Archive for January, 2010

Apple Unleashes The iPad Tablet Computer

Wednesday, January 27th, 2010

Apple has just unveiled their new iPad tablet computer with a 9.7 IPS LED backlit display, 1GHz Apple A4 chip, and has 16GB to 64GB of flash storage.

Apple iPad

It has 802.11n, Bluetooth 2.1 + EDR. 30-pin connector, speaker, microphone, accelerometer and compass. It also claims to have 10 hours of battery life, including video. However, in what could be the product’s biggest MISS, there is no built-in camera. Repeat: NO CAMERA.

Apps can be “supercharged” on the iPad, but it will also be able to utilize every app created for the iPhone and iPod Touch. Several new apps from the New York Times, Electronic Arts and Major League Baseball have been showcased at the Apple Event.

Some of Apple’s proprietary software has been ported to the iPad with a tablet-specific user interface. First out of the gate will be Apple’s iWorks. No other Apple software will be available like: LOGIC Audio. Bummer!!

Apple iPad Typing

The iPad will come in two flavors Wi-Fi and 3G (via AT&T’s wonky network. Again, Bummer!!)

Pricing:
iPad Wi-Fi: 16GB / $499; 32GB / $599; 64GB $699.
iPad Wi-Fi/3G: 16GB / $629; 32GB / $729; 64GB $829.
Availability: April for Wi-Fi Models, May for 3G action.

Telefunken Introduces M80 Dynamic Mic – SM57 Killer?

Wednesday, January 27th, 2010

Telefunken Elektroakustik recently debuted the M80, a funken competitor to the industry-standard, Shure SM57 Dynamic.

Featuring a wider frequency response and higher SPL capabilities, Telefunken claims the M80 delivers condenser-like performance in a rugged dynamic design, producing a microphone equally suitable for voice, instruments or drums on both stage and in the studio.

Due to its low mass capsule and thin capsule membrane the M80 presents a wider range of emotion from a live vocal with an intimacy that has been traditionally reserved for studio quality condenser microphones.

The head and capsule assembly has been designed to reduce proximity effect to which nets added low end clarity for vocals, while still providing “strength” and “authority” and an “open,” “airy” character without adding danger of upper midrange feedback or “honk.” The M80 also features an American made custom wound impedance matching transformer.

The M80 is available in two versions: the “Standard Version” which includes a mic clip and bag; and the “Studio Set” which includes a mic clip, wooden box, and an additional black head grille.

Shure SM57 killer?? Not at this price…

The Telefunken M80 Standard costs $249, and the Studio Set will damage your wallet for $279. More information on the Telefunken M80.

What Will Apple’s iTablet Do For Music Production?

Wednesday, January 27th, 2010

As we all wait with bated breath for Apple’s Dog ‘n’ Pony show this afternoon that will finally unveil their new iTablet, we still have a few moments to reflect on this products potential impact on the future of music production. Now we’ve been ruminating on an Apple tablet for some time, but on the cusp of the announcement the big question around these parts is:

Will it become the ultimate Studio-To-Go or DJ-Rig-To-Go?

Only time can tell, but if the iTablet is going to run an enhanced version of the iPhone OS, then we’re hesitant to get really excited. True an iPhone on steroids is an interesting proposition, but if it lacks the horsepower to run Logic Express, Ableton, Traktor, etc. then the music community is going to feel like it has fallen short.

Now this may not necessarily be a bad thing. Reason? If the iTablet proves to be a hit, then Apple may consider expanding the line to include beefier processors and iTablet versions of Logic and their other popular software. An iTablet running Logic would definitely be one of the sexiest music rigs around and give the software a competitive advantage over Cubase, Digital Performer and the like…

Earthworks Unveils SR40 High Definition Microphone

Tuesday, January 26th, 2010

Earthworks has unveiled the SR40, a 40kHz High Definition Cardioid Microphone. Offering an extended high frequency response, extremely fast impulse response, short diaphragm settling time, near-perfect cardioid polar pattern, and high rejection of sounds from the rear of the microphone, the new SR40 makes an exceptional choice for a myriad of miking applications from drum overheads to miking a guitar cabinet, or as a solo microphone.

Earthworks’ new SR40 offers a 30Hz – 40kHz frequency response. Considering that very few microphones offer a frequency response above 20kHz, audio professionals will quickly notice subtleties in the sound that are simply non-existent from microphones with less high frequency range. Equally significant, the SR40 offers an extremely fast impulse response that enables the microphone to acquire fast transients far more accurately. The exceptionally short diaphragm setting time allows the SR40 to reveal subtle low level nuances in sound that other microphones mask.

The SR40’s near-perfect cardioid polar pattern ensures that the microphone will not beam or spotlight and provides significantly more gain before feedback than conventional microphones. This near-perfect polar response also enables vocalists or instruments at the sides of the microphone (at 45- or 90-degrees) to have the same pristine sound quality as those at the front of the microphone. This near-perfect polar response also facilitates the use of fewer microphones with closer placement to the source, enabling yet additional gain before feedback in live sound applications.

The SR40’s high SPL handling and rear rejection are additional noteworthy attributes. With an acoustic input rating of 145dB SPL, the new SR40 is a first-rate performer when it comes to capturing loud sound sources. Be it a guitar cabinet or a close miked trumpet or saxophone, the SR40 is ideally suited to handle challenging instruments.

The Earthworks SR40 costs $1,295 and comes in a black finish, requires 48-volt phantom power and has an optional screw-on windscreen. More information on the Earthworks SR40.

Metasonix Announces Vacuum Tube Drum Machine

Tuesday, January 26th, 2010

Metasonix, known for their vacuum tube synths has announced the D-1000, the first vacuum tube drum machine since the Wurlitzer Sideman of 1959. The D-1000 consists of only four sounds, 2 toms, a snare and a cymbal, although control voltage inputs provide additional flexibility.

Each of the tunable drums is made from a vacuum tube ringing bandpass filter, and can be tuned to sound from below 20 Hz to over 2 kHz. They are also tunable with external control voltages, allowing complex patterns to be built up with external CV or pulse sources. Resonance of each filter circuit is set by internal trimpots. The cymbal sound is an extremely primitive circuit, with white noise gated by a pentode tube. The cymbal’s attack is knob-variable and CV variable, from a sharp click to a soft whoosh. The four outputs mix to a single tube preamp that allows for overdriving via the mix-level controls.

In keeping with the primitive nature of the soundmaking section, the pattern sequencer is extremely simple. There is a single 8-pulse sequence with separate enable switches for each drum sound, set a toggle switch up to get the sound at that point, down for silence.

The internal clock is settable from 60 BPM to over 1000 BPM. There is also a “roll” clock signal built-in, to generate a faster drumroll on any drum sound by pressing a button (speed is preset with an internal trimpot). If you don’t like the internal sequencer, there are separate trigger inputs for each of the four sounds (the trigger pulse must be 0 to +5v, and less than 40 mS long). These trigger inputs operate in parallel with the built-in sequencer, so the D-1000’s sounds may be triggered by its internal sequence and external pulses at the same time. As a bonus, the three tunable drums can also be used as tunable bandpass filters, by feeding a line audio signal to each trigger input.

Ample inputs and outputs: mix output (with overdriveable tube preamp), separate outputs for each drum sound, external trigger inputs for each drum sound, and a main clock output (0-5v) for slaving external generators to the internal clock.

Specifications: Inputs and outputs 1/8″ jacks, except main mix output on 1/4″ jack. Enclosed in rugged, moisture-resistant ABS utility box with hinged lid, carrying handle and latch. Size with lid closed 12.25″x7.4″x6.5″ (314mmx186mmx168mm), weight (minus AC adapter) approx 3 lbs (2.1 kg). Power: 12-16 volts AC, 50/60 Hz, 1.5 amps. Uses Jameco 167151 AC adapter for power in 120v countries. Power inlet: 2.1mm coaxial jack.

Clearly the market for the D-1000 is not large, but there may be some individuals who are interested in exploring this yellow beast…

No pricing or availability has been announced. More information on the Metasonix D-1000.

Bach Technology Announces MusicDNA Format

Monday, January 25th, 2010

Bach Technology, a music coding company from German, has unveiled what it calls the successor to the ubiquitous MP3 file format, MusicDNA. (…we’ve heard this before. —Ed.)

Bach claims the MusicDNA format contains additional music content as part of the file including lyrics, artwork and tour dates to blog posts, videos and twitter feeds. This additional content appears alongside the MP3 in a App-driven player that is freely available to download. The content dynamically updates whenever the player is connected to the internet, ensuring fans always receive the most up to date information alongside their music.

Only legitimately purchased tracks will automatically update, and pirated versions will remain as static files, giving fans what Bach considers a tangible benefit in purchasing MusicDNA files. We think not. The MP3 phenom is not about a file format, it’s about FREE.

The Future: Dead On Arrival. While the inclusion of broad meta data in a music file is nice, albeit nothing new, it will not entice P2P users who normally get their music for free, to suddenly start purchasing music.

Livio Radio Featuring Pandora

Friday, January 22nd, 2010

Livio recently released the Livio Radio Featuring Pandora, Five of FutureMusic’s staffers took the Livio on a TestDrive to see how it worked as stand-alone Internet radio, as well as a music discovery tool….

More information on our Livio Radio review

Ableton/Serato Finally Debuts The Bridge Video Demo

Wednesday, January 20th, 2010

The braintrust at Ableton/Serato should have debuted this video immediately after their NAMM announcement, but better late than never

More information on Ableton / Serato The Bridge.

Misa Digital Guitar Surfaces

Tuesday, January 19th, 2010

From Sydney, Australia comes the Misa Digital Guitar, an open source, Linux-based MIDI controller, that utilizes buttons for frets and a multi-touch screen for strumming and sound manipulation.*

Guitars by their very nature have limitations. To create sound you need to hit a string, so that the sound at its most intense point is always the beginning of the pluck. The left hand controls what notes to play, and the right hand controls when to play these notes and the intensity of the notes. Effects can be inserted into the signal chain, but they are usually foot pedals which makes the experience of controlling effects disjointed from what your hands are doing. Plus, you can only really make use of one pedal at a time. Even in the (rare) case that controls are mounted on the guitar, the hand needs to switch between strings and controls. This may be okay if you only use effects occasionally, but when every note you play needs the controls set differently – good luck with that.

Electronic music cannot be played effectively with such constraints. In electronic music, the timbre (or colour) of the sound can be morphed in an infinite number of ways. For a guitar to accommodate this, the right hand needs more control than just plucking strings. You need to be able to control elements of the sound, such as sustain, pitch, filter cutoffs, contour or any other synthesizer parameter, in a way that has no physical constraints.

This was my thought process when designing the Misa digital guitar. There are no strings on this instrument. The right hand doesn’t pluck strings, it controls sound.

*Never use the Misa Digital Guitar as a flotation device.

The Misa Digital Guitar is actually available for purchase, but details are pretty sketchy. More information on the Misa Digital Guitar.

IK Multimedia Upgrades AmpliTube To Version 3

Monday, January 18th, 2010

IK Multimedia has upgraded AmpliTube to version 3 with over 160 modeled pieces of vintage and modern gear available in one package.

AmpliTube 3 contains over 160 pieces of gear including models from several choice vintage collections and modern-day workhorses. You’ll get 51 individual stompboxes and effects, 31 amplifier, preamp & power sections, 46 speaker cabinet models, 15 high-end stage and studio mics, and 17 post-amp rack effects. Plus, with the new AmpliTube 3 open architecture, you can add more packages as you need them, like AmpliTube Fender and Ampeg SVX. With IK’s proprietary VRM (Volumetric Response Modeling) technology, you can add ultra-accurate rotating speaker effects, free dual mic placements, plus room ambience and response to customize and craft your tone.

Version 3’s new creative effects let you create exciting, dynamic sounds, and the new drag & drop effects’ configuration feature lets you quickly experiment with effects in the signal chain to get that totally unique sound.

Features:
» Over 160 gear models included (with nearly 100 added models) from the most sought-after vintage collections to modern-day workhorses
» 51 Stompbox effects, 31 Amps, 46 Cabinets, 15 Studio Mics and 17 Rack effects
» 30 brand new models
» 70 re-worked and superior sounding models from packages like AmpliTube Metal and AmpliTube Jimi Hendrix
» A new collection of bass gear models
» Can be directly expanded with packages like AmpliTube Fender, Ampeg SV™ and future packages
» New preset management and keyword system allows you to organize and quickly recall the library of included and custom preset tones
» New cabinet module inside now provides double miking per cabinet, with freely movable microphones thanks to IK’s VRM (Volumetric Response Modeling) technology
» New impulse-based reverbs are now used in the entire chain, from spring reverb to room ambience, which ensures the most realistic possible representation of your recording environment
» New rotary speaker module sets the new standard for accurate emulation
» All models in AmpliTube 3 have been “remastered” with our new 3rd generation modeling technology (the same found in AmpliTube Fender), using IK’s exclusive DSM technology (Dynamic Saturation Modeling), then painstakingly compared with the originals in “A/B” style to ensure that the sound you hear from the software is the same sound you’ll be hearing from the gear.
» New creative Effects featuring the new StepFilter, StepSLicer, TapDelay, Rezo and Swell stomp and rack effects
» New full-stereo path allows you to use the huge collection of analog and digital effects on your vocal tracks, keyboards and drums
» New Drag & Drop function in the stomp and rack modules now makes experimenting with effects’ combinations a breeze
» New “MIDI Learn” feature allows you to assign any software control or parameter to an external controller with a simple click on the parameter’s knob. Sweet!!
» New, integrated 4-track recorder/player allows you to capture and layer your ideas quickly and easily right at the moment of inspiration.

AmpliTube 3 will cost $350 / €270 and ship sometime during February 2010 in the VST, RTAS and Audio Unit plug-in flavors, and as stand-alone software for Mac OSX and Windows in a variety of versions. More information on IK Multimedia AmpliTube 3.