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Products of Interest Products of Interest SPL Atmos 5.1/ASM 5 Surround each channel, and monitor and mas- Headphones do not enclose the ears, ter outputs. Each channel features but instead rest on the listener’s Recording System highpass filters switchable between shoulders, “surrounding” the ears 50 Hz or 100 Hz, and each can be with four close-range loudspeaker With all the interest in producing routed to the five surround output drivers (see Figure 2). The two drivers “surround sound,” it is surprising buses or the direct output bus. Lev- at the front reproduce the encoded that little attention has been paid to els can be adjusted for each input, “main front” channels, passing fre- the direct recording of multi-channel but it is also possible to place all quencies above 300 Hz. The rear driv- audio. A joint project from German five channels under a single master ers are broad-band, passing encoded audio manufacturers, SPL and Dirk control for overall adjustments that “rear” channels as well as low fre- Brauner, the Atmos 5.1/ASM 5 Sur- preserve the relationships between quency content. The optional round Recording System was created individual microphones (a critical SurrounderDSP incorporates a Dolby to enable direct “surround” record- element in capturing a balanced sur- Pro Logic decoder to enable record- ing. The package includes an array of round audio image). Mono and by- ings, DVD audio, and games to be five microphones and a rack-mount pass switches are provided to easily played back in properly spatialized recording console (see Figure 1). monitor individual microphones form. The decoder comes with 15 The microphone array is built using and to check for phasing issues. The preset “virtual-seating” options. the Brauner VM1 high-quality con- console includes both a stereo head- The Surrounder weighs approxi- denser capsules. The polar patterns phone jack and a 6-pin DIN connec- mately three pounds, and has a fre- can be adjusted from the Atmos con- tor for Sennheiser Surrounder quency response of 45 Hz–20 kHz. The sole in continuously variable configu- headphones. signal-to-noise ratio is about 85 dB, rations from figure eight to cardioid to The ASM5 array does not include with maximum SPL set at 100 dB. The omni. Based on the quasi-standardized a dedicated sub-bass element. A 130 total harmonic distortion is rated at 1 5.1 format, the front three micro- Hz lowpass filter is implemented in 0.01%. The ⁄4-inch cable connector phones (Left, Center, Right) are at- the Atmos console so that low-fre- enables the Surrounder to be used in tached to the central swivel at a quency elements on any input can conjunction with common audio distance of 17.5 cm, each able to be be routed out to become a equipment; a mini-jack adaptor would ° adjusted by as much as 90 each way subwoofer channel. The discrete need to be used for interfacing with along the horizontal axis. The other outputs are designed to be routed di- standard computer audio outputs. The two (Surround Left, Surround Right) rectly to a recorder or workstation. inputs are normalized to “line” levels. ° are 60 cm from the swivel, with a 60 No surround encoding is required. The 2 m cable bundled with the adjustment range. The microphones The Atmos 5.1/ASM 5 is priced at Surrounder is not overly generous, but can be adjusted electronically from US$ 27,990.00, and is also available longer lengths may be substituted. the console using Spread and Diver- from the distributor on a rental basis. Sennheiser Surrounder is listed for gence controls. The ASM5 array is Contact SPL Electronics GmbH, US$ 299.00. Contact Sennheiser connected via a custom multipin Sohlweg 55, D-41372 Niederkrüchten, Electronics GmbH, D-30900 snake cable that is 25 meters long Germany; telephone (+49) 2163-9834- Wedemark, Germany; electronic (longer lengths can be ordered). 0; fax (+49) 2163-9834-20; electronic mail [email protected]; World The Atmos console includes +48 mail [email protected]; Wide Web www.sennheiser.com/ VDC phantom power and triple World Wide Web mediacoustics/surmain.html. gain–stage mic preamplifiers using www.soundperformancelab.com or Lundahl input transformers. The www.g1ltd.com. multipin snake from the ASM5 ar- Alesis airFX Digital ray connects directly to the console, Signal Processor although there are separate XLR in- Sennheiser Surrounder puts that can be used for alternative Headphones The Alesis airFX is a digital signal microphone sets. There are also two processor intended primarily as a stereo auxiliary inputs, individual Sennheiser has contributed a rather performance interface. Line-level outputs (balanced XLR and unbal- unique product to the surround audio is fed into the unit via RCA 1 anced ⁄4-in), insert send/returns for sound field. The Surrounder Sound connectors, sent through 24-bit digi- Products of Interest 89 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/014892601750302606 by guest on 02 October 2021 Figure 1. SPL Atmos 5.1/ASM 5 Sur- Figure 2. Sennheiser Surrounder round Recordering System. Headphones. Figure 3. Alesis airFX Digital Signal Processor. tal-to-analog converters, processed fects carry names such as Vinylizer by any of 50 preset programs, then (sensors control bandwidth, noise, reconverted and sent out through and scratches), Bow Wow (lowpass RCA connectors to a mixer or am- filter controlled by frequency, reso- temporarily neutralized. Bright plifier. The DSP parameters are ma- nance, and LFO rate), Liquid Metal lights and smoke may interfere with nipulated by (hand) movements (25-band phase shifter controlled by the airFX’s sensitivity. above the proprietary Axyz sensor frequency, feedback, and mix), Kung The Alesis airFX is available for dome (see Figure 3). This controller Fu Panner (panning controlled by US$ 249.99. Contact Alesis Studio uses infrared beams to detect mo- left-right movement), or Jungle Rip Electronics, Inc., 1633 26th Street, tion on three axes: left-to-right, (a synthesized bass sound controlled Santa Monica, California 90404, front-to-back, and distance (up- by waveshape, decay, and pitch). USA; telephone (800) 525-3747; down). Each program assigns differ- The only way to manipulate the electronic mail [email protected]; ent “effects” to each of the three DSP programs is with the param- World Wide Web www.alesis.com. sensors (some use only one or two). eters assigned to the sensor axes. The DSP programs are grouped The airFX can be mounted on a into five categories: Special FX 1; mic stand for performance purposes, Filters; Flange/Phase; Special FX 2; and to keep the unit away from Electroshock Records and Synth Patches. Included among other audio equipment that may New Releases these are a whole range of filters, need to be manipulated. The proces- vocoders, granulators, FM vibrato sor does include a Hold function— Electroshock Records, a label based effects, spatialization algorithms, allowing a particular setting of an in Moscow dedicated to electroa- waveshapers, pitch-shifters, and so effect to be “frozen,”—as well as a coustic music, recently announced a on. Aimed at the DJ market, the ef- Bypass—allowing the unit to be series of new releases (see Figure 4). 90 Computer Music Journal Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/014892601750302606 by guest on 02 October 2021 Figure 4. Cover from Electroacous- Figure 5. Screen image of MusicLab tic Music, Volume VI, Electroshock Rhythm’n’Chords MIDI Plug-in. Records. These include: Electroacoustic Mu- sic, Volume IV: Archive Tapes—Syn- thesizer ANS, 1964-1971 (ELCD 011, 1999); Edward Artemiev Solaris. The Mirror. Stalker (ELCD 012, 1999); Electroacoustic Music, Volume V (ELCD 013, 2000); Artemiy Artemiev & Phillip B. Klingler Dreams in Mov- ing Space (ELCD 014, 2000); Artemiy Artemiev & Peter Frohmader Space Icon (ELCD 015, 2000); Stanislav tracks within the Cakewalk Pro Au- Multicast Technologies dio sequencing/editing environment Kreitchi Ansiana (ELCD 016, 2000); Multicast Broadcasting Network Artemiy Artemiev Forgotten Themes (initially, for Versions 8.0–8.04 and (ELCD 017, 2000); Edward Artemiev 9.0–9.03). The package is available and Internet Player A Book of Impressions (ELCD 018, only for the Windows operating sys- 2000); Anatoly Pereselegin Down- tem. The software is packaged with Multicast Technologies has an- load the God (ELCD 019, 2000); and a library of 700 rhythm-guitar pat- nounced the development of propri- Electroacoustic Music, Volume VI terns, covering a wide range of etary technology to enable multicast (ELCD 020, 2000). styles. There is also a library of 22 broadcasting over the Internet. In- Contact Electroshock Records, Ul. stroke types, including down- stead of sending the media stream Krilatskaya 31-1-321, 121614 Mos- strums, up-strums, muted, grace- from a single Internet Service Pro- cow, Russia; telephone (+95) 415- note strums, slides, plucking, and so vider (ISP), Multicast Technologies 3046; fax (+95) 415-6689; electronic on. Additional features provide con- Network (MTN) is able to send the mail [email protected]; World trol over strum velocity balance, stream out to several ISPs simulta- Wide Web www.electroshock.ru. arpeggiation time, polyphony, and neously. This enables many more more (see Figure 5). All of this infor- end users to receive the content mation is mapped onto the appli- than has previously been possible. MusicLab Rhythm’n’Chords 1.1 cable MIDI parameters. The plug-in The aim is to lower the cost of also comes with charts for choosing Internet broadcasting. MIDI Plug-in for Cakewalk chords, voicings, and progressions. MTN has been set up on the Software Rhythm’n’Chords is being offered company’s own media streaming for US$ 99.00. Contact MusicLab, site, www.On-The-I.com, which can The Moscow-based MusicLab has Inc.; electronic mail support up to 100 audio channels released new software for creating [email protected]; World Wide (available for sale to content provid- MIDI sequences of rhythm guitar Web www.musiclab.com.
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