Products of Interest

Universal Audio Apollo Audio from the company’s 2192 interface The front panel of the interface is used here and can be viewed features two combination balanced Interface 1 at almost any angle. The Apollo XLR/jack inputs; two 4 -in. Hi-Z, The Apollo, from Universal Audio, interface supports Core Audio and instrument/line, balanced inputs; is a high-resolution 18 × 24 digital ASIO drivers, and is compatible with and a stereo headphone output. A audio interface designed to deliver all well-known DAWs on Macintosh further four channels of analog inputs the sound of analog recordings (see and Windows operating systems. A and six outputs, all on balanced TRS Figure 1). The interface is available Console application and Console jack ports, are located on the rear with two or four processors, which al- Recall plug-in allow the user to panel. The microphone pre-amplifiers low the audio to be recorded through control and recall the settings for the are taken from the UFX interface UAD-2 powered plug-ins with less interface and plug-in for individual and offer 64 dB gain and overload than 2 msec latency. The user can also sessions. The Apollo has a 19-in., 1U protection. The convertors have a low mix and master using these proces- rack space chassis. latency design, with 14- and 7- sample sors, without drawing from the host The Apollo DUO Core model is latency reported for the A-D and computer processor. The microphone listed for US$ 1,999 and the QUAD D-A convertors respectively. SPDIF and pre-amplifiers are reported to give Core model for US$ 2,499. Contact: (coaxial or optical), ADAT, Word the lowest THD (110 dB) and highest Universal Audio, 1700 Green Hills Clock, and two MIDI inputs/outputs dynamic range (118 dB, A-weighted) Rd., Scotts Valley, California 95066- are also included. The interface has + for an interface of this kind. 4926, USA; telephone ( 1) 877- both USB 2.0 (compatible with USB 3) + The Apollo has four microphone 698-2834; fax ( 1) 831-461-1550; and FireWire ports for connection to a inputs, eight analog line inputs/ electronic mail [email protected]; computer. A software application, To- outputs, two monitor outputs, a Web www.uaudio.com/. talMix FX, is included with purchase stereo SPDIF input/output, optical and features a redesigned version of the DSP engine from the Fireface ports for eight channels of ADAT, a RME Fireface UCX Audio FireWire 800 port, and WordClock UFX interface. All effects operate at input/output on the back panel. Two Interface up to 192 kHz sampling rate. high-impedance instrument inputs The company’s Basic Remote Con- are located on the front panel, as are The Fireface UCX from RME is a trol is included. It has a single large two dedicated headphone outputs. compact, half-rack size, FireWire dial wheel, a store/recall button, and An extension slot for an optional 400 audio interface that combines a programmable button for TotalMix Thunderbolt card is provided on the features from their Fireface UFX, UC, FX. The Advanced Remote Control, rear panel. Universal Audio indicates 400, and Babyface interfaces. It has a with six programmable button and that this reduces the audio buffer total of 18 input and output channels, LEDs is supported. Both remote con- size, lowers the latency, improves both digital and analog, and features trols have 5-m-long cables. A Class performance at high sample rates, ports on the front and back panels Compliant Mode allows the interface and allows more instances of UAD (see Figure 2). to be used with Windows, Mac OS X, plug-ins than FireWire. Sampling All input and output channels and Linux distributions, and with the rates up to 192 kHz, with 24-bit can be used simultaneously when iPad or iPad2. resolution, are supported. recording with sample rates of The Fireface UCX is listed for Controls are provided on the front 44.1 or 48 kHz. Ten of the input/ US$ 1,749. Contact: Am Pfanderling panel of the interface for pre-amplifier output digital channels are digital 60, 85778 Haimhausen, Germany; + gain, channel selection, microphone and the remaining eight are analog. telephone ( 49) 813-3 91-8170 + pad, phantom power, low cut filter, When the highest sample rate of 192 fax ( 49) 813-391-66; electronic monitor level, and the headphone kHz is used, a total of twelve input mail [email protected]; Web levels. The high-contrast metering and output channels are available. www.rme-audio.de/. Behringer Firepower Audio Interfaces and Digital Wireless Microphone with USB Receiver

The Behringer Firepower FCA610 Figure 1. The Apollo audio 18 × 24 audio interface from Universal Audio. and FCA1616 are USB and FireWire

92 Computer Music Journal

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/COMJ_r_00133 by guest on 26 September 2021 Figure 2. Front and back panels of Figure 3. Behringer’s Firepower Figure 4. The Duet 2 audio interface RME’s Fireface UCX audio interface. FCA610 audio interface. from Apogee.

using the ADA8000 digital convertor. The FCA1616 also includes eight analog inserts for use with external effects. This interface is powered by external power supply. Both interfaces are compatible with Mac OS X, Windows XP, and more recent operating systems. The front panel of each is colored vibrant red. Figure 2 In addition to these interfaces, Behringer has also released a wireless digital microphone with USB receiver, which allows the user to connect directly to a computer for recording. The Ultralink ULM100-USB operates in the 2.4-GHz frequency band and features automatic pairing for easy setup, an integrated volume control and mute button, and a low-battery indicator. The microphone is powered Figure 3 by two AA batteries and has an operating time of eight hours. The Fireface FCA610 is listed audio and MIDI interfaces, capa- control and switching. LED indicators for US$ 399.99 and the FCA1616 ble of recording at sample rates up are provided for all controls. The rear for US$ 499.99. Contact: Behringer, to 96 kHz, with 24-bit resolution. panel of the interface features a pair of 18912 North Creek Parkway #200, They are both ultra-low latency in- balanced line inputs, eight balanced Bothell, Washington 98011, USA; terfaces, with XENYX microphone line outputs, digital input/output on telephone (+1) 425-939-3200; Web pre-amplifiers. RCA and SPDIF ports (coaxial and www.behringer.com/. The smaller of the two interfaces, optical), MIDI input/output, USB, and the FCA610, has six audio inputs, ten FireWire ports, and a Kensington lock audio outputs, and an additional MIDI port. The interface can be powered by Apogee Duet 2 Audio Interface input/output (see Figure 3). The front a computer, using the FireWire bus, panel of the interface features two or by an external power supply. It has Duet 2 is an updated version of combination XLR/instrument inputs, a half-rack, 9.5-in. chassis. Apogee’s portable audio interface for with separate input level control, in- The larger FCA 1616 is a 19-in., Macintosh computers. It is a sleek put pad, Hi-Z switch, low-cut switch, 1U rack-space model with 16 device with an aluminum chassis and phantom power controls for each inputs and outputs. There are four measuring 102 × 160 × 35 mm. The of the inputs. Also located here are microphone/instrument inputs on device has two inputs, four outputs, LED matrices for the analog and digi- the front panel, with a set of controls an OLED display, and is capable of tal input/output activity, mix balance for each. An ADAT port allows recording at sampling rates up to and main volume controls, and two the user to access eight additional 192 kHz, with 24-bit resolution (see stereo headphone outputs with level microphone inputs and line outputs Figure 4).

Products of Interest 93

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/COMJ_r_00133 by guest on 26 September 2021 Figure 5. Tascam’s iU2 audio Figure 6. Tascam’s IXZ pocket-sized Figure 7. The MIDI Fighter, a interface for iPhone and iPad. audio interface for iPhone and iPad. three-dimensional MIDI controller.

New components have been used in the microphone pre-amplifiers to provide ultra-low noise and click-free transitions over the 75-dB gain range available. The A-D and D-A conver- tors have also been updated. A new breakout cable has also been created for this release of the interface. Two 1 combination XLR/ 4 -in. connections 1 Figure 5 and two balanced 4 -in. connections for speakers combine into a single cable for connection to the interface. Ports for the breakout cable, power adapter, and USB 2.0 connection are shi, Tokyo 206-8530, Japan; telephone provided on the top panel of the (+81) 423-569-100; fax (+81) 423- interface. The front panel features a 569-105; Web www.teac.co.jp; U.S. 1 customers contact: Tascam, 5939 4 -in. stereo headphone output port. The top panel features a new OLED Wallace Street, Mississauga, Ontario display, configurable touchpads, and L4Z 1Z8, Canada; telephone (+1) a controller knob. The display is 905-890-8008; fax (+1) 905-890-9888; used for metering, input and output Figure 6 Web www.teac-ca.com/. level values, and grouping. It also displays indicators for phase, mute, inputs with phantom power, two bal- phantom power, and soft limiter. The anced line inputs, and an instrument- DJ Tech Tools MIDI Fighter 3D touchpads can be configured using level input for guitar and bass are Controller the supplied Maestro 2 software to provided. The outputs include an provide access to output functions. SPDIF digital output, two line out- The MIDI Fighter from DJ Tech The large multi-function controller puts, and a mini-jack headphone Tools is a three-dimensional MIDI knobisusedtotogglethroughthe output. MIDI input/output and a controller with 16 arcade buttons inputs and output, and to set levels. mini USB port are also included. The arranged in a 4 × 4grid(seeFigure7). The Maestro 2 application also built-in microphone pre-amplifiers Four banks of controls are available provides the user with control of and A-D convertors offer improved and six buttons on the side panel can the soft limiter, output assignments, sound quality over those built in be used for presets or other functions. dimming and muting of the output, to iPhones and iPads, according to Each of the buttons is surrounded and control of the sample rate. It Tascam. The interface measures 110 by a customizable color ring. The has a single-window design and an × 110 × 20 mm and weighs 221 g. A on and off colors can be specified improved low latency mixer. A 2-m USB cable, iOS connection cable, and for each button, for all four banks, USB cable, breakout cable, and uni- 1 XLR to 4 -in. conversion cables are or the colors can be set in real-time versal power adapter are bundled with included with purchase. through MIDI. The position of the the interface. The iXZ is a pocket-sixed inter- controller in space can also be used Duet 2 is listed for US$ 595. face for use with iOS devices (see to contol parameter values, through Contact: Apogee Electronics Corp., Figure 6). It includes a switchable three-dimensional motion tracking 1715 Berkeley St., Santa Monica, microphone/line input on an XLR and five degrees of movement. California 90404, USA; telephone port, a high-impedance guitar input, A software application for con- (+1) 310-584-9394; fax (+1) 310-584- and a mini-jack headphone output. figuring the controller is provided. 9385; Web www.apogeedigital.com/. Phantom power is available on the A hand strap can be used for bet- microphone input. The microphone ter control of the controller when Tascam iOS Audio Interfaces requires two AA batteries to operate. using the motion tracking aspect. The iU2 interface is listed for US$ The controller has rubberized feet The iU2 is an audio interface for iOS 199.99 and the iXZ for US$ 69.99. and a rubberized sleeve for grip. It is devices (see Figure 5). Two XLR Contact: Tascam, 1-47 Ochiai, Tama- powered through the company’s

94 Computer Music Journal

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/COMJ_r_00133 by guest on 26 September 2021 Figure 8. Mark of the Unicorn’s Figure 9. Mark of the Unicorn’s MicroBook II audio interface. Digital Performer 8.

high-quality USB cable, which is a fully shielded USB 2.0 cable, with ferrite chokes and a right-angle con- nector. The MIDI Fighter controller is listed for US$ 249. Contact: DJ Tech Tools, 360 Langton Street, Suite #200, 1 San Francisco, California 94103, two 4 -in. headphone outputs, an DAW software, a USB 2.0 cable, and a USA; telephone (+1) 877-246-8958; unbalanced mini-jack output, and microphone cable adapter. Web www.djtechtools.com/. an SPDIF digital output are also Digital Performer 8 is now avail- provided. A digitally controlled trim able in 32- and 64-bit versions for both is also available on all of the outputs. Mac OS X and Windows 7 operating MOTU MicroBook II Audio The digital output mirrors the analog systems (see Figure 9). This is the first Interface and Digital Performer main outputs. A single digital rotary time the company’s digital audio soft- encoder is used to control the output ware has been available for Windows. 8 for Windows volume. The user can push the A new video playback engine allows encoder to cycle through control of the user to view 720 and 1,080 HD Mark of the Unicorn (MOTU) has the main outputs, headphone, or both video on primary or secondary mon- released an updated version of their together. itors. Video can also be viewed on MicroBook audio interface. The MOTU’s Internal CueMix tech- HDMI or SDI video monitors, using a MicroBook II is a four-input, six- nology is used for mixing and routing MOTU video interface. A new Punch output, compact, portable interface of live inputs and host audio tracks Guard feature records four seconds of × × measuring 5.5 35 1.25 in. It is and allows a different stereo mix audio, before and after recording, to bus-powered, has an XLR microphone for each pair of outputs or the same avoid cutting off important material. input port, and can record at sample mix to be sent to multiple outputs. Themes are used to change the ap- rates of 88.2 and 96 kHz (see Figure 8). A range of on-board effects include pearance of the software interface and Along with the microphone input, a seven-band parametric equalizer 14 new themes have been added here. the MicroBook II features a hi-Z guitar and compressor. A test tone and Fifteen additional plug-ins are also 1 input on a 4 -in. jack, stereo balanced white/pink noise generator is also included with this updated version of 1 line inputs on 4 -in. jacks, and an built in to the interface. Software the software. VST plug-ins and the 1 unbalanced stereo input on a 8 -in. audio analysis tools are available and Rewire protocol are supported in the mini-jack. Audio can be recorded include an FFT display, spectrogram Windows version of the software. on all inputs simultaneously. A 20- waterfall display, an oscilloscope, MicroBook II is listed for US$ dB pad and 48-V phantom power is and an x−y plot. Core Audio, Wave, 269. Contact: Mark of the Unicorn available on the microphone input. and ASIO drivers are included and (MOTU), 1280 Massachusetts Ave., A digitally controlled analog trim is the interface is compatible with all Cambridge, Massachusetts 02138, separate to the input mix volume. recent Macintosh and Windows com- USA; telephone (+1) 617-576-2760; 1 + Two 4 -in. balanced main outputs, puters. It is bundled with AudioDesk fax ( 1) 617-576-3609; electronic

Products of Interest 95

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/COMJ_r_00133 by guest on 26 September 2021 Figure 10. Sound Devices’ 552 portable mixer with built-in recorder.

one. It has an eight-bit oscillator, which can be used to generate sound from noise or a choice of saw, square, triangle, or sine waves. The pitch is controlled by the finger position on a four-octave ribbon strip and finger pressure controls the volume of each note. The scale settings and range of the ribbon can be changed using a software editor provided. A pressure- sensitive tactile pad at the base of mail [email protected]; Web www controls and a battery check button the instrument is used to trigger .motu.com/. is also included. Voice prompts are and control FM and AM modulation. output to the headphones for impor- The pressure values from the ribbon tant operations and navigation of the and tactile pad can be mapped to Sound Devices 552 Portable setup menu. The front panel channel alternative MIDI messages, using the Audio Mixer controls double as menu navigation software editor. buttons. A talkback function with A built-in USB port allows the The 552 Production Mixer is a light- slate microphone is also built in to Ribbon to be connected to a computer weight, portable mixer and recorder the mixer. Transfer of audio files to a to be used as a USB controller. It is with timecode input (see Figure 10). computer is done via the SD/SDHC automatically recognized as a MIDI It features five precision, transformer- card. The frequency response of the interface and is compatible with + balanced, microphone/line inputs 522 is 20 Hz–30 kHz ( 0.2, –0.5 dB) Mac OS X, Windows, Linux, and iOS with a high dynamic range on XLR and the total harmonic distortion is devices. An audio input/output is also + inputs. Each has a two-stage gain 0.09 percent ( 18 dBu line out at 50 provided and allows the Ribbon to be control, with input trim and fader; Hz–20 kHz). used as a CV/gate controller. continuously variable pan; contin- The top and bottom panels of The entire Ribbon is enclosed in a uously variable high-pass filter; a the mixer are constructed from transparent Plexiglas enclosure which limiter; solo monitoring; and pre- or metalized, powder-coated, carbon is LED-lit, making this a striking post-fader direct outputs. fiber and the front panel is gasketed instrument for live performance. It A two-track digital audio recorder to reduce moisture problems. The can be powered by USB or an external is built in to the mixer and saves audio mixer can be powered by four AA power supply. The user can save up as Broadcast WAV on SD/SDHC cards. batteries or an external power supply. to 16 synthesizer presets. The Ribbon × × Sampling rates up to 96 kHz, with A range of video tutorials on the measures 60 4 1.5 cm and weighs 24-bit resolution are supported. A product Web site give additional 480 g. timecode input is available on a TA3 information on the operation of the The Ribbon is listed for approx- connector, and the timecode rate is mixer. imately US$ 299. Contact: More automatically detected and applied. The 552 mixer is listed for US$ Electronic Sounds and Imageries, Audio can also be saved to MP3 files. 3,595. Contact: Sound Devices, 6 rue Marceau, 94200 Ivry-sur-Seine, + A pair of XLR output ports is E7556 State Rd. 23/33 P.O. Box France; telephone ( 33) 145-154- + provided and these can be used to 576, Reedsburg, Wisconsin 53959, 196; fax ( 33) 145-150-724; Web + output four channels of digital 24-bit USA; telephone ( 1) 608-524- www.eowave.com/. + AES/EBU signals. Balanced outputs 0625; fax ( 1) 608-524-0655; Web on a Hirose 10-pin connector, TA3 www.sounddevices.com/. connectors, and headphone outputs Alesis iO Mix iPad Interface are located on the right panel. and Mixer The front panel includes 42- Eowave Ribbon Synthesizer and segment sunlight-viewable metering, Controller The first iPad device released by which can be switched between Peak, Alesis was the iO Dock, a docking VU, or Peak and VU modes. A joy- The Eowave Ribbon is a synthesizer station for the iPad that featured a stick controller is used for transport and controller (USB and CV/gate) in number of audio input and output

96 Computer Music Journal

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/COMJ_r_00133 by guest on 26 September 2021 Figure 11. The iO Mix iPad interface and mixer from Alesis.

using iPhones or iPod Touch devices. The iOS devices communicate wire- lessly with a Macintosh or Windows computer to control the Virtual Stu- dioLive software, which controls one or more StudioLive mixers. When an iPhone or iPod Touch connects to the network, all StudioLive mixers on the network are visible to it. A thumb- wheel control in the Qmix software provides users with individual con- trol of their own volume within the mix. The levels of the other mix channels are automatically reduced if the user tries to increase the volume past the unity gain level. Rotating the iPhone to landscape view gives the user access to the auxiliary micro- phone send levels and pan position for each channel and auxiliary. Soft- ports (see Products of Interest, CMJ Mount can be used to attach the iO ware controls allow an engineer to 36(3)). Their new iO Mix is a four- Mix to a microphone stand. The iO set permissions for the mixes each track mixer and interface that enables Mix supports Core Audio, making device has access to, so that each the user to turn their iPad into a it compatible with iTune App Store user only has control over their own portable studio device, without the software applications. mix. need for audio and USB cables for Contact: Alesis, 200 Scenic View The StudioLive Remote 1818VSL input and output (see Figure 11). The Drive, Suite 201, Cumberland, Rhode software is an iPad app for wireless rear panel features four combination Island 02864, USA; telephone (+1) control of the AudioBox 1818VSL 26 1 × XLR/ 4 -in. inputs with phantom 401-658-5760; Web www.alesis.com/. 18 channel audio/MIDI interface power, high-pass filter, direct input, (see Products of Interest, CMJ 36(1)). and gain controls. Balanced stereo The hardware interface is controlled 1 outputs on 4 -in. jack ports and video by AudioBox VSL software, which outputs (RCA composite and S-video) PreSonus Qmix and StudioLive in turn can now be wirelessly con- are also provided here. Remote 1818VSL Software trolled from an iPad. Multiple views The top panel of the iO Mix fea- of the AudioBox VSL mixer and pro- tures the iPad dock, which has a The SL Remote was an iPad app cessing controls are provided. The hinged door to secure the iPad in that gave the user wireless control Overview display shows the most place, and the mixer controls. The over PreSonus’s StudioLive hardware frequently used parameters, such iO Mix power supply also recharges mixers, using Virtual StudioLive as channel levels, mute, pan, and the iPad when it is in place. The (VSL) software (see Products of equalization curves. In microview individual channel controls provided Interest, CMJ 35(4)). It allowed mixer mode, the user can easily navigate are individual trim, channel gain, channels, auxiliaries, effects, and between processors with a finger pan, and low and high equalization. processors to be controlled remotely swipe. A separate volume control is pro- from any location in a venue. Two Qmix and StudioLive Remote vided for the outputs, along with a new iOS apps, Qmix and StudioLive 1818VSL are free downloads from direct monitor switch that allows Remote 1818VSL, are based on the the Apple App Store. Contact: for latency-free input monitoring, SL Remote software and extend its PreSonus Audio Electronics, Inc., and a switchable limiter. The video functionality. 7257 Florida Blvd., Baton Rouge, output allows the user to incorporate Qmix is designed to allow up to Louisiana 70806, USA; telephone video playback into performance and ten musicians control monitor mixes (+1) 225-216-7887; fax (+1) 225-926- presentations. An optional Module from StudioLive hardware mixers, 8347; Web www.presonus.com/.

Products of Interest 97

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/COMJ_r_00133 by guest on 26 September 2021 Figure 12. Yamaha’s MGP12X mixing console with iPad/iPhone control.

the mixer and DSP settings with an iPhone, iPad, or iPod touch. It allows the user to control the REV- X and SPX parameters, the Hybrid Channel’s ducker and leveler, and playback settings. The device can be connected and charged using a dedicated USB port on the top of the front panel. The MGP12X is a twelve-channel mixing console, with six microphone inputs, four monophonic line inputs, four stereo line inputs, two additional inputs for use with analog devices or an iPod/iPhone, two auxiliary sends, two effects sends, four group buses, and a stereo bus. The 16- channel MGP16X model features four additional microphone and mono- phonic line inputs. The chassis of the consoles are constructed of impact- resistant, powder-coated metal and they have rack-ears for mounting. A Yamaha MGP Analog Mixing digital effects with editable param- universal power supply is included. Consoles with iOS Control eters. The Stereo Hybrid Channel The MGP12X is listed for US$ aims to combine the feel of analog 829 and the MGP16X for US$ 999. The MGP12X and MGP16X are the controls with digital functionality Contact: Yamaha Corporation of first in Yamaha’s new MGP series through the use of a priority ducker, America, 6600 Orangethorpe Ave., of analog mixing consoles, which leveler, and stereo image function. Buena Park, California 90620, USA; can be controlled from an iPad or The ducker allows a microphone Web www.yamaha.com/. iPhone (see Figure 12). They feature input to automatically be prioritized new D-PRE, studio-grade, discrete over other sound sources, without the class-A microphone pre-amplifiers. need for a console operator. As soon An inverted Darlington circuit, with as the microphone is used, the levels Alto MasterLink Live Mixers a multi-layered design, has been of other sound sources is reduced and with iPad Dock used to give higher power with they automatically return to their lower impedance. Phantom power original level again once the micro- The MasterLink Live mixers from is available in all channels. The phone is no longer in use. The user Alto combine an analog mixing con- company’s Virtual Circuit Modeling can adjust the level the sound source sole with DSP technology and control is used in the equalization section of is reduced by. The leveler is an intel- via an integrated dock for iPad (see the console. This technology models ligent compressor that automatically Figure 13). Available in 12-channel the original circuitry of vintage adjusts sound levels from various and 16-channel formats, the Master- equalizers to provide the response sources so that they no longer vary Link Live mixers feature a three-band and shelving of the originals. in volume. The Hybrid Channel also equalizer, with mid-frequency sweep, One-knob compression with LED has a stereo image function, which on all monophonic channels; four indicators, dual studio-grade digital provides a mixed sound an audience auxiliary send and group buses; built- effects processors, and Stereo Hybrid that may be spread over a large space, in digital reverberator, chorus, and Channels are also included. Yamaha’s by narrowing the pan balance of the delay; independent channel com- REV-X offers the user three natural stereo sound source. pressors; and dedicated talkback high-resolution reverberation effects, A software application, MGP microphone input. Real-time audio and the SPX processor provides 16 Editor, is available for controlling analysis, a twelve-band parametric

98 Computer Music Journal

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/COMJ_r_00133 by guest on 26 September 2021 Figure 13. The MasterLink Live 16 Figure 14. Royer Labs’ Sling-Shock mixer with iPad dock. microphone shock mount.

The V-Control is listed for US$ 49.99. Contact: Neyrinck, Web www.neyrinck.com/.

Royer Labs Sling-Shock Microphone Mount equalizer, compressor/limiter, two- Logic 9, Cubase and Nuendo, Reason, channel audio recording, and a built- Ableton Live, FL Studio, Sonar, The Sling-Shock from Royer Labs in programmable SPL meter, as Reaper, and Studio One. It allows the is a microphone shock mount that well as recording and playback, are user to remotely control their DAW uses damped steel springs and non- available via the Live Drive iPad via the multi-touch control surface of resonant nylon cable to isolate the app, which can be downloaded for the iPad. microphone from vibrations and re- free. Multiple faders can be adjusted duce self-resonance (see Figure 14). The MasterLink Live 16 has ten simultaneously and banking and It is designed for the company’s 1-in. monophonic and three stereo in- scrolling features are provided for ses- ribbon microphones but will work puts, ten low-noise, high-headroom sion navigation. Pan, mute, solo, aux- with any cylindrical microphones of microphone pre-amplifiers, and ten iliary sends, and arming of each track thesamesize.Themicrophonecham- channel compressors. The larger Mas- is possible from the iPad/iPhone. ber is felt-lined to avoid scratching terLink Live 24 has an additional six Track metering, automation, and the microphone surface. The mount monophonic inputs, microphone pre- transport controls with a large does not use rubber parts that might amplifiers, and channel compressors. counter are also provided. Buttons degrade or stretch and it is flexible for The MasterLink Live 16 is listed are available for switching between microphone positioning. for US$ 769.99 and the Live 24 for US$ edit and mix windows, for record- A stand adapter is included for use 1,059.99. Contact: Alto Professional, enabling all tracks simultaneously, with European microphone stands. A 866 NE 20th Ave., Ft. Lauderdale, for input monitoring, group suspend, two-foot long vibration suppression Florida 33304, USA; telephone (+1) and auto-suspend. A command sec- cable, which features cloth-covered 401-659-8135; fax (+1) 401-658-3640; tion of the edit window gives the user wire to reduce the vibrations trans- Web www.altoproaudio.com/. access to editing functions such as mitted from the cable to microphone, cut, copy, and paste. Memory loca- is available as an optional additional tions and presets are also accessed in purchase. The company will release a Neyrinck V-Control Pro the edit window. A demonstration universal mount and further mounts for the iPad version of the software is available. for large-bodied microphones at a The GUI is available in a number of future date. The V-Control Pro is an iPad con- different formats, to match Pro Tools, The Sling-Shock is listed for US$ troller, for use with Pro Tools, Logic etc. 295. Contact: Royer Labs, 2711

Products of Interest 99

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/COMJ_r_00133 by guest on 26 September 2021 Figure 15. A screenshot from Celemony’s Capstan pitch restoration software.

option of renting a five-day time- limited iLok license for use of the software on specific projects. The product manual contains tutori- als for which corresponding audio files are included in the software installation. The full version of Capstan is listed for US$ 4,458 and the five-day rental for US$ 199. Contact: Cele- mony Software GmbH, Valleystrasse 25, 81371 Munich, Germany; elec- tronic mail [email protected]; Web www.celemony.com/.

Steim junXion

Steim’s junXion for Mac OS X is a Empire Ave, Burbank, Cali- changing the speed up and down routing application that takes input fornia 91504, USA; telephone according to the analysis curve. The from a range of devices and sensors (+1) 818-847-0121; electronic user can easily switch between the and outputs MIDI or OSC events. mail [email protected]; Web original and processed recording. The input to the application can be www.royerlabs.com/. The analysis can be adjusted by the MIDI, OSC, audio, Arduino, video, or user before the audio is repaired, WiiRemote, or can come from input using detailed editing tools. In this devices such as joysticks, mice, and Celemony Capstan Pitch way intentional effects that might touchscreens. Input data up to 16-bit result in pitch fluctuations, such as resolution is supported and the input Restoration Software for Old vibrato, can be treated appropriately data can be scaled. MIDI data that is Recordings and not simply removed from a input can be merged with the appli- recording. cation’s MIDI data. Response curves Celemony’s Capstan is designed to The overall pitch and duration are available in edited tables, to trans- repair pitch problems on recordings of the recording can also be altered, late gestures into MIDI controller and is particularly aimed at restoring according to a fixed pitch, average data. recordings on tape, cassette, vinyl, pitch, or set duration. Capstan sup- In junXion, the user sets up a patch and older media (see Figure 15). ports sample rates up to 192 kHz that defines the connection between Instances of wow and flutter, as and 16- to 32-bit resolution. It is a each sensor and the resulting action well as continuous speed variations, standalone application that operates that should take place. The action can be detected using intelligent on 64-bit Windows or Macintosh plat- can be set to only take place if certain analysis of the music based on the forms. It can read all common audio conditions are met and the user also Direct Note Access technology first file formats. The analysis data for a controls the type or MIDI or OSC used in the company’s Melodyne monophonic or stereo audio file can data that is output. A single input software. The Capstan analysis is be used on an unlimited number of can be connected to multiple actions displayed as a curve, below the audio additional file, enabling multi-track and similarly, multiple inputs can be waveform of the file in the main and multi-channel recordings to be connected to a single action. User- window of the software. This curve repaired. A demonstration version defined patches and configurations displays the changes in tape speed of the software that is only limited can be saved and recalled. over time and the analysis is carried in save, export, and play functions The software is currently at out automatically when an audio (7-sec playback only) is available to version 5. Among the new features file is loaded. Capstan then uses download from the Web site. Addi- are re-written OSC input/output varispeed to repair the recording, tionally, Celemony offers users the handling to support iPad apps, a

100 Computer Music Journal

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/COMJ_r_00133 by guest on 26 September 2021 Figure 16. Miselu’s neiro, a portable Figure 17. Cyberstep’s KDJ-ONE social music device with integrated hand-held synthesizer, sequencer, keyboard. and multi-track editor.

remote mouse control action, Wii infrared and vibration support, and an improved GUI, with help tags for all elements. A save-restricted demonstration version is available to download. Video tutorials and an online manual are also avail- able. Mac OS X 10.5 or higher is required to run junXion. JunXion Lite, a version of the application that only outputs MIDI events, is also available. JunXion is listed for € 75. Contact: STEIM, Achtergracht 19, 1017 WL Amsterdam, The Netherlands; (+31) a built-in webcam. The battery pro- + vides five to six hours operating time. 206-228-690; fax ( 31) 206-264-262; supports VST, RTAS, and Audio Units Digital speakers are built in. neiro electronic mail [email protected]; Web formats, on Windows and Macintosh has an Android-based open platform steim.org/. computers. environment that allows users and SurferEQ is listed for US$ 179. developers to create customized ap- Contact: SoundRadix; electronic plications. It will be released to the SoundRadix SurferEQ Pitch mail [email protected]; public in spring 2013. Tracking Equalizer www.soundradix.com/. Contact: Miselu Inc., 148 Castro The SurferEQ equalizer is designed Street, Mountain View, California 94101, USA; Web www.miselu.com/. for use with instrument and vocal Misule Neiro Android-Based tracks in which the fundamental frequencies or harmonics may change Social Media Device and over time. Rather than being set to a Keyboard Cyberstep KDJ-ONE fixed frequency range, this equalizer uses real-time pitch detection to The neiro from U.S. company Miselu The KDJ-ONE is a compact, lock the frequency to the selected is a portable social music device with Gameboy-like device that features harmonic. Seven equalizer bands are an integrated keyboard and audio and a synthesizer, sequencer, and multi- provided. These include high-pass and MIDI ports (see Figure 16). It features track audio editor (see Figure 17). low-pass filters and five asymmetrical a multi-touch display, uses a Yamaha It uses the handset edition of the bell-shaped bands, two of which can sound chip, is Internet-enabled, Linux-based MeeGo operating sys- be switched to shelf mode, with the and provides a range of musical tem, which along with wireless center band switchable to harmonic applications and cloud services to the connectivity allows KDJ-ONE to run filter mode. A slope selector control user. Firefox and Skype. The front panel toggles between 6 dB, 12 dB, 18 dB, The device has a 25-key touch- features a 5-in. multi-touch screen, and 24 dB per octave. The surf mode sensitive MIDI keyboard. Two MIDI with 800 × 480 pixel resolution, a of the equalizer can be switched ports, two USB ports, an HDMI keyboard, job dial, an arrow pad, six on and off and unused bands can port, an RCA audio input/output, control buttons, a sampling button, also be switched off. The pitch and and an SD card slot are provided for and 15 LED-lit buttons arranged as a fundamental frequency detected are connection to external devices and musical keyboard, with an up/down displayed when the surf mode is computers. A Yamaha AudioEngine octave switch. in use. A curve display shows the Series Sound Chip NSX-1 is used as The built-in synthesizer has 10 equalization curve of each band and the synthesizer engine and provides a algorithms, 20 effects, 7 filters, 4 the combined equalization curve. range of sound effects that include re- modulation units and comes with The user can control the noise floor verberation, chorus, and equalization. 200 preset voices, 100 drum kits, level and the pitch sensitivity of the WiFi and Bluetooth connectivity are and 100 audio clips. Time-stretching pitch detection engine. SurferEQ supported and the device also has and pitch shifting functions are also

Products of Interest 101

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/COMJ_r_00133 by guest on 26 September 2021 available. A six-pattern sequencer Japan; telephone (+81) 353-552-08; Mark Katz: Groove Music: The Art supports motion sequencing, loop fax (+81) 353-552-086; electronic mail and Culture of the Hip-Hop DJ recording, step recording, and piano [email protected]; Web www (hardcover, 2012, ISBN 978-0- roll display and input. Four patterns .kdj-one.com/. 19-533112-7, Oxford, England: can be combined into songs to give 24 Oxford University Press, www.oup patterns altogether. .com/). A microphone and 0.5-W speakers Deniz Peters, Gerhard Eckel, and are built in, and a microphone/line New Releases Andreas Dorschel (Eds.): Bodily input and line output are also Expression in Electronic Mu- included. Audio files in ACID WAV Publications sic: Perspectives on Reclaiming and Ogg Vorbis formats can be input Performativity (hardcover, 2012, and the device can output audio files Tim Crook: The Sound Handbook ISBN 978-0-415-89080-9, New and standard MIDI files. It can operate (hardcover, 2012, ISBN 978-0-415- York and London: Routledge, as a VST plug-in when connected to 55150-2, New York and London: www.routledge.com/). a computer. A software development Routledge, www.routledge.com/). kit will be made available for the Thom Holmes: Electronic and Exper- development of new applications. imental Music: Technology, Music, Recordings The KDJ-ONE is powered by a and Culture (hardcover, 2012, 1-GHz Intel ATOM processor, uses fourth edition, ISBN 978-0-415- Zack Browning: Secret Pulse 512 RAM, and has 4 GB storage. It 89646-7, New York and London: (CD, 2012, innova 817, features two USB ports and a slot for Routledge, www.routledge.com/). www.innova.mu/). Micro SD cards. It weighs 380 g and Dan Hosken: Music Technology Erdem Helvacioglu: Resonating measures 126 × 150 × 27 mm. and the Project Studio: Synthesis Universes (CD, 2012, innova 245, The KDJ-ONE is listed for US$ and Sampling (hardcover, 2011, www.innova.mu/). 830. Contact: Cyberstep, 4th Fl. ISBN 978-0-415-87828-9, New Ergo: If Not Inertia (CD, 2012, Asahiseimei Daitabashi Bldg., 1-22-19 York and London: Routledge, Rune 339, Cuneiform Records, Izumi, Suginami-ku, Tokyo 168-0063, www.routledge.com/). www.cuneiformrecords.com/).

102 Computer Music Journal

Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/COMJ_r_00133 by guest on 26 September 2021