The smart folks at Presonus let us in on a couple new “up-and-comings.” The first, the DigiMax LT, is a trimmed down version of their awesome Digimax preamp. The LT has virtually all the quality features and components of the original – the same 8 channels of class A preamps, the same pristine A/D converters. The difference? The DigiMax LT doesn’t include S/PDIF or AES/EBU outputs of the DigiMax. But it also doesn’t include the hefty price tag of the DigiMax (the retail price of the DigiMax LT is $999.95). Features on the DigiMax LT include Lightpipe output and insert points on every channel for patching in dynamics or EQ.
We also got a look at their new FireStation firewire audio workstation, with mic, line and instrument inputs, S/PDIF inputs and outputs, and line outputs, plus three mLAN ports.
Fostex: When we first saw their RM-1, we thought it was another rackmountable processor. Turns out we were half right. The RM-1 is actually a complete stereo rack monitor, a whole monitoring system in one rackmountable unit, with the speakers themselves built directly in to the unit. It delivers a fully professional sound and performance, with plenty of user control, and makes an excellent monitoring solution for when real estate is at a premium.
Also on hand were Fostex’s M88 and M11 special edition, hand-built ribbon mics. Utilizing a patented printer ribbon element that combines the best sound and features of dynamic, condenser, and ribbon mics, these are special edition microphones are only available in limited quantities. They’re well worth it, so be on the lookout! M88 is a bi-directional model. M11 is unidirectional.
The V160 16-track digital recording and editing console picks up where their VF16 workstation left off. To that console’s sophisticated editing, mixing, and effects functions, Fostex has added a built-in CD-RW drive. The VF80 boasts many of the same features – including the CD burner – in a scaled-down, more affordable 8-track version.
Microphone-makers extraordinaire Studio Projects gave us a glimpse of their upcoming B Series of recording mics. The three mics in the B Series – the B1, the B3, and the TB1 – are constructed with Studio Projects’ usual attention to detail and represent a new standard of quality for price in pro recording mics. The B1 is a large diaphragm cardioid microphone, an excellent general all-purpose recording mic for a huge range of applications. The B3 is similar to the B1 except it features three selectable recording pattern (omni, cardioid, figure 8). The TB1 is Studio Projects’ vacuum tube mic, incorporating a 6072 “dual triode” vacuum tube for that warm, transparent sound.
Event had two new releases to show us. The EZ8 Optical Audio Interface Expand lets you expand the EZbus USB audio interface into a full-blown multitrack recording system. The EZ8 features 8 discrete channels, full-duplex operation, 8 channels of 24-bit/48kHz digital I/O, SMUX mode for four-channel 24-bit/96kHz operation, and ADAT lightpipe I/O. Next up, the EMP-8 eight-channel mic preamp, is sort of a companion piece to the EZ8, giving you 8 channels of recording to your computer-based workstation. Event is positioning the EMP-8 as the perfect means to capture the “real-live-band-in-a-studio” feel on your computer. Very cool.
Neumann’s Solution D marks the legendary mic company’s first foray into the digital domain. This digital mic offers a host of innovative features, including remote alteration of key sound parameters. There’s also integrated DSP processing, and its A/D converter aims to remove the need for an external preamp and converter, and allows gain adjustments to be made digitally inside the mic. There’s even remote control software program available for controlling standard mic facilities such as the low-cut filter and polar response.
NAMM 2002 saw the unveiling of the latest Focusrite processor, an 8 channel mic pre called the OctoPre. An addition to Focusrite’s acclaimed line Platinum audio processors, the OctoPre features eight pristine Focusrite channels and routes directly to any digital audio workstation via analog outputs or a new 24bit, 96kHz A/D converter. Each channel also features a compressor / limiter circuit, providing a warm-sounding compressor, which morphs into a brick wall limiter to avoid those critical overs, ensuring total control over all eight channels.
Ovation guitars introduced the 2002 model of their Collector’s Series. This is the 28th guitar in the series, and an excellent example of the innovation and that makes Ovation acoustic/electrics unlike any other instrument. The 2002 Collectors guitar features a stunning African Cherry top along with Ovation’s signature 5 piece epaulets around the soundholes, five piece maple and mahogany neck, and a mid-depth cutaway body for full, rich tonality. The neck is about 20% thinner than the standard Ovation neck, making it a natural fit for guitarists more used to playing with an electric guitar. What’s more, this is the first instrument to feature Ovation’s brand new OP-40 preamp. We also got a glimpse of the Tangent Series, a brand new line of guitars that we think you’ll be seeing a lot of very soon. Featuring super-shallow, cutaway bodies and low profile necks to fit electric players needs, the Tangent Series models (the T257 and T357) have an all black motif and gun metal tuners.
From Mezzo Technologies comes Mezzo 4, their next generation time-saving, incredibly efficient audio and video data manager, offering a unique combination of project-based archiving and retrieval, advanced search capabilities, and features such as background operation that enhance project workflow.
Genelec had their new 7000 Series Active Subwoofers kicking up a mighty noise. Designed for multi-channel professional surround-sound monitoring environments, the 7000 Series consist of four models (8″, 10″, 12″ & dual-driver 12″) with built-in 6.1 bass management plus an extended frequency range.
Akai’s new Z Series of professional samplers were doing their thing at the Akai booth. Akai seems to be positioning their Z Series to pick up the legacy of the legendary S Series samplers, but at a lower cost. The Z4 and the Z8 offer the advantages of dedicated hardware, plus the interface power of ak.Sys PC/Mac Control and Networking System Software. The heart of the new Z-series is Akai’s new custom Z-96 LSI sampling engine coupled with a high-performance Intel CPU. This combination provides ultra-fast audio processing with up to eight realtime controllers and 24-bit audio resolution with sample rates up to 96kHz. Just some of the new features on the Z-Series include Q-Link knobs for realtime modulation control, automated sampling using the new IntelliSample feature, Quick FX for macro sound munching, capacity for 512MB SDRAM, a new 24bit/96kHz 4-channel effects processor… the list goes on and on. The difference between the Z4 and the Z8? The Z4’s features 4 Q-Link knobs, while the Z8 features (you guessed it) 8 Q-Link knobs, plus the Z8 has a removable remote panel for convenient control away from the sampler. On both samplers the Q-Link knobs can be separately assigned to allow flexible realtime modulation of a variety of assignable parameters. Like the S Series samplers, the Z Series models also come in a variety of configurations.