January 2009 News
► TASCAM’s best-selling 24-track / 24-bit workstation has
been upgraded to the 2488neo. The updated model has a bold new
look and new mastering effects to create punchy, polished mixes.
Like its predecessor, the 2488neo has eight microphone inputs,
seven effects processors, an 80GB hard drive and the simple user
interface common to all TASCAM Portastudios. The 2488neo’s 80GB
hard drive is enough for hours of 44.1kHz/24-bit recording. The
eight microphone inputs, four with XLR and phantom power, can be
assigned to any track for recording large ensembles. A reverb
effect, multi effect with guitar amp simulation, and up to 9
compressors are also included. The new mastering effect includes
multi-band EQ, compression and limiting for
professional-sounding mixes which can be burned to CD or
transferred to computer through the USB 2.0 jack. Built for
musicians who want to record without needing a computer, the
2488neo continues TASCAM’s legacy of easy-to-use Portastudios
for home recording. TASCAM also launched the RC-SS20, a Direct
Play Remote for its lineup of solid-state recorders. Compatible
with the new SS-R1, SS-CDR1 and HD-R1, the RC-SS20 provides 20
buttons to begin instant playback. The self-illuminating keys
and load button are ideal for use with the Flash Start feature
on the SS-R1 and SS-CDR1, whether triggering sound effects,
music cues, announcements or other sounds.
www.tascam.com.
► Mackie introduced two new compact effects mixers with USB
I/O—the ProFX8 and ProFX12. Each ProFX model features Mackie
low-noise, high-headroom mic preamps ensuring pristine signal
and offers 16 “Gig-Ready” effects using the brand new,
integrated 32-bit RMFX™ (Running Man FX) effects processor.
Every channel strip features 3-band active EQ, two aux sends,
LED metering and a smooth 60mm fader. Onboard 7-band stereo
graphic EQ allows for simple tuning of the Mains or Monitors,
and USB I/O lets the user stream music directly from a laptop,
or capture the live mix using the included Tracktion 3 Music
Production Software. The ProFX8 features four mic/line channels,
two of which feature stereo line inputs. All mic channels offer
a 100Hz lo-cut filter and include an easy Level Set LED. There
is also a dedicated stereo line-in channel (bringing total
stereo line inputs to three sets) and an additional Stereo
Return for keyboards, external effects or stereo playback
devices. It even includes a built-in DI input for direct
connection of a guitar or bass. The ProFX12 includes six mic
preamps, and five sets of stereo line inputs including the
additional Stereo Return. All mic channels feature the Level Set
LED and lo-cut filter, and there is also a built-in DI. The
additional input count makes this model the perfect choice for
small to mid-sized venues or performing acts that may or may not
have an engineer on staff. The ProFX8 U.S. MSRP is $299.99. The
ProFX12 U.S. MSRP is $359.99.
www.mackie.com.
► In response to pleas for durable, professional-grade
mic/line inputs with multiple outputs for live sound, location
recording, and broadcast, Drawmer has engineered the all new
Kickbox 4x4 portable active splitter. Housed inside a rugged,
road-ready carrying case, the Kickbox 4x4 accepts up to four XLR
mic/line inputs and delivers them with up to 16 XLR line-level
outputs. As with all of Drawmer’s industry-leading products,
TransAudio Group will import and distribute the Kickbox 4x4 in
the USA. The Kickbox 4x4’s high audio quality, robust build, and
portability make it the ideal tool to provide multiple outputs
for broadcast, press conferences, live sound, sports events,
corporate events, or any situation where distribution of mic or
line inputs to multiple outputs are required. Its four
studio-grade mic/line preamps each provide phantom power,
independent metering, and up to 66dB of gain. Its sixteen
balanced output stages each provide a “transformer loaded” LED
and the option of transformer isolation. The Kickbox 4x4
gracefully configures to four practical routing schemes: one
input to sixteen outputs; two inputs each to eight outputs; four
inputs each to four outputs; and one input to twelve outputs
simultaneously with one input to four outputs. The 4x4 supplies
as standard in a road proof case with a removable lid for access
to all controls and connections. A headphone input with
selectable source simplifies setup and monitoring. MSRP: $1,495.
www.transaudiogroup.com.
► TransAudio Group, the U.S. distributor for SoundField
introduced their new SPS200 software controlled microphone.
Perfect for both the broadcast and audio recording markets, the
SoundField SPS200 is the most affordable mic in the line with a
USD list price of $2,995.00. Production models of the
microphone, resulting from a three-year R&D program, are
shipping now. The new SPS200 A-Format microphone brings the
advantages of SoundField Technology to a wider audience and
provides the perfect ‘front-end’ to capture both stereo and 5.1
surround. It is ideally suited to those working in the field on
laptop based recording systems or in the studio on fully-fledged
Digital Audio Workstations. The SPS200 A-Format microphone uses
the same established SoundField multi-capsule technology as the
high-end models in the SoundField range. This relatively
lightweight microphone (approximately eight ounces) is powered
by standard 48v phantom power and incorporates four low-noise,
studio grade condenser capsules. A short break-out cable outputs
the SoundField A-Format at mic level on four balanced XLRs,
ensuring compatibility with all equipment. The SPS200 A-Format
microphone is the first SoundField microphone that does not
require an accompanying control unit. All the processing - such
as the A to B-Format conversion, stereo and surround sound
decoding/manipulation - takes place in the Surround Zone
software which comes packaged as standard with the SPS200
A-Format microphone. The software is currently available for Pro
Tools HD and all platforms supporting VST Multi-channel such as
Nuendo, Cubase, Soundscape, etc. on both PC and Mac platforms.
TransAudio Group also introduced the high performance Daking
Mic-Pre One single-channel microphone/instrument preamplifier.
Sharing the gain structure and Class A, fully discrete
transistor circuitry design of the Daking Mic Pre IV, the Mic
Pre One additionally features a unique variable high-pass filter
and ships in a freestanding ‘DI-style’ steel enclosure, ensuring
both strength and noise immunity. Essentially a single channel
of the Mic Pre IV, the Mic Pre One features switchable phase,
20dB mic input pad and +48V phantom power, plus a selectable
1/4-inch line/hi-z instrument input, all utilizing relays with
gold bi-furcated contacts. Two large knurled aluminum knobs
control the variable high-pass filter (0-200Hz) and continuously
variable input gain, which is complemented by a full-width,
twenty-segment bi-color LED meter. The rear of the unit offers a
Jensen transformer-isolated mic input and fully-balanced XLR
output, plus a 1/4-inch line output. A fourth connector
introduces DC power from the external power supply to the unit.
Made in the USA, Daking Mic Pre One MSRP: $850.00.
www.transaudiogroup.com.
► Seattle-based Hyran Media Services Inc., creator of the
patent-pending SnipITTM service that uses mobile technology to
make radio interactive, presents a whitepaper comparing various
interactive initiatives available to radio stations. The
whitepaper, titled “Interactive Initiatives for Radio”, is
available for download at:
www.hyranmedia.com/InteractiveRadio.pdf . “It’s easy for radio
station owners and managers to be overwhelmed by all the new
initiatives available today,” says Peter Hartmaier, president of
SnipIT developer Hyran Media Service Inc. “We created this
whitepaper to offer a unique perspective on all the options
available to radio stations, and show them how to compete for
revenue from advertisers who are increasingly spending online.”
This whitepaper explores and compares the challenges of the
following: Radio station Web sites and streaming audio;
Increasing radio revenue using existing assets; Advertiser
reliance on Internet search engines as secondary information
sources; Leveraging new mobile technology (e.g., smart phones
like the iPhone, Blackberry, etc.); Station-branded short codes
and customized mobile marketing campaigns; and, Making smart
decisions that generate meaningful revenue for radio. ‘This
whitepaper demonstrates the absurdity of peaking a consumer’s
interest with a radio spot only to lose them when they are
forced to seek additional information on an Internet search
engine,” says Peter Hartmaier, president of SnipIT developer
Hyran Media Service Inc. “We show them how radio can help
advertisers own the first click.” Hyran Media Inc. is the
creator of SnipIT, the patent-pending technology that allows
listeners to receive information on their mobile phone about the
songs and advertisements they hear on the radio. Listeners
simply text a station’s call letters to SnipIT (764748) and
automatically receive, on their mobile phone, the contact
information for the advertiser that just ran a spot on the
radio. SnipIT also allows listeners to have song information
sent to their email inbox, effectively tagging songs for
download from any cell phone. During a recent trial of SnipIT on
a Seattle area radio station, listeners requested advertiser
information at rates more than 20 times the typical banner ad. [i]
The test abstract is also available for download at
www.HyranMedia.com. SnipIT accesses the same song database used
by RDS and HD technology to tag songs for download to iTunes
Tagging-capable HD Radio receivers, and Microsoft Zune.
www.HyranMedia.com.
►
(no items in this section this month). ►
► Booking 2.0 is a unique new service that
delivers dynamic, timely interviews with world class guests to
radio producers and hosts. The interviews are available for
broadcast free of charge. They’re recorded in high quality,
digital audio, and distributed at
www.plannedtelevisionarts.com/sdrt and via the site’s RSS feed.
Maya Angelou is the first interview. On the site, radio
professionals can preview the audio and then if they wish to air
it, download it for free. Booking 2.0 offers two versions of
each interview - one complete 7 1/2 minute segment, as well as
audio files of each answer with a transcript of questions.
Stations may play a guest’s answer as a clip; read questions and
fire each answer afterward; or toss to host Lauren Frey as a
guest correspondent, then air the complete interview. Podcasters
can also pick up the content to run as is or use as source
material in their original work. Lauren Frey has nearly a decade
of broadcast experience in the New York City market. She has
hosted on Sirius Satellite Radio, WNYC Radio, and WQXR, and
written and produced for the national, Public Radio
International show, Fair Game. Her writing regularly appears on
TheMorningNews.org. Lauren is also the announcer for the
nationally-distributed NOW on PBS. Booking 2.0 evolved when she
and Jeff Nordstedt, head of Interactive at Planned Television
Arts, began thinking of ways to turn the traditional radio tour
on its ear. Rather than having a team of publicists call station
after station to book interviews, with Booking 2.0, Lauren
conducts the interview, then it becomes available freely online.
There is a two week period during which the audio is available
exclusively to radio professionals and podcasters, after which
point it’s distributed more widely. “We’re not interested in
doing infomercials,” says Lauren, “You will never see a doctor
paid to tout some miracle cure on the site. Our editorial
standards are the same as they were when I was working on a
national show.” “Exactly,” Jeff adds. “We don’t do radio news
releases. We do interviews.”
www.plannedtelevisionarts.com/sdrt.
► Broadcasters seeking the power of the Axia
IP-Audio Driver for their Apple(tm) computer are in luck: Axia
Audio has just announced a beta-software release for Mac users.
Prospective beta-testers must have an Apple computer with an
Intel CPU, must have OS X v10.5 or higher installed, and must
have access to an Axia IP-Audio Network to connect to. The
retail version of the Axia IP-Audio Driver for Windows(R) makes
it possible for broadcasters to extract premium quality digital
audio from a standard PC — without the need for a sound card. A
PC with the IP-Audio Driver becomes an Axia “audio node”; its
Ethernet port connects directly to the Livewire network, and the
Axia driver handles all necessary audio conversions. The PC can
then send stereo audio to any network destination, and can
simultaneously record or audition any other network source as
well. Two versions are available: a one-input, one-output
version for use with audio editing workstations, and a
24-in/24-out version available directly from Axia Delivery
System partners (a full list is available from
AxiaAudio.com/partners) . To request inclusion in the beta-test
program, please visit the Axia Discussion Board and read the
post at http://forums.AxiaAudio.com/viewtopic.php?p=467; for
more information email Clark Novak at Axia Audio,
cnovak@AxiaAudio.com. ▲
ANTHONY MCNUTT, IMAGINGWORK.COM, KENTVILLE,
NS, CANADA
LIZ MICKLETHWAITE, NEWCAP, CALGARY, ALBERTA,
CANADA
STUART SETCH, AUDIOLOGY PRODUCTIONS, VERNON, BC
CANADA
DAVID TYLER COMMUNICATIONS, ROSEMERE, QUEBEC,
CANADA
JAY ROSE, DIGITAL PLAYROOM, BROOKLINE, MA
ZEUS PRODUCTIONS, LITTLE RIVER, SC
ROB RETTBERG, THE OTHER STUDIO, WOODLAND HILLS,
CA
ROB VAVREK, STANDARD RADIO, EDMONTON, ALBERTA,
CANADA
DOUG MOORHOUSE, 97.3 EZ ROCK, TORONTO, ONTARIO,
CANADA
KAT MORGAN GAINES, CLEAR CHANNEL, SPRINGFIELD,
MO
JOHN PAIN, SPORT 927, CARLTON, SOUTH VICTORIA,
AUSTRALIA
GENE WOOTEN CREATIVE AUDIO, KNOXVILLE, TN
RYAN DREAN, KSCS, ARLINGTON, TX
KELLY CAMPBELL, Z103.5, HALIFAX, NOVA SCOTIA,
CANADA