Products of Interest
Apogee Duet Two-Channel
FireWire Audio Interface
The Duet audio interface from
Apogee offers the use of two channels
of audio input / output at sample rates
of up to 96 kHz / 24-bit. Two balanced
XLR inputs are available with select-
able phantom power and 75 dB of
gain on each input. A further two
unbalanced high-impedance inputs
are intended for instrument use.
Reference quality outputs for
powered loudspeakers and a stereo
headphone output are also provided.
The microphone and instrument
inputs, along with the monitor out-
puts, are connected to the interface
using a breakout cable. The manufac-
turer indicates that one of the main
reasons for the inclusion of the break-
out cable is to reduce the footprint of
the device so that it measures 4 6.5
1.5 in. (see Figure 1).
The front panel of the interface
features the headphone connection
and a pair of LEDs that indicate the
status of the phantom power func-
tion. The rear panel includes the
FireWire 400 connection and the port
for the input / output breakout cable.
Figure 1. The Apogee Duet
FireWire audio interface.
The main top panel of the Duet is
uncluttered, with two columns of
LED meters for displaying the input
or output level, status LEDs for each
input, a further status indicator for the
outputs, and a multi-controller knob.
Control functions for Apples Logic
Pro, Logic Express, Soundtrack Pro,
and GarageBand are built into the
interface. The device is compatible
with any software that supports Core
Audio. Apogees Maestro application
can be used to control all functions
and settings of the interface using the
multi-function knob. The control knob
can be assigned MIDI function con-
trols, can be used to select the input /
output source, and can control gain.
The interface is compatible with
Apple Macintosh computers only. A
Macintosh G4 with at least a 1-GHz
processor, a G5, or an Intel CPU with
2 GB of RAM is recommended. Mac
OS X 10.4.10 or higher is required.
The Duet is listed for US$ 495.
Contact: Apogee Electronics Corpo-
ration, 1715 Berkeley Street, Santa
Monica, California 90404, USA; tele-
phone (+1) 310-584-9394; fax (+1) 310-
584-9385; Web www.apogeedigital
.com /.
Products of Interest
Arturia Analog Factory
Experience Hardware and
Software Synthesizer
The Analog Factory Experience from
Arturia combines the companys
previously released Analog Factory
2.0 with a 32-key MIDI controller
keyboard to form a plug-and-play
synthesizer (see Figure 2). The soft-
ware synthesizer features 3,500 pre-
set analog sounds, many of which
come from Arturias range of classic
synthesizers. These presets can be
organized by name, instrument, type,
CPU usage, favorites, or user presets.
Among the controls offered by the
software are a filter section with cut-
off and resonance controls, an LFO
section with control of rate and
amount, ADSR envelope slides,
chorus and delay, and controls for
four key parameters that differ for
each preset. Eight snapshot buttons
are included for quick storage and
recall of sounds.
The software functions as a stand-
alone application or as a plug-in with
a sequencer and is compatible with
most ASIO, Core Audio, VST, RTAS,
and AU formats. The addition of the
keyboard controller allows for physi-
cal control over the synthesizer. The
keyboard, developed by CME, has an
aluminum and wooden case and
features 32 semi-weighted keys with
velocity response. Eleven encoders,
including a clickable encoder, four
sliders, eleven switches, and modula-
tion and pitch bend wheels are in-
cluded to allow control of all aspects
of the software synthesizer. Users can
browse presets, modify the sounds,
and save and recall snapshots. The
keyboard can be powered using the
USB interface main power and it can
be used as a universal MIDI control-
ler with other MIDI devices.
Analog Factory Experience is
compatible with Windows 2000, XP,
and Vista, and with Mac OS X 10.3.9
89
 Figure 2. The software Figure 3. The Zaxcom
interface of the Analog Deva 5.8 10-track hard
Factory Experience disk recorder.
synthesizer.

or higher. A 1.5-GHz processor and

512 MB of RAM are recommended.
Analog Factory Experience is listed
for US$ 349. Contact: Arturia;
electronic mail sales@arturia.com;
Web www.arturia.com /.

Zaxcom Deva 5.8 Hard Disk

Portable Recorder

Zaxcom specializes in professional

audio equipment for the television
and film industries and among its
latest releases is a 10-track portable
hard disk recorder, the Deva 5.8. The
user can record to a built-in 160-GB
hard drive, DVD-RAM, or flash
memory. The unit can be carried on
the shoulder for fieldwork, as the
display, controls, and faders are lo-
cated on the top panel (see Figure 3).
Eight analog microphone / line inputs
are available, with 48-V phantom
power and limiters on each input,
and the same number of digital in-
Figure 2
puts and digital direct outputs are
also included on the side panels. The
top panel controls include eight
faders for level control. The recorder
can sample at rates up to 192 kHz /
24-bit and incorporates a 16-channel
mixer with an equalizer, notch filter,
compressor, and delay on every chan-
nel. The user can mix to disk or to
the outputs (pre- or post-fader) and
surround-sound recordings are pos-
sible due to the phase coherent digi-
tal mixing used. Flexible headphone
monitoring includes M-S matrix,
factory and personal presets, and a
Soundfield Decoder. The recorder is
compatible with Avid and Digidesign Figure 3
Pro Tools.
Further controls include dedicated displays high-resolution color meters face designed for use with Zaxcoms
hardware keys for noting circle takes that can be switched between verti- location recorders.
and false starts, and a pre-record that cal and horizontal presentation. A frequency response of 20 Hz to
allows up to ten seconds of audio to Metadata can be entered using the 22 kHz is reported with Total Har-
be recorded before the button is touch screen, the Deva Mix-12, or an monic Distortion rated at 0.0001
pressed. A slate microphone is built external PS2 keyboard. The Deva percent. The unit weighs 7.4 lbs
into the unit. A color touch screen Mix-12 is a twelve-fader control sur- without the battery and measures

90 Computer Music Journal


10.5 8 3.75 in. The recorder can be
mains- or battery-powered (6-hour
usage using the latter). A battery
meter is included on the LCD screen.
The Deva 5.8 is listed for
US$ 12,995. Contact: Zaxcom, 230
West Parkway, Unit 9, Pompton
Plains, New Jersey 07444, USA;
telephone (+1) 973-835-5000; fax (+1)
973-835-6633; electronic mail info@
zaxcom.com; Web www.zaxcom
.com /.
Fostex PD606 and PD204
Location Recorders
The PD606 from Fostex is an 8-track
location recorder (see Figure 4)
capable of sampling at rates up to
192 kHz / 24-bit. Eight digital or six
analog tracks can be simultaneously
recorded using the AES / EBU input /
output or the six analog XLR inputs /
outputs. A stereo bus output on a
5-pin XLR is also included, bringing
the total number of outputs to eight.
The user can choose to store recorded
audio to an internal hard drive or to
DVD-RAM discs. The internal hard
disc is a 1.8-in. 80-GB drive. Alterna-
tively, standard 12-cm DVD-RAM
discs can be used. The manufacturer
indicates that a 4.7-GB DVD-RAM
disc can store about 85 min of record-
ing at 48 kHz / 24-bit. The DVD drive
can also be used to write DVD-R / RW
and CD-R / RW discs. The user can
simultaneously record to both the
hard disc and DVD-RAM disc using
the mirror or auto-copy functions.
The highest sampling rate of 192
kHz / 24-bit is available for two-track
recording only.
The recorder has an on-board six-
channel mixer with channel link, a
high-pass filter, a limiter, and flexible
monitoring options. The input / out-
put connections are located on the
side panels, and the controls are all
located on the front panel. All func-
Figure 4. The Fostex PD204
(top) and PD606 (bottom)
location recorders.
tions and settings have individual
control knobs or buttons. No mul-
tiple buttons or menus are used.
High-speed data transfer to computer
is carried out using the USB 2.0
interface. The recorder can be di-
rectly mounted on the desktop for
drag-and-drop copying and Fostex has
plans to support USB 2.0 flash mem-
ory pens in the future.
Among the available functions are
a 10-sec pre-record, a 99 cue-point
memory, a slate tone generator, a
hold mode, and 16-segment metering.
An Avid-compatible Edit Decision
List (EDL) can be created and edited,
and a nine-pin remote connector
allows for simultaneous recording
using two PD606 or PD204 recorders.
When the machine is not being
actively used, a background mode
automatically copies the recorded
audio from the hard disc drive to the
DVD drive. Timecode is accurate to
1 ppm for recording and playback of
IEC-format timecode. Jam Synchroni-
zation to external timeclocks is also
available. Four different modes of
timecode are supported, including
Products of Interest
24H RUN (synchronization to the
internal clock), REC RUN, FREE
RUN, and EXT RUN. VIDEO, Tri-
Level, and Word synchronization are
also supported.
A standard QWERTY keyboard can
be connected to the recorder. The
unit can be powered by two batteries
or by an external power supply. A
battery management system allows
the user to manually switch between
the three power sources. An addi-
tional smart function can be used to
automatically switch between power
sources when the voltage of the pri-
mary source falls below a level set by
the user.
The PD204 recorder is a 2-track
version of the PD606 device (see
Figure 4). This recorder features four
XLR analog inputs and a single
analog output. Two AES / EBU digital
inputs / outputs are also included. The
DVD-RAM discs can store about 256
minutes of recording at 192 kHz /
24-bit.
The PD606 recorder is listed for
US$ 9,995 and the PD204 for
US$ 4,995. Contact: Fostex, 3-2-35
91
Figure 5. Sonys PCM-D50
portable stereo digital
recorder.
Musashino, Akishima, Tokyo, Japan
196-0021; telephone (+81) 425-464-
974; fax (+81) 425-469-222; electronic
mail info_sales@fostex.jp; Web www
.fostex.com /.
Sony PCM-D50 Portable Digital
Audio Recorder
Sonys PCM-D50 is a digital recorder
with stereo microphones and the
capability to record at sampling rates
of 22.05, 44.1, 48, and 96 kHz at
24-bit resolution. The electret
condenser microphones can be
positioned in an xy or stereo
configuration (see Figure 5). The
maximum SPL is 120 dB and the
signal-to-noise ratio is 93 dB at 24-bit
sampling. Audio is saved in WAV
format on the 4-GB internal flash
memory and can also be played back
92
Figure 6. Earthworks PM40
PianoMic system.
in MP3 format. A memory stick
Pro-HG Duo Slot is also included,
giving the option of a further 4 GB of
storage. A digital pitch control func-
tion is included to allow playback to
be slowed down without changing
the pitch of the signal. A dual digital
limiter is also built-in, and users can
mark and repeat segments of recorded
audio.
The unit is made of lightweight
aluminum, weighing 12.88 oz. The
recorder can be powered by four AA
batteries or by 6-V DC power. Battery
life is up to 14 hours when operating
at 44.1 kHz / 16-bit. Connections are
included for a stereo mini-jack micro-
phone input, a stereo mini-jack head-
phone output, and line input / output.
A USB connection is also included for
transferring material to a computer.
Sound Forge Audio Studio LE is
packaged with the recorder and op-
tional accessories include a remote
control, tripod, and windscreen.
The Sony PCM-D50 is listed for
US$ 600. Contact: Sony Broadcast
and Business Solutions Company,
Computer Music Journal
One Sony Drive, Park Ridge, New
Jersey 07656, USA; telephone (+1)
800-686-7669; Web bssc.sel.sony
.com / BroadcastandBusiness /.
Earthworks PM40 PianoMic
System
The PianoMic system from Earth-
works is composed of two high-
definition microphones mounted on
a telescoping tube that fits inside a
piano (see Figure 6). The lid of the
piano can be closed, ensuring the
microphones are not visible outside
of the piano, and eliminating leakage
to a large extent. This also facilitates
high gain levels without creating
feedback. The bar sits above the
strings and is supported by two arms
that rest on each side of the piano.
The system collapses to 46 inches in
length and weighs less than 1 lb. The
company suggests a placement loca-
tion three inches above the strings
and three inches from the hammers,
but the position of the telescopic
 Figure 7. The new Max /
MSP interface illustrating
the zoom function (top)
and object attribute
settings (bottom).

tube and microphones can be altered.

The center section can be moved by
eight inches in either direction. The
microphone heads are attached to
flexible arms which allows them to
be moved up, down, or four inches to
the left or right.
The microphones have a frequency
response of 9 Hz to 40 kHz (1 dB)
and are designed to handle high SPL
levels. The mics have an omnidirec-
tional polar pattern with a random
incidence response to capture the
diffuse soundfield inside the piano. A
small electronics box houses the
microphone connections and at-
taches to the leg of the piano for
discrete use.
The PianoMic is listed for
US$ 4,495. Contact: Earthworks
Audio, 37 Wilton Road, Milford, New
Hampshire 03055, USA; telephone
(+1) 603-654-6427; fax (+1) 603-654-
61077; Web www.earthworksaudio
.com /.

Max / MSP Version 5.0 Music

Programming Environment

Cycling 74 has announced the re-

lease of a new version of Max / MSP
that features a re-designed multi-
processing kernel and a number of
improvements aimed at making the
software more user-friendly. Max /
MSP 5.0 has a platform-independent
foundation and has been developed
with multi-core processors and future
operating systems in mind.
A new patcher interface has been
implemented with a searchable
database of objects. Documentation
has been further integrated into
objects and new examples and
tutorials have been added. Compos-
ited graphics are now used and the once (see Figure 7). An SQLite data- or a Javascript interface. Once an
software looks identical on all plat- base is used to enable the user to object is selected for use, the user can
forms. Users can view patches at any conduct detailed search queries. This click on an object inlet to view a list
resolution by zooming in and out to database can be accessed from within of all the messages and attributes for
view details or the entire patch at a patcher by using the SQLite object that object. Moving the mouse over a

Products of Interest 93

message name displays the informa-
tion from the Max reference manual.
A message box is automatically
created with the relevant message
and connected to the inlet when it is
selected. The user can change color of
objects to suit different light condi-
tions, user preferences, patch func-
tionality, and so forth (see Figure 7).
The selected color information can
be saved in a configuration file and
the user can save a record a number
of color designations for use in differ-
ent settings. The development of
GUIs has been de-coupled from the
programming process, allowing for
the creation of more sophisticated
user interfaces.
A new file browser has been devel-
oped that incorporates a preview
feature for image, movie, and audio
files. The user can now drag audio,
image, and movie files directly into a
patcher. A new system of time is
included that facilitates the use of
musical time concepts instead of
referencing time solely in terms of
milliseconds and the Timeline object
has been omitted. Around a dozen
new objects have been developed and
included in this latest version of the
software.
The developers indicate that most
Max 4.x patches will work in Max 5
but that Pluggo plug-ins based on
Max 4 will not work and will need
to be converted to the new Max 5
format. Third-party interface objects
will also not work and will need to
be rewritten. Objects written in
Javascript or Java with jsui and mxj
will still work. The Sketch drawing
model is still supported but a new
improved model has been imple-
mented for use within Javascript. A
new file format with Unicode char-
acter support has been implemented.
Long filenames can now be used on
both Macintosh and Windows plat-
forms. Users of the current version
94
of Max / MSP will be able to upgrade
for free.
Contact: Cycling 74, 730 Clemen-
tina Street, San Francisco, California
94103; USA; telephone (+1) 1415-
9741-818; fax (+1) 415-974-1812;
electronic mail info@cycling74.com;
Web www.cycling74.com /.
Yamaha Tenori-On Musical
Controller
The Yamaha Tenori-On is a musical
controller and display unit compris-
ing a matrix of 16 16 LED buttons
(see Figure 8). Six different modes of
operation govern the production of
sound and light. A stereo line output
(mini-jack) and MIDI output are
included for audio output and use as
a controller. Each 16 16 matrix of
the Tenori-On forms a layer and
sixteen of these layers combine to
form a block. Different note and
voice assignments can be used for
each layer and multiple layers can
be played at the same time. A com-
bination of different mode options
can be used for the layers within a
single block and the user can switch
between blocks in performance
situations.
The Tenori-On is capable of
32-note polyphony and has 253
preset voices built in, including 14
drum kits. Three user-defined voice
slots are available. Ten types of
reverberation and five chorus set-
tings are also included. The function
buttons and controls are built into
the frame that surrounds the LED
button matrix. There are five func-
tion buttons on each side of the
matrix. Two speakers and a clear
button are located above the LED /
button matrix and a Jog dial, LCD
display, OK, and Cancel buttons are
located below the matrix. The
bottom panel houses the DC-in
Computer Music Journal
Figure 8. The Tenori-On
musical controller and
display.
connection, standby / on switch,
MIDI connector (Mini DIN), and
headphone output (stereo mini-jack).
The unit can also be powered by
battery, with six AA batteries fitting
into the left and right sides of the
frame itself. Battery operation pro-
vides about five hours of continuous
use and a battery indicator is dis-
played on the LCD screen. The LCD
display is a 122 32 dot-graphic de-
vice capable of displaying four lines
of 20 characters.
The Score Mode of operation
organizes pitches on the horizontal
axis. The default pitches make up
just over two octaves of the diatonic
scale of C, although these pitches can
be changed. This mode of operation is
loop-based. A loop indicator lights up
all 16 buttons in each column as it
cycles from left to right. The user can
temporarily add notes to the loop by
briefly hitting a button or can pro-
gram the note into the loop by
holding down the button. Pressing a
number of buttons simultaneously
adds chords to the loop. The function
buttons can be used to change the
voice, note length, loop point, speed,
tempo, and volume, and can also be
used to switch between layers, keys,
and blocks. The default pitches can
be transposed down seven and up
eight semi-tones, as well as up and
down five octaves.
In Random Mode, the user selects
individual notes on the matrix that
will be navigated to play the loop.
Here, the loop no longer cycles con-
tinuously from left to right but
repeatedly moves between the se-
lected buttons. Geometrical shapes
are drawn and the sounds associated
with the buttons used are played. In
Draw Mode, the user draws lines or
curves that are repeated to build up
sonic textures. Parts of a layer cannot
be deleted in this mode. In Bounce
Mode, when the user selects an LED
button the light is bounced off the
bottom row of the matrix. The note
sounds when the light is displayed on
the bottom row. Higher pitches are
located higher on the vertical axis and
result in longer time intervals before
the next note sounds. Push Mode is
designed for use with sustained
sounds. A flashing of buttons occurs
around those selected and this gets
brighter and wider with time. The
note also changes gradually over time.
The sounding of a note will stop if
the button is pressed briefly but if it
is held for longer the note will sound
even after the button is released.
Finally, in Solo Mode the pitches are
arranged horizontally. Each time a
button is pressed the note is repeated
until the button is deactivated. A
further Interior Mode allows the
device to be set up to function as a
clock with an alarm feature.
The unit weighs just 650 g (with-
out batteries) and measures 205 205
32 mm.
The Tenori-On is listed for around
US$ 1,240. Contact: Yamaha Music
UK, Sherbourne Drive, Tilbrook,
Milton Keynes MK7 8BL, UK;
telephone (+44) 870-444-5595;
electronic mail tenori-on@gmx
.yamaha.com; Web www.tenori-on
.co.uk /.
iZotope RX Audio Restoration
Software
iZotope RX is a standalone audio
application for cleaning and restor-
ing audio files. It features a range of
modules designed to remove hiss
and buzz, clicks and crackles, and
to repair overload distortion. The
application is loaded with preset
features for quick use with broad-
casting, video production, and studio
recording, while more advanced
features provide a greater level of
control that the manufacturer sug-
gests may be suitable for use in
forensics, audio remastering, and
archiving.
The Denoiser module borrows
techniques from digital imaging to
reduce steady-state noise such as
tape hiss, background environmen-
tal noise, camera motor noise, and
buzz. It can be run in an automatic
mode or trained with a noise sample.
The Spectral Repair module re-
synthesizes corrupted or missing
audio using the surrounding audio.
The Declipper removes both analog
and digital clipping / distortion using
multi-band processing to rebuild the
damaged peaks. The Hum Removal
module is designed to isolate and
remove electrical hum and its
harmonies. A 5060 Hz removal
band is set as the default but the
user can use a Free mode to change
this frequency band. The Declicker
can be used to clean old analog re-
cordings. An automatic mode sup-
presses the clicks, crackles, and pops
that may be found in vinyl, cylinder,
and record masters, and a manual
mode can be used to isolate and
repair more difficult clicks. Digital
clicks, such as impulse noises, can
also be repaired.
A spectrogram is included for
visual inspection of audio problems.
Additional features include a com-
Products of Interest
pare setting function that allows the
user to compare multiple settings of a
module before choosing the pro-
cessing most suited to the situation.
Batch processing allows multiple
processes on a single file or multiple
modules to be applied to one or more
files. The user can switch between
time and frequency mode in order to
isolate noise. An extended version of
the application, the iZotope RX
Advanced, is also available. This
version offers more advanced con-
trol features, multi-resolution pro-
cessing modes, and advanced manual
declicking.
Also included with the iZotope RX
is the companys 64-bit sample rate
conversion and MBIT+ dither. This
dither is a word-length reduction
technology that minimizes quantiza-
tion distortion. The real-time pro-
cessing modules will be released as
plug-ins in the future, and these will
be free for RX and RX Advanced
users.
iZotope is compatible with Win-
dows Vista and XP, and with Apple
Mac OS X.
The iZotope RX is listed for
US$ 349 and the Advanced version
for US$ 1,199. Contact: iZotope;
electronic mail izotope@izotope.com;
Web www.izotope.com /.
IK Multimedia Acoustic Room
Correction System
IK Multimedias Acoustic Room
Correction (ARC) system is a solu-
tion for the distortion caused by
room acoustics when playing back
audio recordings. The system uses
measurement and equalizer-based
correction to address loudspeaker
placement issues that can cause
peaks in frequency, different tonal
responses from loudspeakers, and
image problems due to the reflection
95
 Figure 9. Room measure-
ment and correction
software from IK Multi-
medias ARC system.

and absorption properties of different

wall surfaces.
The ARC system comprises three
parts: a measurement microphone,
room measurement software, and a
plug-in for use with sequencers (see
Figure 9). The 1/4-in. condenser
microphone is transformlerless and
electronically balanced. It has an
omnidirectional polar pattern and
provides a frequency response of 16
Hz20 kHz (1.5 dB). The maximum
SPL is 130 db with 3 percent THD.
The measurement software features a
wizard to guide the user through the
microphone setup and measurement
of the room. Multiple points can be
measured so that a representation of
all the problems in the space can be
addressed. A correction calculation
that will solve the issues in all
locations at the same time is then
calculated.
The results of the acoustic mea-
surement and the correction needed
are saved in a file for use with the
correction plug-in. This plug-in is
available in VST, RTAS, and AU
formats for use with sequencers.
Equalization is used to correct the
time and frequency response based
on the measured room acoustics. A
Macintosh computer with dual G4 or ATC Active Loudspeakers made of copper wire wound on their
G5 processors or 1.66-GHz Intel Core edge with small coil-gap clearances.
Duo processor is recommended with ATC is a British company that de- The cones and domes of the loud-
1 GB of RAM and running Mac OS X signs and builds loudspeakers and speakers are coated with a viscous
10.4. Windows XP and Vista are also audio electronics. They offer a range damping solution that prevents
supported. A Pentium 2.4-GHz of 2- and 3-way active speakers as coloration of the sound. Super Linear
processor or higher with 1 GB of well as the manufacture of custom- magnetic material is used to support
RAM is recommended. made models. Their mid-range high levels of magnetic flux, elimi-
The ARC system is listed for drivers use a soft dome and evenly nating the distortion caused by eddy
US$ 699. Contact: IK Multimedia disperse the sound, giving a flat currents in the magnet pole piece and
Production, Via dellIndustria 46, frequency response throughout the in the front plate. The company
41100 Modena, Italy; telephone (+39) room. The loudspeakers use short indicates that these features combine
5928-5496; fax (+39) 592-861-671; IK voice coils that remain in the mag- to form an active loudspeaker that is
Multimedia US, 1153 Sawgrass netic flux at all times so that heat comparable to a power amplifier in
Corporate Parkway, Sunrise, Florida dispersion and linearity is improved, terms of linearity and low distortion
33323, USA; telephone (+1) 954-846- and distortion is reduced. In order to levels. Amplifiers optimized for the
9101; fax (+1) 954-846-9077; Web increase the power-handling capabili- particular bandwidth of each loud-
www.ikmultimedia.com /. ties of the loudspeakers, the coils are speaker power the drive units. The

96 Computer Music Journal

filtered crossovers are aligned and
phase corrected individually at the
factory.
The SCM16 is a two-way loud-
speaker featuring a 25-mm fabric
dome tweeter and a 150-mm bass /
mid-range driver. The drivers are
powered by 250 W of amplification.
The linear amplitude frequency
response range is 80 Hz17 kHz
(2 dB) and the cut-off frequency
range extends to 60 Hz20 kHz. The
cabinet measures 448 270 330 mm
and weighs 17.5 kg.
The company also produces two
compact two-way loudspeakers. The
Active 10 Pro is a 390 230 310
mm wall-mounting monitor weigh-
ing 15.5 kg. It is intended for use in
stereo and multi-channel systems, in
small to medium rooms, and features
250 W of amplification. Parametric
controls are included for custom ad-
justment to the room acoustics. The
maximum SPL is 105 dB / 1 m. The
SCM20ASL Pro is a portable loud-
speaker measuring 448 270 310 mm
and weighing 30 kg. Two separate
amplifier blocks provide 250 W of
power to the 150-mm bass / mid-range
driver and 50 W to the 25-mm tweeter.
The maximum SPL is 108 dB / 1 m
and the frequency response is 60 Hz
20 kHz, with amplitude linearity in
the range 80 Hz12kHz (2 dB).
The SCM range includes a number
of three-way active loudspeakers. The
SCM50ASL Pro is intended for use in
medium-size rooms and has 25-, 75-,
and 234-mm drivers, with 50-, 100-,
and 200-W amplification. This gives
SPL levels up to 112 dB / 1 m and a
frequency response of 30 Hz20 kHz,
with linear amplitude in the range
20 Hz12 kHz (2dB). The user can
choose a flat frequency response or can
use a low-frequency contour control
to boost five different bass settings.
The next model in the ATC
three-way loudspeaker range is the
SCM100ASL Pro for larger rooms.
The high- and mid-range drivers and
the amplification are identical to the
SCM50ASL Pro, but the bass driver is
enlarged to 314 mm, which increases
the maximum SPL to 115 dB / 1 m.
The frequency response ranges from
32 Hz-20 kHz, with linear amplitude
from 65 Hz-12 kHz. Fourth-order
active crossovers are used and give a
linear amplitude response for direct
and ambient fields.
The SCM150ASL Pro has an even
bigger bass driver of 375 mm, which
increases the SPL to 117 dB / 1 m and
lowers the cut-off frequency to 25 Hz.
The SCM200ASL Pro includes 35-,
75-, and two 314-mm drivers with
100-, 200-, and two 275-W amplifiers.
This provides a higher SPL of 118
dB / 1 m and a frequency response of
32 Hz20 kHz with amplitude
linearity from 60 Hz12 kHz (2 dB).
The cut-off frequency response is
lowered if the cabinet is soffit-
mounted. The largest in this range of
three-way loudspeakers is the
SCM300ASL Pro. This model has a
375-mm bass driver in a 330-liter
enclosure. The SPL in this case can
rise to 121 dB / 1 m. The bass fre-
quency response is extended down to
50 Hz with amplitude linearity
(2dB), and has a cut-off frequency of
25 Hz, which can be lowered to 20 Hz
by using soffit mounting.
Finally, the SCM 0.1 / 15 Pro
features a sole 375-mm bass driver
with a 1,000-W amplifier. This
subwoofer can be used in a multi-
channel setup or to extend low fre-
quency response in a two-channel
system with smaller monitors. The
maximum SPL is 118 dB / 1 m and the
frequency response is 30 Hz200 Hz
(with amplitude linearity), extending
to a 20-Hz cut-off. An interface with
controls for phase, level, low-pass
filter with adjustable frequencies, and
contour is also included.
Products of Interest
Prices range from US$ 4,500 for a
pair of SCM 16 loudspeakers to
US$ 48,000 for a pair of SCM300ASL
Pro speakers. Contact: ATC, Gypsy
Lane, Aston Down, Stroud, Glouces-
tershire GL6 8HR, UK; telephone
(+44) 128-576-0561; fax (+44) 128-576-
0683; electronic mail info@atc.gb.net;
Web www.atc.gb.net /.
Lipinski Sound L-5.1 Surround
Sound Speaker System
Lipinski Sound has released a 5.1
surround-sound loudspeaker system
that features five of its L-707 speak-
ers on powered stands, with a sub-
woofer and amplifier. The L-707
speaker (see Figure 10) features a 1-in.
MDF sealed enclosure and internal
bracing used to reduce coloration of
the sound. Two 7-in. stiff cone mid-
woofers are used. The cones are made
of glass fiber and have a low dampen-
ing rubber surround, a die-cast
chassis, and a low-distortion magnet.
A 1-in. neodymium ring radiator
tweeter is included and features
super low distortion and extra wide
dispersion. No grill is used in front of
the tweeter. The speakers are mag-
netically shielded and include dual
gold-plated brass posts suitable for
use with banana plugs or two AWG
wires. The frequency response is 56
Hz20 kHz (1 dB) or 31 Hz40 kHz
at 3 dB and the speakers have a
maximum SPL of 90 dB. The dimen-
sions are 60 24 32.5 cm and each
weighs 18.5 kg. Powered stands for
the five L-707 speakers are included
in the package (see Figure 11). The
L-3001 and L-3601 are 30-in. and
36-in. tall, respectively. The L-301
amplifier is built into the stand and
provides 600 W of power.
The L-150 subwoofer is a double-
wall sealed enclosure speaker with a
pyramid-shaped back wall to prevent
97
Figure 10. The L-707 loud-
speaker from Lipinski
Sounds L-5.1 surround
sound system.
resonance. The internal enclosure is
a cylindrical shape to resist high
pressures better than a rectangular
shape and to avoid standing waves. A
15-in. dual-coil driver is used. The
subwoofer weighs 29 kg and mea-
sures 45.6 45.6 49.3 cm.
The L-5.1 surround system is listed
for US$ 35,000. Contact: Lipinski
Sound Corporation, 6120 Massachu-
setts Avenue, Bethesda, Maryland
20816, USA; telephone (+1) 916-273-
9726; electronic mail getinfo@
lipinskisound.com; Web www
.lipinskisound.com /.
Nodal Generative Music
Composition Software
Nodal is a generative music composi-
tion application that is free to Mac
OS X users. It uses spatial, directed
graphs that are traversed by state-
98
Figure 11. Lipinski
Sounds L-707 loudspeaker
mounted on its powered
stand.
based agents. These agents, known
here as players, move along edges of
the graph updating their state at each
node. A two-dimensional grid is used
to design the graph, with the mouse
being used to create connections
between nodes. Real-time modifica-
tions can be made to the graph / com-
position while it is being played due
to the use of threads.
The main interface in which
graphs are created in Nodal is called
the network editor. The user creates
new nodes by clicking in the grid
display and can connect these with
edges by dragging between a pair of note duration, instrumentation, as
nodes. A node appears as a blue circle well as other MIDI data. A player
and an edge is shown as a solid line moves across the edges / connections
with an arrow indicating the direc- of the graph to instantiate the musi-
tion of the connection. Multiple cal composition. These musical
edges may enter or leave a single agents contain a statethe current
node. Each node consists of a number pitch, velocity, duration, and instru-
of pieces of state-modifying informa- mentand as the player encounters
tion relating to the pitch, velocity, a node its state is updated. The state
Computer Music Journal
 Figure 12. SM Pro Audios
Mic Thing portable acous-
tic treatment panel.

changes can be absolute, with exact

pitch and duration information, or
relative, with instructions to raise or
lower the current pitch, or lengthen
or shorten the duration.
A MIDI keyboard can also be used
to create a node with state informa-
tion corresponding to the MIDI data
that is input. The node is created
under the current mouse position.
The time it takes for a player to move
between nodes is proportional to the
length of the edge between them. The
two-dimensional grid is arranged
horizontally and vertically into what
the developers call principles and
divisions. The principles represent
the beat structure and tempo of the
piece of music, and the divisions can
be used to apply metrical stresses and
time signatures to the basic beats.
Nodes and edges can also handle lists
of state-modifying information so
that sequences of notes, harmonies,
and other musical structures can be
implemented.
There are three different modes by
which a player can traverse the graph.
In sequential mode, all nodes are Nodal generates MIDI data but Although it is designed primarily for
fired one at a time; in sequential does not include a MIDI synthesizer. improving separation when recording
order, nodes are fired as specified by Users need a software synthesizer with microphones, the manufacturer
the user. Parallel mode allows all that can connect to Nodal using Core also suggests it may be useful for
nodes to be fired at once and random MIDI. The software is compatible reducing the effects of room ambi-
mode uses weights to randomly with Mac OS X 10.4 and higher. ence, minimizing the audio spill
select the output edge. Contact: Jon McCormack, Monash from instrument amplifiers, and
Simple structures such as linear University, Clayton, Victoria 3800, dividing spaces into control and
chains can be created to play indi- Australia; electronic mail jonmc@ recording rooms. The panel has
vidual notes in sequence, with the csse.monash.edu.au; Web www.csse adjustable wings that allow the user
distance between nodes correspond- .monash.edu.au / ~jonmc /. to control the amount of separation
ing to the inter-onset interval be- and absorption needed. Two metal
tween notes. Uni- and bi-directional mesh reflection grills are included for
cycles can be created and can be used SM Pro Audio Mic Thing and Mic use with the Mic Thing in situations
to create loops. A wide range of Stand where it results in an excessively dry
combinatorial possibilities can be sound. The panel measures 740 mm
achieved with simple cycles by using The Mic Thing from SM Pro Audio is 400 mm 50 mm, weighs about 6.5 kg,
a list of pitches for each node and a stand-mountable acoustic treat- and is available in black or white.
selecting a different position in the ment panel suitable for use with The Mic Stand from the same
list each time the node is traversed microphone, drum, and speakers company is a heavy-duty boom stand
by the player. Parallel nodes can be stands. The panel has a steel frame designed for use with multiple Mic
used to create polyphony and feed- with high density, fire resistant, Thing panels. Up to four Mic Things
back loops. anti-bacterial foam (see Figure 12). can be mounted simultaneously on

Products of Interest 99
the stand, along with the micro-
phone. Standard microphone boom
connectors can be used with the Mic
Stand and a metal boom is included
in this package as well. The stand
features a tripod-style base and can be
extended to 2.1 m. It is also available
in black and white models.
The Mic Thing is listed for
US$ 319. The Mic Stand is currently
free with purchase of the Mic Thing.
Contact: SM Pro Audio, W25
Roberna Business Park, 26-28
Roberna Street, Moorabbin, Mel-
bourne, Victoria 3189, Australia;
telephone (+61) 395-558-081; fax (+61)
395-558-083; Web www.smproaudio
.com /.
BTE Audio Equalizer Algorithms
BTE Audio is a research and develop-
ment company that specializes in
signal processing for the audio and
music industries. Among the algo-
rithms it has developed are the
British Console Equaliser Algorithm
(BEQ1) and three American Console
Equaliser Algorithms (AEQ13).
These algorithms are designed for use
in the development of software
plug-ins, digital audio workstations,
digital mixing consoles, and hard-
ware effects processors. Sampling
frequencies up to 384 kHz are sup-
ported. A proprietary topology is used
and is optimized for low latency, low
noise, and a high dynamic range.
Both 32-bit single precision and
64-bit double precision floating-point
processing is supported. An up-
sampling algorithm is a built-in
feature and this can be enabled at
44.1- and 48-kHz sampling rates. A
clickless parameter update is also
facilitated. The algorithms are imple-
mented in C++.
The BEQ1 algorithm is designed to
simulate the sound of the discrete
class A channel amplifier modules
100
used in British consoles from the
1970s. This equalizer has three
bands as well as a low- and high-pass
filter. The high-pass filter has four
selectable cut-off frequencies at 45,
70, 160, and 360 Hz and an 18 dB /
octave slope. The low-pass filter
features five cut-off frequencies at 6,
8, 10, 14, and 18 kHz, with the same
per octave slope value. The user
can select from four center frequen-
cies for the low frequency band.
These range from 35 Hz to 220 Hz
with a boost or attenuation of 16 dB.
The six center frequencies of the
mid-range frequency band ranges
from 360 Hz to 7.2 kHz. Finally,
the high frequency shelving offers
three center frequencies of 10, 12,
and 16 kHz.
The American Console Equaliser
Algorithms aim to digitally create
the Los Angeles console sound of the
1960s by simulating the discrete
channel equalizer modules of that
era. The AEQ1 features three fre-
quency bands and a band filter. Each
of the equalizer bands has five select-
able center frequencies with boost /
attenuation of 12 db. The band-pass
filter has a fixed bandwidth of 50 Hz
to 15 kHz. The AEQ2 offers the user
four overlapping bands each with
seven selectable center frequencies
and the same boost / attenuation
range. The very latest in this range of
equalizer algorithms is the AEQ3.
This algorithm features ten bands
with center frequencies of 31 Hz,
63 Hz, 125 Hz, 250 Hz, 500 Hz, 1 kHz,
2 kHz, 4 kHz, 8 kHz, and 16 kHz, and
has a similar boost / attenuation facil-
ity as before.
The demonstration VST plug-in
available for each algorithm requires
an Intel Pentium 1.7-GHz processor
(or equivalent) with 128 MB of RAM,
a low-latency sound card, a Windows
operating system, a VST 2.0 compli-
ant host, and a WIBU Systems
CodeMeter Stick.
Computer Music Journal
BTE Audio also offers two free VST
2.0 plug-ins to users. These are the
TS Secret vintage overdrive pedal
and the Juicy77 electric guitar ampli-
fier with pre- and power-amplifier
sections and a choice of classic cabi-
net types.
Contact: BTE Audio; electronic
mail info@bteaudio.com; Web www
.bteaudio.com /.
Kong Audio Chinee Series of
Chinese Virtual Instruments
The Chinee Series from Kong Audio
is a range of VSTi instruments based
on ancient traditional Chinese string
and wind instruments. The most
recent addition to the series is the
matoquin, a horse-headed fiddle with
origins in Mongolia. This software
version of the instrument includes
various types of legato, tremolo,
trills, slaps, staccato, phrases, and
articulations, along with special
playing techniques associated with
the matoquin. The plug-in is compat-
ible with VSTi hosts on Windows XP
and Vista32 operating systems. All of
the instruments mentioned use
samples recorded at 96-kHz / 24-bit
samping rate / resolution.
Among other instruments in this
collection is the pipa, a Chinese lute.
The ChineePipa offers a similar range
of sampled articulations and playing
styles and has a note range of A3 to
D7. The ChineeGuzheng is a 21-
string instrument that provides a
range of samples that include
tremolo, slide, glissando, and
strumming, all techniques used in
playinh the traditional instrument.
The note range is A2 to G7. The
ChineeNanxiao is based on the
nanxiao, a bamboo flute. A further
bamboo flute collection is available
in the form of ChineeWinds, which
includes seven different types of the
dizi flute. This is a traditional
Figure 13. The Live! 7
interface showing a song
arrangement.
bamboo flute that is still used in
Chinese popular music today. Similar
to the other instruments mentioned
here, the dizi instruments are multi-
sampled to take articulations into
account. The ChineeKong V2
instrument includes more than 500
MB of samples of Chinese percussion
instruments arranged into gong,
cymbal, drums, wood percussion,
bells, and miscellaneous categories,
which are further divided into
subsets. This instrument is multi-
timbral with ten independent
outputs. Finally, the ChineeErhu is
based on the traditional two-stringed
bowed erhu. Potential users should
contact Kong Audio for information
on compatibility with Windows
operating systems.
Four bundles are offered by Kong
Audio. The Flutes Pack includes
ChineeWinds and ChineeNanxiao.
The Bowed String Pack includes
ChineeErhu and Matouqin and the
Plucked Strings Pack is made up of
ChineeGuzheng and ChineePipa.
Finally, the Big Bundle includes all
seven plug-ins. A number of audio
and video examples are available on
the company Web site.
The individual VSTi plug-ins range
in price from US$ 60 to US$ 88. The
smaller bundles are priced are
US$ 108 and US$ 115. The Big
Bundle is listed online for US$ 370.
Contact: Kong Audio; electronic mail
info@chineekong.com; Web www
.chineekong.com /.
Ableton Live! 7 Update
Ableton has released an updated
version of Live!, its audio and MIDI
sequencing software (see Figure 13).
Products of Interest
Live! 7 includes improvements to the
audio engine to provide 64-bit mix
summing, POW-r dithering, and
optimized sample-rate conversion. A
new compressor combines the pre-
vious Compressor I and II models and
introduces a new model with feed-
back based on vintage compressors.
Side-chaining is available for this
new compressor as well as for the
Gate and Auto Filter. A high-quality
mode of operation has been added to
the Operator, Dynamic Tube, and
Saturator, allowing for anti-aliasing
processing. The EQ Eight equalizer
can now process audio signals in a
64-bit mode for greater accuracy. A
spectrum analyzer has been added
and the MIDI engine re-designed to
reduce jitter. Two new devices have
also been included to allow hardware
synthesizers and effects to be in-
serted into the device chain in the
101
same manner as a software plug-in.
Memory management has also been
included to cater for large numbers of
sampled instruments. Multiple time
signatures, video export, multiple
automation lanes per track, and a
tempo nudge function have been
added. A Drum Rack for beat produc-
tion uses a drag-and-drop interface, a
slicing feature, and supports the REX
file format.
The company has also created a
new range of instruments, some of
which are available along with Live!
7 in the Ableton Suite. The Electric
and Tension sets use physical model-
ing synthesis to create a selection of
classic electric pianos and string
instruments. A collection of analog
synthesizers, multi-sampled session
drums, and drum machines are also
available. Four sets of orchestral
instruments, each with a range of
articulations, are also available for
purchase. The Essential Instrument
Collection 2 includes a range of
acoustic and electric pianos, guitars,
bass, drums, orchestral strings, and
brass instruments and is packaged
with the boxed version of Live! 7.
The Ableton Suite is available in
two versions: as a download and as a
boxed set. The downloadable version
includes Live! 7, Sampler, Operator,
Electric, Analog, Tension, and the
drum machine set. Sampler is a
sampling instrument capable of
multi-sample playback and Operator
is a frequency modulation synthe-
sizer. The boxed version of the
Ableton Suite also includes the
Essential Instrument Collection 2
and the Session Drums set. The
boxed version includes a printed
reference manual in English, Spanish,
French, German, or Japanese. Tutori-
als are included and the software
menus and tutorials are localized for
these languages. A G4 (or faster) Intel
Macintosh with 1 GB of RAM
running Mac OS X 10.4 or later is
102
recommended. A 1.5-GHz (or faster)
processor is recommended for a PC
with the same amount of RAM.
Windows XP and Vista are supported.
Thirty-seven GB of hard drive space
is required for the boxed version of
Ableton Suite.
Live! 7 is listed for US$ 498, the
Ableton instruments range from
US$ 79 for the Drum Machines to
US$ 249 for the orchestral instru-
ments. The downloadable version of
Ableton Suite is listed for US$ 799
and the boxed version for US$ 999.
Contact: Ableton, Schnhauser Allee
6-7, D-10119 Berlin, Germany;
telephone (+49) 302-887-630; fax (+49)
302-887-6311; electronic mail
contact@ableton.com; Web www
.ableton.com /.
Bias Peak Pro 6 Update
Bias has updated Peak, its audio
editing and processing software, to
version 6. Among the additions to
this latest version are sample level
zooming, fully customizable real-
time volume envelopes, centered or
overlapping cross-fades, new naviga-
tion and audition controls, and a
selection of new processing tools.
The Perpetual Looper is a new DSP
tool designed for sustained looping of
single-line instrument samples.
Customizable envelopes are now
available for controlling pitch change
and a Convolve Envelope can control
the amount of convolution applied
over time. A range of new export
options has also been added. The
user can configure playlist reports
with track duration, indexes, CD-
TEXT, and notes, and can output
these to PDF and tab delimited text
formats or print them. Peak 6 also
feature iTunes integration with
support for the export of playlist
regions and drag-and-drop support
for songs and regions between both
Computer Music Journal
applications. Metadata for most
major audio file types is supported.
The user interface has been updated
with new high-resolution logarith-
mic meters added. A new Vbox
effects and instruments matrix is
included and allows the user to view
and select controls and assignment of
MIDI channels.
Peak Pro 6 is listed for US$ 599.
The XT version is listed for US$ 1,199.
Discounts are available for current
users. Contact: Bias, Inc., 140 Keller
Street, Petaluma, California 94952,
USA; telephone (+1) 707-782-1866;
fax (+1) 707-782-1874; electronic mail
sales@biax-inc.com; Web www
.bias-inc.com /.
Steinberg Cubase, WaveLab, and
Nuendo Updates
Steinberg has released updates to
Cubase, WaveLab, and Nuendo. The
latest version of Cubase and Cubase
Studio is 4.1 and the software
includes a number of new features.
The sample editor has been rede-
signed with Inspector-style con-
trols. The import and export of
MusicXML files is now supported.
Sequel projects can be imported and
edited. Sidechains can now be easily
created for VST3 plug-ins. A Global
Transpose Track feature allows the
user to transpose all audio and MIDI
parts on a track. The Play Order
Track has been replaced with an
Arranger Track and is aimed at
facilitating improvisation and live
performance. A new Project Logical
Editor offers project-level editing
including automated processing of
sections or groups of object within a
project.
The updates to WaveLab Essential
for Version 6 include improvements
to the audio editing, mastering, and
CD burning features, and the addi-
tion of a podcasting module. Wave-
Figure 14. The M-Audio
MicroTrack II portable
digital recorder.
Lab offers recording and editing of
audio at rates up to 96-kHz / 32-bit
sampling. Red Bookcompatible CDs
can be created and video tracks
integrated. The podcast module
provides an FTP client, support for
RSS 2.0, and templates for audio
publishing.
Finally, the Nuendo 4 update adds
support for VST3, a new collection of
plug-ins, along with a range of new
automation and post-production
editing features.
WaveLab 6 is listed for US$ 99.99,
and Nuendo 4 for US$ 1,799.99. Po-
tential users should contact Steinberg
for current Cubase 4.1 prices. Cus-
tomers in the United States should
contact: Yamaha Corporation of
America, 6600 Orangethorpe Avenue,
Buena Park, California 90620, USA;
telephone (+1) 714-228-3301; fax (+1)
714-522-9961; electronic mail
steinbergussupport@yamaha.com;
Web www.steinberg.net /. Interna-
tional customers should consult the
www.steinberg.net Web site for
contact information.
M-Audio MicroTrack II Portable
Digital Recorder
The MicroTrack II from M-Audio is
an updated version of the companys
two-channel portable digital recorder
(see Figure 14). The recorder can
operate at a 96-kHz / 24-bit sampling
Figure 15. Tascams DP-02
digital PortaStudio
recorder.
rate to record MP3, WAV, and BWF
files. The same balanced 1/4-in. TRS
line / microphone inputs as the
previous model are included here.
Dual microphone amplifiers with
48-V phantom power are available on
the microphone inputs. An additional
input of the same size with 5-V
power is also included for use with
stereo electret microphones. A
S / PDIF input, RCA line output, and
stereo headphone output completes
the available audio connections.
The new model extends the input
gain range and adds a limiter to the
analog input. Faster transfer rates to
computer are now available with a
USB 2.0 connection. The recorder is
represented as a USB mass storage
device when connected to a com-
puter. Large files (> 2 GB) can now be
recorded and markers added to the
file when recording in BWF format.
The backlight can now be dimmed
and the recorder placed in hiberna-
tion mode instead of simply being
switched off. A lithium-ion battery
gives four to five hours of operation
but this reduces to about three hours
if phantom power is used. The device
can be recharged by connection to a
Products of Interest
computer or from an external power
supply. An optional custom carrying
case is also available that allows
access to all functions and includes
extra zipped pockets for carrying
equipment such as microphones and
cables.
The MicroTrack II is listed for
US$ 499.95. Contact: M-Audio, 5795
Martin Road, Irwindale, California
91706, USA; telephone (+1) 866-657-
6434; fax (+1) 626-633-9070; elec-
tronic mail sales@m-audio.com; Web
www.m-audio.com /.
Tascam DP-02 and DP-02CF
Digital PortaStudio Recorders
Tascam has updated its digital
Portastudio range with the DP-02 and
DP-02CF 8-track digital recorders
(see Figure 15). Both devices record
uncompressed audio at 44.1 kHz /
16-bit and have two microphone / line
inputs with phantom power. The top
panel controls include a volume
fader, pan, effects send, and high and
low equalization control for every
channel. A dedicated stereo master
track is available for mixing. An
103
internal metronome is included and
can be used to display song position
in bars and beats. A headphone
output, stereo line outputs (RCA),
and S / PDIF optical digital output
connections are used. The DP-02CF
model records to compact flash cards
and a 1-GB card is included with
purchase as a promotion at the time
of writing.
The DP-02 version of the recorder
has a 40-GB internal hard drive and
built-in CD-RW burner. It also in-
cludes a multi-effects processor with
guitar, bass, vocal, and drum pro-
grams, along with a stereo reverbera-
tion processor with send / return
controls for multi-channel mixing. A
chromatic tuner is also included with
this unit.
The DP-02 is listed for US$ 799
and the DP-02CF for US$ 499.
Contact: Tascam, 7733 Telegraph
Road, Montebello, California 90640,
USA; telephone (+1) 323-726-0303;
Web www.tascam.com /.
Symbolic Sound Kyma X.47
Software Upgrade
The latest release of Kyma, the audio
synthesis and processing application,
extends the softwares capabilities
to process multi-channel audio.
Among the new modules are the
Surroundifier, SplitSurround,
MultichannelPan, PseudoStereo,
MidSideEncoderDecoder, MonoTo-
Multichannel, and Multichannel-
Mixer. The Kyma Sound Library has
been extended by over 150 new
multi-channel patches. The update is
free to registered users of Kyma X.
The latest release runs on Mac OS X
and OS 9.2 platforms, as well as on
Window XP, 98, ME, and 2000.
Contact: Symbolic Sound, P.O. Box
2549, Champaign, Illinois 61825-2549,
USA; telephone (+1) 217-355-6273;
104
fax (+1) 217-355-6562; electronic mail
info-kyma@symbolicsound.com;
Web www.symbolicsound.com /.
New Releases
Publications
Barry Blesser and Linda-Ruth Salter:
Spaces Speak, Are You Listening?
Experiencing Aural Architecture
(hardcover, 2007, ISBN 978-0-262-
02605-5, Cambridge / London: The
MIT Press, mitpress.mit.edu /).
Andrew R. Brown: Computers in
Music Education (softcover, 2007,
ISBN 978-0-415-97851-4, New
York / Milton Park: Routledge,
www.routledge.com /).
Simon Emmerson: Living Electronic
Music (softcover, 2007, ISBN 978-
0-7546-5548-0, Aldershot / Burling-
ton: Ashgate, www.ashgate.com /).
velyne Gayou: GRM Le Groupe de
Recherches Musicales: Cinquante
ans dhistoire (softcover, 2007,
ISBN 978-2-213-63561-3, Paris:
ditions Fayard).
Pamela Jones: alcides lanza: Portrait
of a Composer (hardcover, 2007,
ISBN 978-0-7735-3264-9, Mon-
treal / Kingston: McGill-Queens
University Press, www.mqup.ca /).
Alan P. Kefauver and David Patschke:
Fundamentals of Digital Audio,
new edition (softcover, 2007, ISBN
978-0-89579-611-0, Middleton:
A-R Editions, www.areditions
.com /).
Leigh Landy: Understanding the Art
of Sound Organization (hardcover,
2007, ISBN 978-0-262-12292-4,
Cambridge / London: The MIT
Press, mitpress.mit.edu /).
Marc Leman: Embodied Music Cog-
nition and Mediation Technology
Computer Music Journal
(hardcover, 2008, ISBN 978-0-262-
12293-1, Cambridge / London: The
MIT Press, mitpress.mit.edu /).
Charles O. Nussbaum: The Musical
Representation: Meaning, Ontol-
ogy, and Emotion (hardcover, 2007,
ISBN 978-0-262-14096-6, Cam-
bridge / London: The MIT Press,
mitpress.mit.edu /).
Eleanor V. Stubley, editor: Com-
positional Crossroads: Music,
McGill, Montreal (softcover / hard-
cover, 2007, ISBN 978-0-7735-
3278-6 / ISBN 978-0-7735-3277-9,
Montreal / Kingston: McGill-
Queens University Press, www
.mqup.ca /).
Recordings
Natasha Barrett: Trade Winds (SACD/
Hybrid CD, 2007, Aurora ACD
5056, www.grappa.musikkonline
.no / or www.electrocd.com /).
Agostino Di Scipio: Paysages histo-
riques: Musique electroacoustique
19982005 (CD, 2007, Chrysope
Electronique-Bourges LDC 278 11
30, www.imeb.net /).
Louis Dufort: Matriaux composes
(DVD-Audio, 2008, empreintes
DIGITALes IMED 0893,
empreintesdigitales.com /).
Gilles Gobeil: Trois songes (DVD-
Audio, 2008, empreintes DIGI-
TALes IMED 0892,
empreintesdigitales.com /).
Ron Herrema: Changing Weights
(CD, 2007, Capstone Records CPS-
8788, www.capstonerecords.org /).
Mari Kimura: Polytopia: Music for
violin and electronics (CD, 2007,
Bridge Records 9236, www
.bridgerecords.com /).
Esther Lamneck: Cigar Smoke: Clari-
net and Electronics (CD, 2007, in-
nova 673, www.innova.mu /).
Stephen Travis Pope: Ritual and
Memory (2 CDs + DVD, 2007,
 Electronic Music Foundation EMF
068, www.emfmedia.org /).
Laurie Radford: Les ponts de lespace
(DVD-Audio, 2008, empreintes
DIGITALes IMED 0891,
empreintesdigitales.com /).
Roger Reynolds: Whispers Out of
Time [works for orchestra] (CD,
2007, mode records 183, www
.moderecords.com /).
Barry Truax: Spirit Journies (CD,
2007, Cambridge Street Records
CSR-CD0701, www.sfu.ca /
~truax / csr.html).
Annette Vande Gorne: Exils (DVD-
Audio, 2008, empreintes DIGI-
TALes IMED 0890,
empreintesdigitales.com /).
Various: Electronic Music, Vol. III:
Msica Viva Competition Prize
Winners 200420052006 (CD,
2007, Miso Records mcd 016.07,
www.misomusic.com /).
Various: Resonance: Steel Pan in
the 21st Century (CD, 2007,
Quiet Design Records alas003,
www.quietdesign.us /).
Frances White: Center Bridge: Elec-
troacoustic Works (CD, 2007, mode
records 184, www.moderecords
.com /).
Trevor Wishart: Fabulous Paris: A
Virtual Oratorio (CD, 2007, www
.trevorwishart.co.uk /).
Multimedia
James Dashow, Richard Karpen, Scott
A. Wyatt: Radial Matrix: Multi-
dimensional electroacoustic music
(DVD-Video, 2006, Capstone
Records CPS-8769, www
.capstonerecords.org /).
Digital Redux: The A Class Series:
01Hip Hop Hotness; 02D&B 4
The Headz; 03Properly Chilled;
04Hacienda House; 05Elec-
trotech (5 DVDs, 2007, Digital
Redux, www.digital-redux.com /).
Milliseconde topographie (Nicolas
Bernier / Delphine Measroch): Tri-
cycle (DVD-Video, 2007, ekumen
ek 008, www.ekumen.com /).

Products of Interest 105