Archiv für Januar 2008

NAMM 2008: Access Atomizer

So, jetzt brauch ich auch so einen Flockensynth: Access bauen einen Realtime-Audioslicer in ihre Virus TI/Snow Synthesizer ein, und das für lau mit einem der nächsten OS-Updates! Wie cool ist das denn?!?!?!

Access Music shows a technology preview of Atomizer on the winter NAMM show in Anaheim, California. Atomizer allows you slice and dice audio in realtime using a MIDI keyboard. Ser effects were made famous by artists including Aphex Twin, Trentemoeller, Squarepusher, BT and many others. In order to create those effects they either had to chop audio regions by hand or use semi-automatic plug-ins (which don‘t necessarily give you a great deal of control since they are intended to create random results). Atomizer works in a totally different way — once sync‘ed to tempo you can play those slices in realtime, so you can virtually chop up your singer’s voice while he’s performing or add unique effects to your DJ set. You can record the slicing process into your sequencer and edit it later along with the rest of your song. You can remix in realtime as well, with the modulation wheel becoming an intelligent cross-fader, while the pitch-wheel lets you change the pitch by approximately 4 octaves. And there are tons of effects including sample rate and bit rate reduction algorithms which, again, can be used in realtime and become a part of your performance.

NAMM 2008: Spectrasonics Omnisphere


Den Preis für die aufwändigste Vapourware gewinnt Spectrasonics mit ihrer extrem elaborierten Kampagne zu ihrer neuen Dampflok STEAM-Synthesizer Omnisphere. Checkt allein mal die Preview. Ganz schön viel Dampf für ein Plug-In, dass erst in 8 Monaten erscheint. Und welcher Marketing-Guru hat sich bitteschön den Begriff „Power Synth“ einfallen lassen?
Genug Dampf abgelassen (oh my God he went that far), ich bin gespannt auf die ersten Demos! Public-Beta? Bitte ja?

JANUARY 2008 — After many years of development, Spectrasonics previewed their brand new flagship virtual instrument Omnisphere® at the Winter NAMM show. The revolutionary ‘Power Synth’ breaks completely new sonic ground by combining a wide variety of hybrid realtime synthesis techniques, an epic library of remarkable ‘Psychoacoustic’ sounds, and many innovative features that have never been seen before in any hardware or software synthesizer. The new instrument is the first to be based on Spectrasonics STEAM Engine, the company’s newly developed core technology. Omnisphere is set to be released September 15, 2008, the MSRP is $499 US and 399 Euro.

Acclaimed virtual instrument developer Spectrasonics, debuted its new ‘STEAM Engine’ core technology at the Winter 2008 NAMM show. The new software, created by the company’s in-house development team, will be used as the basis of all future Spectrasonics performance instruments, just as its core S.A.G.E. technology is used for groove-based instruments like the popular Stylus RMX. STEAM is important to Spectrasonics future because it completes the technology transition from earlier performance virtual instruments that were based on the licensed UVI Engine.

Virtual instruments built with the multitimbral STEAM Engine offer many development possibilities into a variety of hybrid synthesis and control capabilities including high-resolution Streaming Sample Playback, Integrated FX, Variable Waveshape synthesis, Granular synthesis, FM synthesis, polyphonic Ring Modulation, Timbre Shifting, and a comprehensive Flex-Mod™ modulation routing system, to name a few.

“The STEAM Engine core technology gives us the ability to respond to other technology changes like the Intel-Mac shift from Apple, 64-bit computing, or a major new operating system,” said Eric Persing, Founder and Creative Director of Spectrasonics.  “The new in-house technology will allow us to create instruments that we can fully support across industry changes and allow us to make innovations and transitions faster in the future. For example, just as Stylus RMX being based on our S.A.G.E. technology made possible the early compatibility with Apple’s Intel-Macs, new instruments based on STEAM technology will make transitions like this easier on our customers.”

Virtual instruments powered by STEAM also have unlimited expansion possibilities. The new core software is flexible and open – allowing patches to be shared across hosts and computer platforms. Spectrasonics can also add new patches and sounds to the core library giving the user an ever-expanding sonic palette. In addition, all Spectrasonics virtual instruments based on S.A.G.E. and STEAM technologies can interact in musically useful and innovative ways for a smoother creative flow.

The first virtual instrument built with the STEAM Engine, Omnisphere®, is set to be released September 15, 2008, and has a suggested retail price of $499 US. Future STEAM-based instruments are TBA.

NAMM 2008: AKAI MPC 5000


Its getting bigger every day: die geliebte MPC wird zu einem Monster der Audioproduktion. Wer sich Godzilla ins Studio holen will, ist damit bestens beraten, sollte aber auch durchaus bereit sein, für die Schäden im Geldbeutel aufzukommen.

The MPC series set the standard for beat production. What would it take to make the ultimate MPC? Dozens of engineers, 20 years of experience and a new synth and drum sampling engine unlike any MPC ever. Introducing the MPC5000; the new standard for music production.

The MPC5000 is the first MPC ever to include 8-track streaming hard disk recording, a 20-voice, 3-oscillator analog synthesizer with arpeggiator, a new sequencing engine with 960 ppq resolution, pad and track muting and mixing, 64 continuous sample tracks. There’s even a new FX engine with 4 FX buses and 2FX per bus.

In addition, the MPC5000 features a 64-voice drum/phrase sampler with 64MB memory Ð expandable up to 192MB. The display is twice the size of the MPC2500 and MPC1000 so waveforms appear crystal-clear. Integrated Chop Shop 2.0 now supports stereo chops and Patched Phrases. The MPC5000 is the first MPC to include Random and Cycle sample playback in addition to velocity Zone Play. A turntable preamp is also included.

The MPC5000’s virtual analog synth eliminates need for external analog synth modules or buggy software based synthesizers. The new 8-track direct to disk recorder lets you produce your whole song in the MPC and then mix it down with the internal sequenced programs and any input thru material. Add the optional CD/DVD drive and you can then burn an audio or data CD or your mix. Over 650MB of premium-quality sounds from Loopmasters are included to get you up and running with pro-quality production in seconds.

Preis: happig, doch bei uns bald sicher durchaus günstig. ;-)

NAMM 2008: SSL Duende Mini

Duende Mini

Die Welt wird immer schöner für Laptopproduzenten wie mich: SSL packen ihr fantastisch klingendes Duende-System in eine kleineres Gehäuse. Leider halbiert sich dadurch die Anzahl der Kanäle, die man mit SSL-Effekten verschönern kann auf 16, doch es gibt eine Upgrade-Optionauf 32. Und wer wie wir schonmal das große Gerät in den CD-ROM Slot eines AUDIOKERN gequescht hat, weiss, das Größe echt nicht alles ist.

Duende puts the legendary SSL sound within your DAW and Duende Mini makes owning your own slice of SSL sonic magic more affordable and portable than ever. Mini is a stylish little ‘one third rack width’, all metal construction, desktop box that hooks up to your computer via Firewire. This compact rugged unit is ideal for small studios or laptop based DAW users. Mini makes a stack of DSP processing power available to drive up to 16 mono channels of plug-in processing (at sample rates up to 96khz) within your host application. Duende Mini is upgradeable to 32 channels of processing power and you can run two Duende units on a single computer system for up to 64 channels of processing.

Duende is based on the powerful DSP technology behind SSL’s acclaimed C-Series digital consoles and Mini ships with the ‘EQ and Dynamics Channel’, a plug-in developed by SSL to provide an EQ & Dynamics processing solution with all the power and processing flexibility of an SSL console channel.

Key Features
The legendary sound of SSL for your digital audio workstation
16 channels of console-grade SSL EQ and Dynamics processing (upgradeable to 32)
Powerful DSP engine based on SSL’s award-winning C Series mixing consoles
Relieves the plug-in processing burden on your computer’s CPU
Single FireWire connection for fast set-up
Run two Duende Minis for up to 64 channels of processing

Preis: a.A.
Hier vorbestellen

Danke Dezzo!

NAMM 2008: URS Saturation Plug-In

URS Saturation

I love URS! Alle ihre Plugins sind Pflichtkäufe, so auch dieser Saturator. Get it solange es nur 199$ anstatt 249$ kostet – am liebsten natürlich über uns. 8-)

The URS Saturation plug-in digitally recreates four different and distinct pre amplifiers each featuring: a different type of input stage saturation, even and odd ordered harmonics and soft clipping. The initial four Mic Pre Amplifiers models include:
Class A Tube Mic Pre Amplifier – Vintage Motorcity
Class A Tube Mic Pre Amplifier – German
Class A Discrete Pre Amplifier – British
Class A Discrete JFet Pre Amplifier – Modern

URS Saturation plug-in

Try the different URS Saturation algorithms on all your favorite tracks – Drums, Guitars, Bass, Keyboards and Vocals. Hear the added warmth!

About each model:
Class A Tube Mic Pre Amplifier – MotorCity
This algorithm digitally recreates the characteristics of a American tube mic pre amplifier that was popular in recording studios during the 1960’s Motown era. Setting the drive control higher will add desired harmonics and tube soft clipping for a much more pronounced effect.

Class A Tube Mic Pre Amplifier – German
This algorithm digitally recreates a German tube mic pre amplifier that was popular in European recording studios during early 1960’s Beatles era. This type of tube pre amplifier is coveted for it’s unique distortion, presence and authority in the treble ranges.

Class A Discrete Mic Pre Amplifier – British
This algorithm digitally recreates the sought after classic British console all discrete mic pre saturation. This vintage amplifier was also used for the console’s summing buss amplifiers. The added harmonics create the edge that is desired in both Rock and R&B music.

Class A Discrete JFet Mic Pre Amplifier – Modern
This algorithm digitally recreates a modern JFet mic pre amplifier that comes the closest of any discrete device to tube saturation. Although similar to a tube it has its own unique harmonic structure and sound.

Mix blend Control
Allows you to blend the right amount of Saturation with your source material. No need to use an additional parallel track or Aux send to get blend effects. At the 100 % Wet setting the Mix Blend Control is disabled.

Adjustable output control
The URS Saturation plug-in features an adjustable output control after the Mix Blend control to balance the final effect with your insert chain.

Plasma Style VU metering
Allows you to view both the input and output signal. The phenomena of added harmonics, soft clipping and saturation is that it sounds louder even when the meters do not indicate changes in level.

High Res 64 bit Floating point „Double Precision“ processing
The URS Saturation plug-in Hi Resolution 64-bit floating point „Double Precision“ processing for increased clarity and headroom. Why mention this clarity for a plug-in that reduces saturation?
Because, we designed the URS Saturation plug-in to reproduce Analog style saturation not Digital!

Native Support only
The URS Saturation plug-in currently supports Audio Units and VST for both Mac OSX.
RTAS is currently supported with a VST to RTAS Wrapper only (not included).

TDM Support Planned
A TDM version is planned and will be released at a later time for an additional charge.

Pro Tools 7.x.x and Leopard OSX 10.5.1 compatibility
Pro Tools 7.x.x and Tiger OSX 10.4.x compatibility
Pro Tools 6.9.2 and Tiger OSX 10.4.6 compatibility
Pro Tools 6.9.2 and Panther OSX 10.4.6 compatibility
Pro Tools 6.7 and Panther OSX 10.3.9 compatibility
Pro Tools 6.2.3 and Jaguar 10.2.8 compatibility
Pro Tools M-Powered version 7.x.x compatibility
Full 192 kHz support
Logic Studio 8.x, Logic Audio 7.x, Digital Performer 5.x, Cubase, Nuendo, Bias Peak, Abelton Live – fully supported for Mac OSX Leopard 10.5.x and Tiger 10.4.x.
Full ProControl, Control|24, Command|8 and Digi 002 support
Full ICON Console Control Surface support — including center section Dynamics panel
Supports Mbox, Digi 001, Digi 002, Digi 002 Rack, Pro Tools|24 MIX, Pro Tools|HD and Pro Tools|HD Accel and M-Audio Interfaces.
URS Saturation Specifications
Input Level Control
Output Level Control
Drive 0-100%
Mix Blend Control – Wet / Dry Saturation effect
In / Out Bypass switch
Phase Reverse switch
Plasma Style Input and Output VU Meters



Und nun endlich Futter für die Gearslutz unter euch: der ANAMOD AM660 – eine Rekreation des Fairchild-Limiters im Serie 500 Format. Das will ich unbedingt testen! Schade nur, dass ich keinen Original-Fairchild bei mir rumstehen hab ;-) !
Es war nie eine schönere Zeit, sich eine Lunchbox zu holen und sie mit fantastischem Gerät vollzustopfen! Checkt unser Special dazu hier.

The Fairchild 660 limiter is arguably one of the most famous and sought-after compressors ever made. The magical way it adds density and dimension to a track or a mix has been demonstrated on many of the best-sounding records made in the last 50 years.

The AM660 is a faithful recreation of the classic sound and compression profile of the 660, using the AnaMod™ process to model the complex tube circuitry of the 660 and implement it entirely in the analog domain. Unlike a digital plug-in or processor based outboard gear, there is no latency, and no A/D or D/A conversions to compromise the sound.

AM 660 Specifications

Input Impedance: 20KΩ, balanced
Output Impedance: less than 50Ω
Max. Output Level: +27dBu, balanced
Input Gain: -20 to +20 dB
Frequency Response: +/- 1 dB from 40Hz to 15kHz
Noise Level: better than 73dB below +4dBu, 0-30kHz
Limiting Noises: same level as a vintage 660 with GE five star 6386 tubes and properly balanced
Total Harmonic Distortion: level- and compression-dependent
Compression Ratio: Variable from 1: 1 to 20:1, level-dependent

NAMM 2008: Moog Multi-Pedal


Freakading ick hör dir trapsen – ein Fußpedal von MOOG, das MIDI und CV ausspuckt! Damit kann man Tempo-Gesyncte LFO-Sweeps an seine analoge Kisten weitergeben, ohne die Hände zu benutzen! Find ich super, bin gespannt auf den Preis! Sonst gibt’s von Moog noch eine Old-School Edition des Voyagers, was man sich darunter wohl vorstellen mag? Stay tuned!

MP-201 Multi-Pedal

The Multi-Pedal is a programmable four channel CV/MIDI foot pedal controller. It has four analog control outputs, MIDI In & Out and USB connectivity (MIDI over USB). It can transmit controller information on up to 4 MIDI channels and CV outputs simultaneously.

Each CV output can be programmed individually. Signals can be foot pedal controlled analog control voltages with +/-5V limits, LFO waveforms or GATE voltages (0V=Off,+5V=ON). In addition, each channel can output MIDI CC’s over specified MIDI channels simultaneously with the analog CV outputs.

Output Signals:

- LFO of user programmed RATE, AMOUNT and WAVEFORM (triangle, square, sawtooth, ramp and sample & hold)
- A random NOISE CV
- The footpedal voltage with user selected heel and toe voltages (including reverse action)
- Preset Voltage levels
- LFO signals are scalable and can be synced to MIDI clock, tap tempo, each other, or free-running.

There are five modes of operation:

Single Channel Mode, Quad Channel Mode, Preset Mode, Edit Mode, and Utilities Mode.

Single Channel Mode uses the footswitches to select programs, channels, turn on/off channels, select tap tempo function, enter tap tempo.

Quad Channel Mode turns channels 1-4 on/off with footswitches 1-4 and uses the footpedal as an expression pedal for channels 1 to 4 simultaneously.

Preset Mode defines the user programmable presets. A collection of 4 programmed channels is a preset and there are 100 editable presets.

Edit Mode programs the preset mode.

Utilities Mode accesses the utilities menu for non-preset related functions (SysEx Dump, Upgrade firmware, Factory Restore, Footpedal Calibration, etc…)

Multipedal Control Elements:

Optical “Gas Pedal” style foot controller

4 footswitches (momentary)

4 LEDs, 1 for each footswitch.16×2 character LCD (Gray Background, transflective, white LED


Rotary Encoder with push switch (VALUE, CURSOR)

2 Momentary switches near LCD / Encoder (EDIT, STORE)

Rear Panel Connections:

USB Port (MIDI over USB)

MIDI In, MIDI Out DIN connectors

4 x CV Out ¼” TRS connectors (-5V to 5V & 0V to 5V options)

Power in (wall mount power supply included)

Preis: a.A.
Vorbestellen hier

Look Mum, no hands!

NAMM 2008: NOVATION Nocturn Controller

Novation Nocturn


Aaaaah, endlich was Feines! Als Ableton/Cubase-User war ich begeistert von den Automapping-Features der Remote SL Serie (ihr Logic User da draußen wohl leider eher nicht), die bei mir auf Anhieb funzten. Jetzt gibt es Automapping 2, das wie ein Eurofighter-Style „Heads-Up“ Display funktionieren soll. Das heißt, ihr seht sofort, welcher der Endlos-Drehregler mit was belegt ist mittels einer Schablone über dem aktiven Plug-In. Klingt super, wie funktioniert werden wir testen! Der neue Nocturn-Controller, von dem ihr hier ein CAD-Mockup seht, könnte eine gute Alternative zu den Firefox-Kisten werden.

Featuring the latest Automap Universal 2.0 software, exclusive to Novation controllers, Nocturn provides automatic, instant and intelligent control of all automatable plug-ins within every major sequencer, including Pro Tools.

Nocturn features eight touch-sensitive rotary encoders, each equipped with a bright eleven-LED ring (ideal for laptop DJ’ing in a dark club environment). These are accompanied by eight user-assignable illuminated buttons and a smooth, professional 45mm cross-fader. The finishing touch is Novation’s unique ‘speed dial’; a touch-sensitive rotary encoder that instantly takes control of whatever your mouse is focused on!

Featuring a revolutionary new ‚heads-up transparent control GUI‘, Automap Universal 2.0 places a transparent control map across your computer screen, to be recalled or hidden at will. Little or no user setup is required, and plug-in control can be customized to be laid out just the way you like it, no matter what music software you use. Simply boot up the plug-in, and you’ll see at a glance how the parameters are automatically assigned to each of Nocturn’s controls. An instant click and control ‘learn’ function is also available for quick re-assigning of controls, or for creating your own controller map in seconds. Multiple page options mean that you can assign a potentially infinite number of parameters for each plug-in.

Automap Universal 2.0 also categorises all your control maps. A simple browsing facility lets you review all open plug-ins, then quickly switch to control any one of them. Automap Universal 2.0 also supports standard MIDI protocol, providing the same heads-up display for quick and simple assigning of MIDI parameters. This ensures that Nocturn can also control an external hardware MIDI device, any non-automatable plug-ins, or the mixer page in your sequencer. Once a ‘MIDI map’ is created, it can be saved and recalled via the same map browsing facility. A growing library of maps will be available to download free from

Nocturn’s spacious and tactile control surface, side mounted USB socket and ultra-low profile allow it to sit neatly in front of your QWERTY keyboard. Large, rugged rubber grips hold it steady whilst you let rip with your favourite music software.

The combination of Automap Universal 2.0’s heads-up transparent control GUI and Nocturn’s touch-sensitive dials remove the pain inherent in controlling multiple instruments and effects, allowing you to jump instantly from one plug-in to the next; so you’re free to focus on what matter most – your music.

Nocturn is due to ship worldwide in Q1, 2008

Preis: UVP: 99EUR

Vorbestellen hier

via Gearjunkies

NAMM 2008: SONNOX Supressor

Das neueste Baby in der angenehm gestalteten und modern klingenden SONNOX-Reihe (ehemals Sony Oxford) ist der SUPRESSOR – ein De-Esser. Das mag erstmal nicht so spannend klingen, doch alle Homerecorder mit beschränktem Budget und China-Mics der unteren Klasse werden sich freuen. Die Teile bedanken die Verwendung mit besseren Preamps (RNP, DAV, P1) gerne neben höherem Detailreichtum auch mit sägenden Zischlauten. So wie ich SONNOX kenn, wird das ein rundumglücklichendlichnichtmehrvonhanddieS-lauteausdemmixschreiben Plugin.


Sonnox is excited to announce the launch of its first new plug-in since the Company became independent in April 2007. The Oxford SuprEsser joins the existing range of highly regarded audio processing plug-ins in the Sonnox line-up.

The Sonnox Oxford SuprEsser is both a very highly-featured professional De-Esser and a Dynamic EQ at the same time. There is a basic mode for quick fixes, but also an advanced mode for increased functionality and fine-tuning. The combination of an intuitive FFT display and three listen modes enables the user to easily see and hear exactly where the problem frequencies are, allowing the rapid reduction or removal of the offending audio. Rather than simply allowing a frequency to trigger full-band compression, only the offending frequencies are carefully carved out leaving the rest of the mix untouched.

Since the SuprEsser can operate at all frequencies, ‘plosives’ and other annoyances can also be removed effortlessly, making it more than a simple De-Esser. Additional features include Automatic Level Tracking, Linear Phase Filtering and a Wet/Dry blend control for final balancing.

“The R&D and market research process for our next plug-in convinced us that there is room for a truly professional De-Esser,” says Sonnox Sales & Marketing Manager, Nathan Eames, “so it was an obvious move to fill this void with a fully spec’d, high-quality plug-in, which has actually evolved in the development process to become a whole lot more than a simple De-Esser. The Dynamic EQ section, for example, is extremely versatile and I can see it being used in a creative capacity as well as its more obvious corrective usage.”

Preis: a.A., aber da gibt es bestimmt wieder die rapide günstigen Bundles


NAMM 2008: Vorprogramm

Um die Wartezeit bis zu den nächsten Neuheiten zu vertreiben, hier ein aktuelles Video zum Thema straight outta Youtube.


  • der freche Stifthalter rechts im Bild
  • die tighte Musik, die wie aus den Newssendungen bei Robocop klingt
  • Bonus Features

  • leeres Blatt Papier
  • Good Night & Good Luck,

    MACWORLD: MacBook Air

    Macbook Air Gizmodo

    Während Arnd im Flieger zur NAMM sitzt, haben die Kollegen des sehr empfehlenswerten GIZMODO-Blogs das neue Macbook Air gesichtet. Hier gibts weitere tolle Bilder dieses Sexy Biest und hier eine Video zu dem Multi-Touchpad.

    Doch was bringt das neue Äpfelchen für uns Musikschaffende? Problematisch ist, dass man weder Festplatte, Speicher oder Batterie (!) selbst austauschen kann – alles dicht! Zudem ist die interne Festplatte in der Standardversion mit 4200RPM ziemlich lahm. Deswegen ist man auf externe Platten angewiesen, die aber nur über den einzigen USB-Anschluß angeschlossen werden können. Richtig gehört – kein Firewire! Also kein Audiofire/Konnekt/Fireface Betrieb möglich. Deswegen eignet es sich kaum zum professionellen Arbeiten. Muss es ja auch nicht, da gibts ja genug Apple-eigene Alternativen.

    Aber als schickes, leichtes (1.6 KG) und teures (Eur 1.699,00 für 1.6Ghz + 80GB ATA, Eur 2.868,00 für 1.8 Ghz + 64 GB Solid State) Notizbuch für den erfolgreichen Musiker von heute durchaus geeignet. Besonders, wenn einem sein 17″ MacBook den Rücken krümmt….

    An Apple a day,



    Uiuiuih! Der Preamp aus dem ISA 110 mitsamt Lundahl Transformer und ein paar schönen Desktop/Projektstudio-Monitoring Features. Unschwer zu erkennen ist das Bild ein CAD-Konstrukt und noch nicht das fertige Gerät, deswegen ist „Lieferbar April 2008″ mit Vorsicht zu genießen. Arnd schaut morgen, ob er das Teil in echt zu fassen bekommt. Kosten soll’s 499 Brit.Pfund.

    Focusrite ISA One – a classic single-channel pre-amp.

    ISA One delivers Focusrite’s prestigious ISA transformer-based pre amp in a rugged and portable chassis, at a ground-breaking price.

    ISA One features the classic vintage microphone pre-amplifier topology from the original ISA110 module, including the Lundahl L1538 transformer and bespoke zobel network. (The original 110 pre amp formed the cornerstone of each channel of Focusrite’s legendary Forte console.)

    The pre amp is complemented by a line input (XLR and TRS Jack) and an independent D.I. channel, complete with dedicated gain control, active or passive impedance switch, a TRS Jack output for routing to an amp and an independent XLR output on the rear. This flexible independent D.I. makes the ISA One ideal both for engineers wishing to blend a D.I.’d guitar signal with a mic’d guitar cabinet, and for demanding performers who require a single classic solution for both guitar and vocals.

    ISA One also features an insert point, should the need arise to place extra processing between the pre amp or D.I. and the optional converter. Phantom power, phase reverse and a 75Hz, 18dB/octave high-pass filter are also available from the angled front fascia.

    Independent input metering for both channels is provided in the form of a moving coil VU meter with variable calibration to suit analogue and digital recording media, alongside two six-LED peak meters; inputs can be metered either pre- or post-insert. The meter calibrations utilise all the same reference points as Digidesign’s Pro Tools HD system, allowing effortless line-up.

    ISA One’s headphone output features a dedicated volume control, which delivers an external stereo cue mix, (a simple click track, or a stereo mix feed from an interface or a live console,) fed to the headphones via two TRS jack inputs on the rear of the unit.

    Focusrite ISA One main features include:
    Rugged and portable transformer-based pre amp
    Line input (XLR and TRS Jack)
    Independent D.I. channel
    Insert Point
    VU Meter
    Six Led Peak meters
    Headphone out with dedicated volume control
    Optional Stereo A/D Converter provides two channels of 24 bit/192kHz A-D conversion with a dynamic range of 119dB.

    via Gearslutz

    NAMM 2008: Waves IGTR


    Erste NAMM 2008 News: was hübsches kleines für die Gitarristenwestentasche.

    Knoxville, TN (January 8, 2008) — Waves Audio is celebrating the new year with the release of their pocket-sized device, the iGTR Personal Guitar Processor. iGTR puts the GTR family’s quality guitar amp and effects sounds into an intuitive, convenient, portable pocket-sized device that allows guitarists to plug in and play, anytime, anywhere.

    Although the convenient and sleek design allows portability, the iGTR has several options and ranges for users to dial in:
    Three Virtual Amps: Warm, Normal and Bright
    Modulation Effects: Phaser, Tremolo and Wah
    Ambience Effects: Reverb, Chorus and Delay

    iGTR’s multiple inputs and outputs enable it to act as a preamp and recording effects processor or as an on-the-go tool for playing alone or with friends. Additionally, guitarists can plug an iPod or other mp3 device to jam along with their favorite songs. The inputs and outputs include:
    1/4″ guitar input
    Mini stereo auxiliary input (used for mp3 connection or jamming with friends)
    Two mini stereo outputs for headphones and speakers

    The iGTR is powered by four AAA batteries (included) or a standard 6-12V DC Adapter (not included). The iGTR also comes with a belt clip and a 50cm stereo auxiliary cable.

    “The GTR series has brought guitar processing technology and effects modeling to a new level,” says Waves Audio CEO Gilad Keren. “Our new iGTR puts that power in a pocket-sized device for the on-the-go guitarist. For convenient practicing, playing along with favorite songs or jamming with friends, the iGTR is second-to-none.”

    The iGTR will be showcased at NAMM and released by late January.

    For more information about Waves products:

    via Premier Guitar

    FREEWARE: TR-808 Samples Very Oldschooly

    Goldbaby hat ein feines Kostenlospaket geschnürt, was die Sounds einer TR-808 auf Cassette aufgenommen beinhaltet. Da kommen frühe House-Erinnerungen hoch….

    klicken und runterscrollen zum Download

    Hometaping is killing music,

    via gearslutz

    Access Virus Snow: SÜÜÜÜß!

    Access Virus

    Oh Gott, die neue Flocke von Access entlockt mir Glücksgkuckser! Da haben die den Baby-Eisbär Effekt voll ausgenutzt. Der neue Snow bietet eine Menge Features für (hoffentlich) wenig Geld. Leider ist die Webseite nur auf Flash, weswegen sich der Infotext nicht kopieren läßt – so click here für mehr.

    “The Virus TI Snow is the ideal companion for live musicians and for those who want to take a powerful but compact synth to a jam session.” said Marc Schlaile, Access’ Product Director. “Over a thousand sounds can be accessed with a maximum of 4 button pushes.

    With 3 programmable hardware knobs per patch and additional ones for filter and envelope control, performers can control the core of the sound without having to dive into an edit menu.”

    The TI Snow is 100% compatible with all patches for the TI series and plays back a maximum of 50 voices with 4 multi-timbral parts (64 multi performances, 512 RAM and 512 ROM patches).

    The oscillator models include virtual analog, hypersaw, wavetable and graintable types. The filter section features a Moog cascade filter emulation with 1-4 poles and self-oscillation among others.

    The FX section includes simultaneous reverb, delay, eq, distortion, lo-fi effects, bass boost, phaser and chorus/flanger – even in multi mode.

    Sounds can also be edited and stored using Virus Control, their VST/AU/RTAS compatible plug-in. 16 patch select buttons can be used for fast access to edit menus and navigation. “Easy edit mode” allows for fast and dramatic changes providing a selection of context-sensitive parameters which adapt by analysis of the underlying sound patch. Nevertheless, pretty much all parameters can be edited on the hardware when switched into “expert edit mode”.

    The sturdy metal enclosure of Virus TI Snow houses a pair of stereo inputs and outputs (output level @ +4dB), MIDI in- and outputs.

    USB can be used for Total Integration, which offers another three stereo outputs into the Virus Control plug-in and sample-accurate MIDI timing. The audio inputs can be utilised to mangle any type of sound using the filters and effects.

    The Snow comes in a messenger bag which offers enough space for the power supply and additional cables.

    Pricing & Availability
    Virus TI Snow will be available in Spring 2008 through authorised Access dealers worldwide.

    Suggested retail price is: €1100.- (Incl. 19% MwSt) / $1.350,00

    Jetzt vorbestellen!

    via gearjunkies