NEW PRODUCTS
Jun 1, 2006 12:00 PM, By Asher Fulero
MOTU ULTRALITE
10×14 FIREWIRE AUDIO INTERFACE
Already well known for making sturdy FireWire interfaces that deliver portability and pristine sound, MOTU has upped the ante with an even smaller version of its successful Traveler, dubbed the UltraLite ($595). This tiny, half-rack FireWire demon packs two high-quality mic preamps (each with a 3-level pad), six line-level inputs and 10 line-level outputs, in addition to MIDI I/O, S/PDIF and a dedicated stereo headphone output. Like the Traveler, the UltraLite sports a powerful built-in 8-bus mixer that provides fully customizable monitoring of all its inputs at near-zero latency with or without a computer. It can also be controlled like a conventional mixer via the included CueMix Console software, which can save your mix setups to the unit for later use away from the computer. The package includes a power supply, but for ultimate portability, it can be FireWire bus-powered. It includes two FireWire 400 ports for daisy-chaining multiple units. As an added power feature for any traveling producer, the UltraLite can send/slave SMPTE time code via a powerful DSP-driven phase-lock engine with subframe accuracy. On the road, synching up your gear doesn't get much tighter.
MOTU;
www.motu.com
EDIROL R-09
WAV/MP3 FLASH RECORDER
Edirol has seen a lot of success recently with its R line of handheld 2-track recording devices, and while the new R-09 ($450) may look like just another portable gadget, it packs all the recording quality of a serious field recorder. Able to record in crystal-clear 24-bit resolution (at 44.1 or 48 kHz) or in MP3 format (up to 320 Kbps), its sturdy, built-in stereo microphone has simple mono/stereo, low-cut and gain-boost controls, making it a snap to grab those random sounds at high quality before they're lost forever. Two ⅛-inch digital/analog jacks provide inputs for external mics and outputs for playback, and the device uses a mini-USB cable to transfer recordings to a computer. The R-09's coolest feature is a user-controllable reverb for sweetening the playback of your WAV and MP3 files, so when you're listening to that boring lecture you recorded, you can imagine you're listening to it at the Acropolis…underwater.
Edirol;
www.edirol.net
RUPERT NEVE DESIGNS PORTICO 5043
LIMITER/COMPRESSOR DUO
Every digital producer needs a way to warm up those harsh-sounding computer files, and no name means warmth like Rupert Neve. Known for improving almost every type of processor design, Neve has become synonymous with rich, powerful tone in studios around the world. Amid myriad available designs, the Portico series of half-rack processors has been gaining popularity for its portability and flexibility. But the new Portico 5043 Limiter/Compressor Duo ($1,895) takes the entire line to the next level.
First off, the 5043 contains Feedback and Feedforward detection, which uses rectified voltage from the unit's output to control the VCA. That allows for the musical sound of feedback compression without the usual limitations on attack time. Another interesting and creative feature is the ability to use the two channels in line together on a single source for hypercontrolled dynamics. While the other members of the Portico line include secondary bus in/outs, the 5043 is the first in the line to really utilize that; it can operate as a master for other Portico units, allowing you to organize multiple devices in flexible arrays and get crazy with your own customized Neve signal path.
Rupert Neve Designs;
www.rupertneve.com
BBE FREE FUZZ AND MAIN SQUEEZE
EFFECTS PEDALS
Performers of every ilk have enjoyed the BBE Sonic Maximizer for years in their DJ booths, stage racks, monitoring systems and recently even as a VST plug-in on their computers. When a well-known company with one featured, successful product expands into new realms, it is always interesting to see what happens. Guitarists in particular will notice the colorful new stompbox-style effects pedals from BBE. The Main Squeeze ($169) is a smooth compressor pedal that delivers dynamics control reminiscent of the classic MXR pedal, and the Free Fuzz ($169) pedal re-creates vintage '70s distortion tones like the Fuzz Face and others. Both units have high 9V battery life ratings: The Main Squeeze is rated at 300 hours, and the Free Fuzz is rated at 600! Ever heard a compressed and distorted mono turntable squawk? Nasty. For further destruction, BBE has four other new stompboxes: the Crusher ($129), a distortion/EQ pedal; the Boosta Grande ($129), a 20dB boost box; the Freq Boost ($149), a '60s-style treble boost; and the Green Screamer ($149), a vintage overdrive pedal. Thankfully, they all include external power supplies, so make room in that pedal board.
BBE;
www.bbesound.com
PRESONUS FADERPORT
USB MIDI CONTROLLER
Presonus got on the smaller-is-better bandwagon a few years ago and has been enjoying the ride. With its expanding line of ⅓-rack sound tools gaining popularity for all kinds of utility work, the new FaderPort Production Control Center (price TBA), a streamlined USB MIDI interface for computer producers on the go, seems like a natural progression. It doesn't contain a million controllers that require either constant reassignment or elephantine memory. Rather, the FaderPort is designed almost like a master section from a larger mixer; there is a single 100mm fully motorized fader (designed to feel like the fader from a large, expensive console), a single Pan knob, Mute/Solo/Rec buttons, transport controls and buttons for controlling the fader mode (Read/Write/Touch) and window view (Mix/Edit/Transport). For anyone trained on large consoles, this is a quick and easy way to navigate your software with ease and mix with the feel of long-throw faders without needing to lug around a massive controller. Presonus has also included a footswitch jack for triggering hands-free punches, and the FaderPort is compatible with all Mac and Windows software, including ProTools, Cubase, Nuendo, Sonar, Digital Performer and more.
Presonus;
www.presonus.com
EVENTIDE ANTHOLOGY II BUNDLE
TDM PRO TOOLS PLUG-INS
A longtime staple in recording studios around the world, Eventide has always been known for ultrahigh-quality pitch shifting, reverbs and other effects. Producers and artists alike have heralded the smooth and consistent response of Eventide processing, and the company has brought that knowledge to bear on its very thorough package of powerful new TDM Pro Tools plug-ins, Anthology II ($1,195). The original Anthology Bundle contained high-powered re-creations of some of Eventide's early Harmonizers, several powerful classic effects (phaser, flanger, delay), the best of the reverbs from the H8000 unit and the unique OmniPressor dynamic controller. The newly released Anthology II bundle increases the plug count from nine to 15, bringing in six of the most powerful tools to hit TDM Pro Tools in a while. The UltraChannel and EChannel offer two detailed and fully routable channel strips, and the EQ65 Filter Set and EQ45 Parametric Equalizer re-create the vintage filter module and EQ unit respectively. The QuadraVox is a powerful harmonizer tool, and the awesome new Precision Time Align allows you to move individual tracks in and out of phase with amazing precision. With a street price just under a thousand dollars, the package isn't for the low-budgeted, but those with TDM Pro Tools systems will find it a quick way to access a studio's worth of the most powerful tools all in one place. Owners of any Eventide software can upgrade to the new bundle easily through the company's Website.
Eventide;
www.eventide.com
DIGIDESIGN/M-AUDIO PRO TOOLS M-POWERED 7.1
DIGITAL AUDIO WORKSTATION
When M-Audio partnered with Digidesign to bring Mac and Windows users Pro Tools M-Powered a few years ago, musicians and producers around the world jumped for joy. For the first time in its history, the world's most commonly used studio software was available for third-party hardware — specifically, M-Audio hardware. For those who didn't like Digidesign's restrictive LE systems (the 001, Mbox and later the 002), this marriage made portable Pro Tools a reality for the first time. M-Audio's popular USB/FireWire devices deliver high quality at affordable prices and, unlike Digidesign's hardware, they work smoothly with any software.
In M-Powered 7.1 ($295), powerful and cool new features abound, including a more advanced Beat Detective for lining up rhythmically inconsistent recordings; Instrument tracks, which combine MIDI and audio functions to simplify using software instruments; the new simple-yet-powerful Xpand! virtual synth; full drag-and-drop support for Acid and REX files; direct audio import from CD/MP3/AAC files; powerful new loop-recording functions; and support for quad processors and the new Intel-core Apple systems. There are numerous smaller new features that are just as cool, too, like the ability to drag-and-drop send assignments, a toggle for jumping between two views, mirrored MIDI editing for changing all instances of a MIDI clip when you edit only one and a cool new Separate-at-Transients function for dividing a drum loop into its individual hits for rearrangement. Sold separately, the new Music Production Toolkit ($495) expands the software's track count from 32 to 48, adds more effects and instruments and includes a multitrack version of Beat Detective. Pro Tools M-Powered requires the included iLok USB authorization key.
M-Audio;
www.m-audio.com
SAMSON RUBICON 8A ACTIVE RIBBON STUDIO MONITORS
POWERED SPEAKERS
Samson's Rubicon 8a ($679.99/pair) speakers provide some of the clearest imaging you can find in small-format studio monitors, thanks to the company's innovative ribbon-transducer design. The 2-inch Velocity Ribbons produce no resonant color and, unlike traditional tweeters, they provide high end with no dispersion, giving you very clean and natural-sounding high end. While ribbon-speaker technology has previously been prohibitively expensive, Samson has engineered a design that delivers the uncolored sound at an affordable price. The newly designed, 8-inch inverted-cone low-frequency driver delivers clear resonant basses, and the shelf-ported wood enclosure features balanced ¼-inch and XLR inputs and RCA inputs. The biamped design delivers 75W of low frequencies and 25W of high frequencies.
Samson;
www.samsonaudio.com
ELECTRO-HARMONIX 2880 SUPER MULTITRACK LOOPER
LIVE LOOPING PEDAL
When it comes to live looping onstage, there is a short list of possibilities. Anytime a new device comes along with a new approach to the technique, every looping fanatic needs to stop and take a look. In the world of loopers, it all comes down to interface: Each device has a subtly different way of allowing you to capture and interact with your loops, and every performer needs a different kind of feedback from a device. Perhaps one of the most sought-after live looping units is the now-discontinued Electrix Repeater, which featured, among other things, full MIDI synching ability and four loop slots, each with individual volume fader and effects sends. Rising in price and difficult to find in good shape, the Repeaters have yet to be matched in raw looping power and integration with other gear.
Electro-Harmonix, known for analog effects pedals such as the Big Muff and the Small Stone, has entered the live-looping ring with the intention of sending the Repeater to its final throes. The new 2880 Super MultiTrack Looper ($186) can capture stereo or mono loops to any of its four recording tracks, where they can be panned, reversed, pitch-shifted, manipulated or mixed down to a dedicated stereo mix track, which frees the recording tracks for more looping madness. The unit features full MIDI I/O clocking and provides automatic formatting for USB transfer to any Mac or Windows computer. It records at pristine 16-bit/44.1kHz quality and uses CompactFlash memory cards for storage. A 256MB card yields 480 seconds for each of the six recording and mixdown tracks, but the maximum card size is 2 GB. The 2880 also features a built-in click track, a footswitch control and a dedicated headphone output.
Electro-Harmonix;
www.electro-harmonix.com
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