Mark of the Unicorn announced the HD192, a two rack-space 12-channel high definition audio interface for Macintosh and Windows personal computers. The HD192 provides high-quality audio recording and playback on 12 XLR analog inputs and outputs at any standard sample rate up to 192 kHz. A fully expanded HD192 system provides up to 48 channels of simultaneous analog I/O. As with MOTU’s other new PCI-424 systems (the 24I/O and 2408mk3), the HD192 will be sold as both a core system (with PCI card and AudioDesk software for $1,895) and expansion I/O ($1,595).

“The MOTU HD192 is the first full-featured, expandable high definition audio interface for the native recording studio,” said Jim Cooper, Director of Marketing at MOTU. “The HD192 is meant for those who demand the very best audio quality.”

12 channels at 192 kHz

All 12 XLR inputs and outputs on the HD192 rear panel support operation at 44.1, 48, 88.2, 96, 176.4 and 192 kHz. Latest-generation converters and state-of-the art design provide exceptional audio quality. The measured dynamic range for the 12 analog inputs is just over 120 dB (A-weighted at 48 kHz) with a measured THD+N of 0.0005% (-106 dB).

AES/EBU digital I/O is also provided at samples rates up to 96 kHz with independent real-time sample rate conversion on the digital input and output. A separate “AES word in” BNC connector allows users to clock the AES/EBU section independently from the rest of the system. System word clock input/output is also provided on BNC connectors.

Expansion

An HD192 core system includes the PCI-424, the same enhanced PCI card introduced earlier this year with MOTU’s 2408mk3 system. The PCI-424 card adds a fourth Audio Wire port that allows users to connect up to four MOTU audio interfaces to the computer. At 12 channels each, a fully expanded HD192 system provides 48 analog input and output connections.

CueMix DSP

The HD192’s PCI–424 card features CueMix DSP™, a flexible DSP-driven mixing and monitoring matrix that provides the same near-zero monitoring latency as today’s latest digital mixers. CueMix DSP™ allows HD192 users to monitor live inputs with no audible delay and no processor drain on the host computer’s CPU. The CueMix DSP engine resides on the PCI–424 card, so it works across all interfaces connected to the card. The included CueMix Console software provides an on-screen mixer that gives users hands-on control of their monitor mix, regardless of what audio software they prefer to use. CueMix Console provides a separate stereo bus for every pair of outputs, giving users up to 24 separate busses on a fully expanded HD192 system and more with other MOTU expansion interfaces. Digital Performer users, as well as users of ASIO2 host applications, have the additional option of controlling CueMix DSP directly within the host application’s mixing environment. CueMix DSP completely eliminates the buffer latency associated with monitoring live inputs in host-based recording systems. Legacy interface support

HD192 users can connect any MOTU PCI audio interface to their PCI-424 card, including the new 2408mk3 and 24i/o interfaces, as well as all legacy PCI-324 interfaces (the original 2408, 2408mkII, 1296, 1224, 24i and 308). Legacy interfaces can take full advantage of the PCI-424’s new CueMix DSP monitoring.

On-board SMPTE sync

Like the 2408mk3, the HD192 provides on-board SMPTE time code synchronization features. These features allow users to slave their HD192 system to SMPTE time code (via any analog input) without a dedicated synchronizer. The PCI–424 card provides a DSP-driven phase-lock engine with sophisticated filtering that provides fast lockup times and sub-frame accuracy.

The included software also provides a complete set of tools to generate SMPTE for striping, regenerating or slaving other devices to the computer. Like CueMix DSP, the synchronization features are cross-platform and compatible with all audio sequencer software.

Additional Feature highlights

• 19-segment metering for all analog inputs/outputs – The HD192 front-panel provides dedicated 19-segment level meters for every analog input and output.
• Across-the-board software compatibility — the HD192 ships with a complete set of drivers for Macintosh and Windows 98SE/Me/2K/XP and it is compatible with virtually all audio software on both platforms.
• AudioDesk software – A HD192 core system includes AudioDesk, MOTU’s sample–accurate workstation software for Mac OS with 24-bit recording/editing and 32-bit automated mixing, processing and mastering.

The MOTU HD192 is expected to ship in the first quarter of 2003.

Allen & Heath has announced the first release of iDR System Manager software for its iDR series, a new DSP audio system for installed and live sound. The software is available for free download from the Allen & Heath Web site.

iDR System Manager runs on a Windows™ PC and allows installers to create customised, integrated audio systems using iDR series hardware units. PC connection can be direct to an iDR-8 or remotely across a network or via a modem. Once a software configuration is complete it can be saved to an iDR-8 audio mix processor and the PC can be removed, leaving the iDR system to run as a standalone entity.

iDR-8 uses a fixed architecture, with full processing resources available to up to 16 inputs and 16 outputs (iDR-8 has 8 inputs and 8 outputs and can be expanded using iDR-in and iDR-out units), making it impossible to run out of DSP power. This rigid structure is reflected in the software, which uses a straightforward channel-by-channel format rather than the CAD style employed in some other DSP systems.

Hardware units which come under software control include iDR-8 audio mix processors, iDR-in and iDR-out expanders, iDR-switch boxes, wall plates and other remote control devices.

Allen & Heath’s Software Manager, Antony Jackson, explains the thinking behind iDR System Manager:

“From the outset we wanted to create a highly intuitive interface with an ‘analogue’ feel. Nobody wants to spend days learning new software, so we have done everything possible to make it easy to find your way around iDR System Manager. Configuring sophisticated installations is never going to be a ten minute job, but having good software certainly takes a lot of the hassle out of the process.”

Allen & Heath designs and manufactures professional audio mixing consoles for an international clientele in the live sound, installed systems and nightclub markets.

The Consumer Electronics Association (CEA) High End Audio Board today announced the availability of its “It’s All About The Performance” demonstration guide. The publication, which offers eight rules of performance based selling, is available at www.CE.org/performance.

Geared towards high-end audio dealers and their sales force, the “It’s All About the Performance” publication provides ideas and recommendations for enhancing the high-end audio customer experience. The guide reinforces the eight golden rules of performance-based selling: (1) Get right to the demo; (2) Set the stage, set the mood; (3) Script the demo; (4) Sweat the details; (5) Practice, practice, practice; (6) Simplify the demonstration; (7) If it doesn’t perform better, it isn’t better and (8) Performance is defined by the customer.

“Specialty retailers who can effectively demonstrate performance have a distinct advantage,” said Gary Warzin, chairman of the CEA High End Audio Board and president and CEO of Audiophile Systems, Ltd. “A convincing demonstration of great performance establishes credibility and authority, weakens the competition and builds the emotional excitement that is essential to closing sales. Our plan is to make this a living document that can be updated with relevant ideas on an ongoing basis.”

CEA’s High End Audio Board is comprised of executives from specialty audio companies, including Thiel Audio, Audiophile Systems, Ltd., Martin-Logan, Ltd., Conrad-Johnson Design, Parasound Products and Krell. The board’s mission is to promote the high-end audio concept and community. Information on the board can be found online at www.CE.org, the definitive source for information about the consumer electronics industry.

CEA also sponsors and manages the International CES – Defining Technology’s Future. All profits from CES are reinvested into industry services, including technical training and education, industry promotion, engineering standards development, market research and legislative advocacy.

SLS International today announced that PMC Sound, located in the Branson Mo. area, has just purchased the first SLS, RLA/2 Ribbon Line Array system for their touring operations throughout the Midwest. This is the first RLA/2 system purchased for the touring industry as it was just released unannounced at the Audio Engineering Society’s annual convention last month in Los Angeles.

The RLA/2 is a highly compact, high-output line array system utilizing the acclaimed SLS, PRD1000 New Technology Ribbon Driver. Each module of the RLA/2 weighs only 56 pounds but can produce an astonishing 126db continuous output. When multiple modules are coupled in a line array configuration, very long throw high output can be achieved. This system is less than one quarter of the size and weight of any comparable conventional system on the road today.

PMC purchased (24) RLA/2modules and (8) SLS, T2184K, 4000 thousand-watt dual 18-inch subwoofers, to deliver the ground-shaking bass that will accompany the RLA/2’s full-range smooth and accurate delivery of sound.

Steve Dubois, director of rental operations for PMC and past sound engineer for Tina Turner, Prince and Andy Williams, to name a few, commented: “When I first heard the RLA/2 prototype system in the SLS engineering laboratory I was blown away. I only heard three modules playing and the midrange and high-frequency detail was better than any system I have ever used in my 20-plus years on the road. All of the growl and tone of high-output electric guitar recordings were right there. Most compression driver systems add so much coloration and distortion that the real sound the musician works so hard to achieve is turned into mush. The SLS ribbons are so open and transparent that they don’t change the musicians’ sound at all. We’ve been in the market for a new system but most of the new boxes out today are pretty much the same old thing with a new paintjob. The SLS Ribbon Line Array’s are an incredible breakthrough for the touring industry. They are very compact and quick to set up. Our new system will take up less than half of the truck space that we were expecting to need for our new rig. And because each module only weighs about 50 pounds it won’t be necessary to have the rigging requirements and the labor cost will be a lot less. I can’t wait to start using the new system.”

PMC Sound has also sold the first RLA/2 system for an installation. Garth Showalter, division manager for PMC, sold an 8 module system for immediate installation in San Angelo, TX. Showalter stated: “The wide horizontal coverage and even vertical dispersion of the RLA/2 allowed me to design a system that will easily cover the entire church with just a single line of 8 modules hung in the center of the room above the platform. I relied on the SLS, LASS (line array simulator software) program to help with my design and it verified we will attain less than a 3db variance in every seat in the main sanctuary. I was able to do this without additional delay speakers and extra electronics and labor for the job. With the RLA/2 install, the people in the back row will hear the same thing and at the same level as the people in the front row. I think this will be one of our best system installs ever and we have been installing systems in the Midwest for over 10 years now using what the industry considered the best speakers for installation available.” Showalter also added: “It will be great to have our touring speakers be the same brand as our installation brand. We will be able to go out and do real-world demonstrations for our customers with speakers they will be getting and not rely on selling with promises of what they will hear if they go with us. Many of the touring speakers on the market today are not that well-suited for installations like the SLS’s. With SLS’s technology and the variety of cabinets that they offer, it will give us a great advantage when competing for the jobs.”

John Gott, President of SLS International stated: “We are very pleased that PMC chose the RLA/2 system for their rental department. I know they have been looking at many of the industry giants’ systems and for them to choose us confirms that we are doing the right thing. We just demonstrated the RLA/2 at the AES show last month and along with the PMC order we have had many inquires as to the delivery of these new compact systems. We are presently cranking up the production on this model as we feel it will be one of our best sellers. With the addition of the RLA/2 to our product line this gives us a complete compliment of line array products. Our RLA/1 large format system and our LS8695 Line Array Column are gaining incredible popularity in the industry. With the industry pushing full bore into the line array arena it’s great to know that we now have a model for all applications. And, because we are the only company to offer a system with a real line array component (a ribbon driver) and every one else is trying to simulate it with old technology, we definitely have a big advantage over our competition.”

About SLS International, Inc.

Based in Springfield, Mo., SLS International, Inc. (OTCBB: SITI), is a 28-year-old manufacturer and developer of new patent-pending ultra-high fidelity ribbon driver loudspeakers and sound systems for the commercial, home entertainment, professional and music markets. SLS has perfected the ribbon-driver technology enabling their loudspeakers to achieve exceptional inner detail and accuracy with 20 to 30 percent less the distortion of typical compression driver and dome tweeters. SLS speakers and systems are used in high-profile venues such as NBC/MSNBC’s 2002 Olympics studios in Salt Lake City

For more information, visit the SLS Web site.

The first inaugural New York Audio Production Show will premiere at Madison Square Garden on January 30 – February 1, 2003, 3 weeks prior to the Grammys. The 3-day event is comprised of a cornucopia of several educational activities including a technical Pro Tools International Users Conference, industry leader panels and discussions, vendor workshops, user group meetings and an exhibition. The purpose of the show is to provide “how-to” technical info, creative insights, the latest trends in audio production and provide audiophiles the spectrum of current buying options. The event is designed for East Coast-based sound designers, technicians, audio engineers, producers, performers, sound contractors and these professionals working in sound post-production reinforcement, broadcast stations, film and video productions.

Says Rick Friedman, President of Mindshare Ventures, the producer of the event, “There hasn’t been an event for audio pros in NYC for over a year so we expect 3,000+ to attend and we believe it’s a great opportunity for audiophiles to get distilled advice, objective opinions and demo the latest products at a great location – Madison Square Garden.”

Chaired by Mix’s journalist, Paul Verna, the 12 Keynote sessions are open, free to all attendees. Topics discussed include:

• A Case Study of Super Audio CD Technology
• Music in Commercials: Licensing vs. Original
• How Commercial Studios are Dealing with the Home Recording Boom
• The Effects of Smaller, Lighter, Better and Cheaper, Digital Broadcast
• Audio
• Sound for Pictures
• Sound for Live Events
• The Rise of Internet Studios
• Careers in Music Production: Advice from Grammy Winners
• Deconstructing a Hit, Fixing It in the (Re)mix

The Pro Tools Conference, chaired by Ben Kozuch, President of Future Media Concepts, a Digidesign certified instructor, offers 13 tech sessions for those using Pro Tools 5.5 and the new 6.0 for music and for post-production. The music track includes advanced music editing, MIDI tools and techniques, advanced mixing, control surfaces and surround for music. The Post-Production track discusses advanced file formats, advanced post editing, advanced mixing, synchronization, machine control, digital picture integration with AVoptionXL, control surfaces and surround for post.

Delegates can pre-register for 1 ($350) or 2 ($650) or all 3 days with a VIP pass ($825). A 15% early bird discount is given to all who register prior to Dec. 13, 2002.

The NY Audio Production Show is co-located with The NY Digital Video Show -expo and special events/Keynotes. Attendees can attend all the planned events over the 3 days for digital video and visual effects. In total, over 10,000 attendees are expected to register for all the events.

About the Organizers

Mindshare Ventures
Mindshare Ventures is a NYC based producer of vendor-specific user conferences in the digital video, special effects/animation and audio production sectors. Past events include The NY DV Show 2002, The LA DV Show 2002, Avid World and The Pro Tools Conference.

Future Media Concepts, Inc.
Future Media Concepts, based in NYC, Boston, Washington DC, Miami, Orlando and Philadelphia is the East Coast region’s premier digital media training center. FMC is an Adobe, Apple, Avid, Macromedia, Sony, Newtek, Discreet, Sonic, Digidesign, SoftImage and Pinnacle Certified Training Provider.