Today's Top Stories:
 Eventide Intros Software for TEC-Nominated H8000FW
Eventide has announced that version 5.2 software for its TEC award-nominated digital processor, the H8000FW, will be available in October. This new version is designed to give both engineers and artists additional tools for sound creation and adds over 100 new programs. The addition of seven new modules brings the total number of effects modules available to a whopping 249. With Eventide's exclusive Building Block Architecture, users can create their own unique preset-algorithms. The H8000FW also includes PC and OS X graphic preset development tools. Eventide offers an exclusive upgrade program for existing owners of the H8000, H8000A, or Orville. Scheduled for release by the end of October 2006, version 5.2 pushes the number of programs included in the H8000FW to 1,800. For registered H8000FW owners, the upgrade is a free download. It's also available on a flash memory card from Eventide for just $99.
Mac Pro Users Get Pro Tools Upgrade from Digidesign
Pro Tools HD 7.2.1 is a free update to Digidesign's hugely popular Pro Tools HD 7.2 software that provides specific support for the Mac Pro. If you currently own Pro Tools HD 7.2 and want to migrate to a Mac Pro, you can download Pro Tools HD 7.2.1 absolutely free from the Digi Web site. For those who don't yet have broadband Internet access, a Pro Tools HD 7.2.1 update CD for is available for just $9.95 from the DigiStore. Note that at present, Pro Tools HD 7.2.1 does not include support for Avid Mojo, however Digidesign plans to add Mojo support in a subsequent Pro Tools HD software release, most likely early in 2007. Avid Mojo users who wish to work on a Mac should continue using Pro Tools HD 7.2 software with a qualified PowerPC-based Mac configuration.
Guitar Of The Day
We've covered a lot of gorgeous PRS guitars in this daily column and most of you should know the story by now. The PRS Custom was the instrument Paul Reed Smith took to the NAMM Show in 1985 and the Custom remains at the heart of the PRS line. Eventually, two Custom models were produced, a 22-fret version and the original Custom 24, which is today's Guitar Of The Day. It boasts all the features you'd expect from a PRS, including a beautifully carved figured maple "10-Top" (this one in Royal Blue) over a solid mahogany back with the patented PRS tremolo bridge and tailpiece and locking tuners. The Custom 24 comes with two coverless humbuckers: an HFS bridge pickup and a Vintage Bass in the neck position. A specially designed 5-way rotary switch allows for close approximations of those glossy "out-of-phase" single-coil pickup combinations. The solid mahogany neck comes with the PRS wide-thin neck carve and a 24-fret rosewood fingerboard with those trademark abalone bird inlays. As you'd expect, the PRS Custom 24 ships in a plush-lined deluxe hardshell case.
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| Reel-to-Reel |
Before the dawn of the digital age, all recording and mastering was done on large analog recorders onto reels of magnetic tape. Home recording enthusiasts generally used 1/4-inch tape, while professional facilities used 1/2-inch, 1-inch, or 2-inch tape. In 1934, BASF produced the first magnetic recording tape, which used cellulose acetate base tapes coated with ferric oxide. Within a year, AEG had produced an "advanced Magnetophon recorder," and the first recording of Mozart's E-flat Symphony performed by the London Philharmonic made in 1936 - which still exists to this day.
The term "reel-to-reel" came from the recording process where a new, blank metal oxide reel of tape was placed on the left side of the recorder and threaded across the heads and between the capstan and then out onto an empty "take-up" reel -- the tape moved from reel to reel. Professional recorders evolved to run at speeds up to 30 inches-per-second (ips), though home users typically used slower speeds of 7-1/2 or even 3-3/4 ips. |
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| Using an Autolocator Stand for a Rack Module |
Autolocator stands were initially created to give studio engineers an easy way to mount their tape transport controller (Rec, Play, Rewind, etc.) at a convenient height and angle. Roller wheels made it easy to drag it along as you moved across the mixing board. Today, many mixing boards and control surfaces have built-in transport buttons.
But it turns out that these stands are staggeringly useful for other devices as well. I, for example, play a strap-on MIDI keyboard into a Kurzweil rack module. An autolocator stand holds the module at the perfect height and angle to make adjustments while I'm playing, without having to turn around and reach down to my rack. If you use a horizontal MIDI controller keyboard you'll find that it's much easier to tweak your synth module when it's right behind your keyboard and angled conveniently.
Guitarists will also appreciate being able to tweak their tone on a Boss GT-Pro or Line 6 PODxt Pro without moving from their position. And "groove box" performers will find that they're now free to move around the stage as needed. Try one and it's likely that you'll find a need for another.
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