Propellerhead, the Swedish developer of popular music production software including Reason, ReCycle! and ReBirth, announces Reason 2.5, an upgrade to its flagship package. The new version comes with four brand new sound processing tools, and two new signal path routing utilities.

Reason emulates a rack of electronic synthesizers, samplers, drum machines and mixing equipment. Previous versions of Reason have won numerous awards, including the highly-coveted TEC Award, Editor’s Choice Awards from Electronic Musician, MacWorld, Remix, and Computer Music magazines, and the mipa award for Best Software Instrument. It’s available for both Mac OS and Windows platforms.

The new 2.5 version of Reason will be available in the second quarter of 2003. Reason 2.0 registered users will get the 2.5 update for free.

BV512 Digital Vocoder

The BV512 Digital Vocoder is a 4 to 512 band vocoder capable of modulating sounds, both in an old-school analog style, and in a digital FFT fashion. As a bonus, it also serves as a fully-automated graphic equalizer. A vocoder takes two input signals, the carrier, which provides the pitch, and the modulator, supplying the characteristics. This type of device is usually seen as a tool to create robotic voice effects, but with Reason’s unlimited patching capabilities, you can combine any two sound sources. For example, you could vocode a percussion track with the bass line, or a string pad with rhythm guitar.

RV7000 Advanced Reverb

The RV7000 is a stereo effect module dedicated to high-quality reverberation, with a quality rivaling the best hardware and software solutions you can buy. The reverb engine consists of nine algorithms: Small Space, Room, Hall, Arena, Plate, Spring, Echo, Multitap and Reverse, with up to seven individual parameters each. In addition to the reverb section, the RV7000 also includes an EQ and a gate section. The EQ section features parametric EQ and a low-shelving filter, for additional tweaking of the reverb signal. The Gate section can be applied to any reverb algorithm and can be triggered with CV or MIDI.

Scream 4 Sound Destruction Unit

Scream 4 is a distortion unit with 10 different damage types -Overdrive, Distortion, Fuzz, Tube, Tape, Feedback, Modulate, Warp, Digital and Scream. In addition to the distortion section, Scream 4 also incorporates a +/- 18dB 3-band EQ; and the unique Body Section, which is similar to a speaker simulator. There are five basic Body types to select from, each with it’s own vibe, as well as separate controls for Body Resonance and Body Scale. The Auto function is an amplitude respondent envelope follower that controls the scale parameter, creating unique dynamic effects.

UN-16 Unison

The UN-16 Unison is a reincarnation of the mysterious “Unison’ button found on early ’80s synths. Transformed into a Reason half-rack unit, it fattens up incoming audio by emulating the effect of 4, 8, or 16 detuned voices playing the same sound. The result is rich and wide, slightly similar to a chorus effect, but more complex.

Spider Audio

Spider Audio is a utility that merges and splits audio, bringing even more of the hardware studio’s patching capabilities into the software realm. Multiple audio signals can be merged and processed with the same insert effect or an instrument’s output can be split into four and sent to four different effect processors.

Spider CV

The Spider CV is the same as Spider Audio, except that the splitting and merging is performed on CV and gate signals. The merge function comes with individual attenuators for each input and the split function also inverts one of the CV outputs. This opens up for advanced and flexible modulation and control routing.

Propellerhead Web Site

Complete List of MIPA Awards Winners & Nominees

More News from Musikmesse

Musikmesse ProLight+Sound Web Site

Solid State Logic has unveiled a new digital broadcast console designed for use within critical on-air production environments.

The new C100 is a small-footprint assignable console, specifically designed for on-air studio applications such as news, sports, and live-to-tape talk and game shows, where fast and efficient handling of sources and destinations are the most important aspects of the audio operator’s role.

The C100 is built around SSL’s latest Centuri™ processing technology, which offers a host of failsafe and resiliency features: fault tolerance, self-healing DSP, hot-swappable components, rapid boot times and remote diagnostics that make the new console ideal for demanding broadcast operation.

The C100’s compact control surface removes much of the complexity of a large format mixing console. Operators are presented with immediate access to all channel controls through the Master Channel, with options to define additional ‘soft’ controls according to the input source; for example, providing dedicated access to mic gain for a live mic source, or stereo balance trim on a VTR return.

SSL’s director of product marketing, Niall Feldman, says the C100 has been under development for three years.

“It incorporates the attention to operational detail and reliability for which SSL is renowned – the C100 is scalable, affordable and cost-effective, and it sets new standards in operational efficiency for the modern broadcast operation.”

New and Innovative Broadcast Features

‘Control Linking’ enables a range of configuration functions to be linked to a specific input or output, such as Fader Start GPIs to Cart machines. Control Linking is just one of the many new features specifically designed to address live production needs.

The Master Channel provides a full set of dedicated controls per channel bay, giving fast access to all audio and routing parameters with broadcast-specific functionality.

Channels may be defined as mono, stereo or 5.1, with single fader control, and the layout of sources on the console may be altered quickly and simply while on-air to cope with unexpected changes in production requirements. Channel layouts may also be created with the C100’s offline configuration utility.

Operator-Friendly Design

High-resolution TFT screens are used for channel metering and status information, while a central TFT touchscreen displays the signal level and status of all mix buses. New fader cassettes incorporate a signal level indicator in addition to grouping display. These faders also have buttons to control protection of the channel and to enable or override any GPI control.

The dedicated layout of the Master Channel controls for EQ, Dynamics, Aux’s, etc. is deliberately designed to promote physical memory and provide a comfortable working environment even during long shifts or under pressured circumstances.

Audio follow video (AFV) functionality is included as standard, allowing the console to be controlled from an external source, for example the vision mixer for a sports show or during post production.

The C100 may be configured for 32, 64, 96 or 128 fully featured input channels. Dedicated N-1 bus, 2 programme buses, 8 group, 24 utility and 24 auxiliary buses are provided, with per-channel direct/N-1 and utility outputs. Together these allow plentiful input and output capacity, and with the addition of direct bus access and channel re-bussing capabilities.

Key Features

• scalable DSP for up to 128 processing channels
• two 5.1 programme outputs with permanent stereo and mono fold-down outputs
• 16 subgroup busses with stereo and 5.1 format options
• 24 auxiliary busses with odd/even stereo bus linking
• 24 utility busses for clean feeds, IFBs and parallel live recording
• independent direct and channel utility outputs provide simultaneous ‘N-1’ and direct recording feeds
• independent stereo PFL and AFL monitoring
• four 12-way source selectors in stereo/5.1
• scalable control surface for up to 48 Fader Strips
• flexible channel layouts and Control Linking™ allow easy creation of frequently used console setups
• audio-follow-video control interface
• central touchscreen provides metering of all 80 console outputs plus fast access to output parameters
• offline session preparation from remote location

SSL's C100 Digital Broadcast Console is designed throughout for operator efficiency under the pressure of rapid-fire live production

SSL’s proprietary Centuri Processor contains all audio and control processing, I/O options and GPIO interfacing within a single 15U rack-mounted processor core. This makes the unit ideal for studio and mobile installations, where space and weight are at a premium.

Broadcast-focused design enables the Centuri engine to lock to a variety of video and audio standards. SSL’s unique processing delivers superior audio performance and great sounding audio tools. In addition, as processing is dedicated to every channel, there’s no need to assign resources at the start of a show setup.

The C100 handles remote mic sources with separate purpose-designed C-SB Stagebox units using multimode fiber connections up to 500m from the processor core. Up to 48 remote controlled mic inputs fit into a single fan-less 14U-high chassis. Features include a low-level buffered output per channel, over 90dB of gain with click-free gain steps, and 4 DACs and GPIOs for communication feeds and signaling back to the stage. PSU redundancy comes as standard with options for redundant fiber links as required.

Solid State Logic Web Site