NEW PRODUCTS
Jun 1, 2007 12:00 PM, By Asher Fulero
ALESIS IO|CONTROL AND MASTERCONTROL
FIREWIRE CONTROLLERS/AUDIO INTERFACES
The iO|Control ($TBA; www.alesis.com) and MasterControl ($TBA) from Alesis can unify devices for smaller studios and portable producers, delivering flexible physical controls in addition to audio and MIDI I/O. The smaller iO|Control is a FireWire device that sports two XLR and two ¼-inch audio inputs, as well as an 8-channel ADAT Lightpipe digital input, for a total of 12 simultaneous input channels. The 16 buttons, four endless knobs and custom Jog Wheel for zooming, scrolling or data entry are not only assignable as controllers, but they also feature preset controls for Steinberg Cubase and Nuendo.
The larger MasterControl expands the whole package, with two XLR inputs with phantom power and channel inserts, six TRS ¼-inch line inputs and six ¼-inch analog outputs that are configurable as discrete, 5.1 surround or three stereo pairs. S/PDIF and ADAT Lightpipe inputs provide another 18 input channels, and the nine 100mm full-length faders are completely motorized and HUI compatible for easy DAW integration. The full complement of controls is finished with a classy touch; the MasterControl features a built-in mic for talkback, a sometimes overlooked feature for smaller studios.
BEHRINGER DDM4000
DIGITAL DJ MIXER
DJs looking for a powerful mixer with cutting-edge tools need to look no further. The DDM4000 ($439.99; www.behringer.com) digital DJ mixer from Behringer packs a lot of punch, including a 32-bit audio engine, four effects sections, MIDI integration and much more. On five independent channels, the DDM4000 has four stereo channels with simultaneous phono and line inputs on each. The fifth channel has two microphone inputs with gain, EQ, effects and a Talk On button. The internal loop sampler is beat-controlled and offers real-time pitching, effects on the samples and a Crossfader Start feature that allows triggering of sampled sounds with the fader itself. Other cool features include an Ultramizer output maximizing system, saveable user setups and a customizable crossfader with frequency control and reversible curves.
EFFECTRODE PHASEOMATIC DELUXE
VACUUM-TUBE PHASER PEDAL
Fans of tube gear and effect-pedal collectors alike will be glad to see the latest offering from retro-styled effects maker Effectrode, the PhaseOmatic Deluxe ($529; www.effectrode.com). Designed to deliver classic phaser effects with a huge sound, the all-tube processing path uses an NCO (Numerically Controlled Oscillator) to drive the bulb and photocells at impressively slow speeds as low as 1/40 Hz comb filter sweeps (effectively a 40-second sweep). The sweep can be adjusted with several wave shapes, including Triangle (linear), Sine, Pseudo-Square (for vibrato effects), Rise, Fall and Stepped. The Constant setting has no sweep, allowing fully manual phase control. The PhaseOmatic Deluxe also features adjustable gain settings with a removable rear panel for accessing the Gain Resistor. Removing the panel switches the unit from operating at 0 dB to +6 dB gain — great for integrating into various types of situations. While Effectrode claims that the PhaseOmatic Deluxe is exceedingly difficult to overdrive, even if you do manage it, the sound will be a warm, Class-A tube distortion.
KORG R3
SYNTHESIZER/VOCODER
Like a big brother to the older MicroSynth, the Korg R3 ($799; www.korg.com) is a compact yet robust synthesizer and vocoder designed for performance and portability. Expanding on the MicroSynth with technology from Korg's Radias synth, R3's 37 full-size velocity-sensitive keys, Pitch/Mod wheels and five endless knobs with LED “halos” and bright LCD scribble strips join the powerful Multiple Modeling Technology (MMT) synth engine borrowed from Korg's high-end Oasys line. MMT delivers ultralow aliasing for notch-free synth sweeps.
Like its smaller counterpart, the R3 also doubles as a vocoder; there is an XLR input on the top for quick mic input (again like the Microsynth, the R3 includes a stylin' little gooseneck mic). A new Formant Motion setting allows you to capture phrases of input for triggering the vocoder later without the need for the mic; I could imagine that being amazing for creating custom user patches. Stereo audio inputs allow external sounds to be processed through the filters and envelopes, and the powerful filters section can run in series, parallel or on a one-filter-per-oscillator basis. The Korg Virtual Patch system offers six patches per program for custom routing to or from any of the oscillators, LFOs, envelopes or other modulation sources or destinations. A Drive channel and Punch control help the sounds pop, and a USB connection hooks up a computer for programming, storage and upgrades.
OWC MERCURY PRO SW-5582
BLU-RAY INTERNAL AND EXTERNAL DISC-WRITING DRIVES
Most anyone who records audio regularly to a computer or DAW eventually runs into drive-space issues, and while options have expanded in recent years, most studios still end up with more data than they can store. Having more hard drives is an option, but most people still use optical media. The 4.7 GB DVD format opened up the optical-backup world to the masses, but even still, the ubiquitous DVD stacks need to go. Make way for Blu-ray, a single disc capable of holding up to 50 GB and which can be written to in real time (like a hard drive). The Other World Computing (OWC) Mercury Pro SW-5582 Blu-ray drives ($549.99 internal, $649.99 external; www.macsales.com) include two 25 GB Blu-ray discs to get you started. The drives read and write single-layer (25 GB) or dual-layer (50 GB) Blu-ray discs and also read and write CD-R, DVD and just about any type of optical media. External versions have both FireWire and USB 2.0 ports. Drives bundled with the full version of Toast 8 — featuring Blu-ray burning support — are also available ($679.99 internal, $739.99 external).
IK MULTIMEDIA SAMPLEMOOG, SAMPLETRON AND STUDIOPHONIK
SAMPLE-BASED VIRTUAL INSTRUMENT PLUG-INS
Plug-in mavens IK Multimedia and sample-bank stars Sonic Reality have teamed up to release three detailed sample-based virtual instruments dubbed the Sonik Instruments. First in the series is SampleMoog ($249; www.ikmultimedia.com), made in cooperation with synth-legends Moog Music Inc. It's a collection of 22 thoroughly sampled and programmed vintage and rare Moog models, including modulars, Minimoogs, Taurus pedals, Polymoogs, Memorymoogs and more. SampleTron ($249) emulates tape/disk-based sampler keyboards from the '60s and '70s, including Optigans, Chamberlins and most importantly, a wealth of classic Mellotron tape banks, including many unique and rare banks sampled by Sonic Reality's own CEO, Dave Kerzner. Finally, Studiophonik ($349) is designed to reproduce all the classic rhythm-section tones from the most sought-after vintage and top-of-the-line drum kits, basses and guitars. Using the SampleTank engine, all three offer high-fidelity samples that are well-organized and operate quickly, as well as 30 effect programs culled from IK Multimedia T-Racks and Amplitube.
TASCAM FIREONE
FIREWIRE AUDIO INTERFACE/CONTROLLER
Delivering functionality and style, the Tascam FireOne ($299; www.tascam.com) is another device designed to converge devices. Combining a basic FireWire audio interface operating at a maximum of 24-bit/192 kHz with a customizable weighted jog-wheel controller, assignable buttons and MIDI I/O makes the FireOne very useful. But it's the sleek, ergonomic design and cool, lighted scroll wheel that really give it a unique style. A preference panel allows you to make the lighted ring do all sorts of cool things, including breathing (slowly pulsating on and off), blinking to the metronome and rotating dots according to the MIDI Clock; it also has a Follow function for viewing your current setting graphically. A ¼-inch footswitch input and two headphone outputs complement the two phantom-powered XLR inputs and the Hi-Z guitar input, and dedicated transport controls make the FireOne a dream for the producer on the go.
MACKIE TRACKTION 3
DAW SOFTWARE
The latest upgrade to Mackie's sleek DAW software brings in a slew of new features and enhancements that make even more of an argument for its use among the already-crowded DAW field. Tracktion 3 adds Live-style clip-warping and pitch-shifting capabilities; support for Acid, Apple and REX format loop libraries; a high-resolution 64-bit/192 kHz mix engine; and support for multiprocessor/multicore CPUs, QuickTime video and Mackie HUI controllers. With no limit on track counts or VST plug-ins, Tracktion 3 can expand to fit whatever scope you work within, and the single-window, menu-free interface helps keep you on task and focused. The new Filter Rack allows filters (in Tracktion that means any VST device, aux send/return, EQ, volume/pan or level meter) to be mixed, matched and routed together however you see fit. These racks can be saved and recalled for quick setup of complex device chains. Tracktion 3 is available as the Ultimate Bundle ($319.99; www.mackie.com), which includes a mass of software and loop libraries; the Project Bundle ($129.99), which features a slimmed-down software bundle; and the Ultimate Bundle Upgrade ($259.99) for owners of Tracktion 2.
NATIVE INSTRUMENTS KORE 2
VIRTUAL-INSTRUMENT SOFTWARE/HARDWARE CONTROLLER PACKAGE
Fans of Native Instruments' powerful inter-application patch-organizing system and interface pair will be excited about the revamped incarnation, Kore 2 ($499; www.native-instruments.com). Expanded in several ways, Kore 2 now features its own sounds run by the integrated engines from NI Absynth, FM8, Guitar Rig, Kontakt, Massive and Reaktor. The system includes 500 specially designed KoreSounds that span genres and styles in addition to managing presets for each program individually. Another new feature is Sound Variations, which allows each preset to contain as many as eight variations for seamless motion and can even morph between them. The updated sound browser lets users make custom sound categories and features a patch PreListen function for quick auditioning, as well as batch import for preset libraries. The new Sound Matrix allows for intuitive drag-and-drop swapping of instruments, KoreSounds, effects and MIDI files for easy setup of complex internal routings. The Kore hardware controller has been updated, most noticeably by the removal of the audio interface. Smaller and much lighter (as well as less expensive), the new hardware device has been streamlined and integrated into the Kore software for more fluid control and faster access to your favorite sounds.
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