emusiq.org

2005_11_9

iPod nano, iPod phone unveiled

Filed under: — AP @ 7:46 am

SAN FRANCISCO/NEW YORK (Reuters) – Apple Computer Inc. has unveiled a pencil-thin “iPod nano” digital music player and a long-anticipated cell phone that plays music like an iPod, both aimed at extending its domination of the digital music market.

ipod

Apple Chief Executive Steve Jobs also said that in 2006, some 30 percent of all new U.S. cars will sport stereos that can easily connect to the iPod.

The seriously slimmed-down nano – about a quarter of an inch (0.6 cm) thick, 3-1/2 inches (9 cm) long and 1-1/2 inches (4 cm) wide – drew “oohs” and “ahhs” from the audience at the product release in San Francisco, outdoing the buzz generated by the Rokr phone, which some said failed to meet high expectations for design.

The nano players, either all black or all white, are nearly as small as the entry-level iPod Shuffle but sport click wheels and hold up to 1,000 songs.

Apple has about 75 percent of the market for digital music players, with iPod sales about one-third of its total revenue, and Jobs said competitors had set their sights on the iPod mini, which he said was Apple’s best-selling iPod model.

The nano replaces the mini, and Gartner analyst Van Baker said that Apple – which has sold 21 million iPods since introducing them in 2001 – has moved the goal posts farther down the field with the nano. “It changes the rules of the game,” Baker said.

The iPod nano uses flash memory chips to store songs and photos, rather than the hard-disk drives that the iPod mini and the larger iPods use.
Test for music

The Rokr phone is Apple’s long-awaited foray into the wireless realm. Developed with Motorola Inc., it can store up to 100 songs and has a color screen, stereo speakers, stereo headphones and a camera. Cingular will be the first mobile carrier for the Rokr. Several operators in the United Kingdom are expected to offer the phone soon.

But some said the silver phone did not meet style expectations set by Apple’s iPod and Motorola’s slim flagship Razr phone, and others cited its limited song capacity for iPod users accustomed to carrying thousands of songs.

“It doesn’t have the emotive cachet that the Razr or the iPod has,” said Yankee Group analyst John Jackson. “When you whip this out in the bar, nobody’s going to say, ‘That’s a cool device.’”

The Rokr iTunes phone will be available in Cingular stores on Thursday.

No. 1 U.S. mobile service Cingular Wireless, a venture of SBC Communications Inc. and BellSouth Corp., will be the exclusive U.S. carrier of the phone, which it will sell for $249.99 to customers who sign up for a two-year service contract.

Cingular does not make money from the songs played on the phones, but hopes they will help boost sales and reduce customer defections to rival services. One analyst said it could become Cingular’s top-selling phone by next year.

“If this phone is easy to use, at this price I think it will fly off the shelves,” Charter Equity analyst Ed Snyder said. “Cingular will reap the benefits of the combination of Motorola and Apple’s brands.”

The phone does not allow for wireless downloads, but it does eliminate the need for carrying two separate gadgets.

Motorola said the phone would be available in the United Kingdom at Carphone Warehouse Group’s stores in mid-September and with operators such as O2, Orange, BT Mobile, Virgin Mobile this month or next.

In the coming months, it is also expected to be available in countries such as Germany, Canada, Italy and France.

Motorola’s chief marketing officer, Geoffrey Frost, said the phone – the first in a whole family of Rokr devices – would be followed by more stylish designs.

“As this continues to develop you’ll see it become as iconic as our other new products,” Frost said, referring to a new products inspired by its Razr phone.
Flexible

As it tests the market for music on mobile phones, Apple is free to work with other handset makers and cellular service providers, said Phil Schiller, Apple’s head of worldwide product marketing, in an interview.

“We have flexibility to do many things,” Schiller said. He declined to comment on the financial arrangements of Apple’s partnership with Motorola and Cingular.

Music is expected to be one of the hottest new features in mobile phones, which already sport everything from cameras to video players.

Apple has to keep up a steady pace of innovative new music products to maintain the level of growth investors now expect.

Shares of Apple fell 12 cents, or less than 1 percent, to close at $48.68 on Nasdaq. So far this year, the stock has gained 52 percent and trades at about 34 times its projected earnings per share in fiscal 2006. Apple’s fiscal year ends in September.

Apple said it was teaming with car makers Acura, Audi, Honda and Volkswagen to integrate its iPod products into their car stereos for 2006 model lines.

Copyright 2005 Reuters. All rights reserved.This material may not be published, broadcast, rewritten, or redistributed.

2005_10_2

The Barrons of Electronic Music

Filed under: — AP @ 4:00 pm

Flying Saucer

The Barrons are best known as the original pioneers of electronic music. In the 1950s, Louis and Bebe were considered part of the avante-garde performance art scene, making much of there own musical equipment and circuitry. After composing an amazing 4 minute electronic audio montage, they caught the eye of MGM studios, and landed a job as composers for an upcoming film. They were given only three months to come up with a soundtrack for Forbidden Planet. They headed back to there NYC studio and home to put together most of the audio production. The final post production was done here in Los Angeles (Culver City) and delivered to the studio in April 1956.

barrons
Bebe and Louis Barron

2005_6_2

PSOFT CHRONOStream

Filed under: — AP @ 10:31 pm

PSOFT produces a new kind of pitchshifting tool. We don’t have a demo, but it looks pretty good. The prices appear to be in Yen; I imagine you can buy it in the USA. It claims to be able to shift the audio stream in realtime.

New CHRONOStream is the new sonic software that based on the world-class high-quality time and pitch scaling sound technology “PHISYX". It provides the natural and superior time stretching and pitch shifting effect as you likes to all kinds of audio file.

:Link:

2005_30_1

eXeem Lite Released

Filed under: — AP @ 11:17 pm

eXeem Lite is an adware free version of eXeem. The current eXeem contains Cydoor, which is rated as adware. You can find out more below. –UPDATED–

:Link:

2005_24_1

NAMM

Filed under: — AP @ 12:41 am

I told you we’d would have some photos direct from NAMM.

 
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Kerry King (Slayer) with Damageplan at NAMM

Filed under: — AP @ 12:34 am


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Cwejman S1 at Big City Music Booth

Filed under: — AP @ 12:30 am

“The Cwejman S-1 is a semi-modular synthesizer featuring a unique sound circuit solution. In other words, this is no mere copy from the synthesizers of the 60s or 70s.

Semi-modular means that all functions and modules (oscillators, generators, filters, etc.) are linked. The synthesizer is preconfigured, but the configuration can be changed at will. All signals can be used as sounds or modulation sources and all parameters: pitch, pulse width, volume, and resonance, etc., can be modulated from any source. You can imagine the creative opportunities waiting for you inside this instrument!

The most unique feature of the product is the sound processing circuits that produce the unmistakable Cwejman Sound: a warm, fat, and genuine analogue sound.

Sound quality is consistent and powerful, especially in the bass register. The Cwejman S1 has a distinct sound and packs enormous possibility in a compact package.”

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War Games Synth

Filed under: — AP @ 12:29 am

We saw this synth at NAMM at the Big City booth after they turned the lights out, I just had to snap a photo. It reminded me of something out of WarGames. ;)

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Access Virus T1 Polar - Up Close

Filed under: — AP @ 12:28 am


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Access Virus T1 Polar

Filed under: — AP @ 12:28 am


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Access Virus - Full Screen

Filed under: — AP @ 12:28 am


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Open Labs OPENSYNTH NEKO 64

Filed under: — AP @ 12:28 am

This is quite the hardware home, because the neKo 64 is basically a computer built into a musical instrument, and almost anything VST you run on a Windows computer can run on the neKo’s computer.

The computer is based on an AMD Opteron 64-bit processor, and accesses up to 8GB of RAM to allow loading huge numbers of samples and RAM-hungry programs. It not only hosts VST plug-ins, but is equipped with PCI slots that can accept up to full size cards, including those from Creamware and Digidesign. It also has an included Ethernet port for direct Internet access, making it easier to download upgrades, sounds, and applications. Bundled software includes GigaStudio 32, SonicSynth with Sample Tank LE, Traktion, Orion Pro, Karsyn, and over 40 VST and VSTi plug-ins.

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Metasonix

Filed under: — AP @ 12:27 am

With names like the “Agonizer” and “Butt Probe” these things sounded like torture devices. That’s pretty much what they do to the sound. Very nice tools indeed.

Metasonix
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Stevie Wonder at NAMM

Filed under: — AP @ 12:27 am

Stevie brought an instant crowd to this booth, it wasn’t quite loud enough, but that didn’t matter it was Stevie Wonder.

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Spectralis Demo at NAMM

Filed under: — AP @ 12:27 am

Joergen, the head engineer at Radikal Technologies gave a mind numbing demo of the Spectralis synth.

“The Spectralis is the first groove-oriented Instrument, which combines the LIVE usability of the latest digital technology with the best elements of proven analog technology. We also have thrown in some other cool features which give the synthesizer much more flexibility than anything seen before. While traditional Sequencers are limited to playing back rhythm patterns and tone sequences, the step Sequencer of the SPECTRALIS makes possible highly complex sound creations which opens up completely new worlds of sound when used in connection with the programmable FIXED FILTER BANK. In addition to its outstanding analog sound possibilities the SPECTRALIS also provides DSP based sound creation, which takes care of all the ancillary needs for drumsounds and polyphonic voices. This sound creation is 48 voice and offers killer drum sounds, creamy pads and a lot of other goodies.”

SpectralisJoergen
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Final Scratch

Filed under: — AP @ 12:26 am

This kid was cuttin’ some MP3s on da wheelz-o-steel.

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Nord

Filed under: — AP @ 12:26 am


Nord
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Steinberg Booth at NAMM

Filed under: — AP @ 12:25 am


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Big City Music - Modular Synth From HELL

Filed under: — AP @ 12:25 am


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Mellotron

Filed under: — AP @ 12:24 am

Wow, a real Mellotron! I sat and talked to this guy from Sweden, who is the only person in the world to manufacture these babies. The classic sound is unmistakable.

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2005_15_1

Yamaha YSP-1 Digital Sound Projector

Filed under: — AP @ 4:38 pm

Back again is Yamaha Electronics Corporation’s revolutionary new home theater component, the Yamaha Digital Sound Projector. The YSP-1 is a one-of-a-kind single source multi-channel surround sound speaker system that features an array of 42 drivers driven by digital amplifiers with “steering logic” to deliver high-quality surround-sound, ideal for flat panel plasma displays in home theater installations. The demo we heard at Yamaha’s booth was most impressive, portraying an immersive and convincing surround sound field, very good frequency extension and dynamic range. This system will get reviewed by Audioholics later this year as we’re curious to see how well it emulates 5.1 in a typical home theater environment.

Somewhat ahead of its time, the YSP-1 applies sophisticated digital sound projector technology to control the orientation of the sound from its speakers by focusing it into directional “beams.” The stylish slim, wall-mountable unit uses a 40-driver, dual subwoofer system to achieve a high-quality five-channel surround sound performance for movies, music, digital audio, satellite TV, cable TV or other multi-channel sources. The YSP-1 is designed for a variety of room configurations; sound can be directed and reflected off the walls, which provides the listener true surround sound. For optimal performance the Digital Sound Projector should be positioned in the front of the room in the center or in the corners. A variety of customization modes ensure that the surround sound is optimized for all types of conditions.

Yamaha employs Digital Sound Projector Technology to provide “holographic surround sound” from a single flat panel, which forms a multi-channel sound beam to achieved precise control of the delay characteristics of multiple speakers. The YSP-1 projects flat wave fronts of sound and appears to listeners to be located at different points on the panel or via reflections off walls at different points in the room.

An elegant design makes the Yamaha Digital Sound Projector an ideal match for flat panel displays. Naturally, as a single unit, additional speakers and wiring are not necessary. As a result, the YSP-1 is an excellent solution for enthusiasts that opt to build a home theater system around a large flat-screen TV and desire a neat, uncluttered, unobtrusive system to match the interior of a room. The YSP-1 will appeal to a variety of users including first-time home theater system buyers.

Other features include Dolby Digital, DTS and Dolby Pro Logic II compatibility, On-Screen Display, Night Listening Mode, and three memory locations for storing particular settings. The YSP-1 easily connects to existing set ups via two optical inputs, one coaxial digital input, and two analog inputs. There is a even a subwoofer output. In addition, a RS-232C interface is provided for customization and a preset remote control is included that can also control TVs and DVD players.

The YSP-1 is priced at $1499.95 and will be available in March 2005.

For more information visit http://www.yamaha.com/home/

Receptor: Hardware VST Plug-in Player

Filed under: — AP @ 3:58 pm

The new Muse Research Receptor is somethign to behold. My PC just can’t take all the VST plugins I force it to load.

RECEPTOR

Here is the what the literture has to say:

“Easy to use. Just turn Receptor on, dial up a VST plug-in, and start making music. Optimized for live performance, Receptor will amaze you with a library of pre-installed plug-ins and lightning fast MIDI response.

Designed for musicians on the go. From its super quiet operation in the studio to its rugged rack mount enclosure, Receptor is a tool designed to help you get your act together and then take it on the road.

Receptor is a 2U rack-mountable multi-timbral sound and effects module that runs standard VST instruments and effects. It combines the power of a computer with the ease-of-use, portability and reliability of dedicated synth and effects hardware.

Receptor’s intuitive, mixer-like architecture combines up to 16 different audio sources, which can be either internal VSTi instruments or external analog/digital inputs. Each source is then routed through its own inline effects matrix that allows three VST plugins to be configured in every possible parallel/series arrangement. From there, each source is sent to a dedicated mixer channel, where the sound can be further processed by sending it to two dedicated effects busses, each with another fully configurable VST effects matrix. Need more processing? There is yet another VST effects matrix on the master output, for mastering and sweetening effects. ”

2005_9_1

Gordian Knot: DVD Rip Software

Filed under: — AP @ 2:14 pm

A new open source DVD rip pack available on sourceforge.net. This thing contains about everythingneeded to make a proper DVD rip.

Gordian Knot started out as a simple bitrate calculator for DivX encoding but has evolved to become an integrated package or tool for the entire process of DivX/XviD encoding.

:Link:

2004_4_12

Alesis Micron

Filed under: — AP @ 6:31 pm

The Micron boasts the same sound engine as the acclaimed Alesis Ion in a compact 3-octave keyboard, offering breakthrough analog realism, high-resolution control, and tremendous value. The Micron is compatible with Ion programs and holds over 1,000 programs and multitimbral setups.

Alesis Micron

The Micron offers continuously variable wave shapes, plus sync and FM synthesis. 16 filter types are included, along with 2 LFOs with multiple wave shapes and sample & hold. The Micron has 8-voice polyphony with 3 oscillators per voice, and is 4-part multitimbral. In addition to a powerful modulation matrix, the Micron offers a programmable step sequencer, arpeggiator, rhythm sequencer for drum kits, and dynamic realtime phrase sequencer—all of which sync to MIDI clock.

Effects include a 40 band vocoder that does not use up any polyphony, 4 drive effects, and stereo bus effects, including reverb. For assignable realtime control, the Micron offers 3 knobs, 2 modulations sliders, and a pitch wheel.

Applications
Synthesis and sound design
Keyboard performance
High-resolution MIDI control
Tempo-synched audio filtering, vocoder, and effects

Features
Powerful virtual-analog synth engine:
Compatible with Ion programs
Superb analog realism
Inspiring other-worldly sounds
Absolutely no “zipper” noise or aliasing

Programmable features that sync to MIDI clock:
Step sequencer
Arpeggiator
Rhythm sequencer
Realtime phrase sequencer

Assignable, high-resolution realtime control:
2 modulation sliders
3 360-knobs operate at 32 times the resolution MIDI
Pitch wheel

Powerful DSP effects:
4 simultaneous mono/stereo “overdrive” effects
Stereo master effects, including reverb
40-band vocoder

24-bit balanced I/O:
2 TRS 1/4 in. outputs
2 TRS 1/4 in. inputs for processing external sounds

2004_28_11

First Multi-Gigabit Interactive Video Transmission Between Australia And The US

Filed under: — AP @ 11:39 pm

AARNet (Australia’s Academic and Research Network) and ResearchChannel today demonstrated the first high definition uncompressed interactive video interaction across the Pacific at 1.4 gigabits per second in each direction.

The demonstration took advantage of recent massive increases in bandwidth capabilities from Australia to the continental United States on network capacity provided by Southern Cross Cable Networks, to deliver truly remarkable quality video interaction between AARNet’s head office in Canberra and the exhibition floor of the Supercomputing Conference SC2004 in Pittsburg, Pennsylvania.

The partnership between ResearchChannel, AARNet and the University of Washington provided applications that spurred the development of high speed networks and enabled data transfers previously unavailable between the two continents.

The unprecedented high-quality, low-latency interactive video is the first use of the Southern Cross Trans-Pacific Optical Research Testbed (or SXTransPORT), a dual 10Gbps trans-Pacific initiative of Southern Cross Cable Networks and AARNet and acquired with assistance from the Australian Government. The network path also involved the Pacific Northwest Gigapop and the US National LambdaRail (NLR) 10 gigabit network fabric. The network path also makes use of US National Institutes of Health-funded networks through the University of Hawaii. Future expansion of the network is planned to offer these and additional resources to other continents, and bring scientists and researchers together by exploiting new Internet technologies.

Using two Intel PCI-Xpress computers and AJA Video Systems’ Xena-HD HDSDI capture cards, the demonstration is the first to show High Definition interactive systems over Windows XP platforms, providing researchers, medical practitioners and scientists worldwide with new interactive video capabilities.

“This demonstration is the first highly visual culmination of the recent initiatives between AARNet’s international developments arm and Southern Cross at the infrastructure level and with our colleagues at the University of Washington at the infrastructure, technology and applications levels,” said AARNet’s CEO, Chris Hancock.

Dr Mike Sargent, who chairs the Australian Research and Education Network initiative, participated for part of the opening session and engaged with Professor John O’Callaghan, CEO of the Australian Partnership for Advanced Computing, and other participants in Pittsburg for the Supercomputing Global 2004 conference.

“This is a great demonstrator of the benefit of strategic investment of Australian Government funds in helping put the network infrastructure in place to support these innovative applications” said Dr Sargent.

“The video quality presented at the exhibition floor of the SC2004 conference in Pittsburg from Australia is exceptional” said Professor O’Callaghan”

Demonstrations will continue through the rest of this week, though in Australian time these sessions are from 2am to 10am of the mornings of Tuesday, Wednesday and Thursday, and from 2am until 8am on Friday.

Wurld Media Announces Conclusion Of Agreements With SONY BMG, Universal Music Group And Warner Music Group

Filed under: — AP @ 11:38 pm

Wurld Media, a leading developer of proprietary e-commerce and file transport technologies, today announced it had signed agreements with three major record labels. SONY BMG Music Entertainment, Universal Music Group and Warner Music Group have agreed to provide access to their vast catalogs of music to be made available on Peer Impact (www.peerimpact.com), Wurld Media’s new peer-to- peer (P2P) digital file-sharing network. Peer Impact is currently concluding internal beta testing and is scheduled to launch publicly in the first quarter of 2005.

Peer Impact’s proprietary business model is designed to provide a clear, legal alternative for consumers to buy and share music, video and an assorted variety of digital content. At the same time, the service ensures that artists and rights holders receive their due compensation for each file shared on the network. Peer Impact is a revolutionary platform that harnesses peer-to- peer technology to create a low-cost infrastructure for distributing licensed content. Because Peer Impact will distribute only licensed and public domain content, it leverages the efficiencies of peer-to-peer distribution while respecting the work of artists and copyright holders.

“We’re excited and proud to gain the cooperation of leading record labels, and we look forward to concluding even more agreements in the coming weeks, but we are not stopping there,” said Greg Kerber, chairman and CEO of Wurld Media. “Peer Impact actually revolutionizes P2P in two ways: By minimizing distribution costs and by allowing legal file sharing within a closed network. Our goal is to populate Peer Impact with the greatest, and most diverse, collection of digital content anywhere.”

“The online media market is presently split between authorized legal paid- download services and unauthorized free services; the consumer is stuck somewhere in the middle, and that’s where Peer Impact comes in,” Kerber continued. “From the beginning our objective has been to reach out to the consumer and help build a secure and legal file-sharing community, created by – and for – the fan, but which also ensures that digital-rights owners get compensated. We look forward to realizing that objective with the coming launch of Peer Impact.”

2004_26_11

Small Desktop Synths & Sequencers

Filed under: — AP @ 12:28 pm

Ok, I admit it we are on a bit of a gear streak. In the continuing search to assemble the world’s smallest full featured desktop studio, here is more gear that will plug nicely to a tiny studio.

Digitech Xp-300 Space Station
With all the treated and manipulated guitar sounds making their way onto recordings these days, it’s clearly evident that the XP-300 Space Station was way ahead of its time. This one of a kind pedal is capable of obliterating any guitar signal and transforming it into synth-like pads, pseudo string swells, and even digital blips and bleeps. There is nothing subtle about any of the effects here and they can provided a great springboard for whole new songs or riffs. Textural players and space rockers will make an immediate connection with this pedal and finding applications for these new sounds will be effortless. For the rest of you, I suggest spending some time with the Space Station just to explore the sonic boundaries of what a guitar can really do. These are still fairly easy to track down on the used market so keep those eyes peeled for these bright yellow monsters.

Boss Percussion Synthesizer PC-2
The PC-2 is a percussion synthesizer featuring six controls allowing synth-drum, triangle and other sound effects. It’s possible to control the unit by the external input trigger.

“ah i love this thing. i bought it based on the previous review and i’ve found a myriad of things to do with it.. run it off a stereo pedal and whenever enough sound pumps through, it triggers.. this means it can be a constant tone if you’re pumping enough sound through (say off an aux send) - really controllable sound, especially the sweep and lfo depth and rate knobs. i love using it with my DD5 - sample a hit and let it pan it out to pedals, and the other out to the trigger for cracked rhythms.”

Red Sound Darkstar (@$300.00)
Using DSP analog modelling, the DarkStar delivers 8-voice polyphony with two oscillators per voice, faithfully recreating classic analog sounds. The built-in joystick is assignable to filter frequency and resonance or to oscillator mix and ring modulation. There’s pink, white and blue noise generation and 2 external inputs. Featuring all the essential ‘hands-on’ synthesizer parameter controls, DarkStar is housed in a desktop style case.

Electro Harmonix Mini-Synthesizer (@$600.00)
The EH Mini-Synthesizer features one analog VCO with a Pulse waveform. There is an octave divider and dedicated LFO for a Pulse-Width-Modulation (PWM) effect. There’s a rather quirky analog filter onboard too. Two sliders control the cutoff-point at the start and end of a tone, another slider controls the sweep rate between them and the fourth slider adjusts phase-shifting of the filter. Resonance, phase in/out and sensitivity are handled by on/off switches. Finally it also has a 2x switch which also creates a phase-shifter effect.

Electro Harmonix Micro Synth
You know the sound. Now, the reissued Micro Synthesizer for lets you produce vintage analog synthesizer sounds such as those generated by the early, great Moog synthesizers. The Micro Synthesizer’s ten slider controls give you complete control over the processed sound. Four completely independent and fully mixable voices-guitar, octave above, sub-octave, and square wave (or distortion) are modified by the resonance, start frequency, stop frequency, and rate controls of the filter sweep section to create the classic analog synthesizer sounds.

AKAI ASQ10
This may be a little big for a desktop, but still worth checking out.

“The ASQ10 is the probably the best hardware sequencer to ever be put on the market. An incredible machine, the ASQ10 was the sequencer-only spin off of the equally powerful MPC60 (Midi Production Center: Sequencer, Sampler, Drum Machine). Still unrivaled against today’s new products (except the new MPC3000 - but not the MPC2000). It is also the easiest sequencer I have ever laid hands on, including software sequencers. Actually, software sequencers are clumsy compared to the elegant layout of the ASQ10. The ASQ10 is very transparent to the creative process. Sure, software sequencers can claim unlimited tracks compared to the ASQ10’s 99 tracks, but how many times has anyone used more than 50! I personally have used Performer (which I have on my Mac), Vision, Mastertracks,etc. plus other hardware sequencers and I have yet to find one that gives me a better working environment.

2004_25_11

Cubase SX3

Filed under: — AP @ 1:25 am

Cubase SX3 takes music production to a new level by adding more than 70 new features including powerful Audio Warp Realtime Timestretching, an intuitive Play Order Track, convenient Inplace Editing and many new editing functions.

For the first time, a native music production system combines full-featured audio and MIDI recording and editing, virtual instruments and powerful audio mixing with the added flexibility of loop- and pattern-based arranging and mixing. Cubase SX3 supports Windows XP and Mac OSX and works with a multitude of audio interfaces. Add to that the seamless integration of external audio and MIDI hardware, and Cubase SX3 redefines music production technology.

  • Audio Warp: Realtime Time Stretching and Pitch Shifting offer extensive new audio editing and processing capabilities, including ACID® File support: loops automatically adopt a project’s tempo; audio files can follow tempo changes in realtime.
  • Intuitive Play Order Track for pattern-based arranging adds a new level of creative music editing. Divide your song into sections, and then re-arrange it on the fly. Compare alternative versions of your song and then convert them back into a linear form for mixdown and mastering.
  • New Inplace Editor supports ultra-fast direct MIDI event editing from within the project page. Edit MIDI events in context with audio or video.
  • New MIDI Device Maps / Panels support direct access to external MIDI hardware with user-definable graphic editing panels. Import VST Mixer Maps or create your own editing panels, even for the Track Inspector or the mixer’s channel strip.
  • User-definable Workspaces (window layouts) help organizing your desktop. Create and save a separate workspace for each step of the production process. Switch Workspaces on the fly, as if working on multiple computers or monitors.
  • Studio Connections “Total Recall” support (optional integration of Yamaha’s Studio Manager 2). The first step into a new dimension of software/hardware integration. This modular editing system builds a powerful bridge between the virtual and physical studio. Opening a project can recall an entire studio setup within seconds.
  • External FX Plugins allow for direct integration of external hardware effects processors into the VST audio mixer. Use your favorite outboard gear just like plugins – including automatic delay compensation.
  • Extended Freeze function for virtual instruments and audio tracks with added flexibility and improved performance. Freeze virtual instruments with or without insert effects. Then automatically unload the instrument to free up RAM. Freeze audio tracks with insert effects to free up even more CPU performance.
  • New part-based Volume Envelopes for direct control of dynamics. Fix level problems on the fly without wasting automation tracks. Then move events with their volume envelopes.
  • User-definable Color Coding for tracks and VST mixer channels provides more clarity and better orientation – especially in complex projects.
  • 2004_23_11

    Mini Desktop Synths

    Filed under: — AP @ 7:15 pm

    We’ve been taking a look at few options for desktop music production at an attempt to produce without the aid of a computer (whoah!). First off we have the Korg MS2000BR:

    Korg MS2000

    The Korg MS2000BR is a rackmount analog modeling synthesizer with a 16-band vocoder. The synth engine is based on the Korg Prophecy (remember those?). It has been obviously updated to include some of the most awesome sounds known to man :^)) I almost forgot to mention the killer arpeggiator that has six types of arpeggio patterns. Take a look at the Korg MS2000 Yahoo Newsgroup: http://groups.yahoo.com/group/korgms2000

    You can carve out your own distinct sound with this synth. The MS2000 uses leading edge DSP chips and technolgy to create it’s lush, fat, and nail bitting sounds. All this has been put into a somewhat portable chassis.

    It has 4-voices with 2 oscillators and a noise generator per voice. You can select from 8 different waveforms including the classic analog sounds (SAW, SIN, SQUARE, PLUSE) as well as some new more cutting edge sounds. All of which can be modified using the array of knobs and switches (see the above picture). The MS2000 also comes with the famous DWGS (Digital Waveform Generator System) that was origianally found in the Korg DW-8000 synth. It has 64 DWGS waveforms that features the classic bell sound, electric piano sound (think DX-7) and other waveforms include the new VOXWAVE for even a wider array of possible sounds.

    The MS2000BR has four filter modes: two low pass modes, a high pass mode, and a band pass filter mode. The low pass mode has a selectable switch either 2-pole/-12dB or 4-pole/-24dB (very steep ). There is the usual resonance knob can also be set to self-oscillate. Pan and volume controls are here as well as an amp section that provides distortion for some real aggressive sound creation. Also there are two LFOs that can be sync’d to MIDI to really create some dynamic sounds. For instance you can route the Mod Wheel to control the filter cutoff point or the pulse width.

    For sound control the MS2000 has the traditional four-stage ADSR (Attack, Decay, Sustain, Release) but extends this with the ability to change these settings over time. For instance you can assign an LFO to cyclically modifiy the attack or release settings. The number of possibilities is almost limitless. Every sound parameter can also be synced to MIDI clock or the arpeggiator for some great sounding rhythmic effects. There are two Envelope Generators and two LFOs for each timbre.

    2004_20_11

    SigmaTel Chip Powers MP3 Sunglasses

    Filed under: — AP @ 2:16 pm

    SigmaTel, Inc., the market leader for MP3 audio controller chips within portable MP3 players, announces an agreement with Oakley, Inc. to use SigmaTel D-Major MP3 controller technology exclusively for the world’s first MP3 player incorporated into performance eyewear, known as Oakley Thump.

    thump Scheduled to be launched November 20th for the 2004 holiday season, Oakley Thump will be distributed under an exclusive distribution arrangement with Circuit City Stores, Inc. for the consumer electronics channel. Thump will also be offered by Oakley’s own O Stores, Iacon sunglass specialty stores, online at Oakley.com and through limited specialty retailers.

    “SigmaTel was a great partner for our creation of the world’s first MP3 player integrated into eyewear. Oakley capitalized on SigmaTel’s small uBGA package, highly integrated chip design, low power consumption and USB 2.0 to create the most innovative MP3 player on the planet,” commented Carlos Reyes, Vice President Research and Development of Oakley, Inc.

    SigmaTel is the world-wide market leader for MP3 controller chips to the MP3 player market and is known for its highly integrated solutions. Because of this integration, the SigmaTel D-Major solution is ideal for small, unique form factor designs like Oakley Thump, offering power-savings benefits, feature-rich functionality, high quality audio playback and a lower system design cost.

    “Oakley’s globally recognized reputation as a product innovator and master of form-meets-function eyewear and consumer products is well known. The Oakley Thump line of MP3 audio-enabled sunglasses is another great example of this innovation,” says Ron Edgerton, president and CEO of SigmaTel. “SigmaTel’s own expertise with system-on-chip innovations for MP3 audio controllers enabled the Oakley design team to find very few limitations on how this new product would look and function.”

    2003_10_2

    HOW TO IMPORT GROOVES INTO CUBASE SX

    Filed under: — AP @ 1:50 pm

    For some strange reason, the latest version of Cubase SX does support importing MIDI groove files (Maybe they did this so you must use the Hitpoints feature!?). Soooo, you must import your grooves as a WAV, REX or RX2 file formats. The easiest way is to import an Audio file into Cubase, and using the Hitpoints feature, create a groove template from the audio file (Menu: Audio / Hitpoints / Create Groove Quantize). Now honestly, creating Hitpoints from an Audio file is not foolproof. In fact I would go so far to say that it sucks. Cubase is attempting to do the same thing that Recycle has done so well. You will actually have to do some manual editing. For example, I imported a straight hi-hat SOLOED out and it still could not find the Hitpoints automatically. I know what you are saying, I have a hundreds of MIDI files as grooves, how will I get them into Cubase? Well this part is not so fun. Open your MIDI Groove file in Cubase, and export it as a WAV (Menu: File / Export… / Audio Mixdown). Then import the WAV back into Cubase and use do: Audio / Hitpoints / Create Groove Quantize). Actually I have had quite a bit of fun this way, I have exported and imported FruityLoops, OrionPRO and AKAI grooves (as WAVs). That’s all for now. Let me know what YOU come up with.

    2002_31_5

    AKAI MPC4000

    Filed under: — AP @ 5:41 pm

    The most powerful MPC ever takes its rightful position in our Akai Professional product line. Along with the MPC2000XL, and the MFC equipped Ultimate XL the MPC4000 joins the legendary music production tools of our time. Using the new Z-96 sampling engine the MPC4000 boasts the first full feature sampler ever in an MPC product.

    Features:
    The new Z-96 sampling engine, combined with a high-performance Intel™ CPU provides ultra-fast processing and 24-bit audio resolution with sample rates up to 96kHz

    64-voices, or 32 voices at 96kHz sample rate

    16 MB onboard memory, expandable to a massive 512 MB

    Balanced stereo XLR-1/4 in. TRS combo inputs with reference-grade preamps, with switchable phono inputs to allow direct connection of turntables

    Four MIDI Out ports control up to 64 independent MIDI channels

    Four Q-Link™ knobs, and two note variation sliders for real-time modulation control

    Real-time control of filter cutoff, resonance, pitch, LFO rate, and depth — and more

    IntelliSample automates sampling, naming, program creation, and sample assignment

    Virtual sampling streams sample playback directly from hard disk

    Full sampler implementation provides compatibility with Z-Series and S-Series Multi, Program and Sample files. The MPC4000 can create everything from powerful beats, to expressive piano and strings parts

    Project (.PRJ) files save all sequences, songs, samples, programs, and multi’s in a single file

    New! 4-channel 56-bit effects processor (standard)

    USB host port accommodates USB floppy, CD-R, HD, MO, ZIP drives for storage, and an ASCII keyboard for naming

    USB slave port provides for ak.Sys Network and Control System software

    192 filters/26 filter types with to 3 simultaneous filters per voice

    Dual independent LFOs with internal/external modulation control

    Internal IDE hard drive (standard in North America Only) plus external SCSI connection

    Built-in sample rate converter on the digital input to eliminate rate-matching problems

    Large 320 x 240, multi-angle graphic LCD

    FAT32 disk format is fully compatible with S5000, S6000, Z4, Z8, DPS24, and most PC’s

    Native .WAV sample format allows data sharing with anything supporting .WAV files

    Built-in CD Recorder (standard in North America Only) for master archiving or Sample Loading

    ak.Sys Control and Networking software enables Mac and PC connection via onboard USB interface

    2 assignable footswitch inputs

    Wordclock input for sync with external digital devices (optional)

    Graphical sequence event editing

    Memory meters display remaining free sampler memory, sequence memory, and CPU memory

    Audition samples directly from hard disk

    Graphic editing of sample waveforms

    6 pad banks provide quick access to up to 96 different sounds

    SMPTE I/O Standard

    And much, much more!

    2002_11_4

    Universal Audio UAD1 DSP Card for PC

    Filed under: — AP @ 12:44 pm

    A new wave of dedicated DSP cards is helping computer musicians boost their plug-in power. The latest to appear is Universal Audio’s UAD1, which offers recreations of vintage compressors as well as a high-quality reverb. Martin Walker plugs it in.Even on today’s fast computers, some plug-in effects such as reverb and ‘analogue’ EQ still take a hefty chunk of CPU power. At the top end of the market, Digidesign’s Pro Tools systems have long offloaded their plug-in processing to dedicated DSP cards; and several manufacturers are now marketing cheaper DPS systems that are not tied to a particular host application or hardware platform. This is the approach taken by the TC Powercore (reviewed in SOS June 2001), Creamware’s Pulsar XTC, and the subject of this review, Universal Audio’s UAD1. All three offer transparent operation with any VST-compatible host application, so you can carry on running Cubase VST, Logic Audio, or Nuendo exactly as before, but with the benefits of high-quality plug-ins which don’t use up the host computer’s CPU power.

    Overview
    The UAD1 DSP card is just seven inches long – about half the size of its competitors, which may be helpful if you have limited space in your computer. Since it neither needs nor has any I/O ports, the backplate is blank, and although there is provision for multi-pin connectors on the circuit board, none were mounted on the review model. in fact, there is remarkably little circuitry on the UAD1, apart from 4Mb of onboard RAM and a single ’secret’ DSP chip fitted with a finned heatsink. Universal Audio are reticent about its origins, but do say that it’s not made by either Motorola or SHARC, as used by TC and Creamware respectively in the Powercore and Pulsar XTC.

    Despite all the claims of huge processing power relative to both native platforms and other DSP cards, it’s tricky to provide direct comparisons when the same plug-ins aren’t yet available for each one. Even where similar models exist, they may scale their processing up or down along with the price, to suit each product. However, for what it’s worth, Universal Audio claim that the UAD1 card is around 2.5 times more powerful than a Digidesign Mix Farm card [see clarification text below], and about twice as powerful as both the TC Powercore and Pulsar XTC. One more direct comparison that UA give does seem useful: you can run three instances of their Realverb Pro plug-in on a Pro Tools TDM Mix 24 system, and eight of the Powered Plug-In version on the UAD1.

    2002_12_3

    Hartmann Music unveils revolutionary NEURON

    Filed under: — AP @ 10:15 am

    Anaheim, CA (January 17, 2002) — The newly-founded German synthesizer company Hartmann GmbH enters the market with the revolutionary NEURON Synthesizer. Based on adaptive sound analysis technology, NEURON offers an entirely new approach to creative sound synthesis and marks a breakthrough in 21st century synthesizer design. NEURON combines intelligent analysis and synthesis based on neural networks with innovative user interface design. The result is a completely new type of synthesizer offering spectacular and unique sounds inside an easy-to-use instrument.NEURON’s intelligent software allows the user to first analyze and then manipulate any sound
    source in a completely new and different way. With its neural network controlled adaptive sound
    analysis, NEURON automatically identifies a sound’s most specific qualities and translates them into
    individual parameter sets, perfectly matching the original source sound. All aspects of the sound are
    saved in a model, which can be instantly recalled and played. Instead of applying the same
    parameters to every type of sound, NEURON learns from the sounds fed into it and automatically
    assigns suitable parameters to each type of sound.
    HARTMANN President and co-founder Axel Hartmann: „For more than 15 years, musicians had to wait for a really new and thrilling synthesizer. Now the wait is over. The era of sample-based workstations and virtual analog modeling synths has dragged on far too long. NEURON is an entirely new type of instrument, based on our proprietary technology called ‘Neuronal Synthesis’. Musicians will experience a whole new universe of sounds impossible to create with any other instrument available today.“Despite its power, NEURON’s user interface is both intuitive and easy-to-use. Custom designed controls like the new graphic supported stick controllers and rotary encoder wheels provide accurate and smooth control over each parameter. A flexible modulation engine and full parameter
    automation allow for dynamic editing and realtime recording of parameter changes. In addition, no
    less than 13 alphanumeric displays provide instant feedback over the current status of the
    instrument.

    Sounds originate in two so-called resynators, each of which generates a sound based on the models
    stored on NEURON’s internal hard drive. Using the Blender function, these two models can be
    mixed and merged in a variety of different ways, creating totally new sounds based on the
    individual models. For example, a three-dimensional imprint of one model can be used to
    manipulate the spectrum of another model. The possibilities are virtually unlimited. In addition,
    complex sounds can be filtered and processed in many different ways. NEURON not only offers
    powerful realtime effects: it is also the first synthesizer to provide full 5.1 surround panning and processing capabilities.

    Under the hood, NEURON features a powerful DSP engine with 64-bit floating point precision and a
    32-bit signal path, as well as 256 megabytes of RAM. A 10 GB internal hard drive holds factoryprogrammed
    and user-defined neural synthesis models. Internal memory consists of 200 sound and
    200 setup memory locations, including a convenient snapshot function. External backup storage
    devices (such as CD-writers, hard drives and memory sticks) can be added using the integrated USB
    interface. Depending on the structure of the chosen neural synthesis model, NEURON offers 16-48
    voice polyphony. Its 6 audio outputs can be flexibly configured, from 6x mono to 5.1 surround. The
    5-octave semi-weighted keyboard offers velocity control and channel aftertouch.
    Stephan M. Sprenger, NEURON DSP software designer and mastermind behind NEURON’s
    synthesis technology: „This instrument represents a novel approach to sound synthesis. For the first time
    ever, the flexibility of our audio rendering technology is combined with neural model extraction, built into a
    powerful stand-alone synthesizer. Still, everything is realtime controllable - thanks to the extremely powerful
    processing hardware we’re using.“
    The NEURON Neuronal Synthesizer will ship this spring to selected retailers worldwide at a
    suggested retail price of USD 4,990.00 (€ 4.890,00).
    Hartmann GmbH, based in Torkenweiler/Germany, was founded in April 2001 by renowned
    German synthesizer designer Axel Hartmann. Axel Hartmann is the interface designer responsible
    for such remarkable instruments as the Waldorf Wave and the Alesis A6 Andromeda. His list of
    clients include companies like Access, Alesis, Antares, Creamware, Korg, Line 6, Novation, Steinberg,
    and Waldorf. Stephan M. Sprenger is senior developer and director of research and development at
    PROSONIQ Software, renowned German manufacturer of computer-based audio editing and digital
    signal processing solutions. PROSONIQ provided the essential key technology for NEURON’s
    innovative synthesis methods. Sprenger is a pioneer in neural network processing. His design work
    for NEURON is based on more than a decade of research and development in the area of adaptive
    sound analysis and synthesis.
    For more information, please contact Hartmann GmbH, Tettnanger Str. 311, D-88214 Torkenweiler –
    www.hartmann-music.com. Dealers and Distributors are welcome to contact Achim Flor (Director of
    Sales) – flor@hartmann-music.com – phone +34 922 726 330, fax +34 922 726 331.

    2002_26_2

    Native Instruments - FM7 Virtual Instrument

    Filed under: — AP @ 1:02 pm

    Native Instruments revives the legendary sounds of FM synthesis with the FM7. The FM7 takes the legendary sound of FM synthesis to a new level – not only does the FM7 read the complete sound library from the classic FM synths, but it goes far beyond emulation. It adds distortion and filter operators, extensive modulation capabilities, a comprehensive effects section, audio input and much more to the traditional FM architecture. The user interface of the FM7 makes it comfortable and easy to explore the fascinating new possibilities of FM-Native style."The FM7 is extremely exciting for us because the recent advances in native processing open up new possibilities for little-explored dimensions of FM synthesis,” explains Michael Kurz, the lead developer of the FM7 at Native Instruments.

    Product Information: FM7
    The vivid and powerful sounds of FM were celebrated by musicians and listeners worldwide since the early eighties. Many producers still value the special aesthetics of this sound, as the uniquely vibrant FM textures perfectly complement analog and digital sample-playback synthesis.

    The FM7 can read all programs from the original DX7, DX7-II, DX11, TX81Z, DX21, DX27, DX100, TX802 and reproduce the sounds of these machines with spectacular realism.

    Classic sounds can be transformed into something completely new with the FM7. For example, each of the operators of the FM7 offers many waveforms besides sine. Additionally, a distortion operator with noise and an analog filter operator complement the waveform operators and increase the sonic range of the FM7 far beyond classic FM synthesis. Unlike the classics, FM routing can be set freely. The effect section of the FM7 offers high quality stereo chorus, flanging and delay effects., Programming and operating the classic FM synthesizers has never been easy. But the advanced graphical editors of the FM7 offer an intuitive environment to explore FM synthesis. Now the world of FM synthesis can be easily accessed and the enormous sound potential of frequency modulation can be rediscovered, but with a modern twist.

    The FM7 runs on Macintosh or Windows, either as stand-alone with MME, Direct Sound, Sound Manager and ASIO or as a plug-in with a VST, DirectConnect or DXi compatible host program.

    The FM7 will be released in May 2001.

    Feature Overview: FM7
    • FM synthesizer with extended sound architecture

    • Reads and faithfully reproduces sound programs of the FM classics

    • Full matrix frequency modulation with 8 operators, no fixed algorithms

    • 6 operators with many waveforms plus distortion and analog filter operator

    • Sophisticated graphical editors with many convenient edit functions

    • Flexible graphical envelopes with unlimited number of stages and looping

    • Stereo effects section with chorus, flanger delay, can be used for external audio signals

    • Runs either as stand-alone or as a plug-in on MacOS and Windows

    • Optimized for Pentium III and G4 processors

    • Supports VST 2.0, DXi, DirectConnect, MAS, ASIO

    SYSTEM REQUIREMENTS:

    Windows 98, Pentium III450 MHz, 64 MB RAM, 16-bit sound card Mac 0 S 8.6 or higher, G4 400MHz, 64 MB RAM

    For more information, visit their web site at http://www.native-instruments.de

    2002_20_2

    Native Instruments - B4 Virtual Instrument

    Filed under: — AP @ 2:14 pm

    The B4 is a VST-based tonewheel organ combo, completely capturing the sound of the classic B3 organ and rotating speaker. The B4 takes the popular tonewheel organ into new territory. Added flexibility in sound generation and seamless integration into the recording environment make this possibly the best organ since the original.The Native Instruments Synthesis Research Lab carried out a painstaking analysis of the electro-mechanical sound generation and tube circuitry of the best organ and speaker cabinet combinations. The resulting software model, based on the same NSP-technology as NI’s award-winning Reaktor modular system, produces sound virtually indistinguishable from the original hardware. The flexibility of advanced software modeling makes possible a new degree of realism.

    Unlike a sample-based instrument, the NI B4 accurately models such subtle details as harmonic foldback, drawbar crosstalk and loudness robbing. The result is a warm and powerful sound over the entire range of the keyboard, complete with the subtle tonal shades that improve both playability and musicality.

    The B4 is capable of all the variations one expects from this type of organ, and is suitable for any flavor of music, be it Rock, Jazz or House. A “rear panel” gives access to numerous adjustment parameters, which allow the sound to be tailored for particular applications. You can even use the B4 to process other sounds. Just plug it in as a VST Insert Effect and apply any combination of Scanner Vibrato, Tube Overdrive and Rotating Speaker effect to your audio tracks.

    Features

    91 tonewheels
    9 drawbars per manual
    2 manuals and pedal keyboard
    scanner vibrato/chorus
    percussion on any harmonic
    keyclick (adjustable)
    tube distortion sound
    rotary speaker
    many parameters for fine tuning the sound
    standalone capability
    audio input when used as an effects plug-in or standalone
    For use on Macintosh or Windows, by itself or as a plug-in with any VST 2.0 compatible sequencer.

    With an attractive and easy-to-use graphical user interface, this promises to be another must-have for anybody producing music on the computer. Tonewheels have never been this portable or this affordable.

    2001_23_11

    Steinberg Cubase 5.1 VST Released

    Filed under: — AP @ 2:47 pm

    The new release is supposed to contain better MIDI TIMING, latency correction, enhanced Athlon performance, plus a some neww VST instruments. I haven’t tried it, but I would love to hear anyone’s comments who has already taken the plunge…’Cubase 5.1 - more instruments, more effects, more power
    The new Cubase VST 5.1 version is now available. Three new VST instruments and eleven additional virtual effect processors offer new creative possibilities for music production. ‘

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