RME has announced it is now shipping the Babyface, a new ultra-mobile USB 22-channel audio interface.
Equipped with the latest 192 kHz AD- and DA-converters and two reference class microphone preamps the bus-powered Babyface delivers two high end analog recording channels and four analog playback channels, plus ADAT/SPDIF and MIDI I/O in an attractively shaped enclosure.
The Babyface connects to the USB 2.0 bus, but is also compatible to USB 3 chipsets. It has been uncompromisingly optimized for highest performance under Windows and Mac OS by using customized firmwares for every operating system. Like other RME USB interfaces, the Babyface provides revolutionary ultra-low latencies even with multiple channels.
The next generation of TotalMix delivers hardware mixing/routing with lots of new features and a highly improved usability. The unbeaten DSP mixer now not only matches features of high-end digital consoles but even adds effects like a 3-band parametric equalizer, reverb and echo to the mix.
RME has announced it has started shipping its new flagship interface Fireface UFX, a highly integrated pro audio solution packed in a 19″ enclosure.
60 channels of audio! Digitally controlled high-end preamps, reference class converters and full 192 kHz operation.
Ultra-low latency operation with USB and FireWire, combined with with the legendary RME driver stability and maintenance. Including active jitter suppression, professional reference level support, advanced stand-alone functionality, RME’s unique DIGICheck metering and analysis toolbox and identical operation on Windows PC and Mac.
On top of it: TotalMix FX, the new digital high-end mixer and signal router, driven by two powerful DSP, with integrated EQ, Dynamics and Reverb/Echo effects up to 192 kHz plus built-in monitoring control.
RME is now shipping the Babyface, a 22-Channel 192 kHz multi-format mobile USB audio interface.
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.
10 Input / 12 Output channels
2 x analog I/O with mic pres, line and mic level, balanced or unbalanced
1 channel alternatively usable as Hi-Z input
1 x ADAT I/O or 1 x SPDIF I/O optical
1 x Phones Out (separate DA conversion)
1 x MIDI I/O
Supports Bus-powered operation
TotalMix FX (High-End DSP mixer with effects)
The RME Babyface is available to purchase for $799 USD.
Or at least that’s the conclusion you might reach after watching a new Japanese campaign for Nike’s Free Run+ running shoes. Apparently wishing to tout the bendable qualities of its new footwear, Nike enlisted sound artists to transform its product into a musical instrument. The shoes get plugged in, switched on, and mixed up, battle-style, as they sense when the shoe is flexed or moved in space. And yes, everything you see in the video is real: the shoes really are controlling digital sound live. We even have the Max patch to prove it.
Transient shapers are processors that adjust the dynamics of a sound. Rather than changing the dynamic range like a compressor, transient shapers operate only on the initial onset of the sound – the transient. The initial smack of a drum. The plink of a piano. The pick of a guitar or bass. They don’t work with sounds that don’t have a sudden start, such as vocals, violins, or synth pads. Transient shapers can either bring out the transient – making it louder, sharper and more prominent. They can also reduce the transient – making it softer and duller.
The tricky aspect to consider here is that the psychoacoustic (perceived) effects of a transient shaper can be similar to those of other tools.
# Xdrum, a sample based rhythm composer for Native Instruments Reaktor 5.
Xdrum for Reaktor 5
It has 800 audio samples (75MB) from 49 vintage rhythm composers, and then 11 additional soundsets. Besides that it has around 92 preset classic and electronica preset patterns.
Fired up the ol' Roland Dimension D today, because I was working on a track that needed something different. It's the Omega 8 that you're hearing here – more specifically – I've selected certain patches that I think work well with any sort of chorus. No particular order here in terms of the SDD-320's setting. I used every combination possible, going from each individual number all the way to 1+2, 1+3, etc. etc.
This audio spectrum analyzer utilizes an ARM7 LPC2138 microcontroller to create an FFT algorithm while performing digital signal processing without the use of special DSP processor.
# NitroTracker, Fasttracker II style tracker for the Nintendo DS goes open source.
I’m very excited to announce that NitroTracker is now completely open source!
What does this mean? Well, for starters you can now have a look at the source code. More importantly, you can now help develop it! Together we can make the development of NitroTracker go faster (which would be a very good thing considering current development speed) and finally add long-awaited features I promised ages ago.
Peter Kirn takes a look at the future of multi-touch:
For a long time, technologists have described a world of in which computing experiences naturally incorporate touch and gesture. The question is, how do we bridge the intuitive desire for those interactions and the actual technologies that get us there?
Few activities test the expressive potential of interaction quite like music. It’s in our cultural DNA; musical activity may even predate written language. So it’s fitting that the story of touch in computing and digital music would be intertwined, as they are with touch pioneer JazzMutant. Years before well-known Apple products, the Lemur, prototyped in 2003 and shown as a musical multi-touch screen, suggested the importance of fusing display and touch, and of tracking more than a finger or two at a time.
The history, and products like Apple’s iPad and iPhone, you may know well, though. The question on everyone’s mind now is, what’s next? (And for some impatient futurists, the question may even be, what’s taking so long?)
TC Electronic has announced the System 6000 MKII, an upgrade of the System 6000 reverb and signal processors.
Reverb 6000 and Mastering 6000 offers the same core structure, features and hardware configurations, and therefore the following is valid for both products.
The heart of Reverb 6000 and Mastering 6000 is the Mainframe 6000 housing all processing, physical input/output and connections for external control. The main control surface is the TC Icon remote-head and CPU, which easily connect via Ethernet to the Mainframe. The TC Icon remote are also available as software editors for both Mac and PC. Multiple Mainframes and TC Icons/Editors can be integrated into a network.
Mainframe 6000 houses an extremely sophisticated and flexible processor structure, utilizing the leading DSP architecture.
One mainframe hosts up to four audio processors, referred to as “Engines”. Each Engine can be loaded with any of the processing algorithms available in the Library banks.
All four processors have equal DSP-power and are supported with a large amount of external RAM. Therefore any Engine can be loaded with a variety of different algorithms from Reverbs and effects to Dynamics and EQ.
All four Engines handle up to 8 input and 8 output channels each, depending on the loaded algorithm type. This enables to create a wealth of configurations: e.g. four stereo-reverbs; or two stereo-reverbs and a 5.1 reverb; or have a full 5.1 mastering setup with EQ, dynamics and format-conversion in one mainframe – the number of combinations are endless.
Owners of the original System 6000 will have the opportunity to upgrade their System 6000 frame to full MKII specifications.
Johan Larsby made himself a portable sound system so he can do shows wherever he goes.
It should be able to work without being connected to an outlet. It should have lights and it shouldn't be to heavy to move around. Ateast not by a small wagon. And it should be loud. Not Mötorhead loud but loud enough. It should also be cheap enough so that I would not cry if it got trashed or stolen after a few gigs/parties.
I'm one of the lucky few beta testers of the new TipTop Audio Z-DSP eurorack module, and boy is it a lot of fun. The Z-DSP is a lot like the TipTop Audio Z5000, except embiggened. A lot. There are three CV controlled parameters per program. There is a feedback loop that you can tap into on the front panel so you can insert a filter or whatever module you can think of inside a part of the DSP process that is usually closed to tinkering. You can change the personality of the DSP by inserting a different card on the front panel. You can even voltage control the clock. This is serious sound-mangling mayhem.
The short audio files I produced represent only one patch idea using one program on one card on this module. I could spend a great deal of time exploring various options without even changing the DSP program on the Z-DSP. The fact that I could load another program is another whole world of possibilities. If, somehow you got bored of that, you can load a card with a different batch of programs. Egads, this thing is endless.
Video showing how to emulate a scratch-like effect in Ableton Live 8 using the new delay Modes available in the Ping Pong Delay. This is not meant to replace vinyl, nor will it produce a totally authentic sounding scratch sound, but it is a Ableton Live only solution and is a nice add on to your effects arsenal.
Drum machines are cool. Toy drum machines are way cooler though. Is it the cheeziness of the samples or some strange drugs hidden under the pads, i’m not sure, but playing these old Yamaha drums has always been a great pleasure for me.
So in order to share some of the fun, here’s a free samplepack with all of the samples available in the machine, from kicks and snares to lions and scratches. Below is a quick and lame demo i made. Have fun!
the sonic fabric neckties are a limited-edition project made in collaboration with my designer friend julio cesar. sonic fabric is woven from 50% recorded audio cassette tape and 50% colored thread the fabric is actually audible if you run a tape head over it! (if you’d like a demo, please visit my youtube channel at alyceobvious.
the idea behind the tie is that the wearer becomes a beacon for other-dimensional, intangible, subtle forces of good…much in the manner of a superhero. only this part of the superhero garb can be worn on the outside in the most conservative environment without detection! looks equally great with dress shirt or t-shirt. this tie is the thinner version – 2" wide at the widest point. i also make a slightly wider version for more mature audiences.
the sound collages recorded onto the tape for this batch of ties comes from my cd between stations, and is based on looped and layered samples collected on and under the streets of nyc.