Archive for June, 2009

AudioEase Premiers Cabinet – Guitar Cabinet Emulator

Tuesday, June 30th, 2009

AudioEase has released Cabinet, convolution based emulation of 33 classic guitar cabinets with a spring reverb and a recording studio live room.

Plug-in your favourite pre-amped signal from a real hardware amp, or your favourite pre-amp modeling plug-in and use Cabinet to put the real world into your tracks. Cabinet for Mac and Windows showcases 5 boxes from Ease’s Speakerphone product, a good live room, a spring reverb and a several mics.

Features:
» five guitar amp speaker cabinets
» recording studio live room
» classic spring reverb

While AudioEase targets Cabinet at guitarists, it may serve synthesists well to boot.

AudioEase’s Cabinet costs €49 and is available now in the RTAS, VST, AU and MAS flavors. More information on AudioEase Cabinet.

Edifier Releases iF500 iPod Sound System

Tuesday, June 30th, 2009

Let’s be honest, the news about yet another iPod dock is not going to get our blood boiling here at FutureMusic. However, the iF500 system by Edifier, a Canadian concern, is a provocative proposition, at least design-wise. Looking like a Hot Air Balloon, the iF500 is an all-in-one sound system that also includes a FM radio.

Features:
» All-in-One audio system for iPod, iPhone and MP3 players
» 5 driver sepeaker system incorporates unique vibration and resonance control technolories coupled with low frequency porting and mid-range tuned cavities for smoother cleaner audio
» Digital FM radio
» AUX input allows MP3 players and MP3 enabled cellular phones to be connected and played
» Edifier Patented EIDC (Electrical Intelligent Distortion Control) audio control technology lower distortion output
» Full range universal switch-mode power supply
Specifications:
» Power Output: RMS 10W x 2(THD+N=10%) + 32W (Subwoofer)
» Signal-to-Noise Rate : >=85dBA
» Input Sensitive: Satellites: 150mV+/-50mV ; Subwoofer 100mV+/- 50mV
» Input: iPod, AUX, FM radio Hz
» Bass driver unit: 5.75″ , magnetically shielded, 6 Ohm
» Mid-range Driver: 2.75″ 5Ohm and Treble unit 2.5″, 6Ohm, magnetically shielded
» Dimensions: 376 x 390 x 240mm ( WxHxD )
» Gross Weight: approximately 6.1kg
» Power Requirement: 100~240V

The Edifier iF500 will set you back $299 and is available now. More information on the Edifier iF500 iPod Sound System.

VPI Upgrades ScoutMaster Turntable

Monday, June 29th, 2009

VPI has upgraded their ScoutMaster turntable to 2.0 status. The ScoutMaster II is essentially two Scout plinths bolted one on top of the other with a solid steel plate sandwiched in between. An Aries platter and bearing assembly, a newly designed 300RPM motor inside an aluminum housing, the new JMW-9T tonearm and a revised tonearm mount complete the package.

The ScoutMaster II is a full 15 pounds heavier than its little brother, but shares the same compact 19″x14″ footprint. This is the perfect table for someone who wants greater performance than the Scout offers, but isn’t ready for the commitment of an Aries table. Once again, VPI sets the standard for price-to-performance ratio.

The JMW-9T Standard is an update of the stock tonearm for the Scout. A unipivot design, the JMW-9T Standard’s single point of contact causes less friction than standard gimbaled designs. VPI claims the tapered arm tube reduces resonance and standing waves and the internal damping fluid reduces vibration even further.

The JMW-9T Signature is virtually identical to the JMW-9T Standard, but is wired internally with Nordost Valhalla wiring from the cartridge pins all the way through to the cable junction box, with an additional 2.5 grams effective mass for greater cartridge compatibility (including lighter, low compliance cartridges), variable pivot fluid damping and mechanical anti-skate control.

The VPI ScoutMaster II will set you back a mere $2600. Too bad they haven’t spent any of their profits on their pathetic website. More information about the VPI ScoutMaster II.

D16 Group Releases Nithonat – Roland TR-606 Emulator

Monday, June 29th, 2009

D16 Group has released Nithonat, a Roland TR-606 emulator, for Windows and Mac OS X in the VST and AU plug-in flavors.

Nithonat is a fully synthesized drum machine based on the classic Roland TR-606. Nithonat not only emulates the original 606, but also enhances the original with extra functionality.

On the original 606, the only editable sound parameter was volume. With the Nithonat, D16 has equipped the software with extra controls which allow each sound to be shaped in ways which were not possible in the original machine.

Nithonat has very unique and characteristic hi-hat and cymbal sounds which are due to the emulated structure of the circuits in the original. The bass drum has unparalleled attack character and strong punch. The snare sounds sandy.

Nithonat has a powerful built-in internal sequencer. The tracks can be edited in a simple and intuitive way and modified with many useful functions. The clear GUI means that sequencer is easy to use. In addition to having many internal sequencer modes, Nithonat can also be used as a sound module. All sounds and functions within Nithonat can be controlled from a host sequencer.

Features:
» Fully synthesized drum sounds.
» Additional parameters to get yet more control over the sound.
» Many ways of controlling the device:
— External mode (notes triggering the sounds).
— Internal sequencer (pattern mode).
» Internal sequencer:
— 8 banks with 12 patterns per bank.
— Each pattern up to 16 steps of length.
— Each pattern defined with one of four available measures.
— Shuffle mode.
» Global accent track.
» Tap mode.
» Chain mode.
» Shuffle (swing) and tempo values defined per pattern.
» Built in randomizer.
» Patterns import/export via human readable xml files.
» Two modes of synchronization:
— Precise synchronization to the host tempo.
— Synchronization to internal clock – tempo controlled in the range 30-300 BPM (+-0.1).
» Mutes/solos for each instrument (affect triggering not just the signal).
» Dynamic signal routing from instruments to outputs.
» Drum kits organized into groups.
» MIDI learn function.
» 64-bit internal processing.

D16 Group’s Nithonat costs €79 and is available now. More information about the D16 Group Nithonat.

Music Recognition Technology Nets More TV Royalties

Monday, June 29th, 2009

Two new music recognition companies, TuneSat and Landmark Digital, are now being deployed to net more performing royalties using technology. In fact, not only is the music recognition technology being used to complete automate the process, but it is considerably more accurate.

Now that television is expanding to many different formats and distribution channels it was only a matter of time before companies began deploying automation technology to increase revenues. Before Landmark Digital, a BMI subsidiary, and TuneSat came along, the accurate accounting of songs utilized in television was difficult to monitor efficiently and economically.

ASCAP and BMI, the two largest performing rights societies in the United States, collect about $1.8 billion in performance royalties per year, of which about $600 million stems from music played on broadcast, cable and satellite TV.

In many cases, broadcasters pay the societies upfront for a blanket license on these tracks and submit cue sheets to detail what music was used and when so the societies can distribute the payments to the appropriate rights holders.

TuneSat and Landmark have installed listening stations to monitor the audio feeds of more than 100 broadcast and cable channels to recognize and record music played on these channels. Their systems are so sensitive that they can pick up two-second snippets of a musical work and identify songs played under dialogue or even static. They then compile a report of all such usage into a database for clients, complete with an audio recording of each use.

TuneSat and Landmark Digital have spent much of the year courting music publishers and performing rights societies with this new product, pitching it as a more effective system for tracking music performances. It can take up to eight months for broadcasters to provide societies and publishers with their cue sheets, while these new services can identify performances in real time.

What’s more, TuneSat estimates that the manual cue sheet method of measuring performances on TV results in up to 80% of the royalties paid being misallocated. TuneSat monitors only domestic TV, but it is planning to launch monitoring services in the United Kingdom, France, Germany, Italy and Spain in July.

Landmark Digital, meanwhile, was created after BMI acquired the technology assets of the popular music identification service Shazam in 2005. Since then, BMI has used the service only to monitor radio performances, but now Landmark has added TV and Internet monitoring to its portfolio and is seeking additional clients. The company expects to announce several international customers this fall.

Universal Audio Releases UAD-2 SOLO/Laptop – ExpressCard-Based DSP Accelerator

Friday, June 26th, 2009

When not telling the world’s music community how great they are, Universal Audio sometimes actually releases new gear. In this case, the new bit of kit is the UAD-2 SOLO/Laptop, a compact ExpressCard-based DSP Accelerator.

The UAD-2 SOLO/Laptop brings Universal Audio’s analog emulations to laptop users, whether in Cubase, Logic, Digital Performer, or Pro Tools. The UAD-2 SOLO/Laptop allows access to the full UAD Powered Plug-Ins library, without the need for external cabling or power. Like all UAD-2 hardware, the SOLO/Laptop supports VST, AU and RTAS plug-in formats on both Mac and PC.

The Universal Audio UAD-2 SOLO/Laptop costs $499. More information on the Universal Audio UAD-2 SOLO/Laptop.

Arturia Announces 10 Year Suite

Friday, June 26th, 2009

Arturia is celebrating its 10 Year anniversary by releasing a new special anniversary pack: The 10 Year suite, which includes:

» 7 anthology synthesizers: Minimoog V, Moog Modular V, CS-80V, ARP 2600 V, Prophet V, Prophet VS and Jupiter-8V
» Analog Factory, a synthesizer offering instant access to 3500 sounds
» Brass, a software recreation of a trumpet, a saxophone and a trombone.

Loaded with 400 presets and modern features, each instrument will also receive some sort of “free online upgrade this summer.”

Arturia’s 10 Year pack will set you back $649 / €549. More information on Arturia 10 Year Suite.

Shure Rebrands Crowley and Tripp Ribbon Mics As KSM Series Models

Wednesday, June 24th, 2009

Shure has announced two new ribbon models, the KSM353 and KSM313, which are tailored for capturing vocal and instrumental performances, both in the studio and on stage.

The new KSM353 and KSM313 use a new patented ribbon material known as Roswellite (Are you kidding us? ROSWELLite?? Yeesh! — Ed.), which offers higher tensile strength and more resilient shape-memory properties than a traditional foil ribbon since it came from space.

Shure’s recent acquisition of Crowley and Tripp ribbon microphones provided the technical know-how to release these models under the Shure umbrella. While conventional ribbon microphones can be damaged by loud sounds, Shure claims the ‘shape memory’ of Roswellite ribbons enables it to withstand very high sound pressure levels over extended periods of time without damage.

“We chose to maintain the two Crowley and Tripp Roswellite models, the El Diablo and the Naked Eye, and bring them into our KSM portfolio as the KSM353 and KSM313,” said Chad Wiggins, Shure’s Category Manager for Wired Products. “We’re manufacturing these models true to the original Crowley and Tripp design using the same production process, fixtures, tooling, and materials.”

Hand assembled in the USA from state-of-the art transducers, transformers, and metals, the KSM353’s ribbon assembly provides rich low frequency response, natural midrange, and a rising response in the upper range for superior presence. And, it’s bi-directional polar pattern is extremely uniform and symmetrical.

The KSM313 uses a “Dual-Voice” ribbon assembly, which enables the user to choose from two different sound signatures – addressing the front of the microphone delivers a warm, full sound that is ideal for many instruments while addressing the rear of the microphone results in a bright, articulate sound that compliments vocals.

Features:
» Revolutionary Rosellite ribbon material: Provides superior fidelity in extremely high sound pressure environments.
» 30 – 15,000 Hz frequency response: Ideal for capturing vocals, acoustic, and amplified instruments.
» Bidirectional polar pattern: Remains uniform throughout the frequency range.
» Custom-wound double-shielded transformer: Provides high output with minimum RF interference.
» Mahogany storage case: Protects the microphone while not in use.
» ‘Monocle’ swivel stand mount (KSM313 only): Accommodates a variety of microphone orientations.
» Spring-loaded suspension shock mount (KSM353 only): Accommodates a variety of microphone orientations and provides isolation from mechanical vibration.

Shure will manufacture ribbon microphones exclusively in the U.S. Shure will also assume responsibility for ongoing service and support for existing owners of Crowley and Tripp ribbon microphone products.

Shure’s KSM353 Ribbon Microphone costs $3,320 and the KSM313 will set you back $1,560. More information on the Shure Ribbon Microphones.

Apogee Electronics Announces One

Tuesday, June 23rd, 2009

Apogee has announced One, a single input, stereo output USB music interface designed to work with Apple’s iTunes, GarageBand, Logic, Final Cut or any Core Audio compliant application on a Mac.

Unlike any product in its category, ONE features an internal reference condenser microphone, a microphone preamp, an instrument input for guitar, bass, and keyboards, and a studio-quality stereo output for headphones or powered monitors.

Features:
» Single channel input using one of the following three options:
— Internal condenser microphone
— Balanced XLR microphone preamp input with +10 to 63 dB of gain
— Unbalanced 1/4” high impedance instrument input with 0 to 45 dB of gain
» Software selectable 48V phantom power
» Line-level, 1/8” stereo output for headphones or unbalanced powered monitors
» A/D and D/A conversion @ 44.1/48kHz, 24-bit
» Multi-function encoder knob for input gain control and output level control
» 4 encoder function LED indicators (internal microphone, microphone input, instrument input and output)
» 3 segment LED input and output metering
» Apogee’s Maestro software for control and mixing

Apogee’s One will be available in late July 2009 for $249. More information on Apogee One.

TOMO AudioLabs Announces Lisa – Dynamic Mastering EQ

Monday, June 22nd, 2009

Tomo Audiolabs, a German company, has announced Lisa, a new dynamic mastering EQ for “analogue tonal refinement in audio mastering.”

Features:
» Six frequency bands with a broad frequency overlap enable the greatest possible range of processing flexibility
» Each band is equipped with the parameters gain, frequency, threshold, and six presets for selection of attack/release behaviour. In addition the four mid-range bands have a five-stage quality selection from 0.4 to 5. The second and fifth band can optionally be used as shelving or bell filters. The two edge bands (boost) can be switched between a variant with overshoot and a variant without overshoot. The four mid-range bands are configured as boost/cut filters.
» Particular processing versatility thanks to a parallel circuit concept (mixing console principle)
» Dynamic processing is a component of the filter. Unlike conventional designs, dynamic processing is not downstream from the filter, rather dynamic processing is integrated in the filter.
» Active filter concept with the tonal attributes of a passive filter
» Low-cut that is particularly free of colouration can be switched in 11 positions between 20 and 180 Hz. Filter slope increases dynamically from 12 dB/octave to 18 DB/octave as the cutoff frequency becomes lower
» The use of special, and uncompromisingly, the best components for realization of the highest quality
» Newly-developed transformer concept gives Lisa the ability to render subtle tonal gradations that surpass those of the leading transformers on the market
» Additional analogue tone variation thanks to specific saturation of the input transformers
» Extensive dynamic range of 122 dB and overload resistance thanks to high operating voltage (output level + 28 dBU)
» M/S matrix
» Output section permits gain-adapted A/B comparison
» A control function permits solo auditing of the processing path
» Lock switches with easy-to-reproduce settings

Lisa has a unique linkage of EQ with two shelf bands and four parametric bands, as well as low-cut and M/S matrix. The parallel-structured compression EQ offers undreamed-of intervention possibilities and subtly-nuanced refinement options. The most important field of application in mastering is gain with concurrent retention of a dynamic and live acoustic contour.

Lisa’s most unique selling proposition is its parallel circuit concept combined with a dynamic section. The bands are not wired in series, unlike conventional equalisers, with which in principle 100% of the distortion or rectification influences the signal path. Lisa’s parallel circuitry permits processing of individual bands that is similar to that of a mixing console, and in combination with the dynamic section permits processing that is significantly more extensive, more sensitive, and also more subtle.

On the other hand external FX settings are possible that are inconceivable with conventional EQs. In this case each band is equipped with a gain/cut, frequency and threshold lockable potentiometer, as well as quality-constant and time-constant selector switches. The dynamic section can be enabled per band as desired. A control circuit allows monitoring of the processing path and gain-compensated A/B comparisons that are indispensable in professional mastering practice.

More information on TOMO AudioLabs Lisa.