000 KSeries Microphone Preamplifiers in a 1U rack-mounting unit withoptional remote control and is designed to work stand-alone, remotecontrolled or directly from a suitably configured SSL XL 9000 Kconsole.

The XLogic uses DC-coupled SuperAnalogue technology combined withstepless changes to preamp gain through servo-driven motorizedpotentiometers, as well as selection of 20dB pad, +48V phantom powerand hi/low-impedance selection for both line and microphone levelinputs. When combined with an XL console or used with the optionalXLogic Remote, the 4-channel amp can be used in multiples to provideadditional capture capability. A twin 7-segment digital displayidentifies the appropriate channel, and the unit's "monitor" capabilitycan be bused, allowing one headphone output to monitor any unit's micinput.

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

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