2009 NAMM Show: Alesis has announced that its iMultiMix 16 USB mixer is now available.

The mixer is a “prosumer” level mixer that offers recording direct to iPod. iMultiMix 16 USB is the second entry in a new class of iPod mixers that started with the iMultiMix 8 USB.

iMultiMix 16 USB features a Universal Dock for iPod that let you record directly to any iPod Classic, 5th generation (video) and 2nd or 3rd generation iPod nano. The mobile recording mixer has iPod transport controls and a control wheel built into the surface for complete control of the iPod while it is docked in the mixer. The USB connection lets you transfer tracks into iTunes upon connection to a computer. Files recorded into the iPod are CD quality, 16-bit, 44.1kHz WAV files.

You can also connect the iMultiMix 16 USB to Mac or PC using USB for direct-to-computer recording. In addition to its computer connectivity, iMultiMix 16 USB offers eight analog inputs, 100 digital, 28-bit effects, phantom power and two switchable mic/line/guitar inputs.

iMultiMix 16 USB has an MSRP of $799.99 and a street price of $599.99.

2009 WInter NAMM Show: Allen & Heath has unveiled the Xone:22, a 2 channel analog DJ mixer – a mixer which A&H says offers pro-quality sound and features, but at an entry-level price.

“We’ve raised the bar on entry level mixer design with the Xone:22. It’s the first mixer at this price point to have a full cut isolator/EQ, accurate metering, quality faders and pro standard audio headroom. Incorporating a “lite” version of our now legendary Xone filter system is the icing on the cake,” explains Xone designer, Andy Rigby-Jones.

Description:

At the heart of the feature set is a lite version of the renowned analogue Voltage Control Filter (VCF) system offering Low-Pass and High-Pass filters, frequency sweep and ‘mild to wild’ resonance control. There is also a soft switched effects loop to bring in external effects, which are routed back in through the filter system.

The new mixer has 2 stereo channels with dual phono/line inputs, and phonos can be configured to line if no RIAA sources are in use. There is a 3-band total kill EQ, crossfader curve control switch, and the maximum output level is a generous +25dBu.

The main mix output and mic input are on professional standard balanced XLR’s, and there is a dedicated record output. The Xone:22 is equipped with comprehensive monitoring facilities, including a booth output with its own volume control, a cue mix control, and ‘cue-to-master’ switch to preview the master output. There are also 10-segment LED meters with selectable bar or dot mode display for each channel.

The Xone:22 is finished with UV sensitive ink screen for improved low light legibility.

Available from March 2009, SRP for the Xone:22 is £266 (+VAT).

Mackie has introduced a new line of mixers, designed for computer music production, the U.Series Production Mixers. Mackie U.Series provides flexible connections and a simple user interface.

in a nutshell, Mackie is introducing a new line of simple mixers for people that don’t need the bells and whistles, but do want great sound. 

“The keyboardist, DJ and producer of today are forced to use over-complicated mixers designed for their dad’s era, or compromise with low-quality features and severely limited connectivity options,” said John Boudreau, Mackie Brand Group VP. “U.Series mixers bridge that gap — making them ideal for vinyl, modular analog synths and anything in between. These are the simplest, most intuitive mixers on the market today.”

Each model features a micro-master section with otherwise full-size qualities such as a prominent master volume knob and high resolution metering. Channel strips with 3-band active EQ, a built-in DI box and RIAA phono preamps allow you to plug-in, and turn up for live sound and recording via integrated stereo Firewire I/O. Ingenious “loop-thru” routing enables you to mix and record analog and DAW playback with a couple of simple moves. Each offers a stereo aux send, headphone out with pre-main level control and self-monoing outputs.

The U.420 4-channel stereo line mixer offers 3-band “full-kill” active EQ on each channel, a built-in DI box and a Mackie designed RIAA phono preamp. The U.420d is loaded with 2 premium Mackie mic channels with 30mm faders, and features 3-band active EQ with mid-sweep, while 2 high-headroom stereo line input channels include 2 Mackie designed RIAA phono preamps, 3-band active EQ, a full headphone cue system and a 30mm crossfader.

The U.Series mixers are now available in the U.S. and Canada. The U.420 is $299.99 U.S. MSRP and the U.420d is $359.99 U.S. MSRP.

2008 Summer NAMM Show: Mackie announced a new line of powered mixers — the PPM608, the PPM1008, and the PPM1012. 

“While they may be lightweight, the new Mackie PPMs deliver mad power,” said Gilbert Perales, Mackie product manager. “You won’t see smoke when driving dual S225 15″ towers from our mixer.”

Description:

A complete set of professional mixing tools includes premium Mackie preamps, 2 built-in DI boxes, 3-band Active EQ, and in-line compressors. The onboard 32-bit RMFX+ effects processor boasts a sane, useable set of premium Mackie reverbs, choruses and multi-tap delays.

• The PPM608 8-Channel, 1000W powered mixer includes 8 premium Mackie mic preamps, 48V phantom power and 6 TRS inserts.
• The PPM1008 8-channel powered mixer provides 1600W of power, 8 premium Mackie mix preamps, 48V phantom power and 6 TRS inserts.
• The PPM1012 12-Channel Powered Desktop Mixer features 8 mic/line mono inputs and 2 stereo line inputs.

The PPM608, 1008 and will be available in the U.S. in June 2008 and internationally in July 2008. PPM1012’s availability is Q3 of 2008. The PPM608 has an MSRP of $779.99. The PPM1008 has an MSRP of $939.99. The PPM1012 has an MSRP of $1,199.00.

Summer NAMM Show Update: PreSonus Audio Electronics has announced the StudioLive 16.4.2 Digital Performance and Recording Mixer.

It’s a nicely spec’d digital mixer that integrates with your computer.

StudioLive features sixteen microphone preamplifiers, built-in 22×18 FireWire recording and playback engine, “Fat Channel” processing with 4-band EQ’s, compressors, limiters and gates, DSP effects, six aux buses, four sub-groups, extensive LED metering and talkback.

“This is the perfect mixing board for the serious band, nightclub, small church, and home studio,” says PreSonus’s Brad Zell. “It opens the door to record every show, record in the studio as well as use recorded tracks during performances.”

Here’s PreSonus’ info on the new mixer:

Analog Inputs and Outputs

Sixteen award-winning class A, high-headroom, low-noise XMAX microphone preamplifiers are featured on StudioLive for clarity, transparency and musicality. All sixteen channels of StudioLive include line input, balanced inserts and balanced direct output. StudioLive includes six balanced auxiliary sends and two dedicated auxiliary effects sends for flexible monitor mixes and aux effects. Four subgroups are also included for maximum flexibility. Two sets of balanced main outputs as well as control room outputs are located on the back panel.

Digital Conversion

Analog input and output is converted to digital audio with the highest-quality digital converters available delivering dynamic range of +118dB for spectacular sonic results and unmatched musicality.

Digital Mixing

StudioLive features an innovative and intuitive “QuickTouch” design allowing fast access to every parameter, mix, effect, and aux, allowing quick and creative control during music production. Load and save functions are also included to create snapshots of channel settings, save effect settings, totally recalling a mix, and more. All digital mixing and effects processing is done with 32-bit floating point precision for unmatched musicality.

Fat Channel

The heart of StudioLive is the “Fat Channel” engaged by pressing any “select” button, and features extensive equalization and dynamics available to every input channel, every aux output, every subgroup output, and main output. High pass filter, and four-band semi-parametric equalization algorithms are based on PreSonus’ custom-designed digital EyeQ™ equalizer, delivering extremely musical results. Also included in the Fat Channel are compressors, limiters and gates modeled after PreSonus’ award-winning ACP88 for complete dynamics control.

DSP Effects

Two programmable 24-bit stereo DSP effects engines are loaded in StudioLive with a wide range of reverbs, delays, and time-based effects with easy to use parameter adjustment, tap tempo, store, recall, and scene selection for ultimate creative flexibility.

Metering

Fast-acting LED metering is displayed all over StudioLive for quick and easy viewing of settings, parameters, inputs levels, gain reduction, and more. Fat Channel metering displays EQ frequency, cut/boost, as well as compressor and limiter gain reduction. Main meters can be switched between a number of viewing modes including input, output, gain reduction, main mix and pan.

Talkback Communication

StudioLive has a comprehensive Talkback system that enables direct communication with each stereo aux mix separately. This allows communication between the mixer and the musicians using in-ear monitors without disturbing other performers during a performance or recording session.

22X18 FireWire Recording

StudioLive includes PreSonus’ award-winning FireWire technology with JetPLL™ synchronization delivering 22 channels of recording and 18 channels of simultaneous playback. Each FireWire recording channel can be set to record either pre or post Fat-Channel signal processing giving total flexibility and power. StudioLive can also return 18 FireWire playback channels from your recording and production software for remixing and live performance with pre-recorded tracks, as well as studio mixing using the mixer’s internal signal processing and summing algorithms.

Multi-Track Recording Software – Capture

StudioLive also ships with Capture multi-track recording software for Macintosh and Windows based computers. Capture software was specifically designed to interface with StudioLive perfectly and allow instant setup and recording of performances. Capture also gives the user full editing capability and export to wav file formats for complete compatibility with ProTools, Cubase, Logic, Sonar and others. With the look and feel of industry standard digital multi-track hard disk recorders, Capture is instantly familiar to every musician and engineer.

Allen & Heath will unveil a fifth model in its ZED range of small format, USB-equipped mixers for live performance, recording, and production, at the forthcoming NAMM show in Anaheim, CA, in January 2008.

The new ZED-24 stereo mixer provides 23 independent sources to the mix, 10 independent outputs, 4 aux sends (2 pre and 2 post fade), a USB send and return (for PC or Mac recording, playback and effects), a unique dual stereo input capability, and advanced monitoring facilities.

In addition to 16 mono channels there are 4 stereo channels, each with a main stereo input on jack sockets, and with the ability to take additional stereo inputs from phono sockets or from the USB audio input, enabling the engineer to control and route any source. ZED-24 features a responsive 3-band swept-mid EQ, with an optimised slope for equalising individual instruments. The ZED-24 also features the new DuoPre pre-amps, which use a two stage design with carefully controlled amounts of gain in each stage, offering lots of headroom.

ZED’s USB output can be configured to allow different signals to be sent to USB, from the LR master, the matrix or the aux busses, with the USB return signal available as a stereo return. Cakewalk’s SONAR LE music production software is bundled with the mixer, to enable the user to perform many different tasks, for live performance, live recording, studio recording, or studio mixing.

The NAMM show will also be the official debut for the ZED 4 bus series — ZED-420, ZED-428 and ZED-436 mixers — which were previewed at the PLASA show, and the first time that the Xone:42 DJ USB mixer has been shown outside of the UK.

Soundcraft has announced the extension of its multipurpose mixer range with three new FX models–the FX16ii, EFX and MFX–each featuring 32 Lexicon 24-bit digital effects.

The new models use the same AudioDNA processor found in many Lexicon and DigiTech outboard products, including the highly respected Lexicon MX500. The consoles also offer a user settings store function, three parameter controls, tap tempo and 32 effects presets.

The first mixer in the range is the Soundcraft FX16ii. Already established as an immensely popular console, the Spirit FX16 has been offering professional audio solutions to musicians since 1997. Ten years on, Soundcraft has brought the FX16 into line with its professional range by using the latest 24-bit digital Lexicon effects processor and a new control surface layout. All of the new FX consoles are versatile, but the FX16ii will be particularly popular with recording musicians thanks to its 26 inputs, 16 direct outputs, four stereo returns and rotating connector pod, which allows cables to be connected conveniently behind the rack to save space.

Second is the Soundcraft EFX, a Soundcraft EPM mixer with built-in Lexicon effects. Representing the smallest console in the Soundcraft multipurpose range, the EFX offers a professional solution in a smaller frame size, available in eight- and 12-channel versions. Featuring Soundcraft’s highly regarded GB30 mic preamp (designed by Graham Blyth for the popular GB Series), one aux send and one FX send on each channel, the EFX is equipped to deliver the famous Soundcraft sound in a multitude of applications.

Lastly, the Soundcraft MFX is a Soundcraft MPM with built-in Lexicon effects. The MFX is the most versatile of the multipurpose range with two group busses, two aux sends, one FX send on each channel and two stereo input channels, all offered in three frame sizes–eight, 12 and 20 inputs. The combination of a wide range of features and industry-leading Lexicon effects makes the Soundcraft MFX the perfect solution for many venues, including theatres, small music venues, restaurants and houses of worship.

Consoles in the Soundcraft FX range benefit from the latest PCB surface mount technology, which means that more features can be fit into a rugged, compact frame. All models can furthermore be rack-mounted through optional rack kits.

Applications:

• Live sound: bands, small venues, clubs, conferences, schools, churches
• Studio recording: digital/analog multitracking (8/16 track), small/home studios, pre-/post-production

Musikmesse: Alesis has introduced the iMultiMix 8 USB Mixer with professional mixing and direct-to-iPod recording.

The iMultiMix 8 USB features a mounting dock to enable recording directly to any 2nd through 5th generation iPod. Unique to its class, the iMultiMix 8 USB is the world’s first mobile recording mixer with iPod transport controls and a control wheel built right into the surface for complete control of the iPod while it is being docked in the mixer.

Home studios, musicians, podcasters and houses of worship can use the versatile direct-to-iPod recording feature for convenient transfer into iTunes upon connection to a computer. Files recorded into the iPod are CD quality, 16-Bit, 44.1 kHz .wav files.

Mac OS and Windows users can connect to the iMultiMix 8 USB using USB for direct to computer recording as well. In addition to its computer connectivity, the iMultiMix8 USB offers eight analog inputs, one hundred 28-Bit effects, phantom power, and 2 switchable mic/line/guitar inputs.

The iMultiMix 8 USB has the same world-class effects on the Alesis MultiMix 8 USB, one of the most popular recording mixers available. Vocalists can add professional quality reverb and guitar players can create flange effects, all of which are mixed and recorded to the iPod with ease. iPod owners will find this mixer the perfect compliment for a wide variety of recording needs thanks to its natural merging of the control wheel and traditional mixer knobs. The iMultiMix 8 USB is scheduled to ship in Q3 2007 with a suggested retail price of $499.

Features:

• Integrated iPod recording
• Four high-gain mic/line preamps (XLR and 1/4″ balanced)
• 48V phantom power
• Built-in limiter to avoid distorted recordings
• 16-Bit / 44.1kHz and 48kHz recording to computer
• Two guitar mic/line inputs
• Aux sends and returns
• 100 on-board, 28-bit digital effects – Reverb, Chorus, Flange, Delay
• Three band per channel EQ with high/low shelving and mid band pass/reject
• Steinberg Cubase LE recording software included

Alesis CEO Jack O’Donnell says, “The iMultiMix 8 USB is an exciting new addition to the Alesis product line, with forward thinking functionality and an innovative design. Alesis always strives to deliver quality and features to meet the needs of users. The iMultiMix 8’s iPod recording features will give users a way to easily record their live performance directly onto the world’s most popular music device.”

2007 NAMM Update: Mackie announced final pricing and availability of the monster TT System32 Digital Live Mixing System. The TT System32 Digital Live Mixing System consists of the TT24 Digital Live Console, DS3232 Digital Snake, and the U100 Networking Card.

“TT System32 represents a giant step for Mackie,” commented Mackie Brand Group Vice President John Boudreau. “It’s the first time anyone has offered a complete digital mixing package, and at a price you’d normally expect to spend for the console alone. The U100 Network Card, along with the DS3232 Digital Snake, represents the first implementation of our U-Net digital audio and control protocol. U-Net tapped into all of Loud’s design and engineering resources to deliver the low-latency, high-bandwidth audio network that is used in the TT System32.”

TT System32 Digital Live Mixing System

The TT System32 combines Mackie’s powerful TT24 Digital Live Sound Console with the DS3232 Digital Snake and everything needed to connect the two for a complete, plug and play digital live mixing solution—just add stacks and racks. TT System32 provides stage-to-console connectivity via the DS3232 digital snake with 32×32 analog I/O, 32 ultra high-quality Mackie mic preamps, and complete remote recall and control of all preamp settings (gain, pad, phantom power) all through a single, lightweight Cat-5 cable (up to 300′). A total DSP package (gate, compressor and EQ) is available for all 32 input channels, 8 more than the stock TT24’s DSP channel count. The TT System32 includes a U-100 Network Card and 100′ shielded Cat5 cable for out-of-the-box mixing capability in mere moments. TT System32 saves you money by adding complete, remote stage connectivity and control at what was previously a “console-only” price point.

DS3232 Digital Snake

The DS3232 Digital Snake puts 32 balanced XLR ins and outs of 24-bit/96kHz digital audio where it belongs—on stage. Designed specifically for use with the TT24 Digital Live Console, the DS3232 carries I/O from up to 300 ft via standard Cat-5 cable. This digital connection is noise-free and impervious to RF interference, making traditional analog cable exponentially more troublesome, expensive and cumbersome by comparison. The 32 ultra-high quality Mackie mic preamps in the DS3232 are digitally controlled from the TT24 mixing console, with full DSP (Gate, Comp, and EQ) functionality and full recall of mic preamp gain, pad and phantom power settings. Both A/D and D/A converters are internal to the DS3232, further eliminating the signal degradation typically associated with long analog snake runs—making it perfect for mobile FOH applications, fixed installations and houses of worship.

U100 Networking Card

The DS3232 uses U-Net to transfer 32 channels at up to 96 kHz sampling rate to the TT24 and back. In addition, control data is passed in both directions allowing you to control the preamps in the snake remotely from the TT24. The U-Net network provides rock solid timing and lightening fast transfer rates – with only 0.8 ms added latency at 96 kHz. The network is also extremely scalable and will be used for a number of alternate applications including linking two TT24 consoles (for dual front of house use) or connecting the front of house and monitor console to the same snake. It will support routing signals to and from other U-Net capable proprietary and 3rd party devices. And because it can be upgraded, any new U-Net products and features can be added to the TT24 and DS3232 Digital Snake in the future.

The new Mackie TT System32 Live Mixing System will be available Q2 – 2007 and will have a U.S. manufacturer’s suggested retail price of $12,999.99. Purchased separately, MSRP will be $7,199.99, $5,599.99 and $739.99 for the TT24 Digital Live Console, the DS3232 Digital Snake, and U100 Network Card, respectively.

2007 NAMM Show: Mackie announced the Mackie Control Pro control surface series, the next generation of the Mackie Control Universal line of controllers.

Made up of the Mackie Control Universal Pro, Mackie Control Extender Pro and Mackie Control C4 Pro, the series is designed to seamlessly work together to deliver ultimate hands-on control of mix and plug-in parameters.

“Mackie Control Pro controllers allow users to get the most out of Logic, Pro Tools and other major audio production software by giving them control they simply can’t get from a mouse or generic controller. Our new series once again sets the standard for precision, expandability and ease of use,” said James Woodburn, Mackie Recording Brand Manager.

The Mackie Control Universal Pro control surface has the ability to connect directly to a Mac or PC via USB, and support for connections of up to three additional pieces of external MIDI gear. Like the Mackie Control Universal, the MCU Pro features nine motorized, touch-sensitive Penny + Giles faders, eight V-Pots and more than 50 master buttons, as well as a sophisticated communication protocol that enables ultra-precise control, makes setup easy and gives real-time visual feedback via the huge backlit LCD and eight LED rings.

The Mackie Control Extender Pro control surface extension shares the new appearance of the MCU Pro, and allows for easy expansion of the master module. Users can add eight precision Penny + Giles faders and V-Pot channels at a time — up to 24 faders and V-Pot channels total — by way of MIDI ports supplied by the MCU Pro.

The Mackie Control C4 Pro plug-in and virtual instrument controller offers hands-on control of up to 32 simultaneous parameters as well as extensive visual feedback via four backlit LCD “scribble strips.” Like the Extender Pro, the C4 Pro has been designed to seamlessly connect to the MCU Pro, but can also operate in standalone mode. The unique communication protocol employed by the C4 Pro allows for plug and play setup, and enables users to view parameter names and values in real time. When the C4 Pro is combined with Mackie’s free C4 Commander Pro software, users can also take control of MIDI hardware such as synthesizers, effects and amp modeling processors.

The new Mackie Control Pro series will be available February 2007 and will have a U.S. manufacturer’s suggested retail price of $1549.99, $899.99 and $1299.99 for the Mackie Control Universal Pro, the Extender Pro and C4 Pro, respectively.

Europower PMP2000, PMP1280S and PMP518M are the new boxed-style/rack-mount type mixers in the series, available in a variety of power output options. They come with Behringer innovative amplifier technology, which provides strong sonic performance in a super light-weight package.

Europower PMP5000, PMP3000 and PMP1000, are new tabletop powered mixers, which have the traditional horizontal format, similar to Behringer XENYX non-powered mixers. They also come in a variety of power output options, with a light-weight design achieved through new-generation amplifier technology.

Most of the PMP mixers feature studio-grade 24-bit stereo FX processors with 100 presets including reverb, chorus, flanger, delay, pitch shifter and various multi-effects, and the proprietary Behringer FBQ Feedback Detection system which reveals critical frequencies for easy feedback removal.

The Xone:2D is the combination of a 4 stereo channel USB soundcard and MIDI controller, which DJ’s can connect to their existing analogue mixer to integrate leading DJ software such as Ableton Live and Traktor DJ Studio, and create a complete digital DJ mixing system.

The USB soundcard can operate in either of two modes — stereo channels for 3 inputs from a PC and 1 return, or 2 channels from a PC and 2 returns. A large array of connections are provided to enable easy integration into any DJ set-up, and the 2D can be directly connected to turntables, CD players or linked to an external mixer. Digital IO (optical and coaxial) is also provided.

The Xone:3D BPM counter with LED display is included, which is capable of detecting a beat in music presented on the stereo BPM input. A MIDI clock generator, which can be set using the illuminated tap tempo button or sync’d to the tempo detected by the BPM counter, is provided, and features the MIDI clock nudge facility of the 3D.

The MIDI controller connects via USB to a computer and also has 5-pin DIN MIDI sockets for connection to any MIDI-enabled device, and features 5 60mm linear faders, 8 detented rotary pots, 19 push buttons – 4 of which are illuminated, 5 rotary encoders with “push to switch” function, and a multi-function jog wheel with switched navigation control. All the MIDI controls can be mapped for use as navigation controls for DJ or production software.

Optional attachment brackets to mechanically link the Xone:2D to other mixers in the A&H range, and overlays relating to various software programmes including Ableton Live 6 and Traktor DJ Studio 3, are available.

The Xone:2D will be shipping in March 2007, SRP £499 (ex VAT).

The USB 2.0 technology incorporated into the MultiMix USB 2.0 Series mixers provides for high bandwidth recording of multiple 24-bit/44.1 – 96 kHz audio channels from the mixer to your computer (PC/Windows or Mac OSX).

Designed with low noise analog electronics, the MultiMix USB 2.0 mixers are cost-effective and highly versatile companions to the desktop and mobile recording environment. Both models feature high-gain mic/line preamps, 48V phantom power, auxiliary sends/returns, and an onboard effects engine encompassing one hundred 28-bit preset effects, including reverb, delay, chorus, and flanging. Each channel provides 3-band EQ with high/low shelving and mid band pass/reject.

The MultiMix USB 2.0 8-channel mixer provides four high-gain mic/line (XLR and quarter-inch balanced) inputs with phantom power, two stereo balanced quarter-inch line inputs, an Aux send that can send to either onboard or external effects, and a stereo Aux return. The MultiMix USB 2.0 16-channel mixer has eight high-gain mic/line (XLR and quarter-inch balanced) inputs, with the remaining I/O connectivity identical to its smaller sibling.

Additional features of the MultiMix USB 2.0 Series include separate quarter-inch balanced main and monitor outs, plus headphone out. Plug and Play operation is available under Windows XP and Mac OSX—eliminating the need for special drivers or setup. Completing the system package is the inclusion of Steinberg’s Cubase LE recording software.

“We weren’t surprised at the great reaction that the original FF-6000 6-channel mixer received from the DJ community when it was launched in 2005,” comments Formula Sound’s Barry Penaligon. “The mixer was designed in conjunction with Funktion-One and a panel of leading DJs. We took the DJs’ comments on board and provided the things they asked for such as larger control knobs on the most frequently used functions and a separate effects loop accessible at each end of the crossfader.

“We looked at the whole FF Series concept again when we came to make our new FF-4000 4-channel version and that provided the ideal opportunity to give the DJ an even greater choice by introducing the Pro X Fade, which is probably the most advanced and ‘DJ friendly’ analogue crossfader currently available.”

Both the FF-4000 and FF-6000 will still allow the user to switch between linear and rotary channel faders via an optional extra fader panel.

Formula Sound’s FF-4000 is believed to be the first mixer to be available with the Pro X Fade factory fitted. The Pro X Fade crossfader allows DJs to change the physical feel of the fader to suit their individual needs. A set of easily accessible rotary controls enable the cut-in points of the fader to be altered between instant on/off or gradual volume increase modes. It features 100% conductive plastic tracks for longer fader life, a wider stem to withstand repeated heavy usage and easy access for lubricating and cleaning the fader-pole.

Commenting on the combination of the Formula Sound FF-4000 and the Pro X Fade Eclectic Breaks director, Siya Fakher, says, “This mixer is really tried and tested and feels very solid. The inclusion of the Pro X Fade will make it even more appealing to DJs, and to venues and bars where a variety of DJs perform different genres of music that all make heavy use of the crossfader. This makes the Formula Sound the perfect option for rugged environments and including the Pro X Fade crossfader makes this mixer more versatile, especially for the new generation of DJs who are more technically proficient and use scratching techniques in their sets.”

Solid State Logic

Designed to closely integrate with your workstation of choice, Duality offers a wealth of creative and sonic options. The console has a unique split channel path that enables channel processing to be placed in the input or monitor path of the workstation. In addition to a SuperAnalogue mic amp, each channel features a Variable Harmonic Drive input stage designed to add analogue character to soul-less workstation outputs. A 2nd to 3rd harmonic drive control provides a range of tones, from the warmth of 50’s tubes to the ‘edge’ of 70’s transistors.

There are both E and G series equalizers and peak sensing or RMS /over-easy compression to choose from. Duality offers VCA style or moving fader automation and complete control over DAW parameters from the console channel rotaries. There are multiple stereo busses or multiple 5.1 stems to make the best use of a full set of 5.1 pan/positioning controls on each channel.

Duality features an engineer-familiar hardware control surface and adds TFT display across all channels to provide comprehensive visual feedback on signal levels, channel settings, system configuration & routing to deliver highly efficient multi operator Total Recall™. Duality is the analogue console for the digital age, all for a price point that’s half of its equivalent K-Series sister console.

As digital audio workstations (DAWs) changed forever the traditional workflow for professional audio production, Solid State Logic quickly saw that the perfect production tool for this new paradigm would combine a comprehensive controller and world-class analogue console facilities such as signal processing and monitoring.

Duality is designed to realize this vision for elite audio professionals and contemporary recording facilities, providing a range of new advanced features over and above the ground breaking AWS 900 console that has proven this vision for more than 200 users worldwide.

With an order book that’s full until 2007, and consoles being delivered co-incident with this release, Duality is already a commercial success, proving that it’s the way forward for DAW based facilities looking to bring professional production values to new projects.

Some of Duality’s Key Features

• NEW Dual Mic Pre’s – In addition to the pristine ‘get out what goes in’ sound of the XL 9000 K SuperAnalogue™ Mic pre, each channel features a VHD™ mic pre. The unique ‘Variable Harmonic Drive’ circuitry introduces controlled distortion of either second or third harmonic, providing variable valve-type warmth on every channel.
• NEW Split Channel Path – A new approach to signal flow that replaces the in-line concept and enables channel processing resources to be placed in the input or monitor path. This means any desired combination of analogue channel processing can be used in conjunction with the DAW record path, while monitoring the rest of the signal path through the console remains extremely simple.
• NEW Comprehensive Surround – Duality features the most comprehensive and powerful 5.1 panning ever offered as standard on an analogue console. Every channel includes dedicated controls for LR/LCR, divergence, front/back position & LFE level. Duality features four 5.1 stem busses in addition to the main 5.1 bus, a facility that usually requires heavy modification to accomplish in an analogue console. Duality also features a versatile 5.1 master bus compressor with a selection of average or peak channel sensing side-chain control.
• Workstation Control – A high-resolution, digitally controlled gain element in each channel allows the motorized faders to be switched to control any DAW that supports the HUI or Mackie Control protocols, while retaining the analogue signal path. Duality features large-format, high-quality, high-resolution faders that bring true precision to DAW control. The faders and their associated Channel Rotary Encoders provide direct control of DAW faders, pans, sends, input and output routing.
• NEW Constant Visual Feedback – Large TFT displays across all channels and center section deliver unprecedented visual feedback on input source, signal level, output routing, DAW status, processing order, channel routing and split channel architecture. A new Eyeconix feature offers the ability to use icons and images as track markers for simple, at a glance identification of track source.
• SuperAnalogue & More – Part of the duality of this new console is the way it sounds. SSL’s renowned SuperAnalogue circuit design uses revolutionary DC-coupled circuitry provide the holy grail of ultra-wide and flat frequency response, extremely low distortion and an almost un-measurable noise floor. This bus and channel signal processing technology is coupled with the VHD (Variable Harmonic Drive) circuitry to bend this wonderful ’straight wire’ performance and thus warm up pure, clean digital signals, bringing the soul of early analogue recordings to 21st century production technology.
• Channel Routing Tile – Central soft switch assignment of channel processing (EQ/dynamics) is available on one, many or all channels, recallable via ‘Instant Reset.’ Use of central soft switching delivers improved operational flexibility and significantly reduces long-term maintenance.
• NEW Multi Operator TR – Display of Total Recall settings on large TFT displays across the meter bridge for all channels and center section enables several operators to work simultaneously to recall analogue settings in a fraction of the time previously required.
• NEW Session Management – Studio browser session management software provides one-stop external archiving and retrieval of automation and Total Recall data.
• Green – Power consumption has been reduced by 50%, so the power supplies can be built into the console, eliminating the need for a separate air conditioned machine room, cutting the bottom line and helping protect our environment.

More information is available at the SSL site.

The 4-channel FF-4000 DJ mixer takes all the best features that have made the existing 6-channel FF-6000 so popular and offers them in a more compact, lower-priced unit. Customer feedback was an important influence on the creation of this flexible and user-friendly new mixer that is intended to deliver top-end audio quality for smaller applications.

The original FF-6000 mixer was designed in collaboration with both UK loudspeaker manufacturer Funktion – One and a panel of leading DJs and the features those DJs asked for are now also available on the FF– 4000. These include rugged construction, outstanding sound quality, the opportunity to switch between linear and rotary channel faders, and large control knobs on the most frequently used functions. To complete the picture both the original FF- 6000 and the new FF– 4000 are available with an optional PRO-X high performance scratch cross fader.

Formula Sound’s brand new AVC2D intelligent level control unit will also be shown at PLASA. The original version of this unit helped establish some of today’s industry standards for noise control, and the new AVC2D builds on this by incorporating the very latest technology and offering additional features

Designed to help venues comply with today’s strict music level regulations the AVC2D is a versatile and reliable automatic level control that can work with any type of audio system. It can accept a microphone as its audio source and offers optional twin-mono or single stereo modes, a new easy-to-read display and the prospect of future software upgrades to enhance performance.

The Formula Sound PM-80R marks the reappearance of a modular mixer concept that first made its mark 25 years ago. Although the original and legendary PM-80 mixer has been out of production for over 10 years, Formula Sound bowed to customer demand and reintroduced the concept that found success in countless venues around the world.

The PM-80R’s flexible 8-channel format also incorporates subtle design changes that reflect the ways today’s mixers are used. Its features include offers independent gain, treble, mid, bass and pan controls on each channel, and a master section which provides separate booth, auxiliary, monitor and zone controls plus an easily-readable L.E.D. output meter and a headphone socket.

NAMM 2006 Winter Show: Korg USA

The D888 is as easy to operate as a traditional analog mixer. Every channel strip offers trim,3-band EQ, plus effect send and pan controls — each with its own dedicated real-time knobs. A 160 x 104 backlit LCD panel provides metering and other pertinent information. Balanced TRS and XLR inputs are tied to high-quality mic preamps equipped with professional 24-bit A/D and D/A converters. Switchable phantom power accommodates a variety of microphones. The mixer uses 40-bit, 44.1 kHz processing for a clean audio signal that surpasses CD quality. The versatile 8-output architecture makes the D888 suitable for a variety of audio applications. In Individual Mode, each output is directly tied to a particular mixer channel, allowing the D888 to sit transparently between the microphones and the house sound system. With the Individual Mode off, outputs 1 and 2 become the Monitor outputs, outputs 3 and 4 serve as the Master outputs, and outputs 5-8 retain their individuality. An optical format S/PDIF digital output is also provided, as well as two headphone jacks, which are each equipped with a dedicated level control.

The onboard Master effect is instantly selectable from the front panel. Each mixer channel has its own send knob, and a global return knob allows for just the right mix. There are 11 effect types, and parameters are editable in real time from a dedicated front-panel knob. The internal metronome can be sent from Master and Monitor outputs, or just the Monitor outs (for following a click-track during recording or performance).

The D888 records using industry-standard WAV format, so no conversion is required when transferring files to a computer using the high-speed USB 2.0 connection. The D888’s entire hard drive appears on the computer desktop, making transfers convenient and easy. Users can record and play up to eight simultaneous audio tracks with full 16-bit, 44.1 kHz resolution. Eight virtual tracks are available per audio track (for a total of 64 recording tracks), and tracks may be bounced digitally with no quality loss. The entire mix can be bounced to a stereo Master Track. Non-destructive editing functions include copy, paste, erase and more, with Undo and Redo commands. Punch-in and-out is supported for overdubs. The internal 40 GB hard drive provides up to 120 hours of total recording time, with 200 songs, four locate points and 100 markers per song.

The Korg D888 is available May 2006 with a U.S. MSRP TBA.

More information is available at the Korg site.

Soundcraft

The 1601 is a two channel battle mixer with clean, open fader section for quick manoeuvres, 360degree customisable phono line switches, cross fader monitor selector, backlit headphone out with EQ, ultra clear input and output level monitoring LEDs, full cut hi, mid, low EQ rotary pots, send and return fx loop, non-wear anodised top plate and many more dj-friendly features.

Key Features

• Two stereo channels with both phono and line level input, trim control and input clip LED (helps avoid distortion)
• 3 band EQ (Low, Mid, Hi) on both channels providing full cut through to +6dB boost
• Separate mic/line input with dedicated insert point and 2 band EQ
• Input fader slope control and reverse facility
• Comprehensive Aux/FX section with separate send/return levels and select options (attach external effects units)
• Dedicated Booth and House outputs, provided on both balanced XLR and unbalanced RCA phono connectors (club quality outputs)
• Mono/stereo switching on both Booth and Master outs
• Send-and-return FX loop (attach external effects units)
• 80Hz HPF for removing turntable rumble (instantly cuts out feedback)
• 10 segment input/output metering with peak hold (super clear monitoring)
• Exciter section with frequency and mix controls (boost bad vinyl quality and scratches)
• High quality 45mm user-replaceable crossfader with reverse and rotary curve control
• 25mm user-replaceable monitor crossfader
• Flexible headphone monitoring section, with level, EQ and master/cue switching (large and small backlit jacks easy to find in the dark and eq helps avoid deafening)
• Session In & Out facility allow daisy chaining of mixers (for group session)
• Control surface Anodic printed top panel. Legend won’t wear off
• Open battle area around main faders
• Easy removed top panel by six screws to allow access to user serviceable parts

More information is available at the Urei site.

PM-80R audio mixer

From its original launch in 1980 the Formula Sound PM-80 proved to be an instant hit with users around the world. At PLASA 2005 the company will announce its plan to celebrate the 25th anniversary of that launch by introducing the PM-80R – an updated anniversary model that combines modern technology with all the elements that made the original version so popular.

Although some details are still unconfirmed the new PM-80R 8-channel mixer will incorporate some subtle design changes which reflect the way in which mixer use has changed over the years.

CX10 audio priority interface unit

PLASA 2005 will also see Formula Sound launch a new product – the CX10 audio priority interface – which builds on the company’s many years of experience in providing audio control units for entertainment venues.

Designed in response to specific demands from the market, the CX10 is a 10-channel analogue unit that enables multi-source audio systems to interface with fire alarms.

Intended to help venues meet increasingly strict fire regulations the CX10 allows emergency messages to override any existing audio input and be simultaneously broadcast into all zones being served by the audio system.

Able to interface with both existing or new sound installations the CX10 is not restricted to use in entertainment venues, and may be used with any sound system where a priority override facility is required.

AVC2 MkII intelligent noise control unit

Also unveiled at PLASA 2005 will be Formula Sound’s AVC2 MII intelligent noise control unit, which builds on the tremendous popularity of the company’s original AVC2 – a unit that helped establish some of today’s industry standards for noise control,

The AVC2 MkII incorporates modern technology which allows it to combine the versatile and reliable automatic level control abilities of its predecessor with some exciting new features to the user. These include the ability to accept a microphone as its audio source, optional twin-mono or single stereo modes, a new easy-to-read display and the prospect of future software upgrades to enhance performance.

The AVC2 MkII only activates once the average signal level being fed to it exceeds the internally set threshold, gradually reducing its own output but without affecting the integrity of the audio passing through it. Despite its impact being virtually undetectable to the listener, the AVC2 MkII prevents the output of the audio system ever exceeding the desired limit.

Summer NAMM Update:

The DICE II FireWire technology incorporated into the MultiMix FireWire Series provides for the transfer of multiple audio data streams from the mixer to one’s computer (PC/Windows or Mac OSX) using a standard IEEE-1394 FireWire interface. These mixers provide lightening fast, 24-bit stereo simultaneous input/output via the mixer’s FireWire connection to a wide range of computer-based audio production applications.

With their low noise analog electronics, the MultiMix FireWire mixers are cost-effective and highly versatile companions to the desktop recording environment. All three models feature high-gain mic/line preamps, 48V phantom power, auxiliary sends/returns, and an onboard effects engine encompassing one hundred 28-bit preset effects, including reverbs, delays, chorus, and flanging. Each channel provides 3-band EQ with high/low shelving and mid band pass/reject.

The MultiMix 8- and 12-channel mixers provide four high-gain mic/line (XLR and quarter-inch balanced) inputs with phantom power, two stereo balanced quarter-inch line inputs, an Aux send that can send to either onboard or external effects, and a stereo Aux return. The MultiMix 16 has eight high-gain mic/line (XLR and quarter-inch balanced) inputs, with the remaining I/O connectivity identical to its smaller siblings.

Additional features of the MultiMix FireWire Series include separate quarter-inch balanced main and monitor outs, plus headphone out. Plug and Play operation is available under Windows XP and Mac OSX—eliminating the need for special drivers or setup. Completing the system package is the inclusion of Steinberg’s Cubase LE recording software.

Alesis President Jack O’Donnell commented, “With the MultiMix FireWire Series, we’ve made multitrack recording to the computer a viable and affordable possibility for the modern artist/producer.”

With a suggested retail price of $599 (MultiMix 8), $699 (MultiMix 12), and $799 (MultiMix 16), Alesis’ new MultiMix FireWire Series represents exceptional value for the computer music enthusiast. The MultiMix FireWire Series will be available Q3 of 2005.