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Products of Interest Products of Interest Neat Microphones Bee Range 134 dB (at 2.5K ohms) and a maxi- and the Bumblebee for US$ 199. mum SPL of 140 dB (at 2.5K ohms and Contact: Neat Microphones; Web The new Bee range from Neat Mi- 0.5 percent total harmonic distortion neatmic.com. crophones includes condenser mi- [THD]). The signal-to-noise ratio is crophones with large and medium 89 dB (A weighted). It measures 216 × diaphragms, as well as a desktop USB 76 mm and weighs 785 g. Shure MOTIV Microphone Range microphone. The King Bee is a large The Worker Bee is a similar but diaphragm condenser microphone lower cost microphone with a smaller Shure has released a new range of digi- with Class A discrete electronics, 25-mm capsule. It offers the user tal microphones that connect directly designed for high-sensitivity and a frequency response of 20 Hz to to computers, laptops, and iOS de- low-noise recording (see Figure 1). It 20 kHz. The dynamic range and SPL vices (see Figure 2). Among this range features a 34-mm center-terminated, are slightly higher at 135.5 dB and is the MV88, a digital stereo con- gold-sputtered condenser capsule 145 dB, respectively. The signal-to- denser microphone for iOS devices, with external polarization. The polar noise ratio for this microphone is which connects directly using the pattern is cardioid. The microphone 79 dB (A weighted). It measures 152 × Lightning connector. It is mounted offers a frequency response of 16 Hz 76 mm and weighs 446 g. Both the on a 90-degree rotatable hinge that to 20 kHz. It has a dynamic range of King and Worker Bee microphones allows for flexible positioning. It has are distinctive black with yellow bee- matched cardioid and bidirectional like stripes. They are packaged with capsules, and a mid-side design. The doi:10.1162/COMJ r 00351 a honeycomb pop filter that snaps polar pattern can be changed be- onto the microphone, a custom shock tween adjustable width stereo, mono mount that isolates the microphone bidirectional, mono cardioid, and from the stand and locks it securely mid-side. It supports sampling rates in place, and a velvet carrying bag. up to 48 kHz, with 24-bit resolu- The Bumblebee, from the same tion. It has a frequency response of range, is a desktop USB microphone 20 Hz to 20 kHz. A free iOS app for use with laptops, desktop com- provides access to five built-in preset puters, tablets, and audio devices. modes: speech, singing, flat, acoustic It has an integrated stand with a instrument, and loud. The user can boom arm for flexible placement of also make real-time adjustments to the capsule. It has three distinctive the gain, stereo-width, equalizer, and conical controls on the main stand limiter/compressor through this app. panel. The first allows the user to The MV5 is a digital condenser switch recording modes between mu- microphone for home studio record- sic, voice, and neutral. The second is ing, podcasting, or audio/video chat. a microphone gain control, and the It comes with a detachable tabletop third a headphone/monitor level con- stand and can be mounted on any 1 trol. The headphone/monitor output standard /4-in camera tripod. It can is built in to the front panel for easy connect to iOS, Android, Macintosh, access. The Bumblebee microphone and Windows machines through sup- supports sampling rates up to 96 kHz plied USB and Lightning cables. The and 24-bit sample depths. It has an in- microphone has a cardioid polar pat- ternal shock mount and features the tern and a frequency response of 20 Hz same snap-on external honeycomb to 20 kHz. Three DSP modes (vocals, pop filter as the previous models. flat, and instrument) automatically The frequency response is 20 Hz to optimize the equalizer, compression, 20 kHz. The dynamic range is 98 dB and limiting settings. A headphone (at 2.5K ohms), the SPL 128 dB (0.5 output is built in to the rear of the percent THD), and the signal-to-noise microphone. ratio is 98 dB (A weighted). The MV51 is a large-diaphragm Figure 1. The King Bee The King Bee is listed for US$ digital condenser microphone with from Neat Microphones. 349, the Worker Bee for US$ 199, a built-in kickstand for tabletop use. 76 Computer Music Journal Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/COMJ_r_00351 by guest on 01 October 2021 Figure 2. Shure’s MOTIV range of Figure 3. The BP40 broadcast digital microphones. microphone from Audio-Technica. protective pouch. A separate shock mount, the AT8484, is also available as a separate purchase. The BP40 is listed for US$ 349. Contact: Audio-Technica U.S., 1221 Commerce Drive, Stow, Ohio 44224, USA; e-mail [email protected]; Web www.audio-technica.com. M-Audio Code Series Keyboard It has a 1-in microphone capsule Technica as a clear but rich vocal Controllers and a headphone output. It has the microphone for use in broadcasting, same connection capabilities, polar podcasting, overdubbing, and other M-Audio’s new Code Series of key- pattern, and frequency response vocal applications (see Figure 3). Its boards feature 25-, 49-, and 61-key as the MV5. This model from the large diaphragm features floating-edge controllers with 16 velocity-sensitive MOTIV range has a control panel construction to maximize the surface pads with LED feedback, a touch pad for adjusting gain, mute, headphone area. A humbucking coil is used to for x/y axis control, and a split key- volume, compressor/limiter, and reduce electromagnetic interference board with four assignable zones (see DSP modes in real time. The five from associated electronic devices Figure 4). The keys are full size and preset modes are: speech, singing, such as video monitors and AC semi-weighted with aftertouch. The flat, acoustic instrument, and loud. power supplies. The microphone has controllers also feature assignable The MV88, MV5, and MV51 a hypercardioid polar pattern, which knobs, faders, buttons, and pitch and are listed for US$ 149, US$ 99, isolates the sound source in close modulation wheels. The controls and US$ 199, respectively. Contact: production environments. automatically map to commonly Shure, 5800 West Touhy Avenue, The frequency response of the used DAWs, including Logic Pro, Niles, Illinois 60714-4608, USA; Web BP40 ranges from 50 Hz to 16 kHz. Pro Tools, Cubase, Ableton Live, and www.shure.com. It has a low-frequency rolloff of GarageBand. Mackie Control and HUI 10 Hz at 6dB per octave. It mea- are supported. Each controller has a Audio-Technica BP40 sures 6.45 × 2.2 in and weighs just five-pin MIDI input and output, along over 22 oz. An internal multistage with sustain and volume pedal inputs. Large-Diaphragm Dynamic windscreen functions as a pop filter The keyboard controllers connect to Broadcast Microphone and a 100-Hz high-pass filter reduces a computer using a USB interface, unwanted noise further. It come with through which they are also powered. The BP40 microphone has been a mounting clamp for noise, shock, They are bundled with Ableton Live designed by its manufacturer Audio and vibration protection, and a soft Lite, AIR Music Technology’s Hybrid Products of Interest 77 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/COMJ_r_00351 by guest on 01 October 2021 Figure 4. The Code 61 from M-Audio. Figure 5. Akai’s MPD226 pad controller. Figure 4 3.0 virtual synthesizer, and their additive synthesizer, Loom. The two larger controllers, the Code 61 and Code 49, have eight assignable rotary encoders, nine assignable faders, and nine assignable buttons. The Code 25 controller features four assignable rotary en- coders, five assignable faders, and five assignable buttons. The Code 25 is listed for US$ 299, the Code 49 for US$ 349, and the Code 61 for US$ 399. Contact: M-Audio, 200 Scenic View Drive, Cumberland, Rhode Island 02864, USA; Web www.m-audio.com. Akai MPD Pad Controllers Among the newest additions to Akai’s MPD series of controllers are the MPD226 and MPD232. Both are Figure 5 MIDI controllers with 16 illuminated RGB velocity and pressure sensitive MPC pads. Four banks of pads are Swing, 16 Level, Full Level, and Tap knobs, and buttons, giving 72 available, giving the user access to 64 Tempo. controls in all, also organized into in total. They have a plug-and-play The smaller MPD226 controller three banks. Thirty presets are pro- USB interface for connecting to com- (see Figure 5) features four assignable vided, with common DAWs catered puters, MIDI input and output jack faders, four assignable Q-Link knobs, for. connectors, and are iOS compatible and four assignable Q-Link but- The controllers are packaged using a separately purchased camera tons. Thirty-six assignable con- with Ableton Live Lite, Akai Pro connection kit. Both models have trols are available in all, through MPC Essentials, Sonivox Big Bang dedicated transport controls, and the three banks. The MPD232 model Cinematic Percussion, and Big Bang classic MPC features Note Repeat, has double the number of faders, Universal Drums. 78 Computer Music Journal Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/COMJ_r_00351 by guest on 01 October 2021 Figure 6. The Yamaha AG06 mixer. DSP Controller app. A rotary volume control is also included. Channel 2 is a combination microphone/guitar input with guitar switch and pad, and an amplifier simulator in place of the compressor. D-Pre microphone amplifiers are used on both channels. 1 Channels 3 and 4 are stereo /4-in line inputs for use with electronic equip- ment like keyboards.
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