TC Electronic intros Reverb 8 for System 6000

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TC Electronic has announced Reverb 8, a new infinite channel reverb algorithm for TC Electronic’s highly acclaimed System 6000 audio processing platform.

TC Electronic Reverb 8

A single System 6000 MKII frame is capable of running two Reverb 8 instances, delivering 16 output channels of ultra-realistic space. For an even higher channel count, multiple System 6000 MKII frames can be linked in a network, offering reverb for virtually any channel-count.

Reverb 8 may be fed with any input signal – mono, stereo, 5.1, 7.1, etc. – and deliver to an infinite number of output channels, perfectly suited for e.g. Dolby Atmos (up to 62.2 surround), Barco Auro (11.1 surround) or NHK’s multichannel broadcast format Super Hi-Vision (22.2 surround). In short, Reverb 8 goes from mono to infinity, or anywhere in between.

“For more than two decades of developing and refining some of the world’s finest room simulators, we have had the infinite “Lego brick” reverb as a goal. One missing link was the ability to add credible envelopment without artifacts even when a source already contained plenty of spatial information, for instance natural reverb from a microphone pick-up,” says Thomas Lund, CTO for Broadcast & Production at TC Electronic. “Reverb 8 has that essential quality without reverting to modulation. At the same time, high density distribution is becoming available. We’re confident artists, producers and audiences everywhere will reckon the super-natural 3D sound improvement Reverb 8 has to offer.”

Reverb 8 is available to purchase for $1,825 USD. It is also available as part of Film 6000. Reverb 8 is compatible with the System 6000 MKII mainframe only.

More information: TC Electronic / Reverb 8

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Minnetonka Audio Slates IBC for Next Gen ATS & Dolby E Advancements

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IBC 2012

Minnetonka Audio has announced it will be exhibiting at the upcoming IBC 2012 (International Broadcasters Convention), demonstrating new versions of several of their key products.

Updated loudness control and quality control (QC) technology for file-based audio will be featured with the 2.0 release of AudioTools Server(TM), a no-charge upgrade for AudioCare subscribers. An already mature problem solver at national and private facilities worldwide, ATS 2.0 adds load balancing and frame rate conversion plus smart MML/STL processing. Minnetonka Audio’s TruCorrect(TM) smart loudness processing eliminates perceived loudness changes and degraded intelligibility associated with traditional methods of correcting content containing extreme dynamic range.

The benchmark measurement algorithm, Dolby Dialogue Intelligence(TM), has been integrated in the 2.0 AudioTools Loudness Measurement module. This industry reference measurement approach provides dialog anchoring as a dynamically chosen option within ATS workflows based on the actual content. MXF processing performance has also been enhanced, along with True Peak measurement via Accelerated TruPeak(TM), which also uses the actual content to determine whether a True Peak measurement is required.

The addition of two new utilities, a unified Queue Control and a Job Wizard client application, round out the improvements to the 2.0 release of AudioTools Server. The new Queue Control is a global administration application that allows the operator to load, execute and monitor jobs and workflows. It also eases oversight of multi-node management and load balancing. The new Job Wizard utility makes the myriad capabilities of AudioTools Server more approachable with an uncomplicated user interface. The Job Wizard significantly simplifies the creation of new jobs and job templates.

At IBC 2012, Minnetonka Audio will also feature the latest SurCode software releases, including SurCode for Dolby E Stream Player 2.0 which was purpose-built for Apple’s Final Cut Pro, and SurCode for Dolby E Encoder and Decoder version 2.1. Broad support for Avid’s product line, including Pro Tools, NewsCutter, Media Composer and Symphony, is a key feature of the new SurCode Encoder/Decoder release.

Minnetonka Audio will be demonstrating the new AudioTools Server and SurCode for Dolby E at the upcoming IBC convention, September 7th through the 11th (stand #7.G43).

More information: Minnetonka Audio

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Minnetonka Audio updates SurCode for Dolby E to v2.0

Minnetonka Audio has announced the release a major new version of its SurCode for Dolby™ E family of encoding and decoding products.

Minnetonka Audio Surcode for Dolby E

SurCode for Dolby™ E provides easy integration of Dolby E elements into existing workflows on a wide variety of industry–leading audio workstations. Linear PCM, with complete metadata support, can be encoded and decoded in real time and in the background at faster than real time speeds with convenient, familiar, cross–platform plug-ins.

Version 2.0 of SurCode for Dolby™ E brings a fivefold increase in encoding speed thanks, in part, to in–depth utilization of multi–threaded execution on all platforms. To further broaden RTAS, AudioSuite and VST support, a Final Cut Pro Export Decoder and AudioSuite Decoder has been added to the roster. The new Export Decoder for Apple’s Final Cut Pro enables convenient decoding to PCM without having to resort to external applications or processing loops. The faster-than-real-time decoder for AudioSuite compliments the existing real-time decoder and confidence monitor plug–in for Avid’s RTAS. Maintaining up to the minute platform parity, both SurCode for Dolby E Encoder and Decoder now also support the recently released Pro Tools 10 and Apple’s Mac OS 10.7 Lion.

The new 2.0 version of the SurCode for Dolby™ E Production Suite leverages the increased processing speed and platform–specific additions of the new release bundled together with Minnetonka Audio’s AudioTools AWE™ and the SurCode for Dolby E Stream Player plug–in. This bundle provides real-time and faster-than-real-time encoding and decoding of Dolby E streams and files, while adding the ability to automatically downmix surround streams to stereo in real-time. The SurCode for Dolby E Stream Player plugs into Avid’s NewsCutter, Media Composer and PT10, and includes cross–platform VST as well as AudioTools AWE formats.

SurCode for Dolby™ E 2.0 is a no–charge upgrade for existing customers. Individual encoder and decoder packages and components, along with the 2.0 SurCode for Dolby™ E Production Suite, are available now from select resellers or online at Minnetonka Audio Software. Licenses are cross–platform and bundle/suite licenses are modular, allowing them to be assigned to separate iLok USB Smart Keys according to the purchaser’s deployment needs.

More information: Minnetonka Audio / SurCode for Dolby™ E

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Dynaudio Acoustics announces the ultimate monitoring bundle: PLM3A

Dynaudio Acoustics has announced the PLM3A, a high-performance monitoring bundle.

Dynaudio Acoustics PLM3A

The days of deception are over. PLM3A speaks nothing but the truth!

Speaking of the truth and as the saying goes: a chain is only as strong as its weakest link. With that in mind, the PLM3A bundle is the perfect example of how three state-of-the-art elements have been successfully combined to become the ultimate audio monitoring chain. A set of unrivalled Dynaudio Acoustics M3A 3-way monitors is the first link, a Lab.gruppen PLM 10000Q amplifier is the second and cutting-edge Lake and TC Electronic processing is the third link, ensuring that any room can become the perfect listening facility.

PLM3A includes:

  • Dynaudio Acoustics M3A – Dynaudio Acoustics has provided audio professionals with first-class monitoring solutions for decades, and the M3A monitors build on that proud tradition, being equipped with extremely clean, dynamic, powerful and reliable speakers in which common problems such as cone break up, thermal compression and phase misalignment have been almost eliminated. The M3A speakers feature a pair of 300mm bass drivers that are perfectly complemented by two 150mm piston midrange drivers, and the high frequencies are accommodated by a high-power version of the 28mm Esotec T-330 DA dome tweeter that is considered the finest dome tweeter available. All of the drivers are ferrofluid cooled, which is a benefit only made possible on low frequency drivers by the use of custom designed ferrofluid compounds applied to very tightly tolerated voice coil gaps – a feature that is absolutely unique to Dynaudio Acoustics.
  • Lab.gruppen PLM 10000Q – The PLM 10000Q amplifier delivers an impressive 4 x 2,300 watts at 4 ohms and is based on technology from Lab.gruppen’s highly acclaimed and road-proven FP+ series. PLM 10000Q is based on Lab.gruppen’s patented Class TD amplifier design that offers the proven efficiency of Class D amplification with the amazing, sonic purity of Class B designs, but that is not all. A new circuit provides substantially greater current-carrying capabilities, and the Regulated Switch Mode Power Supply (R.SMPS) is optimized to deliver full power during long low-frequency bursts as well as maintain stable rail voltages despite fluctuating line voltage. Finally, advanced cross-overs inside the PLM 10000Q feed its four output stages, allowing for optimized RMS and true-peak limiter settings for the lo and mid/hi drivers.
  • Lake and TC Electronic processing – Having the perfect monitors and amplifier is one thing. Making them deliver divine audio quality in any room is another – and this is where unique Lake processing makes all the difference. Lab-gruppen’s PLM 10000Q amplifer holds two full-featured Lake Processor modules, each offering precise settings for gain, delay, crossover slope, equalization and limiting that provide unparalleled power to correct, shape and optimize any sound source for any control room. Exclusive Lake Processing algorithms are included for Raised Cosine Equalization, linear phase crossovers, LimiterMax loudspeaker protection, and Iso-Float ground isolation. Raised Cosine Equalization is the foundation for the Lake Mesa EQ and the Ideal Graphic EQ, the two revolutionary EQ interfaces used by the Dolby Lake Processor. Mesa EQ offers asymmetric filtering to match the asymmetric responses of many loudspeaker systems while the Ideal Graphic EQ offers true sum-to-flat response, so the adjustments provide uniform boost and cut along with greater selectivity.

PLM3A is available now for $18,000 USD / 13,950 EUR (ex VAT).

More information: Dynaudio Acoustics / PLM3A

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Eric Beam “Brings the noise!”, free test tones/noise samples

Eric Beam - Bring the noise!

Eric Beam has posted a number of free audio test files from a Prism dScope III audio analyzer and a Dolby SDU4 surround decoder.

For everyone that designs, tests, creates, calibrates, or has an odd preference for what they consider “listening enjoyment”, This is for you.

Having calibrated utility & test files is a must for any audio engineer. The corner stone being pink noise. When it comes to generating tones/noise ITB I have found most DAW to be severely lacking in this area. After much frustration with the incorrect Protools signal generator “Pink”. I’ve captured Tones/Noise from a calibrated DScope & Dolby SDU4.

More information: Eric Beam

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