The BFD
Percussion expansion pack for BFD offers an
extensive suite of detailed percussion
instruments and Grooves to complement the
drums in your BFD installation.
Featuring everything from Latin, world and
drum kit-centric percussion to junk and
kitchenware via all manner of outlandish
strangeness, the sprawling diversity of BFD
Percussion is inspirational. BFD Percussion
literally contains the Kitchen Sink - in
full BFD multi-sampled, multi-articulated
form!
The instruments are recorded with up to 46
velocity layers, using multiple
articulations and multiple mic channels
including lush, stereo ambience. As always,
carefully-selected high-end mics, preamps
and converters were used for the sessions.
The resulting sounds faithfully capture the
musicality, expressive depth and dynamic
scope of this eclectic percussion
collection, and are perfect for use in a
variety of musical styles and genres.
BFD PERCUSSION DETAILED INFO:
Recorded at
Omega Studios in Maryland, USA by the same
team that brought you BFD Jazz & Funk
Collection, BFD Percussion's sounds provide
a wealth of creative sonic possibilities
when manipulated by BFD’s multi-channel drum
mixing, groove-playing and audio routing
technology.
Lush and expressive
With this
being a BFD expansion pack, everything is
recorded with deep expressive detail: up to
46 velocity layers, multiple articulations
and multiple mic channels. The room is small
and intimate: tight and controlled but with
a lush sense of space, something which is
captured faithfully in the stereo ambient
channels.
The recording chain was set up for maximum
detail, precision and transparency: Royer
ribbon mics and Neumann condensers, amongst
others, were recorded into Digidesign HD
converters through API, Focusrite Red and
ISA115 preamps. The aim was to capture the
diverse instruments as naturally and
accurately as possible.
A
diverse range of pieces
Amongst the
highlights are congas, bongos, timbales,
djembes, darbukas, udu, ashiko, bodhran,
chimes, triangles, cowbells, jamblocks,
woodblocks and temple blocks! A variety of
shakers and tambourines are also included,
along with esoteric effect sounds such as
thunder sheets, flexatones, waterphones and
bowed gongs.
Additionally, a grotesquely beautiful
assortment of junk percussion opens up new
creative avenues: plastic and metal
trashcans, saw blades, stiletto heels,
buckets, spoons, saucepans, water-coolers
and a plethora of other random household
objects of sonic interest.
Brand new grooves
Finally, a library of Grooves provides
ready-made inspiration and creative ideas
for using the sounds in your music. A
variety of world and general purpose Grooves
are included, along with example kits and
programs.
BFD Percussion was produced by John Emrich,
a musician and engineer who lives and
breathes drums and percussion. The paramount
philosophy behind the collection was to make
it as musically useful and inspirational as
possible, and to remain true to the
expressive possibilities and sheer beauty of
these complex, organic instruments
The ReMOTE 25 SL
(Soft Label) is now available to buy.
The 2-octave USB controller keyboard
contains many of the popular features from
the ReMOTE series, along with 2 major
innovations.
The first life-changing improvement shines a
new light on the world of MIDI control, as
well as giving the SL its name. Two large
brightly-backlit 144-character LCD screens
reside at the top of the front panel, which
can display 16 parameter names and values
simultaneously. This means that Template
overlays or having to rely on the user’s
memory are a thing of the past and music
creation and performance is as simple and
pleasurable as possible. Furthermore, Menu
navigation is significantly quicker as each
Menu page is now displayed side by side
along the large screens for immediate access
and modification.
Of course, a stylish Template Editor
software package is also available free of
charge, in which Templates can be created
with the greatest of ease; simple dragging
and dropping or selecting of named
parameters from your plug-in, much more
preferable to number crunching and trawling
through Manuals for MIDI info!
36 of the 40 onboard Template Memories are
factory preset (and also user programmable)
so that the SL will work with all popular
software applications, virtual instruments
and external MIDI equipment straight out of
the box. However, the remaining four onboard
Templates are used for a new and special
purpose, which is actually an infinitely
expanding amount of Templates rolled into a
single format. This cutting edge feature, we
call Automap, is set to change the way music
is made forever. When an Automap-supported
application (currently Reason 3 and Cubase
SX3, Logic 7 to follow very soon) is booted
up, the SL automatically loads this
intelligent Template and maps all active
components within the session to itself.
Then, all the user needs to do is click once
with the mouse or press one button to switch
between controlling different instruments or
sections of the session. Throughout the
process, all information is displayed
clearly on the screens to make everything
crystal clear.
For more information on Automapping see
below
As well as boasting the X/Y Touchpad,
joystick, a total of 56 assignable pots,
encoders, sliders and buttons and the
“best-feeling keys on the market”, the SL
also offers highly responsive trigger pads.
These allow the user to create even more
dynamic performance effects, playing drums
or chord stabs through a software sampler
for example.
Automapis a new system devised by Novation, whereby parameter mapping is done automatically as the user navigates around their session. When an Automap-supporting application is booted up, the SL will switch to the Automap Template and do all the hard work for you. Then, all you need to do is press one button on the SL or click once with the mouse to switch between controlling different instruments and areas of the session. Each application works slightly differently due to the differences in the software but every one offers the next level of software integration and makes controlling infinitely simpler than before.
The
applications
that
currently
support
Automap
are
listed
below,
click on
each
icon for
details.
This
list is
growing
and
updating
all the
time,
however,
as this
is a
brand
new
technology
and the
inevitable
future
of MIDI
controlling.
So make
sure you
check
this
page and
the
Product
Updates
section
for all
the
latest
developments.
Frontier Design Group
Announces
AlphaTrack Control
Surface
Innovative, compact, and
attractive control
surface for computer
DAWs
Frontier
Design Group,
a company known
for creating
innovative
products for
computer
musicians, is
excited to
announce its
latest product.
AlphaTrack™
combines a set
of intuitive
tactile controls
in a compact and
attractive
package. Now you
can ride a
high-resolution
fader, turn real
knobs, scroll
and shuttle with
the touch of
your fingers,
all with a
control surface
that fits your
desktop and the
way you work.
AlphaTrack
lets you work
more
productively and
creatively
without giving
up a lot of
desktop space.
AlphaTrack
includes a
100mm,
touch-sensitive,
motorized fader
which provides
true 10-bit
resolution for
smooth and
precise level
control.
AlphaTrack also
has three
touch-sensitive
encoders, a
feature
previously found
only on high-end
gear costing
thousands of
dollars. These
let you adjust
track and
plug-in
parameters while
the 32-character
backlit display
shows detailed
feedback in
response to your
touch. The
encoders provide
quick control of
pans, sends, EQ,
plug-ins, and
automation.
One of
AlphaTrack’s
unique
innovations is
its
touch-sensitive
jog and shuttle
strip. Slide one
finger across
its surface and
your project’s
timeline scrolls
in response.
Drop a second
finger onto the
strip, and now
your fingers
control the
timeline’s
shuttle speed.
Zoom through
your project
with two
fingers, then
just lift one
finger and slide
to quickly set
the precise
position you
want. And you
can also just
tap on the left
or right ends of
the strip to
navigate through
your project’s
markers!
AlphaTrack
also has a
set of 22
buttons and 21
LED’s, including
standard
transport
controls, per
track record,
solo, mute, and
automation
indication, and
encoder mode
control. When
supported by the
computer
application, a
set of buttons
can also be
customized with
user-programmable
functions.
AlphaTrack
connects to your
computer using
just a single
USB cable. This
makes it
portable, easy
to connect, and
compatible with
laptops since no
additional power
supply is
needed.
AlphaTrack’s
back panel also
includes a
footswitch jack
for easy
punch-in
recording.
“AlphaTrack in
five words?
Fast, intuitive,
innovative,
compact, and
attractive,”
says Brian
George, product
specialist at
Frontier Design
Group. “Why be
stuck with just
a keyboard and
mouse when
AlphaTrack
is such a great
enhancement at a
great price?”
AlphaTrack
works on Windows
XP and Mac OS X
(including Intel
Macs) with
applications
such as Pro
Tools, SONAR,
Reason, Cubase
SX/SL, Digital
Performer, and
Nuendo. Support
for more
applications
will be added
regularly.
AlphaTrack
is priced at
$399 RRP inc
GST and will be
available Monday
12th February.
Watch the Alpha
Track Demo Movie
- requires
Quicktime
** the movie
will take a few
minutes to load.
Well, the world was
truly a much simpler place 30 years ago. Play keyboards? Wanna get
away from the organ? Go into outer space? Two grand burning a hole
in your pocket? No problem. Here’s the Minimoog TM .
There’s the Odyssey. Your choice. And don’t get
nervous...
No need to panic,
things are much easier today. Each of these giants has left his
indelible mark on the pages of music history. And you’re no stranger
to them either. Welcome to Music History 101, class! Open up your CD
collections and go to the section labeled “Early Music: 1972 -
1978“. Now, pay attention: everything that reminds you of chemistry
lab, everything that cuts, tapers, buzzes like a particle
accelerator and freezes like a bucket of liquid nitrogen – that’s
the Odyssey. Anything that reminds you of a Moog, anything that
scratches, fattens and hits, but can’t possibly come out of a
Minimoog TM because it was, well, just too
simplistic – that’s very probably also the Odyssey. If it sounds to
you like robots or aliens are scratching at your door – Odyssey.
After all, it’s no
wonder that the little Arp became the first choice of musicians
looking less to blast out their loudspeakers and more to tinker with
the latest and coolest sounds: simply put, the thing can handle a
hell of a lot more. Whacked-out modulations, sync, ring modulator –
the Odyssey was the Swiss army knife for serious forays into
overtone land. The chemistry set for audio nerds. Plutonium for
soundsmiths. And obviously a waaaay cool lead synth.
And today? Can’t
get it anymore. No way. All gone. If someone’s got one they’re not
getting rid of it. So we thought we’d build one for you. And ours
has real faders. And a bunch of cool extras, too! And of course,
it’s also got “The Sound” of Prof. Dr. Dr. Synth. Digital and yet
still analog.
So they do come
back, sometimes. But watch out: this thing blings like nobody’s
business. Now don’t get nervous...
1024 oscillator
elements with envelope generators and a filter module on an
ant-sized chip? The classic Odyssey didn’t have all of that. That’s
why that instrument had a lot less on board, though it made up for
it with its transistors, resistors and diodes all carefully
soldered, wired up and manually adjusted. That’s why the beast
rocked so much.
We took a really
long look under the hood. And meticulously rebuilt the thing. Okay,
so we didn’t exactly piece it together from the original components,
since we thought it would be nice if you could afford it. But on the
computer. On the inside, we made sure to build in all of those
little imperfections that made the original Odyssey sound so sweet.
And we coupled that with the latest hardware, which made it possible
us to squeeze 12 Odysseys under the Prodyssey ASB’s gleaming
exterior. Each of these has two oscillators with sync, variable
pulse width, and envelope control. LFO with sample & hold generator
– of course, this isn’t a sampler but a tricked-out sound mangler
with that authentic Star Wars touch. Filters with the
characteristics that made the Odyssey the synth of choice for every
European soundsmith: slightly cutting but also electric, and if need
be, those soft and sparkling chrome formica quantum tunneling
sounds. Plus, Filter-FM. The two envelope generators are capable of
going head to head with not only the VCA but also the oscillators.
And, of course, the modulation capabilities that the typical
chromatographs and slide rules of today’s NASA Laboratories can’t
give you any more.
Is that enough for
you? OK, no need to keep reading. You can find our dealer list here.
For those of you who still want more, well, we really might have
gone a little overboard for you guys. We totally revamped the
modulation capabilities. We built in a Minimoog TM (!)
filter. Added touch sensitivity. Aftertouch (of course!). Pedal
connections. Envelopes with adjustable velocity. MIDI-Clock. FX
section.
And we were bold
enough to leave our imprint on the Prodyssey ASB’s front panel. We
thought that black and white looked cooler, to match the other
models in the ASB series. But beneath it all gleams a series of
authentic remakes of hand-made oscillators. Which scream so loudly
that they can be heard on Proxima Centauri.
So you, the master
soundsmith, are used to seeing exactly where everything’s at. You
know all of the world’s sound libraries by heart. Have played with
each and every instrument on this planet at least once. Are on a
first-name basis with just about everyone in the biz. A real pro.
We’ve got just the thing for you, dude! All specs. At a glance. With
up-to-the-last-decimal-point precision. But don’t forget: nothing
beats rolling up your sleeves and getting right into it.
34 years ago you had
to have an advanced degree in order to squeeze a decent sound out of
the thing. Tweaking 32 faders versus simply playing a flute;
becoming a sound smith was no easy task. But you guys today are just
as knowledgeable, right? If not, don’t be embarrassed, it’s no
problem: just get yourself an internship at a nuclear plant. Or,
grab our User’s Manual.
The manual is
currently under construction. We appreciate your patience and
understanding.
The ARP Odyssy helped
Wilhelm Konrad Röntgen discover X-Rays: the beam originally came
about after Röntgen streamed a lively seven octave frequency sweep
over strontium sulfate crystals. Then he used the instrument to
compose his famous opera Des Anheischigen Elixyr (“The Elixir of the
Pledgeor”). Want more? Glad to oblige. The Straubing atomic research
center was able to ascertain the half-life of Element 106 using a
phonon array consisting of Odysseys connected in a massive 16×16
parallel grid. A fat “blurp” emanated from the main speaker
revealing to the research team that they had just discovered the new
transactinid element. They celebrated the occasion by brewing up a
pot of coconut tea. The first sign of extraterrestrial
intelligence...
What’s that you say? These are nothing but big fat lies?
Well, OK. You found us
out. Fine. Guilty as charged. But what more do you want us to write
about the ARP Odyssey? How’s this? It was built by Alan R. Pearlman
– the initials give away the name of the ARP company – to compete
with Moog’s Mini. A competitor with a brain, that Pearlman, because
he had previously worked on NASA’s Apollo program. The MiniArp had
one fewer oscillator than Moog’s baby, but to make up for it, it had
oscillator sync, a ring modulator, two envelope generators. And –
aaaarrrghhhhh – Sample-and-Hold: this weird module that makes synths
drone like robots right out of a space opera. A real monster for the
physics lab. Almost as powerful as one of those early telephone
booths, but with no phone cables. Oh, yeah: it was available in
several colors – white/black, black/gold, and black/red. It’s
understandable that Odyssey collectors go crazy because Pearlman
would constantly tweak and re-tweak the inner workings of his baby.
The consummate scientist.
Before too long,
this harmless-looking gadget split the hardcore synth crowd into two
camps: those who really wanted to make it rumble would beat on their
Moogs. Those who were looking for more than the conventional
rumbling got an Arp. It was as simple as this – Long hair: Minimoog
TM ; Glasses: Odyssey. And if you wanted both
you had to become famous. A few of those who opted for the Odyssey
even had some success: the list of musicians whose Arp solos
screamed their ways into record sales can boast almost as many
entries as the periodic table of the elements.
But things are
different today; it’s not really such a big deal anymore to get THAT
Arp sound to come screaming out of your speakers. True Odysseys are
about as rare on the used instrument market as are hippies at a
particle physics convention. But there have been quite a few
“digital” copies made over the years.
The one caveat: the
real fun of an Odyssey is all of the tinkering and knob tweaking,
all of the touching and playing with it. That’s why we decided to
almost completely reinvent it and give you the Odyssey III with its
friendly 24 dB/Oct filter. For your own personal sound lab. To
tinker with. To unearth new sounds. To discover X-rays.
Oh yeah: even if
your Prodyssey should sound no different than the original, you’re
still one up on those first users from 1972. You’ve also got a
Minimoog TM stashed away inside it. Well,
sort of... Just press a button, and you can rumble to your heart’s
content with the integrated Moog filter. But don’t worry, your new
Prodyssey ASB may yet help make you famous.
Sequoia 9
/ Samplitude 9 is setting new
benchmarks in effectiveness: maximum
resource utilization with the
ultimate sound neutrality. The
unique functionality as well as
outstanding cutting and editing
options in the areas Multi-track
Recording, MIDI & Audio Editing, VST
integration, sound design and
mastering provide all the
possibilities for creative editing
at the highest level. best
just got better!
New Features:
Video Engine (Sequoia only):
The newly integrated video
engine allows you to include
individual video objects.
Hybrid Audio Engine - A
special combination of a new low
latency engine and the classic
playback engine
Economy Track - You can
set up a track as an economy
track to save system resources
Advanced Dual CPU Support -
Sequoia / Samplitude support
multi-CPU/multi-core/HT PCs by
distributing the load for
various tasks to different CPUs
Track Editor:
Located at the left side of the
arrangement window the Track
Editor enables Access to all
important Track parameters of
the selected Track.
New Effect Presets:
The "FX" button in the Track
Editor and Mixer opens dialogs
for specifying the order of the
effects and adding VST/DirectX
plug-ins.
Score Editor - The Score
Editor displays the score of a
MIDI track in real-time
am-phibia:
am-phibia is a tube
amplifier/channel strip and
belongs to the Analog Modelling
Suite of the MAGIX Plug-ins
alongside the well-known
am-track and am-pulse.
VariVerb
Pro: Reverb
device that creates classic and
modern, artifact- like reverb
effects such as room, plate,
spring and non-linear reverb.
de-esser: With the de-esser
you can conveniently and quickly
remove the "S" sounds from vocal
recordings.
VSTi Manager: In the VSTi
Manager you can sort, manage,
instance and delete VST
instruments.
Sample Tank LE: Sample
Tank 2.1 LE from IK Multimedia
is included as an external VST
instrument
Auto Jam Session: The
Auto JamSession lets you create
complete songs single-handedly
Sound Cloner: With the
Sound Cloner feature you can
determine the sound
characteristic of a song and
transfer it to another one.
Spectral Cleaning:
Spectral Cleaning removes noise
from a recording without audibly
influencing the wanted signal.
New surround characteristics:
Surround DeHisser, surround
vocoder, surround volume fader
in the VIP scales all surround
channels, surround volume
automation in the VIP, surround
bounce interleaved now with wave
format - Extensible chunk: the
surround visualization is opened
in surround projects without
stereo master (preset).
Enhanced automation including
AUX: In addition to the
volume and panorama automation
you can now also dynamically
record the AUX input in the
Mixer and Track Editor while the
automation button is activated.
Improvements and additions to
the internal audio effects:
UTR - "Ultra Transparent
Resampling": New resampling
algorithm for considerably
faster and even better
linear-phase high-quality
resampling, new
time-stretching/pitch-shifting
algorithm: "Beatmarker
Time-stretching smoothened",
non-modal FX dialogs, room
simulator and multi-band
effects: Optimization for Low
Latency use, integrated
harmonizer for Elastic Audio,
and much more.
Advanced effects/VST support:
Supports VST WaveShell
including automation, object
effect support: object
delay/reverb effect, VST &
DirectX plug-ins available
within the object as pre/post,
improved parameter resolution
for VST automation, new options
for creating 24-bit FX files for
destructive effects.
More new features:
Burning MP3 CDs, project export
as an AAC file, record mode: new
preset "default mode (playback
while recording", new tree
structure for system and project
options, advanced controller
support.
Audio ID: Music
identification process provided
by M2Any. Analyzes the music
track and submits a search
request to a web server.
The 76-Note Fully Weighted Performance
Powerhouse
Kurzweil introduced the first Performance
Controller keyboard, the PC88, back in 1994,
receiving both critical and public acclaim. Now
continuing this tradition of excellence,
Kurzweil introduces our first 76-note fully
weighted action Performance Controller, the
PC1SE Special Edition. With breathtaking sounds,
superior effects and impressive controller
capabilities (plus a
Custom Gig
Bag included for FREE, for a limited time),
the PC1SE delivers the power of Kurzweil's
popular PC1X in
an elegant brushed aluminum 76 note enclosure.
It's the
Sound....
The end
result is the famous Kurzweil sound, which has
made the entire PC series a resounding success.
The many samples are impressive; they have been
tuned, looped, noise-reduced, and processed with
a level of expertise and precision found nowhere
else in the industry. These include the
Triple-Strike Piano, countless drum and
percussion kits,
Take 6 vocals. BONUS! In addition, both the
Orchestral and
Classic Keys
sound ROM expansions are included ...standard.
It's the
Effects...
The final
ingredient to the PC1SE's sound is its effects
processor, using the same technology found in
our award winning
KSP8 processor and
K26 Series
keyboards. Stated simply, the effects section in
the PC series sounds better than most
stand-alone effects processors. Reverbs decay
noiselessly into complete silence. The many
chorus, phaser and flanger presets are full and
rich. Transparent compressors, authentic rotary
speaker emulations, and realistic distortion
presets are ideal for "vintage" sounds. And of
course there are the effects algorithms unique
to Kurzweil, like shapers and Laserverb.
It's the
Control...
The PC1SE
offers comprehensive MIDI control, with multiple
overlapping zones, inputs for dual switch and CC
pedals, and a bank of assignable switches and
knobs. Intelligent MIDI implementation, a full
featured arpeggiator, and optional
Super Ribbon
controller make the PC1SE an ideal
controller whether you're on stage, in the
studio or on your desktop.
FEATURES:
Keyboard: 76 note fully weighted action,
velocity and pressure sensitive
Display: 2x20 character LCD w/ rear
panel contrast knob
ADI-8 QS
AD/DA
Converter -
8-Channel 24
bit/192 kHz Remotely Controllable
AD/DA Converter with option slot More
Information on the ADI-8QS
RME
Micstasy Preamp
-
8-Channel Remotely
Controllable High-End
Microphone and Instrument
Preamp with a number of
unique features and true
innovations that will change
recording processes
radically. More
Information on the Micstasy
Preamp
ADI-8 QSAD/DA
Converter: At AES
RME debuts the ADI-8 QS, a new highly
flexible and fully featured 8-channel AD/DA
converter. The device combines excellent
analog circuit design with outstanding low
latency AD/DA converter chips. Along with
SteadyClock, the QS surely redefines the
reference class of analog/digital
converters. The compact 19"/ 1U device has a
host of extraordinary features, including
analog and digital limiters, 4 hardware
reference levels up to +24 dBu, AES/EBU and
ADAT I/O up to 192 kHz, optional MADI I/O,
remote control via MIDI, remote digital
input trimming for full input calibration,
remote volume control for all 8 analog
outputs, either separately, globally, ganged
and much more.
The analog
inputs and outputs feature the same
circuitry as RME's well-known ADI-8 series,
ensuring excellent signal to noise ratio and
low THD. On the digital side, SteadyClock,
RME's unique clock technology and jitter
suppression, further enhances the list of
features, ensuring the best sound quality
regardless of the quality of the reference
clock signal. The QS uses the latest AD- and
DA-converter circuits with up to 192 kHz,
with S/N ratios of 120 dBA. New digital
filters reduce the conversion delay from
over 40 samples to just 8 samples. That’s
low latency in perfection!
The ADI-8
QS also offers an unsurpassed choice of
interface options. In addition to 2 ADAT
I/Os that support up to 192 kHz (S/MUX), the
device also features a 25-pin AES/EBU
interface for all inputs and outputs.
And that's not
all - The ADI-8 QS features RME's
latest technological achievement - an
expansion slot that makes the device even
more flexible. The slot can host a MADI
option card for direct connection to MADI
systems. All interface options can be used
simultaneously under all conditions; analog
(balanced TRS and/or D-Sub), ADAT, AES/EBU
and the MADI option card.
Within the
ADI-8 series of converters, the full
remote controllability of the QS is a
novelty allowing the device to be placed
anywhere on stage or in the studio as a
remote controllable “SuperStageBox”, with
full access from the control room or FOH
mixer.
Other typical
RME features like Intelligent Clock Control
(ICC), SyncCheck®, and SyncAlign® have also
been implemented. Compare the following
high-end features from the ADI-8 QS with all
other multi-channel converters and you’ll
definitely agree that this converter’s
cost/performance ratio is second to none!
Features Overview:
8-channel AD converter, fully
symmetrical design, 120 dBA S/N
8-channel DA converter, double
balanced output, 120 dBA DA
Low
latency conversion: only 8 samples
of delay!
2 ADAT
optical inputs, 24 bit, with RME's
unsurpassed Bitclock PLL, up to 192
kHz
2 ADAT
optical outputs, 24 bit, fully
compatible, up to 192 kHz
8 AES/EBU
I/Os, full channel count up to 192
kHz, 24 bit, connected via D-sub
8-channel Digital Input Trim over a
range of 6 dB
Full
remote controllability via MIDI and
MIDI via MADI
All
settings are stored permanently
Included Remote Control for
store/recall of presets, volume and
dim
Optional MADI module
ADI-8 QS
The RME
Revolution for Stage and Studio: RME
Micstasy
Preamp:
8-Channel
Remotely Controllable High-End
Microphone and Instrument Preamp
with a number of unique features and
true innovations that will change
recording processes radically.
Munich/ AES Paris, May 19th, 2006 (ictw)
– At AES RME will debut the brand
new Micstasy High End
Microphone Preamp which features
high-end converters and combines a
number of typical RME features with
a number of groundbreaking
innovations! With Micstasy,
not only conventional analog
microphone preamps and AD converters
are a thing of the past – a lot of
applications will change. In short,
Micstasy is the high-end,
multi-analog-input super device for
live, studio or installation; right
up to no-compromise mobile
recordings – making surround
recordings a breeze!
Micstasy
is both an analog preamp (Mic In to
Line Out) and a digital
preamp/converter (Mic In to Digital
Out), with both signal paths
operating simultaneously. Just
passing on the amplified signals
replaces the need for a splitter box
on stage. And it can be fully
remote-controlled. The unit also
functions as a universal high-end AD
converter, as it not only offers the
highest quality conversion of
microphone signals, but also of line
signals from -55dBU up to + 30 dBu,
and even instrument signals. And all
this without needing to set an input
sensitivity. Clipping is practically
impossible. Live recordings become
simpler, safer, and more
comfortable.
That’s AutoSet -
Usually preamps feature limiters in
order to prevent an overload,
especially of the AD converter. This
is not feasible for the Micstasy, as
such a limiter would ruin the
excellent technical specifications
of the microphone front end.
However, as the gain is controlled
digitally, the Micstasy can
set it automatically. RME
intentionally decided not to enable
the device to raise the gain,
AutoSet can only reduce it: In an
orchestral recording session, the
user sets all gains to 60 dB and
when the orchestra play fortissimo
AutoSet will automatically adjust
the levels by reducing the gain
whenever overloads were detected.
Micstasy’s
most important features can be
controlled via MIDI or MADI, allowing the device to be placed anywhere on
stage or in the studio, with full
control from the studio or FOH
mixer. This means that microphone
cables can be relatively short,
ensuring high quality signals
without interference. RME´s new
option slot enables total
integration of the unit in a MADI
environment. More interface options
are planned enabling direct
connection; via FireWire or other
standards, to any DAW for high-end
recordings. On a practical level, a
TRS input on the front complements
the rear XLR connector. The front
input receives line level signals
and it can be switched to a Hi-Z
mode for use with instruments.
To sum it up:
Heavy, trouble-prone analog
multicores are history. A single
MADI cable can transfer up to 64
channels of audio. Several
Micstasys can be connected with
one MADI cable per unit and
configured to use their individual
channels within the MADI signal. Up
to 8 Micstasys or ADI-8 QS units can
thus be combined into one single
MADI line. Additional MADI streams
will allow systems of up to 128 or
192 channels, with the corresponding
number of ADI-8 QS and
Micstasys.
Features
Overview:
8 hi-end
mic preamps, digitally
controlled gain (0.5 dB steps),
range and internal PAD
(invisible to the user). This
results in an incredible gain
range of 85 dB. The input
reaches full scale level at -55
dBu, but can also handle a
maximum input level of +30 dBu!
8-channel
high-end line amplifier, XLR and
TRS input, with gain control in
0.5 dB steps
8-channel
AD converter with low latency
and high SNR, thanks to CS5381
converters. The digital outputs
deliver the same signal as the
line outputs
Analog
outputs: max. level approx +27
dBu
Digital
outputs: Double ADAT for 8
channels @ 96 kHz, D-sub
connector for 4 x AES/EBU up to
192 kHz (plus one AES input as
sync source).
Remote
control via
MIDI and MADI.
All
settings are stored permanently
Optional
MADI module
Option Slot
modules for other interface
standards are currently under
development
The Best Got Even
Better!
Once
again, AAS rises the bar in the
re-creation of the classic Rhodes™
and Wurlitzer™ electric pianos. Not
only does LoungeLizard EP-3 deliver
the authentic tone of the originals
but it also preserves their action
and feel. Once you get your hands on
Lounge Lizard, that elusive electric
piano sound becomes a reality—you'll
be propelled into inspirational
space.
Building up on our
physical modeling know-how, we've
come up with the refinements that
takes one of the most impressive and
unanimously acclaimed software
instrument of the industry further
ahead.
What's New in Lounge Lizard EP-3
Presets: The brand new library
fully exploits the refinements
on offer and covers all your
electric piano needs
Effects: The high-end effect
section has been extended with
tremolo, wah, chorus, phaser,
delay, reverb, and EQ—making
Lounge Lizard a complete and
self-contained electric piano
solution.
Pickup model: Two pickup types
are now available for a wider
character range: electromagnetic
(Rhodes™) and electrostatic
(Wurlitzer™). In addition,
scaling has been added for even
volume across the entire
keyboard.
Fork model: The
new and improved Fork model adds
upper harmonic content for an
even more authentic sound.
Damper model: The improved
Damper now closely interacts
with the Fork and provides
superb dynamic response
Audio Recorder: The integrated
audio Recorder captures inspired
moments on the fly
Micro-Tuning: Custom tunings are
now possible with the added
support for Scala files.
Presets and Effects Lounge
Lizard comes with an extensive
preset library that is simply
inspiring—giving you access to the
Rhodes™ and Wurlitzer™ sounds
popularized by musical legends like
Chick Corea, Herbie Hancock, Stevie
Wonder, and George Duke. There is a
choice of pure and true tones as
well as a selection of processed
ones courtesy of the high-end effect
section.
Especially designed for the electric
piano—so you don't spend hours
tweaking external plug-ins or
boxes—the effect section includes
the classic tremolo, chorus, wah,
and phaser effects as well as EQ,
delay and reverb, making it really
easy to create your own distinctive
custom tones.
EP
Character and Beyond
The
original Rhodes™ pianos provided
timbre and volume adjustments by
letting you position the tines in
relation to the pickups. These
adjustments were at the heart of the
electric piano's character as they
controlled the harmonic content,
attack, and decay of the
sound—offering unique tone to each
player. But there was a price for
this flexibility, several
painstaking hours with a screwdriver
and incredible patience was needed
to change the sound of an electric
piano.
Suffer no more—With Lounge
Lizard, the preset library provides
a selection of thoroughly chosen
Tine/Pickup configurations but you
also have the ability to make those
adjustments in real time via two
simple controls: Distance and
Symmetry.
But it
doesn't end there, since controls
are provided for the various
electromechanical components,
Lounge Lizard can be pushed far
beyond hardware equivalents,
opening up a completely new realm of
sonic possibility!
What's more, since the
interaction between the tine and
pickup is quite unique, its effect
can't be obtained with the filtering
provided by samplers—limiting
sampled solutions to one or two
fixed configurations and bringing
physical modeling at the forefront
of the electric piano recreation.
Lounge Lizard EP-3 Highlights
All the classic electric piano sounds: Rhodes™,
Wurlitzer™, RMI™, Hohner™
Entirely based on physical modeling for
outstanding sound quality
Top quality preset library—vintage to modern
Integrated browser and locate function for easy
navigation and organisation of presets
Fast preset loading time
Hands-free operation via custom MIDI programs
Every parameters can be controlled via MIDI or
host automation
Intuitive and ergonomic user interface for
preset creation
Fast installation
Real-time calculaton of sound—no samples
32bit floating point internal processing
Audio bit-depth and sample rates up to
24bit/192kHz
Import/Export functions for easy sharing of
presets
Unlimited undo/redo capability
Standalone operation—no host application
required, and standard plug-in formats support
Full audio and MIDI hardware support
Simultaneous operation of multiple MIDI ports
User defined MIDI maps with MIDI Learn function
MIDI clock, tap and host tempo synchronisation
Dynamic voice allocation and CPU overhead
protection
Modeling an Electric Piano: How it
works:
The
electric piano was invented by
Harold Rhodes (1910-2000) during the
forties when he was in the army. The
first instruments he built were made
of aircraft pieces and were intended
to
entertain army servicemen. It became
a very popular instrument in jazz
and rock, and has enjoyed a
resurgence in recent years through
it's extensive use by the world's
top hip hop, R&B, and house
producers.
The mechanism of the
electric piano is, in fact, quite simple. A note played
on the keyboard activates a hammer that hits a fork.
The sound of that fork is then amplified by a magnetic
coil pickup and sent to the output, very much like an
electric guitar.
"Lounge Lizard
is one of the most
impressive virtual
instruments I've seen to
date...it's a uniquely
adaptable piece of virtual
kit. It also represents
excellent value for the
money."
-Sam Inglis
Sound On Sound
"If you want an
electric piano, this is the only product you need. You not only
save the weight and bulk of the genuine article but also gain
controls and abilities that supersede real electric pianos. In
addition to brilliant electric-piano emulation, you also get
some nice effects right in the same package, not to mention the
ability to snapshot that perfect tone you tweaked until 3 in the
morning. The parametric controls yield a panoply of tones, from
clean and bright for ballads to filthy and raunchy for blues to
phasey and filtered for funk. If you're touring, you'll thank
Applied Acoustics for this gift from heaven. But even if you're
not, this instrument will inspire you to do things you didn't
know you could"
-John McJunkin
Remix
Artists:
"I love it. I hear
the sound improvement (in version 2). I like the
way the presets have been organized. It is
definitely a powerful plug in. I have been using
in lot of my projects and it is also a great
inspiration for my original pieces..."
-Jetro Dasilva
Berklee College of Music
"Lounge Lizard has become my #1 Rhodes/Wurlie
of choice for the recordings I'm doing
with Nile Rodgers. It sounds great,
gives me amazing flexibility in the
sounds, and runs on all my computers
including my iBook. I can use it with
Pro Tools, I can use it with Cubase SX,
and I can use it as a stand-alone
instrument. I love having it with me
when I'm on the road with Chic. It's the
lightweight electric piano I've always
dreamed of!"
-Rich
Hilton
Nile Rogers Productions
Click
for large Image
System
Requirements
Windows 98, ME, 2000, XP - Pentium
III 800MHz - 128MB RAM - ASIO,
DirectSound - VST, DXi
Mac OS X 10.2, 10.3, 10.4 - G4
733MHz - 256MB RAM - CoreAudio - VST,
AU, RTAS
Tassman 4 - Sound
Synthesis Studio
The
Tassman is a modular sound synthesis studio
based on Applied Acoustics Systems' award
winning physical modeling technology. The
Tassman offers a near infinite range of creative
possibilities with a wide collection of synths
ranging from highly realistic emulation of
acoustic instruments, analog and FM
synthesizers, loop processors to entirely unique
hybrid creations simply not possible by any
other means.
The Tassman is a tightly integrated environment
comprising three interfaces: the Player, the
Builder and the Browser. With the Tassman Player
you are ready to play any of the synths included
in the library. The automatically generated
Player interface is inspired by classic analog
hardware making it easy to tweak any of the
existing factory presets to create and save your
own custom sounds.
The Builder allows you to
customize the way individual modules are connected
within a synth, or even create your own instruments from
the ground up, using an intuitive 'building block'
approach. The Builder interface presents the patch
associated with each synth in a way that is easy to
understand and logical. A patch can easily be modified
or created by dragging the color-coded building blocks
from the bank of modules. Finally, the Browser is where
you find and organize all the Tassman elements used in
the Player and Builder: performances, synths, presets,
modules, MIDI Links, imported patches and subpatches.
The Browser Filters and Locate function make navigating
and organizing Tassman elements a breeze.
From
unrivaled recreations of analog and acoustic
instruments, to wildly adventurous cinematic textures,
the Tassman puts the shape of sound design in your
hands.
Tassman
4 New Features
Performance
Mode
Performances provide instant access to your sounds
by combining a synth, a preset, effects and MIDI
maps. For quick and easy access, you can organize
performances by style, by type or even by venues.
Output Stage
The new Output Stage includes sync-to-host
capability, tempo synced ping-pong delay, reverb and
audio recorder. While providing instant control over
playback and recording of your performances, the
Output Stage also adds depth, warmth and dimension
to any synth.
Expanded
Library
New collection of synthesizers and effects created
by top sound designers. Their focus has been on the
creation of highly usable sounds for musicians and
studio professionals.
Audio Input
Processing
The Tassman can now be used as a real time audio
effects processor! For instance, acoustic resonators
can be used to add unique textures to your sound.
Use it as an effect plugin with your favorite host
application.
Improved
Algorithms
Improved acoustic objects and generators that sound
better than ever.
Tassman Highlights
Polyphonic modular synthesizer
and sound design environment
Entirely based on physical
modeling for outstanding sound quality
Huge synth and effect library -
more than 50 synths and 1000 presets
Modules library for customizing
or creating synths - effects, envelopes, filters,
generators, inputs, outputs, MIDI, logic, mixers,
resonators, selectors and sequencers.
Complete list of modules
Generators and resonators include
acoustical objects - flute, mallets, organ,
plectrum, beams, marimbas, membranes, plates,
strings and tubes
User expandable module library -
reuse, organize and simplify patch building
Unlimited modules per patch
Internal audio recorder to
capture performances on the fly
Integrated browser, browser
filters and locate function for easy navigation and
organization of Tassman elements.
Triggered playback and record for
perfect loops
Import/Export functions for easy
sharing of synths and effects
Unlimited Undo/Redo capability
Drag and Drop capability between
Tassman elements
Audio bit-depth and sample rates
up to 24bit/192kHz
32bit floating point internal
processing
Real time calculation of sound -
no samples
Simultaneous operation of
multiple MIDI ports and user defined MIDI maps
MIDI automation and program
change support
Supports all standard plugin
formats
Full audio and MIDI hardware
support
Standalone operation - no host
application required
"Overall,
Tassman 4 is an exceptional music
software package offering the user a
fantastic selection of instruments and
effects, and the capability of making
new ones. It's a synthesist's dream!"
-Cliff
Douse
Mac Format
"Tassman 4
retains its position as the top modeling
program around. (...) There's no soft
synth on the market today that has as
many unique sonic building blocks as
Tassman, and the range of possibilities
it offers is awesome."
-Dennis
Miller
Electronic Musician
Artists:
"Tassman
for me is a unique world of
sound production perfectly
suited to todays' requirements
in Cinema, TV , and creative
electronica projects. It is an
open system that begs to be
programmed to one's own style.
It has a sound all it's own,
definitely not another copycat
synth. Dance with it's
technology. Empty your mind and
create new soundscapes. I can't
wait to use it with Thomas
Newman and other composers with
whom i work. The
reharmonizations of Struck
Instruments are unparalled. "
The Finest in Analog Sounds In a world filled
with reproductions and ever increasing
complexity, Ultra Analog imposes itself as a
unique and powerful synth that is fast, easy and
remarkably versatile. At the heart of Ultra Analog are the best alias free oscillators of
the industry, featuring standard wave shapes,
hard sync, sub oscillators and integrated pitch
envelopes for the most impressive evolving and
dynamic analog tone you ever heard. Two
audacious multimode filters with distortion are
then applied to confer Ultra Analog its sonic
character. Finally, carefully chosen modulation
options are provided by two syncable
comprehensive LFOs, four loopable velocity
sensitive ADSR envelopes generators and vibrato.
Make Music Happen The superb preset
library created by the best professional sound
designers will be a sensational journey through
all the colors of the analog spectrum from
vintage synthesizers to modern VAs. The Ultra Analog is highly efficient. Find the sound you
want fast and tweak it to perfection thanks to
the integrated categorized browser and ergonomic
interface. What's more, our practical browser
enables complete freedom over the organization
of your preset library; categorize by songs,
styles, events, etc. Whether it's for day to day
synth work or particular sound design tasks,
Ultra Analog will deliver the entire analog
sonic range with every control at your
fingertips whenever your creative outbursts
demand it.
Live in the Studio
or Live on Stage Ultra Analog is
packed with premium performance features,
including keyboard modes, portamento and legato
functions. Furthermore, in order to follow your
groove, Ultra Analog is equipped with a complete
set of MIDI features; easy to use "MIDI Learn"
function for user defined MIDI maps, min/max
parameter range settings, MIDI program change
and automation. And for even more action, Ultra
Analog provides a user programmable pattern arpeggiator and high quality master effects
featuring chorus, delay and reverb.
Ultra Analog
Highlights
32 voice
polyphonic virtual analog synthesizer
Entirely
based on physical modeling for outstanding
sound quality
Top
quality preset library
Real time
calculation of sound - no samples
32bit
floating point internal processing
Audio
bit-depth and sample rates up to
24bit/192kHz
Integrated
audio recorder to capture performance on the
fly
Integrated
browser and locate function for easy
navigation and organization of presets
Import/Export functions for easy sharing of
presets
Unlimited
undo/redo capability
Standalone
operation - no host application required
Standard
plugin formats support
Full audio
and MIDI hardware support
Simultaneous operation of multiple MIDI
ports
MIDI
automation and program change support
User
defined MIDI maps with MIDI Learn
Module
initialization and bypass
High
quality integrated master effects: chorus,
delay and reverb
MIDI
Clock, tap and host tempo synchronization
Dynamic
voice allocation and CPU overhead protection
"Sonically, it truly befits
its name, sitting right up
there with the best in terms
of analog emulation; and even its
most advanced features are easy to
negotiate thanks to the exemplary
clarity of the interface."
-TJ
Glover
Future Music
"Analogue
heaven -- Ultra Analog is a joy to use.
As an instrument, the patches are richer
then some other re-creations... Simple
yet powerful - an excellent way to
create both classic and unique sounds."
-Hollin
Jones
Music Tech
"If you
don't have the cash to pony
up for a used Juno, Moog,
Rhodes, Arp or Sequential
Circuits, the Ultra Analog is
the perfect virtual synthesizer
solution. Looks Like the digital age has
caught up with the past."
-Jesse
Terry
XLR8R
"(Ultra Analog) sounds liquid and alive, more so
than most virtual analog synths I've
played with. The bass end of UA was
fantastic, and quite possibly one of the
best I've heard from a plug-in... Those
of you craving that ultimate analog
sound in digital format should certainly
take a look at Ultra Analog"
-Devon
Brent
Grooves
Artists:
"I'm
thrilled that AAS has succeeded to bring
us yet another creative and
inspirational musical tool. It's just
easy to get sounds out of Ultra Analog -
Job well done!"
- Yves
Frulla
Keyboard player for Canadian diva Celine
Dion
"Ultra Analog delivers everything I expect from
a virtual analog module: full sound,
good punch, clear interface - very fast
to use, which is great for film music,
where time is always of the essence. But
beyond that, Ultra Analog also gives
access to some of the unique features
I've come to know and love about Tassman.
Its ability to sound 'uneven and
authentically strange' sets it apart
from other, more regular synth
emulations."
- Paul
Haslinger
Tangerine Dream member and film
composer: Underworld, The Italian Job,
Blue Crush, Minority Report, and many
more
System
Requirements
Windows 98, ME, 2000, XP - Pentium
III 800MHz - 128MB RAM - ASIO,
DirectSound - VST, DXi
Mac OS X 10.2, 10.3, 10.4 - G4
733MHz - 256MB RAM - CoreAudio - VST,
AU, RTAS
The String Studio
synthesizer swaps the traditional oscillator,
filter, and envelope pattern for real-life
string instrument components. At the core of
String Studio lies a new cutting edge string
model interacting with picks, bows, hammers,
fingers, frets, dampers, and soundboards.
Through this direct approach, String Studio
delivers stunning guitars, basses, harps,
clavinets, bowed instruments, percussions as
well as rich and animated tones that blend the
warmth, naturalness, and density of real-life
with unique and innovative timbres from yet
unheard instruments.
The
Unmistakable Feeling of Playing a Real
Instrument
Once
again, AAS brings you the
state-of-the-art in physical modeling
for unmatched sound quality and realism.
Instead of relying on samples and
wavetables, String Studio generates
sound on the fly using an accurate model
of the components and interactions
involved in string instruments. This
elaborate synthesis engine responds
dynamically depending on your
performance and how it is already
vibrating, producing sound that is
always unique to the moment. As a result
of its nature, String Studio captures
the richness and diversity of acoustic
textures and reproduces the quirks,
subtleties, and responsiveness of
real-life instruments. This is the key
to providing you with vibrant sound as
well as the presence and expressivity of
a real instrument.
Physical
Ergonomics The String
Studio interface is conveniently laid
out around components of a string
instrument and the controls are directly
related to their physical properties.
With just a limited number of intuitive
parameters, String Studio procures a
remarkable range of sounds. Explore the
extensive collection of warm and organic
sounds included with String Studio or
tweak and create exquisite textures
simply not possible with other
synthesizers.
Live
Extras
Finally,
String Studio offers premium performance
features, including keyboard modes, portamento, vibrato and legato functions
as well as a programmable pattern
arpeggiator. For optimal controller
integration, String Studio features a
complete set of MIDI features;
easy-to-use ‘MIDI Learn’ function for
user defined MIDI maps, min/max
parameter range settings, MIDI program
change and automation. A high quality
effect rack, featuring distortion,
chorus, delay and reverb completes the
package.
String Studio Highlights
Entirely based on physical
modeling for outstanding
sound quality
Top quality preset library
Real time calculation of
sound - no samples
32bit floating point
internal processing
Audio bit-depth and sample
rates up to 24bit/192kHz
Integrated audio recorder to
capture performance on the
fly
Integrated browser and
locate function for easy
navigation and organization
of presets
Import/Export functions for
easy sharing of presets
Unlimited undo/redo
capability
Standalone operation - no
host application required
Standard plugin formats
support
Full audio and MIDI hardware
support
Simultaneous operation of
multiple MIDI ports
MIDI automation and program
change support
User defined MIDI maps with
MIDI Learn
High quality integrated
master effects: chorus,
delay and reverb
MIDI Clock, tap and host
tempo synchronization
Dynamic voice allocation and
CPU overhead protection
"This is a
unique synth that sounds like nothing
else on the market."
-
Martin Walker
Sound On Sound
"An
expressive synth with a well designed
and easy-to-learn interface. String
Studio VS-1 is at its best generating
organic synth sounds that bring lead and
bass lines to life."
-
Mike Hillier
Music Tech
Artists:
"I
think String Studio is a great way to
bring Physical Modeling to the masses.
It gives you enough options to get
creative fast, but not so many you wind
up losing your girlfriend and your
social life!"
-
Guy Sigsworth
Producer: Madonna, Bjork, Britney
Spears, Lamb
"String
Studio inspires to write new music for
new times. I am particulalry happy about
the marriage between intricate modelling
detail and regular synth-control
features, like filters and arpeggiators."
-
Paul Haslinger
Tangerine Dream member and film
composer: Underworld, The Italian Job,
Blue Crush, Minority Report, and many more
"I'm very impressed with
String Studio. It allows you
to make unreal, unworldly
sounds, ones you won't get
from a regular subtractive synth or sampler."
-
Glen Darcey
Sound Designer / Synth Programmer,
Creative License Media Group
System
Requirements
Windows 98, ME, 2000, XP - Pentium
III 800MHz - 128MB RAM - ASIO,
DirectSound - VST, DXi
Mac OS X 10.2, 10.3, 10.4 - G4
733MHz - 256MB RAM - CoreAudio - VST,
AU, RTAS
You play. We tune.
These
days, it's pretty rare to see
groundbreaking innovations.
But the new PowerTune™ system from
Tronicalis so revolutionary,
that every guitar player can now enter a
previously unimaginable, new domain!
A guitarist's
dream come true:
Fast -
problem-free - at the touch of a button -
virtually undetectable, even in front of
your live audience!
Imagine a
guitar that tunes itself automatically,
exactly how you want, whenever you want in
seconds, in fact less than 2 seconds!
With an
accuracy that's not always achievable via
manual tuning (typically 0.2 cent!) the ITM
(Individual Tune Memory) also takes into
account personal preferences that most
musicians have. In-depth development of the
special components guarantees a mature and
stable system.
“Stay Tuned” -
throughout your whole set – regardless
of its length.
No more nasty surprises as the guitar
tuning suddenly turns odd! This gives
unprecedented artistic flexibility -
recall individually saved presets in
seconds, such as open tuning, or special
grunge- and slide- settings.
The extremely accurate tuning control,
guaranteed by using newly patented
procedures, provides fast, precise
calculation to an accuracy of typically
0.1 cent. The DSP TuneCore-Controller
electronics, combined with built-in piezo pick-ups on the bridge, calculates
the actual tuning - or rather the
necessary corrections - in fractions of
a second.
Upon installation, all guitar strings
are automatically tuned, and a variety
of other functions are made instantly
available.
Tronical's PowerTune is a modular system
that can be retrofitted to virtually any
available guitar-make or -model, without
the need for destructive rebuilding or
re-working. The guitar can also be
returned to its original state at any
time, if needed.
Our
system ensures that the sound, the
properties of the wood, the mechanical
and electrical sound structure of the
guitar and pick-up remain completely
untouched.
No
drilling, cutting or other
“constructional” changes are required
for fitting. Additionally, there are no
changes to the sound,
performance or appearance of the guitar.
Highly-developed components, combined
with a unique new user-control, now
opens up a completely new realm for the
guitarist.
Tronical´s PowerTune™ has three
modular main components, namely
knob, tuners and controller.
The components are delivered
preassembled. Any good guitar
service center is able to carry out
the system installation within
minutes.
1. TuneControl
Multi-Knob:
This newly-developed
multi-functional pot, with
its unique control button,
is available in various
finishes and styles to
complement the design of
different guitar models.
All operating and control
functionality is contained
within the pot and can be
adjusted with 11 different
positions.
The Push/Pull/Enter pot
doesn't just function as a
traditional volume control;
in the “pull” position you
have a potentiometer that
allows you to select
tunings. Also, built into
the pot are multi-coloured
LEDs. In conjunction with
the optical lens, the LEDs
display clearly readable
information of all settings
and tunings – even on the
darkest stage!
A further highlight of this
unique control unit is its
“ENTER” function that lets
you quickly confirm actions
by simply depressing the
optical lens.
The architecture of the
TuneControl-MultiKnob
easily replaces the original
volume pot. It's still
possible to use playing
techniques that involve
selective detuning of
particular strings.
The system allows you to
tune the strings
simultaneously or
individually. You keep full
control of your instrument.
You can also tune the guitar
manually if desired.
Right at your fingertips
– let us introduce you to
your personal guitar roadie:
• Normal Tuning
Normal Tuning mode offers
simultaneous or individual
string tuning. The strings
are marked on the pot with:
E-A-D-G-B-e. The RGB LEDs
light up in different
colours to indicate the
current tuning action.
• Calibration Mode
In certain situations, you
may need to tune your guitar
to a “standard pitch” or
frequency. For instance,
performing with a piano or
orchestra where fixed tuning
is the norm, or in a studio
situation with altered song
pitches. Here, the tuning
can be matched to the
frequency of a given note,
while the
TuneCore-Controller
automatically adjusts the
tuning of the individual
strings relative to the
desired reference frequency.
• Intonation Mode
Intonation mode simplifies
any necessary intonation
adjustment s on your guitar.
The LED display, combined
with the automatic tuning
means: an inexperienced
guitar player can achieve
exact octave tuning quickly
and precisely.
• String up/down Mode
An automatic string
selection mode lets you
restring your guitar quickly
and without hassle and… it
cuts down the time required
to do the job!
• Open Tuning Mode
In this mode, it is possible
to tune the guitar to any
type of open tuning. Simply
select the appropriate mode
using the pot and hit Enter
to confirm your choice. The
LED display will signal open
tuning mode. Striking the
strings triggers the
automated tuning procedure.
• Power Supply
The system power supply
consists of two 1.2V NiMh AA
rechargeable batteries. With
“normal” daily use, your
batteries last an average of
2 weeks before requiring a
recharge. The built-in
intelligent recharger
connects to a special
external power supply via a
standard guitar cable.
2. PowerHead-Locking
Tuners:
Contained in standard
housing, these Servo pegs
are a revolution in guitar
technology. Each unit
consists of a motor,
high-performance gears along
with intelligent servo
electronics.
The servo motor control
electronics use an
intelligent “learn”
capability, this allows you
to optimize your tuning
requirements, even
accommodating different
string tensions. Tuning
stability is further ensured
by high-grade locking
mechanics. The fittings are
compatible with a wide range
of guitar models.
3. TuneControl-Bridge and
TuneCore-Controller
The Tronical™ piezo-equipped
TuneControl-Bridge
and the tuning analysis form
the core (or Command Centre)
of the entire PowerTune™
System.
It is from here, that the
current tuning of the guitar
is monitored and controlled.
The strings carry the
control signal and the power
supply for the
PowerHead-Locking Tuners.
By using highly compact
electronics, the
TuneCore-Controller
requires a minimum of space
for optimal placement.
Product-Kits
The PowerTune™ system
kit is supplied with
everything you need for
retrofitting your guitar.
Several manufacturers will
also include a complete
ex-works system as part of
their series for some
models.
For now PowerTune™
system kits are available
for the following guitar
makes and models:
Fender: Stratocaster-series,
Telecaster-series
Gibson: Les Paul-series, SG-series,
Flying V …plus equivalent
models respectively.
36-Channel, 24 Bit 192 kHz
Bus-Powered
FireWire Audio Interface
OVERVIEW:
RME's Fireface 800 revolutionized the
world of FireWire audio interfaces. Now the revolution continues: The
Fireface 400 is not just the little brother of the Fireface 800 - it is
a completely newly designed device. It is the only device in its class
with active jitter suppression, stand-alone functionality, complete
controllability from the front panel, highly flexible I/Os in
professional quality, and an unsurpassed 648-channel matrix router - at
sample rates up to 192 kHz.
As usual, RME offer a host of
sophisticated features and characteristics. These include:
Two
digitally controlled Mic Preamps in high-end quality
Two
balanced universal inputs for line and instrument signals
SteadyClock for maximum jitter suppression and clock refresh
Simple
stand-alone operation with rotary encoder and front panel display
TotalMix: 648-channel mixer with 42-bit internal resolution
The DSP-based TotalMix mixer allows fully independent routing and mixing of all 18
input and output channels to all 18 physical outputs. Up to 9 totally
independent stereo sub-mixes simply mean unrivalled monitoring
facilities. Copy/paste of routings, ganging and group-based operation of
faders, and the extraordinary Matrix window are just some of the mixer's
unique features. The mixer can be completely MIDI controlled, even in
stand-alone operation. Furthermore the DSP hardware calculates RMS and
Peak levels for all 54 audio channels, without causing any significant
CPU load.
A word clock input and output (BNC) plus two MIDI I/Os (breakout cable,
5-pin DIN) complete the analog/digital feature list and turn the
Fireface 400 into an entire audio system of the highest quality.
The Fireface 400 excels as portable all-in-one solution when it comes to
power supply. The included switching power supply accepts voltages from
100 to 240 V, thus can be operated all over the world. A rear panel
switch enables Bus Powered operation, taking the power directly from the
FireWire connector. To avoid potential problems, both the unit's
internal power supply and the protective circuits at the FireWire
port were specially designed and thoroughly t
ANALOG I/O'S:
Eight inputs and outputs (balanced,
output 7/8 unbalanced) with software controlled switching of the
reference levels (-10 dBV, +4 dBu, Lo/HiGain), of course realized
discretely in the analog domain, guarantee highest dynamic range and
highest fidelity.
The Fireface 400's front panel features 2 balanced microphone inputs
with a digitally controlled input stage, individually switchable 48V
phantom power, and Neutrik Combo connectors for XLR and TRS. These can
also be used as additional line inputs. A pre amplification of up to 65
dB, adjustable in steps of 1 dB over a range of 55 dB, exceptional EIN
performance even at low pre-amplification settings, and extremely low
THD+N let these preamps surpass those of other devices that cost several
times the price of the Fireface 400. All level settings are 100%
reproducible and can also be adjusted by software comfortably.
Inputs 3 and 4 are extremely flexible balanced universal inputs.
Firstly, they operate exactly as inputs 5 to 8 on the rear and can be
adjusted to accept standard studio input levels (+4 dBu, LoGain).
Furthermore, the input impedance can be switched from Line (10 kOhm) to
Instrument (470 kOhm). An additional analog input amplification of up to
18 dB (in steps of 0.5 dB) is also available. In short: There's no
signal that these inputs can't deal with perfectly!
Inputs 5 to 8 on the rear feature RME's proven level references. -10 dBV,
+4 dBu und Lo Gain can be selected in the settings dialog, equivalent to
+2 dBV, +13 dBu und +19 dBu for digital full scale. The same applies to
the balanced rear analog outputs 1 to 6. The high power phones output
offers high volumes even with low-impedance headphones, and represents
playback channels 7/8. All outputs can be used for ASIO Direct
Monitoring purposes.
DIGITAL I/O'S:
An ADAT optical I/O allows for a
connection and insertion of effects devices, mixing consoles or external
converters. Of course, these 8 channels are available simultaneously
with the analog channels. Using an additional ADI-8 DS or
OctaMic D, you'll get 16 analog inputs and outputs, which remain
still 12 at 96 kHz. The coaxial SPDIF I/O , which is fully AES/EBU
compatible (as is common for RME), also works up to 192 kHz, which means
that at the highest sample rate, 8 analog and two digital inputs and
outputs are directly available. SPDIF can also be accessed through the
optical I/O, which also works up to 192k - a world exclusive RME
feature.
FEATURES:
Thanks to an internal flash memory,
all settings including TotalMix are recalled during boot. The device can
thus be configured and used as a stand-alone device, without being
connected to a computer, e.g. as a submixer, A/D and D/A-converter,
headphone mixer, format converter, instrument or microphone
pre-amplifier, monitoring mixer and much more.
The Fireface 400 is equipped with
SteadyClock™, RME's
unique sync and clock technology. With this, the device becomes a sync
reference for the whole studio. SteadyClock refreshes clock signals,
removes jitter, and takes permanent care of optimal conversion quality,
thus guarantees a sensational sound quality, completely independent from
the reference clock's quality.
SteadyClock allows the unit to control the sample rate freely on its
own. The Settings
dialog includes a direct choice of the video and audio world's most
often used sample rates. Additionally,two faders can be used
to set the sample rate freely and in real-time, within the range of +/-
4% and +/- 0.4%.
Fireface 400 uses RME's own FireWire technology, heavily optimized for
audio purposes (RME is the only manufacturer not to use a third party
FireWire audio technology). Minimum overhead, special hardware
adaptations, and a new low-latency buffer concept allow a performance
and compatibility considered impossible for FireWire audio until now.
This includes changing latency in mid-operation, latencies down to one
ms, or an immediate reaction to changes of the sample rate. Further
optimizations and additional features can be added at any time by Flash
Updates.
Of course the Fireface 400 offers a second FireWire port for hub
functionality. Several devices can be connected to one FireWire
interface and operated in parallel. The renowned Fireface 800 shares the
same driver, allowing mixed setups.
TECHNICAL SPECIFICATIONS:
Input AD:
6 x 1/4" TRS (4 x LIne, 2 x Line/Instrument), 2 x XLR/TRS Combo
connector (2 x Mic/Line) all servo-balanced.
Output DA:
6 x 1/4" TRS, servo-balanced, DC-coupled signal path. 1 x 1/4"
TRS unbalanced
Input
Digital:
1 x ADAT optical or SPDIF optical, SPDIF coaxial (AES/EBU
compatible)
Output
Digital:
1 x ADAT optical or SPDIF optical, SPDIF coaxial (AES/EBU
compatible)
MIDI:
2 x MIDI I/O via breakoutcable (4 x 5-pin DIN jacks), for 32
channels low jitter hi-speed MIDI
Dynamic
range AD:
109 dB RMS unweighted, 112 dBA
THD AD:
< -100 dB (< 0.001 %)
THD+N AD:
< -98 dB (< 0.0012 %)
Crosstalk
AD: >
100 dB
Dynamic
range DA:
110 dB RMS unweighted, 112 dBA (unmuted)
Driver support:
Windows 2000 SP4,
Windows XP/XP64:
Full ASIO
multi-client operation of WDM, MME (not XP64), GSIF 2.0 and ASIO 2.0.
WDM (DirectSound) with stereo and multi-channel support. Full
hot-plugging. Up to 3 units operational. Mac OS X
(10.3. or up) and
x86: Core Audio, Core MIDI. Since 10.4 (Tiger) up to 3 units
operational.
RME announces the AES-32, the latest
member of the globally successful
Hammerfall DSP series. This short-length
PCI card provides eight AES inputs and
outputs at 192 kHz sample rate. It is
also equipped with two MIDI I/O ports,
word clock I/O and can be used with the
optional TCO module for synchronization
to LTC and video. The HDSP AES-32 is
RME's reaction to requests from audio
professionals for an AES-based solution
with the typical RME features and
quality. This audio card is a perfect
all-in-one solution for professional
users in the fields of broadcast, TV,
theater, stage/PA - and in any
professional studio.
The AES-32's remarkable features
include:
Support for 192 kHz at full channel
count
Native support for Double and Quad
Wire transfer
Direct conversion between these
formats
SteadyClock for highest jitter
suppression and clock regeneration
Intuitive and clearly laid-out user
interface
TotalMix: 512 channel mixer with 40
bit internal resolution
48 level meter Peak/RMS,
hardware-computed
The card's main board contains word
clock I/O and a 25-pin D-sub plug,
providing four AES inputs (XLR-F) and
four AES outputs (XLR-M) via standard
digital breakout cable (Tascam pin-out).
The word clock input is galvanically
isolated via transformer and operates on
Single, Double and Quad Speed signals
automatically. The expansion board adds
audio channels 9-16 and a connector for
a MIDI breakout cable with two MIDI I/Os
(four 5-pin DIN connectors). It does not
require a PCI slot.
Thanks to the DSP-based TotalMix mixer,
all 16 inputs and outputs can be routed
to 16 physical outputs freely, offering
extraordinary monitoring capabilities.
Up to 8 fully independent stereo
sub-mixes can be created. Routings can be
copied and pasted, faders ganged and
grouped, which, along with the amazing
matrix window, turns the AES-32 into a
powerful and easy-to-use redistributor,
patchbay, router, converter, and
splitter. The hardware-based mixer is
fully MIDI-controllable. Furthermore,
the DSP hardware calculates RMS and peak
level meters for all 48 audio channels,
with no measurable CPU load.
The Time Code Option of the HDSP
9632 and HDSP MADI can also be used
with the AES-32 to sync to LTC and
video. Thanks to SteadyClock, the
TCO not only extracts absolute
positions from these signals, but
also a very clean low-jitter word
clock.
The card's most important settings are
stored on the card itself. Rather than
operating in a default mode from the
moment the computer is switched on until
the driver is loaded, the card will
immediately activate the last used
sampling rate, master/slave
configuration and AES format, thus
eliminating any startup noise or
problems in the clock network, both at
system start and reboot.
An optional 19" breakout box is also
available. Its innovative design
features XLR I/Os that can be accessed
from the front or rear in a rack,
according to the user's choice. BOB-32
provides D-sub connectors with Tascam
and Yamaha pin-out, therefore can be used
with other devices as digital rack
breakout box as well.
RME’s new
Multiface II –
technologically
enhanced successor
to the popular
Multiface – is
now available in two
attractively priced
bundle packages that
represent a
considerable saving
on the cost of the
individual
components.
In addition to being
available as a
separate item, the
Multiface II
now also forms part
of the new PCI-Card
and Card-Bus
bundles. The
PCI-Card Bundle is
aimed at owners of
Mac or PC desktop
systems, while the
CardBus Bundle is
intended for mobile
use. The CardBus
PCMCIA card is
compatible with both
laptops and
PowerBooks.
The Multiface II
is of course an
integral part of
RME’s HDSP
system. This can be
used with both
desktop and portable
computers, since the
required PCI and
CardBus cards are
also still available
as separate items.
RME’s own
transfer protocol
guarantees
exceptional quality
and outstanding
performance
potential, allowing
transfer rates of up
to 130MByte/second,
and a reduction in
latency down to 1
millisecond.
MXL
Microphones, the professional audio division of
Marshall Electronics, is pleased to announce the
introduction of the MXL.006 USB / Cardiod
Condenser Microphone. Designed with ease-of-use
in mind, the new MXL.006features a large gold
diaphragm that delivers a big, rich sound
characteristic of studio and broadcast
microphones. Unlike most studio condenser
microphones, however, the MXL.006 is a USB
(Universal Serial Bus) instrument that connects
directly to a computer without the need for
external mic preamps. Now, anyone requiring high
quality, professional sound on their computer
can record music or dialog by simply connecting
to a standard USB port. Featuring support for
USB 1.1 and 2.0, this exceptionally easy-to-use
microphone even includes gain adjustment
settings via the built-in three position
attenuation switch.
Working with the
new MXL.006 is a pleasure. As a plug and play
device for both Windows and Macintosh, it
requires no special drivers whatsoever. Simply
connect the microphone’s USB cable to a
computer’s USB port, and installation is quick
and effortless. In addition to recording
instruments or voice for home recording
applications, the new MXL.006 is the perfect
microphone for pod-casting or adding dialog to
presentations and other multimedia projects. It
is also the perfect solution capable of opening
new possibilities for radio and news
broadcasters and for location recording.
Unlike
electrets or dynamic microphones typically used
for computer work, the MXL.006 has an extremely
smooth, natural sound typical of what one would
hear on a professionally produced CD or radio
show. The analog section of the new MXL.006
microphone features a 20 Hz-20 kHz frequency
response, a large gold diaphragm,
pressure-gradient condenser capsule, and a
3-position, switchable attenuation pad with
settings for Hi (0 dB), Medium (-5 dB), and Lo
(-10 dB), making it easy to configure the
microphone to virtually any sound source. The
digital section features a 16-bit Delta Sigma
A/D converter with a sampling rate of 44.1 kHz
and 48 kHz. Protecting the instrument’s capsule
is a heavy-duty wire mesh grill with an
integrated pop filter.
To make
recording a trouble-free process, the new
MXL.006 features a red LED behind the protective
grill. This LED informs the user that the
microphone is active and correctly oriented
toward the user. To complete this terrific
package, the new MXL.006 ships with a travel
case, a desktop microphone stand, a 10-foot USB
cable, windscreen, an owner’s manual, and an
applications guide.
Wayne Freeman,
MXL’s Director of Sales and Marketing, commented
on the company’s new offering, “The new MXL.006
USB / Cardioid Condenser Microphone makes
interfacing with a computer an effortless
process. Now, amateurs and professionals alike
have a great sounding, plug and play solution to
a wide variety of recording applications.”
VirtualGrand Piano
is the Grand Piano that fits into your home
computer!
The
extensive recordings of a Hamburg Steinway B
Concert Grand have been edited and programmed so
that you can enjoy the perfect realism of a real
Grand Piano in your living room, without the
need to make space for one! The high quality of
these recordings will also allow you to create
professional CD-quality piano recordings without
the need to ever visit a recording studio. A
large number of recording styles are covered by
the numerous presets.
All this is possible by the combination of the
Art Vista instrument recordings
(samples), and the KONTAKT Player
technology provided by Native Instruments. This
Virtual Instrument can be used both on PC and
Mac computers. It is ready to be played -
without any additional software! Use it either
as a stand-alone "Virtual Instrument" or as a
"plug-in" together with your favourite audio
recording software.
CLASSIC PIANO
-
Recreates the keyboard response
and dynamics of the originally recorded concert grand piano.
POP PIANO
- Provides the slightly
brighter and more powerful keyboard response needed in pop music.
JAZZ PIANO
- Has the same keyboard
response as the CLASSIC PIANO, but with a mellow tone. This preset will consume
twice the polyphony of the other patches, and is therefore more demanding on
your computer system.
GOSPEL PIANO
- Has an ultra-powerful
dynamic response that will make the whole piano sing.
ROCK PIANO
- Same keyboard response as
in the GOSPEL PIANO, but with only "pedal-up" notes to provide an even brighter
and punchier response. This piano has a smaller "footprint" and is less
demanding on computer system resources.
LIGHT PIANO- The preset with the
smallest demands on your computer system. But don't let the size fool you!
Even this smallest preset presents the sound of a full-bloodied Concert Grand
Piano.
COMPRESSED PIANO- To present the
richest possible sound, this preset has been programmed to load with
compression. The compression effect will amplify the softer nuances of the
piano sounds, and enhance the overall sonority of the piano. As a result, the
dynamics of the piano's output are not as wide, but the timbre will still
reflect every nuance played.
Natural Room Reverb or "Studio
Dry":
The basic presets come in two
versions: "Wet" or "Dry." The natural recital hall reverb was recorded for each
note of every dynamic. In the "Wet" presets this natural hall reverb can be
heard, and will add an ultimate realism to the sound of the piano as you
experience the sense of space where the piano is played.
The "Dry" presets do not have the true hall reverb, but are instead programmed
to give a "Studio Dry" decay to the piano sound. If you prefer to add your own
reverb, these presets will give you the chance to do so. The "Dry" presets are
also less demanding on your computer's processing power
Eight Special Effects Presets:
CHORUS PIANO- This preset is
programmed with a "chorus" effect. When used sparingly, it can make the piano
sound "richer." Higher settings can make the piano sound like an out-of-tune
piano.
DELAY PIANO-
A "delay" effect is
pre-programmed, and will add a bouncing echo.
FLANGER PIANO-
A "flanger" effect is
pre-programmed, and will add a "spacey" stereo effect.
PHASER PIANO-
A "phaser" effect is
pre-programmed and will add a swooshing quality to the sound.
MULTI EFFECT PIANO
- A combination of
phaser and flanger has been pre-programmed.
UNDERWATER PIANO- Simultaneous use of
all effects makes this preset really weird sounding!
VIOLIN PIANO -
A slow attack lets the tone
fade in, as if played by a violin!
SPACE PIANO
-
Multiple effects in combination
with a slow attack. A real Sci-Fi effect!
Twenty-two Recording Style Presets:
These presets have been programmed
to emulate the recording styles of pianos heard on famous recordings by various
artists from the 1950's through 2005
Sustain Pedal Sounds:
If you record your Virtual Grand
Piano performance, you can also add the sounds of the sustain pedal going up and
down. A separate preset with only these sounds can be loaded after you have
finished your piano performance.
The pedal sounds are mapped to "middle-C," and respond to dynamics - an abrupt
quick down-and up movement will result in a realistic corresponding pedal
noise. The pedal sounds presets can be found in the folder: "Sustain Pedal
Sounds" next to the folders for Hard, Medium, and Soft presets.
The interface of the Virtual Grand
Piano has eight control knobs that will allow you to customize the sound of each
preset according to your personal taste! These knobs are loaded with a preset
value. In the "Basic Presets," and in the "Recording Style Presets" the knob
assignments are:
Knob 1 - EQ 1.
A "progressive" tone control that has larger effect on the lower parts of the
keyboard. With this EQ, you can filter out the bass frequencies of your
left-hand playing without affecting the right hand solos. When making your own
recordings, this is a way to emulate different microphone set-ups. Note: No
note should be longer than 45-50 sec when "EQ 1" is used. At around 50sec into
the note there will be a slight bump in volume. Note 2: In the "Recording Style
Presets" Knob 1 is assigned to Reverb Room Size. The Room Size control is only
active when Reverb is set to a value higher than "0".
Knob 2 - EQ 2.
A tone control that affects the whole keyboard range equally. Turn the
knob clock-wise to make the piano sound "thinner." Use this control on its
own, or together with "EQ 1" to shape the sound of the piano so it will "sit right" in a
mix with other instruments. This control is also practical to adjust the amount
of bass frequencies when playing back from your home stereo speakers.
Knob 3 - Reverb.
Turning this knob clockwise
will add a digital room reverb (not to be confused with the true hall reverb
available in the "Wet" presets). If the knob is left at 0%, the Reverb
will be disconnected and will not put any strain on the computer processor.
Knob 4 - Width.
Regulates the stereo width
of the piano sound. At a 50% setting the stereo width will be the
perspective actually recorded. At a setting higher than 50%, the stereo
width will be artificially expanded. A smaller setting than 50% will
render a shrunken stereo width. This effect comes in handy if you would
like to change the placement of the piano on the sound stage. Just shrink
the stereo width of the piano, and then use the "Pan" control knob to shift the
piano to the left or to the right. Turning the knob all the way
counter-clockwise will result in a mono signal.
Knob 5 - Compression.
Turning this knob
clock-wise will amplify the softer sounds in the piano. The result will be
a richer sounding piano with less dynamic difference between soft and loud.
To compensate for the overall higher volume, you may need to turn down the
volume knob somewhat.
Knob 6 - Tune.
This knob will adjust the
overall tuning up or down.
Knob 7 - Pan.
This control moves the
sound to either Left or Right in the stereo perspective. Use this knob
with "Knob 4" to position the piano on the sound stage (stereo field).
Knob 8 - Volume.
Turn the Volume knob to a value above "0" for a louder sound. Values below "0"
will lower the sound.
NOTE: The slider on the Virtual Grand Piano interface is a Kontakt Player
control that is not used in Virtual Grand Piano. Neither the settings of the
slider nor the MIDI Controller assigned to it will have any effect on the
performance of the instrument.
The Kontakt Player needs a
soundcard for playing the sounds of Virtual Grand Piano. Standard
DirectSound, MME or ASIO drivers required; Windows-compatible MIDI hardware
if required. The Kontakt audio engine is designed to make use of the
processing power of your computer’s CPU. The powerful and complex algorithms
of the Kontakt Player work best on modern CPUs
Recommended Requirements:
6.0 GB free hard disk
space
DVD-ROM drive
Windows XP, Pentium 4/Athlon
2.4 GHz or faster
Mac OS 10.2.6 or higher,
G5 1.6 GHz or faster
A MIDI interface is
required if you are using a MIDI keyboard, another MIDI controller or an
external sequencer. The MIDI interface integrated in many sound cards can
also be used.
We recommend 1 GB or more
of RAM. The more RAM the better.
The Kontakt Player needs
an audio card for playing the sounds of Virtual Grand Piano. Standard
DirectSound, MME or ASIO drivers are required. Windows-compatible MIDI
hardware is required. The Kontakt audio engine is designed to make use of
the processing power of your computer’s CPU. The powerful and complex
algorithms of the Kontakt Player work best on modern CPUs.
Please also observe the
system requirements of your host application.
Compatibility:
Windows XP (Standalone,
VST®, DXi 2.0™, ASIO™, MME™, Direct Sound™, RTAS™)
Mac OS 10.2.6 or higher
(Standalone, VST®, ASIO™, Audio Units™, Core Audio™, RTAS™)
“This
is the closest sound to live
percussion I’ve heard, in fact
it IS live. A wonderful tool for
recording” -
nervous...
soldered, wired up and manually adjusted. That’s why the beast
rocked so much.
entertain army servicemen. It became
a very popular instrument in jazz
and rock, and has enjoyed a
resurgence in recent years through
it's extensive use by the world's
top hip hop, R&B, and house
producers.
The
extensive recordings of a Hamburg Steinway B
Concert Grand have been edited and programmed so
that you can enjoy the perfect realism of a real
Grand Piano in your living room, without the
need to make space for one! The high quality of
these recordings will also allow you to create
professional CD-quality piano recordings without
the need to ever visit a recording studio. A
large number of recording styles are covered by
the numerous presets.
fax: (613) 9562 9374