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2004 Voter’s Guide

This is your chance to vote for the best audio products and projects of the past year. Beginning on page 66 are five pages of nominee descriptions. Please

This is your chance to vote for the best audio products and projects of the past year. Beginning on page 66 are five pages of nominee descriptions. Please take the time to read this information before voting, and then vote in the categories in which you are most qualified. Your ballot must be returned no later than October 1, 2004.

Platinum Sponsors

AMD, Inc. — Official Sponsor of the Technical Awards

Advanced Micro Devices, Inc., headquartered in Sunnyvale, Calif., designs, builds and markets the world’s most powerful microprocessors for desktop PCs, laptops, servers and workstations and is the leading force behind pervasive 64-bit computing. AMD64 technology is driving a revolution in digital audio recording by providing everyone from Grammy-winning professionals to Top 40 dreamers with unprecedented power to create. The AMD64 family of products includes the AMD Opteron™, AMD Athlon™ 64 FX, AMD Athlon 64, and Mobile AMD Athlon 64 processors.

Dolby — For nearly four decades, Dolby has been instrumental in defining high-quality audio and surround sound in cinema, broadcast, home audio systems, cars, DVDs, games, televisions and personal computers. Based in San Francisco with European headquarters in England, the privately held company has entertainment industry liaison offices in New York and Los Angeles, and licensing liaison offices in Hong Kong, Shanghai, Beijing and Tokyo. For more information about Dolby Laboratories or Dolby technologies, please visit

Gibson Guitar Corporation — Official Sponsor of the Les Paul Award

Gibson, headquartered in Nashville, is known worldwide for producing classic models in every major style of fretted instrument. The Gibson Les Paul model is recognized around the world as an icon for rock and roll music, and Gibson took guitar design a giant step forward in 2002 with the first digital electric model. Gibson Guitar Corp.’s family of brands includes Epiphone, Dobro, Valley Arts, Kramer, Steinberger, Tobias, Slingerland, Trace Elliot, Maestro, Baldwin, Ellington, Chickering and Wurlitzer.

Harman Pro Group — The Harman Pro Group, headquartered in Northridge, Calif., includes AKG, BSS, Crown International, dbx, Digitech, JBL Professional, Lexicon Professional, Soundcraft and Studer, which design, manufacture and market the world’s leading professional audio products for recording and broadcast, musicians, cinema, touring sound, commercial sound and contracting applications. The Harman Pro Group is a division of Harman International Industries, a leading manufacturer of high-quality, high-fidelity audio products and electronic systems for the consumer, professional and OEM Automotive markets.

Mix Magazine — 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, broadcast production, education and more. Founded in 1977, Mix reaches more than 48,000 professionals worldwide. Mix also publishes the annual AES New Products Guide, the Mix Master Directory, the MixLine series of e-newsletters, and Mix is the founding sponsor of the TEC Awards.

Shure Inc. — 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 SM86 microphone, SLX and ULX wireless systems, KSM studio microphones, PSM® personal monitors, and P4800 system processor confirm Shure’s ongoing commitment to providing innovative products that help people produce their sound.

Gold Sponsors

Allen & Heath — Allen & Heath designs and manufactures professional audio mixing consoles for an international clientele in the live sound, installed systems, nightclub and professional DJ markets. Allen&Heath USA has been set up by American Music and Sound to provide U.S. distribution for the British audio mixing console manufacturer.

Audio Technica — Audio-Technica has been dedicated to advancing the art and technology of electro-acoustic design and manufacturing for more than 40 years. From a beginning in state-of-the-art phono cartridges, Audio-Technica has expanded into high-performance studio and live microphones, wireless microphone systems, headphones, mixers and other audio equipment. Responding to the needs of audio professionals led to the introduction of the highly regarded Artist Elite® microphones and wireless systems, which have revolutionized live sound reinforcement. Audio-Technica is proud to be a Gold Sponsor of this year’s TEC Awards.

The Burst Collective — The Burst Collective is a consortium of composers, producers, songwriters and performing musicians, operating as three entities under one creative umbrella: Burst Media: commercial music production; Burst Records: artist development, licensing and publishing; and Burst HQ: state-of-the-art production facility. Their music has been heard in national ads (GM, Microsoft, BMW, Gatorade), top-tier programs, and on networks worldwide (HBO, NBC, ABC, CBS, NFL, BBC, SAT1).

Digidesign — Digidesign® provides high-performance audio production solutions for the professional and project studio markets. Pro Tools®|HD, Digidesign’s flagship system and the industry-standard audio workstation, brings unrivaled sound quality, power and flexibility to the music and post-production communities. Digidesign’s Pro Tools LE project studio line includes products that provide professional results while suiting virtually any budget. Digidesign also hosts an expansive Development Partner community, offering a large variety of options that complement both Digidesign product families.

Ex’pression College for Digital Arts — Ex’pression is a digital arts college offering Bachelor’s degrees in Sound Arts, Animation and VFX, and Digital Graphic Design. Located in the San Francisco East Bay area, the school’s Total Immersion program allows students to earn their degrees in just two years, working with some of the best practitioners and equipment in the industry. Throughout their education, students have the opportunity to be mentored and taught by professionals from internationally recognized entertainment technology companies and studios.

Guitar Center — With more than 115 stores nationwide, Guitar Center services professional musicians and aspiring pros alike by offering the widest selection of top name products at the lowest prices in the nation. After 39 years, Guitar Center remains not only the musician’s choice but the first stop for engineers, producers and recording enthusiasts.

LOUD Technologies Inc. — Loud Technologies is the corporate umbrella for the Mackie and EAW professional audio brands. Mackie is a leading developer of high-quality, affordable professional audio systems. Mackie products are found in professional and project recording studios, video and broadcast suites, post-production facilities, and in sound reinforcement applications. EAW is a technological and market leader in the design and manufacture of high-performance loudspeaker systems. EAW offers a diverse selection of main system, stage monitors, and subwoofer products for the portable, touring, installation, cinema, and dance club markets.

Meyer Sound Labs — Meyer Sound manufactures professional self-powered loudspeaker systems and associated rigging hardware, electroacoustic measurement systems, and acoustical prediction software. Looking beyond individual components to create totally integrated systems, Meyer Sound’s products incorporate transducer design and fabrication, signal processing and power amplification to provide unique, innovative solutions to the challenges facing audio professionals.

MOTU, Inc. — Founded in 1980, MOTU is a leading developer of audio recording technology for personal computers. This year, three new MOTU products are nominated for 2004 TEC Awards: Digital Performer 4 (Workstation/Recording Technology), the 828mkII FireWire interface (Digital Converter Technology) and MachFive sampler plug-in (Musical Instrument Technology). Over the past 20 years, numerous MOTU products have won TEC Awards, from the classic Performer sequencer software to the industry standard MIDI Timepiece interface/synchronizer. MOTU products appeal to all levels, from hobbyists to world-class recording studios.

Recording Academy — The Producers & Engineers Wing is currently composed of 6,000 producers, engineers, re-mixers, manufacturers, pro audio professionals and technologists. The P&E Wing is a national division of the Recording Academy’s membership. It provides an organized voice for the creative and technical recording community to address critical issues that affect the craft of recorded music. For more information, please visit

Remote Recording — Remote Recording is the definitive name in location recording, providing top-quality mobile solutions for the most demanding production requirements. In addition to being a seven-time TEC Award winner, David Hewitt has also won Grammy and Emmy awards for his work. With a crew that has more than 25 years experience working together, Remote Recording delivers reliable, and professional service. The “Silver Studio” is a world-class mobile recording facility, with a client list that reads like a who’s who of the music industry.

RØDE Microphones — RØDE has built an enviable reputation as a pioneer in the development of the microphone for the modern era. RØDE set out to deliver professional studio quality microphones that were more accessible to the recording communities. Today they are acknowledged for their engineered performance, versatility and superior design. From their $10 million, state-of-the-art facility in Sydney, RØDE continues to design and manufacture an ever-expanding range of precision microphones, changing the way musicians and engineers record their art.

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 always 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 — 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. Since 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 — Yamaha, a leading manufacturer of innovative analog and digital products, offers a diverse scope of audio products for recording, post-production, and broadcast, ranging from signal processors, powered and reference monitors, and digital audio workstations to digital mixers, including the TEC Award-nominated 01V96. Sound reinforcement products range from powered amplifiers, the AFC active field control system, live sound speakers, digital mixing engines, high-end reverbs, and analog consoles ranging from the TEC Award-winning PM1D and DM2000 digital consoles to this year’s nominee — the PM5000 analog sound reinforcement console.

Silver Sponsors

Bronze Sponsors


The eligibility year is March 31, 2003 to April 1, 2004. 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. For Studio Design Project — please check our Web page atwww.mixfoundation.orgfor project photos and a description. Take time to read through each category before voting on the ballot. Please cast only one vote in each category.



Awards go to Architect or Studio Designer, Acoustician and Studio Owner. Check MFEA website for studio photos and descriptions.

BiCoastal Music, Ossining, NY

Architect or Studio Designer: Blane K. Kelley, AIA/Russ Berger Design Group

Acoustician: Russ Berger/Russ Berger Design Group

Studio Owner: Hal Winer

Boston Skyline Studios, Boston, MA

Architect or Studio Designer: Michael Blackmer

Acoustician: Munro Associates, London, UK

Studio Owners: Todd Harris, Ethan Harris, Pete Peloquin

Forge Recording, Oreland, PA

Architect or Studio Designer: John Storyk, WSDG

Acoustician: John Storyk

Studio Owner: Sheldon Granor

The Hospital, London, UK

Architect or Studio Designer: Studio 440 Architects

Acousticians: Studio 440 Architects/Paul Gillieron Acoustic Design

Studio Owner: Paul Allen

Sterling Sound Chelsea Phase III, NYC

Architect or Studio Designer: Francis Manzella Design Ltd.

Acoustician: Francis Manzella Design Ltd.

Studio Owner: Murat Aktar


Awards go to Supervising Sound Editor, Re-Recording Mixer, Production Mixer and Audio Post Facility.

Alias, ABC

Supervising Sound Editor: Tom deGorter

Re-recording Mixers: Robert Appere, Ed Carr

Production Mixer: Douglas Axtell

Audio Post Facility: Todd-AO, Burbank

Late Show with David Letterman, CBS

Supervising Sound Editors: Jim Rose, Harvey Goldberg

Re-recording Mixers: Seth Mintz, Pete Pelland, Tom Yang, Alton Norwood

Production Mixers: Jim Rose, Kevin Rogers, Tom Hermmann, Larry Zinn, Gary Kiffel, Harvey Goldberg, Michael Muller

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, NYC

The Sopranos, HBO

Supervising Sound Editor: Jason George

Re-recording Mixers: Kevin Burns, Todd Orr

Production Mixer: Mathew Price

Audio Post Facility: Todd-AO, West L.A.

24, Fox

Supervising Sound Editor: Bill Dotson

Re-recording Mixers: Mike Olman, Ken Kobett

Production Mixer: Bill Gocke Audio

Post Facility: SoundStorm, Burbank


Awards go to Supervising Sound Editor, Sound Designer, Re-Recording Mixer, Production Sound Mixer, Score Mixer and Audio Post Facility.

Finding Nemo, Disney/Pixar

Supervising Sound Editor: Gary Rydstrom, Michael Silvers

Sound Designer: Gary Rydstrom

Re-Recording Mixers: Gary Rydstrom, Gary Summers

Production Sound Mixer: Doc Kane

Score Mixers: Dennis Sands, Armin Steiner, Thomas Vicari

Audio Post Facility: Skywalker Sound, San Rafael

The Matrix: Revolutions, Warner Bros.

Supervising Sound Editors: Dane A. Davis, MPSE, Julie Evershade, MPSE

Sound Designers: Dane A. Davis, MPSE, Eric Lindermann

Re-Recording Mixer: John Reitz, Greg Rudloff, David Campbell

Production Sound Mixer: David Lee

Score Mixer: Armin Steiner

Audio Post Facility: Danetracks, West Hollywood, Warner Brothers Post-Production, Burbank

Master & Commander: The Far Side of the World, 20th Century Fox

Supervising Sound Editor: Richard King

Sound Designer: Richard King

Re-Recording Mixers: Doug Hemphill, Paul Massey, James Bolt

Production Sound Mixer: Art Rochester

Score Mixer: John Kurlander

Audio Post Facilities: Warner Bros. Feature Post-Production Editorial Dept., 20th Century Fox/John Ford Stage, Burbank

Pirates of the Caribbean: The Curse of the Black Pearl, Buena Vista

Supervising Sound Editor: Christopher Boyes

Sound Designer: Christopher Boyes

Re-Recording Mixer: Christopher Boyes

Production Sound Mixer: Lee Orloff, CAS

Score Mixer: Alan Myerson

Audio Post Facility: Buena Vista Sound Studios

The Lord of the Rings: The Return of the King, New Line

Supervising Sound Editors: Mike Hopkins, Ethan van Der Ryn

Sound Designers: David Farmer, Ethan van Der Ryn

Re-Recording Mixers: Chris Boyes, Michael Semanick, Michael Hedges

Production Sound Mixer: Hammond Peek

Score Mixers: Peter Cobbin, John Kurlander

Audio Post Facility: Park Road Post, Wellington, New Zealand


Awards go to Remote Engineer, Production Mixer, Music Mixer and Remote Facility.

Dave Matthews The Central Park Concert, RCA

Remote Engineers: John Harris, Joel Singer

Production Mixer: Ian Vysick

Music Mixers: John Alagia, John Harris, Jeff Juliano

Remote Facility: Effanel Music, NYC

Alison Krauss + Union Station Live, Rounder

Remote Engineers: Gary Paczosa, Tracy Martinson, Adam Blackburn

Music Mixer: Gary Paczosa

Remote Facility: Effanel Music, NYC

Bruce Springsteen & the E Street Band, Live in Barcelona, Sony/CBS

Remote Engineer: Tim Summerhayes

Production Mixer: Brendan O’Brien

Music Mixers: Brendan O’Brien, Nick DiDia, Billy Bowers

Remote Facility: Sanctuary Mobile, UK

The Concert for George, PBS

Remote Engineers: Paul Nickson, Will Shapland

Production Mixer: Ryan Ulyate

Music Mixers: Geoff Foster, Jeff Lynne

Remote Facility: Sanctuary Mobile, UK

76th Annual Academy Awards, ABC

Remote Engineer: David Hewitt

Production Mixer: Ed Greene

Music Mixer: Tom Vicari

Remote Facility: Remote Recording, NYC


Awards go to Tour Company, FOH Engineer and Monitor Engineer.

David Bowie, “Reality”

Tour Company: Firehouse Productions, Red Hook, NY

FOH Engineer: Pete Keppler

Monitor Engineer: Mike Prowda

Toby Keith, “Shock’n Y’all”

Tour Company: Sound Image, Escondido, CA

FOH Engineer: Dirk Durham

Monitor Engineer: Earl Neal


Tour Company: Firehouse Productions, Red Hook, NY, Audiotek, Burbank, CA

FOH Engineer: Jim Warren

Monitor Engineer: Graham Lees

Simon & Garfunkel “Old Friends”

Tour Company: Clair Brothers Audio, Lititz, PA

FOH Engineer: David Morgan

Monitor Engineer: Tim Holder

Rod Stewart, “Rod Stewart Tour”

Tour Company: Sound Image, Escondido, CA

FOH Engineer: Lars Brogaard

Monitor Engineers: Davey Bryson, Robin Fox


Awards go to Recording Engineer, Mixing Engineer, Mixing Facility, Producer, Recording Studio, Mastering Engineer and Mastering Facility.

“Bring Me to Life,” Fallen, Evanescence

Recording Engineers: Jeremy Parker, Dave Fortman

Mixing Engineer: Jay Baumgardner

Mixing Facility: NRG, N. Hollywood

Producer: Dave Fortman

Recording Studios: Ocean Studios, Burbank, Track Record, N. Hollywood

Mastering Engineer: Ted Jensen

Mastering Facility: Sterling Sound, NYC

“Calling All Angels,”My Private Nation, Train

Recording Engineer: Nick DiDia

Mixing Engineer: Brendan O’Brien

Mixing Facility: Southern Tracks Recording, Atlanta, GA

Producer: Brendan O’Brien

Recording Studio: Southern Tracks Recording, Atlanta, GA

Mastering Engineer: Bob Ludwig

Mastering Facility: Gateway Mastering, Portland, ME

“Crazy in Love,”Dangerously in Love, Beyonce

Recording Engineers: Jim Caruana, Pat Thrall

Mixing Engineer: Tony Maserati

Mixing Facility: The Hit Factory, NYC

Producers: Rich Harrison, Beyonce Knowles

Recording Studio: Sony Studios, NYC

Mastering Engineer: Tom Coyne

Mastering Facility: Sterling Sound, NYC

“Hey Ya,” Speakerboxxx/The Love Below, OutKast

Recording Engineers: John Frye, Robert Hannon, Pete Novak

Mixing Engineer: Neal Pogue, The Hit Factory, NYC

Mixing Facility: Larabee Sound, Los Angeles

Producer: Andre 3000

Recording Studios: Stankonia Recording and Tree Sound Studios, Atlanta, GA and Larabee Sound Studios, Los Angeles

Mastering Engineer: Bernie Grundman

Mastering Facility: Bernie Grundman Mastering, Hollywood

“Where is the Love,”Elephunk, Black Eyed Peas

Recording Engineers: Tal Herzberg, Dylan Dresdow

Mixing Engineer: Chris Lord-Alge

Mixing Facility: Image Recording, Hollywood

Producers:, Ron Fair

Recording Studio: Record Plant, Los Angeles

Mastering Engineer: Brian Gardner

Mastering Facility: Bernie Grundman Mastering, Hollywood


Awards go to Recording Engineer, Mixing Engineer, Mixing Facility, Producer, Recording Studio, Mastering Engineer and Mastering Facility.

Dangerously in Love, Beyonce, Sony Music

Recording Engineers: Carlos Bedoya, Jim Caruana, Focus, Guru, Stan Wallace, Mark Batson, Pat Thrall, Dan Workman, Michael McCoy, Chris Carmouche, Vincent Alexander

Mixing Engineers: Tony Maserati, Scott Kieklak, Ray Bardani, Dexter Simmons

Mixing Facilitities: The Hit Factory, NYC; The Hit Factory Criteria, Miami, FL

Producers: Beyonce Knowles, Mark Batson, Scott Storch, Focus, Missy Elliott, Craig Brockman, Andreao Heard, Sherrod Barnes, Bryce Wilson, D-Roy and Mr. B, Nat Adderly Jr., Errol McCalla Jr., Matthew Knowles

Recording Studios: Allustrious Studios, NYC; Baseline Studios, NYC; COE.BE.3 Studios, Stone Mountain, GA; The Enterprise, Burbank, CA; The Hit Factory, NYC; The Hit Factory Criteria, Miami, FL; Patchwerk Studios, Atlanta, GA; Right Track Studios, NYC; Silent Sound Studio, NYC; Soho Studios, NYC; Sony Music Studios, NYC, South Beach Studios, Miami, FL, Stankonia Studios, Atlanta, GA; Sugarhill Studios, Houston, TX.

Mastering Engineer: Tom Coyne

Mastering Facility: Sterling Sound, NYC

Elephunk, Black Eyed Peas, A&M Records

Recording Engineers: Frank Wolf, Dylan Dresdow, Tal Herzberg, Cortez Farris, Jason Villaroman, Jun Ishizeki

Mixing Engineer: Tony Maserati

Mixing Facility: Record Plant, Los Angeles, CA

Producer: Ron Fair

Recording Studio: Record Plant, Los Angeles, CA

Mastering Engineer: Brian Gardner

Mastering Facility: Bernie Grundman Mastering, Hollywood

Fallen, Evanescence, Wind-Up Entertainment Inc.

Recording Engineer: Jeremy Parker

Mixing Engineers: Dave Fortman, Jay Baumgardner (track 2)

Mixing Facilities: Conway Recording Studios, Hollywood, CA; NRG Recording Studios, N. Hollywood , CA; The Newman Scoring Stage; Bolero Studios

Producers: Dave Fortman, Ben Moody (track 4)

Recording Studios: Track Record Inc., N. Hollywood, CA; Ocean Studios, Burbank, CA; NRG Recording Studios, N. Hollywood, CA; Conway Recording Studios, Hollywood, CA; Ironwood Recording, Seattle, WA; The Newman Stage, Twentieth Century Fox, Hollywood, CA

Mastering Engineer: Ted Jensen

Mastering Facility: Sterling Sound, NYC

Hail to the Thief, Radiohead, Capitol

Recording Engineers: Nigel Godrich, Darrell Thorpe

Mixing Engineer: Nigel Godrich

Mixing Facility: Ocean Way, Hollywood, CA

Producer: Nigel Godrich

Recording Studio: Ocean Way, Hollywood, CA

Mastering Engineer: Bob Ludwig

Mastering Facility: Gateway Mastering, Portland, ME

Speakerboxxx/The Love Below, OutKast, Arista

Recording Engineers: John Frye, Robert Hannon, Pete Novak, Padraic Kernin, Brian Paturalski, Reggie Dozier, Darrell Thorpe, Terrance Cash, Matt Still, Moka Nagatani, Vincent Alexander, Matt Still, Chris Carmouche

Mixing Engineers: Pete Novak, John Frye, Dexter Simmons, Neal Pogue

Mixing Facilities: Larrabee Sound Studios, Los Angeles, Enterprise Recording Studios, Burbank, CA, Stankonia Recording, Atlanta, GA, Ocean Way Recording, Los Angeles, The Hit Factory, NYC

Producers: Antwan “Big Boi” Patton for Boom Boom Record Productions and Andre “3000” Benjamin for Slumdrum

Recording Studios: Stankonia Recording and Tree Sound Studios, Atlanta, GA and Larabee Sound Studios, Los Angeles, Enterprise Studios, Burbank, CA, ZAC Recording, Atlanta, GA,

Mastering Engineer: Bernie Grundman

Mastering Facility: Bernie Grundman Mastering, Hollywood



Apogee Big Ben 192kHz master clock: Big Ben with Apogee’s breakthrough C777 digital clock revolutionizes a studio environment by synching all digital devices with incredible precision and flexibility. With features like SureLock, format conversion, optional FireWire connectivity, termination sensing, and advanced and intelligent clocking, Big Ben makes an immediate enhancement to sound quality that can be heard.

Audio-Technica ATH-M20 headphones: These pro monitor headphones feature a low-profile, closed-back design that delivers exceptional clarity and isolation. Rich bass response and extended high end come from 40mm drivers, each with a neodymium magnet structure and copper-clad aluminum wire voicecoils. Features: adjustable/cushioned comfort headband, 1/8-inch stereo plug and snap-on 1/4-inch adapter, ultraflexible 10-foot coiled cable and 30 to 20k Hz frequency response.

Sennheiser HD650 headphones: The audiophile HD 650 open, dynamic headphone design was developed from the award-winning Sennheiser HD 600, with improved materials for even better sound reproduction. Its 10 to 39,500 Hz response offers listeners expressiveness and emotion while maintaining precise, lifelike reproduction to satisfy the most demanding listener.

SPL Surround Monitor Controller: This analog volume control/switching matrix for system-independent 5.1 and stereo monitoring is designed to provide only the necessary functions with excellent audio quality. The SMC offers a cost-effective speaker/source-management solution for essentially any audio application, including surround and stereo production; DVD-V, DVD-A, SACD and DTS authoring; film/video post, video/game creation; and A/V and multimedia production.

TerraSonde Digital Audio Toolbox: The Digital Audio Toolbox provides a complete set of digital audio test, troubleshooting and utilities in an affordable handheld device. Functions include transparency test, bitstream analyzer, lock tests, bitscope, latency test, jitter meter, clock and sample counter, distortion meter, digital signal generator, digital cable tester, level meter, sample rate converter and Sony 9-pin tester.

Whirlwind E Snake digital snake system: The Whirlwind E Snake™ system comprises E Snake Frames and E Snake Control™ management software. Two or more frames connected via a 100Mb Ethernet switch with Cat-5, fiber optics or the Whirlwind E Beam laser can replace the traditional analog audio snake. E Snake utilizes CobraNet, the industry standard for real-time, multichannel networked audio, and individual E Snake Frames may be used as high-quality mic/line access nodes on existing CobraNet networks.


Apogee Rosetta 800: The Rosetta 800 offers eight channels of Apogee AD/DA conversion with a multitude of connectivity options and core Apogee features such as SoftLimit, UV22HR and Intelliclock dual-stage clocking. With an X Series expansion card installed, the Rosetta 800 makes a direct connection to Pro Tools or any FireWire-enabled computer, providing compatibility with virtually any audio production environment for pro and project studios alike.

Dolby DP563 With Pro Logic II: The DP563 encoder puts program material with up to five channels into either Dolby Surround or Pro Logic II formats for 2-channel analog or digital applications, including television broadcasts, radio, commercials, video games, CDs and VHS tapes. The DP563 features digital I/O, a pre-processing stage to premix 5.1 material for Dolby Surround or Pro Logic II encoding, individual channel trims, output gain control, output limiter and metadata control.

Metric Halo ULN-2+DSP: This 1RU bus/battery-powerable FireWire interface with four inputs and eight outputs of comprehensive simultaneous I/O offers 24/96kHz AD/DA conversion, two channels of Ultra Low-Noise preamps (130.5 dBu EIN), stereo digital I/O (AES and S/PDIF), balanced send/return path, and individual monitor and headphone outputs with front panel level controls. Onboard DSP provides access to Metric Halo signal processing without sacrificing a computer’s processing power.

MOTU 828mkII FireWire audio interface: This one-rackspace FireWire audio interface for Mac and Windows offers 20 channels of input and 22 channels of output that are expandable to 80/88 channels. Features include 10 channels of 24-bit/96kHz analog I/O on balanced TRS connectors and two Neutrik XLR/TRS Combo connectors with built-in mic pre’s; ADAT Lightpipe I/O; S/PDIF; latency-free 20-input/8-bus monitoring; stand-alone operation with front panel LCD programming; and drivers for all major audio software.

Prism ADA-8 with DSD interface: The Prism Sound ADA-8 multichannel AD/DA converter range adds a DSD interface module compatible with the multi-coaxial standard DSD format, along with the Cat-5 24-channel SuperMAC format. The new module allows DSD masters to be printed direct from any PCM format.

Universal Audio 2192 master audio interface: Combining Universal Audio’s analog sound heritage with cutting-edge DSP technology, the 2192 features sample rates to 192k; real-time transcoding between AES/EBU, S/PDIF and ADAT; and support for single- and dual-wire AES modes for interfacing to the modern DAW studio. Class-A analog circuitry provides detail and clarity via a DC-coupled, fully dual-differential, matched FET, all-discrete, no capacitor, no-compromise analog signal path.


Architectural Acoustics ICS 4200: Designed for permanent installs, the ICS 4200 industrial power amp features four independent, 200W amplifier channels in a compact, fan-cooled two-rackspace chassis. The ICS 4200 can supply maximum output power to both low-impedance (4 and 8 ohm) and high-impedance (70-volt) loads simultaneously in single-channel or 2-channel pairs. Channels A and B or channels C and D can be operated in low or high impedance or bridged mode.

Camco Tecton Series: The Tecton Series feature Camco’s High-Efficient-SMPS (Switch Mode Power Supply), delivering the same high-level performance, low dynamic distortion and superior sound quality that characterize Camco’s successful Vortex range but at a more accessible price. The series has 10 compact, lightweight models, ranging from 2x 300W up to 2x 1,950W for use with high or low impedances and in three operational modes: parallel mono, bridged mono and stereo.

Crown I-Tech: Crown’s flagship amp for touring and corporate P.A., all I-Tech Series models are 2RU and weigh less than 28 pounds. I-Tech amps feature patented Class-I switching output design, global regulated power supply with PFC, integrated studio-quality DSP with 24-bit/96kHz converters, AES/EBU digital and analog inputs, front panel LCD for easy menu-based setup and full amplifier diagnostics, and integrated IQ Network control.

Hot House Model One Thousand: Fully differential from input to output and utilizing a split-dual toroidal power supply, this radical new design uses intelligent output device technology to yield a transparent, low-distortion, high-fidelity, yet bulletproof pro amp. It sidesteps sonically degrading, traditional external thermal bias and protection circuits for the benefits of pure Class-A operation without the drawbacks, providing excellent timbral and spatial detail, effortless transients and precise, deep LF response.

QSC Audio SRA-2422 studio reference amp: Based on QSC’s acclaimed DCA Digital Cinema Series technology, the SRA is the first amp created to bring this world-class cinema reference standard to a critical listening environment. Now, the pristine highs and seat-rumbling lows of QSC’s legendary “Power Behind the Pictures” is available to studios, film/video post facilities and high-end residential installations, offering a sleek design that’s at home in the most demanding décor with superb performance.


Demeter VTMP-2c: The original VTMP-2a was the first tube preamp nominated for a TEC Award. The tradition continues with the VTMP-2c, updated in a hand-built, limited-production version. The VTMP-2c retains the original’s classic sound but adds new features such as continuously variable gain, new Jensen mic transformers, active balanced outputs, 2-stage low cut, 10-segment LED meters and more. Each unit is hand-signed and numbered by designer James Demeter.

Focusrite ISA 430 MkII Producer Pack: The ISA 430 MKII brings together several classic Focusrite designs in one comprehensive production tool. Features: transformer-based mic pre with variable impedance and “air” feature; 192kHz A-D conversion; vintage compression modes via the multiformat (VCA or optical) compressor; classic Focusrite EQ design; and the ability to function as four separate modular processors: mic pre, EQ, dynamics and stereo ADC.

Millennia Media TD-1 recording channel: Millennia’s new Twin Topology® half-rack recording channel — the company’s seventh TEC-nominated product — the TD-1 includes the acclaimed HV-3 preamp, a first choice for classical music recording. TD-1 also offers selectable tube or all-discrete solid-state DI amplifiers; multiple impedance selections; twin Reamp® outs; Speaker Soak® input; dual-band fully parametric EQ; audiophile-grade headphone output with gain, polarity flip, pad, custom DIT-01 output transformer (3 Hz to 300 kHz); and total ground isolation.

Oram Pro GMS-Al Schmitt: The Pro-Channel™ is Al’s dream tracking box, with pure analog switching between three different mics for comparison, an optical compressor and a 6-band EQ with step-switching for precise resetting. The optical compressor can be switched pre/post the EQ bands. The sound is soft-knee and translucent, and features attack, release and ratio. The EQ has six bands that can be individually switched in/out. All bands have fine 25-step controls of 24dB range.

SPL GainStation 1: This compact, single-channel unit has two separately controllable preamp stages, a transistor and a tube preamp stage. Optimal gain points can easily be determined for each stage and combined, providing flexible sound tailoring for mics and instruments. The fully discrete Class-A circuitry of the GainStation 1 operates on a 60V rail. The feature set includes peak and FET limiters and switchable input impedance.

SSL XLogic 4-Channel SuperPre: The XLogic Mic Amp provides four of the legendary XL 9000 K Series SuperPre preamps in a single-rackspace unit with optional remote control. Designed to work stand-alone, remote-controlled or directly from a suitably configured SSL XL9000 console, the XLogic SuperPre puts the acclaimed quality of these world-renowned preamps right next to the source to be captured.


AKG Emotion TriPower C5900M: The C5900M has the pure, articulate sound of an AKG studio mic in a package designed for use in concert applications. Like a studio condenser, the C5900M has a low-frequency roll-off switch and -6dB pad to tailor the mic’s response to the application. Its special spider suspension, spring-steel wire-mesh grille and solid construction make it a rugged and reliable choice for demanding artists and engineers.

Audio-Technica Midnight Blues MB3k: The Midnight Blues Series standout performance microphone, the MB3k dynamic vocal mic, has an extended frequency response specifically developed to capture lead, backup and choral vocals. Its high-energy neodymium magnet structure provides improved output and extremely fast transient response. Other features include A-T’s Magna-Lock silent switch, soft-touch finish, a 60 to 14k Hz response and gold-plated XLR connectors.

Audix Micros: Comprising two models — M1245 and M1290 — the Micros are the smallest condenser microphones in the world with an integrated preamp and detachable cable. These studio-quality mics offer high-quality performance with very low noise and wide dynamic range, and are available in a variety of polar patterns and sensitivities. Due to their size and performance, the Micros are used on everything from drums and percussion to choirs and symphonies.

DPA Microphone A/S 4088 cardioid microphone headband: Specifically designed for use in feedback-prone environments, this adjustable headworn mic is small and light weight with a miniature boom that attaches to the headband frame, capturing both ears for a secure, comfortable fit. Its uncompromising sound quality and high-SPL capabilities make it the perfect choice for pros requiring clarity, realism and increased gain before feedback.

RØDE S1: The S1 employs a true condenser transducer for studio-quality reproduction. The S1’s sophisticated highpass filter and supercardioid pickup dramatically reduce undesirable low-frequency background and handling noise — virtually eliminating feedback. The five-piece hardened-mesh head protects the transducer, while filtering breath, wind and plosive noise without affecting sensitivity or frequency response.

Sennheiser Evolution e935: The e935’s new cardioid neodymium/boron dynamic capsule delivers exceptional gain before feedback (3 to 6 dB greater than e835) and high 2.8mV/Pa output while producing a very clear “airy” vocal sound. The e935s sonic excellence is complemented by an elegant, new tapered black handle and Audi blue grilles. Like all Evolution microphones, the e935 boasts an unprecedented 10-year warranty.


Audio-Technica AT3060: The AT3060 delivers warm, classic tube sound with a hand-selected, individually tested and aged tube and a large-diaphragm cardioid condenser element providing high sensitivity, smooth sound and low noise. A shock-mounted tube assembly dampens mechanically coupled vibrations. The AT3060 operates on 48V phantom power, has a 50 to 16k Hz response and comes with the AT8458 shock-mount.

Neumann TLM 127: This large-diaphragm studio condenser mic has omni and cardioid patterns, although an optional power supply adds remote-control switching between five directional characteristics: omni, wide cardioid, cardioid, hypercardioid and figure-8. The mic also features a 14dB attenuation switch and a two-position highpass filter switch for a -3dB cut at 15 Hz or 100 Hz.

RØDE K2: The K2’s HF1 capsule is the result of designing and building thousands of tube mics. The sound quality combines modern high-end specs with the character and subtleties of the legendary ‘50s mics. Totally variable control of the K2’s polar patterns provides flexibility for any recording situation.

Schoeps CMC6 xt: The CMC6 xt is the latest addition to the acclaimed Colette Modular Microphone System. Combined with one of the company’s capsules with frontal sound incidence, the user can benefit with an extended frequency range from 20 Hz to more than 40 kHz. The CMC6 xt can be driven by either 48V or 12V phantom power, retaining a very low output impedance of 35 and 25 ohms, respectively.

Soundelux e49: This remote variable-pattern tube mic (continuous from figure-8 to cardioid to omnidirectional) uses Soundelux’s KK47 large-diaphragm capsule and a unique head grille, designed to replicate the acoustic and mechanical sonic signatures of the original tube 49. The E49 uses the Soundelux SteadyState fixed-bias-type tube amplifier, which is similar to the original but has lower noise and distortion.

Telefunken Ela M12: Celebrating the 50th anniversary of the original C-12 microphone, Telefunken North America offers the Ela M12. Each system is handcrafted in the U.S. using the original Austrian blueprints and meticulously duplicating the original C-12 specifications. The Telefunken Ela M12 features a TK-12 capsule with nine polar patterns, T14 transformer and NOS 6072 tube.


AKG WMS 4000: This wireless system offers a 120dB dynamic range and 35 to 20,000 Hz response. Its unique frequency search and management scheme makes setup and operation simple and reliable, and a Smartbattery system delivers 12 hours of operation from each charge. A full range of available accessories can customize a WMS 4000 system for any application.

Audio-Technica Artist Elite AEW-4250: Featuring the AEW-T5400 large-diaphragm cardioid condenser handheld transmitter and the frequency-agile AEW-R4100 receiver, the system offers True Diversity operation, advanced digital Tone Lock squelch and dual-compander circuitry that processes high and low frequencies separately for unmatched sound quality. IntelliScan™ automatically finds/sets the best available frequencies on all linked receivers.

Electro-Voice RE-2: The RE-2 Series brings sophisticated pro features to an affordable price point. The RE-2 is a completely programmable, frequency-agile system with one-touch Auto-ClearScan™, operating over 28 MHz, with XLR mic or line-level output and many other features.

Sabine 2.4GHz SWM7000: The SWM7000 redefines what a wireless system can do. Usable worldwide, Sabine’s 2.4GHz Spread Spectrum wireless is immune to analog and digital television interference, and is packed with built-in digital signal processing (mic modeling, onboard compression, Feedback Exterminator™, etc.) and a clever battery-charging system. With multiple control options and a digital audio output, the SWM7000 is innovative, flexible and engineered to sound as good as the best wired mics.

Sennheiser Evolution Wireless G2: In 1992, Sennheiser “evolutionized” the world of performance wireless with its original Evolution wireless series. Again pushing the limits of audio performance, ruggedness and ease of use, the redesigned G2 features much smaller body packs, larger backlit LCDs, AutoScan™ function, 1,440 selectable frequencies within a 36MHz switching bandwidth and an intuitive user interface.


Bose L1: Ten years of research into the problems of conventional systems led to the radical Cylindrical Radiator™. Unlike conventional speakers, the new speaker radiates sound across the stage and throughout an audience of several hundred with little change in tone or level. This entirely new approach to amplification places a Cylindrical Radiator loudspeaker behind each player, replacing the monitor system, P.A. speakers, backline instrument amps and mixing consoles.

Community M12: This compact, rugged glass-composite monitor offers clean sightlines for the audience and the camera. Specially molded channels and cable clips bring the speaker cables out of the back or either side for easy positioning. The M12 has a 12-inch woofer and a 2-inch exit HF driver on a molded one-piece asymmetrical horn with a 90° pattern at the top and 40° at the bottom, allowing full-range monitor output close-up or at a distance.

EAW KF730 SLAM: The KF730 SLAM (Small Line Array Module) packs a six-driver horn-loaded KF Series design into an amazingly compact enclosure, setting a new record for output-pet-cubic-meter. The full-sized mid/high horn fills the entire face of the enclosure, ensuring broadband 110° horizontal pattern control. The unique Phase Aligned™ LF design extends horizontal pattern control into the LF, and a bi-amplified powering configuration (passive mid/high) reduces total system cost and complexity.

Martin Audio W8LC: This compact, three-way all-horn line array offers the same audio quality, consistent coverage, high efficiency and rapid setup of its popular predecessor, the W8L Line Array system. This true “mid-sized” system is ideal for small arenas, theaters, clubs and rentals. The W8LC’s exceptional performance grows from Martin Audio’s unique design and time-tested horn-loading techniques, which transcend the typical compromises of other line arrays.

Meyer Sound MILO: This high-power curvilinear array is a four-way, self-powered system with nearly 4,000W of onboard amplifier power, and Meyer Sound’s proprietary complex crossover, protection and monitoring circuitry. Patent-pending QuickFly® rigging makes MILO setups fast and easy. Lightweight, powerful, reliable, easy to use and sonically pristine, MILO’s popularity continues to increase rapidly, with its success spawning the new MILO 120, an expanded coverage version.

SLS RLA/2: This compact ribbon line array is designed for medium to small venues. Its light weight (60 pounds per module) and small size, along with the convenient rigging, make it perfect for permanent installations, corporate events production or anywhere a large imposing speaker system is prohibited. Each (LS8800) module of the RLA/2 Ribbon Line Array has two 8-inch high-powered cone drivers and one SLS PRD1000 proprietary push/pull neodymium ribbon driver.


ADAM S4V-A: The S4V-A is the most affordable ADAM monitor using the A.R.T. midrange unit, which translates the advantages of ADAM’s folded ribbon technology to frequencies down to 600 Hz. The benefits of this driver are numerous: It frees the midrange from typical coloration caused by cone drivers, it has excellent dispersion and it has the ability to create a remarkably natural soundfield.

Dynaudio Acoustics AIR 25: AIR 25 is the latest (and largest) AIR Series reference monitor. The three-way active main monitor has two 10-inch woofers, a 5.5-inch midrange and a 1.1-inch soft-dome tweeter. With four built-in amps enabling more than 1,200W of power, AIR 25 is designed for larger studios that require substantial power, with an extended frequency range that’s equally suited for stereo and multichannel monitoring.

Event Electronics Studio Precision 8: This bi-amped two-way system has an 8-inch mineral-impregnated polypropylene cone woofer and a 1-inch Ferrofluid-cooled soft-dome high-frequency radiator — both using neodymium magnets. Features include 35 to 20k Hz frequency response, active fourth-order asymmetrical crossover, continuously variable input sensitivity, HF and LF trim controls, dual linear-flow bass ports and a gloss-black “piano” finish.

Genelec 7073A subwoofer: The 7073A active subwoofer offers powerful and precise bass reproduction for large stereo or surround installs. Its 19Hz LF cut-off and 124dB peak capabilities are sufficient to handle the most demanding high-SPL applications. The 7073A features four 250W amps, one for each one its four 12-inch drivers. Driver-overload protection and power-on signal muting are included, as is a built-in 6.1 bass manager.

JBL LSR6300 Series: JBL’s LSR6300 monitors go beyond “accurate” to solve problems in the mix environment. RMC™ (Room Mode Correction) technologies compensate for acoustic problems induced by the room’s boundaries and provide greater accuracy at the mix position in any sized control room. With patented JBL transducer designs and a host of features for working pros, LSR6300 studio monitors eliminate the guesswork from mixing.

Tannoy Ellipse 8/10: Built on Tannoy’s award-winning loudspeaker technologies, the Ellipse range is the first of a new generation of studio monitors using Dual Concentric™ drivers, Tannoy’s WideBand™ technology, and proprietary amplification and active circuitry. The unique elliptical birch cabinet offers a striking appearance and a clean, uncolored acoustic representation of the recording.


Arturia Moog Modular V virtual synth: Developed with Bob Moog, MMV is a virtual Moog Modular for Mac/PC. Possibilities include nine oscillators, three filter slots, two LFOs, six envelopes, VCAs, mixers, triggers, a 3×8 step-sequencer, etc. Based on TAE™, a revolutionary technology dedicated to the emulation of analog circuits, MMV brings excellent sound quality of sound with the ease of 500 presets of this legendary synthesizer.

Korg Triton Extreme: The Triton with attitude, the Triton Extreme offers more of everything that made the Triton family the workstation of choice for thousands of producers and musicians the world over. Tricked out with vacuum tube processing, USB audio CD burning and data sharing, CompactFlash data storage, digital I/O and stuffed with sounds, it’s everything Triton — taken to the Extreme.

Moog PianoBar: In minutes, PianoBar turns virtually any acoustic piano into a powerful MIDI controller without affecting the feel of the piano keys. It includes a scanner bar to sense the keys’ motion with infrared technology, a pedal sensor that follows the sustain and soft pedals, and a control module housing the MIDI controller functions and a general MIDI sound module.

MOTU MachFive: This universal software sampler plug-in offers unprecedented compatibility and operability with all major plug-in formats, soundbank libraries and sample formats, from Giga to SampleCell to Kurzweil. Load any sample — even multichannel 5.1 samples — in seconds. Stream large samples from disk. Fine-tune your sounds with on-the-fly crossfade looping and many other advanced features.

Roland V-Synth: This expressive new instrument is the first synth to offer multiple oscillator technologies with real-time control over a waveform’s pitch, time and formant. Sounds can then be processed through new COSM filters, a killer arpeggiator and a powerful control interface, including a TimeTrip pad and intuitive touchscreen, plus revolutionary TimeTrip Pad an Twin D-Beams.

Taylor Guitars/Rupert Neve Expression System: The Expression System (ES) is a magnetic-based acoustic guitar pickup with a balanced output. The ES uses a string pickup and two body sensors to accurately capture the tone generated by the vibrating top. The ES preamp features Mr. Rupert Neve’s signature EQ curve in the correct frequency ranges for acoustic guitar.


Drawmer SP2120: The SP2120 eliminates the possibility of “unauthorized” sound pressure levels, preventing noise levels from exceeding limits you set and protecting speakers (or ears!) from damage. Inserted before the amplifier stage, the P2120 combines multiple time-constant and AGC circuits so small overloads sound louder — even though they’re not. The protection is transparent to the ear, maintaining the specified volume level without degrading the sound quality.

Eventide H8000: This 8-channel hardware processor offers nearly 1,500 of Eventide’s best music and post preset algorithms. Offering more power than Orville, the H8000 features Monolithic Tandem™, in which both processors operate together on large complex algorithms, including 5.1 reverb and 96kHz effects. It has eight channels of AES/EBU, ADAT and S/PDIF digital I/O, and premium quality stereo analog I/O with >110 dB of dynamic range.

Roger Linn Design AdrenaLinn II: This unique guitar effects processor combines 24 superb guitar amp models with an innovative beat-synched effects generator. Effects include tremolo, flanging, filter sweeps, random filtering, audio delay and even programmable looping filter sequences — all synched to the internal drum machine or MIDI clock. Also included are classic filter effects like auto-wah, talk box and guitar synth sounds, with emulations of classic Moog and Oberheim filters.

SSL XLogic Multichannel Compressor: This two-rackspace 6-channel compressor uses classic SSL center-compressor design elements within a SuperAnalogue design topology. This brings the dual benefits of spectacular surround audio performance with a universally acclaimed compressor characteristic.

TC Electronic Reverb 4000: Reverb 4000 is a true stereo reverb that includes emulations of the classics and algorithms from its predecessors: System 6000 and the M5000. Features include instant front panel access for live use, 44.1 to 96kHz sample rates and 24-bit processing, AES/EBU, TosLink, S/PDIF, ADAT, analog inputs and outputs, and USB controlled via a Mac or PC.

Universal Audio 2-1176: The 2-1176 features the trademark sound of its 1176 ancestor and can run in stereo-link or dual-mono operation with independent compression and gain controls in dual-mono mode. The 2-1176 preserves the classic all-button or “British” mode of the legendary 1176LN and adds a new 1:1 compression ratio option, allowing it to be used as a “tone box” for coloration without compression.


Antares Filter: Filter lets composers, remixers and engineers harmonically shape their tracks with surgical precision or animate them with almost limitless tempo-synched rhythmic effects. With four true stereo multimode filters, powerful modulation capabilities and features specifically targeted at rhythmic, groove-based music composition, Filter provides the power to create dynamic effects that range from subtle to extreme.

Eventide Octavox harmonizer: Derived from Orville for Pro Tools TDM, Octavox is an eight-voice, time-based, diatonic harmonizer pitch-shifter plug-in. Each voice can be manipulated quickly and intuitively. Dragging harmonized intervals across bars and beats allows musical rhythmic sequences to be created from a single note. Each voice features a four-octave range, delay and individual pan controls.

Focusrite The Forte Suite: The Forté Suite plug-in brings the signature sound of the Focusrite’s legendary Forté Studio Console to Pro Tools|HD and HD Accel users, via accurate software representations of the classic ISA 110 EQ and ISA 130 compressor. These entirely new algorithms in the EQ and Dynamics modules may be deployed separately, in mono, stereo and — for compression — up to 7.1 surround.

TC Electronic Restoration Suite: Restoration Suite offers four real-time plug-ins for audio restoration. DeScratcher includes patented new technology that eliminates distracting impulsive-type errors in audio material. DeNoise is optimized for broadband noise removal, from tape hiss to static environmental noise. DeClick repairs crackles and clicks and features a streamlined user interface with only two key parameters. DeCrackle removes artifacts and repairs constant surface noise.

Unique Recording Classic Console EQs: The URS Classic Console Equalizer is designed to re-create the pro analog recording studio sound to the Pro Tools studio. These 192kHz multi-shell plug-ins work with TDM, RTAS and AudioSuite for use on the entire PC/Mac Pro Tools platform, including Mbox, Digi 001, Digi 002, Digi 002 Rack, Pro Tools|24 MIX, Pro Tools|HD and Pro Tools|HD Accel.

Waves IR-1: A convolution reverb with flexible classic controls, IR-1 allows editing of all the traditional parameters and offers new controls to easily shape the reverberant space. IR-1 includes an extensive library of samples and presets that re-create the sonic environment of carefully sampled real acoustic spaces and classic hardware devices, using technology based on years of research.


Digidesign Accel: PCI-based HD Accel DSP cards supercharge Pro Tools|HD systems by delivering nearly 2x the power of first-generation Pro Tools|HD cards. With up to 50 percent more voices and bigger, better mixes at any sample rate (up to 192 kHz), Pro Tools|HD Accel’s substantially increased DSP power and optimized plug-in support result in dramatic workflow acceleration and surround mixing flexibility.

Lexicon Omega Studio: Omega Studio is an integrated computer recording system that includes the Omega 8×4×2 USB I/O mixer, ProTracks Plus™ 32-track recording software for PC, BIAS Deck 3.5 SE for Mac and the Pantheon™ world-class Lexicon reverb plug-in. Omega Studio comprises all components necessary to transform a computer into a professional 24-bit recording studio.

MOTU Digital Performer 4: Digital Performer lets users record, edit, arrange, mix, process and master audio and MIDI tracks to produce musical recordings, soundtracks for film and television and other audio production tasks. Version 4 adds many new features, including virtual instrument tracks and track freezing, an elegant new user interface and a nearly bottomless feature set.

SADiE DSD-8: The SADiE multi-channel DSD-8 represents the flagship model of the SADiE Series 5 Mastering Editor range. The DSD-8 is capable of full editing/mastering of 64fs DSD signals and incorporates complete authoring facilities for the SuperAudio CD format and can produce Scarlet Book cutting masters for SACD and Red Book masters for CD.

Steinberg Nuendo 2.0: The culmination of years of engineering, Nuendo 2.0 was developed to take the advantages of flexible, native PC and Mac systems to a new level of versatility by performing any task for audio professionals working in composition, film, broadcast, music, post-production, surround, game sound and multimedia.

TC Electronic PowerCore FireWire: PowerCore FireWire brings TC-quality processing to VST- and AudioUnit-host applications. It includes two types of reverb, multiple compressors, chorus/delay, parametric EQ, a synth, a guitar amp simulator and two PowerCore FireWires can be daisy-chained or combined with PowerCore PCIs for more processing power.


Allen & Heath PA28: With Allen & Heath’s legendary sound quality and innovative design, the PA Series are ideal for houses of worship, nightclubs, schools, conference rooms and traveling musicians. Like all A&H mixers, the PA Series boast pots nutted down to the front panel, individual circuit boards, solid copper bus bars and the full, natural British EQ of an Allen & Heath desk.

Crest HP-Eight: The HP-Eight combines Crest audio quality with modern, efficient construction. Available in portable 24-channel and 32-channel frames, and installation-size 40, 48 and 56-channel frames, it features 4-band EQ, eight analog subgroups, 2-channel matrix, full talkback and monitor systems, 4-channel scene mute, 10 aux sends on each mono input channel and more.

InnovaSon Sy80: The Sy80 digital console features 80 inputs, 80 outputs, 80 faders and 48 mix buses, and allows an unlimited number of inputs to be “stacked” beneath a single “development” fader, letting the user designate a zone of faders anywhere on the console.

Midas Verona: Available in six sizes from 24 to 64 channels, the 8-bus Verona is equally at home in live concert or broadcast applications. Designed by the team responsible for the Midas XL4 and Heritage, Verona’s sonic performance surpasses that of current digital consoles and many high analog consoles.

Soundcraft LX7II: The updated LX7II features a new mic preamp and 4-band EQ based on the acclaimed EQ in the MH3 and MH4 touring consoles. Other standard features include frame sizes up to 32 mono inputs and four stereo input/returns with four groups, main stereo output and a dedicated mono output for center clusters, along with direct outs on the first 16 inputs for multitrack recording.

Yamaha PM5000: The PM5000 retains the layout of the PM4000 with the versatility of the PM1D. All audio signals are handled in the analog domain, yet it offers advanced recall for up to 990 complete scenes. Features include comprehensive input channel functions, versatile 35-bus configuration for house or monitor applications, 12 VCA groups and a four-stereo/eight-mono matrix.


Allen & Heath Xone:92: The Xone:92 was designed by listening to the needs of pro DJs, offering great filters and a full-on MIDI implementation that’s wrapped in a package with tremendous creative control in the widest range of applications.

Mackie Control Universal: This desktop control surface for Logic Audio, Pro Tools, Digital Performer, Sonar, Nuendo, Cubase, Samplitude and Cool Edit Pro features eight Penny & Giles motorized touch faders, V-Pots for fast tweaking and a full-screen status/operations LCD. An optional extender expands the number of available control/faders.

Soundcraft Compact 4: This 4-input mixer is perfectly suited to many applications requiring simple mix facilities, but comes into its own when recording vocals and music onto computers using a soundcard. A variety of input sources are handled, including mic, line, DI for guitars and keyboards, and stereo inputs for keyboards, CD/tape or turntable (with RIAA equalization).

Tascam FW-1884: The FW-1884 is a professional control surface with audio/MIDI interfacing via FireWire high-speed data protocol. With eight channels of audio mic preamps, 4×4 MIDI interface, and flexible editing and mixing controls, the FW-1884 offers a powerful front end for recording workstations.

Trident S100: The John Oram-designed Trident S100 delivers that seriously warm analog tone that recent products never seem to approach. Ideal with workstation production or any digitally processed audio path, it’s an affordable 8×6 rackmount mixer of superb quality, with six output buses for simple 5.1 assembly, eight mic/line-level preamps, classic Trident Oram British EQ, five auxes and a headphone amp.

Yamaha 01V96: This digital console features 40 simultaneous mixing channels with full-resolution 24-bit/96kHz audio, a range of stereo effects with 32-bit internal processing, ADAT I/O, full automation and instant scene recall. The user interface and large display allow analog-style hands-on operation, with eight user keys for assignable functions and full integration with DAWs and computer-based recording software.


API Vision: This surround mixing/recording console provides 5-channel panning on each fader, two moving faders on each channel, 24 main, three stereo buses and a dedicated 5.1 mix bus, along with comprehensive multiformat monitor facilities. Featuring resettable switch assignment and API’s 200 Legacy Series mic pres, dynamics modules, 550/560 EQs, fully resettable bus and input switching and an all-discrete signal path, Vision is custom-built to each user’s specification.

Fairlight Dream Constellation: This fully featured digital audio mix console with high-end automation and processing provides the same level of operation and functionality found in dedicated large-format digital audio mix consoles. However the Dream Constellation also includes a fully integrated 48-track disk recorder and editor and is delivered at a significantly lower cost and with a high degree of user-adaptability.

Oram Pro/Trident 24/80 Combination: The 5.1 Trident Series 80-Oram BEQ-PRO24 Combination is the result of John Oram’s vision of a truly professional stereo/5.1 analog console, putting his ‘70s and ‘90s module designs in the same frame for a sound quality that’s far superior to any mixer in its category. The magic of Oram’s circuit design, individual retro-size aluminum front panels and all-metal pots combine with the very latest in surface-mount technology.

Soundtracs DS-00: Offering scalable, medium- to large-format digital consoles in the mid-priced range, the Soundtracs DS-00 digital console features touchscreen control and a variety of add-on modules, making it a truly user-designable system. Specialized additions include a FP film section, EX fader channel extender modules and HD user-definable bay for fitting custom controllers, phase meters, etc.

SSL C200: The C200 digital production console represents the latest evolution of SSL’s “knob-per-function” design, specifically for 5.1 audio and multipurpose studio applications. Based on new processing technology, the C200 delivers superior audio performance at 48kHz and 96kHz operation, with all of the automation features of SSL’s previous generations of music consoles.

Studer Vista 6: Based on its impressive Vista 7, Studer’s Vista 6 on-air digital console features a simplified center section, comprehensive busing, optional remote bay and the ability to incorporate third-party hardware options into the console.