Products of Interest
Akai EIE and EIE Pro USB Audio
Interfaces
The EIE audio interface is a four-
channel USB interface, with a rugged
aluminum casing (see Figure 1).
The compact interface is designed
for tabletop use. It features four
combination XLR/1/4-in. jacks, with
phantom power and gain, on the front
panel. The rear panel features four
nickel-plated 1/4-in. jacks used for
channel inserts for external audio
processing. Four nickel-plated 1/4-in.
outputs are also provided here for
use with two separate monitoring
systems. The interface also has four
USB connections, three of which can
be used as USB hub outputs, and a
main USB port for connecting the
interface to a computer. A MIDI
input/output is also built in. A
headphone jack is located on the front
panel, along with two classic VU level
meters with switchable sources. The
interface does not require any driver
installation and is a plug-and-play
device. It supports 44.1 kHz sampling
at 16-bit resolution.
The professional version of this
interface, the EIE Pro, is a similar
tabletop interface with four input and
output channels and supports up to
96 kHz sampling at 24-bit resolution.
The Akai EIE is listed for US$ 299
and the Pro version for US$ 449.
Contact: Akai, 200 Scenic View Drive,
Figure 1. The Akai EIE
portable audio interface.
doi:10.1162/COMJ r 00154
80
Suite 201, Cumberland, Rhode Island
02864, USA; telephone (+1) 401-658-
4032; Web www.akaipro.com/.
Focusrite Forte Portable USB
Audio Interface
The Forte audio interface from Fo-
cusrite is a two-input, four-output,
portable audio interface (see Figure 2).
It features two microphone pre-
amplifiers, which can be remote-
controlled. The output connections
are located on the body of the inter-
face and the input connections are
available on a locking breakout cable.
Two balanced 1/4-in. analog outputs
and a USB port are provided on the
rear panel, and a stereo headphone
output is on the front panel. The
breakout cable features two XLR con-
nections for microphones, and two
combination line/instrument inputs
on 1/4-in. TRS jacks. The interface
supports sampling rate up to 192 kHz,
with 24-bit resolution, and uses 24-bit
A–D and D–A convertors.
The aluminium case features a
single large control knob on the
top panel, along with an organic
LED display and touch control.
A set of touch-sensitive icons are
used to switch the function of the
large control knob between monitor,
headphone, input, and DAW controls.
Figure 2. Focusrite’s Forte
portable audio interface.
Computer Music Journal
The display is used for metering and
also indicates the assignment of the
control knob.
The Forte interface is bundled with
a software application that is used
to set monitoring, pre-amplifier gain,
and other settings. Focusrite’s Mid-
night plug-in suite is also included.
The interface can be powered via the
USB bus or using an included power
supply. The latter is required if using
phantom power with microphones.
The Forte interface is compatible
with Mac OS X and Windows operat-
ing systems. It measures 170 × 116 ×
36 mm and weighs 476 g.
The Forte interface is listed for
US$ 749.99. Contact: Focusrite Audio
Engineering, Windsor House, Turn-
pike Road, High Wycombe, Bucks
HP12 3FX, UK; telephone (+44) 149-
446-2246; fax (+44) 149-445-9920;
electronic mail sales@focusrite.com;
Web www.focusrite.com/.
Nu Desine AlphaSphere MIDI
Controller
The AlphaSphere from UK com-
pany nu desine is a sphere-shaped
programmable MIDI controller that
features 48 tactile, pressure-sensitive
pads and full polyphonic aftertouch
(see Figure 3). The pads are arranged
in six rows, with eight pads per row.
The AlphaSphere can be connected to
a computer or other hardware devices
via USB and can transmit OSC as well
as MIDI messages.
A number of different modes are
available for programming and play-
ing the AlphaSphere. In MIDI Mode
it functions as a multi-channel MIDI
controller, with the pads triggering
MIDI note and MIDI control data. In-
dividual MIDI notes can be mapped to
pads, or chromatic or diatonic scales
can be mapped to the entire sphere, or
to groups of pads. In Looper Mode the
AlphaSphere pads can trigger, loop,
and control audio files. An audio
Figure 3. The AlphaSphere MIDI
controller.
sample can be assigned to each of the
pads along with a pressure-controlled
effect. The sphere can also function
as a 32-step sequencer with up to
eight programmable sequences for
each pad. A built-in bank of drum
sounds is available and the sequencer
can also be used to trigger audio files
and MIDI notes.
The AlphaSphere can control vari-
ous devices and software applications
via OSC, with the pads sending mes-
sages with dedicated IP addresses and
port numbers. In dual-output mode,
it can simultaneously send MIDI and
OSC messages. Twenty presets are
available for each project and the user
can switch between presets in real-
time. Each of the pads has integrated
LEDs that change color when struck
and when the pressure level of a pad
changes. The LED functioning can be
programmed by the user.
At the time of writing the Alpha-
Sphere was available for Macintosh
computers only, with Windows and
Linux versions planned. The sphere
weights approximately 2.5 kg and
measures 26 × 26 × 32 cm.
A limited edition model of the
AlphaSphere is listed for approxi-
mately US$ 1,580. Contact: Alpha-
Sphere, nu desine, PMStudio, Water-
shed, 1 Canons Road, Harbourside,
Figure 4. The Soundplane A music
controller from Madrona Labs.
Bristol BS1 5TX, UK; telephone
(+44) 795-154-7613; electronic
mail info@alphasphere.com; Web
www.alphasphere.com/.
Madrona Labs Soundplane A
Wooden Music Controller
The Soundplane A is a music con-
troller with a wooden surface that
provides the user with the feel of an
acoustic musical instrument. The
playing surface of the Soundplane
A is made of a fibre-backed sheet
of articulated walnut veneer (see
Figure 4). It can be used as a 150-note
pressure-sensitive keyboard or as a
continuous surface. It can be played
on the x-, y-, and z-axis, and up to
ten simultaneous touches can be de-
tected. The controller can be played
with fingers, mallets, or other objects
and has a sampling rate of 975 Hz.
The controller case is constructed
from alder. It measures 28 × 8 ×
1 in. and weighs 4.6 lbs. A single
USB bus is provided and is used to
transmit data to a computer and to
supply power. The controller requires
a computer running a translator
program for operation. This software
application translates the raw USB
stream to MIDI or OSC messages for
use with other software applications
or hardware devices. A patchable,
signal-based software synthesizer is
included with purchase.
The Soundplane software is cur-
rently only available for Mac OS X
but Windows and Linux versions are
Products of Interest
planned. User forums are available
on the company Web site, which also
hosts a demonstration video.
Soundplane A is listed for
US$ 1,695. Contact: Madrona Labs;
electronic mail info@madronalabs
.com/.
Fyrd Instruments MIDI Control
Platform
The MIDI Control Platform has been
designed to be a portable but strong
MIDI device for use in live perfor-
mance and home studios. The stylish
150 × 200 mm enclosure is con-
structed from poplar wood and laser-
cut aluminum. The device is powered
by USB and supports MIDI over USB
and MIDI DIN input/output. Drivers
are not required for use.
The top panel of the MIDI Control
Platform features four encoders with
integrated switches, two buttons, and
a 128 × 64 pixel LCD display. The
company has two software modules
currently available for use with the
device and will be developing further
modules.
The Harmonic Music Generator
is a sequencing and harmonizing
module designed for the MIDI
Control Platform. Three independent
16-step sequencers are available
with user control of the sequence of
notes, the velocity profile, and the
length and speed of the sequence. A
bass-line sequencer offers a choice
of three pitches, a chord sequencer
81

gives seven different combinations
of one to three pitches, and a melody
sequencer provides seven different
pitches. Each of the three sequencers
produces MIDI notes on a dedicated
MIDI channel. MIDI clock can
be sent for synchronizing with
DAW applications on computer.
The harmonization can be edited
using its own 16-step sequencer
and the user can choose from 120
different harmonic structures and can
create harmonic variations. Musical
examples created with the Harmonic
Music Generator are available on the
Fyrd Instruments Web site.
The second module created for
the MIDI Control Platform is a
low frequency oscillator. It features
four oscillators, with a choice of
sine, square, triangle, sawtooth, and
random waveshapes. The speed of
each oscillator can be adjusted and
each oscillator can control up to four
MIDI parameters.
The MIDI Control Platform is
listed for approximately US$ 300.
Contact: Fyrd Instruments; electronic
mail contact@fyrd-instruments.com;
Web www.fyrd-instruments.com/.
Line 6 StageScape M20d Live
Mixer with Touchscreen
The StageScape M20d is described by
manufacturer, Live 6, as the world’s
first smart mixing system for live
sound. The device incorporates a
touch screen and 16-channel visual
mixing environment, provides DSP
processing on each channel, and can
be controlled remotely (see Figure 5).
The touchscreen on the StageScape
M20d is a 7-in. full-color resistive
interface. It displays icons that rep-
resent each performer or input on
a stage. These icons give the user
access to the levels, effects, and other
parameters for each channel with a
82
Figure 5. The Line 6 StageScape
M20d live mixer.
single touch. The stage is populated
automatically as each input is con-
nected to the mixer. The user can
choose from a gallery of icons that
include male and female vocals, key-
boards, drum kits, and guitars. The
channel strip settings are automati-
cally configured to match the input
type. Similarly, when loudspeakers or
monitors are connected, the output
signal is automatically routed and
icons appear on the touchscreen.
An optional USB Wi-Fi adaptor
can be used to connected to multiple
iPads to remotely control the device.
A set of dynamics, equalization, and
effects processors are built in and use
32-bit floating point processing. More
than 100 processors are available in-
cluding fully parametric and dynamic
equalizers, filters, compressors, lim-
iters, gates, and delays. Processors are
automatically selected based on the
type of input, for example DeEssers
are assigned to vocals. The StageScape
M20d can record 24-bit audio in WAV
format to an SD card or the USB port
can be used for recording to external
drives or software applications on a
computer.
Multi-band feedback suppression
is featured on each channel. The
audio signal is continuously analyzed
for frequencies that could cause
feedback and a narrow notch filter
is then used to remove the feedback
frequencies. Up to twelve separate
feedback frequencies can be tracked
and eliminated.
Computer Music Journal
A quick capture feature is avail-
able to record a 20-sec snapshot to the
devices internal memory. The mixer
can be used with Line 6 StageSource
speaker systems and will automat-
ically identify monitors and route
feeds to them, configure stereo pan
settings, adjust speaker modes, and
optimize the system.
The user can operate an x− y
multi-parameter Tweak Pad con-
troller or can choose Deep Edit
Mode for detailed control of all pa-
rameters. The Tweak Pad allows
less-experienced users to use simple
finger-drags, with common sound de-
scriptors such as “bright” or “dark.”
A number of channel parameters
will then be automatically edited
simultaneously. The Deep Edit Mode
provides plug-in-like interfaces for
more experienced users. An unlim-
ited number of stage setups, scenes,
and DSP presets can be saved. Four
master stereo effects engines are also
included, with a stereo reverberation
effect, a vocal doubler, and choice of
delay effects.
The input and output connections
are located at the high end of the top
panel of the mixer for easy connec-
tion. There are twelve combination
microphone/line inputs, four line
inputs, a stereo line input for digital
media players, four monitor outputs
and two main outputs on balanced
XLR connectors, an L6 LINK, the USB
ports, and an SD card slot found here.
The StageScape M20d is listed for
US$ 2,800. Contact: Line 6, 26580
Agoura Road, Calabasas, California
91302-1921, USA; telephone (+1)
818-575-3600; fax (+1) 818-575-3601;
Web line6.com/.
Behringer X32 Digital Mixer
The X32 Digital Mixer from Behringer
is a 32-channel digital mixer, with
16 mix buses and a range of signal
Figure 6. The X32 32-channel digital
mixer from Behringer.
processing features (see Figure 6).
Thirty-two microphone inputs with
MIDAS design pre-amplifiers are
available with the mixer. These
are coupled with six balanced line
inputs/outputs on 1/4-in. jacks, 16
balanced XLR outputs, and dual
headphone and balanced control
room outputs on XLR and 1/4-in. jack
connectors. In addition, an AES50
CAT5 cable can be used to transmit
up to 48 channels bi-directionally.
A stereo AES/EBU output, Ultranet
P16, Ethernet, and MIDI connections
are included. A USB port on the top
panel of the mixer is provided for
recording uncompressed stereo to
USB thumb drives. The X32 also
includes an XUF FireWire/USB audio
interface card and can transmit low
latency 32-channel, 24-bit audio to
Macintosh or Windows computers.
Each channel strip has a color
backlit 128 × 64 LCD display which
shows channel-specific information.
The faders are 100 mm, fully auto-
mated, and motorized. A channel-
strip section has 17 backlit buttons
and 13 rotary controls for setting the
dynamics and equalization parame-
ters. Each rotary control is encircled
with an LED value indicator. A 800
× 480, 7-in., high-contrast color TFT
display is used for control settings and
parameter display, and has dedicated
rotary/push encoders. The mixer also
has a section of controls reserved for
user-customized functions.
Eight stereo multi-effects proces-
sors are included in the mixer and
40-point floating point resolution is
used in the DSP. A scene management
feature allows settings to be captured
and recalled. A talkback function is
also built in. An iPad application is
available for remote control of the
mixer.
The X32 is listed for US$ 3,769.99.
Contact: Behringer, 18912 North
Creek Parkway #200, Bothell,
Washington 98011, USA; tele-
phone (+1) 425-939-3200; Web
www.behringer.com/.
ADK Microphones Odin and Thor
The Odin microphone from ADK is a
high-SPL condenser microphone with
a switchable three-way frequency
response. It has a two-way pad that
Products of Interest
Figure 7. ADK’s variable-pattern
Thor microphone.
allows it to be used with sources
up to 150 dB SPL (at 0.5 percent
THD). The signal-to-noise ratio of
the microphone is 79 dB and the
equivalent noise level 15 dB (both A-
weighted). A built-in high-pass filter
can be switched between flat, 100 Hz,
and 150 Hz, and a low-pass filter
between flat, 12 kHz, and 15 kHz.
The microphone offers a cardioid
polar pattern.
The company’s Thor microphone
provides the same high SPL, low noise
floor, and three-way high-frequency
switch as the Odin (see Figure 7). In
addition to these features it offers
the user three different polar patterns:
omni-directional, cardioid, and figure-
of-eight.
A shockmount with a heavy-duty
elastic suspension system and a
professional kit with shockmount,
pop-filter, Neutrik XLR cable, foam
windscreen, and flight-case are avail-
able as optional extras.
83
Figure 8. Lauten Audio’s Atlantis
FC-387 variable-pattern microphone.
The Odin microphone is listed for
US$ 399 and the Thor for US$ 499.
Contact: ADK Microphones, 4130
SW 117th Ave #A-442, Beaver-
ton, Oregon 97005-4631 U.S.A.;
telephone (+1) 503-296-9400; elec-
tronic mail info@adkmic.com; Web
www.adkmic.com/.
Lauten Audio Atlantis FC-387
Microphone
The Atlantis FC-387 from Lauten
Audio is a large-diaphragm FET
condenser microphone with three
distinct polar patterns and three
timbre settings (see Figure 8). The
microphone features switches on
its side and back for polar pattern,
timbre, and gain. The user can choose
between omni-directional, cardioid,
and figure-of-eight patterns, and
between gentle, neutral, and forward
timbres. The gentle timbre setting is
used with bright sources that peak
frequently, the neutral setting offers
an even response for vocal sibilance
and peaks, and the forward setting
84
brightens sources without the use of
an equalizer. A –10 dB and +10 dB
gain switch is also provided on the
microphone body.
The microphone offers a maximum
SPL of 130 dB (0.5 percent THD at
1 kHz), self-noise of less than 12 dB
and a frequency range of 20 Hz to
20 kHz. It features a 31.25-mm dual-
diaphragm capsule and a solid-state
low-noise FET. The microphone is
shipped with a shock mount and
wooden box.
The Atlantis FC-387 is listed for
US$ 1,599. Contact: Lauten Audio,
4750 Almaden Expressway #228, San
Jose, California 95118, USA; tele-
phone (+1) 408-440-2294; electronic
mail crm@lautenaudio.com, Web
www.lautenaudio.com/.
RØDE VideoMic HD Digital
Recorder Video Microphone
The VideoMic HD from RØDE is the
first video microphone with digital
recorder, according to the company. It
is a condenser super-cardioid shotgun
microphone with an integrated digi-
tal recorder for use with digital SLR
and large-sensor video cameras. The
microphone is based on the RØDE
NTG3 professional shotgun micro-
phone, sharing the same capsule and
electronic design. The VideoMic HD
uses radio-frequency (RF) bias tech-
nology to prevent RF interference.
Audio is stored on micro SD cards
and a micro USB port is built in
for transferring files to computer. A
headphone jack with level control
is provided and a high-contrast LCD
screen on the rear of the microphone
displays the metering and recording
controls. A 3.5-mm line input can
provide power to lavalier or headset
microphones.
A number of recording modes
are available. In default mode audio
is recorded and output as two
Computer Music Journal
Figure 9. The Telefunken C12 tube
microphone stereo set.
monophonic signals. In safety record-
ing mode the microphone records and
outputs the original audio signal on
the right channel but an attenuated
(−20 dB) signal is recorded on the left
channel. A three-level high-pass filter
is included.
The body of the microphone is
constructed from lightweight die-cast
aluminum. It has a quick release lever
for mounting on cameras. A geodesic
structure was used for the body and,
internally, the capsule and tube are
suspended. A DeadCat VMHD furry
windshield is included.
Contact: RØDE Microphones, P.O.
Box 4189, Santa Barbara, California
93140-4189, USA; telephone (+1)
805-566-7777; fax (+1) 805-566-0071;
Web www.rodemic.com/.
Telefunken C12 Tube
Microphone Stereo Sets
Tekefunken has released a new
matched set that features two
large-diaphragm C12 tube micro-
phones. A custom-made dual power
supply, wooden boxes, and cables for
each microphone are supplied in a
vintage-styled locking flight case (see
Figure 9).
The microphones are based on the
classic AKG C12 model but feature
the new AKG CK12 capsule. The

output transformer is based on the
original microphone and is built by
its manufacturer, Haufe. The tube
is a 6072a model—again, as used in
the original C12 microphone. Nine
different polar patterns are available
for each microphone. The pairs are
hand-selected with transformers and
tubes matched on gain and frequency
response, and the capsules tuned to
match.
The C12 matched pairs are listed
for US$ 15,995. Contact: Telefunken
Elektroakustik, 300 Pleasant Valley
Rd. (Suite E), South Windsor, Con-
necticut 06074, USA; telephone (+1)
860-882-5919; fax (+1) 860-882-5980;
electronic mail info@t-funk.com;
Web www.telefunken.com/.
sE Electronics sE2200a II
Condenser Microphone
The sE2200a II is a multi-pattern
condenser microphone from sE Elec-
tronics that features dual 1-in. gold-
sputtered diaphragms. This updated
version of the sE2200a offers the user
a choice of cardioid, figure-of-eight,
and omni-directional polar patterns.
The microphone also has a new
black rubber finish that dampens the
resonance of the body (see Figure 10).
The microphone has a maximum
SPL of 135 dB (THD 0.5 percent),
an equivalent noise level of 16 dBA,
and sensitivity of 20 mV/PA. The fre-
quency response is 20 Hz to 20 kHz.
A high-pass filter and 1-dB pad are
provided. It weighs 598 g and mea-
sures 51 × 215 mm. A rubberized
shock mount and metal pop shield is
included.
The sE 2200a II is listed for US$
499. Contact: sE Electronics, 3 Hunt-
ing Gate, Hitchin Herts, SG4 0TJ,
UK; telephone (+44) 845-500-2500;
fax (+44) 158-247-0269; electronic
mail sales@seelectronics.com; Web
www. seelectronics.com/.
Figure 10. The variable-pattern
sE2200a II condenser microphone
from sE Electronics.
Figure 11. NuForce’s Cube portable
speaker.
Figure 10
Figure 11
NuForce Cube Portable Speaker
and DAC-100 Convertor
The Cube, from Californian company
NuForce, is a portable 3-W speaker
(see Figure 11), headphone amplifier,
and USB D–A convertor in a tiny 2-in.
body (see Figure 12). The rear panel of
the unit features a headphone output,
a USB type-B mini-port, and a mini-
jack connection for cellphones and
portable music players. An optional
iPod nano connector is available
for direct connection to the Cube.
The D–A convertor supports 48 kHz
Products of Interest
sampled audio and 16-bit resolution.
A rechargeable lithium battery is
built in and can be charged using via
USB. The speaker offers an operating
time of up to 8 hours.
The Cube is available in black,
silver, red, and blue. A 0.6-m mini-
jack cable and 0.7-m USB cable are
included, as is a soft carrying pouch.
The DAC-100 is a high-quality
D–A convertor and headphone am-
plifier made by the same company.
It has four digital inputs, on USB,
Toslink, and RCA (two inputs) con-
nections. It supports sampling rates
up to 192 kHz at 24-bit resolution and
has a sample rate indicator built in.
A 32-bit digital attenuator is provided
for precise volume control. The head-
phone amplifier delivers 500 mW of
single-ended class-A power.
The input stage of the DAC-100
runs asynchronously. Stable circuits
generate an internally referenced
timing signal to which the data is
synchronized to achieve extremely
low levels of jitter. Up-sampling is not
used. The frequency response of the
convertor is 20 Hz to 25 kHz, ±.25 dB.
The signal-to-noise ratio is reported
as 96 dB, at 1 kHz, A-weighted,
and the THD is 0.005 percent, at
1 kHz. Detailed performance plots
are available on the NuForce Web
site. The DAC-100 is available in
black and silver. It measures 2 × 8.5
× 9 in. and weighs 2.64 lbs. A 1-m
USB cable is included with purchase.
The Cube is listed for US$ 119 and
the DAC-100 for US$ 1,095. Contact:
NuForce, 382 South Abbott Ave,
Milpitas, California 95035, USA; tele-
phone (+1) 408-518-0626; electronic
mail iconsupport@nuforce.com; Web
www.nuforce.com/.
Genelec SpeakerAngle IOS App
Genelec has released an application
for iOS devices that can be used to
85
Figure 12. NuForce’s DAC-100
convertor.
configure and match the angles
used for stereo and surround-sound
speaker systems. It can be used with
any speaker models. The interface
of the application displays a set of
speaker icons with numbered boxes
that show the angle of each speaker.
To set the angle for a speaker the user
selects stereo or surround operating
modes and places their iPhone, iPad,
or iPod Touch on the top of the
speaker. They then rotate the physical
speaker towards a listening position.
When an angle within industry
recommendations (20–40 degrees) is
reached the associated number box
changes color from red to green. A
further touch of the speaker icon
freezes the angle and sets the color
to orange. The user then repeat these
steps for a paired speaker. When
setting up surround systems the color
of the number box will change to
green when the speaker reaches the
same angle as its corresponding paired
speaker.
A tutorial is provided and a re-
set button is available should the
user want to start the process over.
The application is compatible with
iPhone 4, iPad 2, and fourth-
generation iPhone Touches.
SpeakerAngle is listed on the
iTunes App Store for US$ 0.99.
Contact: Genelec, 7 Tech Cir-
cle, Natick, Massachusetts 01760,
USA; telephone (+1) 508-652-
0900; fax (+1) 508-652-0909; email
genelec.usa@genelec.com; Web
www.genelec.com/.
86
Griffin Technology
StudioConnect iPad Interface
StudioConnect is an audio and MIDI
interface and charging dock for the
iPad (see Figure 13). It features a 1/4-in.
instrument input, an 1/8-in. audio
input, output line-level stereo audio
output on RCA connectors, and a
five-pin DIN MIDI input/output on
the rear panel. The front panel houses
a mini-jack headphone output with
volume control. A 30-pin Apple dock
connector with integral cable is built
in to the StudioConnect and it can
function as a 10-W charging dock for
the iPad. A large rotary gain control
is located on the front panel.
The company also sells Guitar-
Connect Pro, a guitar interface for the
iPad.
The StudioConnect is listed
for US$ 149.99. Contact: Griffin
Technology, 2030 Lindell Avenue,
Nashville, Tennessee 37203, USA;
telephone (+1) 800-208-5996;
fax (+1) 615-367-6468; Web
www.griffintechnology.com/.
WaveMachine’s Auria 48-Track
DAW for iPad
The Auria DAW for iPad allows the
user to record up to 24 tracks and
to play back 48 tracks simultane-
ously. It supports a sampling rates
up to 96 kHz, with 24-bit sample
resolution.
Computer Music Journal
Figure 13. The StudioConnect iPad
interface from Griffin Technology.
The user can set the input levels
for recording in Auria and can mon-
itor tracks with or without effects.
The unit of time can be switched
between minutes and seconds, bars
and beats, frames, or samples. A snap
to grid/bar/events feature is available.
Audio can be imported from iTunes or
from other DAWs using the Advanced
Authoring Format (AAF) import func-
tion. Sample-accurate editing of audio
is available.
In portrait orientation, the iPad can
display 100-mm long-throw faders for
up to 48 tracks. Each track has two
auxiliary sends, and a vintage-styled
PSP ChannelStrip with equalization,
expansion, compression, and gating
controls. Meters can be used to
display peak signal and RMS. Full
delay compensation is available on
all tracks, including auxiliary sends
and sub-groups. VST effects from
developers such as PSPaudioware,
Overloud, and Fab Filter are included,
and up to four effects can be used
per track. Eight sub-groups can be
used and each of these can also be
used with four plug-ins. A 64-bit
double-precision summing engine is
used processing.
Audio can be output from Auria
in MP3 of WAV file formats or to
iTunes, Soundcloud, or Dropbox.
AAF sessions can be exported to other
DAWs. An iPad 2 with a compatible

audio interface is recommended for
use with the application.
Auria is listed for US$ 49.99.
Contact: WaveMachine Labs, 4256
N Ravenswood, Suite 111, Chicago,
Illinois 60613, USA; electronic
mail support@drumagog.com; Web
auriaapp.com/.
PPG WaveGenerator Wavetable
Synthesizer for the iPad
Wolfgang Palm, the creator of
wavetable synthesis and former
owner of Palm Products GmbH
(PPG), has created a new wavetable
synthesizer for the iPad. Based on the
PPG Wave synthesizer, it includes
wavetables for many of the original
PPG waves and tools for creating new
waves. The user can hand draw and
edit waveforms to create new wave-
tables and can create waves by adding
harmonics. A three-dimensional vi-
sualization of the wavetables allows
the user to turn the wave around, and
zoom in and out. Photos can be loaded
into the application and transformed
into wavetables.
There are 256 waves, organized
into a wave grid, in the PPG
WaveGenerator. Three audio os-
cillators with independent controls
for the pitch and waveform, and
a glide feature are provided. There
are three noise generators for both
audio synthesis and modulation. A
24-dB low-pass filter, dual amplifier,
thirteen envelopes, four LFOs, an
arpeggiator, delay/reverberation ef-
fect are also available. The envelopes
can be used to independently control
the pitch, waveform, filter gain, noise
gain and panning.
Customized or traditional scales
can be assigned to the keyboard and
x− y control after the key press allow
the tone of the note to be modified
or modulated. Most parameters can
Figure 14. Steinberg’s Padshop
granular synthesizer plug-in.
be controlled by MIDI. All pages and
modules have built-in help.
The PPG WaveGenerator is listed
on the App Store for US$ 19.99.
Contact: Wolfgang Palm; Web
wolfgangpalm.com/.
Steinberg Padshop and Padshop
Pro Granular Synthesizer
Plug-Ins
Steinberg’s Padshop is a granular
synthesizer that features an engine
with two independent layers, each
of which has an individual oscillator
source generating up to eight different
grain streams (see Figure 14). The
layers can be further edited, mixed,
and effects applied. An advanced
editing section gives the user access to
detailed parameter controls. Twelve
different types of filter be used on
each layer, including low-, high-,
and band-pass, and band-rejection
filters. The distortion on the filter
can be set to create tube distortion,
hard-clipping effects, or to reduce
the bit depth. Two envelopes, two
LFOs, and a step modulator can be
used to modulate parameters. Note
Expression modulation is supported
for use with Cubase editors and delay
effects are included. Monophonic and
polyphonic modes are provided with
legato and glide functions for each.
Four hundred presets are built in to
Products of Interest
the application. The synthesizer is
compatible with VST2, VST3, and
AU hosts and is included in Cubase
6.5 and Cubase Artist 6.5.
Padshop Pro is an enhanced ver-
sion of Padshop with sample import,
a three-band parametric equalizer,
algorithmic reverberation, and ad-
ditional presets and samples. The
sample import feature allows the
user’s own samples to be used in
the granular synthesis engine. Au-
dio files in WAV and AIFF formats
are supported and imported samples
can be up to ten minutes long. The
parametric equalizer has a frequency
range of 20 Hz to 20 kHz and a
variable Q on the mid-range frequen-
cies. This Pro version includes 250
new presets with the Zero Gravity
expansion pack and a set of new
samples.
The Padshop is listed for US$ 49.99
and the Padshop Pro for US$ 79.99.
Contact: Steinberg Media Tech-
nologies, Frankenstr. 18 b, 20097
Hamburg, Germany; telephone (+49)
402-103-50; fax (+49) 402-103-5300;
electronic mail info@steinberg.de;
Web www.steinberg.net/.
Zynaptiq UNVEIL De-Mixing
Plug-In
The UNVEIL plug-in from Zynap-
tiq is described as a real-time de-
reverberation, signal-focusing plug-
in. It allows the user to attenuate or
boost reverberation and other back-
ground components in a recording,
or to match reverberation amounts
from recordings across different takes
or scenes. It can be used with mixed
signals of any sample rate, from
monophonic sources to surround
sound.
UNVEIL uses Zynaptiq’s Mixed-
Signal Audio Processing (MAP) tech-
nology, which is based on pattern
recognition techniques. A model of
87

the human auditory system is used
to detect the reverberation part of the
signal. The MAP technology is then
used to separate the reverberation
component from the signal. The user
can choose to attenuate the reverber-
ation or can edit its parameters.
A real-time signal display shows
a combination of the original, pro-
cessed signal, and reverberation, using
different colors for each. The original
peak amplitude envelope is green, the
processed peak amplitude is purple,
the reverberation decay envelope set
with the adaptation parameter is
light pink, and the stimulus used to
generate the reverberation decay en-
velope is yellow. This allows the user
to clearly see the effect parameter
settings have on the signal.
There are five large parameter
controls located beneath the signal
display. Focus controls the focus of
the signal, with high values removing
reverberation and low values adding
reverberation by attenuating the di-
rect signal. The Localize parameter
controls the amount of time and
frequency domain information that
is used in the pattern recognition.
High localization values work best
with individual frequencies but may
cause issues if the signal is noisy.
Refract is a refractory time control,
with shorter values making the anal-
ysis more sensitive to signal changes.
Longer times may re-introduce the
reverberation but makes the sound
more natural. The Adaptation pa-
rameter controls the time frame for
reverberation removal and is usually
set to the reverberation tail length.
A bank of sliders to the left of
the main display allow the user to
make the Focus parameter frequency
dependent. A transient threshold
parameter can be used to ignore very
short transient signals.
UNVEIL is available as an
AudioUnits plug-in for Mac OSX
10.5.8 initially, with support for VST
88
Figure 15. Native Instruments’ The
Giant upright piano instrument.
and AAX formats on Macintosh and
Windows platforms planned.
UNVEIL is listed for US$ 399.
Contact: Zynaptiq; Sandstr. 12,
30167 Hannover, Germany; tele-
phone (+49) 511-700-0884; elec-
tronic mail info@zynaptiq.com; Web
www.zynaptiq.com/.
Native Instruments Upright
Piano and Harmonizing
Instruments
The Giant, from Native Instruments,
is an upright piano instrument with
samples recorded from a Klavins
Model 370i piano. This 3-m high, two
ton, upright piano has a soundboard
twice the size of a concert grand. The
soundboard of the piano is built into
the wall of the room in which it is
being installed. The instrument offers
a wide range of piano sounds, with a
strong low end and rich overtones.
The Native Instruments software
instrument features range of release
types and extended playing tech-
niques including plucked strings, hits,
kicks, and scratches (see Figure 15).
Forty presets are included as a start-
ing point for the user and detailed
Computer Music Journal
controls allow further shaping of the
sound. A convolution engine with
more than 100 impulse responses
are also included. The instrument is
3.9 GB in size and runs in Kontakt 5
or in the Kontakt 5 free player.
The Mouth, also from Native
Instruments, is designed to generate
melodies and harmonies from audio
input. It can be used as a synthesizer,
vocoder, or talkbox effect. The pitch
of the audio signal is detected, then an
auto-tune applied before a synthesizer
is triggered which adds additional
melody and harmony based on a gate
parameter. Four generators are used
to modify the sound: Input, Synth,
Bass, and Vocoder. A number of
different presets are available for each
of these generators. A simple mixer
section has five faders and a master
effects section is also included. Eight
performance control knobs alter
the sound and amplitude envelopes
simultaneously. In Beats mode, The
Mouth takes drum patterns as input
and transforms them into arpeggiated
melodies. The Mouth is 4–9 MB in
size, features 118 sounds, and can
be used with Reaktor 5 or the Free
Reaktor 5 Player.
The Giant is listed for US$ 99
and The Mouth for US$ 69. Contact:
Native Instruments, 6725 Sunset
Boulevard, 5th Floor, Los Angeles,
California 90028, USA; tele-
phone (+1) 323-467-5260; fax (+1)
323-372-3676; Web www.native
-instruments.com/.
Revoice Pro Time-Alignment and
Doubler Application
Revoice Pro, from UK-based company
Synchro Arts, is a stand-alone audio
processor designed to automate time-
and pitch-alignment, vibrato, and
loudness. It consists of two auto-
mated processes: Audio Performance
Transfer (APT) and a doubler.
 The APT includes a new version of
VocALign, the company’s audio align-
ment software. The user identifies an
audio track or section to act as a guide
for the APT process. The timing,
pitch, vibrato, and level of the signal
are automatically analyzed. The user
can then adjust the parameters of
the transfer features before they are
applied to the track to be adjusted.
A set of factory presets are built in
and the user can store an unlimited
number of additional presets.
Monophonic or stereo signals
can be input into the Doubler. The
user can control timing variations,
formants, and vibrato. Some extreme
parameter values are available for
creating effects with the Doubler. A
range of factory and user presets are
available.
Revoice Pro has a purpose-built
interface which allows for multiple
tracks, processes, sessions, and
windows. There are no limits on the
number of tracks or on timecode posi-
tions. Multiple files can be imported
into the audio editor of the applica-
tion using drag-and-drop. Rewire is
supported and additional plug-ins are
available to allow the application to
link to digital audio editors. Revoice
Pro is compatible with Mac OS X
only.
Revoice Pro is listed for US$ 599.
Contact: Synchro Arts, 13 Links
Road, Epsom, Surrey KT17 3PP,
UK; telephone (+44) 137-281-1934;
fax (+44) 137-281-7976; electronic
arts sales@synchroarts.com; Web
www.synchroarts.com/.
New Releases
Publications
Eric Lyon: Designing Objects for
Max/MSP and Pd (hardcover, 2012,
ISBN: 978-0-89579-715-5, Middle-
ton, Wisconsin: A-R Editions, Inc.,
www.areditions.com/).
Laurent Pott (ed.): La Spa-
tialisation des musiques
électroacoustiques (softcover,
2012, ISBN: 978-2-86272-606-9,
Saint-Étienne, France: Publica-
tions de l’Université de Saint-
Étienne, www.publications.univ
-st-etienne.fr/).
Steve Savage: Bytes and Backbeats:
Repurposing Music in the Digital
Age (hardcover, 2012, ISBN: 978-
0-472-11785-7, Ann Arbor: The
University of Michigan Press,
www.press.umich.edu/).
Laura Zattra: Studiare la Computer
Music (softcover, 2011, ISBN:
978-88-6292-115-2,
Products of Interest
Padova, Italy: Webster SRL,
www.libreriauniversitaria.it/).
Recordings
Herbert Deutsch: From Moog to Mac
(CD, Ravello Records RR7846,
www.ravellorecords.com/).
Erdem Helvacioglu: Freedom to
the Black (CD with booklet and
artwork, ARTER ISBN: 978-975-
6959-53-4, www.arter.org.tr/).
Elizabeth Hoffman: Interiéurs
Hamoniques (CD, Diffusion
I Média IMED 12115, www
.empreintesDIGITALes.com/).
Christian Marclay, Toshio Kajiwara,
DJ Olive: djTRIO: 21 September
2002 (LP, Cuneiform Records Rune
338, www.cuneiformrecords.com/).
Andrew May: Imaginary Friends
(CD, Ravello Records RR7861,
www.ravellorecords.com/).
Barry Schrader: The Barnum
Museum (CD, innova 830,
www.innova.mu/).
Laurie Spiegel: The Expanding Uni-
verse (CD, Unseen Worlds Records
UW09, www.unseenworlds
.net/).
Kari Vakeva: Electro-Acoustic
Music (CD, KV2 CD-002,
www.vakeva.org/).
89