NEW PRODUCTS
Dec 1, 2005 12:00 PM, By Doug Eisengrein
M-AUDIO PROJECTMIX I/O
DAW CONTROL SURFACE/FIREWIRE AUDIO INTERFACE
M-Audio seems to constantly have something new up its sleeve. The latest is the ProjectMix I/O ($1,249.95), a FireWire-based integrated DAW control surface and audio/MIDI interface. The unit features 18 channels of audio input, 14 channels of audio output and a 1×1 MIDI I/O, and the unit is compatible with Pro Tools M-Powered, Apple Logic Pro, MOTU Digital Performer, Steinberg Cubase SX, Cakewalk Sonar and Ableton Live 5. The tactile interface includes eight channel faders and one master fader, all of which are motorized, touch-sensitive and feature true 10-bit resolution. Bank and Channel Plus and Minus controls allow ProjectMix access to any eight banks of channels in a project. The unit provides dedicated transport controls, and each channel features record-enable, mute, solo and select buttons, as well as an assignable endless rotary encoder knob. An LCD is positioned above the encoders to display relevant parameters, and in addition to the typical tracking functions, the rotary knobs and subsequent LCD also function with plug-in parameters.
M-Audio;
www.m-audio.com
NATIVE INSTRUMENTS B4 II
SOFTWARE INSTRUMENT PLUG-IN
Although it's hard to imagine the company making this instrument better than it already was, Native Instruments has once again re-created the legendary sound of the Hammond B-3 in B4 II ($299, new; $99, upgrade). NI has delved into the finest details of the original organs and their sidekick Leslie rotating speakers for version II, beginning with an improved sound-generation engine that now features adjustable characteristic tonewheel leakage. Native has ramped up the analog modeling of the virtual Leslie by emulating the tube-amplification stage in the venerable Model 147 speaker. The bass pedals also received an overhaul, resulting in a new Pedal Bass Legato function and a String Bass option based on a popular modification made in many of the original hardware units. B4 II provides a choice of vintage tonewheel models, including B-3s of different age and condition, as well as emulations of other classics including the Vox Continental, Farfisa and Harmonium.
Native Instruments;
www.native-instruments.com
PENDULUM AUDIO PL-2
ANALOG PEAK LIMITER
The first nonvacuum tube product in Pendulum Audio's Pro line is the new transformerless PL-2 (price TBA), a solid-state, brick-wall analog peak limiter. Derived from the peak limiter present in Pendulum's Quartet II Tube Recording Channel, the Class A PL-2 is a twin-channel version that features two modes of peak limiting, JFET or MOSFET. JFET mode yields a firmer brick-wall response whereas MOSFET mode produces a softer response. Although both can provide brick-wall limiting, each mode yields different resulting waveforms and characteristic sounds. The PL-2 does its magic without utilizing time-delay or phase-delay techniques, yet it is responsive enough to prevent digital overs in the recording process. The signal path is kept short, and the limiting circuit is kept out of the signal path until the threshold is reached, where limiting is needed. The input and output dials are stepped for precise settings. Each channel features a 13-segment LED for peak reduction levels.
Pendulum Audio;
www.pendulumaudio.com
IK MULTIMEDIA CLASSIK STUDIO REVERB
PLUG-IN SUITE
IK Multimedia's Classik Studio Reverb ($399) is a plug-in collection of four reverbs modeled after, as the name implies, classic studio-reverb hardware units (though IK's product literature doesn't specify which ones). Each reverb has its own interface that can be used in two different modes, Easy and Advanced. In Advanced mode, you have more than 100 editable features, including algorithm-based parameters, an 8×8 modulation matrix, an LFO and macro controls. Each reverb is fully automatable and features adjustable input and output reverb width, dual LFOs, two envelope generators, reverb filtering and four assignable macros. The reverbs offered cover classic Hall, Room, Ambiance and Inverse styles. The plug-in suite is compatible with Windows XP and Mac OS X and supports the VST, RTAS, AU and DX protocols. As of this writing, a Digidesign Pro Tools TDM version is in development.
IK Multimedia;
www.ikmultimedia.com
MACKIE ONYX 1200F
FIREWIRE AUDIO/MIDI INTERFACE
Mackie's relatively young Onyx line of consoles has already become famous due to its high-end mic preamps, and, now, Mackie has reshaped the Onyx into a FireWire-based audio/MIDI interface with the new Onyx 1200F ($1,999). The 1200F is a whopping 24-bit, 192kHz 30-by-34-channel audio interface with a 2×2 MIDI interface and 12 Onyx preamps onboard. Massive amounts of I/O are complemented by a built-in assignable patch bay with DSP with almost no latency, eliminating the need for a lot of cabling. The front face of the 1200F features two instrument inputs, four discrete headphone outputs with separate volume controls, and handy four-segment LEDs for mic/line input metering of 12 channels. The packed rear panel includes the 12 combo mic/line Onyx inputs — the first two of which include balanced TRS sends/returns, S/PDIF, AES/EBU, twin ADAT and word-clock I/O — as well as footswitch inputs for monitor switching and talkback activation.
Mackie;
www.mackie.com
TASCAM CD-D11U, CD-D13, CD-D17 HD
CD DUPLICATORS
In this age of digital music and Internet proliferation, never has self music distribution been more viable. And Tascam is making that easy with its new series of CD duplicators, the CD-D11U ($399), the CD-D13 ($799) and the CD-D17 HD ($1,499). All three units feature 525-speed Teac drives. The CD-D11U is a 1×1 unit designed to be connected directly to a computer; it houses a USB 2.0 jack. It also operates as a stand-alone playback or test unit for audio CDs due to its onboard RCA outputs, which allow users to preview the master disc before performing duplication. The CD-D13 steps it up a couple of notches by performing 1×3 duplications, but the granddaddy of them all is the 1×7 CD-D17 HD tower duplicator that boasts its own internal hard drive, which is handy for archival purposes or speeding up the duplication process.
Tascam;
www.tascam.com
GEFELL M950
STUDIO CONDENSER MIC
The companies that have been around the block a few times tend to know better, and Gefell is one such outfit. Started by none other than Georg Neumann back in 1928, Gefell has come around again with a new studio condenser microphone, the M950 ($1,250). The M950 is a wide cardioid-type mic with a full-size 1-inch diaphragm housed in an unusually small chassis. Designed with the natural sound capabilities of omnidirectional mics in mind, the M950 aims to reproduce the natural sound and ambience of sound sources. Its small size makes for easier placement and improved on-axis reception and off-axis rejection. The diaphragm capsule mount is triangular to reduce vibration, and the mic displays a low self-noise grading of 7 dBA. The M950 can absorb 144 dB of SPL without the use of a pad, resulting in 135 dB of dynamic headroom. The mic is powered via standard 48V phantom.
Gefell;
www.gefell-mics.com
TOFT AUDIO DESIGNS TRIDENT SERIES ATB
16-CHANNEL STUDIO MIXING CONSOLE
Malcolm Toft — the legendary producer, founder of Trident and designer of the company's early consoles — is back with Toft Audio Designs and the new Trident Series ATB (price TBA) studio console. Based on the look and features of the Trident 80B (thus the pun in the name), this smaller console is aimed at DAW-based studio setups. The ATB 16 is a 16-channel, eight-bus stereo analog mixer with a total of 56 inputs. The console features plenty of high-end specs, including Burr-Brown mic preamplifiers, 100mm long-throw faders and the same EQ circuitry found in the original 80B. Other notable features include six discrete aux sends, eight stereo effect returns, eight monitor returns, linear faders for all buses, direct outs, all cabling on the rear panel and mic/line input phase reverse on each channel. An optional digital card will be available featuring FireWire, 24-bit A/D/A on eight additional channels, S/PDIF, ADAT, word clock and MIDI I/O.
Toft Audio Designs;
www.toftaudiodesigns.com
FURMAN AR-20 II
POWER CONDITIONER
Furman keeps the current flowing and the gear protection intact with its new AR-20 II (price TBA) power conditioner. The AR-20 II is a 20-amp AC power regulator that takes any voltage source ranging from 97 to 141V and converts it to a safe, usable constant of 120V for all outputs. Voltage sources outside the normal range may also be used, depending upon their range. The AR-20 II uses Furman's exclusive Series Multi-Stage Protection (SMP+) technology to provide full protection for your gear and signal path from voltage spikes and surges; SMP+ uses three filtering and protection circuits to do the job. In addition, the AR-20 II uses Extreme Voltage Shutdown (EVS) circuitry to protect systems against prolonged connection with extremely large overvoltage sources by turning off incoming power until the excess problem is resolved. The AR-20 II has a 2U rackmount chassis and features 12 rear-mounted outlets, with two housed on the front.
Furman;
www.furmansound.com
JBL LSR4326P, LSR4328P
STUDIO MONITORS
Aiming at DAW-based project studios as well as postproduction and broadcast markets, JBL lifts the curtain on its new LSR4300-series studio monitors. The series comprises two powered, two-way models: the 6-inch LSR4326P ($1,299 per pair) and its bigger sibling, the 8-inch LSR4328P ($1,699 per pair). The two LSR4300-series models are JBL's first monitors to utilize the Harman HiQnet network protocol. Along with the included RMC (Room Mode Correction) system, the Control Center software and a wireless remote control, users can make system-wide adjustments such as creating custom EQ presets from the critical mix position; this effectively addresses room-related problems. Each model ships with the aforementioned items and a calibration microphone. Each speaker features 24-bit, 96kHz S/PDIF and AES/EBU digital inputs for direct interfacing with digital audio interfaces and other high-end digital sources.
JBL;
www.jblpro.com
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