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Products of Interest

AKG C214 Microphone 6.3 2.2 in. and weighs 0.62 lbs. the companys MKH 800 model. The
The package includes a spider shock pick-up pattern does not have to be
AKGs C214 microphone (see mount, windscreen, and metal carry- set at the microphone but can be
Figure 1) is a budget version of the ing case. determined at the mixing console
classic C414 series of microphones. It The C214 is listed for US$ 649. by a combination of fader and signal
uses the same 1-in. diaphragm with Contact: AKG Acoustics GmbH, phase settings. All standard pick-up
patented edge-terminated back plate Lembockgasse
21-25, A-1230 Vienna, patterns can be created along with
technology designed for smooth and Austria; telephone (+43) 186654-0; fax intermediate stage patterns.
wide frequency response. The micro- (+43) 1866-548-800; electronic mail The microphone offers a wide
phone has a cardioid pattern and a sales@akg.com; Web www.akg.com/. frequency response from 30 Hz to
frequency range of 2020,000 Hz. An 50 kHz. The pick-up pattern remains
integrated capsule suspension system constant over almost the whole
is aimed at reducing mechanical noise frequency range. The maximum SPL
and a 150 Hz 6 dB per octave low-cut
Sennheiser MKH 800 Twin is 134 dB and the microphone is
filter is also included. A switchable Microphone touted as a low-noise model.
20 dB attenuation pad is available A slim design has been used
for close microphone placement. The The MKH 800 Twin microphone with the microphone measuring
maximum SPL is 136 dB and 156 dB from Sennheiser (see Figure 2) is a 27 136 mm and weighing 172 g. It
at 0 and 20 dB levels, respectively. dual-capsule microphone based on is available in a nickel color or a dark
The signal-to-noise ratio is 81 dB gray non-reflective Nextel coating, for
(A-weighted). use in film and TV. The microphone is
The C214 microphone has a packaged with a microphone clamp, a
double-mesh, dent-resistant metal shock mount, an adaptor cable (XLR-
grill and a scratch-resistant fin- 5 to two XLR-3 connectors), a user
ish. The XLR connection is gold- manual, and an aluminum transport
plated. The microphone measures 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

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
Figure 2. Sennheisers monitor features controls for input
Figure 1. The AKG C214 MKH 800 Twin and high-frequency gain, as well as
microphone. dual-capsule microphone. equalization settings for adjusting to

82 Computer Music Journal

Figure 3. The A5 studio monitor
from ADAM.

user to add notes, save the score, the timbre and dynamic shape of
and perform it. It can load and ex- the sounds created. Users can build
port scores in MusicXML format for up libraries of envelopes and wave-
use with Finale, Sibelius, and other forms for reuse and can assign tags or
notation programs, and can export keywords to sounds for organization
files to the GNU LilyPond format. purposes. Time and pitch scales can
The object allows scores to be cre- be designed for different projects for
ated and modified in real-time by use with the snap-to-pitch feature
individually specifying note duration and higher-level pattern structures
and pitch using note messages, or by allow for easy repetition of sounds.
right-clicking on the graphical score The developer indicates that the
provided. A music transcription fea- simple interface for audio synthesis
ture is also built-in to automatically provided by HighC makes it a suit-
transcribe musical events in a patch. able framework for implementing
individual rooms. Balanced XLR and The software was developed by Nick classic synthesis techniques such as
un-balanced RCA inputs are included. Didkovsky with Georg Hajdu. additive, FM, granular, waveshaping,
A new stereo-link feature allows the MaxScore was created using the and noise-based synthesis, while also
user to adjust the volume of both Java Music Specification Language being intuitive for novices.
loudspeakers with a single control. (JMSL, see CMJ 29/3) and a JMSL The latest version (2.2) allows
The monitors are available in license is required to run the object. the user to specify exact attack and
a matte black finish or a glossy MaxScore itself is freely available. release times for envelopes, provides
black or white version. Desktop A student JMSL license is avail- more guidance when starting the
stands for optimal acoustics are able for US$ 55 and a developer application, and includes updated
also available. The dimensions are license for US$ 120. Contact: documentation. The software is
6.8 11.2 7.9 in. and each speaker Nick Didkovsky; electronic mail continually being developed with
weighs 11 lbs. didkovn@mail.rockefeller.edu; Web a new update every month or so.
The A5 monitors are listed for www.algomusic.com/. Future development plans include
US$ 700 (pair) for the matte black facilitating the use of sound samples,
finish and US$ 769 (pair) for the interfacing with VST and/or ReWire,
glossy finish. Contact: Adam Audio HighC 2.2 Graphical Music and full spatialization. Music and
GmbH, Ederstrasse 16, D-12059, Creation Software effects composed with HighC can
Berlin, Germany; telephone (+49) be exported to an AIFF sound file.
308-630-0970; fax (+49) 308-630- HighC (pronounced I see) is a A free educational version of the
0977; electronic mail info@adam- graphical music software application software plays audio at 22 kHz. The
audio.de; Web www.adam-audio.de/. designed for creating sound effects, professional version uses 44.1-kHz
U.S. customers can contact: Adam teaching synthesis techniques, and playback. Samples of graphical audio
Audio USA, 31312 Via Colinas, Unit composing music (see Figure 4). The projects created with HighC are
108, Westlake Village, California main user interface window of HighC available on the Web site and a
91362, USA; telephone (+1) 818- features a grid that represents pitch on demonstration applet allows potential
991-3800; fax (+1) 818-991-3808; the vertical axis and time on the hor- users to try out the software. A
electronic mail usa@adam-audio.com; izontal axis. A paint features allows reference manual and a user forum
Web www.adam-audio.com/. the user to draw individual notes and are provided through the Web site as
melodies on the score grid. Cut, copy, well.
paste, and duplicate operations can The full professional version
MaxScore Notation Object then be used to repeat patterns and of HighC is available for ap-
for Max/MSP create harmonies. A snap-to-pitch proximately US$ 46. Contact:
setting ensures that pasted notes and Thomas Baudel, 107 rue Marcadet,
MaxScore is a Max object for han- patterns are automatically matched 75018 Paris, France; telephone
dling musical scores in the Max/MSP to pitches of the scale being used. (+33) 142-572-713; electronic mail
environment. The object facilitates A selection of different waveforms highc@thomas.baudel.name; Web
the creation of scores and allows the and envelopes are available to alter highc.org/.

Products of Interest 83
Figure 4. The primary user interface
window for HighC graphic music
creation software.

AlgoScore Graphical this score can be exported as a PDF Impromptu Real-Time

Environment for Algorithmic document or in SVG format for use by Audio-Visual Programming
other graphic applications. AlgoScore
Composition is customizable and extendible using Environment
the Nasal scripting language (see
AlgoScore, by Jonatan Liljedahl, is plausible.org/nasal/). Users can create Impromptu, by Andrew Sorenson, is a
a graphical environment designed custom classes from scratch or can Mac OS X programming environment
for algorithmic composition. In modify existing classes. Nasal can for composers, sound designers, and
AlgoScore, the user connects objects also be used directly in the score to graphic artists. The environment is
on a timeline. Each of the objects has generate or modify events and control designed to enable the creation and
a number of properties that can be data. manipulation of programs in real-
edited by the user (see Figure 5). Some A CSound interface is built into time during live performance and
of the objects are generative, others AlgoScore and events, control data, supports multiple users. It includes a
rely on user input, and a further set of and function tables can be sent to the synthesis engine, a real-time schedul-
objects are designed to react to inputs CSound output bus for rendering to ing engine, a Scheme interpreter,
from other objects. Objects can have audio. This audio can be played back and an Integrated Development En-
a number of inputs and outputs. The through a JACK audio port or can vironment (IDE). The environment
main AlgoScore window is laid out be exported as a sound file. A MIDI is Scheme-based and uses a modified
as a grid with a toolbar below it. The output bus is also included and this interpreter based on TinyScheme (by
toolbar includes a number of function receives note events and control data Dimitrios Souflis).
buttons, a time display of the current and sends it to a JACK MIDI port. The functions available are
position in the score, and a zoom AlgoScore is a free download categorized into standard Scheme,
control. The objects/classes available under the terms of GNU GPL and audio, graphics, OpenGL, math, ob-
for use include a range of oscillators, is available in Linux and Mac OS X jective C, input/output, Impromptu
envelopes, and line curves, as well as versions. A user guide is available System, and Common List functions.
graphical features such as plots and from the Web site and a mailing list Impromptu is a programmable Audio
sliders. Because AlgoScore does not and IRC channel have been set up for Unit host and provides for precise
create audio in real-time objects can support and information purposes. scheduling with the ability to alter
access the data of other objects at any Contact: Jonatan Liljedahl; elec- parameters, program changes, and
time. tronic mail lijon@kymatica.com; presets in real time through the use
The graphical interface is seen as Web kymatica.com and of programming or through the Audio
the score of a piece of music and gna.org/projects/algoscore/. Unit user interface. The graphic

84 Computer Music Journal

Figure 5. User interface window for
AlgoScore graphical programming
environment for algorithmic

functions available can also be sched- in Scheme to instantiate and call Overloud BREVERB
uled with time accuracy, allowing for Objective C objects. Reverberation Plug-In
the integration of audio and visual el- A number of tutorials are included
ements. Among the graphic functions on the Impromptu Web site for BREVERB from Overloud is a rever-
included are live video processing, beginners. An introductory video and beration plug-in designed to replicate
vector drawing routines, image and a mailing list provide further support. the sound and control available from
text rendering, CoreImage filters, and Mac OS X 10.4 and later are supported. hardware reverberation units. Hall,
QuickTime movie support, as well as Impromptu is available as a free Room, Plate, and Inverse algorithms
a dedicated set of OpenGL functions. download. Contact: Impromptu; elec- are provided and are modeled after
A bi-directional Objective C bridge is tronic mail andrew@moso.com.au; well-known hardware reverberators.
included to allow programs written Web impromptu.moso.com.au/. An equalizer section is also included.

Products of Interest 85
Figure 6. The control surface from
Soundcrafts Vi6 digital live sound

Two different plug-in interfaces are system. Here, the rotary encoders Libraries can be exported to, or
available: the main graphic user inter- and controls are built into the angled imported from, a USB memory stick.
face with a hardware-like appearance touch-screen so that the visual display A further function allows all of the
and six assignable faders, and a com- and controls are combined. Each desk settings to be exported. Libraries
pact version. BREVERB is designed to touch-screen represents eight channel of equalization and dynamic settings
be low on CPU usage. The developer strips and there are four of these sets are also provided.
reports that eighty stereo instances of on the Vi6 model. When an area The Vi6 control surface allows
the plug-in can be opened on a Pen- on the channel strip is selected for simultaneous mixing of 64 mono
tium 4.3-GHz processor, and 120 can a full control panel is opened on inputs into 35 outputs, with 24 insert
be opened on a Core2 Duo 2.4 GHz the lower section of the screen, send/return pairs assignable to any
MacBook Pro. where 16 real knobs and switches are of the input or output channels. The
VST, RTAS, and Audio Units mounted. The color of the graphic Vi4 offers 48 inputs on 24 faders, with
formats are supported on Mac OS display around these controls is a total of 27 output busses available
X operating systems, and VST and context-dependent. Routing, input for use. The stageboxes provide 64
RTAS formats on Windows operating gain, digital gain trim, delay, high- or 48 analog microphone/line inputs
systems. Mac OS X 10.5 Leopard and low-pass filters, 4-band fully and 32 or 24 analog line outputs.
and Windows Vista are supported. A parametric EQ, compressor, limiter, Phantom power is provided, along
1024 768 video display and 512 MB gate, de-esser, and pan can all be with a 100-Hz high-pass filter be-
RAM are required. accessed in this way. A further fore the analog-to-digital convertors.
BREVERB is listed for US$ 399. Vistonics II interface is dedicated The microphone gain can be con-
Contact: ALMATEQ, Via N. Biondo to meter displays for the inputs trolled remotely from the control
173, 41100 Modena, Italy; telephone and outputs, output processing, and surface. Eight-channel AES/EBU in-
(+39) 598-225-89; fax (+39) 593-366- diagnostics. The faders are assignable put/output options are also available
126; Web www.overloud.com/. and use a FaderGlow system to for the stagebox. The local rack fea-
match the colors of the Vistonics II tures 16 analog line inputs, three
interface. The faders in the output analog microphone/line inputs, a
section of the control surface can be talkback microphone input, and eight
Soundcraft Vi Digital Live Sound assigned to provide master control AES/EBU inputs. The outputs on the
Mixer System of matrix outputs, VCA groups, and local rack are 16 analog line outputs,
graphic EQ control. Copy and paste eight AES/EBU outputs, three LCR
The Soundcraft Vi digital live sound functions can be accessed using the local monitor A line outputs, two LR
mixer system is made up of a control touch-screen to reduce set-up time by local monitor B line outputs, and a
surface, a local rack with processing copying parameters across channels. talkback line output. A total of six
engine, and a stagebox (see Figure 6). An internal library is available for stageboxes can be connected to the
The control surface features the storing individual channel parameter system and the user can select the
patented Vistonics II touch-screen settings or blocks of channel settings. inputs from any of those available on

86 Computer Music Journal

Figure 7. User interface for Waves
EQP-1A from the JJP collection.

the connected stageboxes. A 64-chan- Puig to create the JJP collection, a The PuigTec MEQ-5 is a software
nel MADI input/output on optical set of four plug-ins that are based version of the MEQ-5 mid-range
SC connectors is included but can be on rare audio equipment from his equalizer. Five low-mid-frequency
replaced by an optional CobraNET studio. Each plug-in is compatible (2001,000 Hz), eleven mid-frequency
card or a Soundcraft A-NET 16V with Digidesign Icon and supports (2007,000 Hz), and five high-mid-
card. Sixteen GPIO contact closure TDM, RTAS, VST, and AU formats. frequency (1.55 kHz) controls are
inputs and outputs are located on the Sampling rates up to 96 kHz/24-bit available.
local rack, and a further eight on the are available with all of the plug- The native version of the JJP col-
stagebox. The control surface itself ins. A library of Mr. Puigs personal lection is listed for US$ 800 and
includes a MIDI input and two MIDI presets are included. the TDM version for US$ 1,600.
output connectors on its rear panel. The PuigChild 660 and 670 Contact: Waves, Inc., 2800 Mer-
The stagebox connects to the local compressor/limiter are based on chants Drive, Knoxville, Tennessee
rack using Cat 5 cable, which allows the Fairchild monophonic and 37912, USA; telephone (+1) 865-909-
the mixer to be located up to 80 m stereo compressors that were 9200; fax (+1) 865-909-9245; Web
from the stage, or Cat 7 cables, which widely used during the era of vinyl www.waves.com/.
increases this distance to 130 m. recording. A lateral vertical mode
The option of a FibreOptic interface (MS compression) is included for
allows the stagebox to be located optimal stereo imaging and linked
1.5 km from the local rack. The and unlinked modes are available. API Arsenal Audio by API Analog
system is compatible with the HiQnet The input gain can be varied from Signal Processors
protocol. 20 to 0 dB and the threshold from
The Vi4 is listed for US$ 73,169 0 to 10 dB in steps of 0.1 dB. The API has launched a new series
and the Vi6 for US$ 86,908. Contact: output signal can be varied between of analog signal processors called
Soundcraft USA, Harman Pro North 18 to +18 dB in steps of 0.1 dB. Arsenal Audio by API. The first set of
America, 500 Balboa Boulevard, PuigTec EQP-1A is based on the products in the series includes three
Northridge, California 91329, USA; Pultec EQP-1A program equalizer, a hand-assembled rackmount units
telephone (+1) 818-920-3212; fax device that could boost and cut the (see Figure 8).
(+1) 818-920-3208; electronic mail same frequencies simultaneously to The R20 is a two-channel micro-
soundcraft-usa@harman.com; Web create a resonant frequency shelf. This phone pre-amplifier with low-noise
www.soundcraft.com/. plug-in provides four low-boost/cut inputs for microphone and instru-
frequencies, three high-cut frequen- ment. A rotary gain control is avail-
cies, and seven high-frequency boost able for each channel, along with
Waves JJP Plug-In Collection points (see Figure 7). The bandwidth switches for phantom power, phase,
of the high boost can be controlled. pad, and microphone/instrument
Waves has teamed up with producer, The output is in the same range as selection. The microphone inputs
mixer, and engineer Jack Joseph the previous plug-in. provide up to 55 dB of gain and the

Products of Interest 87
Figure 8. Clockwise from left, the Figure 9. The AT2035
API R20, R24, and V14 analog signal large-diaphragm microphone from
processors. Audio-Technica.

Figure 8

instruments input up to 31 dB of The R20 and R24 are listed for US$
gain. The pad switch attenuates the 1,195 and the V14 for US$ 695. Con-
microphone input by 20 dB and the tact: Automated Processes, Inc., 8301
instrument input by 10 dB. Two ana- Patuxent Range Road, Jessup, Mary-
log VU meters with peak indicators land 20794, USA; electronic mail
are provided on the front panel. Bal- dzimbelman@ArsenalAudio.com;
anced XLR and 14 -in. jack outputs are Web www.arsenalaudio.com/.
The R24 is a two-channel four-
band equalizer with 12 dB boost/cut
Audio-Technica AT2035 and
available on each band. Separate AT2050 Large-Diaphragm
continuously variable control knobs Microphones
are available for frequency and gain.
A custom-designed transformer- Audio-Technicas AT2035 and
balanced output with headroom of AT2050 large-diaphragm micro-
+23 dB is included. The microphone phones are the latest additions to the
and 1/4 -in. jack inputs/outputs are companys 20 series of microphones.
balanced. Both the R20 and R24 have The AT2035 is a cardioid condenser
internal power supplies. studio and stage microphone. It fea-
Finally, the V14 is a four-band tures a switchable 80-Hz high-pass
equalizer designed for use with the filter to reduce low-frequency ambi- Figure 9
API VPR 500 series racks with power ent noise and vocal popping. A 10 dB
supply. Dual concentric continuously pad is also included. The microphone and live use (see Figure 9). Omni-
variable knobs are available for con- can handle SPL levels up to 148 dB or directional, cardioid, and figure-eight
trolling frequency and gain. The four 158 dB with use of the pad. The dual patterns are available.
bands each have a 12 dB boost/cut and diaphragms used are gold-vaporized The output from both microphones
peak/dipping parametric configura- and provide a flat frequency response is a low-impedence, balanced XLRM
tion. A custom transformer-balanced across the 2020,000 Hz range. connector. Custom shock mounts
output with headroom of +24 dB is The AT2050 is a multi-pattern and protective pouches are packaged
also provided. condenser microphone for studio with each microphone.

88 Computer Music Journal

Figure 10. TL Audios Ebony A4
analog summing mixer.

The AT2035 microphone is listed MIJOY PRO 3 Joystick/Gamepad Steinberg CC121 Advanced
for US$ 249 and the AT2050 for US$ MIDI Controller Plug-In Integration Controller
369. Contact: Audio-Technica U.S.,
Inc., 1221 Commerce Drive, Stow, The MIJOY PRO from Virtuasonic The CC121 Advanced Integration
Ohio 44224, USA; telephone (+1) is a VSTi MIDI plug-in designed Controller from Steinberg is a
330-686-2600; fax: (+1) 330-688-3752; to allow a joystick or gamepad to hardware interface that provides
Web www.audio-technica.com/. be used as a MIDI controller. The the user with tactile control of all
joystick/gamepad can be used to Cubase parameters (see Figure 11).
control other VSTi instruments, ef- The controller is USB powered and is
TL Audio Ebony A4 Analog fects plug-ins, or MIDI hardware. designed to be a plug-and-play device.
Summing Mixer The latest version of MIJOY is the A Cubase ready indicator lights up
PRO 3, supporting up to eight joy- when the device has been detected.
The Ebony A4 is the latest addi- sticks/gamepads. The plug-in detects The controller features a 100-mm
tion to TL Audios Ebony Series of movement on the x, y, and z axes, as touch-sensitive motorized fader. The
hand-made discrete class A analog well as z rotation, two sliders, up to motorized feature is not available
processors (see Figure 10). This sum- 16 buttons, and two direction pads. when powering the controller through
ming mixer features 16 balanced Cartesian and radial axis views are USB but is only activitated when the
inputs on TRS and D-Sub connectors supported and calibration settings are AC adapter is used to supply power.
which sum down to a stereo out- available. An offset function enables Dedicated controls for Cubase chan-
put. The inputs have individual pan the user to set a minimum and maxi- nels include solo, mute, record arm,
controls and are switchable between mum value for each MIDI controller. automation (read/write), and pan. Full
+4 and 10 dBu. Balanced inserts The data from the joystick/gamepad transport controls with a jog wheel
are included on the master section, can be output in sequencer or MIDI are included. An equalization section
enabling the user to add a stereo port modes. A MIDI Thru is provided features twelve rotary encoders for
compressor or equalizer to the signal for simultaneous use with multiple the Q-factor, frequency, and gain
path. An optional tube stage is also MIDI devices. Button presses can be for each band. Further buttons in
available on the master bus and a sin- set to press/release or switch modes. the equalization section control the
gle control knob adjusts the amount Detailed information about bypass switch and the equalization
of warmth added to the sound. Two compatibility with VST hosts is type. Four function buttons are user-
VU meters with peak LED indicators available on the product Web site. assignable. A number of templates are
are provided on the front panel. The Tutorials for setting up MIJOY with supplied to help assign these controls
outputs of the mixer are balanced. various MIDI-enabled hosts are also to Cubase parameters. Color coding
The Ebony summing mixer is a 2U available and potential uses are matches the Cubase buttons.
unit with a high-gloss black finish. advised to download and try out the An advanced integration (AI) knob
The Ebony A4 is listed for US$ demonstration version. is used to give full and precise control
1,599. Contact: TL Audio, 2 Iceni Virtuasonic also offer a comb filter over parameters the user moves the
Court, Icknield Way, Letchworth VST plug-in, a Didjeridoo Emula- computer mouse over. The AI knob
Garden City, Hertfordshire SG6 tor plug-in, and a spatial processor can be used to control any visual
1TN, UK; telephone (+44) 146- designed for stereo image balancing. Cubase 4 parameter, internal FX
249-2090; fax (+44) 146-249-2097; The MIJOY PRO 3 is listed for settings, or any VSTi parameter.
electronic mail info@tlaudio.co.uk; US$ 34.95. Contact: Virtuasonic; Web Once the user moves the mouse over
Web www.tlaudio.co.uk/. www.virtuasonic.com/. a parameter, the AI knob can be used

Products of Interest 89
Figure 11. Steinbergs CC121 Figure 12. beyerdynamics
Advanced Integration Controller. HeadZone PRO surround-sound
mobile headphone system.

with the HeadZone. This would

to control the parameter value and head and modifies the playback result in the surround-sound effect
the controller can be locked to that position of the source audio to match being retained but the headtracking
parameter so that it retains control it. As the listener turns their head, option would not be available to the
when the mouse is used elsewhere on they hear the sound source as coming user.
the screen. from the correct spatial position, as HeadZone is packaged with
The controller is compatible with would happen if they were listening environment-simulation software
Macintosh and PC computers. Mac to the audio on separate loudspeakers. that allows the user to model the
OS X 10.4 or 10.5 is required on HeadZone supports audio signals sound of a loudpeaker system and
a minimum platform of PowerPC in DTS, Dolby digital, and Dolby room for listening. The position
G4 1 GHz or Core Solo 1.5 GHz prologic formats, and it is also com- of the loudspeakers in the room,
computer with 512 MB RAM. patible with stereo PCM audio. The the distance from the listener,
Windows XP and Vista are supported system control unit is packaged the size of the speakers, and the
on Intel or AMD 1.4-GHz processors in a portable 1/2 -U size, measuring acoustic properties of the room
with 512 MB RAM. 250 225 50 mm, and weighing can all be adjusted and saved for
The CC121 is listed for US$ 290 g (without taking the cable into recall.
499. Contact: Steinberg; Web account). Six unbalanced analog The company suggests the system
www.steinberg.net/en/. RCA inputs and a six-input FireWire is suitable for home cinema use,
connection are housed on the rear surround-sound studio monitoring,
panel. broadcast monitoring, and for sound
The front panel features a large designers for games. A full 1U 19-in.
beyerdynamic HeadZone PRO
rotary volume control and a button version of the HeadZone, the XT, is
5.1 Surround Mobile Headphone for switching from analog to digi- also available.
System tal inputs with LED indicators. A The HeadZone PRO is listed for
bypass button allows the user to US$ 3,299. Contact: beyerdynamic,
The HeadZone PRO from beyerdy- switch off the head-tracking and sur- Germany; telephone (+49) 713-161-
namic is a mobile headphone system round processing in order to send a 70; fax (+49) 713-161-7224; electronic
for 5.1 monitoring (see Figure 12). stereo mixdown of the audio to the mail info@beyerdynamic.de; Web
The system uses binaural modeling headphones. A set of DT 880 HT www.beyerdynamic.de/. US Cus-
and patented ultrasonic headtrack- semi-open headphones is included tomers should contact beyerdynamic
ing to model the sound of a full 5.1 and connects to the front panel using USA; telephone (+1) 800-293-4463;
loudspeaker system. The headtrack- a 1/4 in. jack. The headphones can be fax 631-293-3288; electronic mail
ing part of the system continuously used with other audio equipment and info@beyerdynamic-usa.com; Web
detects the position of the listeners alternative headphones can be used www.beyerdynamic-usa.com/.

90 Computer Music Journal

Sibelius First Notation Software vintage equalizers and compressors. cards. The chassis is a 4U rack-mount
Recent purchasers of the 01V96V2 unit that has a ventilated enclosure
Sibelius has released an affordable, and 02R96V2 can obtain an update and fan, and an ultra-quiet 500-W
easy-to-use version of its flag- CD from the company with these power supply. A 3-m iPas cable is
ship notation software aimed at new features for no charge. included.
singer/songwriters, keyboard players, Contact: Yamaha Music USA, The Digidesign PCIe-to-PCIe Ex-
and guitarists. Sibelius First enables Yamaha Corporation of America, pansion Chassis is listed for US$
the user to easily create, print, share, 6600 Orangethorpe Avenue, Buena 3,495. Contact: Digidesign, a di-
publish on the Web, and sell scores. Park, California 90620, USA; tele- vision of Avid Technology, Inc.,
The application features composing phone (+1) 714- 522-9011; electronic 2001 Junipero Serra Boulevard, Daly
and arranging tools for up to twelve mail infostation@yamaha.com; Web City, California 94014-3886, USA;
musical staves. It can input scanned www.yamaha.com/. telephone (+1) 800-333-2137; Web
sheet music and open PDF files. Mu- www.digidesign.com/.
sic can be transcribed from a MIDI
keyboard or MIDI guitar, or the com- Behringer Updates the Eurodesk
puter keyboard and mouse can be
Mixer Series Digital Performer 6.0
used for inputting music directly to
the score. Guitar tabulature notation
MIDI/Audio Software Update
Behringer has added two new SX-
is supported and 128 sampled instru-
series consoles to its Eurodesk mix- Mark of the Unicorn has released a
ments are included for playback. An
ers. The 24-channel SX2442FX and new version of Digital Performer, the
audio file created from the score can
32-channel SX3242FX mixers are companys flagship MIDI sequenc-
be exported for burning to CD. The
designed for studio and live use and ing and digital audio workstation
Scorch Web plug-in is packaged with
have what the company asserts to be application. A new user interface,
Sibelius First to allow users to post
ultra-low noise, high-headroom mi- convolution reverberation plug-in,
and share scores on the Web.
crophone pre-amplifiers. The mono- and amplifier plug-in have been in-
Sibelius First is listed for US$
phonic channels feature three-band cluded. An XML file interchange with
129. Contact: Sibelius Sales, 1407
semi-parametric equalizers, and the Final Cut Pro and enhanced support
Oakland Boulevard, Suite 103,
stereo channels have four-band equal- for Pro Tools|HD systems have also
Walnut Creek, California 94596,
izers on their inputs. Four auxiliary been added. Audio mixes can be
USA; telephone (+1) 925-280-6600;
sends are available on each input. bounced and burned directly to audio
fax (+1) 925-280-0008; electronic
Two effects processors and a nine- CDs and interleaved broadcast WAV
mail infoUSA@sibelius.com; Web
band stereo graphic equalizer are also audio files are now supported.
included. The Digital Performer 6.0 up-
The SX2442FX is listed for grade is listed for US$ 195. The full
US$ 739.99 and the SX3242FX for version is listed for US$ 795. Con-
Yamaha Updates the 01V96 US$ 879.99. Contact: Behringer tact: MOTU, 1280 Massachusetts
USA, 18912 North Creek Park- Avenue, Cambridge, Massachusetts
and 02R96 Digital Mixers way, Suite 200, Bothell, Washington 02138, USA; telephone (+1) 617-
98011, USA; telephone (+1) 425-672- 576-2760; fax (+1) 617-576-3609;
Yamaha has updated its popular 0816; fax (+1) 425-673-7647; Web electronic mail sales@motu.com;
01V96 and 02R96 Version 2 digi- www.behringer.com/. Web www.motu.com/.
tal mixing consoles to include a
range of Virtual Circuitry Modeling
(VCM) effects. The VCM technology
models analog circuitry, including Digidesign New Pro Tools|HD New Releases
resistors and capacitors, so that clas- Chassis
sic compressors and equalizers can Publications
be simulated. The 01V96VCM and Digidesigns new PCIe-to-PCIe Expan-
02R96VCM include a set of REV-X sion Chassis allows users to expand David W. Bernstein, Ed.: The San
reverberation effects, an analog open- their PCIe-based ProTools|HD sys- Francisco Tape Music Center:
reel tape deck simulator, as well as tems by up to seven HD Core/Accel 1960s Counterculture and the

Products of Interest 91
Avant-Garde (softcover with American Composer (hardcover, John Palmer: waka. . . (CD,
DVD-Video, 2008, ISBN 978- 2008, ISBN 978-0-7734-5176- 2006, Sargasso SCD 28053,
0-520-25617-0, Berkeley: Uni- 6, Lewiston: The Edwin Mel- www.sargasso.com or
versity of California Press, lon Press, www.mellenpress. www.johnpalmer.org/).
www.ucpress.edu). com). Val-Inc (a.k.a. Val Jeanty): ON (CD,
Karen Collins: From Pac-Man to 2007, innova 698, www.innova.mu
Pop Music: Interactive Audio in or val-inc.com).
Games and New Media (softcover, Recordings Various: A Prehistory of Live Cod-
2008, ISBN 978-0-7546-6211-2, ing (CD, 2007, toplap cd 1,
Aldershot/Burlington: Ashgate James Brody: Background Count: www.cogs.susx.ac.uk/users/nc81/
Publishing, www.ashgate.com/). Electroacoustic Music by music/toplap1.php).
Nick Collins and Julio dEscrivain, James Brody (CD, 2003,
Eds.:The Cambridge Companion to Furous Artisans FACD 6806,
Electronic Music (softcover, 2007, www.furiousartisans.com/). Multimedia
ISBN 978-0-521-68865-9, Cam- John Morton: Solo Traveler: Music
bridge/New York: Cambridge Uni- for Music Boxes (CD, 2007, innova Barry Truax: Riverrun & The Shaman
versity Press, www.cambridge.org/ 665, www.innova.mu/). Ascending: HTML Documenta-
9780521688659). Newton: Klavier Elektronik tion (DVD-ROM, 2008, Cam-
Thomas Licata, Ed.: Essays on the Ensemble (CD, 2007, os- bridge Street Records CSR-DVD
Music and Theoretical Writings tblock records OST 010, 0801, www.sfu.ca/truax/riverdvd.
of Thomas DeLio, Contemporary www.newtonensemble.info/). html).

92 Computer Music Journal