Archives for January 2003

Eventide Revisits History With Launch of Clockworks Legacy Plug-Ins

In a move that makes some of music production’s most sought-after classic audio effects available to a new generation of musicians and engineers, Eventide has jumped into the software plug-in processor market.

Long renowned for its classy and distinctive-sounding outboard effects boxes, notably delays and pitch shifters, Eventide has launched a new line of software emulations of some classic effects, including the H910, Omnipressor®, Instant Phaser™, Instant Flanger™ and H949. Under the Clockworks Legacy label, the Eventide plug-ins will be available for Digidesign’s ProTools HD platform.

The Omnipressor plug-in has attitude fit for a Queen

Tony Agnello, Eventide chief technology officer, says his company’s decison to port these classic algorithms to the desktop was an idea whose time had finally come.

“We’ve been receiving requests for Eventide plug-ins for some time, but we were concerned that the current crop of desktop platforms wouldn’t be capable of supporting our algorithms and the high quality threshold our hardware has set over the past three decades,” Agnello said at the launch during the Winter NAMM show in Anaheim.

“With the release of ProTools HD, our concerns were vanquished. With the proven quality and reliability of this platform, were confident that it was the best avenue for designing our first plug-ins, Eventide Clockworks Legacy™.”

The new series of five plug-ins brings a heritage of Eventide innovation and quality to the desktop environment. This series features the five key products that were made at the Eventide Clockworks facility on 54th Street in Manhattan during the 1970s and 1980s.

The Omnipressor, which was introduced in 1971 and was available through 1984, was an analog compressor with attitude. It offered simultaneous compression above the threshold point, and expansion below, and made its way onto hundreds of signature recordings of the seventies and eighties. Queen’s Brian May was a very early customer and the Omnipressor quickly became a part of his signature guitar sound.

The Instant Phaser features a sweeping filter bank

The Instant Phaser, also introduced in 1971 sold through 1977, was a single-function analog processor with a sweeping filter bank with two outputs that are 180 degrees out of phase from each other. Members of Led Zeppelin were so impressed, they even agreed to endorse it. Take a close listen to “Kashmir,” you will hear the unmistakable sound of the Instant Phaser.

H910 - the very first Eventide Harmonizer effects processor

The H910, Eventide’s first Harmonizer® brand effects processor, was immediately recognized by the music world as a milestone product when it was introduced in 1975 and sold through 1984. Tony Visconti was among the early devotees, using it to create the unique snare sound on David Bowie’s “Young Americans,” “Low” and “Lodger.”

Instant Flanger? emulates the distinctive sound of two open reel tape decks moving in and out of phase

The Instant Flanger, an analog flanger, was first released in 1976 and sold though 1984. It replicated the effect of two open reel tape recorders with identical material. When the tape flange was accidentally touched, the sound of a plane taking off roared through the speakers. The Instant Flanger was one of the first hardware products to recreate this effect electronically and was widely used on hit records thoughout the seventies and eighties.

The H949 Harmonizer was used by many top engineers and performers, including a young Jimmy Page

The H949 was the first “deglitched” pitch changer. Introduced in 1977 and sold through 1984, the H949 was the only piece of digital gear Jimmy Page allowed in his rig. It became a staple in most successful studios of the time and is considered by many leading producers and artists to have immeasurably influenced that era’s music.

The process of porting over the algorithms has been executed with meticulous dedication to quality, according to Agnello. “The value in the Clockworks Legacy plug-ins is that they replicate the quality, versatility and functionality of our orignal dedicated processors,” he explains. “We recognize that any departure from those sounds would be fatal.”

Agnello also stresses that Eventide will continue to design and manfacture dedicated hardware processors.

“Though ProTools HD has become the platform of choice in many high-end music and post production faclilties, we believe there is still a compelling case for making hardware products. Hardware products can be integral to the process of performance and composition and are increasingly used in tracking because the real time feedback between the performer and the effects changes their approach. It is a critical interactive process that is often forgotten.”

“Our core knowledge consists of well over a thousand preset algorithms, made up of over two hundred effects modules which can be arranged in virtually any configuration using our unique ‘Anything-to-Anything’ routing capabilities. This will be cross-developed for future plug-ins, as well as offered as software upgrades for our hardware. It makes good sense that people producting their release using Eventide plug-ins would want to use the same effects in a hardware box when they go on the road” states Agnello.

“Developing plug-ins was not a move we made lightly,” Agnello concludes, “but we’re extremely pleased with the results and I’m confident that the universe of ProTools users will agree. We are moving full force into the plug-in arena with a strong foundation of success among the most discerning professionals. The stakes are high, but we are confident that we bring a lot to the table.”

The Eventide Clockworks Legacy series of plug-ins offer full automation, MIDI Control, and Pro Control integration to take advantage of the ProTools feature set.

Eventide Web Site

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AES 114th Convention Exhibitors

Company Stand

A

A.P.R.S.


3412

ACME/AUDIO PRO

1223

Acoustics Engineering


1119

Adam Audio


1916

ADK Microphones


1425

ADVANCED COMPUTER SYSTEMS S.p.A.


3315

AEQ, S.A.


2325

AES 115th Convention


3415

AKG Acoustics GmbH


2808

ALCONS AUDIO

2915

ALLEN & HEATH Ltd


1416

AM 3D


3211

AMPTEC bvba

1622

AMS – NEVE plc.


1204

APHEX Systems Ltd


1416

APT


1907

Arbor


2820

ARKAMYS


3013

ASL INTERCOM bv.


1416

Audemat / Aztec


1411

Audient

1211

Audio Engineering


2516

Audio Precision


1910

Audio Pro Magazine


2812

Audio Pro Nederland


1211

Audio Video Echos


2812

Audionics


1915

Audioscope 2K


2818

AUDIO-SERVICE Ulrich Schierbecker GmbH

1125

Audio-Technica


2207

AVALON Design


2425

AVIOM


1622

AVT


2416


B

Belden


2914

Brainstorm


1702

Brainstorm

1702

BRAUNER MICROPHONES


2425

Brüel & Kjaer


2102


C

Cadac


1507

Calrec Audio


2210

Canford Audio


2712

CB Electronics


1901

CEDAR Audio Ltd

1807

CIRRUS LOGIC Inc.


1825

CLYDE BROADCAST PRODUCTS Ltd


1606

C-MEXX Software


1706

Coding Technologies


1902

Comrex


2816

CSTB


3311

Cube-Tec


2013


D

d & b audiotechnik


1211

D & R


2219

D.A.V.I.D.

2622

DALET


1408

DANGEROUS MUSIC


1423

DATEQ Audio Technologies


2913

DELEC AUDIO-UND VIDEOTECHNIK


1820

DHD GmbH


1522

DiGiCo UK Ltd.


2010

Digidesign, a division of Avid Technology


1220

DIGIGRAM sa

1411

DK-Audio


2411

Dolby


2608

DOMINO DESIGN GmbH


1207

DPA Microphones A/S


1815

Drawmer


2212

DTS


2019

DURAN AUDIO bv.


3021

DVD-AUDIO GROUP c/o MERIDIAN AUDIO GROUP

2615


E

EARTHWORKS Audio Products, Inc


1207

EBH Radio Software


2119

EMES Studio Monitor Systems


3416

EMPIRICAL Labs, Inc.


1423

EUPHONIX Europe Office


3215

Eventide


1421


F

FAIRLIGHT ESP Ltd


2921

FAR


1613

FOCAL – JM LAB


1225

Fostex Corporation


1918

Fraunhofer IIS

1105

FRIEND-CHIP


1212


G

Genelec


2410

Genelec


Room M

GENEX AUDIO Inc.


1122

GEOFFREY DAKING and Co Inc


2221

Ghielmetti


1406

GML

1702


H

HARMAN PRO GROUP


2306

HEARSAFE Technologies


2726


I

I.B.E.


2812

Imas Publishing


2106

Innova SON sa.


1411

Institut für Rundfundtechnik GmbH

1616

Interface Media BV – Shiva DMA


1323

Inter-M / Algorithmix


1506


INTERNATIONALPRESSAREA

2812


J

J & C Intersonic Ag

1722

JK AUDIO, Inc


1312

Jünger Audio


1112

Jutel


1710


K

Keyboards

2812

Klippel


2421

KM Studio Systems


1810

KRK Systems


3221

KS Digital


1211


L

Lake People


2004

Lawo


1804

Le Guide Radio

2812

Lectrosonics


1307

Lexicon


2912


Line Up

2812

Link


1211

LINN PRODUCTS

2817

Listen Inc.


2102

Live Sound


1912

LOGITEK ELECTRONIC SYSTEMS


2321

Lundahl Transformers


2612

Lydkraft


2216

M

Mandozzi Elettronica sa.


1404

Manley Labs

1603

MARANTZ Professional Europe


3312

M-AUDIO


3313

MAYAH Communications


2419

Maycom Audio Systems


2222

MB QUART GmbH


3113

MECASTEP OY


1710

MEDIA UTILITIES


1522

MEDIARTE GmbH

3212

Merging Technologies


1604

MICHAEL STEVENS & PARTNERS Ltd


3010

Milab


1502

Millenia Media


1120

MILLER & KREISEL INTERNATIONAL


1712

MILLER & KREISEL SOUND Inc.


1712

MINNETONKA AUDIO SOFTWARE


3212

mLAN Alliance


1716

Mogami


1803

MT Gefell


1520

MUSICAM USA

2422

Musikelektronik Geithain Gmbh


1620

MUTEC GmbH


2725


N

Nagra Nagravision SA Kudelski Group


2413


NATIONAL SEMICONDUCTOR GmbH

2813

Netia


1610

Neumann


2204

Neutrik


2315

NHT Pro


3017

NOA Audio Solutions VertriebsgesmbH


2521

NTI


1725

NTP AV Group


2007

NTP System Engineering

2007

NXT New Transducers Ltd


2522


O

Omnia


2714

Opticom


1325

ORBAN / CRL Systems Inc.


3112

Otari Europe GmbH


2104


P

Panphonics Ltd

1812

Pearl Microphones


1802

Philips International / Super Audio CD


Room O

Plus24


1702

PMI


1602

Prism Media Products


1217

Pro Audio Asia


1420

Pro Audio Visie


3018

Pro Sound & Vision

2812

Prodys


1402


PROKOM

3111

PSI AUDIO / RELEC


3210


Q

QUESTED

1416


R

RADIKAL TECHNOLOGIES DEUTSCHLAND


1622


Radio Link

2812

REEL DRUMS


1423

REFERENCE Laboratory s.r.l.

3413

RENKUS-HEINZ


1416

Resolution


1808

Rohde & Schwarz


1715

Rosendahl


1110

RTW


1908

Rycote


2215


S

S.E.A. Vertrieb & Consulting (West)

1207

Salzbrenner Stagetec


1820

SANKEN MICROPHONE Co., Ltd


3110

Schoeps


2415

SD SYSTEMS Instrument Microphones


2206

Sek’ D


1702

Sennheiser


2405

SERVICIOS DE RADIO WAVENET


3019

SHURE GmbH

1818

Solid State Logic


2015

SONIC SOLUTIONS


3212

SONIC STUDIO LLC


3212

Sonifex


2614

Sono Magazine


2812

SONOSAX SAS SA


2815

Sonovision


2812

Sony Europe / Super Audio CD

Room O

SONY OVERSEAS SA


1722

Sound and Vision


1106

Sound Keys


2812

Sound On Sound


2812

Soundfield


2312

Soundmanager International AS


2007

Stage Accompany B.V.


2006

STAGE TEC ENTWICKLUNGSGESELLSCHAFT

1820

STEINBERG Media Technologies AG


1720

Studer


2605

STUDIO 22 GmbH


1207

Studio Audio + Video Ltd


1707

STUDIO BOX GmbH


2822

Studio Magazin


2812

Sypha


3213


T

Tamura


1925

TC ELECTRONIC A/S


1211

Teac / Tascam


2610

Telos Systems


2714

TEXAS INSTRUMENTS


3015

That Corporation


2302

THX, Ltd


3310

TM Audio Holland BV

1416


Top Format


1926


Total Production

1102

TRUTH AUDIO


1423

TSL


1608


U

Ultrasone


2511

United Entertainment Media


1104

UNIVERSAL AUDIO


1207


V

VCS Aktiengesellschaft

2017

VDT


2823


W

Walters-Storyk Design Group Europe


2919

Wave Distribution


1423

WAVE MECHANICS Inc.


1423

WAVES


1622

WEISS Engineering Ltd


1121

Wysicom

1314


Y

Yamaha Corp.


1716

Yamaha Music


1211

Yamaha Music Central Europe GmbH


2617

YOU/COM Audiocommunicatie bv.


2918

Z

Zenon Media


2012

ZPLANE.DEVELOPMENT

1111

Yamaha’s 01V96 Brings Top-of-the-Line Digital Mixer Features to Home & Project Studios

Yamaha’s digital mixing consoles have won widespread acceptance throughout the professional audio world. At Winter NAMM, Yamaha showed the new 01V96 mixer, which aims to provide the same kind of performance as its more-expensive ancestors like the DM2000 and 02R96, in a more affordable format suitable for the home or smaller professional production studio.

The suggested retail price of the 01V96 is $2,499 (US).

The new model offers 24 analog and digital channel inputs, expandable on-board to 40 channels, and units can be cascaded for applications that require more. Every input channel provides independent compression and gating/ducking processors for dynamics control, 4-band parametric channel EQs that are fully sweepable from 20 Hz to 20 kHz, with bandwidth variable from 0.1 to 10 and a +/-18dB gain range, and channel delays with a maximum delay of 452 milliseconds (96 kHz mode). The stereo bus, eight mix buses, and eight aux buses each have individual compression and EQ, as well.

24-bit/96-kHz operation is standard in the 01V96. You can also work at 44.1 kHz, 48 kHz and 88.2 kHz, depending on the needs of each individual project.

The 01V96 comes with a comprehensive range of on-board effects, 96-kHz compatible, stereo, with 32-bit internal processing. There is enough processing power to run two effects simultaneously at 88.2/96-kHz, and up to four effects at lower sampling frequencies.

Automation on the new mixer is scene-based. There are 99 scene memory slots for complete console setups that can be memorized and called up via mixer panel controls, or recalled remotely via MIDI program change messages.

Like the DM2000, the 01V96 has been designed to integrate tightly with leading digital audio workstations to create a complete production and mixing environment. Extensive support is provided for Digidesign’s Pro Tools® system as well as Steinberg’s Nuendo® DAW – full control of mixing and processing parameters, as well as transport/track-arming control and access to editing functions – directly from the 01V96 control surface.

There’s also a “General DAW” mode that provides compatibility with other workstations.

Yamaha U.S.A. Web Site

More Yamaha at NAMM

More Winter NAMM Coverage

USACI Details Upcoming Spring Break Sound Off and SPL Events

United States Autosound Competition International (USACI) has provided event details for a couple of Spring Break competition events coming up in March.

First up is 6th annual Spring Break Jam, March 1-2, 2003 at the South Padre Island Convention Center in South Padre Island, Texas. The event will include a USACI triple-points regional sound off and USACI custom car show, plus live performances, free product giveaways, and bikini contests.

Spring Break Jam will also feature “The Mike Outlaw Show,” under a new agreement that will bring Mike Outlaw and his “incredibly crazy personality” to the spring break event every year for the next three years.

“I am pumped!” exclaims Mike Outlaw, explaining that he can hardly wait to take the stage at Padre. “I do a lot of events, but few as fun or spontaneous as Spring Break Jam” he says.

A couple of weeks later comes the USACI Spring Break Beach Bash, sponsored by Audiobahn. It takes place March 15-16, 2003, at the Miracle Mile Amusement Park on the “Party Strip” at Panama City Beach, Florida. It will be a USACI Regional event, World SPL Record Event, and Tuner Jam Car Show. Organizers are expecting about 100,000 spring breakers to attend.

The event admission includes one free admission to the amusement park, World Finals size trophies, and cash prize money in every class, with one lucky competitor winning a guaranteed $1000 cash prize.

Among the attractions at the Beach Bash:

  • “The Judge” SPL tower
  • the “Mike Outlaw Show” (sponsored by Memphis Car Audio)
  • SPL Legend Alma Gates will sign autographs
  • “The Bronco,” the vehicle that changed the face of SPL competition in America

Team Kicker will be on hand to support their competitors as will Crutchfield, Memphis Car Audio, Audiobahn, Digital Audio, Ichibahn, Xcite Audio, Swiss Audio, Alphasonic, and many other local and national sponsors.

Sommers Audio of Panama City Beach will be the local host sponsor for the event.

USACI Web Site

Native Instruments Launches Vokator at Winter NAMM

he new VOKATOR plug-in from German virtual synth developer Native Instruments is a vocoder that the company says will define a new standard for transparency, detail, and smoothness. It will be available in February 2003 for Mac OS9 and Windows PCs (support for DXi II, RTAS and OS X including Audio Units will follow later), at a suggested retail price of $299 (US).
It is not only an exceptional vocoder, but also a sophisticated synthesizer, a granular sampler, and a virtual sound-fusion laboratory. By offering multiple modes of operation, VOKATOR opens vast new worlds of sound-design possibilities.

VOKATOR’s high-resolution FFT spectral engine is a milestone in vocoder development. Previous vocoders used eight, sixteen, twenty, or thirty-two frequency bands at the most ­ the more frequency bands, the smoother and creamier the effect. Unlike its predecessors, VOKATOR’s advanced engine uses 1024 bands. In addition to its stunningly transparent, full-resolution operation, VOKATOR’s bands can even be grouped together for a convincing vintage-vocoder emulation. To ensure optimal dynamic range across the frequency spectrum, an integrated frequency-domain compressor balances the levels of all bands.

A pair of vocoding channels can either be spectrally combined or played independently. Channel A can be switched between an integrated file player or external input A, while Channel B can be set to a full-featured synthesizer, a time-stretching granular sampler, or external input B. For a traditional vocoder effect, the frequency spectrum of the external input would be controlled by the synthesizer, but VOKATOR’s capabilities are much more advanced than simple vocoding.

VOKATOR is both an effect plug-in and a vocoder-based synthesizer. Its synthesizer features an advanced dual-oscillator design with dynamic preset morphing controlled by the modulation wheel. VOKATOR’s granular sampler can independently control a sample’s pitch and time. A full range of modulators ­ step sequencers, envelope followers, LFOs, and more ­ can be easily routed to any of the synthesizer’s or sampler’s parameters.

Native Instruments Web Site

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