NEW PRODUCTS
Sep 1, 2007 12:00 PM, By Asher Fulero
KORG KM-402 DJ MIXER
4-CHANNEL DJ MIXER WITH KAOSS PAD
The original Kaoss Pad mixers were a hit, combining the touch-pad madness of the original KP1 with a basic DJ mixer in ways that went beyond the simple combination. Now updated with 100 modernized programs from Korg's recent KP-Mini, the new KM-402 Dynamic DJ Mixer ($TBA; www.korg.com) is a great way for anyone to work the magic of Kaoss effects into their system. The four input channels offer line and phono inputs, as well as a microphone input. You may route each of those into the Kaoss section for mangling. The EQ section has been creatively upgraded: Korg artists created six EQ curves that are available independently for each channel's three EQ knobs. The EQ types are called KM-Q, Round-Q, Boost, Slamming, Isolator and Hyped. Booth and Master outputs join full cueing capabilities on the mixer. The Kaoss section includes three program memory slots, a Dry/Wet knob and buttons for Hold and Tap-Tempo. Also, check out its smaller cousin, the 2-channel KM-202.
SONALKSIS TBK3 UBER COMPRESSOR
EXTREME ANALOG COMPRESSION PLUG-IN
Definitely not designed for subtleness, the extreme TBK3 Uber Compressor ($149.99; www.sonalksis.com) from Sonalksis manipulates dynamics for the creatively driven. Using digital techniques to drive analog circuit designs way past normal capabilities, the TBK3 is powerful, yet simple to use. The interface features one big knob and four sliders, offering four selectable attack/release modes (Instant, Pop, Slap and Pump), a sidechain input with modifiable filter character and pre/post-gain control. You may even introduce “true-analog noise” coloration into the signal. While operating at 64-bit precision, the TBK3 features specific CPU optimizations for several processor types. The company also claims absolutely no internal signal delay for true zero-latency operation — a big help for those who use lots of plug-ins.
MAIZESOFT MAIZE SAMPLER
CUSTOM VST INSTRUMENT DESIGNER
Now you can create and publish your very own VSTi instrument and share your creations with the world, thanks to the new Maize Sampler ($88; www.maizesoft.cn). With just a few clicks, you can create a customized VST instrument based on one of several interface styles; simply import your samples and lay them out in the sample map and velocity layers. Key-switching between 12 layers makes for detailed possibilities. Once your sample bank is complete, you can export as a VSTi or as a stand-alone sampler application that is ready for users around the world to open inside their favorite host. A simple built-in reverb/EQ and support for 32-note polyphony with four stereo outputs at 8-, 16- or 24-bit sampling rates makes the Maize Sampler flexible and friendly to all kinds of systems. Your sample bank is safe from unauthorized extraction, as well, helping to secure your samples while making them readily available. A free version of the program is also available, which has no layer-switching or custom graphics, and whose exports may not be sold or rented.
KJAERHUS MPL-1 PRO SE
MASTERING LIMITER PLUG-IN
Kjaerhus MPL-1 Pro SE ($118 or $148 for cross-platform; www.kjaerhusaudio.com) is a high-precision mastering limiter available for Mac OS X Universal Binary or Windows formats (VST/Audio Units/RTAS). This powerful final link in the signal chain is loaded with razor-sharp tools for fine-tuning your audio output: oversampled peak detection for the high frequencies; program-dependent release to help minimize pumping, even at extreme compression levels; and TPDF dithering to 8-, 16- or 24-bit for accuracy when changing formats. Blessed with a simple MIDI-learn interface, the MPL-1 SE can be controlled by a MIDI device for hands-on mastering, and the four VU-style meters can monitor peak I/O levels, compression or RMS output. The best part, though, is the new stereo-linking technique that links longer-lasting compression bursts but still allows channel-independent compression for peak control; that way, a transient on one channel doesn't cause artifacts on the other channel, but average compression remains the same, and the stereo field is uninterrupted.
PROPELLERHEAD REASON 4
VIRTUAL RACKMOUNT WORKSTATION
Still in beta-testing phase at the time of this writing, the long-awaited Reason 4 ($499; www.propellerheads.se) packs new devices, upgraded devices and many general enhancements into its already full virtual rack. The Thor Polysonic Synthesizer is a monster modular synth with customizable layout and flow. It can combine and swap six forms of synthesis and four filter types and then control it all in a powerful step sequencer. The ReGroove Mixer gives pattern-swing and groove-quantizing new life in a mixer format. It can route MIDI clips through 32 nondestructive Groove Channels for careful real-time or sequenced groove control. Reason 4 also includes an interesting new arpeggiator, the RPG-8, which is capable of some seriously wicked maneuvers.
The Reason Sequencer received a major overhaul with a main focus on organization and workflow. Each device or instrument now gets its own dedicated track that separates three lanes for note, performance and automation data. (Reason can now record Performance Control data into the sequencer.) New track folders can contain multiple takes for quick comping and take management, and the new floating Tool window saves a lot of mousing around. Chunks of MIDI performance data are now stored in Clips, which retain their internal data when moved around — great for creative editing. Most of the other devices and the Sound Banks have been updated and expanded, as well, and Reason 4 will be available in four localized languages.
ALESIS TRIGGER/iO
TRIGGER-PAD MIDI CONVERTER
Ditch the expensive drum brain and use those pads with your laptop. The Alesis Trigger/iO ($299; www.alesis.com) converts your single- or dual-zone percussion pad or electronic-trigger input into readily assignable MIDI information and transmits it out, either via MIDI to external devices or via USB into your computer for use with software. (It ships with FXpansion BFD Lite.) A simple interface and 20 over-writeable presets let you integrate nearly any pad input with nearly any MIDI-controllable destination. The drum stand-mountable unit supplies 10 TRS trigger inputs (for single- or dual-zone pads), a Hi-Hat channel for on/off or continuous control and an ingenious Up/Down footswitch input for remote browsing through kits. Individual inputs may be adjusted separately and saved into the user banks, with control over sensitivity, MIDI channel, MIDI Note Numbers, crosstalk, velocity curve, threshold, retrigger time and pad type. Now you can control software sounds from a drum kit's triggers and use those old rubber pads with a fancy new laptop.
UEBERSCHALL LIQUID INSTRUMENTS VOL. 8: DRUMS
DRUM-GROOVE DESIGNER
Like a plug-in version of Acid or Soundtrack, Ueberschall Liquid Instruments Vol. 8: Drums ($199; www.ueberschall.com) expands on the concept of construction kits, which are basically full drumbeat loops comprising MIDI information, the drum samples they trigger and separate layers for editing each. LI Drums includes a 2 GB library with 450 drum-loop kits (2,600 sounds), each with breaks, intros and outros in a variety of styles, including R&B, pop, hip-hop, funk, disco, soul, swing, bossa, samba, rock and drum 'n' bass. Find a groovy loop to start, and then simply choose a note to edit its length, timing or sound quality. All loops automatically sync to your session, and once you've dialed in the perfect groove, you can even export the MIDI data for use with another engine. Switch up kits on a loop you like, or use the included Melodyne technology to shift-pitch or length globally for more bizarre sounds, all while the main loop stays intact — real “liquid” editing.
SOURCE ELEMENTS SOURCE-TALKBACK
STUDIO TALKBACK PLUG-IN
At long last, Source Elements has stepped up to the plate to fulfill a long-standing need in the DAW world: quality talkback functions. Source-Talkback ($95; www.source-elements.com) comes in only RTAS format at this time. Simply open the two plug-ins in Pro Tools — the first on an aux track for your own mic and the other on the master fader. With a key command, Source-Talkback will mute or dim the master track while you're talking so the control-room mic doesn't feed back. At the same time, it mutes your control-room mic the rest of the time so the person on the other end doesn't hear his or her voice back through the system. The arrangement is simple yet effective, especially for those who work with Pro Tools LE or M-Powered on the road. Source-Talkback works just as well for remote sessions online using Source-Connect, ISDN or any other remote method. Now you can communicate easily with your talent whether they're in the next room or across the globe, without needing an external unit.
RECORDING SCHOOL ONLINE EXTREME PUNCH 3
ANALOG EMULATION PLUG-IN
Computer producers seem to always be chasing an out-of-the-box sound, in particular real-world analog warmth and drive — that undeniable thing that happens when you push the levels on analog tape. The folks at Recording School Online have stepped into the ring with Extreme Punch 3 ($49.95; www.recordingschool.biz), a VST effect for Windows designed to supply one thing that is easy to identify but difficult to re-create: warmth. This new version boasts 60-percent better CPU efficiency over the previous version and an even punchier sound. Drive, Threshold and Output dials, along with meters for input, tape and saturation make finding just the right balance a no-brainer. At such a low price, Extreme Punch 3 is a simple and easy way to inject some classic tones into your mix and put the real-world feel back into digitally created sounds.
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