NEW PRODUCTS
Jan 1, 2007 12:00 PM, By Asher Fulero
AKAI MPC500
PORTABLE PRODUCTION CENTER
Anyone who regularly uses Akai's MPC pad controllers will be excited about the newest model, the portable MPC500 ($1,099; www.akaipro.com). For the first time, Akai offers compatibility with the full MPC line on conveniently portable battery power; simply connect a pair of headphones and start programming. In addition to 12 of the classic MPC trigger pads (instead of the usual 16), the onboard sequencer can handle 32 simultaneous voices on 48 tracks for rich song-building power. Expandable to 128 MB from the included 16 MB of RAM, the MPC500 uses the same RAM cards as the MPC1000/2500 for memory sharing. It's compatible with MIDI files and audio samples transferred via USB from a computer or via the built-in CompactFlash drive. The MPC500 also includes built-in effects for mangling your sounds and the Q-Slider, which allows writing volume, pitch and filter automation curves. Audio can also be recorded through the rear-panel Mic/Line inputs. Songs created on the MPC500 can be opened on larger MPC units such as the MPC1000/2500, making it possible to program new beats on the plane before finishing the song on the larger unit at home.
Korg MR-1 & MR-1000
FIELD RECORDERS
Diving into the arena of high-quality field recorders, Korg's new MR-1 (approx $799) and MR-1000 (approx $999; www.korg.com) deliver the industry's newest and highest resolution recording format, 1-bit DSD, in a portable format, with 20 GB hard drives. With an incredibly high-resolution 2.8 MHz (280 kHz) sampling rate, the rechargeable MR-1 offers a pair of balanced ⅛-inch inputs and headphone and ⅛-inch outputs. The iPod-size device sports a brightly lit LCD screen for all the important feedback and even includes a stereo electret condenser mic that can be placed anywhere for optimum sound. The larger tabletop design of the MR-1000 allows for higher quality, including inputs on phantom-powered XLR/¼-inch combo jacks with high-quality mic pres, as well as built-in limiting and XLR/RCA outputs. Able to run on AA batteries, the MR-1000 actually doubles the MR-1's possible sampling rate for a ridiculously detailed 5.6 MHz (560 kHz). It supposedly has the highest available dynamic range and lowest noise floor of any portable recorder on the market. Korg's included AudioGate software for Mac and PC allows for real-time conversion of audio in DSD format to or from AIFF/WAV and is also used for fast USB transfer of audio from the devices.
M-AUDIO NRV10
FIREWIRE MIXER
Designed to be the nerve center for computer-based music setups, M-Audio's new NRV10 FireWire mixer/audio interface ($899; www.m-audio.com) should really turn some heads. A complete 8×2 analog mixer with five of M-Audio's award-winning Octane microphone preamps, built-in effects, 3-band EQ, two mono sends and two stereo returns, the NRV10 also appears on your Mac or PC desktop as a 10×10 audio interface over FireWire, ready for use with your DAW. Unlike many other FireWire mixers, the NRV10 not only sends each mixer channel discretely to your computer, but it can also return multiple channels to physical channels on the mixer, combining for the first time full-native analog mixing with multichannel FireWire-based computer audio. The built-in basic effects help free up CPU resources or offer a quick rehearsal alternative, and to sweeten the deal, M-Audio has included its new InterFX software, which has a compressor, an expander/gate and two VST effects slots for each physical mixer channel. Complex mixes can be saved and recalled, making it easier to transition music from the studio to the stage and back.
MIXVIBES DVS PRO
DIGITAL SCRATCHING SOFTWARE
DJ-focused gear is snowballing, and with the playable formats spiraling in number (vinyl, CDs, iPods, flash drives, etc.), the name of the game has become compatibility and familiarity. MixVibes has released its new Windows-only Digital Vinyl System (DVS), the DVS Pro ($299; www.mixvibes.com), which attempts to improve on the concepts laid out by Stanton Final Scratch of using comfortable physical controllers to manipulate files inside the computer.
The DVS Pro system is made up of three basic elements, with the first being coded vinyl. The Pro system includes five vinyls: two of the newly updated lower latency versions (white) and three of the older black versions. The second element is the two coded CDs for use in any Pioneer CDJ or other CD player; MixVibes totally reworked the timecode for higher accuracy and lower latency than CDs of burned vinyl code. The third and final part is the DVS software, which can read as many as four incoming audio streams simultaneously (great for battling) and can run a maximum of 16 sample players internally using the MixVibes sixth-generation audio engine. Claiming an ultralow 1 ms latency, the DVS software can scratch video clips, run an internal sampler and sequencer for remixing and song creation and is MIDI controllable from any MIDI source. It's also compatible with VST plug-ins and includes detailed database file management, ID3 tag support, skins and extensive file-type support.
MACKIE D.4 PRO
FIREWIRE-OPTIONAL DJ MIXER
More than just a follow-up to its wildly successful d.2 DJ mixer, Mackie's new d.4 Pro DJ mixer ($TBA; www.mackie.com) combines traditional layout with cool modern features in a functional design. Offering studio-grade circuitry, a pair of Mackie Onyx mic pres, quality phono pres and many types of high-quality outputs, the real power of the d.4 Pro is in its powerfully redesigned, optional FireWire card, which allows the unit to operate as a 14×8 audio interface for Mac or Windows. All four mixer tracks may be used as software returns, allowing DJs complete freedom to mix music coming from the computer and physical sources without confusion and also to multitrack any incoming sounds at professional quality without hesitation. The d.4 Pro also includes a coveted 45 mm crossfader from UK-based Infinium Technologies, which not only lasts an exceptionally long time but is also contact-free and allows users to customize performance with tension and cut-off controls. The 3-band EQs with kills, analog VCA and Filter sections, advanced split-cueing functions and heavy-duty case finish off the package and make the d.4 Pro truly Mackie's flagship DJ mixer.
MCDSP ML4000
MASTERING LIMITER PLUG-IN FOR PRO TOOLS
The new ML4000 Mastering Limiter ($495; www.mcdsp.com) from McDSP is designed to deliver detailed dynamics control to Mac and Windows users in two basic forms, both included with the package. The first, the ML1, is a brickwall mastering limiter with continuous knee control, look-ahead and zero-latency mode. What's even cooler, however, is the expanded ML4: A fully functional ML1 being fed by a cool 4-band sound-shaping section. Conceived as a multiband limiter, the ML4 can do so much more. Each of the four bands is separated by sharp, 24 dB/octave crossover filters, and each contains its own compressor, expander and gate (any of which can be linked). That is great for getting into the fine-tuning detail work of mastering — one the most important and misunderstood parts of the recording process. ML4000 is available alone or as part of the Emerald Pack (HD or Native versions).
UNIVERSAL AUDIO DCS REMOTE PREAMP
DUAL PREAMP AND CUE MIXER
To create its new Desktop Console System (DCS), Universal Audio partnered with Scott and Rob Silfvast, the creators of Euphonix. Conceived as a way to deliver some of the key usability features of large consoles to small-format studios, the modular devices in the DCS series use Cat-5 cables to quickly transfer wide-bandwidth, hi-fi analog audio and tightly synced digital control signals across long distances. The first release in the series is the DCS Remote Preamp ($TBA; www.uaudio.com), which pairs two console-grade trans-impedance microphone preamps with some very flexible monitoring possibilities. Capable of simultaneously recording and decoding Mid/Side Stereo signals, the high-quality monitoring section provides customizable reverb and EQ for setting up detailed headphone mixes quickly without taxing your CPU. With a maximum distance of 300 feet for the powerhouse remote controller, all elements can be at your fingertips wherever you are in the studio. The brightly lit VU meters can display information from the preamps or from the DAW for convenient integration, and the whole thing has that heavy Universal Audio feel of analog strength.
MAGIX SAMPLITUDE 9
DIGITAL AUDIO WORKSTATION
For its flagship editor/sound-design/recoding/MIDI/mastering software, Samplitude 9 Professional ($1,099; www.samplitude.com), Magix performed a massive update intended to provide maximum resource utilization and extremely neutral sound color. Key new features include a hybrid audio engine that combines its classic engine with a newly designed low-latency one, new Economy Tracks that conserve CPU power, advanced dual-core/dual-processor support, Track and Score editors and effects such as the VariVerb Pro and AmPhibia. A VSTi manager brings virtual instruments into the mix, and the new Sound Cloner allows you to take spectral characteristics from one sample and apply them to another. The new Spectral Cleansing tool allows quick and transparent cleanup of noise, and widely enhanced Surround and Automation tools expand functionality for post work. The internal audio effects use Magix's new Ultra-Transparent-Resampling for added quality and elastic-audio time-stretching. MP3 disc burning, AAC export and many more new features bring Samplitude into a new realm of power. Also available are the less featured Samplitude 9 Classic ($549) and Samplitude 9 Master ($329).
TELEFUNKEN ELA M 260 AND RM-5C
MICROPHONES
At the AES convention in San Francisco this year, excited crowds saw Telefunken USA show off two of its newest models, both inspired by now hard-to-find classic microphones. The Telefunken Ela M 260 ($999; www.telefunkenusa.com) is a re-creation of the “lost classic” Ela M 260 from 1959, when Telefunken replaced its Neumann-made line with AKG units. Featuring a “New Old Stock” Telefunken EF732 tube, the new Ela M 260 comes with three interchangeable capsules (cardioid, hypercardioid and omni), and is compatible with any AKG CK-series capsule or other capsules made by Violet Design and Blue Systems for flexible use within an established mic closet.
The Telefunken RM-5C Ribbon Microphone ($999) is the company's first ribbon microphone. Designed by ribbon specialists Jerry Silvia and David Browning, the increased output level and extended dynamic range is achieved through the use of cutting-edge magnetic materials and creative design ideas to deliver a powerful ribbon mic that is more suited to modern recording techniques than the originals. Both of Telefunken's new microphones are handmade in the U.S. and include a mic box, a 10-meter Gotham Audio XLR cable and a one-year warranty.
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