Category Archives: Recording

Course Technology Introduces MIDI Sequencing In Reason: Skill Pack

Posted on September 1, 2006 by Planet-Musician

Reason is a complete virtual studio, a powerful application with endless creative possibilities — assuming you know how to use it. Indeed, the key to producing and composing in Reason is learning how to master the tools available to you in its MIDI sequencer. MIDI Sequencing in Reason: Skill Pack by Steve Nalepa is your guide to unlocking the power and creative freedom available in this dynamic program.

A key part of MIDI Sequencing in Reason: Skill Pack is the CD-ROM included with this book. It’s full of sample content and examples that you will use to build a song and, in the process, learn all the MIDI-sequencing intricacies of this dynamic and flexible software. Unlike other books with companion discs, the source files on every Skill Pack CD-ROM are an essential part of the book’s tutorials – they are not there as mere examples, but are the building blocks from which you’ll construct the projects. The result is a fully integrated learning experience.

This book/CD package will teach you how to use all the major features of Reason’s sequencer. Every available tool and function will be introduced and explained, with step-by-step exercises that illustrate the various ways to use them to enhance your productions.

Features

  • Perfect for any musician, engineer, or music producer who uses Reason and wants to focus on MIDI sequencing within the application
  • The book plus CD-Rom combination offers a unique learning experience for readers
  • Learn a specific software skill and complete a project with step-by-step instructions from a pro, using the author’s source files on the accompanying CD-ROM
  • Truly focused content allows the reader to hone a specific skill within the application

Table of Contents: MIDI and the Modern Sequencer
Sequencing in Reason
Inputting MIDI Into the Sequencer: Playing MIDI Notes
Inputting MIDI Into the Sequencer: Drawing in MIDI notes
Sequencing Beats in Reason
Editing MIDI Notes
Recording and Editing Velocity and Controller Data
Quantization

For more information, visit their web site at www.courseptr.com.

Posted in Computer, MIDI, Recording, Software, Technology

Crowley And Tripp To Unveil The Recordist Ribbon Microphone And Recordist Ensemble Stereo Kit At AES

Posted on August 31, 2006 by Planet-Musician

American ribbon microphone maker Crowley and Tripp are unveiling their new Recordist and Recordist Ensemble Stereo Kit at AES in San Francisco this October, adding a new voice to their established line of highest quality U.S. ribbon mics, and raising the bar for Blumlein ribbon recording.

The company’s newest ribbon microphone – The Recordist – is voiced for realistic reproduction of classical and jazz performances where a full-range, natural sound is desired. As with other Crowley and Tripp products, the Recordist’s high output, low noise design excels with location recording devices and digital audio interfaces, without the need for special high gain ribbon mic preamps. The Recordist is priced at $1,295 each, and comes with its own low diffraction rotary mount for exact placement, a durable Pelican™ case for location gigs, and a three-year warranty.

The Recordist Ensemble Stereo Kit fills the need for those who want to record in realistic Blumlein stereo, but need the tracking flexibility not offered by integrated stereo ribbon microphones. The Recordist Ensemble Stereo Kit consists of two matched Recordist microphones, extender bar, two low diffraction rotary mounts, and is offered at an introductory price of $1,995. Recordist mics come with a three-year warranty, a durable Pelican™ case and a stage-appropriate gunmetal gray finish.

In addition to the Recordist, Crowley and Tripp manufactures the Studio Vocalist, Soundstage Image, Proscenium, SPLx Custom, and Naked Eye ribbon microphones completely in the U.S. Each microphone is an original design carefully voiced for a variety of applications in recording studios and on location. See and hear the full line of highest output, lowest noise Crowley and Tripp microphones at booth #1431 at AES.

For more information, visit their web site at www.soundwaveresearch.com.

Crowley And Tripp Recordist Ribbon Microphone

Posted in Microphones, Recording, Technology

RME Ships Fireface 400 36-Channel 24 Bit/192 kHz FireWire Audio Interface

Posted on August 31, 2006 by Planet-Musician

Synthax Audio AG today announced that RME is shipping the little brother of the highly acclaimed Fireface 800 – the Fireface 400 – worldwide. Rather than simply being a compact version of its illustrious relative, the portable, fiery little Fireface 400 is a newly designed product whose flexibility, functionality and performance sets it apart from other devices and sets new standards among 19-inch half-rack products in much the same way as its bigger brother has in the full 19-inch category.

The Fireface 400 is the only device in its category to offer active jitter suppression, additional stand-alone functionality, direct device operation, professional quality I/Os, and an unsurpassed 648-channel matrix router. And, everything is operational up to 192 kHz. Included in the Fireface 400:

  • Support for up to 192 kHz
  • Two digitally controlled high-quality mic preamps
  • Two balanced universal line/instrument inputs
  • SteadyClock for maximum jitter suppression and clock refresh
  • Simple stand-alone operation via display and rotary encoders
  • TotalMix: 648-channel mixer with 42 bit internal resolution
  • 54 level meters displaying peak and RMS, calculated in hardware
  • Full mobility with reliable bus power support
  • For use with Windows and on Mac

Thanks to the DSP-based mixers, all 18 input and playback channels can be routed and mixed to any of the 18 physical outputs. This makes the Fireface 400 an indispensable tool for monitoring, with up to 9 completely independent stereo sub-mixes possible. Copy/paste of routings, fader grouping and the unique matrix window represent just some of the other outstanding features. All mix functions can be remotely controlled via MIDI using any Mackie-compatible controller.

The 8 channels from the ADAT optical I/O can be used simultaneously with the analog channels. The coaxial SPDIF I/O is fully AES/EBU compatible (as always with RME) and can operate up to 192 kHz. The optical SPDIF, alternatively provided via the ADAT I/O, also operates up to 192kHz. Rounding off the Fireface 400′s feature set is a word clock in- and output (BNC), plus two low jitter, high-speed MIDI in/outs (using 5-pin DINs), culminating in a versatile, user-friendly product of the highest quality.

The Fireface 400 retails at €899 and US $1199.

For more information, visit their web site at www.rme-audio.com.

RME Fireface 400 36-Channel 24 Bit/192 kHz Audio Interface

Posted in Audio, Computer, Recording, Technology

Line 6 And Sonoma Wire Works Announce RiffWorks Line 6 Edition Version 2

Posted on August 29, 2006 by Planet-Musician

Line 6, Inc. announced the latest version of their award-winning guitar recording software, RiffWorks Line 6 Edition Version 2. RiffWorks is available as a standalone software recording application for Line 6® USB enabled devices, and as part of the GuitarPort® RiffTracker™ hardware/software bundle. RiffWorks Version 2 is available for Mac® OS X Universal, as well as Windows® XP and includes RiffLink online collaboration for 60 days and RiffCaster instant podcasting technology.

Designed for guitarists, RiffWorks makes recording easy and fun. RiffWorks users can set the tempo and start recording simply by strumming their guitar. Seven real-time effects help create just the right mix, and the included InstantDrummer™ offers authentic drummer back-up recordings and the ability to dial in the right amount of intensity and variation without typical tedious drum-machine programming. Eight InstantDrummer sessions are included and 46 more are available from Sonoma Wire Works.

With integrated RiffLink technology, RiffWorks users will be able to jam together online with no technical challenges regardless of their platform (Windows® XP or Mac® OS X). RiffLink collaboration will allow multiple users to record and mix in a shared session in real-time or when they have time. After the 60-day free trial, for a nominal subscription fee, users can continue to enjoy all the robust features of RiffLink online collaboration.

RiffWorks Version 2 will offer one-click podcasting and webcasting. RiffCaster broadcasting service allows instant publishing via podcasts and webcasts at the press of a button — all with embedded Creative Commons licensing. “We’ve heard several killer songs produced by RiffWorks users who say it’s their first time ever recording. Many musicians post their first song on RiffCaster the same night they install RiffWorks,” says Doug Wright, President of Sonoma Wire Works. “And now with RiffLink they can collaborate with friends, too.”

RiffWorks Line 6 Edition works seamlessly with Line 6 products such as TonePort™, POD® xt, POD® xt Live, POD® xt Pro, and GuitarPort for Windows® and Mac® OS X. RiffWorks Version 2 is available as an add-on for Line 6 GuitarPort, TonePort, and PODxt customers for $99 and as a complete solution in a box with a GuitarPort in stores now for $265.99 MSRP. Any version of RiffWorks/GuitarPort RiffTracker purchased on or after February 1st, 2006 will be upgraded for free to RiffWorks Line 6 Edition Version 2.

For more information, visit their web site at www.line6.com.

Posted in Guitar, Recording, Software, Technology

SM Pro Audio Releases Nano Series Products

Posted on August 29, 2006 by Planet-Musician

SM Pro Audio’s super compact “Nano” series products are now available. The XP200 phone preamplifier, XPH4 multi-channel (4) headphone amplifier, and XPM1 microphone preamplifier are now available through all reseller channels.

The new Nano series products have been designed as highly affordable compact audio solutions for use by home and professional audio enthusiasts alike. With excellent technical properties, robust steel contruction, and simply operational feature sets, the Nano series pack a serious punch without putting a hole in the wallet.

XP200 – Phono Preamplifier:
The XP200 is a portable stand-alone phono preamplifier designed to convert any turntables audio output to a suitable line level signal for recording or playback. With an adjustable preamplifier gain control and perfectly designed RIAA EQ, the XP200 is one of the only phono preamlifiers on the market that can accept both moving coil (MC) and moving magnet (MM) cartridges. The adjustable gain allows for both low and hot input signals! Taking its power from either a 9V battery or DC adaptor, the XP200 is immediatley ready for use in any situation.

  • Input/ Output Connectors: RCA
  • Input Sensitivity: 55 dBV gain @ 1kHz, 47k Ohms Input Z (with Gain control)
  • Input Capacitance: 5pf + cable capacitance
  • Input Impedance: 50k Ohms
  • Output Impedance: 1 K Ohms
  • Max Output Level: +14dB @ 1kHz
  • Frequency Response: + / – 1.5dB 20 Hz – 20 kHz (Conforms to RIAA Equalization Curve)
  • S/N Ratio: >80 dB
  • Power: 12VDC adapter or 9V battery
  • Size: 88 X 54 X 38 mm

XPH4 – 4 channel headphone amplifier:
Conveniently powered from either battery or DC adaptor, and housed in a hardened steel chassis, this robust little tool features 4 high-powered independently controllable headphone amplifiers. A handy Stereo/Mono switch is also provided to for use when required.

  • Input Connectors: stereo 3.5mm mini TRS and RCA
  • Input Impedance: 100K unbalanced
  • Max input level : + 22 dB
  • Output connectors: 1/4″ stereo TRS phone
  • Output impedance: Minimum10 ohms each output
  • Max gain: 19dB/Channel
  • S/N ratio: >98dB
  • Power: 12-18V DC adapter
  • Size: 88 X 54 X 38 mm

XPM1 – Microphone preamplifier:
The XPM1 is a compact battery/or DC powered microphone preamplifier offering 50dB of adjustable gain and phantom power. Designed for both project studio and field location recording environments, and boasting excellent technical specifications, the XPM1 is ideal for a wide variety of applications. With an extremely compact form factor, rugged steel chassis, and high quality components, the XPM1 is sure to provide years of trouble free operation under the most challenging conditioins.

The XPM1 features both XLR and TRS jack inputs on the front panel allowing for the connection of all types of microphones. The switchable 12V phantom power facilitates the powering of condenser microphones.

  • Input Impedance: Mic-600 ohms / Line-10K ohms
  • Input connectors: 1/4″ stereo TRS and XLR
  • Max input level: +22 dB
  • Max Gain: +50 dB
  • Output impedance: 100 ohms
  • Output connectors: 1/8″ stereo TRS and RCA
  • Max output level: +14 dB
  • Phantom Power: +12VDC
  • S/N ratio: >105dB
  • Frequency Response: +0/-1dB 20Hz-20 KHz
  • Power: 12-18V DC adapter
  • Size: 88 X 54 X 38 mm

For more information, visit their web site at www.smproaudio.com.

SM Pro Audio Nano Series

Posted in Amplification, Recording, Technology

AraldFX And Dash Signature Release Mac Version Of Grand Electrix Virtual Piano

Posted on August 29, 2006 by Planet-Musician

AraldFX and Dash Signature has released the Mac version (AU, VST and AU Universal Binary) of Grand Electrix Virtual Piano, an emulation of the famous CP70 electroacoustic piano.

To celebrate the Mac release the price is reduced to only 50 USD for two weeks, until 10th of September 2006 (then it will get back to full price $79 US). The license at $50 US includes both Mac OS X and PC Windows versions.

“Grand Electrix” is a sample based virtual instrument featuring a new stream from disk custom technology (“direct from disk”), for very low memory and CPU usage. Samples are streamed in real time from the computer disk, so there is no need for large amounts of RAM.

Features:

  • 180 MB multisample full decay, no loops, crossfading layers
  • Stream from disk custom technology for very low memory and CPU usage
  • Complete control on Velocity response, curve, min max, sensivity
  • 3 Band EQ
  • Tremolo
  • Chorus
  • Temperament Menu (microtuning)
  • Stretch tuning adjustable

Samples are derived from the acclaimed Hollow Sun library “Definitive CP 70″. A demo of Grand Electrix Virtual Piano is available here.

For more information, visit their web site at www.araldfx.com.

AraldFX And Dash Grand Electrix Virtual Piano

Posted in Apple Mac, Computer, Piano, Recording, Software, Technology

GVOX Announces MasterTracks Pro Version 6.8.4

Posted on August 29, 2006 by Planet-Musician

GVOX has announced the lastest update to MasterTracks Pro.

MasterTracks Pro for Windows has been fixed. The easiest to use MIDI sequencer on the market is once again in full working order.

GVOX knows that many have shared in the frustrations of some of the bugs that were in MTPro 6.8.3. The software primarily worked, after you may have contacted technical support or visited our knowledgebase. The bugs in the code frustrated our developers too. However, our new, crackerjack developers went right to work on MasterTracks Pro after completing the rebuilding of Encore and Musictime Deluxe for Mac OSX.

The following bugs were fixed:

  • Edit sysex, program crash
  • Slide data didn’t work right
  • Single clicks in the track editor didn’t open windows
  • Shift/click to the record controller info didn’t work
  • Request to make “Choose Instrument” dialog bigger so no need for scroll bar didn’t work
  • Menu inactivated at song end, including Save Preferences
  • Click any .mts file to open – error message “: only allowed with drive letter” would show
  • Thru on a B-port channel, it plays through the correct channel, but on the A-port
  • Songs couldn’t be reordered like on Mac
  • Stuck Sound when hit stop in middle of sustained note
  • Empty field boxes in the Track Editor Program Name column were filled with a whole bunch of grayed-out characters
  • In Windows 2000 and XP taskmanager ran at 99%
  • Now tempo offset affects current time
  • Current time” changes according to time base setting
  • Mousing deactivated main menu
  • External sync was non functional
  • Timing/tempo issue in playback/record caused a gradual “lag”

For more information, visit their web site at www.gvox.com.

Posted in Computer, Microsoft PC, MIDI, Recording, Software, Technology

Aviom Ships The AN-16/o Output Module

Posted on August 29, 2006 by Planet-Musician

Now with convenient DB25 connectors, the new AN-16/o converts 16 channels of uncompressed, 24-bit digital data transmitted via A-Net into sixteen discrete mic- or line-level analog audio output channels.

Aviom’s newly updated AN-16/o Output Module is now shipping—with the flexibility of improved mic and line output levels, convenient DB25 multipins for audio connections, and heavy duty locking Neutrik EtherCons for network connections. The AN-16/o Output Module will make its debut at AES 2006 (Booth# 123).

The new AN-16/o provides sixteen balanced mic- or line-level analog outputs, with switchable output levels per channel pair. Audio outputs feature secure DB25 multipin connectors. With both mic- and line-level outputs available, connecting to a console is simpler and more flexible.

The AN-16/o can be used both on stage and at front of house to provide outputs to consoles, as well as to amplifiers and speaker processors. Adding a split for recording or broadcast is as quick as running a Cat-5e cable to the additional locations and connecting additional AN-16/o modules as needed. Any number of AN-16/o Output Modules can be connected in a system, providing unlimited lossless digital splitting of an audio stream.

The built-in A-Net Expansion jack also allows easy integration into an existing Pro16 Monitor Mixing System, as well as a path for building 32-channel systems (16×16 or 32×0) on a single Cat-5e cable. The AN-16/o is also fully compatible with the AN-16SBR System Bridge, which supports 64-channel systems in a variety of bi-directional configurations. All network connections on the AN-16/o now use heavy duty locking Neutrik EtherCon connectors.

In applications where cable runs exceed the 500ft/150m supported by A-Net on Cat-5e, the AN-16/o can be used with media converters and fiber optics.

For more information, visit their web site at www.aviom.com.

Aviom AN-16/o Output Module

Posted in Audio, Recording, Technology

NevaFong Introduces The Envelight Sound Library For Cakewalk Z3ta+

Posted on August 28, 2006 by Planet-Musician

NevaFong have announced the release of “Envelight Set” for Cakewalk Z3ta+, a new loadable wavetable set with 57 new waveforms and a sound set of 128 top-notch sounds.

Long-standing work experience with various synthesizers made it possible to create sounds which will be interesting both to beginning users and experienced musicians wishing to add new elements in their compositions.

The wavetable set includes 57 new waveforms. Unique waveforms are created on the basis of FM, additive, and subtractive synthesis and experimental modulations.

The soundset also includes 128 high-quality presets sorted by categories: Bass, Fat, FX, FX tone, Keyboard, Lead, Pad, Various.

Background and solo sounds are powerful and soft, with exotic and classical flavors to suit any genre.

Envelight Set costs $45. Demo mp3s are available for download on the Neva Fong website.

For more information, visit their web site at www.nevafong.com.

Posted in Computer, Recording, Samples, Software, Synth, Technology

Rayzoon Releases Jamstix 1.7

Posted on August 28, 2006 by Planet-Musician

Rayzoon proudly announces the release of Jamstix 1.7, another massive update for their ground-breaking virtual drummer.

The focus of this update is an improved audio engine that reduces CPU usage and the addition of the brand-new ‘Keyboard Jam’ mode. Aside from this, there are dozens of additions and enhancements, new rhythms, new automation parameters as well as several bug fixes.

All Jamstix owners can download the update free of charge here.

Update Details:

  • Lowered CPU usage through optimized audio processing and improved voice reduction
  • Implemented new jam mode “Keyboard Jam”
  • Added 20 new rhythms as follows:
    • 7 world rhythms, including cha cha, calypso, merengue and soca
    • 6 rock rhythms
    • 4 R&B rhythms
    • 2 jazz rhythms
    • 1 reggae rhythm
  • Automatic fills are now also available in ‘Manual Jam’
  • PDF manual is now fully searchable
  • Console gain meters are now stereo instead of mono sum
  • Added ‘Time Sig Changes’ option to OUTPUT tab. Host synch-up is accelerated if unchecked, fixing possible loop alignment issues
  • Improved ‘Shaping’ function in various ways, including suppression of clicking at high levels
  • Added ‘Dampening’ slider to the ‘Ambience’ control panel to simulate smaller rooms
  • Added options ‘Create 2-Bar Pattern’ and ‘Create 4-Bar Pattern’ to arranger rhythm name right-click menu, which allow the quick creation of multi-bar patterns
  • Bars that have snare or tom accents are now shown with a black center line in the arranger
  • Added ’2x 16th’ as an option for the hihat quarter column
  • When editing hihat quarter and eighths columns, the velocity is now only reset to default if it is currently zero
  • Improved fill start time suppression options
  • Added option ‘Simplify by suppressing 16th notes’ to the fill options
  • Improved reggae rhythms and added ‘shuffle’ keyword to them
  • Improved hihat choking sound when choked by low velocity closed hat event
  • Added ‘Drive/Laid-Back Timing’ automation parameter which allows setting a constant earliness (drive) or lateness (laid-back) of the drums
  • BFD mappings now have anti-machine gun mode enabled
  • Increased limb transition time for snare ghost notes to account for stick drag time
  • Improved hihat import logic for 8ths and added missing logic for 16ths
  • Mapping tab output lock state is now recalled via ini profile
  • Selecting ‘Normal’ character no longer switches off shuffling
  • Clicking ‘Free Jam’ no longer clears the current arrangement
  • When using fill filter start time limits with fills that issue rhythm silencing before the start time limit, the rhythm is no longer silenced until the fill is allowed to start
  • Added new automation parameters to dynamically control fill options during a performance
    • Fill – Start Limiter
    • Fill – Rhythm Silencer
    • Fill – Toms On Snare
    • Fill – No 16ths
  • Added warning message if sounds are missing
  • Output grouping now also applies to percussion sounds
  • Added voice limiter to restrict maximum voice load to around 60 (90 on min reduction level)
  • Improved + column hihat velocity logic and fixed suppressed semi hats in that column under certain cirucmstances
  • Added ini option ‘SpeedFilterBPM’ to set a BPM above which certain 16th notes and all 32nd notes in fills and accents will be suppressed to avoid unnaturally fast performances
  • The velocity threshold for switching from snare head to sidestick can now be adjusted in the general ini settings (Velocity_Autoside, 0..1). Default is 0.5 (used to be 0.7 so adjust if you need the old style)
  • The velocity thresholds for the reduction logic can now be adjusted in the general ini settings:
    • Velocity_Reduction1 0..1 Default=0.4
    • Velocity_Reduction2 0..1 Default=0.3
    • Velocity_Reduction3 0..1 Default=0.2
    • Velocity_Reduction4 0..1 Default=0.1
  • Added notice above arranger in free and keyword jam indicating that Jamstix is controlling the arrangement in those modes
  • Fixed increasing CPU usage over time in Podium and forte
  • Fixed problem with Jamstix ‘freezing’ after loading first internal sample in some hosts under certain circumstances
  • Fixed a problem that could lead to an infinite loop when using empty default mappings or missing stock sounds under certain circumstances
  • Fixed delayed playing of accents suppressed by a silent rhythm or post-fill pause
  • Fixed GUI freeze in n-Track when closing several listboxes without selection
  • Fixed MIDI export tempo offset by 1BPM when the host sends tempo information in .9999 format

For more information, visit their web site at www.rayzoon.com.

Posted in Computer, Drums & Percussion, Recording, Software, Technology