Monday, October 7, 2002 Los Angeles, California
Reception 6:00 p.m.
Dinner 7:00 p.m.
Awards Ceremony 8:30 p.m.
A benefit for hearing conservation.
Beginning on page 66 are six pages of nominee descriptions. Please take the time to read this information before voting, then vote in the categories in which you are most qualified. Your ballot must be returned no later than Friday, September 6, 2002.
You are also invited to join fellow members of the pro audio community at the TEC Awards ceremony at the Wilshire Grand Hotel in Los Angeles on October 7, 2002, on the third night of the AES Convention.
For information about TEC Awards tickets and Sponsorships, contact Karen Dunn, TEC Awards Executive Director, at (925) 939-6149 or check our web page at www.tecawards.org
Proceeds from the 18th Annual TEC Awards will be distributed to the following organizations:
Sound Partners, co-founded by Mix magazine and the House Ear Institute of Los Angeles
Hearing Education and Awareness for Rockers (H.E.A.R.), San Francisco
Audio Engineering Society Educational Foundation
Society of Professional Audio Recording Services financial aid program
Scholarships for university-level programs in the recording arts and sciences
TEC Awards Scholarship Fund
Official Sponsor — Technical Awards
Gibson Musical Instruments
Gibson Labs, the technology division of Gibson Guitar Corp., has a new line of patent-pending sound reinforcement speakers, amplifiers and MaGIC-enabled digital audio distribution systems (digital snakes). The speakers and amps are designed to provide high-quality sound and withstand the heavy abuse of live applications. Gibson Labs will provide 24/7 support and a hot swap program. The digital snakes provide up to 64 bi-directional channels of 24-bit, 48kHz audio with remote routing and gain control. Gibson is the official sponsor of the Les Paul Award, presented annually to individuals or institutions that have set the highest standards of excellence in the creative application of recording technology.
JBL Professional is proud to serve, for the 18th consecutive year, as Platinum Sponsor of the TEC Awards. Headquartered in Northridge, California, JBL Professional is the world’s leading designer, manufacturer, and marketer of professional loudspeakers for recording, musician, cinema, tour sound, and installed sound applications. JBL Professional is part of the Harman Pro Group, the professional segment of Harman International Industries Incorporated.
As the leading magazine for the professional recording and sound production industry, Mix covers the entire spectrum of professional audio and music: studio recording, live sound production, sound for picture and multimedia, digital audio technology, facility design and construction, tape/CD replication, broadcast production, education and more. Founded in 1977, Mix reaches more than 51,000 professionals worldwide. Mix also publishes the annual AES New Products Guide, the Mix Master Directory, the Mix “Finest” series, the MixLine e-newsletter, and mixonline.com. Mix is the leading sponsor of the TEC Awards.
Founded in 1925, Shure is one of the world’s leading manufacturers of microphones and audio electronics. Best known for reliable, high-performance microphones such as the legendary SM57 and SM58®, Shure is also a global leader in wireless systems, circuitry products, and phono cartridges. Recent products such as the ULX wireless systems, KSM condenser microphones, PSM® personal (in-ear) monitors, and P4800 system processor confirm Shure’s ongoing commitment to providing innovative products that help people produce their personal sound.
AKG Acoustics is a leading manufacturer of microphones, headphones, wireless systems, sound processing electronics and OEM acoustic devices. Company operations are located in the music cities of Vienna, Austria, Nashville, Tennessee, and Munich, Germany. AKG is the holder of more than 1,400 patents, 300 of which have been basic developments having influence over the entire audio industry. Innovative product introductions in 2002 include the K240 Studio and K141 Studio low-impedance headphones and the WMS 40 microtools®, featuring the miniature wireless transmitters GB 40 guitarbug®, SO 40 snapon® transmitter and the MP 40 micropen®.
Audio-Technica has been dedicated to advancing the art and technology of electro-acoustic design and manufacturing since 1962. From a beginning in state-of-the-art phono cartridges, Audio-Technica has expanded over the years into high-performance microphones, wireless microphone systems, headphones and other audio equipment. Best known for the 40 Series line of precision capacitor microphones, Audio-Technica strives to create innovative, problem-solving products in each new area it enters. Audio-Technica is proud to be a Gold Sponsor of this year’s TEC Awards.
Eastern Acoustic Works/Mackie Designs
For over 20 years, EAW has led the professional audio industry as the worldwide technological and market leader in the design and manufacture of high-performance, professional loudspeakers. With more than 200 products and 20 primary series, EAW offers one of the most extensive product lines in the industry. Across its many loudspeaker families, EAW offers a diverse selection of main system, stage monitor, and subwoofer products for the portable, touring, installation, cinema and dance club markets.
Mackie Designs Inc. is a leading manufacturer and marketer of high-quality professional audio systems that include the brands Mackie, EAW and RCF. A global company, Mackie Designs Inc. products are marketed by 60 distributors to over 100 countries around the world. Applications include project recording studios, video and broadcast suites, post-production facilities, as well as sound reinforcement applications for churches, nightclubs, retail locations, and major musical tours.
Electro Voice, a Telex Communications brand, is currently celebrating its 75th year of providing innovative microphone, electronic and loudspeaker systems to the professional audio community.
Ex’pression Center for New Media
Ex’pression Center for New Media is a total-immersion new media arts college located in San Francisco’s East Bay. Ex’pression graduates can earn a Bachelor of Applied Science degree in Sound Arts, Digital Visual Media and Web Design in less than a year and a half, or an Associate of Applied Science degree in less than a year. During an intensive 14 months of study, students are taught by, and work with, some of the best practitioners and equipment in the industry. Located in an imagination-inspiring 65,000-square-foot building, Ex’pression features classrooms, professional studios and labs designed by pre-eminent studio designer John Storyk, professor of Studio and Architecture at Ex’pression.
Kurzweil Music Systems
Kurzweil Music Systems is the leader in quality audio systems for professional and studio use. Kurzweil’s line of products includes the popular Mark Series and V Series Digital Pianos, the versatile PC2 Performance Controllers, and the award-winning K2600 Series instruments. New products include the KSP8 Effects Processor.
Established in 1945 in Wedemark, Germany, Sennheiser is an acknowledged leader in microphone technology, RF-wireless and infrared sound transmission, headphone transducer technology, and most recently, in the development of active noise-cancellation. Brands distributed by Sennheiser Electronic Corporation in the U.S. include Neumann microphones, InnovaSON digital consoles, True Systems preamplifiers and Turbosound loudspeaker systems.
Solid State Logic
Solid State Logic (SSL) has grown over 30 years to become one of professional audio’s most successful high technology enterprises. A constant innovator, the company is constantly introducing new consoles to its product range. Each incorporates SSL’s latest generation of processing and is tailored to different applications in music, broadcast, film and post-production. SSL supports its leading-edge technology with an international network of offices, establishing an industry benchmark for customer service.
TC Electronic was founded in 1976 with the objective of developing, manufacturing and marketing first-class audio products. This has, and will always be, the company’s main goal. Since 1992, the primary focus of the company has been the development of advanced DSP-based products. Beginning in 1996 TC has enjoyed tremendous growth and is now a primary supplier of products to the music, film, broadcast, and video post-production markets.
Yamaha, a leading manufacturer of innovative analog and digital products, offers a diverse scope of recording, post-production, and sound reinforcement products through its Commercial Audio Systems Division. Yamaha professional audio products range from signal processors (including this year’s TEC-nominated SREV1 digital reverb), powered and reference monitors, digital audio workstations, powered amplifiers, speakers, digital mixing engines, and analog consoles to the PM1D live digital console and recently introduced DM2000 and 02R96 production consoles.
Chicago Recording Company
Meyer Sound Labs
Studer North America
18TH ANNUAL TEC NOMINEES
Please note that the Creative Awards nominees are nominated by project. In each category the engineers, mixers, producers and production facilities will receive TEC Awards recognition. A new category has been added this year — Studio Design Project. Please check our web page atwww.tecawards.orgfor project photos and a description. Take the time to read through each category before voting on the ballot. Please only cast one vote in each category.
OUTSTANDING CREATIVE ACHIEVEMENT
A. Studio Design Project
Includes Studio Architect, Acoustician and Studio Owner. Checkwww.tecawards.orgfor studio photos and description.
Cherokee Studio 2, Los Angeles Studio Architect: George Augspurger. Acoustician: George Augspurger. Studio Owner: The Robb Family.
Glenwood Place Studios, Burbank Studio Architect: Wave:Space, Inc. Acoustician: Carl Yanchar. Studio Owner: Audio Properties Burbank.
PatchWerk Recordings, Atlanta, GA Studio Architects: Robert G. Traub, AIA, Brandon Stewart/Russ Berger Design Group. Acoustician: Russ Berger/Russ Berger Design Group. Studio Owner: Bob Whitfield.
Right Track Studio A509, New York City Studio Architect: Janson Design Group. Acoustician: Dennis Janson. Studio Owner: Right Track Recording LLC.
Sterling Sound-Chelsea, New York City Studio Architect: Abelow Connors Sherman Architects. Acoustician: Francis Manzella Design Limited. Studio Owner: Murat Aktar.
B. Tour Production
Includes Tour Company, FOH Engineer and Monitor Engineer.
Crosby, Stills, Nash & Young
Tour Company: Sound Image. FOH Engineer: Tim Mulligan. Monitor Engineer: Rance Caldwell.
Dave Matthews Band
Tour Company: Ultra Sound. FOH Engineer: Jeff Thomas. Monitor Engineer: Ian Kuhn, Lonnie Quinn.
Tour Company: Clair Brothers. FOH Engineers: Trip Khalaf, Dave Kob. Monitor Engineer: Pete Buess.
Tour Company: Clair Brothers. FOH Engineer: Dave Kob. Monitor Engineers: Blake Suib, Patrick McCarthy.
Tour Company: Clair Brothers. FOH Engineer: Joe O’Herlihy. Monitor Engineers: Don Garber, Raza Sufi, Niall Slevin, Dave Skaff.
C. Remote Production/Recording or Broadcast
Includes Remote Facility, Remote Engineer, Production Mixer and Music Mixer.
Wall to Wall Miles, NPR Remote Facility: Aura Sonic Ltd. Remote Engineer: Steve Remote. Production Mixer: Edward Haber. Music Mixers: Steve Brown, Duke Markos.
The Concert for New York City, VH-1 Remote Facilities: Remote Recording Services, MTV Networks/Remote Recording Division. Remote Engineers: David Hewitt, Mark Repp. Music Mixers: Bob Clearmountain, Thom Cadley.
2002 Grammy Awards, CBS Remote Facility: Effanel Music. Production Mixer: Ed Greene. Music Mixers: John Harris, Adam Blackburn, John Bates.
Madonna Drowned World Tour, HBO Remote Facility: Effanel Music. Production Mixer: Don Worsham. Music Mixers: John Harris, Patrick McCarthy.
America — A Tribute to Heroes, all networks Remote Facilities: Effanel Music, Sony Music Studios, NYC; Westwood One, Los Angeles; CBS Studios Stage 36, Los Angeles; Top of the Pops, England. Production Mixer: Paul Sandweiss, Los Angeles, Al Centrella, NYC. Music Mixers: Jay Vicari, John Harris, Mitch Maketansky, NYC; Biff Dawes, Los Angeles; Richard Rainey, Mike Felton, UK.
D. Film Sound Production
Includes Supervising Sound Editor, Sound Designer, Re-recording Mixer, Production Sound Mixer, Score Mixer and Audio Post Facility.
Black Hawk Down
Supervising Sound Editors: Per Halberg, Karen Baker. Sound Designer: Jon Title. Re-recording Mixers: Michael Minkler, Myron Nettinga. Production Sound Mixer: Chris Munro. Score Mixers: Malcolm Luker, Alan Meyerson. Audio Post Facility: Todd Studios West.
The Lord of the Rings: The Fellowship of the Rings
Supervising Sound Editors: Mike Hopkins, Ethan Van der Ryn. Sound Designer: David Farmer. Re-recording Mixers: Christopher Boyes, Gethin Creagh, Michael Hedges, Michael Semanick. Production Sound Mixers: Malcolm Cromie. Hammond Peek, Ken Saville. Score Mixer: John Kurlander. Audio Post Facility: The Film Unit, New Zealand.
Supervising Sound Editor: Roger Savage. Re-recording Mixers: Anna Behlmer, Andy Nelson. Production Sound Mixer: Guntis Sics. Score Mixer: Geoff Foster. Audio Post Facility: 20th Century Fox.
Supervising Sound Editors: Christopher Boyes, George Watters II. Sound Designers: Chris Boyes, Robert L. Sephton, Ethan Van de Ryn. Re-recording Mixers: Kevin O’Connell, Greg P. Russell. Production Sound Mixers: Peter J. Devlin; Ken Weston: UK. Score Mixer: Alan Meyerson. Audio Post Facility: Sony Pictures Studios.
Supervising Sound Editors: Lon Bender, Wylie Stateman. Sound Designer: Scott Martin Gershin. Re-recording Mixers: Anna Behlmer, Andy Nelson. Score Mixer: Alan Meyerson. Audio Post Facility: 20th Century Fox.
E. Television Sound Production
Includes Supervising Sound Editor, Sound Designer, Re-recording Mixer, Production Mixer, Score Mixer and Audio Post Facility.
Late Show with David Letterman, CBS Supervising Sound Editors: Michael DeLugg, Jim Rose, Kevin Rogers, Harvey Goldberg. Re-recording Mixers: Michael DeLugg, Jim Rose, Kevin Rogers, Harvey Goldberg. Production Mixers: Tom Herman, Larry Zinn. Audio Post Facility: Ed Sullivan Theater, NYC.
Saturday Night Live, NBC Re-recording Mixers: Chris Seeger, Jay Vicari. Production Mixer: Robert Palladino. Audio Post Facility: NBC.
Six Feet Under, HBO Supervising Sound Editor: Bob Newlan. Re-recording Mixers: Peter Reale, Roberta Doheny. Production Mixer: Vince Garcia. Audio Post Facility: Miles O’ Fun at Universal Studios, Universal City.
The Sopranos, HBO Supervising Sound Editor: Anna MacKenzie. Re-recording Mixers: Kevin Burns, Todd Orr, Fred Tator. Production Mixer: Mathew Price. Audio Post Facility: Todd Studios West.
United We Stand, ABC Re-recording Mixer: Bobby Douglass, Paul Sandweiss. Production Mixers: Adam Blackburn, John Harris, Mark King. Audio Post Facilities: Effanel Music, Sound Design Corporation.
F. Record Production/Single or Track
Includes Recording Engineer, Mixing Engineer, Producer, Recording Studio, Mastering Engineer and Mastering Facility.
“Drops of Jupiter,”Drops of Jupiter, Train Sony Music Entertainment Recording Engineer: Nick DiDia. Mixing Engineer: Brendan O’Brien. Producer: Brendan O’Brien. Recording Studio: Southern Track Recording, Atlanta, GA. Mastering Engineer: Bob Ludwig. Mastering Facility: Gateway Mastering & DVD, Portland, ME.
“Fallin’,”Songs in A Minor, Alicia Keys J Records, Arista Records. Recording Engineer: Kerry “Krucial” Brothers. Mixing Engineer: Russ Elevado. Producer: Alicia Keys. Recording Studios: KrucialKeys Studios, NYC; Electric Lady Studios, NYC. Mastering Engineer: Herb Powers. Mastering Facility: The Hit Factory, NYC.
“Jaded,”Just Push Play, Aerosmith Sony Music Entertainment. Recording Engineers: Rich Chycki, Marti Frederiksen, Paul Caruso. Mixing Engineer: Mike Shipley. Producers: Steven Tyler, Joe Perry, Mark Hudson, Marti Fredricksen. Recording Studios: The Boneyard, The Bryer Patch, The Mix House, South Shore, MA. Mastering Engineer: George Marino. Mastering Facility: Sterling Sound, NYC.
“Lady Marmalade,” soundtrack for Moulin Rouge, Christina Aguilera, Lil’ Kim, Mya and Pink Twentieth Century Fox/Interscope Records Recording Engineers: Brian Springer, Michael C. Ross, Dylan “3D” Dresdow, Tal Herzberg. Mixing Engineer: Dave Pensado. Producers: Missy Elliott, Rockwilder, Ron Fair. Recording Studios: Westlake Audio, Los Angeles; Royaltone Studios, North Hollywood; The Enterprise, Burbank, CA. Mastering Engineer: Eddy Schreyer. Mastering Facility: Oasis Studio, Studio City, CA.
“The Space Between,”Everyday, Dave Matthews Band BMG Entertainment. Recording Engineer: Karl Derfler. Mixing Engineer: Chris Lord-Alge. Producer: Glen Ballard. Recording Studios: Conway Studios, Hollywood; Image Studios, Hollywood, CA. Mastering Engineer: Bob Ludwig. Mastering Facility: Gateway Mastering & DVD, Portland, ME.
G. Record Production/Album
Includes Recording Engineer, Mixing Engineer, Producer, Recording Studio, Mastering Engineer and Mastering Facility.
Acoustic Soul, India.Arie Motown Record Company. Recording Engineers: Kevin Haywood, Avery Johnson, Jim Lightman, Blue Miller, Mark Niemiec, Bob Power, John Smetz, Mike Tocci. Mixing Engineers: Mark Batson, Carlos Broady, Kevin Haywood, George Karas, Mike Shipley, Jim Lightman, Blue Miller, Bob Power, Alvin Speights, Dave Way. Producers: India.Arie, Mark Batson, Carlos Broady, Blue Miller, Bob Power. Recording Studios: Access Sound; Battery Studios, NYC; Blues House Studio; Electric Lady Studios, NYC; Larrabee West Studio, Hollywood, CA; Music Mills Studio; New Reflections Studio; Record One Studio, Los Angeles; Sony Studios, NYC; Sound Kitchen; Stankonia; The Studio; Worldbeat. Mastering Engineer: Chris Athens. Mastering Facility: Sterling Sound, NYC.
Drops of Jupiter, Train Sony Music Entertainment. Recording Engineer: Nick DiDia. Mixing Engineer: Brendan O’Brien. Producer: Brendan O’Brien. Recording Studio: Southern Track Recording, Atlanta. GA. Mastering Engineer: Bob Ludwig. Mastering Facility: Gateway Mastering & DVD, Portland, ME.
Lateralus, Tool Volcano Entertainment II, LLC. Recording Engineer: David Bottrill. Mixing Engineer: David Bottrill. Producer: Tool, David Bottrill. Recording Studios: Cello Studios, Hollywood, CA; The Hook, Big Empty Space, The Lodge and Larrabee Sound North, North Hollywood, CA. Mastering Engineer: Bob Ludwig. Mastering Facility: Gateway Mastering & DVD, Portland, ME.
The Look of Love, Diana Krall The Verve Music Group, a division of UMG Recordings, Inc. Recording Engineer: Al Schmitt. Mixing Engineer: Al Schmitt. Producer: Tommy LiPuma. Recording Studios: Avatar Studios, NYC; Abbey Road Studios, London; Capitol Studios, Hollywood, CA. Mastering Engineers: Doug Sax, Robert Hadley. Mastering Facility: Mastering Lab, Los Angeles.
Songs in A Minor, Alicia Keys J Records, Arista Records. Recording Engineers: Gerry Brown, Brian Frye, Kerry Brothers, Chris Wood, Ralph Cacciuri, Acar Key, Ricky St. Hillaire. Mixing Engineers: Gerry Brown, Phil Tan, Russ Elevado, Manny Marroquin, Tony Masserati. Producers: Alicia Keys, Kerry Brothers, Jermaine Dupri, Brian McKnight, Kandi, Jimmy Cozier, Arden Altino, Mini Benin. Recording Studios: Battery Studios, NYC; Southside Studios, Atlanta, GA; Electric Lady Studios, NYC; KrucialKeys Studios, NYC; Larrabee Studios, Los Angeles; Backroom Studios, Glendale, CA; Sony Studios, NYC; Doppler Studio, Atlanta, GA; Unique Studios, NYC; The Hit Factory, NYC. Mastering Engineer: Herb Powers. Mastering Facility: The Hit Factory, NYC.
OUTSTANDING TECHNICAL ACHIEVEMENT
A. Ancillary Equipment
Equi=Tech ET 5WQ Balanced-Power Cabinet System: The ET 5WQ power-distribution center offers a complete balanced-power system in a wall cabinet. The new “Q” option for the ET models 5-watt and 7.5W adds oversized, low-capacitance transformers and two electrostatic shields for superior isolation from high-frequency interference. A proprietary winding design drastically reduces high-inrush current for distortion-free playback performance under the most demanding conditions.
Future Sonics EM3 Universal Earphones: The Ears™ EM3 Series universal-fit in-ear transducers are designed as an affordable, one-size-fits-all alternative to the company’s high-end customized Ear Monitors™ line. The EM3 features FSI’s F/R dynamic drivers for a stated 40 to 20k Hz response, and terminates in a standard 1/8-inch stereo TRS plug for interfacing with headphone amps or beltpack receivers.
Gold Line/PMI TK51 5.1 Audio Toolkit DVD: This disc has more than 80 test signals, laid out in a logical progression for the quick calibration and debugging of 5.1-channel systems with THX Surround EX. Tests and signals include midrange pink noise, wideband pink noise, LF pink noise, imaging test, 1/3-octave pink noise, 1-octave pink noise, 1/3-octave burst headroom test, noise leakage tests sine wave signals, swept sine wave signals, 5.1-channel music, subwoofer tests and more.
Hosa PBP-362 Lightpipe Digital Patchbay: Designed to emulate the operations of the half-normaled analog patchbays we’re all familiar with, the PBP-362 is a multifunction Lightpipe-patching system that puts all of a studio’s ADAT Lightpipe (or S/PDIF optical) sources and destinations within fingertips’ reach. The PBP-362 is designed around plug-in modules, allowing users to customize the system to their needs by adding more I/O capability or inserting optical splitter units for multing signals.
Millennia Media LPE-2 Archival Playback Environment: The LPE-2 “Analog Legacy” playback system is a handcrafted collection of Millennia’s discrete phono preamp/EQ circuitry, tailored for the needs of archiving and mastering professionals. All Legacy formats can be correctly preamplified and compensated with the LPE-2, including early acoustics and vertical groove cuttings. Employing 36 discrete bipolar and field effect transistors, the LPE-2 exemplifies Millennia’s hallmark sonic invisibility and dynamic uniformity.
Sennheiser HD280Pro Headphones: Engineered for the professional, the HD280Pro features swiveling/pivoting ear cups for different monitoring styles, while a folding, lightweight design makes them portable and comfortable. Its 32 dB of passive attenuation provides excellent isolation, while modular parts allow easy field replacement. Specs include 8 to 25k Hz response, 64-ohm impedance and outstanding 113/1V RMS efficiency for reliable and trustworthy monitoring results with any associated equipment.
B. Digital Converters
Apogee Electronics AD-16/DA-16: The AD-16 and DA-16 form a complementary pair of converters designed to enhance digital audio systems, with industry-standard AES/EBU, ADAT, S/MUX and TDIF interfacing and 24-bit, 96kHz sampling. The AD-16 includes Soft Limit, maximizing digital output without overs, and UV22HR, Apogee’s industry-standard word-length reduction for 16/20-bit outputs. ADAT with S/MUX support is built-in; AES/EBU or TDIF is optional. The DA-16 includes all three interfaces.
Genex GXA8/GXD8: These converters offer sonic purity at a price not seen for this level of performance. The converters are uniquely capable of eight channels of 24-bit/192kHz PCM and DSD conversion. The effects of the ultra-low-noise and -distortion analog circuitry, ultra-low-bandwidth PLL’s, DSP-free design and, most importantly, linear-phase filtering combine to produce astonishing clarity and realism. The converters offer support for ADAT, AES and DSD I/O formats.
Lynx Studio Technology LynxTWO: The LynxTWO PCI card is a 24-bit/192kHz multichannel audio interface that’s compatible with Windows and Mac-based workstations. Its advanced analog stages and conversion technology provide 117dB dynamic range. The LynxTWO features AES digital I/O with SRC and a SMPTE reader/generator, and can lock to composite video- and studio-reference clocks. Two LStream expansion ports provide additional ADAT, multichannel AES and TDIF interface options.
MOTU 896: Built on the success of the MOTU 828, the first-ever FireWire audio interface for Mac and Windows, the MOTU 896 is the first-ever 96kHz FireWire audio interface. The 896 offers eight channels of 24-bit/96kHz analog recording and playback with eight mic preamps, eight channels of 24-bit ADAT optical digital I/O and AES/EBU digital I/O. Up to four 896s can be connected for 72 channels of I/O.
Midiman/M-Audio USB Audiosport Quattro: USB Quattro delivers the promise of affordable, professional 24/96k audio with any USB laptop or desktop. USB Quattro uses AC power to facilitate top-fidelity audio and features 4×4 balanced I/O (+4dBu/-10dBV), 1×1 MIDI I/O and zero-latency direct monitoring. Ubiquitous Mac and PC driver support facilitates plug-and-play reliability. Adding Omni I/O as its front end, USB Quattro gains two mic preamps, eight more inputs, headphones sends, busing and more.
Swissonic AD8: The Swissonic AD8 is an 8-channel universal preamp/A-to-D converter. Virtually every signal source, such as microphones, hi-Z instruments or keyboards can be connected to the combination 1/4-inch XLR inputs. The full-feature channel preamps provide excellent audio and signal conditioning for high-end A/D converters at 44.1/48/88/96kHz sampling. Different digital output modules provide the innovative AD8 for future expandability and compatibility.
C. Amplifier Technology
Bryston 6B-ST: This new, single-chassis design is based on modular channels, each with electronic circuitry, connections and independent power supply. The chassis provides soft-start AC to each channel and separate power LEDs indicating channel power status. Output is 3×350 watts per channel @ 8 ohms (3×500 watts/channel @ 4 ohms). Three completely separate and independent power supplies are employed to prevent channel-to-channel crosstalk or interference.
Crown CTs Multichannel: Crown’s flagship amplifier line for the fixed-installation market, the CTs Series, has an array of LEDs indicating channel mode status, channel activation, IQ status, signal strength, thermal protection, clip and fault. All feature switchable highpass filters (flat, 35Hz and 70Hz) for constant-voltage applications, efficient heat sinks and proportional-speed fans. A CobraNet digital audio-input option is also available.
Hot House Model Two Thousand B: The result of a decade’s worth of R&D on amps that make music (not just power), the discrete dual-monoblock Model Two Thousand B can provide 2,400 watts continuously into low impedances and deliver up to 200 amperes of peak current per channel with no global feedback. The five-rackspace, 95-pound Two Thousand can drive any monitor, with sound quality equaling the most exotic audiophile units at a fraction of their cost.
QSC CX168: The CX168 offers eight channels of power in two rackspaces, providing an unprecedented level of channel density for multichannel amplifiers. Each pair of channels can be bridged to configure the CX168 as a 4, 5, 6 or 7-channel unit. Like QSC’s entire CX Series, the CX168 features compact size and unmatched reliability, making it the ideal solution for multizone sound systems, with DataPorts for remote-amplifier management or DSP and QSC’s exclusive PowerWave™ technology.
Quested AP500: The newest in the AP range of amplifiers, the AP500 features complementary Class-A/B bipolar outputs for soft-start power-on sequencing with mains inrush protection, and sophisticated monitoring of load, temperature and other operating parameters for safe operation. Protection of the loudspeaker is provided by internal audio limiters that only come into the signal path during limiting and are inaudible during normal operation. Output per channel is 300 watts into 8ž and 500 watts into 4ž.
D. Mic Preamplifier Technology
AMS Neve Modular I/O System Quad: The compact 4U MIOS rack houses up to six hot-pluggable modules and connects to the console via MADI. The Quad Microphone Amplifier module is based on the classic Neve mic input stage, coupled with precision 24-bit, 96kHz conversion. Each mic amp can switch between two mic and one line-level input, and includes a remotely switchable analog limiter and highpass filter that can help control difficult sources before the digital conversion.
Aphex Model 207: The Model 207 is a full-featured, audiophile-quality mic/instrument preamp combining the best traits of tube and solid-state circuitry for a sound that’s warmer, fuller, more detailed and present. The patented Reflected Plate Amplifier tube stage assures that the great sound will remain consistent without the compromises associated with traditional tube designs. The patented MicLim mic-level limiter makes the mic and instrument inputs of the 207 virtually crashproof.
Crane Song Spider: This no-compromise, 8-channel amalgam of the Crane Song product line has eight discrete, Class-A Flamingo mic preamps (with optional FAT for color), channel inserts, peak limiters for overload protection, A/D conversion (four sample rates plus WC) including tape emulation, plus analog dither a la HEDD192. Three multitrack digital output options (AES, ADAT Lightpipe or TDIF) and digital stereo outputs via AES, S/PDIF and Toslink with 8-channel and stereo metering are offered.
George Massenburg Labs 2020: The 2020 High-Resolution Discrete Input Channel sets a new standard in signal processing. Combining elements of GML’s flagship 8200 parametric EQ, 8300 mic preamp and 8900 dynamic gain control, the 2020 embodies the legendary detail and accuracy for which GML is renowned. These revolutionary processors also feature line and instrument inputs, highpass filter, front panel phantom and phase switching, and flexible routing options, as well as maintain the GML standard of performance and transparency.
Groove Tubes VIPRE: Each hand-built VIPRE preamp features four variable-transformer impedances to optimize every mic, five variable rise-time settings, eight tubes, fully differential (balanced) signal path, 75dB total gain, precision stepped attenuators (no pots!), VU metering with five viewing options, +4dB/-10dB transformer-balanced outputs and separate instrument input preamp. Specs include low THD and noise and an extremely wide bandwidth (4 Hz to over 100 Hz).
Universal Audio 2-610: This 2-channel tube mic preamp is based on the legendary Universal Audio 610 modular console designed by Bill Putnam. Particularly noted for its preamplifier, the 610 left its mark on classic recordings from Sinatra to Pet Sounds to Van Halen to L.A. Woman. Unlike many “vintage-style” mic pre’s, the 2-610 is true to the design of its predecessor, while adding functionality with more boost/cut settings, phantom power, direct inputs and impedance controls.
E. Microphone Technology/Sound Reinforcement
AKG C900: The C900 is a pro handheld condenser with a frequency response tailored for vocal applications. It features a 24-karat gold-encased capsule with a frequency-independent cardioid polar pattern. Its uniform response makes it an excellent choice for onstage use with foldback or in-ear monitors. Other features include an optional presence-boost adapter for optimum intelligibility, rugged die-cast body, industry-standard gold XLR connector, stand adapter and gig bag.
Countryman E6: The Isomax E6 EarSet is the smallest head-worn microphone in the world. Light and springy, the EarSet clips easily around your ear, not around your head. Available in hypercardioid, cardioid or omnidirectional patterns and four attractive skin-tone colors, the Isomax EarSet is the answer when you need flawless sound and feedback control for reinforcement, broadcast or recording, without the bulk and appearance of conventional headsets.
DPA 4066: The 4066 couples DPA’s high-SPL (144 dB before clipping), high-resolution, pre-polarized, omnidirectional cartridge with an ingenious, adjustable headset design for a quick fit to anyone’s head, eliminating the need for “left” or “right” models. It’s used extensively in broadcast and theatrical applications where low-profile wireless miking is a necessity. Look closely, and you can see the 4066 on The Weather Channel, FOX Sports broadcasts, and various Broadway and Las Vegas productions.
Sennheiser MKE2 Gold-EW: For more than a decade, the MKE2 miniature condenser lavalier microphone has been the standard on Broadway stages everywhere, in newscasting, and anywhere a low-profile, high-quality microphone is required. The MKE2 Gold-EW version updates this benchmark microphone with an additional diaphragm to prevent moisture sensitivity, or “sweatouts,” thereby increasing reliability in performance. The mic’s “EW” designation indicates compatibility with the Sennheiser’s Evolution Wireless systems.
Shure Beta 98H/C: The Beta 98H/C is a premium miniature condenser mic that can be securely mounted to any horn or percussion instrument via a clip-on clamp that allows for quick change between instruments. Boasting a capacity for high-SPL handling and optimal gain-before-feedback, the cardioid mic has a low-profile design, a flexible gooseneck, a locking windscreen, and integrated isolation mount that controls horn “key noise” and other mechanically transmitted sounds.
F. Microphone Technology/Studio
AKG C451 B: The C451 B is the latest model in the popular C451 Series, which dates back to 1969. It features a cardioid design with matched acoustics of the original CK1. The transformerless preamp is encased in an all-metal body and finished with satin nickel. Features include selectable three-position pads (flat, 10 or 20 dB) and a three-way bass roll-off (flat, or -12 dB/octave at 75 or 150 Hz).
Audio-Technica AT3035: This large-diaphragm studio condenser mic features exceptional detail, high max-SPL handling and wide dynamic range. Its low self-noise (12dB SPL) is perfectly suited for today’s sophisticated digital recording equipment, while its extended low-frequency response offers a rich, full sound. The AT3035 includes a custom shockmount for superior isolation, a low-cut switch (-12dB/octave @ 80 Hz) and -10dB pad
BLUE Kiwi: Our top Class-A discrete model offers nine selectable patterns, delivered by our own hand-built capsule. Each Kiwi is acoustically matched and tuned by BLUE engineers in our anechoic chamber for optimum performance. Included is the Shock, our spider shockmount, and a gorgeous cherry-wood mic box. Optional accessories include “The Pop” (our brass mesh filter) and the “Kiwi High-Definition” microphone cable, all crafted in the style for which BLUE has become famous.
Neumann M150: Utilizing a 12mm, all-titanium pressure transducer mounted flush into a 40mm sphere, the transformerless M150 is unique in the world of microphones. Based on the renowned M50 — a decades-old classic treasured today for its unique sound — the M150 Tube has a signature polar response with unparalleled transient detail. Ideal for Decca Tree recording, surround miking and stereo-recording techniques, the M150 draws on Neumann’s seven-plus decades of design/manufacturing experience.
Royer R-122: Based on Royer’s acclaimed R-121, the R-122 Active Ribbon Microphone is the world’s first active, phantom-powered ribbon mic. The R-122 features all-discrete, ultra-low-noise FET head amplifiers, making it as sensitive as a condenser mic and eliminating the need for ultra-high-gain preamps. Plug the R-122 into any preamplifier and you’ll get full Royer performance, regardless of how quiet the sound source, with enough gain to drive any recording medium.
Soundelux E47: This large-diaphragm, multipattern tube mic is modeled to sound like the classic Neumann U47 (retailing at half of the average price of a “vintage” U47). The 1950s era Tube 47 remains an essential studio microphone, known for its big vocal sound and excellent, smooth response. The Soundelux E47 re-creates the extraordinary sound of the best original Tube 47 versions while maintaining the features and the mechanical and electrical topology of the original.
G. Wireless Technology
Audio-Technica Freeway Series: Available in two frequency bands (470 to 480 or 482 to 492 MHz), the Freeway Series is a frequency-agile system with 10 selectable channels. Features include an advanced dipole antenna, adjustable squelch and a removable docking power supply that inserts into back of receiver. Transmitters include a bodypack with both mic and hi-Z guitar inputs, and a handheld unit with a dynamic unidirectional element and superior internal shock-mounting.
Electro-Voice RE-1: The RE-1 features Advanced ClearScan™ with programmability in 25kHz steps across its 24MHz operating bandwidth, for more than 950 possible channels and simultaneous operation of up to 16 systems. Advanced ClearScan finds the clearest group of channels, allowing users to configure up to 16 systems in minutes. Power users can program their own groups/channels for custom tours. UHF operation is enhanced by the patented DSP Posi-Phase diversity system for clear, dropout-free audio.
Mipro ACT-707 Series: Designed for pro sound reinforcement, system integrators, sound contractors, P.A. rental and touring, the ACT-707 Series provides very reliable RF circuitry and high-quality audio in a space-saving, single-rackspace mainframe device that houses up to four ACT-707MA true-diversity UHF receivers. Available transmitters include the MT-808 pocket pack and the MH-808 handheld.
Sennheiser SK5012: Sennheiser has combined the latest miniaturization technology with a powerful, state-of-the-art bodypack transmitter in the SK5012. Using only two AAA batteries, the transmitter provides 30mW constant transmission power for up to seven hours via an innovative power-management system. Audio frequency range is 60 to 20k Hz, while signal-to-noise ratio is greater than 110 dBA. The all-metal SK5012 measures a mere 17×53×60 mm in size, including batteries.
Shure ULX: Shure’s ULX Standard and ULX Professional UHF Wireless Systems feature Shure’s world-renowned audio and proprietary Automatic Frequency-Selection circuitry, an innovation that simplifies system setup by automatically scanning a user’s environment for open frequencies. ULX receivers include Predictive Diversity™ circuitry, which virtually eliminates RF dropouts, as well as easy-to-read, multifunction liquid crystal displays for monitoring group/channel selection, battery level and TV channel.
Sony WRT-847B/WRR-862B: Building on the success of Sony’s 800 Series is the WRT-847B UHF synthesized transmitter and the WRR-862B UHF synthesized dual-diversity tuner, which allow flexible, simultaneous, multichannel operation over a 24MHz frequency band. The WRT-847B has five optional, interchangeable mic heads for vocals, broadcasting or ENG applications. The compact WRR-862B receiver has two built-in tuner modules to meet the demand for 2-channel reception in ENG and EFP applications.
H. Sound Reinforcement Technology
EAW KF760: Engineered to solve the problems of real-world line array applications, the KF760 Series Line Array maximizes the benefits of line arrays, while simultaneously improving upon the shortcomings of existing line array products. By utilizing some of the best of EAW’s proprietary technologies, this integrated line array is easier to design with, provides better sonic performance, supports smoother cluster-to-cluster array ability, flies faster and packs more efficiently than other line array systems.
Electro-Voice QRx-153/75: This full-range, three-way system features a 15-inch woofer, 8-inch, horn-loaded, sealed-back midrange for warm mids, and superb pattern control. Perfect for FOH systems, concert arrays or fixed installs, the 15° trapezoidal cabinet allows easy flying in tight-pack situations. A rotatable asymmetric HF horn provides a 15° up/35° down vertical coverage, 45 to 18,000 Hz (-10dB) on-axis frequency response and 400-watt (EIA) continuous power handling.
Funktion One Resolution 5: Suitable for everything from small venues to stadiums, Resolution 5 demonstrates innovation and engineering excellence in a small, minimum-weight package. This high-efficiency, three-way system delivers highly controlled dispersion utilizing specialized holistic waveguide and driver designs. The ingenious integrated flying system allows two people to fly arena systems in 20 minutes, making it economic in terms of system cost and production budget. Above all, its sonic quality is without its equal.
JBL MPro MP418SP Crown-Powered Subwoofer: How do you get the best sound? Power the best speakers with the best amps. The MPro MP418SP is a single-18, powered subwoofer combining JBL’s premium VGC™ (Vented Gap Cooling) drivers and a dual-channel, 640-watt Crown amplifier module. The second amp channel can be used to power a second passive subwoofer or a mid/high-satellite speaker system. The power and flexibility of the MP418SP set a new performance level for powered speaker systems.
Meyer M3D Line Array: M3D is the only line array system to feature self-powering and state-of-the-art BroadbandQ technology, which marries the new REM™ high-frequency manifold system with Meyer’s proprietary, award-winning, directional, low-frequency technology to control vertical and horizontal coverage precisely between 40 and 18k Hz. The result is a highly optimized line array behavior, affording performance widely praised for its power, clarity and coherence — particularly in critical long-throw applications.
Nexo GEO: Based on Nexo’s patented GEO technology, the Geo Series allows the construction of multispeaker arrays that are as coherent as single acoustic sources. The smallest and lightest vertical arrays available today, GEO arrays deliver homogeneous SPL levels throughout the audience area with high intelligibility, eliminating the need for delayed speakers in many applications, and are ideal for stadiums, exhibition centers, and musical and theatrical shows.
I. Studio Monitor Technology
ADAM S3-A: This compact, three-way studio monitor features a unique Accelerated Ribbon Technology high-frequency driver that follows Dr. Oskar Heil’s Air-Motion Transformer principle, and accelerates air 4x faster than any traditional design. Two 7-inch HexaCone™ woofers deliver linear bass down to 32 Hz (-3dB point). Three 150-watt amplifiers guarantee outstanding dynamic performance. The unit’s front panel has a Standby switch, input gain, tweeter gain, and high- and low-shelving EQ controls.
Blue Sky International Sky System One: Blue Sky International’s Sky System One is a 2.1 system consisting of two Blue Sky SAT 6.5 bi-amplified monitors and a complementary powered Sub 12 subwoofer. Employing Blue Sky’s proprietary computer-optimized crossover and bass-management networks, the Sky System One delivers seamless full-range audio from the subwoofer to the main monitors with smooth on- and off-axis frequency response. In addition, the Sky System One is THX pm3R-approved for use in THX pm3-certified studios.
Dynaudio Acoustics AIR 6: The Air Series’ monitor utilizes DSP and the TC Link Digital Network technology to enhance performance and user convenience. This is a result of intensive collaboration between Dynaudio and TC Electronic. In addition to extremely precise and flexible filters, the AIR concept offers bass management, analog or digital inputs, and a central control for 5.1 and stereo monitor systems.
Earthworks Sigma 6.2: Earthworks Sigma 6.2 are accurate in both time and frequency. They are a 40kHz, time-coherent, sound field reproducer, with a frequency response that is flat and wide-band; their impulse response is fast and well-behaved and their step function chart looks like the theoretical text book ideal. The Sigma 6.2 have remarkably stable impedance vs. frequency. Their unique port design provides accurate bass reproduction and doubles as a convenient handle. The low frequencies are put into the room in the correct relationship with the rest of the signal.
KRK V4: The V4 is a bi-amped system with a 4-inch Kevlar woofer and 1-inch soft-dome tweeter, utilizing separate amplifiers for both tweeter and woofer, which makes it extremely clean and virtually eliminates any distortion. Video shielding is standard, making it an optimum choice for small audio workstations. At the input stage, the V4 is capable of receiving balanced and unbalanced signals. The Neutrik Combo connector gives it ultimate flexibility for use with three different connectors (XLR, 1/4-inch TRS or 1/4-inch instrument).
Mackie HR624: The Mackie THX pm3-certified HR624 benefits from the same technology found in Mackie’s award-winning HR824. It has the same HF transducer, a cast-zinc waveguide, and dual FR Series power amplifiers to provide 100 watts to the woofer and 40 watts to the tweeter. And, like its big brother, the HR624 has an integrated rear-firing passive radiator to increase bass response. Each HR624 includes an individual, signed Calibration Certificate that guarantees accuracy.
J. Musical Instrument Technology
Akai MPC4000: The Akai Professional MPC4000 utilizes the new Z-96 LSI sampling engine, combined with a high-performance Intel™ CPU, to provide ultra-fast processing with 24-bit audio resolution and sample rates up to 96 kHz. Six real-time controllers can be assigned to control a wide variety of parameters. A USB computer interface and ak.Sys Network and Control software enhance the large LCD and Q-Link interface, making the MPC4000 the most powerful and easiest to use groove production tool.
Korg Karma: The Karma™ Music Workstation adds a new level of expression to the workstation experience. Founded on the same sounds, effects and sequencing capabilities as Korg’s award-winning Triton, it adds a powerful new technology called Karma. Responding interactively to the player’s performance, Karma automatically generates note and controller data, manipulating phrases and patterns in ways that are otherwise impossible to produce in real time. The result is a musical instrument that unleashes creativity and inspires performance.
Nord Lead 3: This advanced subtractive-performance synthesizer has been enhanced with new features, such as keyboard hold, parallel polyphonic glide in Legato mode, single-key triggering of whole chords (or clusters of slightly detuned voices for super-unison effects), monophonic operation with highest/lowest note priority, the ability to sync LFOs and arpeggiator to global master clock (or MIDI clock) and five complete detuned virtual voices per note — in stereo!
Propellerhead Software Reason: Propellerhead’s Reason is a virtual software studio rack of instruments, packed with all the gear one could possibly need: samplers, analog synths, mixers, step-time drum machines, effects, and a real-time multitrack sequencer for fast and intuitive music making. All of Reason’s instruments have the look and feel of the real thing; more importantly, they have the sound, the performance and the attitude to rival any hardware out there.
Steinberg HALion: HALion is a revolution in the world of sampling. Sampling on a computer has never been more powerful and intuitive. An unprecedented navigation system and drag-and-drop functionality make working with your samples faster and easier than ever. Pristine sound quality is achieved through 32-bit support and various filter types with a cut-off slope of up to 24 dB. Sample-accurate timing and seamless integration, and flexible sample format compatibility (including Giga, Akai and Emu) make HALion not only the best software sampler, but simply the best sampler, period.
Yamaha Motif: The Yamaha Motif music production synthesizer combines the sonic power of an advanced synthesizer, the hands-on immediacy of a groove box and a revolutionary Integrated Sampling Sequencer that seamlessly combines the realism of audio sampling with the flexibility of MIDI. The addition of a real-time external control surface, full expandability and outstanding online support make Motif a truly revolutionary, all-in-one music production experience.
K. Signal Processing Technology/Hardware
Antares Vocal Producer: The Antares Vocal Producer combines Antares’ TEC Award-winning Auto-Tune Pitch Correction and Microphone Modeler technologies with analog tube modeling, a variable-knee compressor, downward-expanding gate, variable frequency de-esser, flexible parametric EQ and automatic double-tracking, all with a straightforward, easy-to-use interface. Designed to be equally at home in the studio or in live performance, the AVP-1 provides everything needed to create stunning vocal tracks for any musical style.
Eventide Eclipse: The Eventide Eclipse is a 24-bit, 96kHz-capable multi-effects processor. Eclipse has two effects blocks and five routing configurations to use its impressive array of 90 algorithms. A world-class reverb, Eventide’s industry-leading pitch shifting, a plethora of delay-based effects (many with filtering), mastering-quality EQ and compression are included in the Eclipse’s hundreds of factory programs. A dedicated Tap feature allows many effects to be tailored to the tempo. Designed to replace the venerable H3000, the Eclipse has quickly become a first-choice processor for engineers and professional musicians.
Kurzweil KSP8: The Kurzweil KSP8 multi-bus signal processor is an 8-channel effects system designed for the professional engineer, producer or musician who requires high-performance effects, excellent sound quality and unparalleled real-time control. It has over twice the processing power of KDFX. The KSP8 extends the arsenal of effect algorithms from KDFX, adding newly developed surround reverbs and many more stereo and mono algorithms. The architecture has enough flexibility and power to process up to eight channels of audio simultaneously, in mono, stereo and surround combinations.
Lexicon MPX200: The MPX200 is a true-stereo, dual-channel processor with 24-bit internal processing, 24-bit AD/DA, S/PDIF I/O and Lexicon’s exclusive Lexichip™. It features 240 carefully crafted presets with classic Lexicon reverb and effects, a 64-program User Bank and a digital compressor that is available at the same time as two other independent effects. The “magic” Adjust knob allows instant manipulation of critical parameters. Additionally, four program and four compression parameters are available.
TC Helicon VoicePrismPlus: The VoicePrismPlus is the world’s first voice-modeling processor. Any singing or recorded voice can be crafted to add real-time, human voice-modeled breath, growl, rasp, inflection, vibrato and resonance. Its design also includes a high-quality microphone preamp; four formant-corrected shifters, TC Comp/EQ, Chorus, Flange, Delay and Reverbs; and AES/EBU and S/PDIF I/Os.
Yamaha SREV1: Heralding the addition of a top-end model to the Yamaha signal processor family, the SREV1 Sampling Reverberator is a multichannel digital sampling effects unit that reproduces standard and specialized sound fields in stereo or surround. Proprietary Convolution-Sampling Technology utilizes impulse-response samples of actual acoustic environments, and allows users to sample and create custom sound fields. The unit includes 79 programs, additional sample libraries and a remote interface that may be located up to 100 meters from the mainframe.
L. Signal Processing Technology/Software
Ableton Live: Live is an audio sequencer that can be played like an instrument. Live allows the user to bring together audio material from various sources. All of the samples used are adjusted to the song’s tempo in real time and without changing the pitch — even long pieces with tempo variations play in perfect sync. Every action during a jam is recorded and can be post-edited in detail, including all the automation of the mixer and effects. With Live, musicians and DJs can record, loop, effect, re-sample and launch sounds without stopping the music.
AudioEase Altiverb: This real-time, sampled-acoustics plug-in for the Mac G4 (MAS, RTAS, HTDM, VST) offers realistic 1, 2 and 4-channel sampled acoustics of real halls, churches, forests, bathrooms — virtually any acoustic environment. Included are dozens of presets ranging from the Amsterdam Concertgebouw to the back of a Ford Transit van, all of which can be browsed online and downloaded for free (www.audioease.com). You can sample acoustics yourself with included software.
Cycling ’74 Max4/MSP2: Max4/MSP2 is the newest version of Cycling ’74’s powerful and intuitive, object-oriented programming environment for audio and media applications. It includes nearly 400 DSP and user-interface objects. Features include sample-accurate scheduling, improved MIDI timing, tools for polyphony management and spectral processing, interactive waveform display, audio rate sequencing, and development support for VST, MAS and RTAS plug-in creation. Max4/MSP2 also supports inter-application audio using Propellerhead’s ReWire and Digidesign’s DirectConnect, and includes enhanced audio file-format support.
McDSP Analog Channel: The McDSP Analog Channel plug-in models the sounds of analog mixing consoles (AC1) and tape machines (AC2). Using AC1, custom analog consoles can be created, and harsh digital clipping is transformed into warm analog saturation. AC2 has standard tape machine parameters such as bias, playback speed and IEC1/2 equalization. Control beyond the “reel-world” devices include adjustable low-frequency roll-off and head bump (independent of playback speed), and selectable playback head and tape media types.
Mackie/Universal Audio UAD-1 Powered Plug-Ins: The Mackie UAD-1 Powered Plug-Ins, developed by Universal Audio and marketed/distributed by Mackie Designs Inc., include a suite of DSP-intensive software plug-ins “powered” by the revolutionary UAD-1 DSP card. It brings ultra-high-performance signal processing to host-based systems, using a single super-computing DSP chip that outperforms the DSP hardware engines of today’s popular high-end DAWs using multiple DSP chips. The end result is a quantum leap in performance that offers digital audio workstation users professional-quality plug-ins with multiple instances unencumbered by the limitations of the host processor.
Waves Restoration Bundle: Waves Restoration establishes a new software-quality standard for audio restoration and noise reduction. It’s fast and incredibly easy to use, providing real-time visual feedback in audio and audio difference. Four powerful processors compare to hardware that costs more than four times as much. Ideal for your music, post-production and forensic applications. Includes X-Noise, X-Click, X-Crackle and X-Hum processors.
M. Recording Devices
Alesis ADAT HD24: This rackmount, 24-track, 24-bit/96kHz hard disk recorder uses low-cost IDE computer drives, so the recording media costs no more than traditional ADAT tape on a per-track basis. Two hot-swappable media bays provide convenient access to the recording drives and allow the user to back up data in minutes. You can edit tracks internally or easily transfer to computer via built-in Ethernet. They’re the only HD recorders on the market with standard ADAT Optical and ADAT Sync, enabling them to work efficiently with existing systems. And they offer the same exceptional, user-friendly interface ADAT users have come to expect.
ATR Service Aria Discrete Reference Electronics: The first entirely new production magnetic-tape electronics in 16 years, Aria Reference is designed to reveal enormous musical detail from today’s wide-track stereo and multitrack formats. Ample record headroom provides effortless performance with modern tape formulations. The optically isolated control interface allows easy connection to host transports. Pronounced bandwidth extension and low noise make Aria the perfect choice for archiving recording and retrieval applications. Quality, service and careful parts selection assure limited risk of obsolescence.
Fostex D2424: The D2424 system consists of a Fostex stand-alone 24-track recorder, an RME Digi9652 Hammerfall sound card and a C-Console software interface for controlling/monitoring all D2424 functions directly from your PC. On the front end, you get a 24-track recorder that includes 8-in/24-out balanced-analog I/O, 48 channels of ADAT Optical I/O, RS422, wordclock, 5.1GB removable hard drive, 32 virtual tracks and a fully featured hardware editing system. On the back end, the Digi9652 sound card turns your PC into the most powerful digital mixer with the lowest latency in the industry.
Mackie Designs MDR24/96: The Mackie MDR24/96 is a 24-channel nonlinear, nondestructive hard disk recorder that is fully compatible with the Mackie HDR24/96 — allowing it to use the same removable recording drives and family of I/O cards. The MDR24/96 features a familiar tape recorder-style control interface and operation that allows basic cut, copy and paste editing with 999 Undos. Ideal as a stand-alone replacement for aging tape machines, the MDR24/96 is also the perfect 24-track slave when combined with an HDR24/96.
Nagra V: Offered as a convenient alternative to DAT-based portable recorders, this 24-bit field recorder writes audio files (with TC stamping) in post-production-ready Broadcast Wave format, simplifying the transfer of recorded material. Designed primarily for film/television/video location recording, the recorder employs linear 24-bit recording technology at 44.1- or 48kHz sampling rates to deliver over two hours of stereo recording per 2 GB of hard disk space.
Tascam DSD-98: The Tascam DSD-98 captures Direct-Stream Digital (DSD) audio for the creation of Super-Audio Compact Discs. Recording at the high sampling frequency of 2.8224 MHz and converting to 1-bit data, the DSD-98 achieves unprecedented sonic quality without the decimation and interpolation stages associated with conventional PCM technology. The DSD-98 provides the ability to synchronize multiple units for multitrack recording of up to 32 DSD tracks, and it is the exclusive tape-based machine capable of SACD recording.
N. Workstation Technology
Digidesign Pro Tools|HD: Digidesign’s Pro Tools|HD, the industry standard for digital audio music and post-production, includes all-new, high-definition, world-class components that bring unrivaled power, flexibility and seamless interoperability with Avid systems to the audio production community. An exhaustive solution for conforming, recording, editing, processing, mixing and multiformat delivery, Pro Tools|HD and its complementary interfaces — 192 I|O, 192 Digital I|O, 96 I|O, SYNC I|O, PRE I|O and MIDI I|O — represent the solution of choice for creative freedom and technical prowess.
Emagic Logic Audio 5: Logic Platinum 5 supports TDM (Mac OS), OMF and OpenTL support, and is capable of 192 tracks of audio playback at up to 24-bit/96kHz rates, in a variety of audio formats. The audio functionality also incorporates a 32-bit signal path, a digital mixer with surround sound (up to 7.1), over 50 effect plug-ins, fully automated sample-accurate mixing facilities and high-end POW-r dithering. Logic supports a virtually unlimited number of MIDI tracks with timing accuracy to 1/3,840 of a note and a range of sync options.
Fairlight DREAM Satellite: DREAM Satellite is a member of Fairlight’s new DREAM (Digital Recording Editing & Mixing) suite of modular digital production and post-production systems that feature the revolutionary Binnacle-editing model and are powered by Fairlight’s QDC engine. DREAM Satellite is a full-featured editing workstation with 16, 32 or 48 tracks, delivering 24-bit/96kHz audio performance. Satellite is available with analog and/or digital I/O, MediaLink networking, AudioBase SFX library database, ServerSound server-based SFX libraries, and the comprehensive A/V transfer connectivity and file-exchange package. DREAM Satellite is fully compatible with MFX3plus and MFX3.48 project formats.
MOTU Digital Performer 3.0: Winner of four TEC Awards and the Electronic Musician Editors’ Choice Award for an unprecedented three years in a row (2000, 2001 and 2002), Digital Performer is an audio workstation software package with MIDI sequencing. Advanced features include full surround recording, editing, mixing, processing and mastering in any surround format up to 10.2 and MTS MIDI Time Stamping, the most accurate MIDI timing ever achieved. Digital Performer provides unsurpassed integration of MIDI, audio and digital video.
Roland VS-2480HD: The VS-2480 24-track Digital Studio Workstation is the first self-contained recording workstation to offer 24-track/24-bit digital recording with 64-channel automated digital mixing, onboard effects processing and optional CD burning. This revolutionary workstation also boasts 17 motorized faders with Scene recall, plus a VGA monitor output for software-style control using a mouse and optional ASCII keyboard. Rock-solid hardware with the flexibility of software? That’s the VS-2480 HD.
Sonic Solutions DVD-Audio Creator: Working with Matsushita, Sonic has developed a suite of DVD-Audio authoring and formatting applications within a graphically driven authoring environment. Combined with Sonic Scenarist, DVD Creator or DVD Fusion, DVD-Audio Creator formats both single- and dual-layer titles in the industry-standard, universal DVD format. DVD-Audio Creator can author all nine groups, 99 tracks per group, all modes of sequential and browseable slide shows, CPPM copy protection, scrolling lyrics, and multiple-page menus for accessing either high-density audio in MLP or LPCM formats, compressed Dolby Digital or DTS Audio and motion MPEG-2 video.
O. Sound Reinforcement Console Technology
Crest XR20: Designed for today’s demanding applications, XR20 is the first of a line of professional Crest Audio X-Rack mixers intended to meet the varying needs of contracting, church sound, project studio, industrial, broadcast and portable sound reinforcement. Individual circuit boards are used for each input channel, and high-quality components are used throughout. XR20 has exceptional phase-shift characteristics, exhibiting less than +/- 30° of shift. Also included is Crest’s five-year limited warranty.
InnovaSon Compact Live: Having a footprint of only 45×8.5×30 inches and weighing 74 pounds, the Compact Live is a fully digital mixing console with moving faders and snapshot recall/reset of all parameters. It can accommodate from eight to 72 physical inputs, and has 32 input channels, 12 group/aux buses, plus L, R, M (or LCR) and up to 48 physical outputs. Extensive onboard processing, including parametric EQ, gates, compressors and time delay, is available to all channels. The Compact Live uses InnovaSon’s Sensoft® operating software, allowing users to pre-program cues across the entire series of products.
Midas Venice: Venice mixing consoles will appeal to existing Midas Heritage and XL-Series customers because they provide Midas’ legendary sound and reliability in a compact package. The Venice is perfect for a smaller venue or live band application. With 16, 24 or 32-channel models, Venice can be used for effects returns or additional inputs in a large multiconsole application, installation/contracting work or part of a small mobile system.
Shure AuxPander: Designed for musicians and sound engineers, AuxPander™ is an 8-8 insertable matrix mixer. A solution for situations where many aux mixes are needed, AuxPander is the perfect complement for standard mixing boards with limited output capability. AuxPander connects to a sound system via insert points of a mixing console. Once connected, AuxPander offers four stereo output buses for use with in-ear monitors, remote loudspeakers, multitrack recorders or outboard effect processors.
Soundcraft MH4: The new MH4 console provides engineers with an intuitive, uncomplicated mixing solution that encompasses the needs of engineers who work on concert tours, theater/performing arts and corporate event productions. Mixing consoles that are designed to be used at both FOH or monitor positions are often a compromise — not so with the MH4. High-headroom mic pre’s, tightly focused EQ, integral passive mic splits and 20×8 matrix are just a few features that set the MH4 apart.
P. Small-Format Console Technology
Behringer DDX3216: The Behringer DDX3216 represents a breakthrough in intuitive operation, providing an analog feel in a compact and rackmountable unit. The DDX3216 is an affordable, fully automated, 32-channel, 16-bus digital console with eight aux sends and unusually flexible routing options. Incorporating the latest technology developments in digital signal processing, the DDX3216 is destined to challenge the best analog and digital consoles on the market, with features and sound quality generally found only in products with a much higher price tag.
Emagic Logic Control: This hardware controller for Emagic’s (www.emagic.de) Logic Audio is the first product of a strategic partnership between Emagic and Mackie (www.mackie.com). Logic Control has eight 100mm motorized, touch-sensitive P&G faders, Mackie’s rotary V-Pots, and transport and jog/shuttle wheel controls that provide quick access to hundreds of MIDI and audio functions.
Event Ezbus: The EZbus™ combination computer audio recording interface/software control surface/stand-alone digital mixer features 24-bit/96kHz mic, instrument and line inputs, USB I/O, ADAT Optical I/O, S/PDIF I/O, dual MIDI ports, wordclock, and transport controls and a jog/shuttle wheel for operating sequencers and DAWs. All channels offer multiband EQ and dynamics processing plus four sends; four returns can function as additional inputs. EZbus comes with presets for software control of DAWs, virtual instruments and plug-ins.
Soundcraft Spirit M Series: Equally suited to recording and live sound applications, the Spirit M Series delivers a great-sounding, reliable performance. As well as a high level of analog performance, the Spirit M Series also includes an S/PDIF master output that can directly feed digital devices such as DAT recorders, Minidisc recorders and PC soundcards with an S/PDIF input. The M Series also has integral rackmounting capability, and its light weight and instrumentation-quality mic preamp lend it to location recording and mixing, as well as live mixing and personal studio use.
Tascam DM-24: The DM-24 is a 32-channel, 8-bus digital mixing console that provides a new price-vs.-performance precedence in small-format mixers. It provides a wide variety of professional features not found in any other mixer in its range, including a sophisticated internal-automation system, up to 24-bit/96kHz performance, built-in spatial and modeling effects processing, and highly flexible routing. Its design allows it to easily connect with stand-alone hard disk recorders, modular digital multitracks, analog recorders and DAW systems.
TL Audio M-3: The M-3 is an 8-channel, compact tube mixer, ideal for all tracking and mixing applications. Each channel features discrete tube mic preamps, a 4-band EQ with swept mids, two aux sends and a post-fader direct output for multitrack recording. The master section has tube stages in the main mix bus, with two aux returns, monitoring, metering and an optional 24-bit/96kHz stereo digital output. When linking multiple M-3 mixers, the stereo, PFL and aux buses are linked, providing an unlimited number of channels.
Q. Large-Format Console Technology
AMS Neve Libra Live Series II: These new digital broadcast mixers build on the success of AMS Neve’s successful Libra Live Series by adding a metering package that displays two layers of inputs simultaneously, a second center-channel strip for easier access to channel controls, and Version 2.7 software, which improves mix-minus control, expands Dolby E support and simplifies surround operations.
Euphonix System 5-B: The Euphonix System 5-B digital broadcast system is specifically configured for live and live-to-tape production. The console is designed for ease of use and includes provision for backup power supplies and redundancy tailored to the on-air environment. The System 5-B is scalable, ideal for both small local facilities and the most comprehensive broadcast productions that require hundreds of inputs. Euphonix combines world-class customer service with a reliable, fault-tolerant console to support a successful transition to digital.
Harrison TVD: The TVD on-air digital television console is based around a compact control surface, which is remotely accessible from up to three locations. Amenities include 12 mix-minus feeds, 16 aux sends, 5.1 capability (both as inputs and outputs), 40-bit DSP (courtesy of Harrison’s digital.engine™ technology), moving faders and a 2,240×2,240-capable routing system.
Soundtracs D4: The Soundtracs D4 combines a unique touchscreen worksurface topology with a powerful digital engine for up to 320 full audio channels and 124 output buses, controlled by one of the fastest and most intuitive automation systems available. The D4 is available in various frame sizes from 16 up to 96 faders, with the potential for cascading consoles. In addition, D4 consoles can be remotely linked via NET-TRACS™ for inter-console file exchange, MADI-TRACS™ for audio networking and system security, and SAFE-TRACS™ for audio output continuity.
SSL MT Production (MTP): MT Production (MTP) provides the power of a digital in-line mix architecture in a configuration optimized for large-scale television and music production. MTP is exceptionally well suited to restricted space and weight environments such as remote trucks. Flexible busing and channel structures support clean feeds, mix-minus outputs and full multitrack backup capabilities. MTP’s surround monitoring, configurable panning and multichannel bus structure allow its main-mix buses to support simultaneous multichannel feeds.
Trident 80-5.1: The first new console from Trident Audio, the Series 80-5.1 sound-around mixer has the legendary sound that made so many classic hits, yet offers the advances required for today’s production. Features include full 5.1 surround sound mixing, PPM channel meters, eight aux sends and eight stereo returns, fader flip, EQ flip and automation-ready. The preamp/EQs provide the classic Trident sound: 4-band EQ with sweep mids, as well as a full finalizing module with John Oram Hi-Def EQ and dual-compressor unit to deliver final stereo masters.