Mark of the Unicorn (MOTU) has announced the 10 input/14 output Ultralite-mk3, an audio interface that they say is the first ever “hybrid” audio interface, offering FireWire and USB 2 connectivity to Mac and PC computers.

They haven’t put up official availability or pricing info yet. If you know anything on this, leave a comment.

Details on the Ultralite-mk3 below.

Feature summary

• Hybrid FireWire/USB2 connectivity — connect to your computer via either bus-powered FireWire or hi-speed USB2.
• CueMix FX™ — flexible 10 input/14 bus mixer with on-board DSP effects, including reverb with sends/returns, plus EQ and compression on every input and output.
• 10 inputs / 14 outputs — there’s no channel sharing in the UltraLite-mk3 Hybrid; the mic inputs, S/PDIF I/O, headphone out and main outs are all handled as separate channels.
• Classic Reverb™ — provides five different room types, three frequency shelves with adjustable crossover points, shelf filtering and reverb lengths up to 60 seconds.
• Two forms of compression — a standard compressor with conventional threshold/ratio/attack/release/gain controls and the Leveler™, an accurate model of the legendary LA-2A optical compressor, which provides vintage, musical automatic gain control.
• Modeled EQ — provides 7-band parametric EQ modeled after British analog console EQs, featuring 4 filter styles (gain/Q profiles) to effectively cover a wide range of audio material. LP and HP filters are also supplied with slopes that range from 6 to 36 dB.
• CueMix FX cross-platform mixing software — attractive graphic mixing, graphic editing of parametric EQ and a convenient tabbed interface for quick access to all features in one window. Also provides full-screen real-time FFT display, spectrogram “waterfall” display, oscilloscope, X-Y plot and linear or polar phase analysis.
• Front-panel control — access any setting in your entire UltraLite-mk3 Hybrid mix directly from the front panel.
• “Reverb return” stream — allows users to record or mix UltraLite-mk3 Hybrid reverb output separately in their DAW. Effects can also be applied when the UltraLite-mk3 Hybrid is operating stand-alone (without a computer) as a complete stand-alone mixer.
• Stand-alone operation — program your mixes at the studio and then bring the UltraLite-mk3 Hybrid to your gig — no computer needed. Just plug in the included power adapter and you are ready to go. Need to tweak the mix? Do it on site using the back-lit LCD and front-panel controls.
• Multiple CueMix FX mixes — for example, create different monitor mixes for the main outs and headphones. Or add send/return loops for outboard gear — with no latency.
• Two combo jacks provide hi-Z 1/4” guitar input or low-Z XLR mic input with phantom power, pad and plenty of gain.
• Eight 24-bit 192kHz analog inputs and outputs on balanced/unbalanced 1/4″ TRS jacks
• Precision Digital Trim™ — Digitally controlled analog trim on all analog inputs (mic/guitar inputs + quarter-inch TRS inputs) provides accurate adjustements in 1 dB increments. Fine-tune the balance of your analog inputs and then save/recall trim configurations.
• Direct Digital Synthesis™ (DDS) — a DSP-driven phase lock engine and internal clock source that produces imperceptibly low jitter characteristics (below the noise floor), even when the UltraLite-mk3 Hybrid is resolved to an external clock source via SMPTE time code.
• Time code support — directly resolves to (or generates) time code via any quarter-inch input or output, without the need for an extra synchronizer.
• Sample-accurate MIDI — connect a MIDI controller and/or sound module with no separate interface needed. MIDI I/O is sample-accurate with supporting software.
• Expandable — add additional interfaces for more I/O as your needs grow.
• Separate TRS main outs with front panel volume control.
• Stereo 24-bit 96kHz S/PDIF in/out.
• Includes drivers for Mac & PC, including ASIO, WDM, Wave, Core Audio, and Core MIDI. Supports all popular Mac and Windows audio software.
• 100% compatible with all host-based effects processing in today’s popular audio programs.
• Includes AudioDesk full-featured sample-accurate workstation software for the Mac with recording, editing, mixing, real-time 32-bit effects processing & sample-accurate sync.
• Plug-and-play operation with your Mac or PC via FireWire or USB2.
• Front panel volume control for monitoring. Stereo, Quad, 6.1, 7.1 and user-defined surround monitoring setups available.
• Front panel headphone jack with volume control.
• Bus-powered FireWire operation. No need for external power when operating as a FireWire interface connected to a computer. A power supply is included for stand-alone operation.

MOTU

Digital Performer 7 offers new features, enhanced operation and improved performance:

• Custom ‘59 – A meticulously detailed guitar amp emulator modeled after all-time classics from Fender® and Marshall.
• Live Room | G – A superb physical modeling speaker cabinet emulator with four mixable mics (close, near and far) and 3-band EQ per mic.
• Guitar pedals – A new suite of stunningly accurate classic guitar pedals modeled after all-time favorites from Boss, Ibanez & others.
• Inline EQ & dynamics – Control DP’s multi-band graphic EQ and vintage dynamics processing directly in each Mixing Board channel.
• Channel Strip – Gain instant access to all mixer channel settings for the track you are working on in any Editor window.
• Lead sheets – Create and print lead sheets, complete with lyrics and transposable chord symbols.

Additional DP7 new features include:

• Freely resizable Counter – Resize the Counter window to any size you wish, even the entire width of your screen.
• Marker Counter – Display markers in large type in the resizable Counter window. Use markers as a teleprompter for lyrics during live performance or recording sessions.
• Consolidated V-Racks – Display V-Rack virtual instruments and effects side by side with disk tracks in the Mixing Board.
• Lyrics – Type in lyrics directly below notes on the QuickScribe page. Or paste them into the Lyric window from your word processor and flow them into a track with one click.
• Transposable chord symbols – Add complex chord symbols directly on the page and transpose them at any time, together with or independently from notes.
• QuickScribe notation enhancements – Numerous enhancements give you even more control over the look of your score and help speed your notation workflow.
• Support for Pro Tools 8 – Industry-leading support for operation as a complete software front-end for Pro Tools | HD systems.
• Info Bar mixer controls – Get instant access to mixer channel settings in any editor window that follow the track you’re working on.
• Next-generation sample rate conversion – A new ultra-fast, CPU-efficient sample rate conversion algorithm delivers increased precision, efficiency, and transparency, with an astonishing 138 dB signal-to-noise ratio.
• Real-time crossfades – All crossfades are now computed in real time for lightning fast edits.
• Wave64 support – Support for the industry standard Wave64 extension to the Broadcast WAVE file format lets you record and import audio files larger than 4GB.
• Range automation modes – Raise, lower or write automation moves within any selected range, preserving everything before and after.
• Audio Units instrument side chains – Route side chain inputs to all your favorite third-party Audio Units plug-ins.

Digital Music Doctor has published an updated version of their Music Software Internet Popularity chart.

The chart ranks the top 10 music programs, using search engine requests as a gauge of interest.

The Top 10 Music Applications
Q2, 2009, based on search requests

1. Pro Tools
2. Cubase
3. FL Studio
4. Cakewalk Sonar
5. Apple Logic
6. Adobe Audition
7. Ableton Live
8. Apple Garageband
9. Sound Forge
10. Sony Acid

Obviously, there are a lot of other ways you could rank music applications – by sales dollar, by sales units or by registered users, for example. Garageband would probably top the list by those measures.

Leave a comment with your thoughts on this ranking!

TB-303 & Reason 4.0 – Using Reason to Generate DIN Sync

Using classic synth gear with music software has never been easier. This video demos synchronizing a Roland TB-303 with Propellerhead Reason by using CV/Pulse signals routed through a MOTU 896HD interface.

Clock and Control Signals are generated in Reason Devices and converted to audio signals. The audio is then passed through a converter cable that connects to any Roland DIN-Sync device like the 303, 606, 808, 909, etc.

via PeffTV

Before we get into the meat and potatoes of this post, it’s worth noting that:

• Controlled By Reason sounds like an unauthorized biography of Leonord Nimoy; and
• Mark Of The Unicorn is a great name for a music technology company, if it’s the 1980’s and you play a lot of D&D; and
• Behind every classic Sequential Circuits synth, there’s a guy in a wizard cap.

All that being neither here nor there – this video captures Peff using the Reason/Thor MIDI to CV conversion process with a couple of bad Moogerfoogers:

The MF-107 FreqBox oscillator output is connected directly into the MF-101 Low pass filter. Thor’s key note value, mod wheel, pitch bend, aftertouch, LFO, and envelope generators all modulate the two pedals to create a functional monophonic synthesizer.

See Peff.com for details.

via PeffTV:

http://www.peff.com/journal/2009/06/17/moogerfooger-synth-via-reason-40/ moogerfooger MF-107 FreqBox and MF-101 LP Filter controlled by Reason to create a monophonic moogerfooger synthesizer. The Thor Polysonic synthesizer converts MIDI and Reason CV signals into DC signals like MOTU Volta, and using a MOTU 896HD interface, the control signals are routed to the moogerfoogers. The Thor programming matrix allows the signals to be scaled so that the oscillator responds to a musical scale. Also used is a MF-104Z Analog Delay.

This is a demo of Peff using Reason 4.0 to control an Oberheim S.E.M. with CV and gate signals:

I had Reason sending Note CV and Gate CV signals out through the MOTU 896 into an old Oberheim CPS-1 / S.E.M. module. A bit of tweaking was required to get the note cv scaling set, but after finding the right settings, I had Thor acting as a MIDI to CV converter.

With this Thor patch, it’s possible to control analog synthesizer systems (in this case the Oberheim S.E.M.) from the Reason MIDI Sequencer, Thor Pattern Sequencer, Matrix Pattern Sequencer, any LFO source in Reason, and the RPG-8 Monophonic Arpeggiator. It should also be noted that because the Reason 4.0 sequencer is sample accurate, theoretically, the synchronization should be very solid when sending CV signals through the MOTU audio interface.

via PeffTV:

http://www.peff.com/journal/2009/06/12/reason-cvgate-to-analog-synths/ Reason CV signals converted to audio signals via the THOR Polysonic Synthesizer, will send a DC voltage through the Mark of the Unicorn 896 HD audio interface.

In this manner Reason 4.0 can be used to control a variety of analog synthesizers that comply to the traditional CV/Gate voltage protocols. I tested this configuration with the ARP2600, which also works very well.

Digital Music Doctor has updated its chart of the top digital music apps, based on recent Internet search activity on Google, Yahoo, AOL & MSN.

Here’s how they rank:

The Top 10 Music Applications

1. DigiDesign Pro Tools (11.4)
2. FL Studio (10.1)
3. Steinberg Cubase (7.3)
4. Cakewalk Sonar (6.0)
5. Apple Logic (3.5)
6. Adobe Audition (3.5)
7. Apple GarageBand (3.1)
8. Sony Sound Forge (2.3)
9. Ableton Live (2.0)
10. MOTU Digital Performer (1.9)

Do you think this is an accurate reflection of the most popular music applications in the world – or do you think it’s just a sign that you’re going to be seeing a lot more posts about Pro Tools at Synthtopia?

Leave a comment with your thoughts!

via hypebot

Yep – now you can rule the world with computer-controlled synth power!

See this previous post for details on MOTU Volta.

Volta is now available for Mac OS X as an Audio Unit plug-in instrument at a list price of $249.

Dan Kirkhus demonstrates using Ableton Live with a handful of LFO type wav files to modulate external analog gear:

(if you’re not interested in the “how” and just want to see the frostwave spaz out, jump to 3:30 or so.) this stuff *only* works with MOTU audio interfaces (see: volta). this is an easy and free way to send beat-synced LFOs to your outboard modular gear; moogerfoogers, sherman filterbank, little phatty… anything with a CV input.

i recommend setting the warp method to “Re-Pitch” to keep LFOs smooth at extreme BPMs. or don’t… and get cool glitches.

You can download Dan’s LFO files here – but don’t blow your monitors with them!

MOTU has updated their site with more information on Volta, its virtual instrument plug-in designed to turn your audio interface into a voltage-controlled interface for traditional analog gear.

With Volta, any hardware device with a control voltage (CV) input can be placed under digital control from your audio workstation software. You can play and automate modulars, analog synths – even effects processors.

Here are some examples of what you can do with Volta:

• Perform MIDI sequencing with external modular synths with sample-accurate precision (if your host sequencer supports sample-accurate MIDI).
• Automatically calibrate and tune oscillators with the click of a button.
• Use ramp automation in your host audio software to control filters, envelope generators, effects processors and other voltage-controlled external gear.
• Apply LFOs, step sequencers and pattern sequencers to CV inputs and tempo-sync them to your host software timeline.

In the demo video above, via gearjunkies, MIDI notes are triggering oscillators, ramp automation data is controlling filter cutoff, and MIDI controller data in the MIDi track is controlling filter.

Volta features

• Standard virtual instrument plug-in that turns an audio interface with DC-coupled outputs into a voltage control interface.
• Lets you control external modular synths or other CV-equipped gear from your computer.
• Works with Digital Performer, Logic Pro, Live and other Audio Unit instrument hosts that support side chain outputs.
• Works with any MOTU audio interface equipped with TRS outputs, including the 24io with 24 TRS outputs, expandable to 96.
• Familiar, easy-to-use instrument plug-in operation within your favorite host software.
• Provides 24 control outputs per plug-in instance. Use as many instances as needed.
• Converts MIDI track data to control voltages to play modulars, analog synthesizers and other CV-equipped sound sources.
• Sample-accurate MIDI playback with supporting host software (such as DP).
• Provides seven different control source types, including MIDI notes, MIDI controller data and audio track automation, plus tempo-synced sources such as LFOs, clock pulses and trigger/pattern sequencers.
• Provides one-click pitch and octave calibration per oscillator using either Hz/V or V/oct tuning standards.
• View at a glance the total calibrated range for each oscillator/interface combination.
• Sync multiple drum machines, arpeggiators and other clock destinations with independent PPQ resolution for each device.

Availabilty and pricing are to be announced.

MOTU BPM was one of the hotter pieces of music software to come out of the 2009 Winter NAMM Show, because it is designed to turn your computer into an advanced MPC-style virtual instrument.

MacMusic has an early review of MOTU BPM, and they’re impressed:

BPM is a force to be reckoned in the drum machine world. With its huge library and strong feature set, BPM can easily hold its own compared to hardware drum sequencers. BPM’s compatibility with all major DAWs deserves bonus points. I would have liked to have seen a MIDI programmable sound repeat button as well as a hi-hat decay slider as on MPC drum machines- perhaps in a future update.

Nonetheless, BPM is by far the strongest software drum machine currently available. I’ll be looking to see how musicians find creative ways to use BPM, much like the MPC, but in my opinion, MOTU may have officially put all hardware drum machines on notice.

No faint praise!

Have you used BPM? If so, leave a comment and let us know if you think it’s the strongest software drum machine currently available!

More on MOTU BPM.

This video shows how Ableton Live’s drum racks and simple waves can be used to send CV.

This is all just the Frostwave Resonator under CV control, making a nice racket.

via tremorcore:

Plug-ins used :the o-scope is a demo of schope by schwa at http://stillwellaudio.com/ . fuzzplus2 (fuzz) and rough rider (compressor) from http://www.audiodamage.com/ and TAL-dub-II delay from http://kunz.corrupt.ch/ .

This demo shows how to use Ableton Live to output control voltages through a MOTU audio interface to control analog gear, in this case a Frostwave Resonator.

via tremorcore:

more geeky CV crap using ableton live and a handful of LFO type wav files to modulate external analog gear.(if you’re not interested in the “how” and just want to see the frostwave spaz out, jump to 3:30 or so.) this stuff *only* works with MOTU audio interfaces (see: volta). this is an easy and free way to send beat-synced LFOs to your outboard modular gear; moogerfoogers, sherman filterbank, little phatty… anything with a CV input.the LFO wav files used in the vid can be downloaded here:http://www.mediafire.com/download.php?yhljroqzy1ti recommend setting the warp method to “Re-Pitch” to keep LFOs smooth at extreme BPMs. or don’t… and get cool glitches.

MOTU BPM Advanced Urban Rhythm Instrument is a virtual instrument for Mac & PC that is designed to turn your computer into an advanced MPC-style audio workstation.

Description:

MOTU BPM unites drum machine-style operation with advanced virtual instrument technology. Combine drum kits, sequenced patterns, sliced loops and instrument sounds to realize your rhythmic vision, mixing and matching any playing style with any drum kit. Or plug in your pad controller or MIDI keyboard to capture your live, groove-quantized performance directly in BPM.

Details below.

If you’ve used BPM, leave a comment with your thoughts and ratings!

Main Features:

• Complete rhythm production center for Mac and Windows
• Combines state-of-the-art rhythm programming technology with playable virtual instrument operation inspired by the classic drum machines of the 80’s and 90’s
• Provides complete creative control, from recording and programming individual samples to building and arranging entire songs
• Includes a comprehensive, expertly produced urban sound and loop library for urban, R&B, pop, rock and other music styles
• Combines drum machine programming, sampling, loops, synthesized drum sounds, multi-sample instrument sounds, mixing, effects processing, song arranging and asset browsing in one streamlined window
• Plug-and-play support for hands-on pad controllers such as the Akai MPD32 controller
• Exclusive SP1200 Emulation mode faithfully reproduces the unique characteristics of the classic sought-after E-mu SP1200
• State-of-the-art environment for laying down beats as quickly as your mind can “hear” them

Included Sounds and Loops:

• 15+ GB library of all-new, never before released loops, samples and beats
• Over 10,000 individual samples
• Over 1,000 new drum and percussion loops
• 24-bit 96 kHz audio quality
• Mastered at Sterling Sound, NYC by top mastering engineer Chris Gehringer
• Beat Production/Sound Design by Eric K. Roz for Black Rose Corporation (www.eric-k-roz.com)
• Over 200 drum kits + patterns organized by style categories (Beat City, Old School, etc.)
• Over 100 urban multi-sampled instruments, including piano, bass, guitars, synths, pads and more
• Built-in drum synthesizer for unlimited synthesized drum and percussion sounds (includes hundreds of preset sounds)
• Comprehensive percussion samples, patterns and loops
• Dozens of classic “808″ and “909″ style beat box samples
• Hundreds of patterns in many styles (hip hop, R’nB, house, electro, techno, funk, soul, pop, rock, etc.)
• Play any pattern in any style with any drum kit (included or programmed) for virtually infinite combinations
• Load any MOTU instrument sound from MachFive, Ethno, Electric Keys, etc.
• Load any UVI instrument sound
• Add new sounds with BPM Expander packs and UVI SoundCards from UVISoundSource.com

Software Operation:

• Runs as a stand-alone application on Mac OS X and Windows XP/Vista
• Runs as a plug-in with any Mac or Windows audio host (Audio Unit, VST, RTAS and MAS)
• Next-generation UVI Engine XT delivers state-of-the-art sound quality and operation
• Supports multiple separate outputs for multi-channel mixing
• Drag-and-drop importing for MIDI data, audio data and audio loops
• Slice loops and patterns can be exported to the computer desktop or audio host software as audio clip or MIDI clip
• Scenes and songs can be exported to the computer desktop as an audio clip

Sampling and Synthesis:

• Records individual samples or loops from any external source via plug-in host software
• Quick sampling feature lets you quickly record into the currently selected drum pad supports self-sampling (record BPM output back into BPM itself directly)
• Programmable drum and percussion synthesizer with hundreds of factory presets
• Mix, match and layer drum samples and drum synth sounds, even on the same pad
• Exclusive SP1200 Emulation mode faithfully reproduces the uniquecharacteristics of the classic sought-after E-mu SP1200

Drum Machine Programming

• 64 pads per scene (4 banks of 16 pads)
• Independent step sequencer for each 16-pad bank
• Use multiple banks to quickly layer basic drum kits with additional kits (percussion, etc.)
• Convenient controls for mute, solo, gain and pan for each pad
• Detailed parameter adjustment for each pad, including velocity, pan, fine/coarse tuning, fill, timeshift, filter cutoff, resonance, decay, and others
• Graph sequencer for each note for ultra-dynamic expression (includes presets)
• Unlimited sample layers per pad with programmable velocity switching or cycling (random or programmed) for expressive “human feel”
• Independent synth programming for each sample layer (AHD/ADSR, filter, drive, aux sends, pitch envelope, etc.)
• Unlimited FX slots per pad and per bank
• Waveform Editor with fade in/out, normalize, silence, gain, etc.

Loops, Audio Phrases and Instrument Sounds:

• Two independent rack modules hold loops, audio phrases and/or instrument sounds
• Unlimited parts in each rack
• Independent piano-roll sequencer for each part (instruments and slice loops)
• Imports REX files, Apple Loops, AIFF, WAV and all standard audio file formats
• Automaps, plays and grooves REX files in real time
• Up to 64 MIDI channels
• Unlimited FX slots per part and per rack
• State-of-the-art time-stretching algorithms provide best-available audio quality at all tempos
• Loads and plays any MOTU or UVI multi-sampled instrument

Real Time Pattern Recording With Groove Quantize:

• Record, overdub and quantize patterns interactively in real time from any MIDI controller
• Plug-and-play support for pad controllers such as the Akai MPD32
• Apply grooves with independent control over timing and velocity
• Choose among dozens of groove presets or create and apply your own
• Combine kits, patterns and sequences into scenes
• Trigger scenes live with pads and/or MIDI notes
• Build songs in seconds via simple drag and drop of scenes

Comprehensive and Flexible Scene and Song Programming:

• Operate stand-alone or synced to host tempo and timeline
• Comprehensive mixing and effects processing
• Comprehensive graphic mixer with independent channels for all 64 pads and instrument parts
• Master mixer with master channel strips plus FX processing for entire banks, instrument racks and aux channels
• Stereo main outs plus 16 or more stereo aux channel outputs (up to 99, depending on the host)
• Unlimited effect slot architecture for pads, banks, instruments, racks, aux outs and master out
• CPU-efficient convolution reverb
• Dozens of professional quality effects, including EQ, compressor/gate, filter, delay, reverb, phaser, chorus, drive, distortion and many more

Convenient Browsing and File Management:

• Convenient, intuitive, unified browser for all assets (samples, loops, patterns, kits, instruments, etc.)
• Optional auditioning while browsing (list items play as you click them)
• Drag and drop loading from browser or desktop (including audio files, MIDI files and loops in all standard formats)
• Optional auto-loading from browser (list items load as soon as you click them)

via audiomidicom

Matthew Davidson (Stretta) created this hardcore geektacular demo of using MOTU Volta to create a quadrature LFO:

A quadrature LFO has four outputs with the phase shifted in 90 degree increments. This produces the sine, cosine, inverted sine and inverted cosine. A quadrature LFO is useful for frequency shifters, barberpole effects, quad panning, phasers and so on.

In this demonstration, we’ll use our quadrature LFO to modulate the waveform animation section of a Livewire Audio Frequency Generator oscillator, then we’ll play with the LFO waveforms to create some syncopated timberal animation – all in sync with our project.

Volta is the shape of things to come for analog synthesis – deeper integration with your software.

If you’d like to be notified when Volta becomes available, sign up for an email notification here.

2009 Winter NAMM Show: First up, let me state a pet peave: it should be against the law for software makers to advertise their software with awesome 3D models.

All the ads for MOTU BPM make it look like it’s an killer piece of hardware, not a virtual instrument. This seems to be a favorite trick for companies trying to make a virtual instrument look more awesome than it really is.

Other than that, it looks like BPM will be an interesting new app.

Here’s the official description for BPM:

BPM unites drum machine-style operation with advanced virtual instrument technology to give you the ultimate rhythm programming experience. Combine drum kits, sequenced patterns, sliced loops and instrument sounds to realize your rhythmic vision, mixing and matching any playing style with any drum kit. Or plug in your pad controller or MIDI keyboard to capture your live, groove-quantized performance directly in BPM.

Let me know what you think of BPM in the comments!

A holiday synth jam from Muzik 4 Machines.

• Korg ESX1: All Sequences/Drums
• Yamaha TX81z: Reverby/Pumpy Sawtooth Bass (chain:TX81z-Akai MFC42-Alesis Nanoverb-DBX266 ch1 (pump)-ch2 (Compression)-Mixer)
• Roland MKS50: Hoover/Saw/Lead/Pumpy Synth (Chain MKS50-Boss SL20-DBX266-Zoom RFX2200-Mixer)
• Redsound SoundBite Pro: Vocals/looping
• Korg Kaoss pad 2: Tempo Delay
• Korg Kaoss Pad 3: Loops, Looper(snare rolls), Grainshifter
• Korg Kaossilator: Noise Sweeps (path: K01-Mini KP(Delay)-Mixer)
• Korg ER1: Beatbox AND sidechain signal (Chain: left out-ProCo Turbo Rat-Boss V-Wha-Mixer)
• DX200: Fm E-piano, pads, 303-esque sequences, etc (Chain: Left Out-Boss DD5 delay-Mixer)
• Motu Midi Mixer 7s: My mixer, controlled by the BCF2000)
• Kawai Midi Patchbay:Guess 
• DBX MC 6: Output Compressor

NOT used: 
a computer, besides recording it; no edition, no mastering, What you hear is what I send out of the main outs

2008 Summer NAMM Show: MOTU has unveiled version 6 of Digital Performer.

Digital Performer 6 offers new features, enhanced operation and improved performance at all levels, from hundreds of small enhancements driven by user requests to major new features and plug-ins.

Features like track comping transform everyday work, while DP6’s new Final Cut Pro integration “could very well transform the way film scoring is done”, according to MOTU.

New features include:

• New user interface
• Streamlined operation
• Track comping
• MasterWorks Leveler plug-in
• ProVerb plug-in
• Film scoring enhancements
• Final Cut Pro integration
• Expanded audio file support
• Enhanced Pro Tools | HD support
• Enhanced plug-in operation
• Enhanced softsynth operation
• Direct audio CD burning
• DP6 productivity enhancements

Upgrades start at $195.00; competitive upgrades are $395.00.

Details are available at the MOTU site.

Audio interfaces don’t have near the sex appeal that a hardware synth has, but MOTU’s V3HD Firewire audio and video interface comes close.

It’s Mac. It’s PC. It turns either into a powerful HD/SD video production workstation.

And at $2750, it’s as unobtainable as it is sexy.

Features:

• HD/SD FireWire video interface for Mac and Windows
• Supports Apple Final Cut Pro on the Mac and Adobe Premiere Pro on Windows
• Plug-and-play connectivity via FireWire – provides HD and SD capture and playback for any current-generation FireWire equipped computer, including Mac & PC laptops
• Capture and play back 720 and 1080 HD over FireWire via industry standard DVCPro HD capture format for direct, native import into – and playback from – Final Cut and Premiere
• Across-the-board compatibility and pristine quality – DVCPro HD capture format provides 100 Mb/sec quality and CPU-efficient, frame-based (non-GOP) native editing
• Capture and play back uncompressed 10-bit SD from all formats
• HDMI output – connect HD plasma, LCD, DLP or flatscreen for flexible and affordable HD monitoring, including pixel for pixel display at 1080 with a supporting monitor
• Broadcast quality hardware-based real time SD-to-HD up-convert
• Broadcast quality hardware-based real time HD-to-SD down-convert
• Real-time 2:3 or 2:3:3:2 pull-down insertion and removal
• Comprehensive zoom modes for up/down conversion – anamorphic, pillar box, letterbox, 14:9 pillarbox, 14:9 letterbox and full screen
• Simultaneous HD/SD operation – connect multiple HD and SD sources and destinations simultaneously. Switch HD/SD sources on the fly while converting to multiple HD/SD destinations.
• Two rack space form factor with dedicated connectors – connect all of your gear to dedicated connectors. No cable swapping or gangly, inconvenient breakout cables.
• Stand-alone operation – converts selected input source to supported output formats with SD-to-HD up-convert, HD-to-SD down-convert and pull-down insertion/removal.

Winter NAMM Show Update: MOTU debuted Electric Keys, a $295 cross-platform virtual instrument that delivers the sounds of 50 classic keyboard instruments from the last 40 years.

The 40GB sound library includes over 20,000 24-bit 96 kHz multi-samples of electric pianos, electric organs, clavinets, Wurlitzers, tape samplers, string machines, keyboard basses and other rare and exotic electric keyboard instruments.

“You can play all those familiar electric keyboard riffs you know so well from the last four decades of rock, pop, funk and jazz, plus you get an intriguing assortment of rare and exotic keyboard sounds,” said MOTU’s Jim Cooper. “We carefully recorded and mastered the samples to the very highest standards for use in live performance and recording projects of any kind.”

The Instruments

Fifty well-preserved and maintained vintage instruments were used to create the sounds in Electric Keys, including models from Fender, Yamaha, Korg, Roland, Hammond, Wurlitzer, Hohner, Elka, Farfisa, Mellotron, Moog, RMI, Arp and others.

Most instrument samples are supplied at 24-bit 96 kHz resolution, but they can be played at any standard sample rate via Electric Keys’ flexible 32-bit UVI™ playback engine. Presets consist of carefully crafted multi-samples with multiple velocities, layers and/or release samples, depending on the instrument. Samples are streamed from disk, so even large presets load quickly and conserve computer memory. Sounds are organized in 12 banks, each with its own authentic look (”skin”), allowing users to install on their hard drive only the banks they wish to use. Electric Keys presets can be loaded into MachFive 2 for advanced sound design and layering.

The Interface

The Electric Keys window offers a few simple controls, including volume, pan, tone and tremolo settings, along with two preset slots, which allow users to layer two sounds using the convenient multi-column preset browser. When a preset loads, the background displays the “skin” for the corresponding bank, but the controls and their operation remain the same, regardless of the unique look and feel for each bank. Once one or two sounds are loaded, the user can simply play, adjusting parameters as desired, while CPU-efficient 256-note polyphony ensures that notes are never cut off due to voice-stealing.

All parameters can be automated via convenient “MIDI learn”, where the user can simply right-click any control to assign any MIDI controller. Users can load and save “combis” consisting of a snapshot of the entire plug-in, including effects. Combis can be shared among plug-in formats and the stand-alone version — even across computer platforms. Dozens of factory presets and combis are supplied.

The three-dimensional piano keys across the bottom of the Electric Keys window highlight during playback. Users can click the keys to audition sounds.

Separate multi-effects rack

Users can click the FX button to open the FX-Rack, which is a separate window with eight effects that can be applied individually or in combination as a multi-effect to any preset. Effects include amp simulation, filter, chorus, flanger, phaser, UVinyl (to add “wear and tear”), delay and reverb. Since effects can be loaded, created and saved independently of instrument presets, it is easy to mix and match effects with presets, allowing users to experiment with practically infinite combinations. All effects parameters can be automated with one-click “MIDI Learn” CC assignments.

Plug-in and stand-alone operation

Electric Keys supports all major plug-in formats on Mac OS X and Windows (XP and Vista), including VST, DXi, MAS, Audio Units and RTAS. It also runs as a stand-alone application, turning any laptop or desktop computer into the ultimate electric keyboard instrument.

Electric Keys will ship in February, 2008 for a list price of $295.