秀才不出門，能知天下事，AES出了什麼新鮮貨，大家來看吧
Brauner Phantom C Mic Debuts at 113th AES
October 5, 2002
At the 113th AES Convention, Transamerica Audio Group, the U.S. distributor for Brauner microphones, introduced the Brauner Phantom C microphone. Dirk Brauner, the legendary German microphone designer and manufacturer, engineered the Phantom C to bring the Brauner sound to a greater number of recording and broadcasting facilities due to a new price point. Designed for lead vocal and voice over applications, the Phantom C is the first non-tube (FET), large diaphragm mic from Brauner.
The Phantom C is a fixed cardioid pattern phantom powered FET mic and carries offering 8dBa self-noise, 28mV/Pa cardioid sensitivity, and 142dB Max SPL at 0.5 percent THD. The Phantom C comes complete with carry case and shock mount and retains all the build quality and look of the famed Brauner VM1. Price on the Phantom C is $1,380 (MSRP).
"What's really special about this mic is that it is specifically tuned by Dirk to nail a 'particular' sound for vocal recording," noted Brad Lunde, president of Transamerica Audio Group. "During it's testing period, the mic also demonstrated its extraordinary voiceover capability at keeping intelligibility high without sounding overly bright. This is what microphone enthusiasts have been asking for - that big, open, Brauner sound at a cost-effective price. Dirk promised to bring the unique Brauner sound to the greatest number of users and the Phantom C delivers on that promise."
SONAR 2.1 Update Due This Month
Includes OMFI, Broadcast Wave, Windows Media 9, and Mackie Control Support; Will Be Available as Free Download to Registered SONAR 2.0 Customers
October 5, 2002
Cakewalk is releasing a 2.1 update for its award winning SONAR digital multitrack recording system later this month. SONAR includes the most advanced Windows technology available for recording, editing, and mixing digital audio and MIDI projects entirely on the PC. Registered SONAR 2.0 customers will be able to download the SONAR 2.1 update for free at www.cakewalk.com.
First released in March of this year, SONAR 2.0 is a digital audio and MIDI production package designed and optimized exclusively for the Windows platform. SONAR offers unlimited digital audio and MIDI tracks; a centralized interface design for improved creative workflow; advanced audio looping and editing tools; ReWire 2.0 support; global support for control surface hardware; DXi software synthesizer plug-ins; fully-automatable DirectX 8 audio plug-ins; real-time MIDI FX plug-ins; and extensive audio loops and SoundFont libraries.
SONAR 2.1 Highlights
- OMFI and Broadcast Wave (BWF) support, providing sample-accurate import and export of OMF and Broadcast WAV audio files and sequences directly into SONAR projects without launching a separate application. Support for OMFI and Broadcast Wave files provides cross-platform compatibility with OMF host applications such as Pro Tools, Avid and Logic systems.
- Windows Media 9 Series audio export support, providing the latest audio streaming technology available for saving and distributing music over the internet.
- Mackie Control surface hardware support, allowing musicians and producers to use the new Mackie surface hardware to control SONAR's recording, editing and mixing operations.
Pricing and Availability
The SONAR 2.1 Update is scheduled to be available mid October, 2002. Registered SONAR 2.0 users will be able to download the SONAR 2.1 update for free at www.cakewalk.com. SONAR has a manufacturer's suggested retail price (MSRP) of $479 U.S.; SONAR XL is $599 MSRP.
Pro Tools 6 Brings Mac OS X Support, New Look
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Pro Tools 6.0 software for Mac OS X adds a powerful set of new features and improvements that make this the next evolutionary step for Pro Tools software. With Pro Tools 6.0, you'll experience a completely new level of efficiency and effectiveness when working with Pro Tools.
Premier amongst new features is support for Apple's OS X operating system, providing improved, solid interaction between the Pro Tools environment and Power Mac G4s. You'll also notice a streamlined new look for the Mix, Edit, and Transport windows, making this the most user-friendly Pro Tools software environment yet. New multi-user login functionality enables individual users to save custom display, operation, editing, automation, processing, compatibility, and MIDI preferences, providing a new degree of personalization with the Pro Tools environment. But that's just the beginning.
Pro Tools 6.0 software also features the new DigiBase file management utility, enhanced MIDI functionality (including hi-res groove templates!), additional Beat Detective features, new Import Session options, plug-in functionality enhancements, MachineControl additions, and much more.
Improved Organization
Often, the larger your Pro Tools session, the more difficult it is to get your head around all the elements it contains. Media files may be located on different drives, both internal and external; and if you're working on multiple projects with multiple media sources (external drives, effects CDs, etc.), the possibility of confusion increases dramatically.
To help you keep it all straight, Pro Tools 6.0 software includes a new file management utility called DigiBase. Functionally, DigiBase is similar to Mac's Finder or Windows' Explorer, enabling you to manage all of the files on your system. Moreover, DigiBase allows you to view complete file information including duration, timestamps, and two user comments fields. Display layouts can be customized to focus exclusively on the information you need.
You can also audition files and view their waveform thumbnails before importing into Pro Tools, regardless of file format or sample rate. When you've determined a selection, the one-step drag-and-drop process from DigiBase to your session timeline includes automatic file copy and conversion, guaranteeing compatibility with your project. What's more, Pro Tools 6.0 now handles many tasks such as copying, conversion, and fade creation in the background so that you can continue to record and edit without interruption. A new Task Manager feature also enables users to monitor and manage background processes.
With the additional functionality provided by the DigiBase Pro option (TDM systems only), file management options are further enhanced. DigiBase Pro provides for the creation and sharing of custom catalogs that reference files wherever they're stored, including on networks and offline media. You're also able to view, search and spot files from offline media such as sound effects libraries, CDs, etc. And you can pinpoint the files you need by searching on any combination of file information, such as file type, comment, and creation date.
More MIDI and Beat Detective
Pro Tools 6.0 software incorporates enhanced MIDI functionality, including full support for Mac OS X's Core MIDI Services. MIDI Time Stamping (MTS) support provides sample-accurate MIDI with Pro Tools-compatible software synths and samplers, eliminating the possibility of compromised sync and drift issues. Also, you can take advantage of up to sub-millisecond-accurate MIDI with Digidesign's MIDI I/O and other supported MTS-capable interfaces, rivaling any dedicated hardware sequencer.
Pro Tools 6.0 software's new MIDI capabilities also afford you extensive manipulation of rhythmic content through powerful groove creation and modification tools. The Groove Quantize feature incorporates intelligent Bar|Beat adjustment as well as support for the new 960 ppq DigiGroove templates.
Since its arrival, Pro Tools' Beat Detective tool has proven to be an extremely valuable resource for all kinds of production applications. Now with the new Beat Detective functionality (TDM systems only), you are able to extract and generate DigiGroove templates based on audio performances and utilize both the timing and the dynamics of passages elsewhere in your composition. These DigiGroove templates are also compatible with new Groove Injection templates from Numerical Sound.
Pro Tools 6.0's MIDI implementation also features a new Restore Performance function, enabling you to return to an original MIDI-based performance at any time. Working in this non-destructive manner, you can experiment unhindered with the assurance that you can always recover from adjustments made during the course of your project. Of course, if you've settled on changes, the Flatten Performance feature solidifies your edits and gives you a new, permanent basis from which to proceed.
Additional new features include a new Relative Grid option, a new keyboard shortcut for temporarily disabling Grid mode, and definable note duration when drawing notes (the Pencil tool now also trims notes). The Trim tool now trims notes in Velocity view, and MIDI Operations and Tempo/Meter Change are easily accessible floating windows. And in addition to more MIDI tracks than ever before (256), Pro Tools 6.0 supports DirectMIDI for plug-ins, enabling automatic tempo data broadcasting to select plug-ins to ensure that rhythmic delays stay in time without user intervention.
Increased Mixing Options
The mixing environment in Pro Tools TDM 6.0 offers new efficiencies to further your effectiveness. Premier amongst those is the ability to import any track attributes from one session into another (TDM systems only). Specifically you can choose to import any combination of track data including audio playlists, MIDI playlists, mixer automation, routing assignments, plug-in instances and settings, and plug-in automation. Plus, you can choose to replace or overlay the data in relation to your existing session. This new Import Session Data capability that can be used in a variety of ways: For instance, if you've perfected a set of drum tracks, or portions thereof, you can migrate only the channel attributes you want to another session's raw drum tracks. Or, if you need to scale down a mix to a smaller system, you can easily move sessions between systems with different I/O configurations by importing only the track data you choose on a per-track basis. And, analogous to changing tape out in a traditional analog environment, Pro Tools 6.0 supports the importing of audio/MIDI playlists while preserving the mixer layout, routing, and plug-in settings.
Other improvements include the Selector tool's (I-beam) ability to select across multiple tracks as well as a definable Zoom for toggling track heights.
More Control
MachineControl option enhancements (TDM only) are also included in Pro Tools 6.0, providing post professionals with an even higher degree of workflow streamlining. A new Machine Profile utility enables you to create deck configuration profiles for controlling any Sony 9-pin controllable deck, and includes support for custom track name entry in each deck profile, for even easier operation when remotely track arming. 9-pin deck emulation operation now includes a "Remote LTC Mode" allowing you to chase LTC while receiving 9-pin record and track-arming commands. The result: support for higher track counts and faster operation when in deck emulation. You are also able to generate timecode while emulating a 9-pin deck.
A new Offset setting for MachineControl, chasing timecode, and MMC enables you to compensate for minor differences in source tape versions. You can create a single session with multiple VOs and then quickly offset Pro Tools compared to the tape for each layback performed. Additionally, the Set Timecode Position function allows you to select a location in your timeline and re-enter its timecode position, relatively resetting the entire timeline.
SYSTEM REQUIREMENTS
Digidesign-approved Pro Tools TDM (Pro Tools|HD, Pro Tools|24 MIX, Pro Tools|24) or LE (Digi 001 and ToolBox) system running Mac OS X (support for Mbox and Digi 002 coming soon).
Pro Tools on Windows XP support of the new features, and OSX compatibility with AVoption|XL, Unity, and MediaManager are scheduled for Q2, 2003.
HHB's Portadrive Makes West Coast Debut
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October 5, 2002
With 8 tracks of 24-bit/96kHz recording, flexible on-board mixing and comprehensive time code facilities, the new HHB Portadrive is looking to set a new standard in location sound recording. The Portadrive records audio onto a compact, robust, shock resistant removable 2.5" hard drive in industry standard BWF or SDII formats. This allows full compatibility with Mac and PCbased digital audio workstations, connecting via an optional drive docking station. A comprehensively equipped 6-into-2 digital mixer is built in, enabling the simultaneous recording of a stereo mix alongside six discrete inputs.
Microphone inputs are ultra-low noise balanced XLR Mic/Line inputs with individual phantom powering, 'gangable' limiters, attenuation, high pass filter, delay and phase reverse. The 2-channel return input and both the main and auxiliary analog stereo outputs are balanced. Digital connectivity is comprehensive with 8-channels of AES I/O on an industry standard 25-pin D-sub connector, one SPDIF input and AES and SPDIF stereo digital outputs.
Rackmount Your VST Plug-Ins with Plugzilla
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Manifold Labs is demonstrating their new Plugzilla rack mount effects processor at this year's AES Conference in Los Angeles, and quickly became one of the highlights of the show for us. The brainchild of industry veterans Tony Agnello, Marc Lindahl and Joe Waltz, Plugzilla is a revolutionary new effects processor, which will run any VST plugin.
Starting with Steinberg's open standard, and adding a quick user interface, copy protection, and wrapping it in a quiet 2-U package, Plugzilla was designed to change the industry's perception of VST plug-ins, and audio effects boxes, forever.
"Joe came up with the concept for Plugzilla, which truly represents a milestone in the evolution of effects processors," says Tony Agnello of Manifold Labs, "so we put together a team of top engineers and designers to make it a reality. This is a ground breaking platform for applications from live performance to recording studios to research."
"Tony should know," adds Marc Lindahl, "he's responsible for a bunch of milestones in audio effects, like the original Harmonizer pitch shifter and the first-of-its-kind SP2016 multieffects processor."
While at Eventide, Tony Agnello invented the Harmonizer and SP2016 effects processor, and has been involved in DSP since the 70's, including founding Ariel Corp and leading it through its IPO in 1995. Joe Waltz is a veteran of both Lexicon and Eventide, and worked on the breakthrough JamMan and the Lexicon 300, as well as the TEC Award nominated Eclipse and Orville processors, among many others. Marc Lindahl went from dbx, Inc. to starting his own audio company, Sonorus, and doing design work for Avid, Mackie, TC Works, Swissonic, Midiman, Event, and others before joining Eventide.
"This is a very exciting product," says Joe Waltz, "and we are already talking to several top plug-in companies interested in making plug-ins which will take advantage of the power of Plugzilla. We're here at the AES to talk to other interested plug-in makers about this new platform."
New Rackmount Mixer from Roland Targets Digital Studios
New M-1000 Mixes Four S/PDIF Inputs with Sample Rate Conversion and More
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October 6, 2002
At AES, Roland announced the M-1000 10-channel Digital Line Mixer. This 1U rackmount mixer is designed to give musicians a convenient way to mix up to four stereo S/PDIF signals--plus two analog inputs--with 24-bit/96kHz sound quality and convenient automatic sample rate conversion. The DM-1000 can even mix audio from a PC via its USB port, while Word Clock I/O makes it easy to integrate with other digital gear.
Up to four stereo S/PDIF inputs can be mixed--along with a stereo analog input--using simple rotary controls. The resulting signal can then be output digitally or via the analog Master and Monitor outputs. The M-1000 even takes care of sample rate conversion automatically. And with 24-bit/96kHz sound quality and 56-bit internal processing, the M-1000 can be used in home studios and professional studios alike.
Unique to the M-1000 is the built-in USB port. Using a single USB cable, digital signals can be routed from a computer to the M-1000, where they can be mixed with other input channels. The results can then be sent back to the computer for recording. The M-1000 also integrates perfectly into professional studios thanks to its Word Clock I/O, with clock sources selectable among Internal, Word Clock, Digital In and USB (At 96kHz, it is not possible to send audio in and out simultaneously via USB). Multiple M-1000's can even be cascaded to create the ultimate digital mixing system.
New at AES: Sennheiser MKE Platinum Lavalier Mic
October 5, 2002
Size really does matter in live performance and broadcast sound, where clip-on microphones should be heard and not seen. The new MKE Platinum is a very unobtrusive, yet extremely rugged sub-miniature microphone.
The successor to the MKE 2, sub-miniature clip-on lavalier microphone family, the MKE Platinum has been designed to meet the exacting requirements of live sound engineers, theater and broadcast. Insensitive to handling noise and moisture, it features outstanding electrical and acoustical properties. The MKE Platinum utilizes low-capacitance, ultra-thin and flexible, yet extremely rugged, damage-resistant cable to ensure easy, unobtrusive attachment of the microphone and years of trouble-free service.
The MKE Platinum, practically invisible in use, is built to exacting tolerances and features an optimized treble response for improved headroom at the wireless body-pack transmitter. Bass response is optimized through precise capsule ventilation design, and with a very smooth THD curve, the MKE Platinum will handle sound pressure levels up to 142 dB. The hermetically sealed capsule and improved embossed "umbrella" diaphragm protects the microphone against moisture and ensures a longer working life than competing products.
"Although we have been the market leader in miniature microphones for decades, the performance and size requirements for an improved lavalier mic became evident to us over the past few years" states Karl Winkler, director of marketing communications at Sennheiser. "Our goal to produce a smaller, more rugged product, but with even better sound than the MKE 2, was quite a challenge, but has been fulfilled with the new Platinum version."
"I" Series Microphones Launches with ifet7
October 5, 2002
AES 2002 brings a new direction for Soundelux with the unveiling of an Interpretive Series of microphones, coined the "I" Series. The "I" Series enables Soundelux to combine multiple vintage recreation elements into one microphone, enabling a broader variety of product answers to vintage mic replacement.
The first offering in the "I" Series is the dual-purpose Soundelux ifet7. It is designed to handle the same applications as the vintage 47fet and 87fet microphones while also adding modern day improvements to the cherished performance and features of those classics, and is available at a price of $2,100 (MSRP). The ifet7 improves on the characteristics of its vintage counterparts increasing the applications and performance level for both vocals (87fet) and instruments (fet47).
The new ifet7 is a phantom powered FET condenser microphone that combines a German-made capsule with two sets of completely different sounding internal electronics. With the click of the "Vocal/Instrument" switch, engineers can go from the 47 (I mode) to the 87 (V mode) and back again. The ifet7 "I mode" incorporates the standard features of the vintage 47fet, retaining its essential hi-SPL input characteristics and unique instrument applications. The ifet7 "V mode" captures the sound and features of the vintage 87fet, enabling it to perform vocal functions with a color favored by many. Both V/I modes offer improvements that bring clearer high end and unsurpassed low frequency performance with a sound that is not at all boxy or band limited. Based on the same mechanical dimensions and construction as classic 1960s fet mics, the ifet7 looks like a short version of the Soundelux E47. It comes supplied with an arm for stand mounting similar to the original fet47, and an optional shock mount fully isolates the ifet7 from the stand. A wooden box enables appropriate studio storage of the mic when not in use.
True to vintage mic tradition, the ifet7 is a fully transformer coupled microphone, but offers several design improvements over vintage designs. A very large core transformer is employed to dramatically improve low frequency headroom, rivaling the best transformerless designs of today, yet retaining the "sound" of vintage mics.
"David Bock has done it again," commented Brad Lunde, president of Transamerica Audio Group. "After listening and researching modern alternative materials, David has homed in on the right combination of electronics and acoustics to capture the essence of these two all-time top studio mics while improving and fixing some of their inherent weaknesses. This little ifet7 will potentially replace two vintage mics at half the street price of the originals. With two mics in one, studios will have more options, great sound at a rather incredible price."
Nuendo 2.0 Unveiled at AES
For Microsoft Windows 2000/ XP and Apple Mac OS X
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Steinberg North America today debuted the Nuendo 2.0 Media Production System. From the very beginning, Nuendo was created to handle any kind of job within the media industry. With its new version 2.0 software, Nuendo delivers a complete media production system, designed with the needs of the user in mind and meeting the demands of working professionals in all genres of audio production: composition, film, broadcast, music, postproduction, surround, game sound and multimedia. As Steinberg's flagship product, Nuendo 2.0 utilizes the finest and most advanced technologies available today.
From input to final mix, Nuendo 2.0 is all about surround, with multichannel architecture through the entire signal path. Every input, audio track, effect, group and output now offers up to 12 discrete channels, ready for full-scale 5.1, 7.1, or even 10.2 productions. To make routing in the project even more transparent, Steinberg has developed a new way of organizing inputs and outputs, allowing the user to customize multichannel input/output configurations and switch between them with a single keystroke. Several input and output buses can be utilized at the same time, with any type of configuration possible - mono, stereo or any of a wide range of surround formats - and any track can be routed to and from any of these buses. Nuendo 2.0 even allows switching between multiple monitoring configurations (speaker arrangements) and can simulate a wide variety of end user monitoring environments.
Nuendo 2.0 offers flexible mixing. Its 32-bit floating point mixer has been completely re-engineered and now features multiple multichannel input and output buses. This new architecture allows for recording in either split or interleaved surround audio file formats and makes managing a surround project easier than ever before - Nuendo 2.0 always keeps track of which part of the signal chain is multichannel and which is simply stereo or mono.
Nowhere are the improvements in mixing more apparent than in signal routing for virtual effect processors. The new version of the world-standard Steinberg VST technology provides complete flexibility in signal routing to and from virtual effects for each and every track. Nuendo 2.0 even adds effect return channels that allow effects to be added to the input signal while recording, as well as full delay compensation throughout the signal path.
VST System Link is a revolutionary Steinberg technology which allows the user to increase the realtime processing and mixing power for any project by simply adding as many Macs, PCs, desktops or laptops to the system as are needed. But Nuendo 2.0 doesn't stop there. An array of powerful new networking capabilities allows the transferring of tracks and events in a network over TCP/IP LAN. Each user in a network gets his user ID and read/write permissions for each TCP/IP project. The standard network access built into Nuendo 2.0 supports recording to, as well as copying and playing back from dedicated servers or other workstations: all that's needed is TCP/IP LAN. Combining separate Nuendo 2.0 projects is no problem, either - a Merge Project function fuses tracks from one project into another.
Nuendo 2.0 also allows the flawless import of Cubase SX projects, and support is provided for a huge range of export formats in order to exchange projects with systems from other manufacturers. Nuendo 2.0 can also import numerous file formats such as AES31, Open TL 3.0 and OMF.
User Customization
Nuendo 2.0 allows you to set up a project the way you want it. If there is no need for MIDI functions in a particular mix, for example, all MIDI controls can be hidden for each track to suit your personal way of working. You can hide functions you don't use from Nuendo's menus - making for a better overview and faster response - and you can even define which buttons and controls you want to see on your tracks, and in which order.
EQ-Curve Assimilation Coming to TC PowerCore
October 7, 2002
Assimilator is an innovative processing tool for PowerCore that processes the EQ-curve of any reference mix onto any target material.
"We always had the dream of being able to turn multiband Equalization into more of an intuitive and gratifying user experience", says Ralf Schluenzen, CEO of TC WORKS. "With Assimilator we made this come true -- simply analyze the EQ-curve of any reference material and apply it to your own target material in realtime. That's it!"
"We are very excited about ASSIMILATOR coming to market", says John Epperson TC WORKS' product manager. "The feedback from our Beta Testers is overwhelming -- this is very encouraging after all the hard work!"
Assimilator can be used for any application from sound design to mastering, e.g. adjusting a mix to have the same EQ-sound as a reference mix or to create a more uniform voice sound across a whole bunch of takes.
Assimilator's processing is phase-linear and is employing FFT (Fast Fourier Transform) to achieve results that are comparable to 1000s of common equalization bands running. Due to the extreme processing, a "native" version of ASSIMILATOR would drain most resources even on the fastest available computers.
Thanks to TC WORKS' Powercore DSP platform, the heavy algorithm could be implemented on the DSP card, freeing up the host CPU for other processing. PowerCore provides enough performance to run up to 4 instances of ASSIMILATOR on one card.
The user interface is very intuitive and easy to use: only 2 mouse clicks are required to learn the reference and target material's curves, an apply fader allows the adjustment of the assimilation strength. The Morph page allows mixing complete sets of curves, enabling to change from one extreme setting to another by moving just one automatable fader. This will be a welcome feature for sound design and mastering applications.
The ASSIMILATOR for PowerCore will be shipping in November 2002. Recommended retail price: $ 299 US / 249.
ClassicVerb for TC PowerCore Ships October 10
October 6, 2002
TC Works ClassicVerb, an entirely new reverb exclusive to the POWERCORE platform will begin shipping on October the 10th, 2002.
POWERCORE is an open DSP platform offering its users a wide range of audio production tools: from EQs to Dynamics Processing tools to virtual synths. With the entirely new ClassicVerb and the already included MegaReverb, POWERCORE now provides two totally different flavours of reverb.
ClassicVerb has been modelled on a world renowned studio reverb to achieve its rich and textured classic reverb sound. ClassicVerb's algorithm is following a completely different design philosophy and is unlike any reverb TC Works has done in the past, offering a completely different sound from MegaReverb. Apart from the elegant user interface, ClassicVerb features a choice of modulation types for sonically rich timbres. Fifteen room types provide a wealth of different unique spaces, featuring Halls, Plates, Cathedral, Spring as well as three rooms tuned especially for vocal processing.
2 instances of the Plug-In require one single DSP to run, allowing a total of up to 8 ClassicVerbs on a single Powercore - still leaving room for some other Plug-Ins like EQs. 24/96 is supported.
Starting now, Powercore will include:
- Chorus/Delay
- EQSat
- VoiceStrip
- Vintage CL
- PowerCore 01 Synth
- MegaReverb
- ClassicVerb
ClassicVerb will be available as a free download from TC Works' website to all existing and new Powercore users in October.
Universal Audio Debuts 6176 Channel Strip
Combines the 2-610 Microphone preamp and 1176 compressor
October 6, 2002
Universal Audio, manufacturer vintage audio reproductions and DSP powered plug-ins debuted their new 6176 channel strip to attendees of the Audio Engineering Society Convention in Los Angeles. The 6176 combines Universal Audio's two most successful products-the 2-610 microphone/instrument preamplifier and the 1176LN compressor-into a single "channel strip" product.
The 6176 features several improvements over the standalone 2-610 mic preamp and 1176LN compressor. "While we're known primarily for painstaking reproductions of vintage gear," said Universal Audio Chief Analog Designer, John Hinson, "with the 6176 we allowed ourselves to add new features and take advantage of components with superior specs over the originals. For example, the mic preamp now features a 15db pad and a beefed-up power supply that tightens up the bass. The compressor section still has the twenty micro-second attack time and program dependency of the original 1176, but it is much quieter. Vintage character with modern specs is what we were going for and I think we've hit it. It's the best of both worlds."
The 6176, a single, horizontal rackmount unit, has a suggested US retail price of $2,495 and will begin shipping in the fourth quarter of 2002.
UAD-1 Software Version 3.0 Previewed at AES
Support For Multiple Cards and a New EQ Plug-In
October 7, 2002
Mackie Designs Inc. and Universal Audio today provided a preview of their upcoming Windows 3.0 software release for the Mackie UAD-1 DSP card with Powered Plug-Ins. Version 3.0, in addition to supporting the use of multiple UAD-1 cards in a single PC, supports Cambridge, a new EQ plug-in. The UAD-1 and Powered Plug-Ins were developed by Universal Audio Inc. and are marketed and distributed worldwide by Mackie Designs Inc.
"We are very excited about 3.0," said Universal Audio co-founder Bill Putnam. "The Cambridge EQ, with its surgical percision, is the perfect compliment to the warm, musical Pultec. And the ability to use multiple cards in a single machine has been the number one request from our users for some time. The amount of processing power you can get into your PC now is just awesome!"
In addition to its five-band, fully parametric EQ, Cambridge features a high and low cut with a wide variety of filter types and curves. Cambridge uses high-precision filter structures and proprietary alogorithms to achieve warm analog sound. An A/B function allows for quick comparison of two different settings. Cambridge also features a graphic display of the EQ curve, which has "edit handles" for click and drag control of the EQ parameters. Cambridge will be the first Universal Audio plug-in for the UAD-1 platform to be sold separately.
New Version of UAD-1 Card with ADAT I/O - The "UAD-8 I/O"
October 6, 2002
Mackie Designs Inc. and Universal Audio unveiled a new version of the award-winning Mackie UAD-1 card, called the UAD-8 I/O. The new UAD-8 I/O card features an ADAT optical interface that supports sample rates ranging from 44.1kHz to 192kHz. The UAD-8 I/O will allow users to interface directly with external devices which support the ADAT I/O, without having to purchase a separate PCI card for their PCs.
In addition, the new UAD-8 I/O platform is coupled with a stand-alone host application, with which the user can take advantage of all the Universal Audio plug-ins without using a third party VST host application. With both the new I/O and host application features, the UAD-8 I/O can turn an ordinary PC into a standalone digital effects processor, capable of 192kHz sampling rates and able to run ultra-low latency effects for any digital mixing console using the ADAT optical interface.
The UAD-8 I/O complements two other new Universal Audio and Mackie products announced at AES; UAD software version 3.0 and the 2192 Dual Channel A/D & D/A converter. UAD version 3.0 supports the use of up to four UAD-1 cards inside a single PC, so existing users can purchase an additional card and add I/O capabilities at the same time. The new 2192 provides high-quality A/D & D/A conversion at sample rates up to 192kHz, and supports S/PDIF, AES/EBU and ADAT digital interface protocols. Using the UAD-8 I/O and the 2192 together opens a whole new world of flexibility and processing options for any digital audio enthusiast.
"The UAD-8 I/O vastly expands the market for the UAD-1 plus enhances the options for any current UAD-1 user," said Keith Olsen, Corporate Director, Global Recording Market and Product Development at Mackie Designs Inc. "New users will now be able to avoid buying a separate I/O card. Existing UAD-1 customers will be able to take advantage of software version 3.0's ability to support multiple UAD-1 cards in a single PC. Perhaps most significantly, customers who want to take advantage of the amazing sound of the UAD-1 plug-ins can now turn an older PC into a standalone effects unit that will work with anything that has an ADAT I/O."
The UAD-8 I/O, which will begin shipping in December 2002, will be distributed worldwide exclusively by Mackie Designs Inc. and will have a suggested U.S. retail price of $1,295.
