Monday, November 15, 2010
RCF Announces Multiple New Column Loudspeakers
RCF has introduced the CS 3041 and CS 3082 which complete their range of commercial audio column speakers.
RCF has announced the introduction of the final speakers within its range of Commercial Audio Column Speakers with two new products CS 3041 and CS 3082.
Both models are formed in an ultra slimline design offering minimal visual impact.
Easy installation can be achieved with either the supplied ‘L’ shaped wall brackets or the optional MA 7W swivel bracket, which allows the installer to angle the speaker to suit.
The new CS Slimline Columns have been optimized for speech reproduction using extended range 2 inch speakers and 1 inch tweeters.
Four 50 mm (2”) diameter extended range speakers and one tweeter 25 mm (1”)
Musical power/RMS: 30W,15W
Maximum sound pressure: 105 dB
Angle of coverage: H 180° x V 70°
Built-in multi-tapped transformer (15 - 10 - 5 W) for 100 V constant voltage connection; 16-ohm input that can be selected on the terminal block
Dimensions mm (HxWxD): 430x76x70 (support for wall mounting included)
Weight: Kg. 1,7
Color: RAL 9016
Audio connection on screw terminal block
Support for wall mounting included
MA 7W compatible (optional)
Eight 50 mm (2”) diameter extended range speakers and two tweeter 25 mm (1”)
Musical power/RMS: 60W,30W
Maximum sound pressure: 111 dB
Angle of coverage: H 180°x V30°
Built-in multi-tapped transformer (30 - 20 - 10 W) for 100 V constant voltage connection; 16-ohm input that can be selected on the terminal block.
Dimensions mm (HxWxD): 670x76x70 (support for wall mounting included)
Weight: Kg. 2,7
Color: RAL 9016
Audio connection on screw terminal block
Support for wall mounting included
MA 7W compatible (optional)
Metric Halo Releases Free Upgrade For Mobile I/O Console Software
Version 5.4 is currently available for download from the Metric Halo website.
Metric Halo has announced a significant upgrade to its Mobile I/O software, which is freely available for download at the company’s website.
The MIO Console software, which runs on a Macintosh computer, provides a virtual console that configures and controls all internal routing and DSP within Metric Halo’s family of FireWire hardware interfaces.
Version 5.4 adds support for infrared remote control and demos of Metric Halo’s popular +DSP upgrade and plug-ins, along with a large number of smaller tweaks and improvements.
MIO Console v5.4 breathes life into the infrared receiver on the front panel of the ULN-8 and LIO-8 hardware interfaces, allowing users to control input gains, listening levels, and more using a standard IR remote control.
The software/hardware has the ability to learn the remote control’s codes and store them in the interface so that the remote control works when the computer is turned off.
MIO Console v5.4 also allows users to demo plug-ins that run on the hardware such as the optional +DSP package, which uses the hardware’s processing power to process inputs, outputs, or any combination thereof with Metric Halo’s proprietary algorithms, which are favorably compared to high-end solid-state analog equipment.
In addition, users can now purchase single plug-ins without committing to the entire +DSP package. The first such “a la carte” offering is Metric Halo’s renowned TransientControl dynamics plug-in.
“MIO Console v5.4 provides a number of major new features and literally hundreds of fixes for mostly small (and a couple of big, but rare) issues that have been encountered by our users and testers since the release of v5.3,” said Allen Rowand, field operative for Metric Halo.
“Customers who want to integrate our hardware into high-end home theater systems will appreciate the new infrared functionality, as will audio professionals seeking greater control at a distance. The new +DSP demo and “a la carte” option will allow users to make better use of the functionalities we provide.”
“Overall, we’re confident that this is best release of the MIO Console yet, and we encourage users to take advantage of the free upgrade.”
The new release also brings a collection of happy-to-have items.
These include a revised and comprehensive documentation set; support for convenient in-console hardware and software registration; improved stability when running multiple CoreAudio clients; an improved firmware upgrade experience; support for resetting MIO hardware via software commands; enhanced undo/redo support; enhanced support of SMPTE TC (including HD timecode); and a number of improved workflow features – among many other things.
MIO Console v5.4 also represents the last version that will be fully vetted for legacy hardware. Legacy users should see the Metric Halo website for options.
Metric Halo Website
Posted by admin on 11/15 at 01:15 PM
Kent Dimon Joins Aphex As Director Of Licensing
Dimon brings to Aphex experience within both the pro and consumer audio industries.
Aphex has anounced that veteran audio sales manager Kent Dimon has now joined the company as their new Director of Licensing.
Dimon, whose resume includes stints at Altec Lansing and Bose Corporation, will look after the company’s rapidly expanding partnerships and collaborations across multiple technology sectors.
In his new position, he will work directly with General Manager Rick McClendon, Product Development Manager Jim Bailey, CEO David Wiener and COO Robin Sibucao.
“I’m truly excited to be working with such a forward-thinking team,” said Dimon.
“It’s a rare opportunity to join a company that combines the rich history of Aphex with the powerful, positive momentum that this new team brings to the table.”
“It’s a great opportunity to be a part of building the new Aphex, and I’m really looking forward to it.”
“Kent is ideally suited for this position,” said CEO David Wiener.
“His experience in both the consumer and pro audio worlds, his expertise in developing new projects and relationships, and his vision and perspective are all assets that are well aligned with our goals for Aphex. We’re happy to welcome him on board.”
Symetrix Announces 2010 International Distributor & Represenative Of The Year Awards
Sanecore and SF Marketing, both repeat Symetrix Distributor of the Year winners, consistently show quality in their handling of Symetrix in their countries.
Symetrix has announced the international distributor and rep of the year winners for its fiscal year 2010.
In a break with tradition, Symetrix chose two winners for the International Distributor of the Year Award: Sanecore for its excellent work in China and SF Marketing for moving well past expectations in Canada.
With offices in the U.S. and Singapore, S~Wave Marketing earned the International Representative of the Year Award for its phenomenal coverage of the Pan-Pacific region.
The products in Symetrix’ Integrator Series, such as the Zone Mix 760, joined the stalwart SymNet series of open-architecture DSPs on the list of hottest products for 2010. All eyes are on the Jupiter series of “zero learning curve” processors for 2011.
Within their respective regions, Sanecore and SF Marketing deliver the kind of comprehensive customer service that wins loyalty and word-of-mouth referrals. “I feel very fortunate to be partnered with two companies that are such excellent distributors that I couldn’t possibly choose just one for the Distributor of the Year Award,” said Paul Roberts, vice president of sales and marketing for Symetrix.
“Sanecore and SF Marketing, both repeat Symetrix Distributor of the Year winners, consistently show quality in their handling of Symetrix in their countries.”
Kris Jackson established S~Wave Marketing to leverage his impressive portfolio of experience and a who’s who list of contacts in the Pan-Pacific region. “S~Wave Marketing was instrumental in helping Symetrix move in a very positive direction in Asia this past year and I look forward to continued results from the foundation we’ve laid,” said Roberts.
Representatives of all three companies agreed that Symetrix’ new Jupiter series will carve a deep niche around the world in 2011. “The Jupiter series is poised to become our hottest product in China,” said Jun Zhu of Sanecore.
Added S~Wave’s Jackson, “Its innovative ‘app’ design is really resonating with installers all over the Pan-Pacific region.” “Canada, too,” said Steven Barry, product manager with SF Marketing. “With each ‘app’ optimized for a specific venue or project, users simply grab a free app, download it to Jupiter hardware, and dial in their sound.”
“Jupiter offers flexibility, pristine sound, and very attractive price points.”
Telex Wireless Intercom The Choice Of Corus Quay
The new wireless system helped the LEED Gold-certified building consolidate operations from other facilities while remaining state of the art.
With its brand new waterfront headquarters in downtown Toronto Corus Entertainment takes pride in being state-of-the-art.
The company’s eight-story LEED Gold-certified Corus Quay building consolidates operations from 11 locations, including three radio stations and 24 television services, and brings together 1,100 Toronto-area employees.
Touted as North America’s most advanced broadcast facility, Corus Quay features a fully integrated digital infrastructure for broadcast and digital content creation.
The system integration for the broadcast facility was handled by The Systems Group of Hoboken, NJ, who contracted Bexel to provide its wireless engineering expertise.
With six Telex BTR-80N wireless base stations, each with 24 TR-82N dual-channel belt packs in operation for the new facility working in conjunction with 20 wireless microphones and 16 wireless IFB systems throughout the space, Bexel’s Distributed Antenna System allows maximum coverage facility wide.
In addition to being a worldwide provider of broadcast services, including video and audio equipment rentals, fiber services, new audio sales, used equipment sales, and repairs/maintenance, Bexel also has had a strong history in wireless support for the broadcast industry since it purchased the former Systems Wireless in 1998.
“Wireless is our specialty,” said Bexel’s senior project engineer, Jim Dugan.
“We often work with The Systems Group on facilities where they are the integrator; they bring us in to do the work specifically on the wireless portion of a project.”
“We design, install and commission the entire RF system for the facility. We like the Telex BTR products because they’re robust, extremely durable, and reliable. The BTR’s have definitely proven their worth over the years.”
At Corus Quay, The Systems Group provided an RTS ADAM digital matrix as the heart of its intercom system, which interfaces directly via four wires with the Telex BTR-80N wireless intercom base stations.
“The Telex BTR-80N’s integrate seamlessly with the ADAM frame,” Dugan said. “It’s such a perfect virtual wireless extension of the intercom’s functionality. Telex has made many enhancements on interfacing with the BTR-80N.”
“It’s very easy to get around and very simple to interface either two-wire or four-wire. There’s also a very convenient aux Input on the base, which can be used as a program input.”
The wireless intercoms used are six Telex BTR-80N narrow band 2-channel UHF synthesized wireless base stations. The new narrowband design simplifies frequency coordination and planning because of its more efficient use of spectrum.
“You can, in effect, get more beltpack frequencies to take advantage of as much spectrum as possible, especially in the ever-popular and changing UHF spectrum,” added Dugan.
To illustrate the practical benefits of this spectral efficiency, Dugan also makes clear that the intercom at Corus has to operate in an environment that is shared with 20 wireless microphones and 16 IFB systems for wireless foldback to talent.
“The BTR-80N base stations transmit on two frequencies,” he said, “and if you have four beltpacks then you have another four frequencies being transmitted back to the base.”
“So for each station we use six frequencies, and with six stations that makes 36 frequencies – just for intercom. It’s because the Telex narrowband systems are so efficient that we’re able to use that many channels without interfering with the mics or the IFB.”
In addition to the narrowband design, Dugan cites several other features that make the Telex system his intercom of choice. “It’s a two-channel system,” he says, “which is phenomenal for TV, because you often want to offer the ability for individual level and keying control simultaneously on two channels, like the stage managers who may also want to talk on a production channel.”
The TR-82N wireless belt packs also have a Stage Announce feature which conveniently allows production staff to hit a button on the pack and talk directly to a PA system for audience coordination. “The TR-82Ns also have a wireless talk-around feature,” Dugan said, “so all the belt packs can talk to each other without going back through the base.”
“This lets production relay messages on the floor without disrupting the control room. The beltpacks also have an RF auto power-control setting, which will adjust power as needed. Depending on your distance from the base, this feature both reduces the chance of intermix and also gives you much more efficient use on battery life.”
The Telex BTR-80N bases, wireless mics, and IFB systems are all connected to a distributed antenna system custom-built by Bexel. The distributed antenna system services eight separate zones in the building, including four studios, various green rooms, and hallways.
“The distributed antenna system lets us extend the range into eight times as many places as any one base station would reach on its own. The Telex system works great with a distributed antenna topology because of Telex’s band management strategy, in which the transmit and receive frequencies are 100 MHz apart.”
“That makes Telex intercom systems perfect for large-building installations.” We are very proud of the work we do with The Systems Group and are always grateful for the opportunities they provide us.
IMT Names Bob DeMartino Vice President Of Sales For Northern California
The web 2.0 will leader targets growth for integrated media technologies.
Integrated Media Technologies, Inc. (IMT), Information Technology systems integrator and consulting firm, has named Bob DeMartino VP Sales Northern California.
“There is no one who knows Silicon Valley and Web 2.0 better than Bob does,” said IMT CEO Bruce Lyon.
“I’ve worked closely with Bob in recent years and he has incredible technical knowledge plus the talent for generating incredible results.”
“When Bruce and I met to discuss the expansion of IMT in Northern California I knew we had the opportunity to accelerate IMT’s penetration in the region,” said DeMartino.
“IMT really understands the relationship of software developers, the technology demands of end users, and the value of how new IT systems can boost efficiency, performance, and revenues in a wide variety of businesses.”
A respected leader in the global high-tech marketplace, DeMartino was previously VP Sales for the Web 2.0 market at Sun Microsystems, where he managed a 400-person sales organization with over $1.4 billion in annual sales.
With over 20 years experience in field sales, business development and marketing, including upper level P&L responsibility, he brings to IMT his cutting edge knowledge, deep management expertise, and firsthand experience with an industry in constant motion.
IMT is a full service systems integrator, providing the latest products and technologies from more than 100 global vendors, coupled with a comprehensive portfolio of professional consulting and support services.
The company offers scalable solutions to manage the job from end-to-end, including research, system analysis and design, technology selection and supply, testing, installation, training and support.
IMT’s growing portfolio of clients includes numerous Fortune 500 companies serving the hospitality, healthcare, defense, government, media, entertainment, and sports markets.
Integrated Media Technologies Website
Community Professional Loudspeakers Installed In Stadium Down Under
Community R and WET Series speakers were selected for the Marrara Sporting Complex and TIO Stadium in Darwin Australia.
Darwin Australia, home to the Marrara Sporting Complex and TIO Stadium, is located north of the Tropic of Capricorn and is the capital city of Australia’s Northern Territory, colloquially known as “The Top End”.
Darwin also serves as the entry point to such places as the World Heritage listed Kakadu National Park, home of Crocodile Dundee.
During the dry season, from April/May to September/October, the city is host to tourists from all over the world wanting to experience “The Outback” and the magnificent sights and experiences it has to offer.
TIO Stadium is the premier outdoor stadium in the Northern Territory and it regularly hosts such sporting events as Australian football and cricket.
Every two years it also hosts the Arafura Games, where more than 4,500 competitors from over 40 nations compete in 19 disciplines. In addition to several of the events, the stadium is used for the opening and closing ceremonies.
In late 2009 an upgrade of the audio system was approved and local consultants GHD were appointed to prepare the specification.
With the heat, rain and humidity of Darwin’s tropical environment, careful consideration was given to the type of loudspeakers to be used in the installation and Community R and WET Series were selected.
National contracting company Eo Design was awarded the project and went on site in early June 2010 with a completion date of end July 2010. The project was co-ordinated by Eo’s André van Stom.
Fifteen bi-amped Community WET Series W2-322L-64H loudspeakers were mounted on each truss on the grandstand canopy and twenty-two Community R-Series R.5-66TZ and five R.5HPT loudspeakers were pole mounted around the remainder of the ground, ticketing and turnstile areas.
All of the loudspeakers were driven by QSC ISA800 Series amplifiers and system control was handled by four QSC Basis 922UZ units.
On completion of the project, Eo Managing Director Peter Guest said he believed it was one of the better sounding stadium systems he had heard in a long time.
He then went on to thank TAG, Community and QSC for their efforts in providing product in such a timely manner, stating “Without their tremendous support and great product this project would not have become a reality”.
Full Compass Names Roxanne Wenzel Vice President
Wenzel brings a diverse career and education to the position of Vice President of Sales and Marketing.
Full Compass Systems has announced the promotion of Roxanne Wenzel as its new Vice President of Sales and Marketing.
Wenzel joined the company in early 2008, and with her knowledge of successful sales and marketing strategies, she has helped push Full Compass to record sales growth.
Wenzel began her career when she started her own real estate rentals business at age 23.
Within the first eight years, the organization grew exponentially to include 5 regional offices in the Minneapolis, Minnesota area.
Wenzel later started a second successful business in the housing industry which employed both inside and outside sales personnel.
After selling her second business to pursue other opportunities, Wenzel held a number of high-level positions, including Chief Operating Officer at an IT asset management company, President of a special events company, and Vice President of Sales for a major international distributor of computer peripheral service parts.
During this time she also earned an Executive MBA from the University of Wisconsin School of Business.
Jonathan and Susan Lipp are excited to see Wenzel in her new role and are confident that she will continue to drive the company towards its goals.
“I am very excited to accept this position and will do my best to keep Full Compass moving on its upward climb,” Wenzel said.
“I am very fortunate to have such highly motivated, professional sales and support teams which are critical components to our future success.”
Full Compass Systems
Friday, November 12, 2010
Tac System Announces Version 2 Of Its Dereveberation Plug-In At AES 2010
An AudioSuite plugin ideal for location recordists which is powered by a multi-step linear prediction algorithm.
At the 129th Audio Engineering Society Convention in San Francisco, Tac System Inc. announced that development of Version 2 of their NML RevCon-RR dereverberation plugin is underway and a demo of the Version 2 was available to convention attendees.
RevCon-RR is a plugin which features dereberberation technology powered by a multi-step linear prediction algorithm.
The ProTools AudioSuite plugin features a user-friendly interface and features minimal controls, a spectrogram and an audio envelope display.
The plugin includes multiple settings for additional process to for dialogue that enable finely-tuned dereveberation.
RevCon-RR is intended for location sound recordists who often find themselves recording meetings or lectures where microphone placement is less than ideal, causing the audio to be overly reverberant.
For these individuals, it is very hard to clean up dialog sound on post production stage.
NML RevCon-RR reduces reverberation and makes dialogue sound as if the microphone were placed properly and more closely to the sound source.
The NML RevCon-RR is the only solution for dereverberation currently available and Version 2 is a much-anticipated update.
Tac System Website
Make The Session Run Smoothly By Putting Your Singer At Ease
As an engineer or producer you're also the resident studio psychologist and you have to do whatever it takes to get the best recording.
Not long ago I spent some time recording some vocals for a project my brother-in-law was working on.
We used a Neumann U87 and ran it through a nice Amek mic pre. All in all It sounded really great.
It’s been a long time since I tracked vocals outside of my studio. I’m used to being the only one there, wearing both the engineer hat and the musician hat.
If you’ve ever recorded yourself, it’s a familiar feeling.
You hit record, run over to the mic, record the take, run back to the computer, stop recording, listen, run back to the mic and do it again.
Whenever I record vocals by myself, nerves never enter the picture. It’s just me, after all. If my voice sounds awful, big deal. That’s what delete buttons are for, right? No one ever has to know…
Adding a second person to the equation inevitably affects people. Even if the engineer is someone you’re close to, like my brother-in-law, it can still have an effect on a singers nerves.
They’ll instantly become very aware that someone else is listening to them.
I experienced this a bit. Granted, it wasn’t a full-on “I’m about to sing in front of hundreds of people at Carnegie Hall” feeling. I wasn’t nervous, but I was still aware that someone else would be hearing every note I sang.
The result? I held back for a while. The first few takes were very subdued. I was singing more softly than I normally would, and the performance just sounded flat and lifeless.
Aside from the fact that I wasn’t by myself, there were a few other factors that lead to my less-than-stellar performance at first:
Unfamiliar surroundings: I was singing in a studio I had never been to before, using headphones I’d never used before, and standing on some sort of foam mat that squeaked under my feet. None of these are big deals, but they were simply different from the environment in which I’m used to working.
Different style of music: The song I was singing was in a very different style from what I normally sing. It sounded really cool, but I simply hadn’t sung much in that genre (more electronic than rock). Again, this isn’t a huge issue, but it put me slightly out of my comfort zone. This is something to watch if you’re bringing in friends of an artist as background vocalists and they’re slightly inexperienced.
Take it easy
Whenever you bring a singer into your studio, make every effort to make them comfortable. Make them laugh, keep things light. The less pressure they feel to nail a performance, the more likely they are to actually nail it.
Keep things fun. When’s the last time you heard an amazing vocal performance from someone who looked they were scared to death? If the singer is having fun, they are much more likely to give an emotional, captivating performance.
Joke around with the singer between takes. Make them laugh. Threaten to punch them in the spleen. Whatever it takes.
This is what happened with me. (Not the getting punched in the spleen, but the goofing around.) My brother-in-law and I started goofing around with each other more.
We would make jokes between takes. I would make jokes between verses, etc. The last two takes ended up being really good. The first two? Not so much.
I’m not saying joking around is a necessity for a good recording. Some singers may not respond well to jokes. If the song is a more serious one, perhaps joking wouldn’t be appropriate. Maybe lighting a few candles would help, or dimming the lights.
The main point here is to keep in mind that as an engineer or producer, you are also the resident studio psychologist. You’re responsible for making the artist comfortable.
Otherwise, you won’t be happy with the performance. It’s in everyone’s best interest to make the musicians comfortable. It’ll be well worth the effort.
What do you do to help your musicians (vocalists or otherwise) perform their best in the studio? Let me know in the comments below!
Joe Gilder is a Nashville based engineer, musician, and producer who also provides training and advice at the Home Studio Corner.
Studio Six Digital Exhibits SmaartTools For iOS At AES 2010
The popular application from Rational Acoustics is being brought to the iOS platform along with a new version of the iAudioInterface.
Studio Six Digital showcased at AES 2010 several exciting announcements including the impending release of iAudioInterface2 and SmaartTools.
iAudioInterface2 is a two-channel USB audio input / output interface designed specifically for iPad audio test and measurement.
It will also function as a general-purpose two-channel audio interface on iPad, and will work with any computer that supports USB audio.
When used with an iPad, AudioTools, and a test & measurement microphone, users will be able to run Smaart Tools, or any of the other acoustics test and measurement modules available in AudioTools, such as FFT, Impulse Response, THD, Impedance, or Recorder.
With the included soft case designed for iPad, users will have available to them a fully self-contained audio test and measurement platform.
All settings, such as gain, phantom power, and pad on/off, are controlled directly from the iAudioInterface2 front panel, and are stored in non-volatile memory so that they will be in effect the next time that you turn on the unit.
The iAudioInterface2 features two XLR combo jack inputs with low-noise amplifiers designed for microphones, with independently switchable 48v phantom power, gain ranges, and a pad.
Four fixed gain ranges are available for each input, providing gain from +20 to +60dB. When the pad is engaged, the gain available ranges from 0 db to -30dB. With the pad engaged, the inputs are perfect for line-level signals.
Additionally, two fully balanced XLR outputs are available as well as a separate 1/4” headphone output with level control. The outputs have two gain ranges, with output levels approaching +23dBu.
SP/DIF and optical TOSLINK digital outputs are provided and the interface is designed to work the the iPad through the Apple Camera Connection Kit. It will also work with any computer that is compatible with USB class-compliant devices.
The iAudioInterface2 is expectd to ship in the last quarter of 2010
Additionally, Studio Six Digital has announced it has entered into an agreement to develop an iPhone application based on Rational Acoustic’s Smaart acoustic test and measurement software.
Smaart Tools will appear as a module in our AudioTools app, and will be available as an optional in-app purchase. Work on the module expect to be complete in late 2010.
The feature set is still being finalized but at a minimum the module will include the basic transfer function, with both magnitude and phase response plots, RTA, and the spectragraph.
Studio Six Digital Website
Speck Electronics Showcases New ASC-V API 500 Series Equalizer At AES 2010
ASC-V is a high headroom 500 series EQ which can connect to any line level source; balanced, unbalanced, or mixer inserts.
At the 129th AES Convention in San Francisco Speck Electronics showcased the newest product within their line, the ACS-V Equalizer.
The ASC-V is a professional single channel 4-band equalizer in a 5.25” vertical module compatible with API Audio 500 series rack frames.
It is simple to use and delivers the high quality and specifications found in all Speck Electronics gear.
The ACS-V is compact 4-band parametric equalizer with 12 controls for equalization adjustment that covers the audio spectrum from 25Hz to to 25kHz which includes both transformer-balanced and active-balanced outputs.
The 4 bands include:
L Band: A low band that sweeps the low frequencies from 25Hz - 400Hz. This band offers a Peak/Shelf select switch.
L/M Band: A switchable low and mid band. This fully parametric section can be switched between a low frequency band that sweeps from 40Hz - 800Hz, or a mid frequency band that sweeps 400Hz - 8kHz. This band has a variable bandwidth adjustment.
M Band: A fully parametric mid band with a frequency sweep range from 400Hz to 10kHz.
H Band: A high band that adjusts the high frequency from 2kHz all the way up to 25kHz. This band also offers a Peak/Shelf select switch.
In addition to the standard rack friendly edge connector, the ASC-V includes a set of 1/4” TRS input/output jacks, and a power input connector. With these I/O connectors and the optional power module, users can ignore the PC edge connector and use the ASC-V as a stand alone EQ.
The ACS-V also comes optional with a mounting base that will hold a single EQ or a pair of the ASC-V’s.
Unified 5.25” vertical module format that is compatible with API Audio racks.
Unique design allows module to be operated without rack. Can be self-powered and has 1/4” TRS I/O jacks.
Transformer and Active-balanced outputs.
Optional base kit can hold 1 or 2 ASC-V’s for tabletop operation.
Captive mounting screws stay with the module and extend to pull the module out of the rack.
Speck Electronics Website
Arturia Announces Analog Laboratory At AES
The first 1000 users to buy Analog Laboratory will receive it at the promotional and discounted price of Analog Factory.
At AES 2010 Arturia announce that Analog Laboratory will be available for sale on November 25.
Analog Laboratory is a powerful software synthesizer solution.
It offers 3500 legendary classic synthesizer sounds with a unique interface to tweak them all as well as the ability to edit each of them in depth, in the original synthesizer.
With the addition of 200 scenes organized by genres, including drum loops and advanced arpeggiation melodies, Analog Laboratory aims to position itself as the reference synth workstation.
3500 synthesizer sounds selected from the Arturia Classic Synths (minimoog-V, Moog modular V, CS-80V, Prophet-V, ARP2600 V and Jupiter-8V).
Full screen preset editing (for owners of Arturia Classic Analog recreations only): Analog Laboratory allows opening any other Arturia Classic Synth plugin for in depth patch edition in a separate window. It is also possible to assign any of the 4 key parameters of the Laboratory to one knob of choice inside the favourite software synthesizer.
Scene mode which allows users to:
- Combine 2 synthesizer sounds over a MIDI keyboard in either split, layer or multi configuration.
- Assign melodic phrases based on advanced arpeggiation thanks to the library of 200 melodies organized by genres.
- Trigger Drum loops from the pads thanks to a library of 350 Rex files.
Organize Presets view by Name, Instrument, Type, CPU usage, Favorites, or User Preset.
Fast filter the presets to meet requirements: by Instrument, Type and Characteristics
TAE powered sounds with unparalleled audio quality.
Midi Learn Controllers: 1 clickable encoder, 10 encoders, 8 sliders, 11 switches, 1 modulation wheel, 1 pitch bend wheel.
As an introductory offer, the first 1000 units will be offered at discount price. The first 1000 users to buy Analog Laboratory will receive it for the price of Analog Factory.
Ultrasone Showcases Standard & Balanced Versions Of The New PRO 2900 At AES
New open-backed headphones with titanium-plated drivers, velvet ear pads and Neutrik connectors feature an airy & transparent sound.
At AES 2010 Ultrasone Inc. showcased the only open-backed headphone in its PRO Series, the PRO 2900.
For the first time ever, Ultrasone has released both a standard, single cable version and a balanced, double cable version of a pair of headphones.
With the PRO 2900, Ultrasone feels it has struck a balance between powerful and accurate sound production, with the airy and natural sound characteristics of an open-backed headphone.
While standard, single cable headphones are commonplace in most pro audio and audiophile applications, a balanced headphone coupled with a balanced amplifier offers unique advantages over the former such as increased audio performance due to a doubling the slew rate and voltage swing power, while reducing distortion components & eliminating crosstalk.
The end result is decreased distortion and ultimately superior audio performance.
Balanced headphones must be paired with a balanced amplifier (4-channel amp with 2 inverted positive channels) that instead of using a common ground, uses two wires per side to deliver positive and negative audio signals to each side of the headphone.
Ultrasone’s PRO 2900s feature a classic black design, velvet covered black ear pads and a diamond-cut logo insignia on the ear cup.
The PRO 2900 includes a 40mm titanium-plated driver and a soft USC-Cable that is paired with industry leading Neutrik connectors. Ultrasone’s newest headphones contain MU-Metal shielding (ULE technology) that reduce the amount of radiation directed to the listener by up to 98%, as compared to conventional headphones.
The PRO 2900s also contain Ultrasone’s S-Logic Plus technology for reduced sound pressure on the ear drum and improved tonal perception. This gives users the advantage of wearing Ultrasone headphones for many hours without their ears hurting.
Ultrasone’s PRO 2900 comes in a hard-sided carrying case along with two removable cables (one spiral and one straight) and spare speed-switch ear pads.
PRO 2900 Technical Specifications
S-Logic Natural Surround Sound Plus
Dynamic principle, open
Frequency range 6-42.000 Hz
Impedance 40 Ohm
Sound pressure level 96 dB
MU Metal buffer board, reduced field emissions in accordance with ULE (=Ultra Low Emission) standard
Driver 40 mm titanium-plated
Weight 295 g (without cord)
The PRO 2900 headphones and the Balanced PRO 2900 headphones are currently available from Ultrasone’s network of dealers and the Ultrasone website.
Great River Electronics Showcases New MixMaster 20 At AES 2010
The MixMaster 20 is an analog line and instrument mixer for tracking, editing, and mixing.
At the 129th AES Convention Great River Electronics showcased their newest addition to the product line, the MixMaster 20.
The MixMaster 20 is an analog centerpiece for DAW based recording systems; tracking, editing, and mixing are all enhanced.
The MixMaster 20 includes four transformer coupled high gain low noise microphone preamplifiers that work with any type of microphone, ribbon, dynamic or condenser. Polarity and phantom power switching is provided on the front panel.
Line and instrument duties are handled by transformer coupled input bridging amplifiers with wide gain ranges, suitable for anything from keyboards to tape machines.
Each of the four input channels has a balanced insert point as well as four auxiliary output mix sends. Each channel may also be fed to the main stereo mix bus.
Mixing duties are handled by the four input channels plus the 16 transformer-less line input channels. Each of these channels has fully controllable level and pan settings to the stereo mix bus.
Mix settings can be stored and recalled via the USB port and a GUI compatible with most digital recording programs is in development to make the MixMaster 20 an automated analog mixer.
The mixing is done passively, with the summing gain provided by transformer coupled mixing amplifiers. The balanced output of this stage is available as a patch point for the insertion of compressors, equalizers or other signal processing equipment.
The return is also transformer balanced and feeds the Penny & Giles stereo fader and output line amplifier, also transformer coupled.
Control room monitoring functions are also provided. These include a versatile solo system, multiple speaker system selector and level control, mix replay monitoring and talkback. Talkback feeds the cut outputs and dims the main monitoring system to aid communications and minimize feedback.
Great River Electronics Website