Products of Interest
Gibber JavaScript Live-Coding background, auditioning it through Overtone is available as a free Environment headphones and pushing it to the download. Contact: Sam Aaron, master computer when they wish to. University of Cambridge Computer Gibber is a live-coding environment A number of video demonstrations Laboratory, William Gates Build- for Google Chrome. It is written of Gibber being used in performance ing, 15 JJ Thomson Avenue, Cam- completely in JavaScript and can be is available on the developer’s Web bridge CB3 0FD, UK; electronic mail used within any Web page. It uses the site. [email protected]; Web overtone audioLib.js library, which was created Gibber is available as a free down- .github.io/. by Finish musician and programmer load. Contact: Charlie Roberts, elec- Jussi Kalliokoski. Gibber extends tronic mail charlie@charlie-roberts this library to add extra effects, .com; Web www.charlie-roberts.com/ TIAALS Analysis Tools sequencing, and automated audio gibber/ and github.com/charlieroberts/ for Electroacoustic Music graph management. The environment Gibber/. provides the user with a simple Tools for the Interactive Aural Analy- syntax, sample accurate timings sis (TIAALS) of Electroacoustic music for synthesis and sequencing, and a Overtone Live-Coding Audio is the result of a research project be- simple model for networked use, and Environment tween the University of Huddersfield it supports music notes and chords and Durham University in the UK. It through the teoria.js library. Overtone is an open source audio is a set of tools for analysis and in- Six types of oscillators are avail- environment designed for live coding. teraction with electroacoustic pieces. able: sine, triangle, pulse, saw, inverse It is implemented in Clojure, a The new tools are based on Michael saw, and square waves. A synthesizer modern Lisp dialect that runs on Clarke’s earlier work on IAA in which object can be used to wrap an oscil- the Java Virtual Machine, and acts he produced analysis software written lator and envelope together to play as an Open Sound Control (OSC) in Max/MSP for Jonathan Harvey’s notes with defined attack and decay client for the SuperCollider synthesis Mortuos Plango, Vivos Voco, Denis envelopes. Three types of sequencers server. Overtone supports multiple Smalley’s Wind Chime, and Pierre are included in Gibber. The first is simultaneous users, providing them Boulez’s Anthemes 2. His analysis a generic sequencer for changing pa- with abstractions that facilitate allowed the user to interactively lis- rameters of JavaScript objects such live performance and the ability to ten to the works, viewing thematic, as synthesizers and effects, calling safely coordinate modifications of the harmonic and other charts, and to methods, and executing JavaScript system at run time. experiment with the techniques used functions. The ScaleSeq can be used The environment provides direct by the composers. In IAA, a sepa- to sequence notes in a scale, using access to SuperCollider’s basic unit rate analysis had to be painstakingly a given mode and base note. The generators and synthesizers but also produced for each piece. The tools third sequencer is an Arpeggiator ob- leverages Clojure’s functional empha- produced as part of TIAALS are de- ject for sequencing notes in a chord. sis to design more intuitive melody signed to be generic so that they can A delay, distortion, low-pass filter, and composition abstractions on top be used with any composition. ring modulator, reverberator, and bit of these. A simple single line function The TIAALS software is currently truncation effect are included and call can be used to play a specified at the beta stage and includes an In- can be used with any oscillator or MIDI note on an instrument, and teractive Sonogram and Chart Maker. synthesizer. The parameters of oscil- scales and chord representations Further pitch/frequency analysis, lators, synthesizers, and effects can can be created and manipulated. A spatialization tools, and an improved be modulated. metronome and timing system is interface is planned during the course Gibber can be used for networked included for sequencing and syn- of the research project. The Inter- performances in which multiple per- chronizing instruments during live active Sonogram allows the user to formers are involved. Each performer coding. MIDI input/output and OSC aurally as well as visually explore a works on their individual computer message handling is supported. Over- piece of music. The user can select but a master computer is connected tone also provides a fully concurrent and play regions, zoom in and out, to the amplification system. The event system that is capable of han- loop sections, and move through performers can work on code in the dling multiple simultaneous event the sonogram with a band-limited streams and supporting a functional scrubber. The earlier IAA software doi:10.1162/COMJ r 00219 reactive programming style. included interactive aural charts
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Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/COMJ_r_00219 by guest on 29 September 2021 Figure 1. Roland’s Studio-Capture USB audio interface.
such as taxonomies, thematic charts, harmonic charts, and paradigmatic charts, and featured interactive for playing marked extracts. The charts were created by hand, which was a laborious task. In TIAALS, the Chart Maker is designed to create these charts automatically using sections of the piece selected by the user. Re- gions to be included in the charts are selected on the Interactive Sonogram and added to a Palette of sounds. The regions can then be grouped on the Palette by the user before creating a chart. The software is available for telephone (+45) 481-428-28; fax jacks is also built in. A coaxial digital both Windows and Mac OS X. (+45) 481-427-00; electronic mail output and MIDI input/output is also TIAALS is available as a free down- [email protected]; Web available. A second Studio-Capture load. Contact: Michael Clarke, School www.dpamicrophones.com. Cus- can be used to expand the number of Music Humanities and Media, Uni- tomers in the United States con- of inputs and outputs. The interface versity of Huddersfield, Queensgate, tact: DPA Microphones, 1500 supports recording at sample rates up Huddersfield HD1 3DH, UK; elec- Kansas Avenue, Unit 3A, Long- to 192 kHz with 24-bit resolution. tronic mail [email protected]; mont, Colorado 80501, USA; tele- LED meters on the front panel Web www.hud.ac.uk/research/ phone (+1) 303-485-1025; fax (+1) allow the user to monitor individual researchcentres/tacem/. 303-485-6470; electronic mail info- input and output channels and the [email protected]. monitor output. A dedicated level knob is provided for the monitor DPA d:facto II Vocal Microphone output and a direct monitor control Roland Studio-Capture Audio allows the user to listen to selected DPA has released a new version of Interface input signals. A further two head- their d:facto vocal microphone. The phone outputs, each with dedicated pre-polarized condenser microphone Roland’s Studio-Capture is a compact level knobs, are also available. The in- has a supercardioid pattern. It offers USB audio interface with 16 audio terface has four independent mixers, high separation, linear frequency inputs, 10 audio outputs, and 12 mi- controlled by the software application and phase, and is suitable for both crophone pre-amplifiers (see Figure 1). provided. Each mix can be routed to stage performance and recording. The Twelve combination XLR/TRS inputs any output and the configurations microphone can be used wired or are provide for the pre-amplifiers. saved. wireless. It is compatible with wire- Four of these are located on the front Sixteen channels can be recorded less systems from Sony, Lectrosonics, panel of the interface. Each input and ten played back at sample rates Shure, Wisycom, and Sennheiser us- has phantom power, a low-cut filter, up to 96 kHz and the highest sup- ing a range of available adapters. Its phase invert, and digital compression ported sample rate of 192 kHz allows frequency range is 20 Hz to 20 kHz. controlled by software that is bundled for eight-channel recording and four- It has a dynamic range of 120 dB and with the interface. The microphone channel playback. The interface maximum sound pressure level (SPL) inputs can also be used as balanced or features Roland’s Auto-Sens tech- of 160 dB. It has a three-stage pop unbalanced line inputs and there are nology. This allows the interface to protection built in. The microphone a further four dedicated TRS jacks for set the recording level for each in- body is 8.1 in. long and it weighs line input on the rear panel. Two of put automatically at the touch of a 10.9 oz. the inputs can be used directly with button. The d:facto II microphone is guitars and basses and two can be An AC adaptor, USB cable, two listed for US$ 899.99. Contact: DPA used for coaxial digital input. Eight rackmount ears, owner’s manual, and Microphones A/S, Gydevang 42-44, analog outputs are provided on TRS software on a CD-ROM are included DK-3450 Alleroed, Denmark; jacks and a stereo output on XLR with the purchase. The interface
Products of Interest 95
Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/COMJ_r_00219 by guest on 29 September 2021 Figure 2. The Yamaha Pocketrak PR7 handheld recorder with stereo microphones.
measures 284 × 162 × 89 mm and weighs 82 g and measures 46.6 × weighs 1.9 kg. It is compatible with 132.1 × 28.7 mm. Windows and Macintosh platforms The PR7 is listed for US$ 249. through drivers. Contact: Yamaha Corporation of The Studio-Capture is listed for America, 6600 Orangethorpe Ave., US$ 1,165. Contact: Roland Cor- Buena Park, California 90620, USA; poration, 5100 S. Eastern Avenue, Web www.yamaha.com/. Los Angeles, California 90040-2938, USA; telephone (+1) 323-890-3700; Web www.rolandus.com/. Avid S6 Control Surface
Yamaha Pocketrak PR7 Avid’s S6 control surface is a mod- Handheld Digital Recorder ular design that allows the user to choose from preconfigured systems The Pocketrak PR7 from Yamaha or to create their own customized is a handheld linear PCM recorder surface from individual modules (see with built-in XY stereo microphones. Figure 3). It uses high-speed EUCON The crossed stereo condenser micro- Ethernet connections to communi- phones are aligned to avoid phase cate directly with Pro Tools and other shifting by being equidistant from the EUCON-enabled workstations. Its sound source (see Figure 2). An input Pro Tools integration means it can for an external microphone and line record tracks, assign and edit plug- inputs are also included. It can record ins, create automations, and recall atsampleratesupto96kHzwith snapshots in the application. 24-bit sample depth. Audio files can The two main S6 engines are the be recorded directly onto the built-in M10 and M40. The M40 can be used 2-GB memory or to SD/SDHC cards for large-scale audio productions in of up to 32-GB capacity, and can be which more faders, channels, and transferred to computer using a USB high-resolution metering are needed. cable. The M10 is a cheaper option for A high-pass filter and dynamic smaller-scale recording. Preconfig- controls on the recorder can be used ured versions of both surfaces can be to minimize noise and distortion. The purchased or the user can buy the dynamics can be switched between S6 M40 model and build their own off, limiter, and automatic level customized system around it. Both control for both soft and loud sounds. include a 12.1-in. touchscreen, eight Five presets are loaded with high- rotary encoders, dedicated knobs pass filter and dynamics settings speed can be adjusted from half and keys for monitoring, and global suitable for a range of recording to twice the speed, maintaining control. applications from speech, to multiple pitch levels. The recorder also An Automation module is in- instrument, and field recordings. The has a built-in metronome and cluded in the preconfigured systems PR7 has a pre-record function with a tuner. It is powered by a sin- but is optional when building your 3-sec memory buffer and an overdub gle AAA battery and at 44.1 kHz own system. It features a transport function, which can be used to punch sampling and 16-bit resolution, it section, focus fader, automation in and out at specific points in an can record for more than 29 hours. control, color shortcut displays and audio file. Up to 36 markers can be Recording to MP3 format gives switches, a numeric keypad, and inserted during recording or playback 44 hours of continuous use. WaveLab controls for navigating projects. The for easy location of playback positions LE, a two-track editor with equal- user can also choose from a range of and the markers can also be used to ization and dynamics processing, is channel modules including a Fader, created looped sections. The playback included with purchase. The PR7 Knob, Process, and Display module.
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Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/COMJ_r_00219 by guest on 29 September 2021 Figure 3. The S6 M10 control surface from Avid.
The Fader module has eight motor- keyboard and monitor mount, a mixer and an 18-dB per octave 100-Hz ized faders, dual LED meters per chan- sliding keyboard and script tray, and low-cut filter is available on the nel with gain reduction displayed, and a speaker bridge mount. microphone inputs. High-resolution colored LED switches, and it can con- M10 configurations of the S6 start eight-segment stereo meters are also trol the levels for eight simultaneous at US$ 21,995 and M40 configura- built in to the mixer. The chassis is tracks. The Knob module offers the tions at US$ 43,480. Contact: Avid, constructed from rugged steel with a user 32 multicolor top-lit LED knobs 75 Network Drive, Burlington, Mas- power-coat finish. with four knobs per channel, 32 OLED sachusetts 01803, USA; telephone Further mixers in the VLZ series displays for labels, and eleven func- (+1) 978-640-6789; fax (+1) 978-640- range from the 802VLZ4, which tion select switches with color LEDs 3366; Web www.avid.com/. has 8 microphone inputs, up to for each channel. A Process mod- the 3204VLZ4 model, which offers ule has eight multicolor top-lit LED the user 32 microphone inputs, 28 knobs, 22 function select switches for Mackie 402VLZ4 Four-Channel auxiliary sends, 4 compressors, and each channel, also with color LEDs, Mixer 8 effects. and eight OLED displays for labels. A The 402VLZ4 is listed for Display module has an eight-channel Mackie’s new VLZ series of mixers US$ 129.99 and the largest model high-resolution TFT display. includes a very compact four-channel in the series, the 3204VLZ4, is listed The series of preconfigured S6 model, the 402VLZ4 (see Figure 4). for US$ 1,69.99.99. Contact: LOUD surfaces ranges from a 16-fader M40 The mixer has two Onyx microphone Technologies, 16220 Wood-Red Road with five knobs per channel and pre-amplifiers with phantom power NE, Woodinville, Washington 98072, TFT displays, to a 32-fader version available on each input. Four high- USA; telephone (+1) 425-892-6500; with nine knobs per channel. The headroom line inputs are provided, web www.mackie.com. preconfigured M10 is available in 8-, with selectable instrument input on 16-, and 24-fader versions. A number the first two channels. The gain range of housing options for the S6 control is 60 dB, the dynamic range 128.5 dB, Waldorf Pulse 2 Analog surface are also available and can and line input handling is +22 dBu. Synthesizer be personalized with blank panels, Distortion is reported as less than an adjustable monitor mount arm, 0.0007 percent for 20 Hz to 50 kHz. A Waldorf’s Pulse 2 is an analog syn- a producer’s desk with integrated two-band equalizer is included on the thesizer with three oscillators and
Products of Interest 97
Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/COMJ_r_00219 by guest on 29 September 2021 Figure 4. Mackie’s four-channel VLZ series mixer.
Figure 5. The Pulse 2 analog synthesizer from Waldorf.
analog input, line output, headphone output, CV output, and gate output. The synthesizer can be chained to fur- ther Pulse 2 synthesizers, with note information transmitted through MIDI. Pulse 2 features metal cas- ing, eight stainless steel knobs, and a 128 × 64-character backlit LCD screen. Pulse 2 is listed for US$ 610. Contact: Waldorf Music, 53474 Bad Neuenahr-Ahrweiler, 53498 Waldorf, Germany; telephone (+49) 264-120- 080-200; fax (+49 ) 264-120-802-09; Web www.waldorf-music.info/.
Nektar Technology Parorama P1 MIDI Controller
The Panorama P1 from Nektar Tech- nology is a MIDI controller that allows the user to control up to 61 Figure 4 parameters at a time. It has an array of assignment controls that include 16 endless encoders, nine 45-mm faders, 22 navigation buttons, an extended transport bar with 11 dedicated but- tons that double as function keys, and an assignable foot switch jack. The controller also features a 3.5-in. color TFT display (see Figure 6). The controller can be used with any Digital Audio Workstation but has integrated support for Cubase and Reason with many mappings precon- figured. It automatically reconfigures the controller to match the selected Figure 5 mode. In Mixer mode it controls the software mixer, equalization, dynamics, as well as plug-in sends a voltage-controlled filter (see generator, pulsewidth modulation, and inserts. When used in Instrument Figure 5). The user can choose from and alternating pulsewidth modula- mode, it gives the user control over all 12-dB high-pass, 12-dB band-pass, and tion, which allows for a denser sound VST instrument plug-in parameters. 12-dB/24-dB low-pass filters. Filter without increased loudness. In Transport mode, the screen is used frequency modulation, two overdrive Pulse 2 is backwards-compatible to show song pointers, locators, and circuits, and ring modulation are also with the original Pulse series of rack- tempo settings. available. A paraphonic mode can be mounted synthesizers and sounds can QWERTY macros are supported used for up to eight-voice chords. The be transferred from the older model and can be assigned to the buttons synthesizer also features an eight-slot via MIDI. Connection ports include and pads for software shortcuts. Up modulation matrix, arpeggiator, noise USB, MIDI input/output, external to eight keystrokes can be combined
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Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/COMJ_r_00219 by guest on 29 September 2021 Figure 6. Nektar’s Panorama P1 Figure 7. The Aves Digital Mercury MIDI controller. Bluetooth music receiver.
into a single button push. Twenty tablet to the receiver, which connects output. A micro USB port pow- presets can be saved and re-called to the speaker using a 3.5-mm line-out ers the receiver. The receiver can but each can have sub-presets, which RCA jack. The receiver has a line out- work at distances up to 100 m. It Nektar calls maps. Each preset has 5 put level of 500 mV and it works at supports Bluetooth 3.0, and Near Fear maps associated with the keyboard, distances up to 10 m. It is compatible Communication, allowing up to eight 20 pad maps, and 10 function-key with Bluetooth 3.0 devices including devices to be instantly paired to the maps, giving a total of 1,200 com- iPhone 4, iPhone 3GS, iPhone 3G, receiver. It also supports the aptX binations of presets. The controller and iPad. Aves also produces a range codec for CD-quality audio over wire- connects to computer via USB. It is of dedicated Bluetooth speakers. less transmission. The BM10 receiver compatible with Mac OS X 10.6 or The receiver measures 95 × 48 × measures 75.5 × 70 × 19 mm and higher, and with Windows Vista, 7, 13 mm and weighs around 188 g. It weighs 103.5 g. and 8. Its dimensions are 387 × 234 × can be powered using a USB adapter The BM10 is listed for US$ 44 mm and it weighs 1.2 kg. or from a computer. 69.95. Contact: Sony Mobile; The Panorama P1 is listed for US$ Contact: Aves Digital, Unit 1, the phone +1 866 766 9374; Web 399.99. Contact: Nektar Technology, iO Centre, Fingle Drive, Stonebridge, www.sonymobile.com/. Inc., 7949 Ajay Drive, Unit C, Sun Val- Milton Keynes MK13 0AT, UK; tele- ley, California 91352, USA; telephone phone (+44) 190-831-9718; electronic (+1) 818-771-9886; fax (+1) 818-688- mail [email protected]; Web Loom Modular Additive 3191; www.nektartech.com/. www.avesdigital.co.uk/. Synthesizer
Loom from Air Music Technology is a modular additive synthesizer. Thirty Aves Digital Mercury Bluetooth Sony BM10 Bluetooth Music individual modules are available and Music Receiver Receiver up to ten can be combined to form a Loom patch. Each of the modules Aves Digital’s Mercury Bluetooth Sony’s BM10 is a long-range receiver has a separate function or task and music receiver is a Bluetooth receiver for streaming audio and music from include Noise, Linear Lowpass, Mod- for use with standard speakers sys- phones, laptops, and tablets to speak- ulator, Octaver, and Second Tone. tems (see Figure 7). It allows the ers. It streams audio wirelessly to the A spectrum window is available user to transmit audio and music receiver, which is itself connected for each module. Spectral Distor- wirelessly from their phone or digital to a speaker using a mini-jack RCA tion and Modulation controls, three
Products of Interest 99
Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/COMJ_r_00219 by guest on 29 September 2021 low-frequency oscillators (LFOs), four partials; filters, stereo imaging, reverb legato, and arpeggiator modes. At the velocity-sensitive enveloper genera- and delay effects are all created by heart of the Blade is Harmolator, an tors, and controls for octave, global manipulating these partials. additive synthesis engine with nine pitch, and glide are provided at the The user can set the cutoff, res- different controls to change the wave patch level. Available effects include onance, resonance width, and filter partials. Two spread functions and chorus, reverberation, and phaser. slope (continuous from 0–36 dB/ square and sine wave sub-oscillators A morph page allows the user to octave) of the filters. Among the in- are available. The sound can be mod- create four variations of a sound, with novative effects are a Waterbed filter ified by distortion units and filters. each one assigned to a graphical quad- with a ripple-shaped curve, a centroid Twenty-one different types of distor- rant on a Morph Pad. The user can effect that de-tunes partials over time, tion and 14 types of filters, including then click and drag to morph between and stereo pan and spreader effects low, high, band-pass, notch, vocal, the variations and the morphing that allow the user to set the pan for and comb, are provided. An XY graph- can be synchronized to musical units. each partial individually. Reverbera- ical pad can be used to control the The synthesizer comes preloaded tion is also created by additive synthe- cursor, and twelve parameters can be with 350 sounds, which the user can sis, with a filtered noise added to the used to modulate the Harmonolator tweak and customize. Sounds can input signal. The reverb tail follows controls (see Figure 8). The user can also be created from scratch using the pitch of the synthesizer. A Spec- specify the filter cutoff, resonance, the editable modules and an intel- tral Clip feature can be used to limit and volume. Paths on the XY pad ligent randomization feature allows all 320 separate partials separately. can be recorded and their playback the user to quickly and easily create Bass frequencies can be added by synchronized with the tempo. Loops set parameters. Up to 512 harmonic using the Safe Bass function to ensure can also be created from the paths partials can be used in each patch. All that the bass energy is kept constant and can be bi-directional. The Har- parameters of the synthesizer can be when the pulse width becomes nar- monolator can also be modulated mapped for MIDI control. row. A 34-band Vocoder can be used to by envelopes, an LFO, and velocity. A user guide, video demonstra- change the amplitude of the partials, All controls can be used as modu- tions, and audio samples are available by detecting the amplitudes in the lation destinations, and modulation on the developer’s Web site. The input signal and creating a dynamic sources can include MIDI and internal synthesizer is compatible with VST, filter to match its spectral shape. A li- controls. AU, and RTAS formats. It requires brary of 350 preset sounds is included All 27 previously available Rob 1GB RAM and a computer running in the synthesizer. A large graphical Papen effects are included in two Windows 7 or 8, or Mac OS X 10.7.5 display is provided for the oscillator effects units, and a 16-step arpeggia- or higher. spectrums, filter curves, the stereo tor/sequencer has been added. Presets Loom is listed for US$ 199.99. spectrum, and it can also display are available and can be copied, Contact: Air Music Technology, three-dimensional animations. pasted, and compared. A Preset Man- 200 Scenic View Drive, Cumber- Razor is listed for US$ 79. Con- ager helps the user organize the land, Rhode Island 02864, USA; Web tact: Native Instruments, 6725 presets and banks. Full MIDI control www.airmusictech.com/. Sunset Boulevard, 5th Floor, Los over all parameters, including the XY Angeles, California 90028, USA; pad, is available. telephone (+1) 323-467-5260; fax The Blade synthesizer is avail- (+1) 323-372-3676; Web www.native able in VST and RTAS formats on Native Instruments Razor -instruments.com/. Windows XP, Vista, and 7, and in Additive Synthesizer AU and VST formats on Mac OS X. AAX support is planned. A range Razor is an additive synthesizer of video tutorials, audio examples, that runs in Reaktor 5 or the free Rob Papen Blade Additive and a demonstration version are Reaktor 5 Player. It is designed Synthesizer available on the developer’s Web to give the user detailed control site. over synthesis parameters with an Blade is a 16-voice additive synthe- Blade is listed for US$ 139. Con- easy to use interface. Its additive sizer virtual instrument that can tact: Rob Papen; Web www.robpapen synthesis engine can have up to 320 operate in polyphonic, monophonic, .com/.
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Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/COMJ_r_00219 by guest on 29 September 2021 Figure 8. Rob Papen’s Blade additive synthesizer with XY graphical pad.
PSP SpringBox Spring Reverberation Plug-In
The SpringBox plug-in from Polish company PSP is a software emu- lation of a hardware spring rever- berator. The user can choose from two, three, four, and six springs, and between mono–stereo and stereo– stereo modes. The stereo width can be controlled through Diffusion, Spread, and Pan/Balance knobs. There are two processors, each with controls for high-pass filter (20 Hz to 2 kHz), damping control (400 Hz to 5 kHz), mid-frequency presence, time, and trim. Wet and Dry master knobs are also included. A Quality button con- trols the trade-off between CPU usage Mellowmuse Auto Time Adjuster that provides sample accurate time and high frequency response. The alignment of audio tracks in real time. user can quickly turn the plug-in on Auto Time Adjuster (ATA), from Mel- The user inserts the TAP plug-in and off using a flick switch on the in- lowmuse, automatically measures, on the track to be processed and uses terface. The PSP plug-in is compatible calculates, and sets delays to compen- the references track on a side-chain. with VST, AU, RTAS, and AAX hosts. sate for plug-in latency when using The position of each sample of the The SpringBox plug-in is listed Pro Tools versions 7.4 and higher. input signal is located in the refer- for US$ 69. Contact: PSPau- Prior to its release the developer ence track. The full length of the dioware, Kwadratowa 4/19, 05- notes that this was a task that had to track is processed, not just the start. 509 Jozefoslaw, Poland; telephone be carried out manually. A short burst Inaudible delay corrections are made (+48) 601-963-173; electronic mail of audio is used to measure plug-in to align the signals and the phase [email protected]; Web and outboard latency so that the remains unaffected. The plug-in eval- www.pspaudioware.com/. delays can be calculated. Users can uates the presence of comb-filtering employ this audio pinging or can set effects and reduces them, display- the latency figures themselves. Any ing the level and reduction on its other ATAs being used in a session meters. Softube Spring Reverb Plug-In will recalculate and set their delay TAP supports sampling rates time automatically to keep the entire up to 384 kHz. It can be used in Softube’s Spring Reverb plug-in is a session synchronized. The maximum monophonic and stereo modes. It vintage style spring reverberator with latency is 50,000 samples. The ATA is is currently only compatible with a number of character controls. The currently at version 2 and is available Macintosh computers, running Mac user can chose between three sets for Windows and Mac OS X. OS X 10.6 and higher. The plug- of springs, from springy to smooth The ATA is listed for US$ 49. in requires at least 4 GB RAM sounds. The character of the springs Contact: Mellowmuse; electronic and an Intel Core 2 Duo 2 GHz can be further adjusted by the use of mail [email protected]; processor. a tension control which affects the Web www.mellowmuse.com/. TAP is listed for approximately length of the reverberation and the US$ 270. Contact: Advanced smoothness and speed of the springs. Advanced AudioWaves AudioWaves, Las Coumettes, 31800 A shake control slider allows the user Time-Alignment Plug-In Latoue, France; telephone (+33) to mimic the sound of the springs 952-570-665; fax (+33) 957-570- being shaken. Bass and treble controls Track Align Pro (TAP) is a new VST3 665; Web advanced-audiowaves on the inputs simulate vintage tube plug-in from Advanced AudioWaves .com/. gear.
Products of Interest 101
Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/COMJ_r_00219 by guest on 29 September 2021 Figure 9. The ROLI Seaboard Grand instrument.
The Spring Reverb plug-in can be used as a send or an insert effect. It is available as part of Softube’s Effect Bundle, their Studio Collection, or as an individual plug-in. The Effect Bundle is a set of three plug-in and includes the company’s Tube Delay and Acoustic Feedback plug- ins. The Studio Collection features twelve plug-ins and consists of four reverberators/delays, two dynamic processors, and six equalizers. Ten of the plug-ins are modeled on vintage studio equipment. The Spring Reverb plug-in is compatible with VST, VST3, Audio Units, AAX, Native, AAX DSP, and RTAS. the pitch, dynamics, and amount of integrated stand, a 61-keywave Stage Spring Reverb is listed for US$ 99, vibrato for any number of notes on an model, and a 37-keywave Studio the Effect Bundle for US$ 219, and the individual basis. Sliding a finger to the version. Studio Collection for US$ 879. Con- left or right after the note has sounded Prices for the Seaboard start at tact: Softube, Sankt Larsgatan 10c, SE- will lower or raise the pitch. Volume US$ 1,299. Contact: ROLI, 2 Glebe 582 24 Linkoping,¨ Sweden; telephone and timbre are affected by changes Road, Dalston, London E8 4BD, UK; + + ( 46) 132-116-23; fax ( 46) 131-000- in pressure. The user can press more telephone (+44) 207 254 2155; Web 23; electronic mail [email protected]; strongly on the keyboard surface to www.weareROLI.com/. Web www.softube.com/. create crescendos or reduce their finger pressure for decrescendos. Even subtle changes in pressure can be New Releases ROLI Seaboard Grand detected and each finger and note can be controlled individually. A smooth Publications Touch-Sensitive Keyboard ribbon is provided along the top and Instrument bottom of the playing surface to allow Martin Neukom: Signals, Systems easy, smooth movement between the and Sound Synthesis (hardcover, The Seaboard from UK company keywaves and for creating glissandi. 2013, ISBN: 978-3-0343-1428-2, ROLI is a new musical instrument The Seaboard features an on-board Bern and Berlin: Peter Lang In- based on the piano keyboard but audio engine and has connections for ternational Academic Publishers, which features a soft, continuous headphones and amplifier. A single www.peterlang.com/). wavelike surface (see Figure 9). The continuous rotary control with LED keyboard is constructed from a new ring is provided for moving between technology that senses the user’s preset sounds. A software application Recordings touch and provides a passive haptic is provided with the instrument feedback that allows the user to detect to adjust the presets, create new Emmanuel Allard: Nouvelles Up- even slight changes in pressure. At customized presets, and tweak the anishads Du Yoga (CD, 2013, just 25.7 mm thick, the developers response settings of the keyboard. Karu 25, Baskaru Records, claim that it is the thinnest full-size The Seaboard can be used to control www.baskaru.com/). professional keyboard instrument software instruments using MIDI or Juan Blanco: Nuestro Tiempo/ that has ever been made. Multi-Dimensional Control, a new Our Time (CD, 2013, in- Instead of distinct piano-type keys, system for communicating between nova 248, Innova Recordings, the Seaboard’s surface is a series of expressive musical devices. www.innova.mu/). waves that ROLI calls keywaves.The Three versions of the Seaboard Matthew Burtner: Noise Plays Burt- user can sound a note by touching the are available, the 88-keywave ner (CD, 2013, innova 871, Innova surface but then can change Seaboard Grand Limited Edition with Recordings, www.innova.mu/).
102 Computer Music Journal
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