VLSI Licenses Intel AC’97 Technology to Enable 3D Audio

San Jose, CA. In related news, VLSI Technology, Inc. announces that it has licensed AC’97 technology from Intel. The AC’97 standard describes an interface between advanced digital audio peripheral components and Intel Pentium®-based computers. It will enable PCs to offer CD and broadcast quality 3D sound.

“AC ’97 is an important standard for next-generation 3D audio on PCs,” says Don Maulsby, V-P of VLSI’s Computing Products Group. “Signing up for AC’97 now will help us achieve our goal of introducing new 3D audio products at this year’s COMDEX trade show.”

The PC industry’s transition from 16-bit ISA bus synthesized audio to forthcoming 32-bit, PCI-based 3D audio creates significant opportunities for aggressive new players, such as VLSI, to capture a share of the emerging 3D audio chip market.

QXpander Technology Incorporated in New Crystal Chip

Calgary, AB. QSound Labs has announced that its stereo-to-surround technology, QXpander™, is now available to OEM’s on board a single-chip audio sub-system. The new part, the CS4238B, is manufactured by Crystal Semiconductor.

“It’s really a complete sound card on a chip,” says QSound Technical Writer Scott Willing. “The only significant element not built in is wavetable synthesis, and that’s supported through a serial interface.”

QXpander is a patented process that works with any existing stereo recorded material. It is not required in the recording process, which means a listener’s entire audio library can be enhanced by QXpander simply by playing it through the CS4238B Crystal Chip. Any two-speaker stereo system is adequate.

QXpander technology is already available in several other forms including: QSound’s highly-regarded plug-ins for the Digidesign TDM™, Sound Designer II™ and ProTools™ environments; the QTools/SF plug-in for Sonic Foundry’s Sound Forge™ editor; stand-alone parts (the QX2010 & QX2130 single chip processors); and multimedia computers by Acer and other makers.

The CS4238B offers easy implementation for manufacturers of multimedia sound cards and similar products. It is pin-for-pin compatible with Crystal’s CS4232 and CS4236 industry-standard audio codecs. And along with the QXpander algorithm, it incorporates most of the capabilities required for multimedia audio including: FM synthesis; MIDI, joystick, CD-ROM and modem interfaces; support for Microsoft’s DirectSound® API; hardware master volume control; and extensive power management features.

Samples of the CS4238B have been shipping since early August and marketing efforts by Crystal are now in full swing.

Turtle Beach Introduces Pro Series Digital Audio Cards

Fremont, CA — Turtle Beach has announced a new series of digital audio cards for Windows and PowerPC platforms. The Pro Series cards are based on Turtle Beach’s MultiSound® family of sound boards. They will feature a digital I/O option at a lower cost than any other board on the market.

The company states that the new cards feature superior signal to noise ratios and optional digital outputs, along with the impressive analog audio quality for which Turtle Beach has become famous.

According to Turtle Beach representative Seth Dotterer, the new cards will appeal to a major niche market. “The main market is going to be semi-pro musicians and recordists, people with advanced home studios, multimedia developers,” he says. “They aren’t in the same class as professional DAW hardware, but they’ll go head-to-head with products like CardD® and CardD Plus [Digital Audio Labs], at a much lower price.”

The flagship of the Pro Series, due to ship in September, is the MultiSound Pinnacle. The Pinnacle will provide superior audio (greater than -97dB S/N) from a 20-bit DAC, and Turtle Beach Hurricane Architecture for high data transfer rates. This card includes the Kurzweil MASS® Synth with channelized MIDI effects.

Other features include Windows Plug’n’Play® compatibility, upgradeable sample RAM, and a daughter board connector for an optional second synthesizer. The MultiSound Pinnacle will be bundled with Voyetra’s Digital Orchestrator Plus sequencing and editing software. It’s expected to carry a street price of approximately $429 (US).

For those just need the digital audio capabilities of the Pinnacle without the MIDI synth features, Turtle Sound is introducing the MultiSound Fiji. It will be released within several weeks of the Pinnacle. The Fiji’s digital audio capabilities are identical to the Pinnacle, and its street price is expected to fall under $300 (US).

A Pro Series Digital I/O daughter board will be available as an add-on for both the Fiji and the Pinnacle. The daughter board will provide digital input and output with zero generation loss. The card will also be sold as a pre-installed option on both of the boards. It is expected to add about $70 to the retail cost.

The final card in the Pro Series is the MultiSound Catalina, to be released in the first quarter of 1997. It will use PCI Bus architecture. It includes multiple input/output channels, digital I/O, and all the digital audio characteristics of the Fiji. The Catalina contains no MIDI synth; however a WaveBlaster® header is provided on the card.

Turtle Beach has been in the music and recording business for nearly a decade, and has established its reputation as an industry leader. It was the first company to introduce a 16 bit sound card, the first to introduce wavetable synthesis on a multimedia sound card, and the first to introduce wavetable instrument sampling on a sound card.

Liquid Audio to Develop Internet Technology with Dolby

Redwood City, CA — Silicon Valley start-up Liquid Audio is teaming with industry leader Dolby Labs to deliver breakthrough technology for streaming audio on the Internet. The companies claim that the new technology, to be released this fall, will revolutionize the way music is heard, bought, and delivered over the Internet. Computing giant Intel is also a partner in the initiative, which promises to bring true CD-quality music to the Internet in a practical way.

Music is one of the biggest user interests represented on the Web today. But concerns of the music industry in responding to that interest, such as sound quality, copyright and copy protection, have been overlooked by existing technologies.

“While there are solutions for radio quality audio, and utilities for adding audio to multimedia content on the Internet, there are no solutions addressing the requirements of the music industry for delivering high-quality music on the Web. By teaming with Dolby, we will set a higher standard for music on the Internet,” stated Gerry Kearby, co-founder and president of Liquid Audio. “Liquid Audio will remove the barriers to music on the Internet, and provide unlimited access to vast libraries of music titles, while protecting the rights and integrity of the artist.”

Liquid Audio is teaming with Dolby Labs, Intel Corp. and online service provider N2K Inc. in an effort to promote its audio system as an industry standard. Such a standard, if successful, could play a crucial role in the continued development of Web-based music retailing services. The company’s strategy is to distribute its technology via Internet sites that serve as outlets for music sampling. For instance, N2K plans to incorporate the audio standard into its Jazz Central Station and Roctropolis Web sites.

“The Liquid Audio team has a long track record with Dolby for delivering the very highest quality solutions for digital audio and music,” stated Ed Schummer, vice president of licensing at Dolby Labs. “Our proven audio compression technology combined with Liquid Audio’s comprehensive solution for the Internet promises to revolutionize music delivery on the Web.”

The new technology will be scalable, allowing the same audio stream to be accessed by users at varying bandwidth, from 28.8 kbaud and up. “Our server and encoder technology is focused on the professional audio industry,” says Philip Wiser, V-P of Engineering for Liquid Audio. “For example, the encoder tool will integrate smoothly with the workflow of a recording studio environment, so the engineer can take a stereo master and master it out to the net.” The first release of the technology will run under the Windows 95 operating system. Support for other production platforms will be added through plug-ins to existing workstation systems already on the market.

Liquid Audio’s strategic relationships will ensure wide-spread awareness of the new standard among PC, Web and music enthusiasts. “We are excited about Liquid Audio’s efforts to bring high-quality music capability into the connected PC,” stated Avram C. Miller, vice president and director of corporate business development at Intel Corporation.

In addition to securing major support from the audio and computer industries, Liquid Audio has made significant impressions on recording industry artists and insiders. “Delivering music over the Net opens up incredible possibilities. Until now, the sound has been terrible. The new technology of Liquid Audio is a vast improvement. Liquid Audio is also building in software to deal with copyright protection.” stated Jerry Harrison, formerly of Talking Heads and more recently producer of Live, Crash Test Dummies, and the BoDeans.

Liquid Audio was founded in January 1996 by an experienced management and engineering team comprised of veterans from the professional audio, music production, multimedia software and venture capital industries. The core team worked together to develop and build a leading company in the digital audio workstation market (Studer-Editech Dyaxis). Members of the company’s Advisory Board include senior executives and founders of prominent technology companies as well as highly-placed music industry professionals. The company is venture-funded, its lead investor is Hummer Winblad Venture Partners.

Amek’s New Rembrandt Console Ships to Major Studios

North Hollywood, CA — U.K. console manufacturer Amek recently introduced its newest music and post-production console, the Rembrandt. Already, the Rembrandt is making inroads at major recording studios in the U.S.

Amek U.S. today announced that the latest order is from Atlantic Records in New York. Atlantic is due to install their new Rembrandt next week. The console is already in service at Acme Recording in Chicago, and Sunrise in Houston. A fourth unit is due for installation soon at CFA Studios in Los Angeles.

The Rembrandt was introduced in July. It is available in 40- or 56-input frame sizes with onboard or external patchbay. It features a dual-path architecture providing 80 or 112 inputs for mixdown, each with identical four-band parametric EQ. In addition to 24 output buses, the Rembrandt offers 16 auxiliary sends and direct outs from each module. Mic preamp circuitry is similar to that on Amek’s Angela console and features discrete arrays of transistors.

Amek’s SuperTrue automation is an integral part of the Rembrandt. Now running on Pentium-based computer, SuperTrue provides real-time automation of VCA faders, mutes, and various channel switches. The automation system also allows various global console functions, such as Direct output mode, to be programmed by the user. Subprograms included with SuperTrue offer features such as recall, virtual dynamics, and visual effects.

U.S. pricing for the Rembrandt ranges from $114,352 for a 40-channel model to $146,895 for a 56-input board.