Propellerhead Adds New Sound Processing Tools and Routing Utilities to Reason 2.5

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

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Native Instruments Unveils Major Update of Absynth

The major new product introduction at Musikmesse from German virtual instrument developer Native Instruments is the first major update of their semi-modular software synthesizer Absynth. It’s due to ship in May 2003, at a suggested price of $299 (US).

Absynth 2.0 is now a sampler as well as a synthesizer. The combination provides rich new creative possibilities via an intuitive patch window that makes it easy to mix sampling, granular sampling, subtractive, wavetable, FM, AM, ring modulation, and wave-shaping synthesis.

Each Absynth voice has six synth oscillators or three sampling oscillators, four filters, three ring modulators, and a wave shaping distortion function. Waveforms can be drawn by hand or created by sketching harmonics. A built-in library of waveforms, envelopes, and even entire oscillator channels enables the quick construction of complex, evolving sounds with just a few clicks.

According to Native Instruments: “The combination of multiple synthesis techniques, granular sampling, and flexible envelope control generates everything from organic textures to rhythmic loops, from time-evolving soundscapes to vintage sounds.”

The new version of Absynth allows you to control an envelope (or a group of envelopes) dynamically with a MIDI controller, to morph and twist the sound with a single gesture. Each envelope can be modulated with its own graphically-displayed variable speed LFO for creating sounds with movement and vitality. A new Link mode allows multiple envelopes to be chained together, with adjustable time, amplitude, and slope scaling – perfect for detuned chords, phasingfilters, or for mirroring the sample playback position with filter resonance, for instance.

The update also delivers a revised DSP core that has been extensively optimized for greater CPU efficiency. Anti-aliasing can be switched on or off per oscillator, to choose between smooth analog highs, or cool digital jitter. The system runs completely in stereo, and each oscillator can be dynamically panned by its powerful envelopes. Several new filter models are available, including an exceptional two and four pole lowpass and a multi-pole allpass filter for phasing and resonant effects.

Plug-in operation of has also been improved in Absynth version 2.0. Each Plug-in can open its own bank, and the Absynth Engine is no longer needed to play sounds.

The updated package includes more than 800 evocative, expressive, and musical presets covering a wide range of sonic territory. Absynth 2.0 will be released in May 2003, at a suggested retail price of $299 (US).

Native Instruments U.S. Web Site

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Drum’n’Bass, Beyerdynamic Style

German microphone maker beyerdynamic has introduced two new professional mics designed specifically for work with bass instruments and drums, at Musikmesse in Frankfurt.

Opus 99 Dynamic Mic for Bass

The new Opus 99 is a dynamic microphone “in best studio quality,” featuring extremely high SPL capability, and a special frequency equalization that will make it an ideal microphone for picking up instruments such as double-bass, tuba and the bass drum. The strong neodymium magnet system and a mass-reduced diaphragm achieve powerful reproduction and excellent impulse response.

In live applications the hypercardioid polar pattern minimizes feedback. As an option the Opus 99, can be supplied with a special stand (ST 99) to place the microphone in front of, or inside, a kick drum.

Opus 88 Condenser Mic for Drums

The Opus 88 condenser is a modification of beyerdynamic’s reliable Opus 87. This cardioid microphone is designed specifically for use with toms and snare drums. It features an extremely-high gain before feedback, and a very wide frequency response.

Opus 88 comes with a patented mounting clamp, with integrated pre-amp and 3-pin XLR plug. This provides for quick and easy set up. A short gooseneck and the horizontal swivel joint on the clamp ensure optimum placement in close proximity to the sound source. The rugged construction and the rubber shock-mounted microphone capsule are well protected against stray drum sticks.

beyerdynamic U.S.A. Web Site

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Solid State Logic Launches New C100 Digital Broadcast Console for Critical On-Air Production

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

Singingfish Introduces Paid Inclusion Search Engine for Streaming Audio and Video

When you search for audio or video content using the popular RealOne media player from RealNetworks, or through Microsoft’s Windows Media Player, the results are provided by a search service called Singingfish.

Singingfish is a Seattle-based firm that presents itself as the world’s leading audio and video search engine.

The Singingfish database already includes “tens of millions” of content items in streaming, live and on-demand audio and video media formats. Now the company plans to expand and enhance it index by offering content owners (and advertisers) a paid inclusion program.

Paid inclusion is a somewhat controversial practice in the Web search field. It allows advertisers to pay a fee to ensure that their content is listed in search engine results, rather than trusting to the technology of the search engine to find their material through the normal process of traversing and polling the Web by following links.

In spite of controversy, which has led to consumer protests and even a U.S. Federal Trade Commission investigation in the past, paid inclusion has become an accepted way of doing business for nearly every significant search site, including leading portals such as Yahoo, Lycos and MSN.

There are various models of inclusion, ranging from straight-forward advertising on a “pay-per-click” basis (Google, Overture and others), where the paid results are generally segregated from regular search results and given extra prominence (listed first, or in a separate highlighted area); to a simpler fee-for-service, where the content owners’ payment merely ensures that the content is present in the search engine database, but placement in the results depends on the normal relevance-ranking process of the search site (Yahoo, Lycos, AltaVista, Teoma).

The controversy over the practice has to do with the relevance and credibility of search results. If advertisers are paying to get their content listed at the top of the page, is the search engine still doing its job of finding the best results for each search?

The benefits of paid inclusion for both publisher and end user are clearest in the case of content that is difficult to index through typical search engine technology. For example, a large online store such as Amazon or Musicians’ Friend, or a news provider such as New York Times or CNET News, may have many thousands or even millions of pages of content that would never be found by a search engine – because the pages are generated ‘on the fly’ in response to specific visitor requests and browsing at the site.

Audio and video media content falls into this category of difficult-to-index material, so there is a compelling case for Singingfish to offer paid inclusion.

Just like an Amazon or New York Times, a streaming media service may have many thousands of items available on demand, but a search engine will never locate and index them. This is even more the case with audio and video, as opposed to text-based content, because it is difficult or impossible for a search engine to obtain key information such as title, artist or author from an audio or video file or stream.

Singingfish says its research shows that over 20 percent of all Web search queries are best satisfied with audio and/or video results. With paid inclusion, the company says it will be able to direct end-users’ search queries instantly to their specific content in a relevant and meaningful way. Singingfish already indexes tens of millions of streaming media files in categories that include music, sports, news, TV, radio and business.

“We’ve discovered that rare three-way win where the consumer, advertiser and portal all benefit,” comments Karen Howe, CEO of Singingfish. “The advertiser has a powerful new medium for driving key messages, the consumer wins by getting access to the streaming content they were looking for plus relevant information from the advertiser; and finally the portal benefits from offering a useful service to consumers who don’t have to leave their portal to find audio and video content.”

Paid inclusion allows an advertiser to pay for streaming media files they select to be indexed by the Singingfish search engine. While this does not guarantee placement, it does allow their content to appear in the search engine’s results for relevant queries.

Singingfish Paid Inclusion also gives the advertiser added promotional value by providing two links – the stream itself, as usual, and also an associated “landing page.” This gives the content owner total control over the landing page, which can (for example) expose the visitor to a related product or service. If a customer decides to go further than the initial audio/video stream they clicked on – the result can mean significant and immediate return on investment to the advertiser.

The Singingfish Paid Inclusion program is sold and managed through Marketleap, a firm that has deep experience with similar programs, including the Inktomi paid inclusion program (recently taken over by Yahoo) that is used by numerous major search portals such as Hotbot and MSN Search.

Listings submitted through the paid inclusion program can include data on bitrate, format (MP3, Real, WMA, Quicktime), language, category (from among many hundreds), duration, release date, performer, and medium (audio, video), in addition to the obvious search info such as title, author, description and keywords.

If you want your content listed by Singingfish, but you don’t want to pay for the service, Singingfish also offers a free submission process.

Singingfish Web Site

Singingfish Paid Inclusion