Products of Interest
AKG C214 Microphone
AKGs C214 microphone (see
Figure 1) is a budget version of the
classic C414 series of microphones. It
uses the same 1-in. diaphragm with
patented edge-terminated back plate
technology designed for smooth and
wide frequency response. The micro-
phone has a cardioid pattern and a
frequency range of 2020,000 Hz. An
integrated capsule suspension system
is aimed at reducing mechanical noise
and a 150 Hz 6 dB per octave low-cut
filter is also included. A switchable
20 dB attenuation pad is available
for close microphone placement. The
maximum SPL is 136 dB and 156 dB
at 0 and 20 dB levels, respectively.
The signal-to-noise ratio is 81 dB
(A-weighted).
The C214 microphone has a
double-mesh, dent-resistant metal
grill and a scratch-resistant fin-
ish. The XLR connection is gold-
plated. The microphone measures
Figure 1. The AKG C214
microphone.
82
6.3 2.2 in. and weighs 0.62 lbs.
The package includes a spider shock
mount, windscreen, and metal carry-
ing case.
The C214 is listed for US$ 649.
Contact: AKG Acoustics GmbH,
Lembockgasse
21-25, A-1230 Vienna,
Austria; telephone (+43) 186654-0; fax
(+43) 1866-548-800; electronic mail
sales@akg.com; Web www.akg.com/.
Sennheiser MKH 800 Twin
Microphone
The MKH 800 Twin microphone
from Sennheiser (see Figure 2) is a
dual-capsule microphone based on
Figure 2. Sennheisers
MKH 800 Twin
dual-capsule microphone.
Computer Music Journal
the companys MKH 800 model. The
pick-up pattern does not have to be
set at the microphone but can be
determined at the mixing console
by a combination of fader and signal
phase settings. All standard pick-up
patterns can be created along with
intermediate stage patterns.
The microphone offers a wide
frequency response from 30 Hz to
50 kHz. The pick-up pattern remains
constant over almost the whole
frequency range. The maximum SPL
is 134 dB and the microphone is
touted as a low-noise model.
A slim design has been used
with the microphone measuring
27 136 mm and weighing 172 g. It
is available in a nickel color or a dark
gray non-reflective Nextel coating, for
use in film and TV. The microphone is
packaged with a microphone clamp, a
shock mount, an adaptor cable (XLR-
5 to two XLR-3 connectors), a user
manual, and an aluminum transport
case.
The MKH 800 Twin micro-
phone is listed for US$ $3,356.
Contact: Sennheiser, Am Labor 1,
Wennebostel, 30900 Wedemark,
Germany; telephone (+49) 513-060-
00; fax (+49) 513-060-0300; Web
www.sennheiser.com/.
ADAM A5 Studio Monitor
The A5 studio monitor from ADAM
(see Figure 3) is an updated and
smaller version of the companys A7
powered monitor. The companys
proprietary transducer technology
(ART) tweeter, and carbon fiber
and Rohacell subwoofer is used in
both. A smaller 5.5-in. subwoofer
is used in the A5 monitor. Two
25 W amplifiers are built-in and
the frequency response is 55 Hz to
35 kHz (3 dB). The rear panel of the
monitor features controls for input
and high-frequency gain, as well as
equalization settings for adjusting to
Figure 3. The A5 studio monitor
from ADAM.
individual rooms. Balanced XLR and
un-balanced RCA inputs are included.
A new stereo-link feature allows the
user to adjust the volume of both
loudspeakers with a single control.
The monitors are available in
a matte black finish or a glossy
black or white version. Desktop
stands for optimal acoustics are
also available. The dimensions are
6.8 11.2 7.9 in. and each speaker
weighs 11 lbs.
The A5 monitors are listed for
US$ 700 (pair) for the matte black
finish and US$ 769 (pair) for the
glossy finish. Contact: Adam Audio
GmbH, Ederstrasse 16, D-12059,
Berlin, Germany; telephone (+49)
308-630-0970; fax (+49) 308-630-
0977; electronic mail info@adam-
audio.de; Web www.adam-audio.de/.
U.S. customers can contact: Adam
Audio USA, 31312 Via Colinas, Unit
108, Westlake Village, California
91362, USA; telephone (+1) 818-
991-3800; fax (+1) 818-991-3808;
electronic mail usa@adam-audio.com;
Web www.adam-audio.com/.
MaxScore Notation Object
for Max/MSP
MaxScore is a Max object for han-
dling musical scores in the Max/MSP
environment. The object facilitates
the creation of scores and allows the
user to add notes, save the score,
and perform it. It can load and ex-
port scores in MusicXML format for
use with Finale, Sibelius, and other
notation programs, and can export
files to the GNU LilyPond format.
The object allows scores to be cre-
ated and modified in real-time by
individually specifying note duration
and pitch using note messages, or by
right-clicking on the graphical score
provided. A music transcription fea-
ture is also built-in to automatically
transcribe musical events in a patch.
The software was developed by Nick
Didkovsky with Georg Hajdu.
MaxScore was created using the
Java Music Specification Language
(JMSL, see CMJ 29/3) and a JMSL
license is required to run the object.
MaxScore itself is freely available.
A student JMSL license is avail-
able for US$ 55 and a developer
license for US$ 120. Contact:
Nick Didkovsky; electronic mail
didkovn@mail.rockefeller.edu; Web
www.algomusic.com/.
HighC 2.2 Graphical Music
Creation Software
HighC (pronounced I see) is a
graphical music software application
designed for creating sound effects,
teaching synthesis techniques, and
composing music (see Figure 4). The
main user interface window of HighC
features a grid that represents pitch on
the vertical axis and time on the hor-
izontal axis. A paint features allows
the user to draw individual notes and
melodies on the score grid. Cut, copy,
paste, and duplicate operations can
then be used to repeat patterns and
create harmonies. A snap-to-pitch
setting ensures that pasted notes and
patterns are automatically matched
to pitches of the scale being used.
A selection of different waveforms
and envelopes are available to alter
Products of Interest
the timbre and dynamic shape of
the sounds created. Users can build
up libraries of envelopes and wave-
forms for reuse and can assign tags or
keywords to sounds for organization
purposes. Time and pitch scales can
be designed for different projects for
use with the snap-to-pitch feature
and higher-level pattern structures
allow for easy repetition of sounds.
The developer indicates that the
simple interface for audio synthesis
provided by HighC makes it a suit-
able framework for implementing
classic synthesis techniques such as
additive, FM, granular, waveshaping,
and noise-based synthesis, while also
being intuitive for novices.
The latest version (2.2) allows
the user to specify exact attack and
release times for envelopes, provides
more guidance when starting the
application, and includes updated
documentation. The software is
continually being developed with
a new update every month or so.
Future development plans include
facilitating the use of sound samples,
interfacing with VST and/or ReWire,
and full spatialization. Music and
effects composed with HighC can
be exported to an AIFF sound file.
A free educational version of the
software plays audio at 22 kHz. The
professional version uses 44.1-kHz
playback. Samples of graphical audio
projects created with HighC are
available on the Web site and a
demonstration applet allows potential
users to try out the software. A
reference manual and a user forum
are provided through the Web site as
well.
The full professional version
of HighC is available for ap-
proximately US$ 46. Contact:
Thomas Baudel, 107 rue Marcadet,
75018 Paris, France; telephone
(+33) 142-572-713; electronic mail
highc@thomas.baudel.name; Web
highc.org/.
83
Figure 4. The primary user interface
window for HighC graphic music
creation software.
AlgoScore Graphical
Environment for Algorithmic
Composition
AlgoScore, by Jonatan Liljedahl, is
a graphical environment designed
for algorithmic composition. In
AlgoScore, the user connects objects
on a timeline. Each of the objects has
a number of properties that can be
edited by the user (see Figure 5). Some
of the objects are generative, others
rely on user input, and a further set of
objects are designed to react to inputs
from other objects. Objects can have
a number of inputs and outputs. The
main AlgoScore window is laid out
as a grid with a toolbar below it. The
toolbar includes a number of function
buttons, a time display of the current
position in the score, and a zoom
control. The objects/classes available
for use include a range of oscillators,
envelopes, and line curves, as well as
graphical features such as plots and
sliders. Because AlgoScore does not
create audio in real-time objects can
access the data of other objects at any
time.
The graphical interface is seen as
the score of a piece of music and
84
this score can be exported as a PDF
document or in SVG format for use by
other graphic applications. AlgoScore
is customizable and extendible using
the Nasal scripting language (see
plausible.org/nasal/). Users can create
custom classes from scratch or can
modify existing classes. Nasal can
also be used directly in the score to
generate or modify events and control
data.
A CSound interface is built into
AlgoScore and events, control data,
and function tables can be sent to the
CSound output bus for rendering to
audio. This audio can be played back
through a JACK audio port or can
be exported as a sound file. A MIDI
output bus is also included and this
receives note events and control data
and sends it to a JACK MIDI port.
AlgoScore is a free download
under the terms of GNU GPL and
is available in Linux and Mac OS X
versions. A user guide is available
from the Web site and a mailing list
and IRC channel have been set up for
support and information purposes.
Contact: Jonatan Liljedahl; elec-
tronic mail lijon@kymatica.com;
Web kymatica.com and
gna.org/projects/algoscore/.
Computer Music Journal
Impromptu Real-Time
Audio-Visual Programming
Environment
Impromptu, by Andrew Sorenson, is a
Mac OS X programming environment
for composers, sound designers, and
graphic artists. The environment is
designed to enable the creation and
manipulation of programs in real-
time during live performance and
supports multiple users. It includes a
synthesis engine, a real-time schedul-
ing engine, a Scheme interpreter,
and an Integrated Development En-
vironment (IDE). The environment
is Scheme-based and uses a modified
interpreter based on TinyScheme (by
Dimitrios Souflis).
The functions available are
categorized into standard Scheme,
audio, graphics, OpenGL, math, ob-
jective C, input/output, Impromptu
System, and Common List functions.
Impromptu is a programmable Audio
Unit host and provides for precise
scheduling with the ability to alter
parameters, program changes, and
presets in real time through the use
of programming or through the Audio
Unit user interface. The graphic
Figure 5. User interface window for
AlgoScore graphical programming
environment for algorithmic
composition.
functions available can also be sched-
uled with time accuracy, allowing for
the integration of audio and visual el-
ements. Among the graphic functions
included are live video processing,
vector drawing routines, image and
text rendering, CoreImage filters, and
QuickTime movie support, as well as
a dedicated set of OpenGL functions.
A bi-directional Objective C bridge is
included to allow programs written
in Scheme to instantiate and call
Objective C objects.
A number of tutorials are included
on the Impromptu Web site for
beginners. An introductory video and
a mailing list provide further support.
Mac OS X 10.4 and later are supported.
Impromptu is available as a free
download. Contact: Impromptu; elec-
tronic mail andrew@moso.com.au;
Web impromptu.moso.com.au/.
Products of Interest
Overloud BREVERB
Reverberation Plug-In
BREVERB from Overloud is a rever-
beration plug-in designed to replicate
the sound and control available from
hardware reverberation units. Hall,
Room, Plate, and Inverse algorithms
are provided and are modeled after
well-known hardware reverberators.
An equalizer section is also included.
85
Figure 6. The control surface from
Soundcrafts Vi6 digital live sound
system.
Two different plug-in interfaces are
available: the main graphic user inter-
face with a hardware-like appearance
and six assignable faders, and a com-
pact version. BREVERB is designed to
be low on CPU usage. The developer
reports that eighty stereo instances of
the plug-in can be opened on a Pen-
tium 4.3-GHz processor, and 120 can
be opened on a Core2 Duo 2.4 GHz
MacBook Pro.
VST, RTAS, and Audio Units
formats are supported on Mac OS
X operating systems, and VST and
RTAS formats on Windows operating
systems. Mac OS X 10.5 Leopard
and Windows Vista are supported. A
1024 768 video display and 512 MB
RAM are required.
BREVERB is listed for US$ 399.
Contact: ALMATEQ, Via N. Biondo
173, 41100 Modena, Italy; telephone
(+39) 598-225-89; fax (+39) 593-366-
126; Web www.overloud.com/.
Soundcraft Vi Digital Live Sound
Mixer System
The Soundcraft Vi digital live sound
mixer system is made up of a control
surface, a local rack with processing
engine, and a stagebox (see Figure 6).
The control surface features the
patented Vistonics II touch-screen
86
system. Here, the rotary encoders
and controls are built into the angled
touch-screen so that the visual display
and controls are combined. Each
touch-screen represents eight channel
strips and there are four of these sets
on the Vi6 model. When an area
on the channel strip is selected
a full control panel is opened on
the lower section of the screen,
where 16 real knobs and switches are
mounted. The color of the graphic
display around these controls is
context-dependent. Routing, input
gain, digital gain trim, delay, high-
and low-pass filters, 4-band fully
parametric EQ, compressor, limiter,
gate, de-esser, and pan can all be
accessed in this way. A further
Vistonics II interface is dedicated
to meter displays for the inputs
and outputs, output processing, and
diagnostics. The faders are assignable
and use a FaderGlow system to
match the colors of the Vistonics II
interface. The faders in the output
section of the control surface can be
assigned to provide master control
of matrix outputs, VCA groups, and
graphic EQ control. Copy and paste
functions can be accessed using the
touch-screen to reduce set-up time by
copying parameters across channels.
An internal library is available for
storing individual channel parameter
settings or blocks of channel settings.
Computer Music Journal
Libraries can be exported to, or
imported from, a USB memory stick.
A further function allows all of the
desk settings to be exported. Libraries
of equalization and dynamic settings
are also provided.
The Vi6 control surface allows
for simultaneous mixing of 64 mono
inputs into 35 outputs, with 24 insert
send/return pairs assignable to any
of the input or output channels. The
Vi4 offers 48 inputs on 24 faders, with
a total of 27 output busses available
for use. The stageboxes provide 64
or 48 analog microphone/line inputs
and 32 or 24 analog line outputs.
Phantom power is provided, along
with a 100-Hz high-pass filter be-
fore the analog-to-digital convertors.
The microphone gain can be con-
trolled remotely from the control
surface. Eight-channel AES/EBU in-
put/output options are also available
for the stagebox. The local rack fea-
tures 16 analog line inputs, three
analog microphone/line inputs, a
talkback microphone input, and eight
AES/EBU inputs. The outputs on the
local rack are 16 analog line outputs,
eight AES/EBU outputs, three LCR
local monitor A line outputs, two LR
local monitor B line outputs, and a
talkback line output. A total of six
stageboxes can be connected to the
system and the user can select the
inputs from any of those available on
Figure 7. User interface for Waves
EQP-1A from the JJP collection.
the connected stageboxes. A 64-chan-
nel MADI input/output on optical
SC connectors is included but can be
replaced by an optional CobraNET
card or a Soundcraft A-NET 16V
card. Sixteen GPIO contact closure
inputs and outputs are located on the
local rack, and a further eight on the
stagebox. The control surface itself
includes a MIDI input and two MIDI
output connectors on its rear panel.
The stagebox connects to the local
rack using Cat 5 cable, which allows
the mixer to be located up to 80 m
from the stage, or Cat 7 cables, which
increases this distance to 130 m.
The option of a FibreOptic interface
allows the stagebox to be located
1.5 km from the local rack. The
system is compatible with the HiQnet
protocol.
The Vi4 is listed for US$ 73,169
and the Vi6 for US$ 86,908. Contact:
Soundcraft USA, Harman Pro North
America, 500 Balboa Boulevard,
Northridge, California 91329, USA;
telephone (+1) 818-920-3212; fax
(+1) 818-920-3208; electronic mail
soundcraft-usa@harman.com; Web
www.soundcraft.com/.
Waves JJP Plug-In Collection
Waves has teamed up with producer,
mixer, and engineer Jack Joseph
Puig to create the JJP collection, a
set of four plug-ins that are based
on rare audio equipment from his
studio. Each plug-in is compatible
with Digidesign Icon and supports
TDM, RTAS, VST, and AU formats.
Sampling rates up to 96 kHz/24-bit
are available with all of the plug-
ins. A library of Mr. Puigs personal
presets are included.
The PuigChild 660 and 670
compressor/limiter are based on
the Fairchild monophonic and
stereo compressors that were
widely used during the era of vinyl
recording. A lateral vertical mode
(MS compression) is included for
optimal stereo imaging and linked
and unlinked modes are available.
The input gain can be varied from
20 to 0 dB and the threshold from
0 to 10 dB in steps of 0.1 dB. The
output signal can be varied between
18 to +18 dB in steps of 0.1 dB.
PuigTec EQP-1A is based on the
Pultec EQP-1A program equalizer, a
device that could boost and cut the
same frequencies simultaneously to
create a resonant frequency shelf. This
plug-in provides four low-boost/cut
frequencies, three high-cut frequen-
cies, and seven high-frequency boost
points (see Figure 7). The bandwidth
of the high boost can be controlled.
The output is in the same range as
the previous plug-in.
Products of Interest
The PuigTec MEQ-5 is a software
version of the MEQ-5 mid-range
equalizer. Five low-mid-frequency
(2001,000 Hz), eleven mid-frequency
(2007,000 Hz), and five high-mid-
frequency (1.55 kHz) controls are
available.
The native version of the JJP col-
lection is listed for US$ 800 and
the TDM version for US$ 1,600.
Contact: Waves, Inc., 2800 Mer-
chants Drive, Knoxville, Tennessee
37912, USA; telephone (+1) 865-909-
9200; fax (+1) 865-909-9245; Web
www.waves.com/.
API Arsenal Audio by API Analog
Signal Processors
API has launched a new series
of analog signal processors called
Arsenal Audio by API. The first set of
products in the series includes three
hand-assembled rackmount units
(see Figure 8).
The R20 is a two-channel micro-
phone pre-amplifier with low-noise
inputs for microphone and instru-
ment. A rotary gain control is avail-
able for each channel, along with
switches for phantom power, phase,
pad, and microphone/instrument
selection. The microphone inputs
provide up to 55 dB of gain and the
87
Figure 8. Clockwise from left, the
API R20, R24, and V14 analog signal
processors.
Figure 8
instruments input up to 31 dB of
gain. The pad switch attenuates the
microphone input by 20 dB and the
instrument input by 10 dB. Two ana-
log VU meters with peak indicators
are provided on the front panel. Bal-
anced XLR and 14 -in. jack outputs are
provided.
The R24 is a two-channel four-
band equalizer with 12 dB boost/cut
available on each band. Separate
continuously variable control knobs
are available for frequency and gain.
A custom-designed transformer-
balanced output with headroom of
+23 dB is included. The microphone
and 1/4 -in. jack inputs/outputs are
balanced. Both the R20 and R24 have
internal power supplies.
Finally, the V14 is a four-band
equalizer designed for use with the
API VPR 500 series racks with power
supply. Dual concentric continuously
variable knobs are available for con-
trolling frequency and gain. The four
bands each have a 12 dB boost/cut and
peak/dipping parametric configura-
tion. A custom transformer-balanced
output with headroom of +24 dB is
also provided.
88
Figure 9. The AT2035
large-diaphragm microphone from
Audio-Technica.
The R20 and R24 are listed for US$
1,195 and the V14 for US$ 695. Con-
tact: Automated Processes, Inc., 8301
Patuxent Range Road, Jessup, Mary-
land 20794, USA; electronic mail
dzimbelman@ArsenalAudio.com;
Web www.arsenalaudio.com/.
Audio-Technica AT2035 and
AT2050 Large-Diaphragm
Microphones
Audio-Technicas AT2035 and
AT2050 large-diaphragm micro-
phones are the latest additions to the
companys 20 series of microphones.
The AT2035 is a cardioid condenser
studio and stage microphone. It fea-
tures a switchable 80-Hz high-pass
filter to reduce low-frequency ambi- Figure 9
ent noise and vocal popping. A 10 dB
pad is also included. The microphone and live use (see Figure 9). Omni-
can handle SPL levels up to 148 dB or directional, cardioid, and figure-eight
158 dB with use of the pad. The dual patterns are available.
diaphragms used are gold-vaporized The output from both microphones
and provide a flat frequency response is a low-impedence, balanced XLRM
across the 2020,000 Hz range. connector. Custom shock mounts
The AT2050 is a multi-pattern and protective pouches are packaged
condenser microphone for studio with each microphone.
Computer Music Journal
Figure 10. TL Audios Ebony A4
analog summing mixer.
The AT2035 microphone is listed
for US$ 249 and the AT2050 for US$
369. Contact: Audio-Technica U.S.,
Inc., 1221 Commerce Drive, Stow,
Ohio 44224, USA; telephone (+1)
330-686-2600; fax: (+1) 330-688-3752;
Web www.audio-technica.com/.
TL Audio Ebony A4 Analog
Summing Mixer
The Ebony A4 is the latest addi-
tion to TL Audios Ebony Series of
hand-made discrete class A analog
processors (see Figure 10). This sum-
ming mixer features 16 balanced
inputs on TRS and D-Sub connectors
which sum down to a stereo out-
put. The inputs have individual pan
controls and are switchable between
+4 and 10 dBu. Balanced inserts
are included on the master section,
enabling the user to add a stereo
compressor or equalizer to the signal
path. An optional tube stage is also
available on the master bus and a sin-
gle control knob adjusts the amount
of warmth added to the sound. Two
VU meters with peak LED indicators
are provided on the front panel. The
outputs of the mixer are balanced.
The Ebony summing mixer is a 2U
unit with a high-gloss black finish.
The Ebony A4 is listed for US$
1,599. Contact: TL Audio, 2 Iceni
Court, Icknield Way, Letchworth
Garden City, Hertfordshire SG6
1TN, UK; telephone (+44) 146-
249-2090; fax (+44) 146-249-2097;
electronic mail info@tlaudio.co.uk;
Web www.tlaudio.co.uk/.
MIJOY PRO 3 Joystick/Gamepad
MIDI Controller Plug-In
The MIJOY PRO from Virtuasonic
is a VSTi MIDI plug-in designed
to allow a joystick or gamepad to
be used as a MIDI controller. The
joystick/gamepad can be used to
control other VSTi instruments, ef-
fects plug-ins, or MIDI hardware.
The latest version of MIJOY is the
PRO 3, supporting up to eight joy-
sticks/gamepads. The plug-in detects
movement on the x, y, and z axes, as
well as z rotation, two sliders, up to
16 buttons, and two direction pads.
Cartesian and radial axis views are
supported and calibration settings are
available. An offset function enables
the user to set a minimum and maxi-
mum value for each MIDI controller.
The data from the joystick/gamepad
can be output in sequencer or MIDI
port modes. A MIDI Thru is provided
for simultaneous use with multiple
MIDI devices. Button presses can be
set to press/release or switch modes.
Detailed information about
compatibility with VST hosts is
available on the product Web site.
Tutorials for setting up MIJOY with
various MIDI-enabled hosts are also
available and potential uses are
advised to download and try out the
demonstration version.
Virtuasonic also offer a comb filter
VST plug-in, a Didjeridoo Emula-
tor plug-in, and a spatial processor
designed for stereo image balancing.
The MIJOY PRO 3 is listed for
US$ 34.95. Contact: Virtuasonic; Web
www.virtuasonic.com/.
Products of Interest
Steinberg CC121 Advanced
Integration Controller
The CC121 Advanced Integration
Controller from Steinberg is a
hardware interface that provides
the user with tactile control of all
Cubase parameters (see Figure 11).
The controller is USB powered and is
designed to be a plug-and-play device.
A Cubase ready indicator lights up
when the device has been detected.
The controller features a 100-mm
touch-sensitive motorized fader. The
motorized feature is not available
when powering the controller through
USB but is only activitated when the
AC adapter is used to supply power.
Dedicated controls for Cubase chan-
nels include solo, mute, record arm,
automation (read/write), and pan. Full
transport controls with a jog wheel
are included. An equalization section
features twelve rotary encoders for
the Q-factor, frequency, and gain
for each band. Further buttons in
the equalization section control the
bypass switch and the equalization
type. Four function buttons are user-
assignable. A number of templates are
supplied to help assign these controls
to Cubase parameters. Color coding
matches the Cubase buttons.
An advanced integration (AI) knob
is used to give full and precise control
over parameters the user moves the
computer mouse over. The AI knob
can be used to control any visual
Cubase 4 parameter, internal FX
settings, or any VSTi parameter.
Once the user moves the mouse over
a parameter, the AI knob can be used
89
Figure 11. Steinbergs CC121
Advanced Integration Controller.
to control the parameter value and
the controller can be locked to that
parameter so that it retains control
when the mouse is used elsewhere on
the screen.
The controller is compatible with
Macintosh and PC computers. Mac
OS X 10.4 or 10.5 is required on
a minimum platform of PowerPC
G4 1 GHz or Core Solo 1.5 GHz
computer with 512 MB RAM.
Windows XP and Vista are supported
on Intel or AMD 1.4-GHz processors
with 512 MB RAM.
The CC121 is listed for US$
499. Contact: Steinberg; Web
www.steinberg.net/en/.
beyerdynamic HeadZone PRO
5.1 Surround Mobile Headphone
System
The HeadZone PRO from beyerdy-
namic is a mobile headphone system
for 5.1 monitoring (see Figure 12).
The system uses binaural modeling
and patented ultrasonic headtrack-
ing to model the sound of a full 5.1
loudspeaker system. The headtrack-
ing part of the system continuously
detects the position of the listeners
90
head and modifies the playback
position of the source audio to match
it. As the listener turns their head,
they hear the sound source as coming
from the correct spatial position, as
would happen if they were listening
to the audio on separate loudspeakers.
HeadZone supports audio signals
in DTS, Dolby digital, and Dolby
prologic formats, and it is also com-
patible with stereo PCM audio. The
system control unit is packaged
in a portable 1/2 -U size, measuring
250 225 50 mm, and weighing
290 g (without taking the cable into
account). Six unbalanced analog
RCA inputs and a six-input FireWire
connection are housed on the rear
panel.
The front panel features a large
rotary volume control and a button
for switching from analog to digi-
tal inputs with LED indicators. A
bypass button allows the user to
switch off the head-tracking and sur-
round processing in order to send a
stereo mixdown of the audio to the
headphones. A set of DT 880 HT
semi-open headphones is included
and connects to the front panel using
a 1/4 in. jack. The headphones can be
used with other audio equipment and
alternative headphones can be used
Computer Music Journal
Figure 12. beyerdynamics
HeadZone PRO surround-sound
mobile headphone system.
with the HeadZone. This would
result in the surround-sound effect
being retained but the headtracking
option would not be available to the
user.
HeadZone is packaged with
environment-simulation software
that allows the user to model the
sound of a loudpeaker system and
room for listening. The position
of the loudspeakers in the room,
the distance from the listener,
the size of the speakers, and the
acoustic properties of the room
can all be adjusted and saved for
recall.
The company suggests the system
is suitable for home cinema use,
surround-sound studio monitoring,
broadcast monitoring, and for sound
designers for games. A full 1U 19-in.
version of the HeadZone, the XT, is
also available.
The HeadZone PRO is listed for
US$ 3,299. Contact: beyerdynamic,
Germany; telephone (+49) 713-161-
70; fax (+49) 713-161-7224; electronic
mail info@beyerdynamic.de; Web
www.beyerdynamic.de/. US Cus-
tomers should contact beyerdynamic
USA; telephone (+1) 800-293-4463;
fax 631-293-3288; electronic mail
info@beyerdynamic-usa.com; Web
www.beyerdynamic-usa.com/.
Sibelius First Notation Software
Sibelius has released an affordable,
easy-to-use version of its flag-
ship notation software aimed at
singer/songwriters, keyboard players,
and guitarists. Sibelius First enables
the user to easily create, print, share,
publish on the Web, and sell scores.
The application features composing
and arranging tools for up to twelve
musical staves. It can input scanned
sheet music and open PDF files. Mu-
sic can be transcribed from a MIDI
keyboard or MIDI guitar, or the com-
puter keyboard and mouse can be
used for inputting music directly to
the score. Guitar tabulature notation
is supported and 128 sampled instru-
ments are included for playback. An
audio file created from the score can
be exported for burning to CD. The
Scorch Web plug-in is packaged with
Sibelius First to allow users to post
and share scores on the Web.
Sibelius First is listed for US$
129. Contact: Sibelius Sales, 1407
Oakland Boulevard, Suite 103,
Walnut Creek, California 94596,
USA; telephone (+1) 925-280-6600;
fax (+1) 925-280-0008; electronic
mail infoUSA@sibelius.com; Web
www.sibelius.com/.
Yamaha Updates the 01V96
and 02R96 Digital Mixers
Yamaha has updated its popular
01V96 and 02R96 Version 2 digi-
tal mixing consoles to include a
range of Virtual Circuitry Modeling
(VCM) effects. The VCM technology
models analog circuitry, including
resistors and capacitors, so that clas-
sic compressors and equalizers can
be simulated. The 01V96VCM and
02R96VCM include a set of REV-X
reverberation effects, an analog open-
reel tape deck simulator, as well as
vintage equalizers and compressors.
Recent purchasers of the 01V96V2
and 02R96V2 can obtain an update
CD from the company with these
new features for no charge.
Contact: Yamaha Music USA,
Yamaha Corporation of America,
6600 Orangethorpe Avenue, Buena
Park, California 90620, USA; tele-
phone (+1) 714- 522-9011; electronic
mail infostation@yamaha.com; Web
www.yamaha.com/.
Behringer Updates the Eurodesk
Mixer Series
Behringer has added two new SX-
series consoles to its Eurodesk mix-
ers. The 24-channel SX2442FX and
32-channel SX3242FX mixers are
designed for studio and live use and
have what the company asserts to be
ultra-low noise, high-headroom mi-
crophone pre-amplifiers. The mono-
phonic channels feature three-band
semi-parametric equalizers, and the
stereo channels have four-band equal-
izers on their inputs. Four auxiliary
sends are available on each input.
Two effects processors and a nine-
band stereo graphic equalizer are also
included.
The SX2442FX is listed for
US$ 739.99 and the SX3242FX for
US$ 879.99. Contact: Behringer
USA, 18912 North Creek Park-
way, Suite 200, Bothell, Washington
98011, USA; telephone (+1) 425-672-
0816; fax (+1) 425-673-7647; Web
www.behringer.com/.
Digidesign New Pro Tools|HD
Chassis
Digidesigns new PCIe-to-PCIe Expan-
sion Chassis allows users to expand
their PCIe-based ProTools|HD sys-
tems by up to seven HD Core/Accel
Products of Interest
cards. The chassis is a 4U rack-mount
unit that has a ventilated enclosure
and fan, and an ultra-quiet 500-W
power supply. A 3-m iPas cable is
included.
The Digidesign PCIe-to-PCIe Ex-
pansion Chassis is listed for US$
3,495. Contact: Digidesign, a di-
vision of Avid Technology, Inc.,
2001 Junipero Serra Boulevard, Daly
City, California 94014-3886, USA;
telephone (+1) 800-333-2137; Web
www.digidesign.com/.
Digital Performer 6.0
MIDI/Audio Software Update
Mark of the Unicorn has released a
new version of Digital Performer, the
companys flagship MIDI sequenc-
ing and digital audio workstation
application. A new user interface,
convolution reverberation plug-in,
and amplifier plug-in have been in-
cluded. An XML file interchange with
Final Cut Pro and enhanced support
for Pro Tools|HD systems have also
been added. Audio mixes can be
bounced and burned directly to audio
CDs and interleaved broadcast WAV
audio files are now supported.
The Digital Performer 6.0 up-
grade is listed for US$ 195. The full
version is listed for US$ 795. Con-
tact: MOTU, 1280 Massachusetts
Avenue, Cambridge, Massachusetts
02138, USA; telephone (+1) 617-
576-2760; fax (+1) 617-576-3609;
electronic mail sales@motu.com;
Web www.motu.com/.
New Releases
Publications
David W. Bernstein, Ed.: The San
Francisco Tape Music Center:
1960s Counterculture and the
91
 Avant-Garde (softcover with
DVD-Video, 2008, ISBN 978-
0-520-25617-0, Berkeley: Uni-
versity of California Press,
www.ucpress.edu).
Karen Collins: From Pac-Man to
Pop Music: Interactive Audio in
Games and New Media (softcover,
2008, ISBN 978-0-7546-6211-2,
Aldershot/Burlington: Ashgate
Publishing, www.ashgate.com/).
Nick Collins and Julio dEscrivain,
Eds.:The Cambridge Companion to
Electronic Music (softcover, 2007,
ISBN 978-0-521-68865-9, Cam-
bridge/New York: Cambridge Uni-
versity Press, www.cambridge.org/
9780521688659).
Thomas Licata, Ed.: Essays on the
Music and Theoretical Writings
of Thomas DeLio, Contemporary
92
American Composer (hardcover,
2008, ISBN 978-0-7734-5176-
6, Lewiston: The Edwin Mel-
lon Press, www.mellenpress.
com).
Recordings
James Brody: Background Count:
Electroacoustic Music by
James Brody (CD, 2003,
Furous Artisans FACD 6806,
www.furiousartisans.com/).
John Morton: Solo Traveler: Music
for Music Boxes (CD, 2007, innova
665, www.innova.mu/).
Newton: Klavier Elektronik
Ensemble (CD, 2007, os-
tblock records OST 010,
www.newtonensemble.info/).
Computer Music Journal
John Palmer: waka. . . (CD,
2006, Sargasso SCD 28053,
www.sargasso.com or
www.johnpalmer.org/).
Val-Inc (a.k.a. Val Jeanty): ON (CD,
2007, innova 698, www.innova.mu
or val-inc.com).
Various: A Prehistory of Live Cod-
ing (CD, 2007, toplap cd 1,
www.cogs.susx.ac.uk/users/nc81/
music/toplap1.php).
Multimedia
Barry Truax: Riverrun & The Shaman
Ascending: HTML Documenta-
tion (DVD-ROM, 2008, Cam-
bridge Street Records CSR-DVD
0801, www.sfu.ca/truax/riverdvd.
html).