Results for DSP

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RME Audio intros HDSPe MADI FX audio interface

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RME Audio has presented the new HDSPe MADI FX PCI Express card at the Musikmesse 2012 in Frankfurt (Hall 5.1 B80).

The MADI FX marks a new milestone both in the history of audio interface cards and within the long series of outstanding RME devices. Never before has such a high-performance multi-channel audio system existed.

RME Audio HDSPe MADI FX

The HDSPe MADI FX features 390 audio channels! Three MADI I/Os – two optical and one coaxial – are accompanied by one AES/EBU I/O and one analog monitoring output.

The HDPSe MADI FX introduces a newly developed modular Hammerfall Pro Audio Core. The high-tech core will process three times as many channels as the channel count of the previous MADI flagship, while actually reducing the system load and enabling ultra-low latencies on modern computers.

The new core technology is accompanied by a special version of TotalMix FX, which allows using the enormous channel count efficiently, and a faster DSP. The integrated 192 kHz RME effects engine allows latency-free monitoring with numerous effects directly on the hardware of the card, independent from the DAW software in use.

The card can be used as powerful MADI router. Unlike most other router solutions, each channel can be routed individually – even with separate level settings for each routing.

With the new Seamless Redundancy Operation the card can operate as single MADI input device, recording up to 64 channels. As soon as the current input fails the audio data received from one of the other two inputs is used. The audio data is not interrupted when switching to another input – and the card can use not only one, but two more MADI sources for redundancy.

HDSPe MADI FX features

  • 1-Lane PCI Express Endpoint device (no PCI Express to PCI Bridge), revision 1.1.
  • 2.5 Gbps line speed.
  • Packet-based full-duplex communication (up to 500 MB/s transfer rate).
  • All settings changeable in real-time.
  • Automatic and intelligent master/slave clock control.
  • Sync sources: MADI coaxial, MADI optical, AES/EBU, word clock, internal.
  • Varipitch: by input signal or word clock.
  • Sample rates: 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz, 192 kHz, variable (Sync/word clock).
  • Sample rate range: MADI: 32 kHz – 96 kHz, word clock: 27 kHz – 200 kHz.
  • Jitter: < 1 ns, internal and all inputs.
  • Jitter sensitivity: PLL operates even at 100 ns Jitter without problems.
  • Comes with DIGICheck: the ultimate measurement, analysis and test tool.
  • Input word clock: Signal Adaptation Circuit (functional from 1.2 Vpp input signal), switchable termination.
  • Output word clock: BNC, low-impedance driver stage, 4 Vpp into 75 Ohms, short-circuit-proof.
  • MIDI input and output: via two 5-pin DIN jacks.

The HDSPe MADI FX will start shipping in May 2012.

More information: RME Audio / HDSPe MADI FX

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Antares launches Auto-Tune for Guitar

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Antares Auto-Tune for Guitar

Antares has announced Auto-Tune for Guitar, a powerful hardware DSP system that is designed to be installed in a guitar and provide real-time processing while the guitar is played live on stage or in the studio.

Incorporating our world-renowned Auto-Tune pitch detection and manipulation along with our proprietary modeling technologies, Auto-Tune for Guitar is an entirely DSP-based suite of functions that offer everything you’ve always wanted from a guitar, along with capabilities you never imagined possible.

From flawless intonation to astonishing tonal flexibility to alternate tunings that open up entirely new areas of inspiration and creativity, Auto-Tune for Guitar technology seriously expands the flexibility and range of the electric guitar while letting you continue to play your own way.

More information: Auto-Tune for Guitar

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iZotope launches suite of iOS SDKs for audio effects

iZotope has announced the release of six iOS software developer kits (SDKs) and a free guide to audio programming for iOS.

iZotope iOS SDKs

“By releasing licensable SDKs and a free guide for iOS Audio development, iZotope is providing iOS developers with high-quality, easy-to-use audio effects and resources for their apps,” says Alex Westner, iZotope’s Director of Business Development. “With hundreds of thousands of applications being released into the market every month, the world of mobile development has become an extremely competitive environment. Superior audio quality is essential for distinguishing top apps from the masses.”

While iZotope has already licensed audio DSP technology to clients such as Smule for “I Am T-Pain”, Audiofile Engineering for “FiRe and FiRe 2,” and Sonoma Wire Works for “GuitarTone,” iZotope is excited to bring tools to the market for the beginner and experienced developers alike.

iOS SDKs features

  • Multiple SDKs: Developers will have access to a wide variety of professional audio effects spanning the six kits below.
    • Audio Repair: De-noising and audio clean up
    • DJ FX: Time and pitch control for single voiced instruments
    • Vocal FX: Pitch correction and vocal remover
    • Trash FX: 9 different box models and 11 distortion types
    • Fun FX: Fun vocal FX including tape stop and loud speaker
    • Core FX: EQ, dynamics, delay, reverb
  • Multiple uses: Effects within the SDKs can apply to apps of all varieties, including apps for field recording, DJ remixing, karaoke singing, lecture recording, gaming, chatting and more.
  • Easy integration: The SDKs are simple to use and come with detailed instructions on how to integrate them into your project.
  • Free guide to iOS audio programming: In addition to the SDKs, developers get a free guide to audio programming for iOS.  This handy reference provides a concise collection of information on using Core Audio in iOS, including how to use both Audio Queues and Audio Units, the two main methods in Core Audio for handling audio.

Trial version of the SDKs are available to download. An unlock code is required to use technology from our SDKs within your own mobile app. Once you’ve evaluated the SDKs and determined what works best for your app, contact iZotope for information on licensing just the tools you need.

More information: iZotope / iOS SDKs

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Steinberg introduces UR28M and UR824 audio interfaces

Steinberg has introduced the rackmountable UR824 interface and the desktop UR28M interface, two products in its new range of audio interfaces with USB 2.0 connectivity.

With the UR interfaces, Steinberg offers two professional solutions for musicians and producers. Both interfaces provide sufficient means of connectivity, D-Pre microphone preamps plus DSP-powered reverb and channel strip effects for monitoring at zero latency.

Steinberg UR28M / UR824

UR28M features

  • 24-bit/96 kHz USB 2.0 audio interface.
  • Analog 4 in and 6 out plus stereo input for reference source.
  • S/PDIF coaxial I/O.
  • D-Pre Class-A discrete mic preamps supporting +48V.
  • Latency-free DSP-powered monitoring with one REV-X reverb and four Sweet Spot Morphing Channel Strips with any DAW by using the latest dspMixFx technology.
  • Native VST 3 plug-ins of REV-X and Sweet Spot Morphing Channel Strip included.
  • Digitally controlled monitor level control with DIM, Mono, and Mute fed by a 3×3 monitoring matrix.
  • 2 separate headphone buses with individual outputs.
  • Cubase AI 6 music production software included.
  • Cross-platform compatibility for Mac OS X and Windows.

UR824 features

  • 24-bit/96 kHz USB 2.0 audio interface.
  • Analog 8 in and 8 out with 8 D-Pre Class-A discrete mic preamps supporting +48 V.
  • 2 pairs of ADAT optical I/O (doubles as S/PDIF) provide 16 in and 16 out (S/MUX compatible, 8 in and 8 out @ 96 kHz).
  • Latency-free DSP-powered monitoring with one REV-X reverb and eight Sweet Spot Morphing Channel Strips with any DAW by using the latest dspMixFx technology.
  • Native VST 3 plug-ins of REV-X and Sweet Spot Morphing Channel Strip included.
  • 2 separate headphone buses with individual outputs.
  • Word clock I/O with 2 BNC connectors plus JetPLL ultra-low jitter support.
  • Cubase AI 6 music production software included.
  • Cross-platform compatibility for Mac OS X and Windows.

The UR28M is now available to purchase for 449 EUR incl. VAT. The UR824 will be available in November of this year, priced at 849 EUR incl. VAT.

More information: Steinberg / UR audio interfaces

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Renoise 2.7: Sampling, Instruments, Automation, and Native DSPs

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Renoise

Multiplatform music sequencer and audio processing application Renoise was updated to version 2.7 beta.

The metronome swings back. Renoise 2.7 transitions from the developer-heavy focus of the previous release to more musical concerns such as Sampling, Instruments, Automation, and Native DSPs.

As part of a beta promotion, Renoise 2.7 is available at €40 for new users. We’re lowering the entry barrier to our beta cycle, known as the feature improvement phase before the final release. Already registered? Then why not bump your version for €32 in the Backstage?

Changes in Renoise 2.7

  • Renoise’s internal instruments have been re-engineered. The focal point is a new keyzone editor that supports overlapping, velocity, and key release mappings. The Sample Keyzones editor brings with it user interface refinements, improved drumkit generation, better tuning options, new sample properties, and loop modes. Live instrumentalists can also tap into new realtime rendering modes and MIDI input routing, making Renoise on a laptop a formidable replacement for your old sampler.
  • New Slice Markers push Renoise’s breakbeat insanity one step further. With the click of a button, your break is sliced and keymapped. Amens away! More than just a beatslicer, creatives will soon discover custom offsets and the power of aliases for controlling longer recordings like vocals and soundscapes.
  • The revamped Automation Editor now provides a zoomable overview of the entire song, as well as vastly improved envelope resolution. Navigating is smooth, dragging and drawing easier, so simple yet so useful.
  • Internal FX get an injection of winning with a new Comb Filter and a Multiband Send that lets you surgically redirect a single sound source to 3 send tracks. New draggable gain and frequency handles in the native EQs add flavour and finesse to the tools. Other changes include improvements to DSSI, MIDI optimizations, hardware-compatible solo mode, adjustable audio headroom, pre-count, ameliorations to the Lua API, and numerous other changes in every aspect of the app; no stone was left unturned in this release.
  • More, check the change log for details.

To celebrate the Renoise 2.7 Beta, for a limited time new accounts can be purchased with a 30% discount, lowering the entry barrier to Renoise’s Beta phase. Existing customers can take advantage of the -20% reduced pricing on upgrades.

More information: Renoise

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RME releases Babyface silver edition, 22-Channel USB audio interface

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RME Babyface (silver)

RME has released a silver edition of the Babyface, a 22-channel, 192kHz bus-powered audio interface.

RME has given a face to digital audio. Starting with the Multiface as first serious/professional mobile I/O solution ever we raised the bar further and further, up to the extremely popular and successful Fireface series. So now that the racks are filled we will start to rock your desktop!

The Babyface is smooth on the outside for looks and feel, but has the balls inside: latest 192 kHz AD- and DA-converters, two reference class microphone preamps, SteadyClock – analog circuit design, features and function are truly RME – we wouldn’t give our newborn anything second class!

That includes the new TotalMix FX, a TotalMix on steroids, with tons of new features, improvements and 3-band parametric EQs, plus added echo and reverb: anything you need right out of the box and with near zero latency!

The Babyface uses RME’s Hammerfall USB audio core from the Fireface UC – another milestone in low latency audio interfaces, and will give you outstanding performance and top sound in an ultra-portable, nicely designed and attractively shaped enclosure.

The Babyface is now available in blue and silver, priced at a MSRP of 599 EUR / $799 USD.

More information: RME Audio / Babyface

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Plogue updates Bidule to v0.9707, modular audio software

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Plogue Bidule

Plogue has released version 0.9707 of Bidule, a modular audio software for Windows and Mac.

Use Bidule’s DSP building blocks to create your own custom effects. Each of Bidule’s many math and DSP building blocks can be used to “program” your own custom instruments and effects.

Changes in Bidule v0.9707

  • Added support for 12 cores.
  • OS X: 64-bit test version of the standalone now available.
  • ReWire: added preference to enable the 64bit standalone to communicate with the ReWire device.
  • VST: added support for plugins changing the number of inputs/outputs through audioMasterIOChanged.
  • MIDI To Sync: fixed possible crash when loading an existing layout.
  • OS X: crash could possibly occur on certain edge cases of MIDI input. Fixed.
  • OS X: crash can occur in host after last instance of AU/VST is removed. Fixed.
  • OS X: crash could occur under some specific circumstances when plugging back a MIDI device. Fixed.
  • Patchbay: connect-insert doesn’t work with some signal types mismatch. Fixed.
  • Polyphonic Adapter: parameter links are not kept when using the Polyphonic Adapter. Fixed.
  • Sync Transport: uses more CPU when the UI is shown. Fixed.
  • + many more fixes.

Bidule for Windows and Mac (standalone/VST/AU) is available to purchase for 75 EUR / $95 USD. Prices excl. VAT.

More information: Plogue / Bidule

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Arturia announces Origin firmware version 1.3 Update

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Arturia Origin firmware 1.3

Arturia has announced firmware version 1.3 of Origin, a hardware DSP system that houses several synthesizers in one machine.

Loaded with modules extracted from the best synthesizers of all time, Origin lets you combine these modules and take advantage of the additional possibilities put onboard. The result: a new type of sound accessible through an extremely intuitive interface.

Changes in Origin v1.3

  • Jupiter 8 template: The Origin 1.3 firmware embeds the new Jupiter 8 template which recreates the unique voice architecture and design of this legendary analog synthesizer.
  • New play modes:
    • POLY_UNISON: emulates the Jupiter8 “UNISON” mode, that shares up to 8 voices between the currently active notes. (Currently not available for MULTI presets.)
    • UNISON parameter for MONO programs: allows the user to set the number of voices that will play simultaneously for the MONO program. UNISON “polyphony” can be set to a value between 2 and 8 in SINGLE mode, and is limited to 2 in MULTI mode.
  • Sequencer switch automation: Actions on the Sequencer “LOOP” and “PATTERNS” switches can be recorded as MIDI CONTROL CHANGE messages and replayed.
  • Compressor module: The Origin sounds can now be processed through a brand new compressor FX module. The compressor allows adding dynamics to the sound, from smooth attacks to huge pumping effects.
  • Sample & Hold module: Derived from the ARP S&H. Takes any modulation (LFO, Env…) signal at its inputs and provides a sample and hold modulation signal at its outputs.
  • User Interface enhancements:
    • In a number of dialogs possibility to navigate between the controls and change their value without pre-selecting them.
    • Possibility to select the slot preset to load using the keypad + the edit switch. Previously it was necessary to use the browser to load a slot preset.
    • A new layout of the dialog makes configuration of the “live” macros easier.
    • The user can now define a set of favorite presets and navigate thru them with the Preset Browser or with the +/- keys.
    • A clear feedback – using speaker icons – of the mute state of a Voice output on the FxMixer page, of the slot output on the Multi page and on the program icon in the preset bar.
    • Possibility to set 2 or more MULTI slots in the hold state in a single action by keeping their “Edit” switches pressed when “Hold” is set ON (or OFF).
  • Portamento glide time: Adding of a second way to manage the portamento glide time: the user can now choose between a constant time for the whole glide, or a constant time per semitone.
  • Switch pedal: It is now possible to configure the switch pedal action in the “Performance” page.

The Origin Firmware 1.3 will be available December 1, 2010, as a free update for all Origin customers, and comes embedded in the new Origin Keyboards and Origin Desktops.

More information: Arturia / Origin

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