RecordingYamaha’s AW4416 is an all-in-one recording system.In a nutshell it’s a 24-bit, 16-track digital recordingsystem, which includes mix automation, sampling,mastering capabilities, and a bunch of other facilities.The AW4416 offers various storage options – includingan internal hard drive and CD recorder, as well as a SCSIinterface for data backup to an external drive. On themixing and DSP side, it’s more of an 02R than a 03D or01V, with full 32-bit DSP capabilities, 44 fully-automatedaudio inputs (16 of which are from the internal harddrive), 17 motorised faders, four fader and mute groups,eight bus and eight aux sends plus stereo, and stereo cue

buses. All 44 inputs– including eightanalogue and 16digital inputs viaoptional interfacecards – containdigital attenuators,four-band fully para-metric EQ, anddirect out assign-ment. Certainly theAW4416 looks to bea project studio’sdream.

In the lead up toNAMM the Sony’s new DMX-R100 was dubbed Son ofOxford – alluding to its Sony OFX-R3 ‘no expensespared’ digital console pedigree – and it certainly createda buzz. It’s a compact, 48-channel mixer with compre-hensive feature set that includes 25 motorised faders, asophisticated control panel with touch-screen control, afully integrated package of automation and digitalrouting matrix and machine control. The DMX-R100

offers 24-bit quality and the ability to operate at bothstandard and high sample rates. A large centre sectiongives you full ‘one knob per function’ control over busassignment, dynamics control, EQ and aux routing. Alltweaking is shown on a large SVGA monitor, ‘zooming in’into the relevant screen as soon as you touch, say, theEQ controls. The DMX-R100 is fully equipped to handle5.1 surround sound, with features like six dedicatedmonitor outs and simple real-time touch screen surroundsound panning. The faders are fully automated, touchsensitive and feature 10-bit resolution. I could go on andon. The DMX-R100 will probably be priced around $30kin Australia, and I have to say, it looks like great value.

Roland expanded their VS hard disk recording rangewith the VS1880 which features 18-track playback, 24-bitA/D and D/A converters, and faster CD burning via adedicated CD-RW mastering button. Also from Rolandand slightly leftfield was the HandSonic HPD-15 handpercussion pad. The idea is to play rhythms with yourhands, using triggers based on Roland’s V-drum technol-ogy. It uses a 10-inch rubber pad with 15 triggers. Iplayed with this and want one. No question.

Akai have given their DPS range new life. The DPS16ioffers ‘affordable’ 24-bit/96k recording. There’s also abunch of editing, mastering, mixing and recording tools.The 16i features 56-bit internal signal and effects pro-cessing, a 10GB internal hard drive and some sophisti-cated time-stretch features, among other things. The

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EXHIBITION REPORTby Christopher Holder

LA, Paris, and Homebush. They’re the three glamorous destinations I’ve jetted off to since the last issue of AudioTech-nology. It was a fact finding mission to take in the NAMM show in LA, the AES exhibition in Paris and the Entechshow in Sydney’s west. Did I find any ‘facts’? That would be an understatement, and I’ve got the excess baggage bill(for all the tons of brochures) to prove it.

There were a few interesting trends evident, as there are at most significant trade shows.It became obvious that multichannel surround was gaining even more impetus. TC’s S6000 and Lexicon’s 960L are

both addressing high-end multichannel reverb, while the Martinsound Multimax has helped give stereo console’s thechance to monitor in surround.

Proprietary digital communication protocols are becoming more common. Ethernet and Firewire are the main candi-dates to host these new systems [see Second Word on page 14 for more].

And, bizarrely enough, the analogue synthesiser is making somewhat of a comeback. Alesis seem the most likelycandidate to capture the imagination of the mass market with their Andromeda.

There were a few genuine standout products as well. My short list would include: the Sony DMX-R100 digitalconsole – which looks superb; the Roland VP-9000 Variphrase sampler – truly innovative and an unexpected treat; andthe Yamaha AW4416 mixer/hard disk recorder – power and value, something Yamaha make a habit of offering.

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DPS12 has also been givena facelift and boosted

to ‘i’ status.Tascam has

progressed itsPortastudio

format in a inter-esting manner with the

introduction of the US-428 24-bit digital audio workstation controller.

Essentially combining a hardware interface withcomputer functionality, the US-428 interfaces with bothWindows and Mac-based sequencing platforms via aUniversal Serial Bus (USB) port.

Mackie, always one to spot a niche, were demonstrat-ing the HDR24/96 hard disk recorder. Here’s a briefrundown of some of the features: 24 tracks (192 virtualtracks at 48k) for up to 90 minutes of recording; built-inhard drive plus a pull-out bay for a removable drive;

mouse, keyboard and monitor ports built-in (nocomputer required); the on-screen graphic interfacemirrors front controls and meter bridge; built-in editingsoftware, built-in 100baseT ethernet port; user definableI/O configuration; and built-in internal word clock,SMPTE, black burst, NTSC and PAL sync. Being aMackie, the HDR24/96 will doubtlessly be keenly pricedand will go up against Tascam’s MX2424 [see our newspages in Volume 2, Issue 1], as well as more establishedupper-end HD recorders like Otari’s RADAR.

Amek took the wraps off its new Media 51 audiorecording and production console, the company’s firstmid-priced analogue mixer for more than five years, andthe first entry-level multiformat desk with a Rupert Nevesound.

Seasound is probably a name you haven’t heard of,but demonstrated some interesting new gear. The Solo isa rackmount/PCI card combination, where you routeyour studio inputs to the digital domain via 24/96 con-verters. It’s basically a PCI card on steroids.

Steinberg debuted their Nuendo, an eight I/O 24-bitA/D D/A conversion system. The system features up to128 tracks of digital audio, 24/96 audio support,surround sound mixing, one video track, Midi tracks andwhat Steinberg calls ‘the most comprehensive functionsfor digital audio available’. The Nuendo specs look good,and Steinberg, being who they are, will offer plenty of

EXHIBITION

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software support. Already there’sthe likes of the Nuendo Media Pro-duction System, for the post proand multimedia sector.

Fostex showed off their VF-1616-track digital multitrack. It’sanother variation on their rathergood VM/VS gear, and looks to flythe ‘portable studio’ flag for sometime to come.

The MOTU 1296 is a professional audio interfaceequipped with the 24-bit, enhanced multi-bit 128x over-sampling 96k converters. The 1296 achieves arespectable A-weighted signal-to-noise ratio of 117dBwith balanced XLR connectors throughout. MOTU alsoannounced the 24i, a 24-input analogue audio interfacefor computers that will be sold as an expander for 2408and 1224 hard disk recording systems and as a completecore system.

Phonic had an interesting new eight-bus console onshow. The MR3686 is built as a 5.1 surround/matrix mixingdesk. It’s designed to output to a 5.1 surround speakersystem, and takes a six-track decoded surround source.There’s even 360 degree surround sound panning control.

SSL introduced the Mix Track 24-bit, 96-track harddisk recorder as an integrated option for the Axiom-MT.It functions under direct ethernet control from theconsole.

Soundtracs has combined digital mixing and harddisk recording editing in the DS-M. The DS-M

combines a 64-channel DS3 digital mixer with amodified SADiE system.

Apogee Electronics introduced theAP8AD and the AP8DA, which are

for Yamaha digital systemsequipped with YGDAI expansion

slots, such as the 02R. The A/D cardincludes Apogee’s proprietary Soft Limit technology to

deliver high levels without digital overs. They’re both24-bit converter cards, and support 96k.

Korg premiered a cross-platform version of theirOASYS PCI – which integrates synthesis, effects process-ing, and computer audio I/O into a single, PCI audiocard that complements any Midi sequencer or software-based DAW. Its onboard DSP power helps relieve theburden normally placed on the host CPU when usingplug-ins and applications providing similar functionality.One to watch.

Echo have updated their sisterhood of cards. TheGina24 offers 24-bit/96k recording, a dynamic range of115dB and distortion under .002%. I/O is covered byADAT optical and S/PDIF digital I/O. RRP: A$1,399.Gina’s big sister, Layla, has been given the 24/96treatment as well. Layla features true differential,balanced outputs and a ‘superb’ headphone output.ADAT lightpipe and optical S/PDIF are now included.RRP: $2,499. If that wasn’t enough, Mona has beenadded to the range. Using a ‘unique combination’ jack,Mona provides ‘universal’ inputs for microphones, +4dBubalanced line level signals, and high impedance guitar

pickups. Mona has analogue trim controls and inputmeters easily accessible on the front panel. The gainranges change automatically according to the type ofinputs being used. RRP: $2499.

Creamware’s Pulsar DSP audio card and software isnow available for Apple Macintosh computers. The newversion be functionally identical with the PC version fromday one.

SynthsThe Alesis Andromeda was not something that thepundits had expected, I think that much is evident. It’sa 16-voice truly analogue synth with full Midi control.There’s two oscillators per voice, with five waveformsavailable, suboscillators, hard and soft sync. The controlsurface features 72 knobs, 144 buttons, 61-notekeyboard, ribbon controller with multiple assignable

functions. There’s a large backlit display. There’s 16outputs, extensive modulation matrix, and portamentowith nine slopes. In short, the Andromeda looks like areal beast, harking back to the days of the Jupiter 8, orOberheim OB8. The sound of it is brutish as well.

Every year sees a new rumour of a MiniMoog reissue.Big Briar, Bob Moog’s current company, has promisedto produce a new improved MiniMoog for the nextcentury. Tentatively called ‘New Performance Synth’,Moog has kept the basic functions of the MiniMoog,except with Midi control and open-system patching.

I doubt whether we’ll see it in Australia, but Germancompany, Touched By Sound, have produced the trulyanalogue six-voice Mephisto synth. Features includethree oscillators, two filters, ring modulator, sample andhold unit, two LFOs, 100 presets, 36 motorised(!) pots,filter input and full Midi functionality.

Korg introduced a new MS Series synth: the MS2000,which recreates the analogue sounds of thepast using the latest DSP technolo-gy, and adds functionality reminis-cent of Korg’s VC-10 vocoder andSQ10 analogue sequencer. TheMS2000 featuring a 44-notevelocity keyboard, and theMS2000R 4U rackmountconfiguration, bothutilise a DSP-poweredanalogue modellingsystem (based on thatused in the Prophecy, Z1 and

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Electribe series), refined to produce a wide range ofanalogue sounds. All major sound creation parametersare available on the front panel, with 35 dedicated knobsproviding the ability to create and manipulate sounds inreal-time. Check out our review in the next issue of AT.Korg also expanded their Electribe range with theaddition of the Electribe-S rhythm production sampler. Itoffers sampling, resampling, signal processing andsequencing capabilities.

Novation is rolling out spin-offs of theirNova/Supernova analogue modelling concept. The Nova

II sports 21 knobs, four sliders and 128 switches, 512user programs. It’s six-part multitimbral and up to 36-voice capable. There’s 42 effects available, a 42-bandvocoder, and two analogue filter inputs.

Ensoniq offered the ZR-76, pursuing the workstationconcept. There’s 1200 sounds, (including those from theirTransWaves synthesis), drum machine, 16-track recorder,and 24-bit effects.

E-mu weighed in with another swag of 1U specialityboxes of sounds. The B-3 64-voice tone wheel organsounded particularly good, but there was also theXtreme Lead-1 synth featuring techno/electronicasoundsets, a powerful filters and BPM rhythmic capabili-ties. Also on offer was the Mo’Phatt ‘urban dance synth’,and the Virtuoso 2000 128-voice Virtual Orchestra.

Effects &ProcessorsRoland’s VP-9000 was a real head-turner. It’s called aVariPhrase Processor and it looks likes permanentlychanging sample-based music production. The unit iscapable of capturing audio and providing real-timemanipulation of pitch, time and formant using Midicontrol, while maintaining the original sample’s soundquality. For example, if I sang ‘start spreading the news’into the VP-9000 in a monotone, I can then, via a Midikeyboard/controller, playback the sample using any tuneI like, changing notes mid phrase or adding harmoniesand pitchbend – all without changing the timing andintonation of the original sample. This baby is going tosave many people hundreds of hours of programming

time I can tell you. I’m just hoping they repackage theVP-9000 as part of a new generation Roland sampler.Most people knew about TC’s System 6000 multichannelreverb but fewer people had heard much about Lexicon’snew surround sound contender, the 960L. I saw andheard both systems in action and both were veryimpressive. Both use a remote with touch sensitivemotorised faders. Lexicon’s LARC2 has theadvantage of a joystick, which mostpeople associate as being a useful tool inthe world of multichannel audio. TC’sIcon remote has a larger touch screenwith more detailed metering. Bothcompany’s are trumpeting their newproprietary 3D spatial modelling algo-rithms – TC’s VSS5.1 and Lexicon’s 3DPM Technology.Currently my impression is that TC have a slightly moreintegrated package of surround sound optimised effectsand multi-channel mastering processes, while Lexiconhave done a great job of combining a number of 480Lunits to give purchasers a Lexicon option. Either way,both will be very popular, I’m sure.

It had to happen. Line 6 have released the POD Pro, aprofessional implementation of the POD digital guitarprocessor. It features 32 Amp Models and 16 CabinetModels that can be used as is, or mixed and matched tocreate custom sounds. With 24-bit AES/EBU, S/PDIFdigital out, word clock, 44.1/48k operation, unprocessedguitar output, and line level Input, POD Pro is well-equipped to perform in professional recording environ-ments. RRP $1999.

The API name has been given a new lease of liferecently. Both the 3124+ and the 3124m+ are four-channel preamps, with the 3124m+ featuring an audiomixer as well. These units use the same mic preampcircuits that is used in all API consoles. They look to bevery professionally built and spec’ed.

Amek’s Pure Path designs were given an introduction.The Channel In a Box (CIB) was the first cab off therank, combining a mic preamp, line input amplifier, highand low pass filters, four-band EQ, and a fully-featuredcompressor. The mic pre, filters and EQ stages arevirtually identical to those of the Amek 9098i in-lineconsole, including familiar features such as ‘Glow’ and‘Sheen’. TheDriver In aBox (DIB)and Stemcompressor are also in the range. All the designs werethe work of a certain Mr. Rupert Neve.

Aphex Model 1100 is a discrete Class A tube micpreamp with 24-bit/96k A/D. The 1100 is part of AphexThermionics range, and professes to offer 20dB moreheadroom than conventional preamps, allowing you to

record hotter tracks.The PreSonus M80 is an eight channel

mic/instrument pre featuring high quality Jensentransformers, FET, class A discrete input buffersand twin servo gain stages. It aims to be a qualityfront end to your DAW, among other applications.

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Mindprint introduced the DI-Port, a 24-bit A/D D/Afront end in a 1U half-rack. It features a 106dB noisefloor and aims to improve any two-track recording bybypassing inferior converters. Meanwhile the new T-Comp stereo tube compressor is designed to addwarmth to digital recording. It features a Filter button

which activates a certain type of frequency consciouscompression mode in the sidechain for a ‘more balancedand natural’ compression.

Phonic’s range seems to get bigger and moreambitious as each month goes by. Brand new is theDEQ5000 digital EQ and RTA, and the DCL4000 digitaldynamic processor. These units use 32-bit DSP-basedtechnology, and 24-bit converters.

ARX were demonstrating their new bright idea, the ‘e-pre’. It’s designed as a mic preamp for hard diskrecording, the advantage being that it can slip into aspare 5.25-inch slot in the computer’s chassis, and canrun on your computer’s power supply. Neat idea.

Drawmer released the Mercenary 1969 valve com-pressor, based on the 1960. Burr Brown op amps havebeen chosen to replace the original discrete ones, and apolarity reversal switch available in DI, mic and linemodes, increases its versatility.

Tubetech showed their new SMC2A, an all tube-based multiband opto compressor. It features variablecrossover frequencies between the three bands. Eachband features separate ratio, threshold, attack, release,and gain control. No doubt, this will be on manymastering engineers’ wish list.

SoftwareCreamware are now rolling out affordable spin-offs oftheir Scope and Pulsar packages. The Power Sampleris a professional DSP sampling system. You get a PCIcard, stereo analogue I/O and stereo S/PDIF I/O, and awell-spec’ed sampling software package. The promise is:low latency (1ms to 2ms), all the features of hardwaresamplers, full-screen editing, 32-bit processing, hugesample library and more.

BIAS have released Peak 2.1. The new versionfeatures include: faster sampling rates, and ASIO support(so now it works with any ASIO compatible soundcard).

Steinberg introduced a set of software synthesiserdeveloped by The Propellorheads. It’s called Reason, andit’s a combination of an analogue synth, a sampler, adrum machine, mixer, effects, pattern sequencer, and aReCycle!-based loop player. Steinberg have also releasedsome interesting software synths, one based on the PPGWave and the other on the legendary SCI Prophet 5.

Emagic announced the EXS24, a polyphonic softwaresampler. The EXS24 reads existing sample formats and

features a swag of editing and DSP functions. The trickhere is that youcan integrate intoLogic Audio’s(v4.0 andupwards) internalmixer so you canaccess the Logicplug-ins etc.Emagic have released v4.2 of Logic Audio, whichincludes sample accurate sync, Roland VS support, andfurther enhancements to the score editor, sequencer andaudio engine. If you’re v4.0 owner, log on and get theupgrade for free.

Digidesign were showing off the new Access VirusTDM plug-in, which looksto be virtually identical insound and core function-ality to the Virus family ofhardware synths. Digiwere also demonstratingthe RealVerb 5.1 fromKind of Loud. It featuresthe ability to map reverb spatially for surround mixingand can morph between room shapes and textures.

Soundscape has the Aphex Exciter Type III and BigBottom Pro plug-ins to show off, as well as the newCompressorX plug-in from Sonic Timeworks, theCEDAR De-Hiss process, and MasterTools from Apogeewhich offers their proprietary dithering algorithm, theUV-22 word-length reduction process, for Soundscape.

Audio-Genetics showed their new Alkali TDM plug-in. It’s a powerful and instant Loop Laboratory, drawingon REX file technology to make any of its loops fit anytempo in your song. This loop laboratory is for Macapplications, including ProTools, drawing inspiration fromAcid on the PC.

MicrophonesThere was a good deal of interest in Rode’snew NT3, which features transformerlessoutput, internal capsule shock mounting, atrue condenser capsule, and a hyper cardioidpolar response.

CAD added to their range with the MSeries. The M177 and M277SP are similarlyspec’ed mics that use the externally biased1.1-inch gold sputtered E-300 capsule. TheM177 is a cardioid, while the M277VP has anadjustable polar response.

Neumann’s Series 180 of miniature microphones arethe company’s successor to the KM83/84. There’s threemics on offer. The KM184 is a cardioid and has beenaround some time and gained a good deal of popularity,while the newer KM185 is a hypercardioid, and theKM183 is omnidirectional.

Beyerdynamic’s SHM88 is a condenser mic with a

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Steinberg Reason

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slimline housing designed to make it virtually invisiblefrom a distance. The SHM88 has a back-electret capsulefor clear speech transmission and low feedback.

Audio Technica debuted the AT4047/SV, which issaid to deliver sonic characteristics reminiscent of earlyFET mics. It’s a cardioid condenser for studio applica-tions. Also new is the AT849 stereo boundary mic,designed to provide full, natural stereo ambience forsurface mount applications in broadcast, professionalrecording and sound reinforcement.

Alesis added three condensers to the GT ElectronicsAM Series line. The AM30 and the AM40 are both slim,front address mics for instruments and guitar amps, whilethe AM11 is a large diaphragm model for vocals.

The new Microphone Kit Type 3531 is new omnidi-rectional micro-phone from DPAMicrophones. It’ssupplied as a complete kitwith suspension mount, wind-screen and pop-filter as well asthe state-of-the-art MicrophoneAmplifier Type HMA4000 and aspecial microphone cable. TheType 3541 also introduces a com-pletely new versatile modular capsule and preamplifiersystem.

MonitoringThe Fostex NF-1’s new ‘scrunchedup’ LF driver design is immediately

striking. It’s actually called a ‘hyperbolicparaboloid’ (HP) diaphragm, and Fostexassures us it’s all for good design reasons.The soft dome tweeter uses proprietary

technology as well, while inside the cabinetHP reflectors prevents the generation of standing

waves. The monitors come in passive and active bi-amped flavours.

Genelec introduced their 2029B digital stereo moni-toring system. It’s an XLR, AES/EBU 24-bit/96k versionof their 2029A 24-bit/48k active monitor. The systemcomprises one right ‘master speaker’ and one left ‘slavespeaker’, with stereo adjustment controlled by a singlevolume knob on the right master speaker.

Event’s 20/20/15 System Subwoofer (A$2,999) isbuilt as the core of a professional full bandwidthsurround sound monitoring system. It features a 15-inchdriver and 250W of power. A smaller 20/20/12 ($2,499)is also available. Event’s new Project Studio series ofbiamplified direct field monitors were also on demonstra-tion. Three models are offered: the PS5 ($1,599 a pair),with a 5.25-inch polypropylene low frequency driver and25mm silk dome neodymium high frequency driver; thePS6 ($1,899 a pair), which features a 6.5-inch polypropy-lene woofer and one-inch silk dome tweeter; and the PS8($2,299 a pair), with an 8-inch polypropylene woofer and

one-inch silk dome tweeter. All are biamplified, with100W of power (70W Low/30W High) per speaker.

KRK Systems announce the new V6 active studiomonitor, following up on their successful V8 design [seeAudioTechnologyVolume 1, Issue 5].The V6 monitors arecheaper and morecompact, but shouldoffer the similarsonic advantages asthe V8. Also in the VSeries is the V88,which follows the V8design but adds a second eight-inch woofer for largerlow-end response. The dome tweeter is new, with itselliptical waveguide for an ‘extra wide’ sweet spot.

PMC has moved into compact active territory withthe AML1, which offers sub 35Hz performance from a

very smallcabinet.Only thehighestqualityaudiophilecomponentshave beenused, theamplifierand

crossover designs are licensed from Bryston, and featurea dual 120W amplifier.

Yamaha’s MSP10 studio monitors and companionSW10 powered subwoofer system were on display. TheMSP10 powered monitors are now available in a vibrantMaple Sunburst colour (MSP10M) – goes well with myguitar.

Beyerdynamic introduces a new, low cost, closedsystem headphone with ‘superb’ audio quality and alightweight design. With a frequency response from 20Hzto 18,000Hz and a power handling capacity of 112dBSPL, the DT231 is ideal for audio monitoring in thehome recording or project studio. Its closed systemdesign reduces unwanted bleed through during overdubs.

DAS Audio have returned to their studio monitorroots with the Monitor Series: a line ofcompact, yet ‘surgically’accurate mid andnearfield monitorsaimed at recordingand broadcast studiomonitoring. The twoexisting speakers inthe expanding line,the Monitor 6 andMonitor 8, differ only in thesize of their woofers which are, as theirnames suggest, 6.5 inches and eight inches,respectively.

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Live SoundCAD have introduced mic packs for the drummer andthe live sound pro. There’s a choice of four, six, sevenand nine-piece percussion packs at entry level prices.The DSM-1 is CAD’s new patented shock isolationmount for miking drums.

Shure unveiled the Beta 87C. Respondingto quieter stages arising from the use of in-ear monitoring the 87C aims to deliverstudio grade performance and a smoothextended high-end frequency response in acardioid condenser design. Shure alsoexhibited its PSM400 personal monitorsystem and P4M personal mixer. ThePSM400 aims to provide more controlover their in-ear mixes, while the P4Mis a mixer optimised to work with thePSM. The likes of Beck, Korn andTom Jones seem to think that Shurehave done something right.

DAS Audio added two new modelsto its Reference Series line of installation-oriented loud-speakers, while upgrading the entire line with a new

catalyzed polyurethane paint finish andoffers enhanced weather protection foroutdoor use.Neumann’s KMS105 aims to offer the

Neumann sound to the sound reinforcement envi-ronment. With its supercardioid polar pattern, low

self noise and colourless off-axis pickup, the KMS105complements in-ear monitor systems. The micemploys a four-layer acoustic filter to minimisepopping and wind noise.

Electrovoice introduced a new line of N/DYM mics.The N/DYM mics have been redesigned to offer greaterperformance, using Vocal Optimised Bass (VOB) tech-nology, the N/DYM mics provide the performer withreduced resonant distortion at the low-end by dampingthe LF resonant peak that contribute to any muddiness.Electro-Voice also released their Dx38 sound systemprocessor. It provides 48-bit filter performance, and 24-bit A/D D/A conversion. Its two-in/four-out configura-tion makes the Dx38 the ideal controller in any two-,three-, or four-way loudspeaker application.

Yorkville introduced new models to the PerformanceSeries Enclosures, including the Y1185 passive subwooferand the Y150M stage monitor.

BSS have updated the software for their SoundWeb,with new DSP processing objects, including: stereo para-metric equalisers and an ambient noise compensator.Their Omnidrive Compact will also prove to be popular,no doubt.

Midas launched the Heritage 1000 a compact framelive performance desk.

Phonic unleashed a range of low cost outboard,including graphic EQs, a crossover unit, a dynamicprocessor and a zone mixer. Also on offer was theUPHO1.15 integrated mixer/powered speaker. It’s

compact, uses a light weight moulded cab, takes two micand two line inputs, and supplies a hefty 600 watts ofpower to the 15-inch LF driver and 75 watts to the HFunit.

Spirit have tinkered under the bonnet of their popular328 digital recording console to come up with the 324Live. It’s a 32-input digital mixer (16 mic/line inputs plus16 TDIF digital inputs), with AES/EBU and S/PDIF I/O,four group and four matrices, and an automation systemtailored to the rigours of live sound.

ATI displayed their new Paragon II monitor console.The P2 (as it’s been dubbed) is a 64-input automation-capable monitor mixing console. Capable of up to 20stereo monitor mixes, it’s suitable for in-ear and/orwedge monitor mixing. Each input also offers four-bandparametric EQ, ATI compression, and parametric noisegate.

Allen & Heath put the spotlight on their M5000console [see last issue’s news pages].

Yamaha introduced the Se Series line of affordable,high-performance live sound speakers. Designed as full-range high output systems forspeech or music, theSe Series shouldsatisfy the needs ofsound reinforcementprofessionals, giggingmusicians, smallclubs and houses ofworship.

QSC have addedfour-channel versionsto their CX contractor range ofamplifiers. The three new models, CX254, CX404, andCX204V, incorporate QSC’s PowerWave switching powersupply technology to virtually eliminate noise and hum.Their PL2 range was also released, carrying the Pow-erlight name into the next millennium.

Three new rackmount CD players put Marantz Pro-fessional CDs firmly in the touring markets. Designed toprovide the operator with all the facilities and ruggedreliability for FOH touring racks the new players incorpo-rate, instant start, frame accurate search and cue, a discjamming protector and large back-lit transport buttons.

Behringer have released their Ultra-DI DI100. ThisDI box is active and should handle any sound source youmight want to throw at it.

It’s been tremendous to see the Australian Monitormarque making a real revival. The company was boughtout by Audio Telex who seem to be giving it the kickstart it needed. Don’t be suprised to see new AustralianMonitor amps back with a vengence.