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Scope stands for Scalable 0bject Processing Environ-ment. If you think the name is a mouthful, then thenature of the product explains why – such is the,

erm... scope of this product, it’s hard to define. The backof the ‘box’ might describe Scope as a collection ofinteractive software modules capable of running one ormore of its PCI cards – but that’s not much help. I cantell you that Scope has applications in music recording,post production sound, theatre, live sound, measurementand testing, including research and development. I alsoknow that Scope packs a lot of DSP power. (With eachScope board you get a hefty 15 Analog Devices SHARC

chips – one the fastest floating-point engines available.Each board contains five individual S/TDM buses foradding more DSP or I/O expansion boards – up to threeper bus – giving the user incredible additional DSPpower if needed.) In effect, Scope has the power andflexibility to be anything you want it to be. Let’s scopeout what Creamware have in store.

HardwareThe Scope board is independent of the host computerand can connect to other sound devices using analogue,digital or Midi connections. These include 24 I/Os viaADAT light pipe and six Midi breakout cables on twoMidi interfaces each offering Midi In, Out and Thru. Anadditional sync card, containing word clock (BNC) and9-pin ADAT control ports (in and out), is provided.Scope has the capability of running at master sampling

rates of 32k, 44.1k, 48k, 96k, 192k or 384k and slaveboards will varispeed between 24k and 400k.Master/slave clock rates are 44.1k (±200%) and 48k(+100%/-300%) making it ADAT compatible. Addition-ally, Pulsar boards (reviewed in AudioTechnology Vol 1,Issue 4) may be added, increasing the DSP and I/Ocapacity (S/PDIF or AES/EBU digital, ADAT, analogueand Midi). Multiple Scope boards can share one IRQthough a multi board configuration but will need a largerpower supply (300w recommended).

SoftwareThe software is Windows 95/98 compatible but may alsorun on Win2000, Mac OS, which has just been released,and BeOS software due soon. The software packageincludes a Virtual Studio Environment, an Audio Develop-ment Environment and a Graphic User Interface (GUI)design package. The minimum system configuration is aPentium 233, with 128MB of RAM, and a single PCI slot.However, a Pentium II 450 with 256MB of RAM and a32MB graphics card is my recommendation.

Scope allows the user to interconnect various deviceson a graphical interface. You can think of these devicesas virtual hardware units with their own adjustable para-meters and settings. It’s also possible to build individuallibraries of DSP modules. These library modules can bereorganised in the ‘workspace’ to make up the system’saudio activities. However, Creamware have developed alibrary of audio modules available for those who don’thave time to design a virtual studio for specific applica-tions [slackers! -CH]. There are more than 300 modulesfor mixing, effects, synthesis, and control parameters fromthe GUI via Midi or other software programs. Suchdevices include a Dynamixer (two to 16 channels),BigMixer (32 channel, eight Aux, 16 recording busses),Effects (EQ, compressor, limiter, gate, reverb, delay,phaser, flanger, chorus, vocoder), Synthesisers (includingmodular versions), Sample Player (Akai S1000 format)and oscillators (including sample oscillators, envelopes,filters, mix modules, effect modules, Midi remotemodules, ranger modules, GUI knobs, faders, buttons andcurve editors, just to name a few). Library I/O modulesinclude Scope ADAT, Pulsar ADAT, AES/EBU andanalogue I/O modules; Windows MM Audio, WindowsMM Midi, Windows MM Audio Host Midi drivers, ASIOand Direct Sound and as well as integration with variousthird party soundcards

Using Creamware’s tools, it’s possible to design anoperational surface for yourself within Scope. Everything

EQUIPMENT

TEST

Creamware ScopeCreamware have set about designing a big brother to Pulsar, and the ultimate modularcomputer-based audio environment in the process. Konrad Skirlis scopes it out.

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is represented as modules, and Scope offers a vastlibrary of faders, rotary pots, buttons, text displays andother functional control elements. Simply drag and dropthese onto your surface, connect them to the circuit’saudio modules, and adjust their range settings. Some ofthese controls include colour, gradients and textures.Scope has a very capable set of tools to adjust the abovementioned parameters for enhanced GUI design.

Mixing BigScope’s 32-channel mixer (BigMixer) offers 16 buses andeight auxs with stereo returns and a stereo monitor bus.Internal buses are 32-bit (floating-point processing) withsupport for 96k sample rates. Each channel strip is com-prehensively laid out with input gain, phase reverse, para-metric EQ, mute and solo functions, panning, bus select,channel link, level and name display. Furthermore, eachchannel, including the master section, provides fourinserts that can be used simultaneously – on everychannel if required.Again, activatedinserts, aux sends andEQs deprive thesystem of DSPpower, so it’s best toshut down thedormant modules tofree up power forother functions. Ifyou don’t need thesouped-up power ofthe BigMixer then Scope offers the Dynamixer, which iseasier on Scope resources. It has no buses or auxs butyou can adjust the number of mixer channels.

As mentioned earlier, Scope is a virtual studio withfunctions similar to those typically found in a recordingstudio. Scope allows for mixing and effects as well assampling and synthesis, with bussing functions allowingthe integration of other studio devices. Scope includesASIO, .WAV and EASI drivers for operation with virtuallyany Midi+Audio sequencer. It’s therefore possible to workalongside an external hard disk recording system withadditional I/O boards and gain the benefits of greaterDSP power. Furthermore, Scope does not suffer from hostsoftware latency because the DSP works on the audio inreal time. This allows integration with external equipment.Scope has 15 SHARC chips that handle audio functions –not the computer itself, so running a number of functionsat the same time is not a problem.

Effects ProcessingThe software within Scope allows the control of signalprocessing systems with specific GUIs. The pallet ofScope effects include parametric EQ, dynamics process-ing (compressor, limiter and gate), a selection of delays,reverb, chorus, phasing and flanging. Furthermore, amono/stereo 4-pole filter is offered with adjustable Q,resonance and low pass filters. The LFO can modulatethe selected cutoff frequencies and additional rate anddepth controls are available. The reverb offered is the

Mini Verb, designed to use minimal DSP. While it has allthe necessary adjustable parameters, it only offers ahandful of room emulations. However, third party devel-opers are swiftly coming on board – Aphex, Prosoniq,Quantec and Sonic Timeworks among others. In general,the use of effects within Scope does not burden theoverall system as loads of DSP is available. Scope effectsare of a high quality and allow the user to immediatelystart treating sounds.

SynthesisScope’s initial release (v1.2) focuses on virtual analoguesynthesis, with a library that contains a number of syn-thesiser ‘models’ that can be interconnected. Synthesis-ers on offer are the Miniscope, the UKNOW 007, theBlueSynth, the Inferno, the EDS 14i analogue drum syn-thesiser and the Modular Synth, as well as a polyphonicsample player that reads Akai S1000 format libraries(with all filter and envelope settings). The latency of the

sampler is extremely low (around1ms) putting it on par with hardware samplers. As for thevirtual analogue synthesisers, there is no audible latency– these devices respond immediately to a player’stechnique like real instruments. All the modular synthbenefits of limitless sound design are there without theassociated vintage hums and buzzes. In addition to itsaudio design capabilities, Scope’s GUI design packageincludes a library of faders, rotary pots, buttons andother elements. Despite the computer environment,Scope’s virtual synths sound very warm and analogue-like, it’s difficult to pick the difference between these andtheir hardware counterparts.

Audio Measurement & TestingScope can be used in audio test and measurement appli-cations to perform tasks such as signal generation, signalcontrol, and analysis. The current software release offers32-channel spectrum analysis, FFT analysis with a real-time scope display, THD+N (up to 30 test frequenciesbetween 20Hz and 20kHz) plus frequency response mea-surement, level monitoring and level measurement, andsignal generation (precision sine wave, frequency sweeps,white noise, pink noise, etc.). Scope’s modular designallows a number of test functions that can run indepen-dently on many channels simultaneously. Furthermore,system test and performance measurement can be set upto perform a variety of procedures.

THD+N is a test signal generator with ‘total harmonic

distortion plus noise’ analysis (as THD+N suggests). Ithas 30 test frequencies (20Hz to 20kHz) availableallowing automated testing of audio equipment. Thosewho are ‘specs literate’ can examine the performance ofgear and make evaluations. Measurement accuracy is16-bit or better depending on the A/D and D/A con-verters used to digitise the signal.

The FFT analyser provides spectral analysis in linearor logarithmic frequency scales displayed in real-time onthe scope. Giving you a choice of frequency bands andFFT functions, it can be used for comprehensive soundspectrum analysis. Furthermore, the Multiband Analyzeris a 32-band analyser with many adjustable parameters,such as filter frequencies and peak axis range. Both thesefunctions can be used to evaluate the frequency distribu-tion of a mix. This allows you to hear and see any fre-quencies that might be boosted or lacking within thecontext of the mix. For mastering applications, thisfeature alone makes the audio measurement and testingside of Scope worthwhile.

The Signal Generator produces white and pink noise,sine waves, frequency sweeps, and is ideal for applica-tions such as the testing of audio components and theevaluation and calibration of audio systems. However,the signal generator has plenty of non-test applications,and you’ll never know when it will come in handy. Forexample, you can trigger white noise from the snaredrum boosted with EQ on the Big Mixer to provide anenhanced and ‘bigger’ snare sound. The beauty aboutthese modules is that you can connect any of them from

the library to any other modules in the system. It’spossible to take in audio from ‘physical input’ modules tomixer modules, then through to other Windows softwareonto analysis modules, while at the same time generatingtest signals and routing them to physical outputs. Thehardware version of these features can be found inequipment costing much more than the price of a Scope.

Under the Micro ScopeScope may be combined with other hardware units inconjunction with its 32-channel mixer containing 16recording and eight aux buses. The modular approach toScope puts it ahead of the rest. If, for example, you needmore channels, just add another mixer and connect it toanything else you might have running. With a 32-bitaudio path, 96k capability and floating point algorithms,Scope can be used for a number of mixing purposes.The system is flexible enough to allow you to havelibrary modules combined with external hardware almostany way you want. Furthermore, ‘studio set-ups’ can besaved as Projects allowing you to pick up where you lastleft off. Scope can be used a number of ways in typicalmusic and post production scenarios. It can function as acentral routing and mixing vehicle working in conjunc-tion with equipment you might already have – offeringadditional effects and synthesis along the way. As asoundcard it offers superior sound quality plus thebenefit of enhanced Midi capabilities – there are twoMidi interfaces as a standard feature. As mentionedbefore, Scope communicates with other professional

S80 features:• 88-note weighted action

keyboard with aftertouch • 64 note polyphony

• 24MB Sound ROM (8MB of superb pianos, 16MB of realistic instruments)

• 4 assignable sliders, 5 assignable knobs, 3 pedal inputs, breath control in SMF playback sequencer and storage via Smart Media card

CONTROLCONTROL

For further information visit your nearest Yamaha music dealer or call Yamaha Music Australia on 1800 805 413Web info: http://www.yamahasynth.com

audio software like Logic Audio and DAWs such asProTools. Even if you already have a workstation,chances are Scope will work in tandem with it, therebyexpanding total system power. Storing popular librarieson your hard drive will give instant retrieval by Scope’ssampling modules. Theses are just a few suggested usesof Scope, and by virtue of its open ended design thissystem will no doubt be employed in ways that may evensurprise Creamware.

Scope for Change?Scope represents a new direction in modular design,using technology that redefines computer-based studiooperations. With a range of I/O options, Scope can beintegrated into most professional studios increasingoverall DSP power in the process. Apart from synthesis,sampling and effects, Scope provides extensive routingand mixing capabilities to combine these audio functions.Unlike most studio gear, Scope is not designed toperform only one task. Some will use Scope for onepurpose while others will use a number of its functions.Furthermore, the open software architecture allowsengineers to build their own virtual measurementequipment, enabling them to make testing applications.You are not limited by the ‘look’ of the graphic libraryand it’s possible to design your own studio set-up easilywith no previous software programming experience.Scope users can easily create new software devices asintricate as the ones it ships with. As a DSP-basedsystem, Scope is highly dependable, using one the fastest

audio DSP boards – 15 Analog Devices SHARC DSPsdeliver up to 2.7 GFlops of power. Scope can easily beexpanded into larger configurations by adding I/Omodules and processor boards using its ultra fastS/TDM bus. When needed, the system can be config-ured to provide hundreds of I/O channels.

But these are just a few of the possibilities usingScope. In general, the system’s functionality is deter-mined by the breadth of the user’s experience and lateralapproach to problem solving. This is not a system for thefaint hearted! Well, to put a more of a positive spin on it:for those who love to adapt, modify and hone their ownsoftware studio environment and too much flexibility isnever enough, then few systems will appeal like Scope.Certainly, it’s easy to use the ready-to-go modules, butrealising anything like Scope’s full potential depends onthe user. There is much more to Scope than this articlecould possibly describe. Therefore, I strongly urgeanyone who has found appeal in any of its functions tocheck Scope out for themselves and discover what it cando for your own particular audio needs. Distributed by• Major Music WholesalePhone: +61 (0)2 9545 3540Creamware on WWW: ‘www.creamware.de’For further information: ‘info@alchemedia.com.au’

Price• RRP: $13995

AT

COMMUNICATIONCOMMUNICATION

SOUNDSOUND

P80 features:• 88-note weighted Graded Hammer action keyboard

• 64 note polyphony • Stereo piano voices plus E.Pianos, Strings, Organ and Bass

• Single, Dual and Split modes • Reverb and modulation effects